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Barbara Lindsey

The New Gold Mine: Your Personal Information & Tracking Data Online - WSJ.com - 0 views

  • the tracking of consumers has grown both far more pervasive and far more intrusive than is realized by all but a handful of people in the vanguard of the industry. • The study found that the nation's 50 top websites on average installed 64 pieces of tracking technology onto the computers of visitors, usually with no warning. A dozen sites each installed more than a hundred. The nonprofit Wikipedia installed none.
  • the Journal found new tools that scan in real time what people are doing on a Web page, then instantly assess location, income, shopping interests and even medical conditions. Some tools surreptitiously re-spawn themselves even after users try to delete them. • These profiles of individuals, constantly refreshed, are bought and sold on stock-market-like exchanges that have sprung up in the past 18 months.
  • Advertisers once primarily bought ads on specific Web pages—a car ad on a car site. Now, advertisers are paying a premium to follow people around the Internet, wherever they go, with highly specific marketing messages.
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  • "It is a sea change in the way the industry works," says Omar Tawakol, CEO of BlueKai. "Advertisers want to buy access to people, not Web pages."
  • The Journal found that Microsoft Corp.'s popular Web portal, MSN.com, planted a tracking file packed with data: It had a prediction of a surfer's age, ZIP Code and gender, plus a code containing estimates of income, marital status, presence of children and home ownership, according to the tracking company that created the file, Targus Information Corp.
  • Tracking is done by tiny files and programs known as "cookies," "Flash cookies" and "beacons." They are placed on a computer when a user visits a website. U.S. courts have ruled that it is legal to deploy the simplest type, cookies, just as someone using a telephone might allow a friend to listen in on a conversation. Courts haven't ruled on the more complex trackers.
  • tracking companies sometimes hide their files within free software offered to websites, or hide them within other tracking files or ads. When this happens, websites aren't always aware that they're installing the files on visitors' computers.
  • Often staffed by "quants," or math gurus with expertise in quantitative analysis, some tracking companies use probability algorithms to try to pair what they know about a person's online behavior with data from offline sources about household income, geography and education, among other things. The goal is to make sophisticated assumptions in real time—plans for a summer vacation, the likelihood of repaying a loan—and sell those conclusions.
  • Consumer tracking is the foundation of an online advertising economy that racked up $23 billion in ad spending last year. Tracking activity is exploding. Researchers at AT&T Labs and Worcester Polytechnic Institute last fall found tracking technology on 80% of 1,000 popular sites, up from 40% of those sites in 2005.
  • The Journal found tracking files that collect sensitive health and financial data. On Encyclopaedia Britannica Inc.'s dictionary website Merriam-Webster.com, one tracking file from Healthline Networks Inc., an ad network, scans the page a user is viewing and targets ads related to what it sees there.
    • Barbara Lindsey
       
      Tracking you an targeting ads to you on a popular dictionary site!
  • Beacons, also known as "Web bugs" and "pixels," are small pieces of software that run on a Web page. They can track what a user is doing on the page, including what is being typed or where the mouse is moving.
  • The majority of sites examined by the Journal placed at least seven beacons from outside companies. Dictionary.com had the most, 41, including several from companies that track health conditions and one that says it can target consumers by dozens of factors, including zip code and race.
  • After the Journal contacted the company, it cut the number of networks it uses and beefed up its privacy policy to more fully disclose its practices.
  • Flash cookies can also be used by data collectors to re-install regular cookies that a user has deleted. This can circumvent a user's attempt to avoid being tracked online. Adobe condemns the practice.
  • Most sites examined by the Journal installed no Flash cookies. Comcast.net installed 55.
  • Wittingly or not, people pay a price in reduced privacy for the information and services they receive online. Dictionary.com, the site with the most tracking files, is a case study.
  • Think about how these technologies and the associated analytics can be used in other industries and social settings (e.g. education) for real beneficial impacts. This is nothing new for the web, the now that it has matured, it can be a positive game-changer.
  • Media6Degrees Inc., whose technology was found on three sites by the Journal, is pitching banks to use its data to size up consumers based on their social connections. The idea is that the creditworthy tend to hang out with the creditworthy, and deadbeats with deadbeats.
  • "There are applications of this technology that can be very powerful," says Tom Phillips, CEO of Media6Degrees. "Who knows how far we'd take it?"
  • Hidden inside Ashley Hayes-Beaty's computer, a tiny file helps gather personal details about her, all to be put up for sale for a tenth of a penny.
  • "We can segment it all the way down to one person," says Eric Porres, Lotame's chief marketing officer.
  • One of the fastest-growing businesses on the Internet, a Wall Street Journal investigation has found, is the business of spying on Internet users.
  • Yahoo Inc.'s ad network,
  • "Every time I go on the Internet," she says, she sees weight-loss ads. "I'm self-conscious about my weight," says Ms. Reid, whose father asked that her hometown not be given. "I try not to think about it…. Then [the ads] make me start thinking about it."
  • Information about people's moment-to-moment thoughts and actions, as revealed by their online activity, can change hands quickly. Within seconds of visiting eBay.com or Expedia.com, information detailing a Web surfer's activity there is likely to be auctioned on the data exchange run by BlueKai, the Seattle startup.
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    a New York company that uses sophisticated software called a "beacon" to capture what people are typing on a website
Chenwen Hong

