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With the growing need and ability to be portable comes tremendous opportunity for content providers. But it also requires substantial changes to their thinking and their systems. It requires distribution platforms, API’s and other ways to get the content to where it needs to be. But having an API is not enough. In order for content providers to take full advantage of these new platforms, they will need to, first and foremost, embrace one simple philosophy: COPE (Create Once, Publish Everywhere).

COPE is really a combination of several other closely related sub-philosophies, including: Build content management systems (CMS), not web publishing tools (WPT) Separate content from display Ensure content modularity Ensure content portability

But to truly separate content from display, the content repository needs to also avoid storing “dirty” content. Dirty content is content that contains any presentation layer information embedded in it, including HTML, XML, character encodings, microformats, and any other markup or rich formatting information. This separation is achieved by the two other principles, content modularity and content portability

And for my own account of the decision not to use term papers when I taught at Michigan State, you can check out a piece I published in Academe in Sept-Oct 2011.   In some ways, it is more assertive on this issue than Richtel's piece, and is highly critical of the establishment English Department that too-often forgets its own importance as society’s “keeper” of two of the three R’s of traditional literacy, namely “reading” and “‘writing.’”   I won’t rehearse my critique; here's the link:  http://www.aaup.org/AAUP/pubsres/academe/2011/SO/Feat/davi.htm).

She is also working with composition teachers around the country who are documenting similar findings that, in fact, this generation comes in reading and writing more and better–and, yes, differently–than earlier ones, not worse.  Lunsford uses the same metrics to assess these students as were used to evaluate past ones.  Her website is:  http://www.stanford.edu/~lunsfor1/

We have a Word Press class website.  Students blog every week about the reading and project-based assignments they create.   The two students charged with leading the class that week have to respond to every blog.  The students respond to one another.  

Peer evaluation:  You must do your assignments satisfactorily to fulfill your contract.   Each week, two or three students will work as a peer group in charge of leading our joint education for two or three classes.  During that unit, the peer leaders will assign readings as well as writing or multimedia assignments--and they will be charged with determining if each student has satisfactorily completed the assignment.   They will be charged with providing written feedback on all assignments.  Their goal will be to ensure that each student satisfactorily completes the assignment and they will work with each student to make sure they succeed.

How to Crowdsource Grading, I described this method: http://www.hastac.org/blogs/cathy-davidson/how-crowdsource-grading

SYLLABUS We will be co-creating a syllabus in this course.  Professor Davidson will begin, there will be several special guests or other events, but the remainder of the course content will be assigned by peer-leaders charged with offering a challenging, creative, informative, inspiring, participatory educational experience (No Talking Heads Please!) for the class.   Peer-led classes might that involve reading/seeing/listening to/experiencing imaginative works (including scientific papers,) attending lectures, visiting art museums and going to concerts together, or visiting businesses and community organizations to understand how these literacies are changing.  I will get us started with some readings and a museum visit and a collaborative public wiki-based writing assignment.   We have a number of exciting visitors coming this term.   The rest of the syllabus will be filled out by the peer leaders and will evolve over the course.

Her conclusion is that students feel much more impassioned by the new literacy. They love writing for an audience, engaging with it. They feel as if they’re actually producing something personally rewarding and valuable, whereas when they write a term paper, they feel as if they do so only to produce a grade.

“The sad thing is, he’s now convinced there is brilliance in the art world, brilliance in the multimedia world, brilliance in the music world and that writing is boring,” Professor Davidson says. “I hated teaching him bad writing.”

He co-edited with Brian O’Leary the seminal Book: A Futurist’s Manifesto, which has enough meaningful, thought-provoking essays in it to keep you muttering to yourself from the tiki bar back to the pool for the rest of the summer. Have a look if you haven’t seen its free online version.

McGuire points out that both Amazon’s Kindle and Apple’s iPhone arrived in 2007.

Publishers are deathly afraid of the Internet. And they have very good reason to be, because the Internet is famous for gobbling up business models and spitting out total chaos.

Welcome to the second installment of “How We Will Read,” a series exploring the future of reading from the perspectives of publishers, writers, and intellectuals. This week, we talked to Laura Miller and Maud Newton, founders of The Chimerist, a new blog dedicated to exploring the imaginative potential of the iPad.

There’s some sort of disgrace to being a reader, or a viewer, or just absorbing some work of culture — it’s this lesser activity, by that rationale. I really disagree with that. I feel like reading and looking at art and all of these things are creative acts in their own way. The experience of a piece of culture being appreciated takes two people.

But it is a special kind of canvas. It is a device that enables you to focus on one thing at a time, and I know some people have a real issue with that, that you can’t open another window inside what you’re doing, but I actually find that really refreshing. Even as someone who loves the internet. When I turn to my iPad, I’m looking for a different kind of distraction-free experience, for whatever I’m working on at the time.

As this is a new initiative for the library, we're currently talking to as many creative practitioners as possible about how the library can shape services for them. We recently organised mentoring days, focus groups and networking events with partners such as Sheffield Doc/Fest

There's been a real buzz around the British Library recently – for the first time in March we held the Spring Festival, a five day celebration of creativity, fashion and design aimed at the creative industries. There was a lot on show, including a spring market, LATE event with 50 artists working in the front hall and a vintage knitting event – over 1,700 people took part.

I propose a THATCamp session in which we think about ways to hack campus space. And I mean hack in the most generous sense of the term. How can we use these spaces in ways they weren’t designed for? How can we turn their flaws—bolted down desks, windowless rooms, tiered seating, and so on—into advantages (or at least neutralize them)? How can we turn institutional places into dwelling spaces that we inhabit and habituate? I was initially thinking mostly of classrooms—because I have taught in dreadfully designed rooms—but I’d extend this idea to include all campus spaces. And I’d like our hacks to go beyond the simply practical (though we need those too) to include what amounts to philosophical and ideological hacks.

What would a temporary autonomous zone look like on campus? …in the student union? …in your classroom? How can we change attitudes about what can or can’t be done in certain spaces? What’s the most surprising thing we can do with a campus space, and conversely, what’s the most predictable thing we can do in a new way?