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An Introduction to E-Learning

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Edited by Jonathan Vernon, Tuesday, 24 Mar 2020, 10:03

I started my first online degree here. It was one of the first of its kind, the Masters in Distance Learning from the Open University in 2001. A false start, with crude online resources, and my own career in tatters. I picked it up again in 2010. I completed my MA in Open and Distance Education in 2013. Started at that time this blog is fast approaching 5 million views.

I have since completed a further MA (albeit entirely face to face lecture and library based) and between FutureLearn, Coursera and OpenLearn a further 27 modules on one subject or another. I’m a mentor on Coursera’s ‘Learning How to Learn’. I recommend those that have tutor, mentor and student interaction. The human element, at least for me, is a vital component for completion. Not all worked, yet again I quit a course on French (a BA with the Open University). Speaking of which I totally recommend Lingvist as the go-to language learning App (I have tried and reviewed all of them). Also, perfect in a world of social distancing, Tandem, which fixes you up with someone like a dating App. (Not that I have any need for or experience of one of those).

Where student interaction is slight we’ve always started our online groups on LinkedIn. The group I set up 10 years ago for swimming teachers and coaches has 1,600 members and is still active. Most endure the length of the module.

Take a look at these online courses, join up with a buddy (you are more likely to complete). Most are free, though the best, and the business orientated ones may cost between £35 and £300. A degree module is now something like £2,000. 

30 hours a week I am supporting colleagues and students at Greater Brighton MET. Google Suite for Education is our go to platform. Google Meets are frequent with Google Chat live while I’m at my desk. Last night friends did a 8 or 9 person quiz on Zoom. I promise to wake up my contributions to ‘scenario-based learning’. 

I’m keen to get an art class going. I took a set of 360 degree photos in the lovely barn studio at Charleston a few months ago - with the model’s permission to post online. It was a life class so the nudity might result in the thing being barred. I may give this a go ... though any drawing from a flat surface my late mother, an art teacher, would have been against. 

Finally, on reflection, exactly 45 years ago I broke my leg badly skiing. A 13 year old between schools I ended up at home for the entire summer term to prevent me from putting weight on my leg. I was sent a box of books with instructions to read them. Without any other efforts at support at all I didn’t do a thing. Instead I got out my Dad’s Readers Digest book on Gardening and spent the next few weeks pulling myself around the garden on a tea tray. By the end of it I was air-propagating specimen rhododendrons.

Take care. Stay in touch 🙂 

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Reflections on a decade of e-learning 2008 - 2018

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Expectations in the first decade of the 21st century have barely been realised in the second, despite educational tools and platforms vying for space. Should we be surprised by the consolidation by the likes of Google Classroom, the rise of the educator as celebrity, and the slow transcendence from questionable digital dross to highly effective and smart learning Apps. How we learn must be better understood and applied in e-learning design. Speed, immediacy, volume and complementarity which make up much of what is digital needs to accommodate a human learning process that is slow, cumulative, experimental, experiential and organic. The greatest challenge is not a digital one, but a human one. New roles for teachers and new roles entirely and how these morph and coalesce into a new more collaborative working environment is the challenge. Just as disruptive technologies in retail and music put the client experience first, so too must the student/client experience be put first and systems created and adjusted around their needs, rather than both students and teachers having to accommodate themselves to the systems they are told to adopt.
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Positivity and the future of The OU

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Edited by Jonathan Vernon, Friday, 23 Mar 2018, 09:46

This is both a reminder to me, and a suggestion to others. I find that far more is achieved by being positive and 'can do' without being overly enthusiastic to the point of being unreasonable. I am prone to say 'yes' to any request I get from people to do a thing. I was brought up where all request were met with a firm 'no' before I had even finished my sentence ... It's taken a few decades to get over that one.

Meanwhile, as I emerge from a temporary 'blank' where I went off radar with viral bronchitis that turned into bacterial bronchitis I am starting to feel refreshed and even re-invigorated.

The world of e-Learning is my future and at last I have a stake in it as a 'Learning Technologist'.

Many years ago I opted to get into TV from the bottom, not as a trainee producer. I got to make coffee, type up scripts, prepare budgets, organise presenters and actors ... and in time to liase with agents, to edit, to write scripts and direct.

I would have loved an apprenticeship, even an old fashioned 'Technical College' to my academic training at Oxford, even, to some degree to the mixed academic/hands on experience of the Open University MA in Open and Distance Education. 'Getting Your Hands' dirty as soon as possible matters. 

Think of working online as more like learning to cook or garden. You will never learn to garden or cook simply by reading books, attending lectures and seminars, researching and writing essays: you must do.

I would also hope and encourage people who study part-time to be 'in the business' they are studying - I was too tangential to it and so lacked the insight of a practising teacher (in primary, tertiary, or secondary).

Meanwhile, good luck Open University in a world where every university is rapidly offering distance learning online ala OU.

As I expressed here six years ago, one day every university will be like the OU, but will the OU ever be like other universities and have 10,000 campus based undergraduates and post-graduates on site? 

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Study Tips for studying online

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  1. Read the syllabus.
  2. Plan weekly study times.
  3. Log on to the class at least 3 times a week.
  4. Ask questions.
  5. Make connections with your fellow students.

Do you agree? How do you plan your week? How often are you online? Have you made friends with fellow students?

I picked up these tips from the emoderation training course I am doing with Coursera through the University of Leiden - the second such MOOC I have done, the last one being with Coursera itself when I became a mentor 18 months ago (on a photography course of all things).  I have degrees in Geography and Open & Distance Education. 

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Learning with the OU compared to other MA courses

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Had I known and experienced what I have now learnt and put up with as an MA postgraduate student first with one university, and then two years later having transferred, with another, then I would never, ever have considered alternatives to the OU.

The online support, even, or especially where it has been heralded as 'blended learning' has been atrocious, laughable and quite frankly scandalous both for the platform itself and the ignorance the academics who were meant to support it - they were clueless, blundered along, contributed nothing, got in the way and simply refused to learn what is best practise in a student forum.

