Imagine an online environment that makes the thought processes of a writer visible, including the loops they get stuck in, the relevant tangents they pursue, and the non-linear way in which their ideas evolve. Now imagine that all of these features are easy to use and implement in the classroom. In this episode, Fiona Coll, an Assistant Professor of Technology and Literature at SUNY-Oswego, joins us to discuss how Scalar, a free open-source publishing platform, can help achieve these goals.
- Alliance for Networking Visual Culture – the creators of Scalar
- Catherine Kroll at Sonoma State University
- Critical Commons
- Bjork, R.A. (1994). “Institutional Impediments to Effective Training”. Learning, remembering, believing: Enhancing human performance. (This provides a discussion of the benefits of desirable difficulties.)
- Classic Scalar projects:
- Dene Grigar and Stuart Moulthrop. Pathfinders: Documenting the Experience of Early Digital Literature.
- Catherine Kroll. Ikenga Shrines and Iron Horses: A Reader’s Guide to Chinua Achebe’s Things Fall Apart.
- Collaborative Scalar project:
- Kate Aberman, Emmie Banks, Jessie Carter, Deanna Fayed, Gabby Hubert, Katherine King, Carol Lee, Sarah Richman, Matthew Winz and whitney trettien. The Book As.
- Media-rich Scalar projects:
- Jacqueline Wernimont, David J. Kim, Stephan Schonberg, Amy Borsuk, Beatrice Schuster, Heather Blackmore, and Ulla Gosart (Popova). Performing Archive: Edward S. Curtis + “the vanishing race.”
- Cecilia Wichmann. Sound and Documentary in Cardiff and Miller’s Pandemonium.
- Scalar project as web supplement and stand-alone resource:
- Claire Battershill and Shawna Ross. Digital Humanities in the Classroom: A Practical Introduction for Teachers, Lecturers, and Students.
- Scalar in the classroom
- Dwayne Dixon’s Rhizome Experiment, Fall 2015. In Dixon’s words, this is “a collaborative, digitally interconnected essay project was the final assignment for a class of seventeen first-year, first-semester students, enrolled in a writing-intensive seminar on media and anthropology” (“Imagining the Essay as Digital Assemblage” 35).
- Dixon’s article about Rhizome Experiment: “Imagining the Essay as Digital Assemblage: Collaborative Student Experiments with Writing in Scalar.” Prompt: A Journal of Academic Writing Assignments, v. 1, n. 1, Dec. 2016.
- Assortment of Newberry Library Scalar collections:
- Gorgeously customized Scalar projects:
- Further reading about Scalar
- Anderson, Steve. “Critical Interfaces and Digital Making.” Visible Language: The Journal of Visual Communication Research. 49.3 (2015): 121-139.
- McPherson, Tara. “Designing for Difference.” differences: A Journal of Feminist Cultural Studies. 25.1 (2014): 177-188.
- Tracy, Daniel G. “Assessing Digital Humanities Tools: Use of Scalar at a Research University.” portal: Libraries and the Academy. 16.1 (2015): 163-189.
John: Imagine an online environment that makes the thought processes of a writer visible, including the loops they get stuck in, the relevant tangents they pursue, and the non-linear way in which their ideas evolve. Now imagine that all of these features are easy to use and implement in the classroom. In this episode, we examine how Scalar, a free open-source publishing platform, can help achieve these goals.
John: Thanks for joining us for Tea for Teaching, an informal discussion of innovative and effective practices in teaching and learning.
Rebecca: This podcast series is hosted by John Kane, an economist…
John: …and Rebecca Mushtare, a graphic designer.
Rebecca: Together we run the Center for Excellence in Learning and Teaching at the State University of New York at Oswego.
Rebecca: Today our guest is Fiona Coll, an assistant professor of Literature and Technology at SUNY Oswego. Welcome, Fiona.
Fiona: I am very happy to be here, Rebecca.
John: We’re very happy to have you here. Our teas today are…
Fiona: Today I am drinking Cranberry Blood Orange Endless Sunshine tea, which is a very, very ambitious kind of tea by the Republic of Tea, and I just have to note that on the side, it proclaims that drinking this tea will “create social balance one sip at a time.”