Organizing Your Teaching Materials - ProfHacker - The Chronicle of Higher Education - 0 views

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    Very useful tips for instructors and faculty. Organize teaching-related materials by the following 3 elements: Chronology, Categories, and Accessibility. Structure a system to file teaching materials, paper or electronic files.
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    This should be very useful for us TAs, even though we have moved towards digitizing our teaching materials.
Barbara Lindsey

Web 2.0: What does it constitute? | 11 Feb 2008 | ComputerWeekly.com - 0 views

  • O'Reilly identified Google as "the standard bearer for Web 2.0", and pointed out the differences between it and predecessors such as Netscape, which tried to adapt for the web the business model established by Microsoft and other PC software suppliers.
  • Google "began its life as a native web application, never sold or packaged, but delivered as a service, with customers paying, directly or indirectly.
  • perpetual beta, as O'Reilly later dubbed it
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  • Perhaps the most important breakthrough was Google's willingness to relinquish control of the user-end of the transaction, instead of trying to lock them in with proprietary technology and restrictive licensing
  • O'Reilly took a second Web 2.0 principle from Peer-to-Peer pioneer BitTorrent, which works by completely decentralising the delivery of files, with every client also functioning as a server. The more popular a file, is, the faster it can be served, since there are more users providing bandwidth and fragments of the file. Thus, "the service automatically gets better the more people use it".
  • Taking another model from open source, users are treated as "co-developers", actively encouraged to contribute, and monitored in real time to see what they are using, and how they are using it.
  • "Until Web 2.0 the learning curve to creating websites was quite high, complex, and a definite barrier to entry," says the third of our triumvirate of Tims, Tim Bray, director of Web Technologies at Sun Microsystems.
  • Web 2.0 takes some of its philosophical underpinning from James Surowiecki's book The Wisdom of Crowds, which asserts that the aggregated insights of large groups of diverse people can provide better answers and innovations than individual experts.
  • In practice, even fewer than 1% of people may be making a useful contribution - but these may be the most energetic and able members of a very large community. In 2006 1,000 people, just 0.003% of its users, contributed around two-thirds of Wikipedia's edits.
  • Ajax speeds up response times by enabling just part of a page to be updated, instead of downloading a whole new page. Nielsen's objections include that this breaks the "back" button - the ability to get back to where you've been, which Nielsen says is the second most used feature in Web navigation.
  • "Everybody who has a Web browser has got that platform," says Berners-Lee, in a podcast available on IBM's developerWorks site. "So the nice thing about it is when you do code up an Ajax implementation, other people can take it and play with it."
  • Web 2.0 is a step on the way to the Semantic Web, a long-standing W3C initiative to create a standards-based framework able to understand the links between data which is related in the real world, and follow that data wherever it resides, regardless of application and database boundaries.
  • The problem with Web 2.0, Pemberton says, is that it "partitions the web into a number of topical sub-webs, and locks you in, thereby reducing the value of the network as a whole."
  • How do you decide which social networking site to join? he asks. "Do you join several and repeat the work?" With the Semantic Web's Resource Description Framework (RDF), you won't need to sign up to separate networks, and can keep ownership of your data. "You could describe it as a CSS for meaning: it allows you to add a small layer of markup to your page that adds machine-readable semantics."
  • The problems with Web 2.0 lock-in which Pemberton describes, were illustrated when a prominent member of the active 1%, Robert Scoble, ran a routine called Plaxo to try to extract details of his 5,000 contacts from Facebook, in breach of the site's terms of use, and had his account disabled. Although he has apparently had his account reinstated, the furore has made the issue of Web 2.0 data ownership and portability fiercely topical.
  • when Google announced its OpenSocial set of APIs, which will enable developers to create portable applications and bridges between social networking websites, Facebook was not among those taking part. Four years after O'Reilly attempted to define Web 2.0, Google, it seems, remains the standard-bearer, while others are forgetting what it was supposed to be about.
Barbara Lindsey