Added to which, my subject, with slightly different titles depending on the institution, though the First World War, should have been, I now see, studied in the much broader context in which the OU treats the subject.

I don't expect to be studying an MA in History with the OU in a year's time - to add to what would be my fourth MA. The time is long overdue either to find the strength and sense of purpose to undertake a PhD - or to fret about other things in life.

Politics.

Never much bothered me before, but the last year has allowed me to understand exactly where I stand - bang in the middle.

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How we learn online keeps me up at night!

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Edited by Jonathan Vernon, Sunday, 8 May 2016, 06:39

Ideas that are encouraged to fester mature at the most inconvenient of times

Often I find that I am up in early and keen to put my thinking into practice

Currently I am trying to develop a simple notation to show, share, explain and develop online courses. During the MAODE I completed in 2013 we often used flowcharts, one with an OU software package - these could become a bit tricksy. My answer was to set up plans of MDF shelving in the garden and get out a chess set to try and show the relationships between the required components.

Common thinking is that there are three parts to creating online learning: technical, human support and, of course, us students. Technical means the platform, its ease of access and intuitive use; human support means, in the case of The OU, the course chair, associate lecturer and us student (those who are familiar with the setup and the subject matter are encouraged to, and enable to help newcomers to the ways things are done, and to the subject when you get stuck).

 Professor Gilly Salmon presenting a 'how to' video on YouTube for Swinburne University on the 'Five Stage Model' of e-learning

Prof Gilly Salmon talks us through 'the building blocks' of an online course 

Of note is a short, charming and engaging presentation made by former OU Business School Senior Lecturer, and now Prof Gilly Salmon at Swinburne University in New South Wales. Here, like a Blue Peter presenter, she uses a set of kid's coloured building bricks to talk us through the components required to make an online course (OU style) that works.

How Gilly Salmon uses green, yellow, blue and red building blocks to show how to plan an online course.

Green = Technical

Yellow = The students or 'learners'

Blue = Human support (i.e. in OU Land the 'associate lecturer')

Red = Assessment

As I am trying to develop a shorthand, language or 'notation' to be able to compare and create online course, I invested in my own set of building bricks. Once again I set up a length of MDF in the garden to play around with ways to communicate the nature and order in which these components appear.

The results have been enlightening.

It is extraordinary what happens when you start to get stuff out of your head, and especially valuable not to be confined by the parameters of a piece of software: it is so easy, and so necessary, when thinking things through to be able to play around with the pieces.

Gilly Salmon's 'Five Stage Model' revisited 

A colour photograph of a choice of coloured building bricks used to help explain Gilly Salmon's FIve Stage Model for e-learning prepared by Jonathan Vernon MAODE

Gilly Salmon's 'Five Stage Model' for e-learning using the bricks she used in her seminal video

For simplicity's sake, let's say that this 'Five Stage Model' is for a five week module from the OU.

The bottom row of green bricks represents the Learning Management System (LMS) on which the learning appears. The technical side of things includes accessibility, web usability, reliability and good 'design architecture' i.e. it works well, is clear, intuitive, reliable and follows the most common user behaviours for anyone online in 2016.

The middle row of yellow bricks (and one red one) represents learner activities, from a gentle introduction to the platform to engaging in activities, which typically includes nothing more complex that watching a video, reading text and doing research or doing a multiple choice quiz. The red brick represents formal assessment: at The OU, this would be a Tutor Marked Assignment (TMA) or End of Module Assignment (EMA).

The top row of blue bricks represents the human interface between the students and the education institution, in this case The OU. Here, typically, we are talking about live and as live contact via various platforms, though it can include phonecalls, 'online hangouts' and even a residential component to the course. At The OU there is an assigned Tutor or Associate Lecture who 'handles' a group of 8-12 students. It is this practice that is impossible to scale when it comes to Massive Open Online Courses (MOOCs). You cannot employ 2,000 tutors to manage 16,000 to 24,000 students. Some MOOCs of many more participants than this!

It is this component too that is increasingly blended into, or comes out of the technical side of things, or from the students themselves. Firstly, increasingly detailed and easy to use Frequently Asked Questions (FAQs) answer typical enquiries that students have, increasingly the ease of use of a platform is such that little to no support from the 'team' or 'Technical Help Desk' is required. At the same time, students are formally enrolled to conduct 'peer review' and when several do this for each submitted assignment a grade is come to in this way. The degree of student interaction, and the benefits of collaborative knowledge construction through this, is far harder to get going and sustain without the proactive role of the tutor or a moderator. When 'classes' are smaller, MA and PhD students are sometimes given a role to act as a catalyst for engagement and to answer enquiries and deal with some problems.

My own take on the 'lay-out' of a 'typical' MOOC is pedagogically different.

I believe that 'assessment', of the micro-quiz and multiple choice variety, is a crucial component of e-learning. This is engagement that obliges participants to think, even to struggle and repeat parts of the content, until the knowledge that matters begins to stick. Gilly Salmon's model is one for 'distance learning' while today, especially the MOOCs coming from Coursera, test you from the start. This might be as simple as interrupting a six minute video piece with a two question 'quiz'. I liken this to a teacher in class pausing, putting a question then taking an answer from one of the raised hands, or picking someone out. It makes you aware that you need to listen. You want to get these questions right even if they don't count towards anything. It is a form of light gamification, while also preparing you for an 8 or 10 or more part set of questions at the end of a component of the learning where the answers need to be right, and are based on these earlier interjections. It matters that these are a genuine challenge, that the pass mark is 80%. An easy ride isn't one that leaves you with much recollection of what you have been studying. A tough ride, as I find, and applaud, however frustrating, requires you to do a the week (typically a couple of hours) over, and sometimes over again ... until you can pass. 

 A colour photograph of a model flowchart of a Massive Open Online Course using a set of coloured building bricks

Jonathan Vernon's take on phases of the ideal 'Massive Open Online Course' where constant assessment is key

Here, drawing on the wide variety of online courses I have done: creative writing, photography, web science, language learning, history, psychology, medicine and the arts, climate change and more, I have tried to envisage an ideal format. Of course, subject matter, subject level and other criteria would immediately causes adjustments to this.