Rebecca: So maybe that’s what we should all be drinking right now. [LAUGHTER] I’m drinking English Breakfast.
John: I’m drinking Bing Cherry Green tea.
We invited you here to talk about your work with Scalar. What is Scalar?
Fiona: Scalar is an online publishing platform designed for long-form, media-rich writing. In the words of Scalar’s creators, this means media-rich digital scholarship. It’s an open source platform created by a group called the Alliance for Networking Visual Culture, and the whole idea behind this platform is that it was built to serve scholars who were working on non-traditional, long-form academic writing, specifically projects that might involve visual culture or media culture. There are particular features of Scalar that have been geared towards this use case, but I would like to argue that Scalar is actually a fantastic tool for teaching because of some of its unusual features. Can I tell you about them?
Rebecca: Yeah, please. [LAUGHTER]
John: We’d be asking anyway. [LAUGHTER]
Fiona: The best way to approach these unusual features is, I think, to describe how you use Scalar, and so I will. The basic unit of content in Scalar is called a page, and it seems fairly unremarkable when I begin talking about it in this way. When you’re creating a Scalar page there’s a text box where you enter a title, there’s a text box where you enter a description, and then a large text entry field where you can put in text and format it. You can choose from a few layout options. You can integrate media into that page. You can enter metadata. You can annotate. You can add comments. So far, so WordPress… fairly straightforward. However, things now get interesting once you create a Scalar page. Once you’ve created a series of Scalar pages, you can start building routes through that content. There are two ways to organize the pages that you create in Scalar: the first is to use tags, which create nonlinear clusters of organized content, or you can use the path feature in Scalar, which is, as it sounds like, a path—a linear, step-by-step progression through a sequence of Scalar pages that you determine. You can get very creative with this path structure; you can create branching paths or very complex forking paths; you can create recursive or looping paths that come back to steps you’ve already been through; you can create rabbit-hole paths that lead people away from the main branch of your content into an unretrievable nether place, but the point is Scalar does not impose any sort of order on the content that you created and indeed that’s why the platform is called Scalar—it comes from this reference to two ways we think of quantifying movement in the world, I suppose: Scalar versus vectors. Vectors are quantities that have both magnitude and direction to them and a scalar quantity is one that has only magnitude and so Scalar, the publishing platform Scalar, does not force you to do any sort of particular relationship between the things that you create. Again… doesn’t sound especially revolutionary, but remember how I mentioned you could add tags and comments and annotations to a piece of Scalar content? When you do that, when you create things like tags and annotations and comments, those all become Scalar pages themselves, and they can participate in this larger set of relationships. So a tag, which is also a page, can be tagged with something else, it can be a path of its own, a comment can be a tag, an annotation can also be a comment, can also be a tag, a path can be a tag on something. So, any piece of content in Scalar can be given any sort of relationship to any other piece of content, and what this means is that there’s a sort of radical, non-hierarchical organization to the way Scalar allows you to approach the products of your own creative work. So this becomes really, really interesting if you imagine what this means for creating something like an essay. We have a long tradition of thinking of an essay as an extraordinarily linear thing that begins at the beginning, that moves through a sequence, and that ends. But Scalar allows us to reimagine what an essay might be, not just what it might contain, so not just moving beyond text but moving beyond that linear structure, and when I first understood just how radically Scalar allowed the breaking down of this old-school essay model, I became very excited to imagine its possibilities in the classroom. So, I learned about Scalar and immediately thought that this would be a fantastic way to defamiliarize the writing process for students, and by “defamiliarize the writing process for students,” what I mean is I thought that this would be a fantastic tool to get students to reimagine the way that their thoughts unfold in writing. I wanted them to reimagine writing as actual making, as actual construction, and not just as a sort of tragic endpoint for a thinking process.
Rebecca: It’s active, basically.
Fiona: It’s active. It is a process; writing is a process and I always say writing is thinking, and students I don’t think quite understand what I mean by that, but what Scalar might allow me to do, I imagined upon first encountering the platform, would be to get students to think about how sections of their thoughts work; how ideas might connect to other ideas… not in linear ways… but in roundabout ways that might meander through other references or images or clips they came across on the internet or things from other classes… that thought is not linear no matter how much we try to get them to package it into straightforward, well-behaved writing.