Dr. Mashup; or, Why Educators Should Learn to Stop Worrying and Love the Remix | EDUCAU... - 0 views

  • A classroom portal that presents automatically updated syndicated resources from the campus library, news sources, student events, weblogs, and podcasts and that was built quickly using free tools.
  • Increasingly, it's not just works of art that are appropriated and remixed but the functionalities of online applications as well.
  • mashups involve the reuse, or remixing, of works of art, of content, and/or of data for purposes that usually were not intended or even imagined by the original creators.
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  • hat, exactly, constitutes a valid, original work? What are the implications for how we assess and reward creativity? Can a college or university tap the same sources of innovative talent and energy as Google or Flickr? What are the risks of permitting or opening up to this activity?
    • Barbara Lindsey
       
      Good discussion point
  • Remix is the reworking or adaptation of an existing work. The remix may be subtle, or it may completely redefine how the work comes across. It may add elements from other works, but generally efforts are focused on creating an alternate version of the original. A mashup, on the other hand, involves the combination of two or more works that may be very different from one another. In this article, I will apply these terms both to content remixes and mashups, which originated as a music form but now could describe the mixing of any number of digital media sources, and to data mashups, which combine the data and functionalities of two or more Web applications.
  • Harper's article "The Ecstasy of Influence," the novelist Jonathan Lethem imaginatively reviews the history of appropriation and recasts it as essential to the act of creation.3
  • Lethem's article is a must-read for anyone with an interest in the history of ideas, creativity, and intellectual property. It brilliantly synthesizes multiple disciplines and perspectives into a wonderfully readable and compelling argument. It is also, as the subtitle of his article acknowledges, "a plagiarism." Virtually every passage is a direct lift from another source, as the author explains in his "Key," which gives the source for every line he "stole, warped, and cobbled together." (He also revised "nearly every sentence" at least slightly.) Lethem's ideas noted in the paragraph above were appropriated from Siva Vaidhyanathan, Craig Baldwin, Richard Posner, and George L. Dillon.
  • Reading Walter Benjamin's highly influential 1936 essay "The Work of Art in the Age of Mechanical Reproduction,"4 it's clear that the profound effects of reproductive technology were obvious at that time. As Gould argued in 1964 (influenced by theorists such as Marshall McLuhan5), changes in how art is produced, distributed, and consumed in the electronic age have deep effects on the character of the art itself.
  • Yet the technology developments of the past century have clearly corresponded with a new attitude toward the "aura" associated with a work of invention and with more aggressive attitudes toward appropriation. It's no mere coincidence that the rise of modernist genres using collage techniques and more fragmented structures accompanied the emergence of photography and audio recording.
  • Educational technologists may wonder if "remix" or "content mashup" are just hipper-sounding versions of the learning objects vision that has absorbed so much energy from so many talented people—with mostly disappointing results.
  • The question is, why should a culture of remix take hold when the learning object economy never did?
  • when most learning object repositories were floundering, resource-sharing services such as del.icio.us and Flickr were enjoying phenomenal growth, with their user communities eagerly contributing heaps of useful metadata via simple folksonomy-oriented tagging systems.
  • the standards/practices relationship implicit in the learning objects model has been reversed. With only the noblest of intentions, proponents of learning objects (and I was one of them) went at the problem of promoting reuse by establishing an arduous and complex set of interoperability standards and then working to persuade others to adopt those standards. Educators were asked to take on complex and ill-defined tasks in exchange for an uncertain payoff. Not surprisingly, almost all of them passed.
  • Discoverable Resources
  • Educators might justifiably argue that their materials are more authoritative, reliable, and instructionally sound than those found on the wider Web, but those materials are effectively rendered invisible and inaccessible if they are locked inside course management systems.
  • It's a dirty but open secret that many courses in private environments use copyrighted third-party materials in a way that pushes the limits of fair use—third-party IP is a big reason why many courses cannot easily be made open.
  • The potential payoff for using open and discoverable resources, open and transparent licensing, and open and remixable formats is huge: more reuse means that more dynamic content is being produced more economically, even if the reuse happens only within an organization. And when remixing happens in a social context on the open web, people learn from each other's process.
  • Part of making a resource reusable involves making the right choices for file formats.
  • To facilitate the remixing of materials, educators may want to consider making the source files that were used to create a piece of multimedia available along with the finished result.
  • In addition to choosing the right file format and perhaps offering the original sources, another issue to consider when publishing content online is the critical question: "Is there an RSS feed available?" If so, conversion tools such as Feed2JS (http://www.feed2JS.org) allow for the republication of RSS-ified content in any HTML Web environment, including a course management system, simply by copying and pasting a few lines of JavaScript code. When an original source syndicated with RSS is updated, that update is automatically rendered anywhere it has been republished.
  • Jack Schofield
  • Guardian Unlimited
  • "An API provides an interface and a set of rules that make it much easier to extract data from a website. It's a bit like a record company releasing the vocals, guitars and drums as separate tracks, so you would not have to use digital processing to extract the parts you wanted."1
  • What's new about mashed-up application development? In a sense, the factors that have promoted this approach are the same ones that have changed so much else about Web culture in recent years. Essential hardware and software has gotten more powerful and for the most part cheaper, while access to high-speed connectivity and the enhanced quality of online applications like Google Docs have improved to the point that Tim O'Reilly and others can talk of "the emergent Internet operating system."15 The growth of user-centered technologies such as blogs have fostered a DIY ("do it yourself") culture that increasingly sees online interaction as something that can be personalized and adapted on the individual level. As described earlier, light syndication and service models such as RSS have made it easier and faster than ever to create simple integrations of diverse media types. David Berlind, executive editor of ZDNet, explains: "With mashups, fewer technical skills are needed to become a developer than ever. Not only that, the simplest ones can be done in 10 or 15 minutes. Before, you had to be a pretty decent code jockey with languages like C++ or Visual Basic to turn your creativity into innovation. With mashups, much the same way blogging systems put Web publishing into the hands of millions of ordinary non-technical people, the barrier to developing applications and turning creativity into innovation is so low that there's a vacuum into which an entire new class of developers will be sucked."16
  • The ability to "clone" other users' mashups is especially exciting: a newcomer does not need to spend time learning how to structure the data flows but can simply copy an existing framework that looks useful and then make minor modifications to customize the result.19
    • Barbara Lindsey
       
