Co-authorship in the age of cyberculture: Open Educational Resources at the Open University of the United Kingdom

Locating Open Educational Resources (OER) as a phenomenon of cyberculture, this paper presents a reflection on the possibilities of co-authorship that are entailed in OER initiatives of different natures and settings within a large organisation. A selection of OER-related projects and activities carried out at the Open University of United Kingdom (UKOU) are examined from the perspective of a comparative framework proposed by Okada (2010). The framework identifies key features and differences between ‘Closed’ and ‘Open’ Education, that is, respectively, formal education, which takes place within the constraints of institutional Virtual Learning Environments, and informal education, which is gradually taking place more widely in cyberspace. The paper is introduced with a succinct discussion of the connection between cyberculture and the emergence of OER, followed by a presentation of the comparative framework adopted. The UKOU´s structure and methods are then presented, and various projects are discussed. The article concludes by proposing a brief commentary on the creative potential that is being unleashed at the very boundaries between formal and informal educational spaces that cyberculture is challenging

Discussing international perspectives on Open Learning in Brazil: educational politics and pedagogical principles

This paper aims to present some of the new tendencies in Open Learning in the context of international online higher education. These tendencies work as a basis for a discussion of the role of e-learning in online higher education in Brazil. The use of open source technologies and the constant search for quality and innovative pedagogies in the teaching and learning process constitute a new trend in international distance education. The main concern nowadays seems to be with ‘quality’ and ‘widening participation’, which result in initiatives such as ‘Open Educational Resources’. In Brazil, the creation of the Brazilian Open University (UAB) would appear to be consistent with these tendencies. The challenge now is to be able to set up a system that attends to national needs while being open to international tendencies. This paper aims to explore some of these issues, and also to present the most recent freeware technologies used for the purpose of enhancing open learning initiatives

A literature review of the use of Web 2.0 tools in Higher Education

This review focuses on the use of Web 2.0 tools in Higher Education. It provides a synthesis of the research literature in the field and a series of illustrative examples of how these tools are being used in learning and teaching. It draws out the perceived benefits that these new technologies appear to offer, and highlights some of the challenges and issues surrounding their use. The review forms the basis for a HE Academy funded project, ‘Peals in the Cloud’, which is exploring how Web 2.0 tools can be used to support evidence-based practices in learning and teaching. The project has also produced two in-depth case studies, which are reported elsewhere (Galley et al., 2010, Alevizou et al., 2010). The case studies focus on evaluation of a recently developed site for learning and teaching, Cloudworks, which harnesses Web 2.0 functionality to facilitate the sharing and discussion of educational practice. The case studies aim to explore to what extent the Web 2.0 affordances of the site are successfully promoting the sharing of ideas, as well as scholarly reflections, on learning and teaching

Social networking and open educational resources: updating quality assurance for e-learning excellence

Quality assurance approaches in higher education are well-established, but it is important to develop methods which are applicable to the domain of e-learning. The E-xcellence methodology (EADTU, 2009a) was therefore designed to assess the quality of e-learning in distance learning and blended learning contexts. The methodology is based around a set of benchmarks, supported by a practitioner handbook and a web-based ‘QuickScan’ self-evaluation tool. Experience shows that the E-xcellence methodology is particularly valuable for the process of improvement through collaborative internal review. E-learning has evolved since the E-xcellence methodology was first developed. In particular, there is increasing awareness and use of open education resources (OERs) and social networking. However, these aspects were not explicit in the original E-xcellence resources. The E-xcellence Next project was therefore established to update the resources, incorporating these developments. To begin this process, a consultation was carried out among E-xcellence Next project members, followed by a participatory workshop on the themes of social networking and OERs. The E-xcellence resources were also used in a series of self-evaluation seminars held at European higher education institutions. Experience and feedback from these activities has been used to update the manual, the benchmarks and the QuickScan tool. The result is a set of quality assurance resources which encompass social networking, OERs and other recent developments in e-learning