My five phases are:

Technically the platform needs to be solid. This technical side now encroaches on student support, not just from FAQs, but other ways the content and technology can step in to do what a person would have done in the past (and still does in blended courses). There might be video, there might even be some kind of AI to nurture some of the many thousands of students taking a MOOC. There is some kind of testing from the start. This might be nothing more than a check that students have understood some components of the introduction, but it gives them a taste of things to come; they will be doing these 'quizzes' regularly. If interaction between students can be encouraged then here, as early as possible, they need to be online in a 'social' like environment.

The second phase gentle eases students into learning proper. The technology is a solid 'bridge' into the content. Support is done through the platform for the most part rather than needing to call on a person. With many thousands on a course in many times zones around the globe how can a call centre of technical people be expected to be available?

The second phase repeats the second with more learning: the yellow brick. And a touch more testing.

With phase three we are up and running: support for activities, which can be as inventive as the course creators want and the technology and budget permits. Content is delivered in a variety of ways and testing continues in a style and manner that by now, if not a little later, will be formal, requiring an 80% pass rate.

Phase five, which segues into a phase six of sorts, is crunch time: formal assessment with a tough, longer quiz that has built on previous ones and a peer reviewed written assignment too. These need to be constructed with extraordinary skill and care given that students will be marking each other's work, and where many, if not most, will not have English as their first language. As well as testing there should be a chance here to gather one's thoughts, to reflect and even go over some of the learning in the course.This might also be the time for those who have become friends during the course to pick up the conversation on Facebook or in a LinkedIn group. It may also be the moment when you buy 'the book' on which the course was based, or sign up for the next module in the series. 

In future posts I will use this approach to 'strip down' and re-assemble a number of MOOCs. For example, 'Learning How to Learn' from Coursera written and presented by Barb Oakley. I should also look on MOOCs I have done on Search Engine Optimisation (SEO), on Photography and a variety of other subjects. 

 

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Reflecting on the 21st century museum and what this tells us about web design and e-learning

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Edited by Jonathan Vernon, Thursday, 11 Jun 2015, 05:41

Museum of Liverpool

I've studied mobile learning and the web for a decade so learning about the way the new Museum of Liverpool was conceived is music to my ears. It recognises how contemporary forces such as the Web have to be part of the dynamic that influences the design of a museum.

As I thought, coming to the FutureLearn online course on 'Behind the Scenes at the 21st Century Museum,' thinking about the modern museum will inform my views on what is required in the design of an effective learning website. It makes me wonder if something like Wikipedia, for example, is too fixed in its presentation: it is too book-like, catalogued and even linear.

Like a modern museum information needs to be freed and offered in more of a carousel or kaleidoscope. In other words reflecting or mirroring the way the imagination functions in the human brain.

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When is an App better than a book?

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Edited by Jonathan Vernon, Tuesday, 19 May 2015, 09:16

Dan Snow. "Clearly an App is better than a book for history."

This is a fascinating insight into the way we learn and educate is changing with students exploring, creating and sharing from an App 'smôrgasbord' of rich, interactive content. 

I picked up this thread in the WW1 Buffs Facebook pages

This conversation will keep me busy for several months. The debate on the guardian site is heated, personal and too often Luddite in tone. Why try to say that a book is better than an eBook is better than an App that is 'book-like?' I'll be pitching in as I believe what he argues is right and applies immediately to Geography too. I've studied online learning, history and geography - all to Masters level. I'm not an historian, geographer or an educator: I'm simply deeply curious and fascinated by the way we learn.

Key to Apps is immediacy, relevancy and motivation.

Put content into a student's hands in a way they appreciate: at their fingertips, multi-sensory and connected. An App can take all that is a book, and add several books and angles; all that is TV or Radio and have the person sit up, create content of their own, form views, share opinions and therefore learn, develop and remember.

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Meaning making through metaphor

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Metaphors teach us to think and well chosen can, with some caveats, initiate and stimulate meaning. The educator, Gráinne Conole, Professor of Learning Innovation at the University of Leicester often talks of 'metaphor for meaning making' in our efforts to unravel and explain the complex. However, metaphors have an inbuilt bias: their creator. It is helpful to talk of a 'tree of life' when it isn't? Is it OK to teach it to Junior School Kids in the knowledge that they will be given a more complex visualisation, explanation and metaphor as graduate students? Should we talk of a 'War of Drugs' as if beating a disease is a conflict, when actually it is collaboration and aspiration that leads to communities accepting vaccines ...

What do the educators use and what do we participants remember from the courses we do: flat vocabulary, more complex vocabulary, classification schemas or models or metaphors? I hazard a guess that we remember indiscriminate moments of insight from a comment here, a visualisation, a comment, a shared point of view ...

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Everything I read on history I do with scepticism.

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Edited by Jonathan Vernon, Wednesday, 6 May 2015, 08:45

I then read around the subject and often go back to the sources the author used and eventually form my own opinion. These days I will share it online and have it shot down or applauded - or both. In due course I read more and adjust my original perspective which is fluid. The origins of the First World War, Haig and Passchendaele are points of interest - also all factual and fictional interpretations on TV ... and RFC/RAF flight training (because that was part of my grandfather's story).

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23 ways to a FutureLearn fix

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Edited by Jonathan Vernon, Wednesday, 6 May 2015, 08:56

The courses I've done with FutureLearn over the last 18 months.