      This is the idea behind the MIT repository--remixing content to suit local needs.
  • As with content remixing, open access to materials is not just a matter of some charitable impulse to share knowledge with the world; it is a core requirement for participating in some of the most exciting and innovative activity on the Web.
  • "My Maps" functionality
  • For those still wondering what the value proposition is for offering an open API, Google's development process offers a compelling example of the potential rewards.
    • Barbara Lindsey
       
      Wikinomics
  • Elsewhere, it is difficult to point to significant activity suggesting that the mashup ethos is taking hold in academia the way it is on the wider Web.
  • Yet for the most part, the notion of the data mashup and the required openness is not even a consideration in discussions of technology strategy in higher educational institutions. "Data integration" across campus systems is something that is handled by highly skilled professionals at highly skilled prices.
  • Revealing how a more adventurous and inclusive online development strategy might look on campus, Raymond Yee recently posted a comprehensive proposal for his university (UC Berkeley), in which he outlined a "technology platform" not unlike the one employed by Amazon.com (http://aws.amazon.com/)—resources and access that would be invaluable for the institution's programmers as well as for outside interests to build complementary services.
  • All too often, college and university administrators react to this type of innovation with suspicion and outright hostility rather than cooperation.
  • those of us in higher education who observe the successful practices in the wider Web world have an obligation to consider and discuss how we might apply these lessons in our own contexts. We might ask if the content we presently lock down could be made public with a license specifying reasonable terms for reuse. When choosing a content management system, we might consider how well it supports RSS syndication. In an excellent article in the March/April 2007 issue of EDUCAUSE Review, Joanne Berg, Lori Berquam, and Kathy Christoph listed a number of campus activities that could benefit from engaging social networking technologies.26
  • What might happen if we allow our campus innovators to integrate their practices in these areas in the same way that social networking application developers are already integrating theirs? What is the mission-critical data we cannot expose, and what can we expose with minimal risk? And if the notion of making data public seems too radical a step, can APIs be exposed to selected audiences, such as on-campus developers or consortia partners?
Barbara Lindsey