Exile, return, record : exploring historical narratives and community resistance through participatory filmmaking in 'post-conflict’ Guatemala

Following previous experiences of violence and forced displacement, ‘the returnees’ from the Guatemalan campesino community ‘Copal AA la Esperanza’ are now defending their territory against the construction of a hydroelectric dam. The returnees unexpectedly mobilized me as a Belgian historian to ‘make’ their ‘shared history’ and produce a documentary about their past and present struggle. The aim of this article is to reflect on how and why I developed a participatory, filmmaking-based methodology to tackle this challenge. I focus on filmmaking, participation and knowledge production to demonstrate the epistemological and ethical benefits of a dialogue between disciplines and methodologies as much as between academic and community practices and concepts. As such, I exemplify my visual participatory approach through its engagement with post-colonial histories and the co-creation of shared knowledge at the intersection of community and research interests. Moreover, I demonstrate how filmmaking can be developed as a grounded, visual, and narrative approach connecting media activism with ‘performative ethnography’. Combining insights from participatory action research (PAR) with Johannes Fabian’s notion of ‘performance’, I argue for ‘nonextractivist methodologies’; ‘knowing with’ instead of ‘knowing-about’. From being a side project and a matter of research ethics, participatory filmmaking turned for me into an investigative tool to explore the collective production and mobilization of historical narratives. I argue that participatory research should not be limited to communities participating in research projects; researchers can equally participate in community projects without this obstructing scientific research. In sum, participatory visual methods challenge us to reconsider the role of academics in (post-conflict) settings

Europeana communication bug: which intervention strategy for a better cooperation with creative industry?

Although Europeana as well as many GLAMs are very engaged - beside the main mission, i.e. spreading cultural heritage knowledge- in developing new strategies in order to make digital contents reusable for creative industry, these efforts have been successful just only in sporadic cases. A significant know how deficits in communication often compromises expected outcomes and impact. Indeed, what prevails is an idea of communication like an enhancement “instrument” intended on the one hand in purely economic (development) sense, on the other hand as a way for increasing and spreading knowledge. The main reference model is more or less as follows: digital objects are to be captured and/or transformed by digital technologies into sellable goods to put into circulation. Nevertheless, this approach risks neglecting the real nature of communication, and more in detail the one of digital heritage where it is strategic not so much producing objects and goods as taking part into sharing environments creation (media) by engaged communities, small or large they may be. The environments act as meeting and interchange point, and consequently as driving force of enhancing. Only in a complex context of network interaction on line accessible digital heritage contents become a strategic resource for creating environments in which their re/mediation can occur – provided that credible strategies exist, shared by stakeholders and users. This paper particularly describes a case study including proposals for an effective connection among Europeana, GLAMs and Creative Industry in the framework of Food and Drink digital heritage enhancement and promotion. Experimental experiences as the one described in this paper anyway confirm the relevance of up-to-date policies based on an adequate communication concept, on solid partnerships with enterprise and association networks, on collaborative on line environments, on effective availability at least for most of contents by increasing free licensing, and finally on grassroots content implementation involving prosumers audience, even if filtered by GLAMs

Reservoir hill and audiences for online interactive drama

This paper analyses the interactive experiences constructed for users of the New Zealand online interactive drama Reservoir Hill (2009, 2010), focusing both on the nature and levels of engagement which the series provided to users and the difficulties of audience research into this kind of media content. The series itself provided tightly prescribed forms of interactivity across multiple platforms, allowing forms of engagement that were greatly appreciated by its audience overall but actively explored only by a small proportion of users. The responses from members of the Reservoir Hill audience suggests that online users themselves are still learning the nature of, and constraints on, their engagements with various forms of online interactive media. This paper also engages with issue of how interactivity itself is defined, the difficulties of both connecting with audience members and securing timely access to online data, and the challenges of undertaking collaborative research with media producers in order to gain access to user data