Rebecca: So this is really exciting, I can imagine writing something like “I have this thought and now I’m in a loop and I can’t get out; I’m cycling through ideas and trying to get myself out and I just can’t, but sometimes that happens when you’re writing and it’s like, oh, this isn’t gonna work; I don’t have a conclusion.
Fiona: This is how the process of writing works; you do get in loops. It is a reiterative experience where you try something out and you might end up back where you started; you try it again, you come back where you started, but perhaps the loop needs to be there for a particular reason but there’s a little exit ramp you might find to some other form of thought and Scalar doesn’t force you to try and pretend that that is not happening, that that complexity is not happening. It allows you to in fact mark the way that your thought is moving and branching in non-linear ways and allows you to capitalize on those threads and those directions. One of the things that Scalar does that very useful in getting students to think about their writing process is that it timestamps every iteration of a particular page and it saves every iteration of a page. So there’s a sense in which students are free to revise or rethink. There’s a sense in which Scalar holds safe and secure all of the versions of their thought, so it works well in terms of allowing them the space to experiment and the space to make mistakes while also giving them a time-stamped chronology of the work that they’ve done. So, there are multiple ways in which Scalar allows for the thinking process to be represented.
Rebecca: It also seems like it’s a good model for students to know how long they’ve spent writing because their idea or conception of how much time they may have spent doing something might be really inaccurate.
Fiona: That’s a fantastic point because I think students do have a strange dislocation from the actual effort it takes, the actual labor that goes into producing something like a polished text. So, on the one hand there’s just an awareness of the sheer time that goes into that, but there’s also a sense in which Scalar allows students to really, really dig into the revision and the editing process, which often is hard. So, students sort of do the standard essay writing and I often find it difficult to convince them to let go of certain aspects of what they’ve written or to radically or drastically revise…
Rebecca: But it’s still there.
Fiona: But it’s still there; they don’t have to worry about losing it—they can try something completely different and perhaps see what happens when they release their hold on that idea that writing is just something you open up a word processor and do… start at the beginning and go until you’ve hit the word limit.
Rebecca: You’ve got pathway one like normal way, then it’s like here’s my cycle weird way, here’s my figure eight way.
John: When you have students work with this are they working individually or in groups?
Fiona: This is the next thing I wanted to mention, which is that Scalar allows for both. It is extraordinarily flexible in terms of this exact question. I usually begin by having students create content, create Scalar pages on an individual basis, but all of the students are creating within what I call one great big bag of Scalar content. Scalar uses the term “book” to describe one project in this way. So, the students can create their own content, tag it as their own content, organize it according to their own methods, but then I get students to interact with each other’s content, so they read each other’s content, they start to make tendrils of connections between their content and other students’ content, and then eventually I build up to students generating content collaboratively. So it works really well in allowing a wide range of writing collaboration, and the point I make as these networks of connection get more and more elaborate is that this is how knowledge works, this is how knowledge is created; it’s a collective, collaborative enterprise and nobody does best working in isolation.
John: When they do this is it something that’s shared just within a class or is it shared publicly?
Fiona: Again, Scalar has both options available. I discuss this issue of public versus private writing with the students and we usually make a decision together as to whether or not the students want to make their material, their writing, public or private. I’ve also had a class in which one student was very happy to make her Scalar project public, but all the rest of the students wanted to keep theirs private, so she was able to easily take her content, make a whole new Scalar book and proudly display it for everyone to see, so it is remarkably flexible in terms of what it allows you to do with what you create.
Rebecca: What about the converse, though, when it’s a one or two students that have a reason that it needs to be private?