  1. World War 1: A history in 100 Stories: Monash University
  2. Medicine and the Arts: The University of Cape Town 
  3. The Mind is Flat: University of Warwick 
  4. Understanding Drugs and Addiction. King’s College, London 
  5. World War 1: Changing Faces of Heroism. University of Leeds 
  6. Explore Filmmaking: National Film and Television School 
  7. How to Read a Mind: The University of Nottingham
  8. Start Writing Fiction: Fall 2014. The Open University
  9. Word War 1: Trauma and Memory: The Open University 
  10. World War 1: Aviation Comes of Age: University of Birmingham 
  11. World War 1: Paris 1919 - A New World: University of Glasgow 
  12. How to Succeed at: Writing Applications: The University of Sheffield 
  13. Introduction to Forensic Science: University of Strathclyde, Glasgow 
  14. Shakespeare’s Hamlet: University of Birmingham 
  15. Climate Change: Challenges and Solution. University of Exeter
  16. Managing my Money: The Open University
  17. Community Journalism: Cardiff University
  18. Developing Your Research Project: University of Southampton 

Those I'm on or have pending

  1. World War 1: A 100 Stories: Monash University
  2. Start Writing Fiction: Spring 2015: The Open University
  3. Monitoring Climate From Space: European Space Agency
  4. Behind the Scenes at the 21st Century Museum: University of Leicester
  5. Hans Christian Andersen Fairy Tales:  The Hans Christian Andersen Centre
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Who are we?

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Edited by Jonathan Vernon, Monday, 13 Apr 2015, 14:53
From E-Learning VI

Fig.1. © University of Cape Town CC-BY-NC-ND

It has been a lifelong, and rather futile quest of mine expressed in writing and art, diaries, blogs and stories and fed by academic study and non-academic spiritual and cranky pursuits to understand who I am - not what I am. There is in consciousness something rather odd going on that no amount of research into my ancestry, or to living relatives, no amount of writing or painting or visualising of ideas can explain. Is it not a trait of being a teenager to feel alien to the world? Although in my fifties I don't think the euphoria of being a teen is a phase I've yet to pass through smile Fascinating. I could study neuroscience or get drunk and paint a mural on the side of the house like Jackson Pollock, but I don't think it would get me any closer to finding an answer ... even if I had fun doing so. To sum it up for all of us, to excuse and explain all behaviour from Gandhi to Hitler, from Hockney to Terry Gilliam, Richard Dawkins to Robert Winston, I simply think that each of us is unique - yet ironically society and others repeatedly fight to contain us. 

I've been prompted to express this by a question posed to participants on the course 'Medicine and the Arts' from the University of Cape Town on FutureLearn. 

An utterly absorbing, heartfelt conversation so sympathetically and convincingly shared. Worth of many return visits and further deep study. I'm driven by a limiting interest in everything. My curiosity knows no bounds - which is limiting, as it might be enlightening. It is easy to visualise the dog chasing its tail, though in my mind, excusing the vanity and narcism of it I see myself more as that omnipresent foetal child from the end of Stanley Kubrick's 2001: A Space Odyssey. 

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1 million views in an OU Student Blog

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Edited by Jonathan Vernon, Friday, 3 Apr 2015, 12:45

Fig.1. What do a million people look like?

I learnt when the figure was around 100,000 that these figures should be dismissed as 'pingbacks' - these automatic links to sites that link to my blog and vice versa. It's reciprocal, but it is not the same as a person reading what I have written.

It's trapped me though. At various moments over the last five years at 100, 1,000, 10,000, 500,000 views I have looked to the next figure and kept on posting content. The reality is that 1,000 'views' a day has been the norm for the last year whether or not I post anything. These 'pingbacks' are historic then: my linking to other sites, and then linking back to me. And what percentage of the views are me coming back, even linking to my external website Mind Bursts?

And if this is a record of my five years with the Open University where has it got me?

An MA in Open and Distance Education, halfway towards either an M. Ed or an Open Degree, a third of a way towards an MA in History (from another institution, but armed with 60 credits I can bring this to the OU). I worked for the Open University for a year, and I got so close to joining FutureLearn that I checked the cost of a season ticket into London. I've worked in commercial e-learning while remain attracted mostly to e-learning in higher education. The problem here is that all the roles are very junior first jobs, often technical rather than production or strategic. I can talk about the current state of e-learning for hours if asked. 

Academics are odd folk: buried in their expertise for decades they believe they should transfer their expertise and retain their status on other platforms and in other situations. It's like an author wanting to direct the movie of their best selling book; few can pull it off. Or a consultant surgeon feeling they should chair management meetings.

Those academics who take on the e-learning mantle are institutionalised academics who know their subject, and how to give a lecture series and run a seminar; does this qualify them to understand the potential of learning online with a mix of media and approaches? Whilst Clint Eastwood made the transition from actor to director, not all academics should or can make the transition to producer and writing e-learning: contributors as presents or interviewees yes ... play to their strengths, in other words, rather than revealing their weaknesses.

There are plenty of examples of academics, never at the OU, blundering into the online learning market believing that their academic reputation is enough to carry a course in a series of head and shoulders shots of them talking to camera ad nauseam.

Things are changing, and the OU, OU students and OU staff are leading the way.

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8 key ways to compare MOOCs (online courses)

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Edited by Jonathan Vernon, Tuesday, 7 Apr 2015, 10:41

Fig.1 Mosaic by featured in the University of Cape Town FutureLearn course 'Medicine and the Arts'

Don't call MOOCs MOOCs, they are 'courses.'

Don't even call them online courses. I suppose therefore, don't call it e-learning either or even online learning ... it is simply 'learning'.  I am on my eighth or ninth course with FutureLearn. I may have three or four open at any one time and complete two of these at least. I love 'Medicine and the Arts' from the University of Cape Town while I am both maddened and intrigued by 'The Mind if Flat' from Nick Chater. I'm certain that online courses longer than a couple of weeks should not be treated like books or TV programmes. What works best, as the University of Cape Town shows, is to get the entire team involved. They have a lead host and presenter who each week introduces several colleagues, something like four to six each week. It is stimulating and necessary to hear from so many different voices. 

1

The Platform Provider

Brand and technical aspects

Think of this as the channel. It has both technical and brand qualities. Is it smart? Is it current? Does it all work faultlessly? Is it intuitive? Is it simple? I've done many FutureLearn courses but struggle every time with Coursera and EdX.

