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For the non-fiction author therein lie possibilities to create the proverbial last word on a subject, a one-stop shop for all the information surrounding a particular subject matter. Imagine a biography of Wiley Post, the one-eyed pilot from the 1930s who was the first to fly around the world. It would not only offer the entire text of a book but newsreel footage from his era, coverage of his most famous flights, radio interviews, schematics of his plane, interactive maps of his journeys, interviews with aviation historians and pilots of today, a virtual tour of his cockpit and description of every gauge and dial, short profiles of other flyers of his time, photos, hyperlinked endnotes and index, links to other resources on the subject. Social media could be woven into the fabric of the experience--discussion threads and wikis where readers share information, photos, video, and add their own content to Post's story, which would tie them more closely to the book. There's also the potential for additional revenue streams: You could buy MP3s of popular songs from the 1930s, clothes that were the hot thing back then, model airplanes, other printed books, DVDs, journals, and memorabilia. A visionary author could push the boundaries and re-imagine these books in wholly new ways. A novelist could create whole new realities, a pastiche of video and audio and words and images that could rain down on the user, offering metaphors for artistic expressions. Or they could warp into videogame-like worlds where readers become characters and through the expression of their own free will alter the story to fit. They could come with music soundtracks or be directed or produced by renowned documentarians. They could be collaborations or one-woman projects.

Serious literature, and even perhaps much fiction will however, will be published in old book form…or maybe in the current “text on screen” form. The point of reading fiction IS to imagine your own characters and use your imagination…that’s why you read rather then watch a video about it!

Traditional books (especially literature) will be relegated to smaller, specialty houses and self-publishing, in its infancy, will boom!

The question is, how will the media companies (not just book publishers) respond? We're already seeing the effect on newspapers, as their ad revenue (and business model) collapses. Perhaps history can offer another analogy: When home refrigeration became affordable, it posed an existential threat to the large ice-delivery companies. Some of these firms manufactured ice by the ton in order to warehouse and deliver it at retail. They saw the threat, but not the opportunity - didn't realize the value of their core technology, the ice-making equipment itself. They saw only the falloff in their retail delivery logistics model. Had they licensed their chillers, they could have made a fortune. Likewise, buggy-whip-makers could have retooled as purveyors of leather goods for automobiles.

A very different sort of initiative that is using technology to leverage social learning is Digital StudyHall (DSH), which is designed to improve education for students in schools in rural areas and urban slums in India.

many students in the United States and in many other parts of the world are already involved with online social networks that include their friends. John King, the associate provost of the University of Michigan, has attempted to bring attention to this phenomenon by asking how many students are being taught each year by his institution. Although about 40,000 students are enrolled in classes on the university’s campus in Ann Arbor, King believes that the actual number of students being reached by the school today is closer to 250,000.13

Through these continuing connections, the University of Michigan students can extend the discussions, debates, bull sessions, and study groups that naturally arise on campus to include their broader networks. Even though these extended connections were not developed to serve educational purposes, they amplify the impact that the university is having while also benefiting students on campus.14 If King is right, it makes sense for colleges and universities to consider how they can leverage these new connections through the variety of social software platforms that are being established for other reasons.

Hands-On Universe (HOU) is also designed to promote collaborative learning in astronomy (http://www.handsonuniverse.org). Based at the Lawrence Hall of Science, University of California, Berkeley, HOU invites students to request observations from professional observatories and provides them with image-processing software to visualize and analyze their data, encouraging interaction between the students and scientists. According to Kyle Cudworth, the science director at Yerkes Observatory, which is part of the HOU network: “This is not education in which people come in and lecture in a classroom. We’re helping students work with real data.”16

the emphasis is on building a community of students and scholars as much as on providing access to educational content.

The power of peer review had been brought to bear on the assignments

The site serves as an apprenticeship platform for students by allowing them to observe how scholars in the field argue with each other and also to publish their own contributions, which can be relatively small—an example of the “legitimate peripheral participation” that is characteristic of open source communities. This allows students to “learn to be,” in this instance by participating in the kind of rigorous argumentation that is generated around a particular form of deep scholarship. A community like this, in which students can acculturate into a particular scholarly practice, can be seen as a virtual “spike”: a highly specialized site that can serve as a global resource for its field.