Fiona: And there’s absolutely no problem in keeping a Scalar book entirely private. I also give students the opportunity to erase what they’ve done… so to remove it entirely. We do talk a lot about privacy, public writing, and issues of copyright is another angle that seems important to talk about in terms of the Scalar ecosystem. The group who has built Scalar is deeply invested in promoting open access and fair use of cultural resources as part of their commitment to generating very dynamic and free intellectual exchange, so they created something called the Critical Commons—it has a relation conceptually or figuratively to Creative Commons—but their Critical Commons is a place where copyrighted media is taken and transformed critically and then posted for fair use purposes. So you’ll see people who have taken clips of movies, for example, or a television shows but transform those clips through a critical apparatus that Critical Commons enables, and this allows students to really think about what they’re doing when they reference a piece of culture, whether that’s a photograph or a song or a video, that by adding their critical commentary to it, they are transforming it, they are generating ideas that are making that piece of content new, and Scalar’s link to Critical Commons allows them to really think about issues of copyright, issues of intellectual openness, what happens when something is locked down and is unavailable for access to them to write about, so it becomes a much, much broader discussion about the nature of knowledge, the nature of information in our 21st century.
Rebecca: It sounds like the emphasis then with this Critical Commons is the idea of fair use and understanding fair use and describing fair use and putting in a structure in place that embodies and enforces fair use.
Fiona: And that embodying and enforcing of fair use that you describe then becomes part of how the students think of themselves as creators, so what does it mean to take something that another student has written and to use it in some way in your own thinking? Where do the bounds of fair use lie? It’s often something students haven’t thought about and this actually relates to the labor-related facet of Scalar that I find really useful in terms of student learning. I often feel that students see the Internet as this place where disembodied text has just appeared and exists, but by generating it themselves they have to confront the fact that a lot of work or a lot of effort went into generating the things that they don’t think very much about, and so Scalar allows students to think about the writing process in new and interesting and productive ways, but it also allows students to think about the nature of information that they engage with on a daily basis.
Rebecca: It’s really funny that we’re talking about fair use today because I was talking to my students about fair use this morning. We had a visiting artist who uses fair use in her work and then there was like a thousand questions when she was here. I said, you know, “We’ll talk about fair use, I promise, on Monday, when we all get back and she’s not here and we’re not taking up her time to dig into it.” But, it’s funny because they have this commercial point of view and then also the cultural maker point of view and they conflate it as if it’s all the same and that is really different. Context matters… and that you need to be thinking about these things, so we tried to untangle that today, but you’re right, students don’t think about that at all; in fact, scholars don’t think about it very often either.
Fiona: It’s true, and I first used Scalar in a class that was comparing and contrasting 19th-century book technologies with 21st-century digital writing and publishing technologies and part of the reason that worked the way it did is that 19th century literature is, of course, out of copyright—it’s public domain—and so we were able to play very freely with the literature from that period, and then students had to stop and think and realize that the 21st century, again, literature in various interesting forms, was different, was fundamentally different because of this legal category that we use to distinguish between what is public domain and what isn’t, and students are fascinated by it, while also not understanding it or understanding its logic, necessarily. So, Scalar’s making visible of something that students just hadn’t thought about before is one of its many, many strengths or one of the many valuable ways in which it operates in a classroom.
Rebecca: Can you take us on an adventure through one of your classes to get us a better sense of how you’re actually putting it into play in a specific class with a specific group of students?
John: In terms of maybe the type of assignment that they might be working on?
Fiona: For sure. I first used Scalar in a class that contrasted 19th-century material book production with 21st-century digital publication technologies and I asked the class to really consider the ways in which genre, in particular, is affected by the shape of publishing possibilities. So students are used to thinking about genre as something that is an intellectual idea or an abstract idea informed by author influence or cultural anxieties, but they rarely think about genre as something that is shaped by the actual material affordances of publication, so we read 19th-century texts, we read 21st-century texts and then I asked the students to produce their own creative or critical response to the material in our classes, and what that meant was that some students wrote relatively traditional research essays that incorporated media, sound, video. It meant that some students created choose-your-own-adventure type creative stories that played with the notion of genre as Scalar allowed them to unpack conventions that were and were not possible in that electronic form. Students also used other sorts of technologies to play with the way that technology shaped the kinds of stories they could generate, but that’s a broad overview of how Scalar worked in one particular class. I am using Scalar currently in a class about digital literary studies and the students are making digital editions of 19th-century texts. So, students are in groups, they’ve each been assigned a story by an obscure local Oswego author and they are in groups deciding how they want to present these stories to the world… new and refreshed by their 21st century perspectives on the stories, so some of them are emphasizing maps and timelines. Some of them are emphasizing illustrating the stories. Some of them want to actually remix some of the stories and generate alternate routes through the stories. So, they’re able through Scalar to invent and create these approaches to literary interpretation—they’re making arguments about the text through their use of Scalar, and I should mention that one of Scalar’s appeals is that it’s possible to do a lot with minimal technical knowledge. It’s also possible to do a lot if you have maximal technical knowledge. There’s a lot of room for customization if you are fluent with CSS and that sort of business. It accommodates a really wide range of technical skill.