Hackers Are Climbing In Your Windows, So Hide Your Kids, Hide Your Files | TechCrunch - 0 views

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    fall 2011 syllabus
Barbara Lindsey

Find Files at findthatfile.com - 0 views

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    Content found through this search engine isn't necessarily copyright free. 
Barbara Lindsey

http://startalk.wikispaces.com/file/view/Janna_VoiceThread.pdf - 0 views

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    A pdf document that shows how to create and use Voicethread
Barbara Lindsey

Arounder: France: Paris: View Alexandre III bridge - 0 views

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    Paris: View Alexandre III bridge"> Arounder: France: Paris: View Alexandre III bridge #aHeaderMin {border-bottom:1px solid #663399; color:#663399; background-color:#3c3c3c;} #aHeader {border-bottom:1px solid #663399;} #aHeader #aHeaderRight a:hover, #aHeader #aHeaderRight a:focus, #aHeader #aHeaderRight a:active, #aHeader #aHeaderRight a.selected {color:#fff; background-color:#663399;} #aHeader #acVariable li a {color:#fff; border-bottom:1px solid #fff; background:url(http://media.vrway.com/00/arounder/css/663399/tab_fullscreen_no_sel.gif) no-repeat;} #aHeader #acVariable li a:hover, #aHeader #acVariable li a:focus, #aHeader #acVariable li a:active, #aHeader #acVariable li a.selected {background:url(http://media.vrway.com/00/arounder/css/663399/tab_fullscreen.gif) no-repeat; border-bottom:1px solid #663399;} #aHeaderMin a {color:#663399;} #aHeaderMin a:hover, #aHeaderMin a:focus, #aHeaderMin a:active, #aHeaderMin a.selected {color:#fff; background-color:#663399;} #aHeader #cHelp a {border:1px solid #a3a3a3;} #aHeader #cHelp a:hover, #aHeader #cHelp a:focus, #aHeader #cHelp a:active {border:1px solid #663399;} #aText h2 {color:#663399;} #aDescription a:hover {color:#663399;} .sThumb { background: no-repeat center center; width: 100px; height: 80px; } #sSpacer1 { border-bottom:1px solid #fff; }
Barbara Lindsey

Lower Pervian School District vs. Mike and Ikes - Hit & Run : Reason Magazine - 0 views

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    Lawsuit filed against high school that used surveillance software on school-issued laptops to spy on students outside of school.
Barbara Lindsey

http://sigilt.iste.wikispaces.net/file/view/Winter+Newsletter.pdf - 0 views

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    ISTE's Innovative Learning SIG group newsletter. Included article on pre-service teachers work with diversity.
Barbara Lindsey

Offbeat Bride | Copyright, Creative Commons, and your wedding photos - 0 views

  • The purpose of copyright law is to promote the progress of science and art.
  • most of what you find online is under copyright, even if there is no copyright symbol and no attribution and no source listed
  • Copyright comes with a set of exclusive rights.
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  • The right to make copies. The right to distribute copies. The right to make derivative works. The right to perform or display the work.
  • The way the default rules of copyright ownership work, the photographer you hire to shoot your wedding holds the copyrights in your wedding photos.
  • But that's just the default. You can change all that with the contract you sign when you hire your photographer. Most wedding photographers these days do retain the copyrights in the photos they take of your wedding, but they may give you a license to make personal, non-commercial uses of your photos. This is especially common when photographers offer a CD or DVD containing the high-res files of all your pictures. You usually have to pay extra, but a license like this means you can print copies yourself, post your pictures on Facebook, and send them to your friends, without asking for permission and without violating your photographer's copyright. These are all good rights to have, and I highly recommend reading your contract carefully to see if you get them, and if you don't, to ask.
  • Many photographers, artists, musicians, and authors – including the ones who make a living from their art – now use Creative Commons licenses because they recognize that it is good for them. They always get credit as the creator, and it's easier for people to discover and fall in love with their work when fans are free to copy and share it.
  • Her biggest concern was that if the license was attached to high-resolution versions of the photos it would be too easy for people to make infringing uses, especially in print
  • we compromised with an agreement that we would be allowed to attach a Creative Commons Attribution-Noncommercial license only to low-res versions of the files. This is enough to allow for web-based reuses of our photos, but was limited enough that our photographer was comfortable giving it a try. We edited the language in her standard photographer contract to reflect the new license, and that was it.
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    Another excellent post by Molly Klein about copyright
Barbara Lindsey