An example of such a practicum is the online Teaching and Learning Commons (http://commons.carnegiefoundation.org/) launched earlier this year by the Carnegie Foundation for the Advancement of Teaching.

The Commons is an open forum where instructors at all levels (and from around the world) can post their own examples and can participate in an ongoing conversation about effective teaching practices, as a means of supporting a process of “creating/using/re-mixing (or creating/sharing/using).”20

Light discovered that one of the strongest determinants of students’ success in higher education—more important than the details of their instructors’ teaching styles—was their ability to form or participate in small study groups. Students who studied in groups, even only once a week, were more engaged in their studies, were better prepared for class, and learned significantly more than students who worked on their own.6

We need to construct shared, distributed, reflective practicums in which experiences are collected, vetted, clustered, commented on, and tried out in new contexts.

We now need a new approach to learning—one characterized by a demand-pull rather than the traditional supply-push mode of building up an inventory of knowledge in students’ heads.

"Whether it's through piracy or distribution your film is out there on the Internet, so we decided to harness this." And he has managed to make quite a bit of money out of it.

The Internet has become a free distribution machine, so what can you sell that makes money? Things you can't copy. They need to be things that are based around your audience. Directors cuts, merchandise, 35mm prints of your film."

Over the past near-decade CMSes have not only grown in scale, but feature development. Consider the variety: gradebooks, registrar system integration, e-Reserve integration, discussion tools, drop boxes, news alerts. Consider too the growth of parallel Web 2.0 tools: wikis, blogs, social bookmarking, podcasting.

Now to compare CMSes and Web 2.0: imagine an alternate history, a counterfactual, whereby the world outside academia had Blackboard instead of Web 2.0: § White House health care reform debates: each citizen must log into a town-hall-associated “class,” registering by zip code and social security number. Information is exchanged between “town classes” via email. Relevant documents can be found, often in .doc format, by logging into one’s town class.

§ Iranian activists collaborate via classes, frantically switching logins and handles to keep government authorities from registering and snooping. § “Citizen media” barely exist. Instead we rely on established authorities (CNN, BBC, Xinua, etc) to sift, select, and, eventually, republish rare selections of user-generated media. § Wikipedia, Flickr and Picasa, the blogosphere, Facebook and MySpace, the world of podcasting simply don’t exist. Instead, we rely on static, non-communicable Web documents, and consult the occasional e-Reserve, sometimes on a purchased DVD. § The Recording Industry Association of America (RIAA) maintains fan clubs, small, temporary groups where fans of certain bands and artists can sign in and listen to time-limited, DRM’d music. “It’s like tape trading, but legal!” says one promotional campaign.

Once we had Bertold Brecht writing plays for radio, neighborhood-based radio shows, and the stupendous Orson Wells; then we moved on, through payola, and onto Kasey Kasem and Clear Channel.

For now, the CMS landsape is a multi-institutional dark Web, an invisible, unsearchable, un-mash-up-able archipelago of hidden learning content.

Can the practice of using a CMS prepare either teacher or student to think critically about this new shape for information literacy? Moreover, can we use the traditional CMS to share thoughts and practices about this topic?

Now your iPhone can track your position on that custom map image as easily as it can on Google maps.”

What world is better placed to connect academia productively with such projects, the open social Web or the CMS?

CMS. What is it best used for? We have said little about its integration with campus information systems, but these are critical for class (not learning) management, from attendance to grading. Web 2.0 has yet to replace this function. So imagine the CMS function of every class much like class email, a necessary feature, but not by any means the broadest technological element. Similarly the e-reserves function is of immense practical value. There may be no better way to share copyrighted academic materials with a class, at this point. These logistical functions could well play on.

It makes for a separation from the social media world, a paused space, perhaps one fertile for reflection. If that works for some situations, then it works, and should be selected… consciously, not as a default or unreflective option, but as the result of a pedagogical decision process.