John: Could you tell us a little bit more about how the choose-your-own-adventure type things work? Is that difficult for the students to program the branches?
Fiona: The great news is the students don’t really have to program the branches. The student I’m thinking of in particular wanted to write a choose your own adventure story that turned into a different genre of story depending on which path you took through her story…
Rebecca: I love that idea.
Fiona: It was a fantastic idea and it really showed just how well she grasped the possibilities that Scalar offered. So she began—there was an introductory page that set up a scenario—it was a mystery, perhaps a murder mystery story at the beginning, and then she had a couple of options: you could choose to follow one character or one event; and as each choice branched a little bit further and a little bit further, so there were many, many iterations of the story, and again each arm of the story took on a slightly different generic set of conventions. It was relatively straightforward; literally in Scalar you simply mark, using a little sort of dialog box that you check or uncheck. you mark what pieces of content you want to attach to a page. So, there’s no encoding, there’s no high-level function that students need to worry about; they can simply imagine what they want to connect and they can make those connections relatively easily. I will say that one of the other things I love about Scalar is that it generates productive difficulty for the students, it generates a lot of intellectual uncertainty which is something that I find… [LAUGHTER] I enjoy producing in students in a constructive way, obviously. Because Scalar is this enormous bag into which students just throw pieces of content, it can get overwhelming really quickly—there can just be this amorphous, chaotic mass that they struggle to make sense of—but that’s part of the advantage, I would argue: it really, really makes them think about high order levels of structure and organization. So even though they can do multiple kinds of organization… even though they can be very creative about how they organize, they do have to really think about how they want their content to relate to one another. So Scalar has this ability to get students thinking at that high level of structure while also allowing students to pay very, very close attention on the level of annotation and close reading—it combines those two levels and sort of everything in between in a way that I find very, very useful for students to be doing. I haven’t even talked about the kind of media annotation that’s possible. But, you can annotate, on a pixel level, images. You can annotate in various time stamps on a video or a piece of audio. There’s an extraordinary level of very, very specific detail that you can attend to as well as dealing with these large high order or large-structure levels of organization.
Rebecca: How did you learn how to use Scalar and then also how do you help students learn how to use the platform?
Fiona: This is a fantastic question. I learned to use Scalar in a very short, informal lunchtime demonstration given by Cathy Kroll—who I believe is at Sonoma State University—at the 2015 Digital Humanities Summer Institute in beautiful Victoria, B.C. and Cathy Kroll simply went through the process of making a Scalar page and she simply explained—and there are all sorts of interesting, cool things you can do with this organizational system—and that was enough; that was enough to allow me to at least discover its possibilities. So, the barrier to entry is low, but then you can ramp up things an awful lot, and I do find that I’m learning more and more as I go. I first imagined using Scalar in my own scholarly work—I am working on this, again, obscure local Oswego author—and I was trying to imagine ways to experiment with bringing these stories back to digital life, but I found that I was almost more excited by the possibilities I was seeing in students and so I thought I would take the exact same approach. I tend to give students a very, very basic introduction to what Scalar can do and then just let them loose, so allow them [LAUGHTER]—again, productive frustration—they make mistakes, they lose pages, they can’t figure out if they’re tagging a page or if they’re making a page a tag. I allow this brief sort of beginning phase of crazy-making exploration and then I ramp up the features, so I introduce more and more features. I begin by, I suppose it’s the carrot versus the stick analogy, so I begin by showing some of the very cool things Scalar can do, so with a basic knowledge of how metadata works students can produce these very gorgeous timelines or maps; I show them how they can use iframes to pull in content from various places on the web and enliven their writing. But, I also then ask them to think very hard about how they’re engaging with other students’ work, and so it feels as though I start with one page and then just allow them to explore on their own while giving them pushes in certain directions to make sure that they are exploring as fully as possible.