2

Funding/Cost or Cost Benefit

You can’t make a movie in $125,000 dollars. If a 30 point 16 week distance learning course from the OU costs £1.5m to produce should a 3 week MOOC cost up to £300k? It's a poor comparison is the cash cost may be a fraction of this: a university team's job is to plan a programme of teaching anyhow. What matters is how a budget is spent. The learning designer for an online course is like the scriptwriter for a movie: they provide the blueprint. Is the investment worth it?

3

The Subject matter

Are you true to your subject? Don’t try to be something you are not. Is it ‘made’ for an online course, rather than shoe-horned from a regular, traditional ‘classroom’ lesson plan? Would it be better served on a different platform in a different way? Can you teach sports coaches or movie directors online? Or rather, what can you, and what can you not teach them? Are you fully exploiting the affordances of the platform and easily linked to alternatives on the Internet?

4

Audience

Who do you attract and is this the same as who you get? Who do you attract by level of education, age, gender, culture and location.  Are you getting the audience you want as participants? The contribution participants make is crucial. Are there enough active voices to sustain this? Be aware of the extreme differences in digital literacy skills and competences. Do you know your audience? How do you relate to those who start the course?

5

Champions

One advocate over more than a couple of weeks will tire. It will feel like an ego trip any way. How good is the mix of contributors? Both in what they have to saw and show, and their levels of and variety of experience. An online course is not necessarily akin to a TV documentary that can be carried by a single presenter. Is it a one man show or a team effort?

6

Objective

What are the hidden and implicit goals? To attract students, to build reputation, for the good of mankind? To make money? To massage an ego? What do results say in terms of those completing a course? Doing assignments and getting to the end then singing the praises of the team? Another guide can be whether as a production fulfils the initial Creative Brief. Both qualitative and quantitative research is required to provide answers. 

7

Your Brand and production values

Is is possible to stay true to your own brand, even have a distinct image, when on someone else’s platform? Are the values of the design, creation and delivery consistent with the standards and image of your institution?

8

Assessment

These must never be taken lightly. There are examples of trite, ill-thought through multiple-choice quizzes: these are a learning opportunity. A good quiz makes you think, challenges your knowledge, and provides feedback whether you get it right or wrong. Bravely 'Medicine and the Arts' has both quizzes and a regular written assignments. These are not onerous yet some participants are scared by a 300 to 500 word piece of writing. They oblige you to read back through the week's activities before replying. 

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Medicine and the Arts: probably the best online course I have yet come across

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I've been learning online since 2001. I took my MA ODE between 2010 and 2013. I am still here. I've done between eight and twelve FutureLearn courses - finished six 100%. I am struck by the quality of the course from the University of Cape Town called Medicine and the Arts: both as a piece of e-learning and for its content I believe it to be the best of its kind and a fine example to any university or institution planning a course such as this.

I'll run through the criteria I posted here earlier and consider what it is that makes it work. These include accessibility, variety and quality of speakers, the professionalism and quality of all things from art work, copy and video production, the 'less is more' approach that keeps things simple, the engaging conversations with fellow participants and the involved of educators too.

 

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Reading and writing with fresh eyes

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Edited by Jonathan Vernon, Wednesday, 25 Mar 2015, 07:37
From Writing

Fig.1. Philip Pirrip is confronted by the 'fearful man, all in course gray ... '

Start Writing Fiction is a FutureLearn Course. Its content makes up part of an OpenLearn Course. It is a thread in the Creative Writing Course here at the OU.Three months on having completed the course it is about to repeat. I'll be there.

From E-Learning IV

Fig.2. How we learn in the 21st century. J F Vernon E-learning (2011)

We learn through repetition; not simply learning by rote.

We learn through passing through the same loop over and over again. There is nothing so special about graduation, gaining an MA, a PhD or achieving the lofty status of 'professor' so long as you are willing to climb, as if on a thermal, one focused ever ascending loop seeing the same thing over and over again in new light, until, through insight or height from the ground you see something new and have something new to say.

There are some key lessons to learn from 'Start Writing Fiction; (SWF)' though it is never the whole story - for that you need to sign up to a graduate course on Creative Writing. There's plenty to work with though. I look forward to being reminded what matters. It kicks off again on 27th April and runs for three months. 

Reading matters as much as writing.

The precocious child who read copious volumes and gets into literature in their early teens has an advantage. I was slow to read and reluctant to read. The only novels I may have read as a child were forced on me through school. Even in my teens as I read 'Great Expectations' and 'Silas Marner' for O' Levels and 'The Mayor of Casterbridge' for A' Levels I did say like a parrot: If I picked up an 'B' grade at both levels it was only because I regurgitated precisely what I had been tutored to put down.

Over three decades later, 33/35 years later to be exact if I check my diary from that time, I am reading Dickens with fresh eyes.

My late mother bought me a second hand edition of all the Dickens novels. I never read one. I now have 'Great Expectations' for free courtesy of 'Project Guttenberg' on my Kindle. I am reading it with lessons from 'Start Writing Fiction' in the front of my mind. SWF concentrates on the key, though not only component, of good writing: character. I am chewing over every line of Dickens with a rye smile on my face: I see what he's doing with Pip, with the escaped convict from the hulk, his older sister and her husband Joe the Blacksmith, with Miss Haversham and Estella. If 'character is plot' then the plot moves, in a series of steps, over the heads of each character. We are carried by Pip with repeated moments of laugh out loud insights to a child's perception and feelings for the world. How had I not see this before?

For the umpteenth time I am doing what doesn't come naturally to me: I should be painting, not writing.

Intellectually I feel like the child who is left handed who had than arm tied behind his back as a child to force him to write against his will with his right. I have managed well enough, but it is against character and it is too late to correct? I need to work with words as the text that describes what I see. Text has other values too of course. It can carry a story beyond a single canvas.

A creative writing tutor, editor and author - former opera singer and opera director - Susannah Waters in reviewing my writing on a retreat last September gave me more than SWF can do on its own. An A4 sheet torn in half offers the following tips on 'Scene Building:'

  • Who am I?
  • Stay in the person's head
  • Put me in the place

She expands on these.

