The problem, of course, is that those students represent the precise group MOOCs are meant to serve. “MOOCs were supposed to be the device that would bring higher education to the masses,” Jonathan Rees noted. “However, the masses at San Jose State don’t appear to be ready for the commodified, impersonal higher education that MOOCs offer.” Thrun’s cavalier disregard for the SJSU students reveals his true vision of the target audience for MOOCs: students from the posh suburbs, with 10 tablets apiece and no challenges whatsoever—that is, the exact people who already have access to expensive higher education.
It is more than galling that Thrun blames students for the failure of a medium that was invented to serve them, instead of blaming the medium that, in the storied history of the “correspondence” course (“TV/VCR repair”!), has never worked. For him, MOOCs don’t fail to educate the less privileged because the massive online model is itself a poor tool. No, apparently students fail MOOCs because those students have the gall to be poor, so let’s give up on them and move on to the corporate world, where we don’t have to be accountable to the hoi polloi anymore, or even have to look at them, because gross.
Doris Reeves-Lipscomb on 26 Jul 12Article from Metropolis Magazine, October 2008 on Asset-based Design See excerpt: "In contrast, an asset-based approach works with communities to identify their skills and capacities, and invites them to play an active role in the renewal of their environment. "This approach says that all communities have assets. The needs-based provision of services really only addresses the symptoms of the issues without doing any deeper social analysis to uncover the root problems. If joblessness is linked to a lack of educational activities, well, then that is the root issue. We're not saying designers can come in and fix all of those problems; we are saying that designers themselves have a particular asset to contribute, which is their professional expertise at creating beautiful spaces and using design to involve the community in discovering and expressing who they are." How to practice design that builds on a community's strengths and priorities: 1. Identify your community partner. Target a specific organization to partner with, whether it's a design center, a development corporation, a block association, or a nonprofit. By honoring the community building that has already taken place, you will also attract less suspicion as a new face. Begin a dialogue to find a design project. 2. Immerse yourself in the life of the community. Spend time or consider living there. Find out where people like to eat and hang out, what kind of meetings they go to, and what places have a lot of energy-perhaps an arts or a recreation center. Find out what the kids are excited about. Connect with community leaders. Go door-to-door if necessary. 3. Conduct a social analysis. Who has power? What are the challenges facing the community? What are its demographics? What are its core values? Who makes the decisions, and who benefits from or bears the costs of them? It helps to understand how the neighborhood came into being, its history, and the larger town or region in which it is situated. Map ex