John: Maintaining those desirable difficulties as they develop more skills.
Fiona: Maintaining the desirable difficulties, exactly. I’m still trying to figure out how much I should push them, so how much I should demand of the students. I know that other people have used Scalar simply as a writing tool, so just dealing with text and organization. I know that others have encouraged students to make use of the multimedia affordances of Scalar and I’m still figuring out what the balance is for my students who are mostly students of literature.
Rebecca: The first thing that comes to mind to me is how the heck do you grade that? [LAUGHTER] There’s a lot to keep track of and map and pay attention to, so how are you evaluating students in like what criteria and and how do you actually just sort through all of that content?
Fiona: This is a fantastic question and one I am still figuring out… [LAUGHTER] the answer to. As I’m introducing students to Scalar and as I’m letting them make a mess and generate multiple versions of a single page and get confused themselves, I do encourage them to keep in mind that ultimately they want to be imagining not just their own thought process and writing process but what it might feel like for a reader to come across their material, specifically a reader that is me; [LAUGHTER] specifically a reader that will be assigning them a grade. [LAUGHTER] At the very same time, I do try and emphasize process over product, and because students come with such a range of technical capabilities, I build into my rubrics how hard a student has worked to correct a deficiency or to overcome a limitation in their ability to understand Scalar. Ultimately I am interested in the argument that they’re making, but I do reward and encourage what I call bravery—willingness to try new things; willingness to fail; willingness to get things wrong but then to turn that failure into something useful or to meditate or reflect on it in a conscious way. So, there’s a metacognitive aspect to all of this, and essentially in every assignment I’m still trying to figure out what the balance between rigorous analysis and explorative risk-taking might be. I tend to err on the side of appreciating the risk-taking, I will say that.
Rebecca: So do they submit like a URL to you?
Fiona: No, what happens is they tell me where they want me to enter their work. I usually create an index page and I ask them to put their starting point on that index page, so they’re all contributing to one page that serves as my starting point and that’s the easiest way to wander through things. I can go hunting if I need to. I encourage the students to tag what they’re doing with their own names. If there’s a good search function, for example, if I’m looking for something that’s been lost. It definitely feels like hunting in a barn full of hay sometimes. That’s not quite the same as hunting in a haystack but it’s not quite not the same either. [LAUGHTER]
John: Have any other faculty in your department or on campus adopted Scalar yet?
Fiona: I don’t think anyone else in my department has adopted Scalar. I do think as my classes perhaps turn more towards public facing projects that might change, because I do think there are a number of faculty and approaches that could do very cool things with Scalar, but so far I have had to pull my examples from elsewhere… from other campuses. But hopefully soon there will be some robust Oswego examples.
John: Have you ever had students build upon the work of earlier classes?
Fiona: I have not, and that is something that I’m trying to figure out how to do successfully, for a couple of reasons. So it would be easy to do if I just kept one giant Scalar project and had students continually reiterate upon the work that had come before; I haven’t actually repeated a course yet that I’ve used Scalar in, so that in fact might be a next step for my work with Scalar—it would involve, of course, getting permission from the students to do this or to allow them to anonymize their work, but those are things we could work out—but I have not yet done so. I could imagine the Digital Archiving Project as being one that would lend itself towards that sort of semester after semester continuation.
John: How have students responded to this compared to more traditional writing classes?