The Device Versus the Book -- Campus Technology - 0 views

  • reading for learning is not the same activity as reading for pleasure, and so the question must be asked: Do these devices designed for the consumer book market match up against the rigors of academic reading?
  • Each school ran its pilot in courses that used texts without color graphs or complex illustrations, so that the known limitations of the devices’ E Ink grayscale electronic-paper display wouldn’t be a hindrance in the students’ learning.
  • There were qualities of both the Kindle DX and Sony Reader that the students felt showed promise, and that made them enthusiastic for the day when e-readers’ functionality as an academic tool becomes a reality. These features include the easy-to-read E Ink screen; the size, weight, and durability of the devices; and the long battery life. But students encountered limitations in the devices that made them inadequate for reading academic texts.
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  • students need to be able to highlight important passages, make notes in the margins of the text, and quickly skim through passages to refresh and compare information. In all three pilots, the students felt that e-readers were not yet ready to meet these academic needs.
  • the Kindle’s small keyboard makes the annotation process very labor-intensive
  • Because the keyboard is so small, and because there was a significant latency between typing the note and the note appearing on screen, a lot of students found that they were overtyping. Many of the students got fed up with the keyboard, so they would just read on their Kindle and make notes in a separate notebook.” Also, the Kindle allows readers to make annotations only in e-book-format files, meaning that students couldn’t insert notes on any PDF-format files that were on the devices. “I think the first [e-reader] manufacturer that figures out how to make a PDF that you can also annotate is going to snag this market,” Temos predicts.
  • He is hesitant, though, to say that this problem is primarily because of a deficiency in the device, when it could just as easily be that the students need to adapt to using a new technology. “[ASU is] going to look at whether this is something that students get used to in the second semester of the pilot and eventually prefer, or if it remains consistent that they continue to prefer paper,” he says. “I think we don’t know that yet.”
  • Highlighting text with the Kindle was not much easier or more satisfying for Princeton students. Much of the difficulty was due to the inability to highlight in color on the grayscale E Ink screen. “The highlighting on the Kindle isn’t actually highlighting; it just makes an underline,” Temos explains. “The students want something more emphatic than that.” Students also found it awkward to highlight long passages using the trackball. “Highlighting over a page break on the Kindle is a real feat,” Temos laughs. “If you actually extend your highlight from one page to the next you feel a real sense of accomplishment.”
Barbara Lindsey

News: The Web of Babel - Inside Higher Ed - 0 views

  • Some adventurous professors have used Twitter as a teaching tool for at least a few years. At a presentation at Educause in 2009, W. Gardner Campbell, director of the academy of teaching and learning at Baylor University, extolled the virtues of allowing students to pose questions to the professor and each other — an important part of the thinking and learning process — without having to raise their hands to do so immediately and aloud. And in November, a group of professors published a scientific paper suggesting that bringing Twitter into the learning process might boost student engagement and performance.
  • But while Lomicka and her tech-forward peers are not advocating that every college go the way of Chapel Hill, they are finding out that some relatively novel teaching technologies that are used by academics of all stripes, such as Twitter and iTunes U, are particularly useful for teaching languages.
  • At Emory University, language instructional content is far and away the biggest export of its public repository on iTunes U, where visitors from around the world have downloaded more than 10 million files since Emory opened the site in 2007.
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  • Language content makes up about 95 percent of the downloads from the Emory iTunes U site.
  • the most popular content is audio and video files that were originally developed not for a general audience, but by professors as supplements to college-level coursework,
  • Because language demonstrations often require audio and sometimes video components (e.g., tutorials on how to write in a character-based alphabet), and students often like to practice while on the move, iTunes is in many ways an ideal vehicle for language-based instructional content.
  • what we do offer is an online supplement that enhances what happens both in the classroom and in foreign study in the culture — and it is always there as a resource for our students, because it’s online.”
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