Every line of 'Great Expectations' is in Pip's voice, written as autobiography much later in life, in the moment, capturing for now, his wonder, fear, feelings and hopes. It helps me enormously as I try to construct a story of my own set  in the couple of decades 1966 to 1986, rather than 1820 to 1860. Characters don't change, technology and society does. It helps me to contain my imagination and fears as I feel it falling apart. Character will hold it together; each character needs to surprise. 

I wish I could find the link to the BBC Radio 4 programme in which an author, Michael Morpurgo or Alexander McCall Smith talks about writing; it was on over the last three weeks. Or was it on TV?! Tips and devices were spoken of, but what had most resonance for me was the idea that an authors wonder at even the most mundane creates interest for the reader. 

I used to discount Dickens as old fashioned; I now feel that I am reading Dickens with the same wonder of someone who has broken through the fog of a new language and is becoming fluent. Can I now translate this into my own writing? For now the juggling game I am playing is my writing in one hand, Dickens in the other.

Sharing where I stand matters hugely. Knowing that others are following my journey and are supportive matters: it keeps me going. Being online matters. It is the next best thing to standing on a soapbox in the local park and reading passages from my efforts. Feedback matters as it guides you.

On this retreat last September we read out our work, actually Susannah read my piece for me as I wanted to hear it from a different voice. We were around an open fire in a cottage in Devon. Telling stories around a fire takes you back to the origins of storytelling; what must you say to hold their attention, to keep them entertained, to make them cry (I did with that one), to make them laugh, fear, hope, clap, get angry ... and ponder, even panic over the outcome. In that story I had a soldier in the First World War slowly sinking into mud, up to his chest and neck ... screaming for life.

 

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Recreating that OU student feeling

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Edited by Jonathan Vernon, Tuesday, 24 Mar 2015, 12:13
From E-Learning VI

Need to plug a gap between courses or just can't stop e-learning?

I'm currently fighting my cerebral way through:

The Mind Is Flat

Understanding Drugs and Addiction

Community Journalism

Medicine and the Arts

Each has something to recommend though the humdingers are 'Understanding Drugs and Addiction' and 'Medicine and the Arts' : beautifully and thoughtfully done. Education as entertainment? 

 

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What's it like doing a free online course that works?

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Edited by Jonathan Vernon, Monday, 9 Feb 2015, 08:24

In earlier posts I've likened the courses on FutureLearn (don't call them MOOCs) to a good hardback book. This misses a crucial element: the connectivity with other students (I prefer to call then participants). I would therefore say, looking for a few lines to explain the appeal to the ignorant, that it is like joining a book club: everyone has the same thing to talk about.

The current course that I love is "Exploring Filmmaking' - storytelling is universal, and that's what this is about. 'Boyhood' winning the BAFTA last night also reasserted the joy, pleasure and value of stories about our lives as they are without special effects, superheros, drugs or murder: Growing up is drama enough.

 

 

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Five Years blogging here : time to reflect

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Why is Oxford, with the Oxford Internet Institute and a renowned Education Department not joining the e-learning revolution?

700 years of taking things at their own pace? Their research shows that it adds nothing to their successful and 'elite' model of teaching and research? They don't need to attract students. There can be over 100 applying for every available place.

They do however need to diversify.

It's taken 30 years to tip the profile of the Oxford student from 72% privately educated public school boy to around 49% privately educated and a 50/50 male/female split. By not joining in will they perpetuate the 'Ivory Towers' impression?

There are other reasons to develop massive open online courses, not least to appear open and accessible. The University of Southampton, by contrast, home to Sir Tim Berners-Lee and the only PhD programme on WebScience, have produced nearly a dozen 'massive open online courses' (MOOCs) over the last 18 months. I believe all, or most are on the FutureLearn platform; all are also embedded on the Southampton virtual learning environment (VLE) for students to do to supplement their course work. This I see as an important, valuable and better way to blend the learning experience. It would have been my prefered way of learning, offering some flexibility on the traditional course of lectures.

Is the Open University the only one to have entire degree courses online?

Not a book, not a residential, no face-to-face tutorials either.

By the time I had completed the MAODE, five modules over 3 1/2 years I assumed many other entire degrees, let alone individual courses would be offered in this way. They are not. A MOOC delivering two/three hours of crafted, scaffolded learning a week over a few weeks is demanding enough ... but a module that runs for six months, with 12/16 hours, even 22 hours a week? Though a 'prestige' course the OU MBA programme will spend, I believe, around £3m and three years creating a single one of its modules. These are expected to run for eight to ten years.

How much therefore to design, write and produce five of these, let alone the running and administrative costs?

Is it the right thing to do? E-learning is not a feature film. It is more like a garden; it must change and adapt to the seasons and climate change.

There was no e-learning climate two decades ago; it's the ozone of learning.

FutureLearn prides itself on responding to feedback. I've seen many subtle, responsive changes: several ways through discussion threads like this one which often run to several THOUSAND comments, pooling of creation skills amongst those producing the courses and greatly improving the forms of assessment: quizzes that are masterfully written to teach and to test, tasks for peer review that are part of the learning experience and now opportunities to sign up for a written exam - you pay a fee to attend a test centre, take the exam, and submit your paper. Of course, at this stage the idea of 'Open' is greatly weakened because once again their are parameters and barriers caused by geography and cost, probably also of confidence and familiarity with the formal written exam away from the keyboard and screen.

I reflect, today, on FIVE YEARS of formally studying Open and Distance Education. My blog runs to over 2,500 posts. What next? The same again? I've neither found a home in academia, or in corporate learning and development. Have I studied the wrong subject? I hanker forever to be telling stories. I thought I would successfully make the transition from linear-based video learning and development where I'd worked for some  twenty years, but have not and to rub my face in it the demand for video is finally increasing. Though never again the broadcast like budges we had for multiple cameras and live shoots, for a mini-bus of actors and a director from 'The Bill,' and special effects from The Mill.

I have had my eye on the Creative Writing Course for at least four of the last five years, but felt, for a change, I'd finish something. Instead, I find I am back in March 2006 going through two large 'Really Useful Boxes' which contain the printed off manuscripts of two novels, a couple of screenplays, a TV play and assorted short stories. 