Fiona: The great news is that students seem very, very excited by what feels like them to be freedom. They respond really well to the autonomy that Scalar offers them. They tend to respond in a slightly opposite direction when they realize that freedom comes at a price and that price is an awful lot of work and figuring out technical details, and some students truly do flounder—some students just find it absolutely maddening to try and understand what’s happening. But some students absolutely thrive and really run with the creative remixing possibilities and really embrace the radically democratic approach that Scalar allows them to take to their own writing and writing in groups. So, I would say that there’s a now predictable sort of curve: initial excitement as students think about the possibilities, then there’s an inevitable drop in enthusiasm as the students realize just how much work this involves and how much new thinking they have to do to wrap their minds around the defamiliarization that Scalar offers, and then perhaps two tails after that: one very enthusiastic skyrocketing of competence and then one more medium flavored… just sort of making peace with what I’ve asked them to do, and I do always offer students options, and if someone just feels absolutely unable to grapple with Scalar there’s always the possibility of doing a different sort of project, but I haven’t yet had a student who has completely resisted.
John: This is a nice follow-up to our earlier podcast with Robin DeRosa where she talked about open pedagogy and it seems like this would be a nice tool for students to create materials that can be widely shared, if they choose to.
Fiona: If they choose to, and I do think I’m gonna bring the concept of open pedagogy or open ed more and more explicitly into classes in which I use Scalar to make that a part of my justification, or something else to get students thinking about. It’s a growing and very exciting movement—the open pedagogy and open education movement—and I’m excited to see how Scalar can continue to be a part of that.
Rebecca: Does Scalar offer, by default, a way to license individual pieces of content using Creative Commons or is it more how you would traditionally license a website by copying and pasting the code from Creative Commons, for example, on an individual page?
John: Or is it just a Critical Commons option?
Fiona: That is a fantastic question. I think you would need to attach your own Creative Commons licensing; I don’t know that there’s a built-in feature. However, I should say that that doesn’t mean it doesn’t exist; it just means I don’t know about it at the moment, but I do think you, again, get to choose your own approach to that very issue. but I’m gonna look into it and see if I can figure out if there’s a built-in tool or aspect of Scalar.
Rebecca: We can make a note of that in our show notes, too, afterwards.
Fiona: I will follow up. [LAUGHTER]
John: And if we find any links we’ll include them.
Rebecca: ..[If] people wanted to get started, do you have a couple of examples that you might recommend for people to look at?
Fiona: I definitely have a few examples that I can recommend. I can add those to the show links, perhaps, and there are examples that range from student projects through elaborate library-based projects to very beautiful, customized versions of Scalar projects. I’d be very, very happy to share them and encourage people to try out the platform.
John: We always end our podcast with a question, what are you going to do next?
Fiona: To this point I have used Scalar in upper division literature courses where students come to the course already equipped with a certain set of writing and thinking skills that I can leverage and encouraging the curiosity and bravery I mentioned. So, next semester I’m gonna try using Scalar with a first-year composition course, and so I’m in the planning stages right now to see how that particular experiment might unfold.
Rebecca: That sounds really exciting.
Fiona: I’m super excited about it. As you might be able to tell, I really, really, am fascinated by the ways in which Scalar seems to activate student curiosity and student agency in their own intellectual work.
John: And if you reach freshmen with this they might perhaps suggest it to some other faculty as something they may wish to try.
Fiona: I like it, I like it as a plan.
Rebecca: Sounds like we’ll have to do a follow-up.
Fiona: I am here for it. [LAUGHTER]
John: Well thank you. This has been fascinating.
Rebecca: You’ve piqued my curiosity; I’m gonna go explore, so I can’t wait for those extra links so I can find a way in.
Fiona: If I’ve piqued your curiosity, I believe I have done my job.
John: And I did create an account a couple years ago when you gave a workshop and I kept meaning to go back, but now I’m more likely to. [LAUGHTER]
Fiona: Well let me know how you find it; let me know what you discover.
John: Thank you.
Rebecca: Yeah, thank you very much.
Fiona: Thank you so much; it was wonderful to talk with you.
John: If you’ve enjoyed this podcast, please subscribe and leave a review on iTunes or your favorite podcast service. To continue the conversation, join us on our Tea for Teaching Facebook page.
Rebecca: You can find show notes, transcripts and other materials on teaforteaching.com. Music by Michael Gary Brewer.
John: Editing assistance provided by Kim Fischer, Brittany Jones, Gabriella Perez, Joseph Santarelli-Hansen and Dante Perez.