Is this my life? Dominated by a history of making the wrong choices?

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Why everyone should have a look at 'Exploring Filmmaking'

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Edited by Jonathan Vernon, Thursday, 5 Feb 2015, 05:56
From E-Learning VI

Fig.1 Once I directed film ... I once directed a film. It was short, like my career.

I'm pointing you in the direction of this wonderful example of a free course from FutureLearn (a wholly owned subsidiary of the Open University) that has just started because I believe you, a friend, your kids, or a colleague may love it ... and even transformed by it.

Explore Filmmaking

This is 'e-learning' of the highest calibre: so easy to do it's like watching TV while using Twitter.

With a little guidance.

I've lived and studied online learning for five years with the OU. I've been so hooked I've kept doing MAODE courses after I completed the MA.

From FutureLearn, my platform of choice having tried and studied all the ones that matter, I can share examples of courses for PhD WebScience candidates, History of the First World War MA students, first year Geography undergraduates of Climate Change and even those in their A' Level year. There are plenty of general ones too: 'How to succeed at: applications' and 'How to succeed at: interviews' from the University of Sheffield give you what you need, right when you need it.

This one, well, go see.

I think it's one for everyone with an interest in storytelling and the magic of putting it on the screen. We've all seen a movie, right? Enjoy as a viewer, a lover of storytelling, a drama hopeful in any role, or someone who knows such a person.

I wish I was 16 again with a parent who cared about the arts as a career looking over my shoulder saying 'that's for you.' Instead, like so many of us I don't doubt, I was told 'get a proper degree, get a proper job'. Sometimes the best advice is also the worst. The 'proper' degree has never worked, it's not me. Not my first degree, not my second from the Open University. I'm not work shy. I'll work 20 hours a day if I'm fed, clothed and watered. I just lack the ability to conform, however hard I try, however much my edges are scraped off, however old and ignorant I become. 

Go see.

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How do MOOCs compare?

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Edited by Jonathan Vernon, Wednesday, 27 Mar 2019, 16:42
From E-Learning VI

Fig.1 Unexpanded mindmap using 'SimpleMinds' on 'How do MOOCs compare'.

There are tens of thousands of Massive Open Online Courses available. Their proliferation increasingly requires some means to differentiate types, to standards, and by review. Undoubtedly branding will have a role to play: it being easier to choose because the subject is delivered on a known and  trusted platform, such as Coursera, Udemy or FutureLearn.

What are they brands though? Like a well-known publisher such as Dorling-Kindersely? Or a brand of cornflakes? Courses are often the product of a specific university, but does this help when a course will vary also by faculty, and in particular by the role and lead taken by a subject matter expert.

The variables are considerable.

There are a couple of review sites which aggregate MOOC lists, such as MOOC List and CourseTalk. These, like reviews on Amazon, rely upon participants of a course to come in a post. I think of it as the TripAdvisor for e-learning. How reliable are these? It'll take years to bed in and impact on the product.

Meanwhile, as I still do several MOOCs in parallel I am trying to think about the kind of criteria:

  1. The Platform Provider
  2. Funding
  3. The Subject
  4. Audience 
  5. Champions
  6. Objective
  7. Brand
  8. Platform (Technical features)
  9. Cost
  10. Production
  11. Institution
  12. What next?

1. The Platform Provider

There are too many for one person to consider. And ample complexity requiring parameters. Some are not, or are no longer Massive and Open because they are closed, exclusive and paid for. Udemy has many thousands of short courses online, all with a price for participation, self-paced and lacking a sizable cohort to generate valuable 'connectedness' and 'collaboration', both important, identified theories of learning that have a significant part to play in e-learning. Funded by venture capital Udemy needs cash flow. EdX comes from Ivy League US universities Harvard, MIT and Berkeley offering undergraduate and postgraduate level, term long courses at a demanding academic level. They have no UK equivalent: neither Oxford or Cambridge have come on board. Although Edinburgh is on both EdX and FutureLearn. Whereas LSE and a few other top UK players are yet to have a presence. FutureLearn is a new, though rapidly expanding player: a wholly owned subsidiary of the Open University with partner institutions from around the globe, typically the UK and Commonwealth Countries, though with three partners from China too. It is the platform I am most familiar with having complete six MOOCs with another four on the boil. They make it look easy and I love learning in conversation with others. The Khan Academy is aimed at schools, while the likes of TED lectures, iTunesU and podcasts are all lectures online in one form or another, rather than complete courses with clear steps towards achieving specific learning objectives.

I am attempting to compare platforms, approaches and institutions by comparing delivery of MOOCs on Climate Change. There are probably a dozen, all variations on a theme, though the science shouldn't be different, even if the delivery is. They are: Exeter on FutureLearn, Melbourne, San Diego, Penn and British Columbia. I studied geography as an undergraduate so feel better able to form a judgment. 

2. Funding

Funding is complex, but it matters because 'he who pays the piper, plays the tune.' Largely funded by VC money the US MOOC providers are pressured to take fees, seek donations and sell certificates and other services. To a Brit used to the BBC anything with advertising in it, especially in relation to learning, smells of hogwash. On the other hand, branding and open sponsorship may be a necessary way forward. Even Wikipedia cannot do it for free. Once again, my knowledge is in the first instance at first hand as a 'participant' who has studied 'at a distance' with the Open University and paid for it, who has taken courses as CPD the traditional way at evening and weekend workshops, though also online by subscription. I have even paid heftily for a formal assessment which gained me a distinction and 10 credits towards a university degree. 

There is no 'free' learning: it is financed somehow. Learning takes time and therefore to plan, produce, put online and support. Even where the cost is carried internally as the learning is seen to have promotional or reputational value, it is coming from someone's budget. The relationship between the OU and the BBC, and the BBC and other British institutions is an interesting one as the assets the BBC creates by definition are owned by the tax payer so should UK citizens pay twice for something they have already paid for? The BBC though, like many others, create and provide content for use in learning under a Creative Commons licence. 

Funding, in tertiary education, comes from many sources, not least government subsidy, grants for research and sponsorship. Creation of Open Learning meets criteria, especially in relation to research, to publicise and share research findings. The dry academic paper is being superseded by, or at least complemented by, online offerings: a podcast at least an Open Educational Resource (OER) at best. 

3.The Subject

Who decides on the subjects to 'publish' as a MOOC? Publishers and broadcasters make choices for commercial reasons, often based on perceptions or demands of the audience. Are MOOCs create in response to student and participant needs and demands, or the product of individuals and faculties simply wishing to 'give it a go' or develop and share their pet subject with others. Is everything suitable for a MOOC? Is the subject, title and delivery considered in the kind of editorial committee that exist in TV, Radio or Print ... or is to more piecemeal and fragmented? Individuals and departments in universities traditionally operate in silos, indeed, many chose to be in academia, especially research, in order to focus on their niche interest without undue disturbance or interaction. I can see MOOCs that are championed by an individual, by a faculty and by a university. Inevitably some will be less well received than others. In all media there are hits and misses. Understanding what works, and what does not, is fascinating. Often it is like wondering why, in a small French town, one restaurant is packed, while the others are quiet. Though they are yet to produce them, I would expect and hope for MOOCs on art from St.Martins, MOOCs on sport from Loughborough. I would expect to see a MOOC on the First World War from Niel Ferguson. Why has a world leader, such as the Oxford School of Geography and the Environment, a no.1. faculty in the no.1. university thus far stayed away from MOOCs? They have podcast. They're on iTunesU. They stream some lectures and seminars. The next step is not so great. Or is it a case of a cautious institution taking careful note of research done on MOOCs. They are no panacea and maybe the step towards something that will have a better fit: exclusive, income generating ... 

4. The Audience

I resist calling those who do MOOCs students because their profile and behaviour of those I have done and studied is not of students, whether from school, at university or postgraduate. They are older, but not 'adult learners', far from needing the education, many have a Masters degree ... it is telling that discussions are anything but deferential towards the 'young' professors and even younger PhD students who present and moderate many of these MOOCs. Often the MOOC participant, who form the kind of TV audience that sits forward and interacts, is an MA student of the subject who may have ten or twenty years applied experience of the subject in business, government or teaching. For example, the MOOCs I am looking at on Climate Change always have vocal participants who have considerable experience 'in the field' for environmental agencies or oil companies. The academics are put on the spot, always rise to the occasion, and will surely learn from the experience as much as we 'students' do. Where therefore diversity and access? As TV producers know how in a digital world to cater for audiences of different ages and interests, so educators creating MOOCs will need increasingly to engage media professionals who know better how to target, appeal to and retain specific audiences. Whilst those creating MOOCs may wish to attract potential students to their undergraduate courses, I suspect that it is at best the teachers of such students, rather than A'level students who are getting involved. 

 5. Champions

Reputations of innovators in e-learning and whose talks go viral in a TED lecture become champions of online learning. Some become a brand that tens of thousands turn to. As free courses proliferate the bluntest and most effective branding is to have a champion, the educator at celebrity. We know that those with a TV profile with a following already will attract the most interest. In TV, even in corporate learning and development, the appeal of the broadcaster or presenter speaking on behalf of the educators is common place. Not all educators are broadcasters. It matters to have someone champion the course. If you want to study, for example 'Climate Change' and can choose between a dozen providers of a MOOC, who do you go with?

6. Objective

In formal learning objectives are the goal on which the learning is designed and assessments are undertaken. You are tested on what you are taught, and if you can prove that you have learnt what the material teachers you gain a grade of some kind. This in turn goes towards a qualification, or transferable credits towards a degree or diploma. This may appear clear, but there are other objectives at play: attracting students, even dissuading them if places are hugely oversubscribed. There are obligations to publish research. There are desires to join the 'e-learning race' and gain insights through doing even if it is not yet fully understood where the movement is headed. What does the course provider want from a MOOC? More students? Establishing or developing the reputation of an educator or department? Competing with others who are 'up there'? Because they have the funding? Vanity? Not to miss out?

7. Branding

The digital world is a free for all. It is competitive. Whatever you can imagine, someone is doing it. I was staggered to learn that the MOOC providers couldn't be named on the fingers of one hand. I think there are over 50 if you're counting and include various hybrids and anomalies. Many, many more if you venture into MOOCs that are not massive, or open ... say content created for internal use across a huge multinational. Sometimes these commercial sites and platforms are the most innovative, and of course, the best funded, for example, in supporting training in investment banking for brokers. Virgin produces e-learning for internal use - it is surely a natural step to create something open and online? The OU, with the BBC and at arms length FutureLearn makes a compelling, reputational sound brand. If anyone knows how to create e-learning that is attractive, appealing and of value this is the team. There are cultural differences though with MOOCs out of North America looking more like a multi-media version of Scientific American to the FutureLearn MOOC that is 'Look and Learn' - fun and accessible. 

8. Technical aspects of the platform

My expertise does not lie in picking apart and comparing the underlying technologies that support the different platforms. I can however relate to the discussions that have, for example, explained Facebook's success compared to MySpace ... that there were, or still are, underlying technical problems on MySpace that prevented its becoming as attractive as Facebook. I have taken and followed learning online since 2000 - joining the MA in Open and Distance Learning (MAODL) in 2001 while creating online learning through a web agency for commercial, broadcast and government clients. Our understand and aspirations for what was needed or could be achieved fell short of what bandwidths and the technology then could deliver, even if we spoke about 'stickiness', collaboration, likeminds and fun. 

9.Cost

The OU boasts that a multi-million BBC production such as 'The Blue Planet' is the kind of visual extravaganza it can now incorporate into, or complement with distance and online learning, a far cry from the black and white hippy in sandals presenting in front of a whiteboard as lampooned by Smith and Jones in the 1980s. It isn't as simple as saying costs, like those in the movie business, are divided between creation and distribution, though it is a useful starting point. In this instance the means of distribution is an interactive platform, that has certain affordances because of its underlying architecture and the skills, direction and motivation of the programmers. The content that is made available for, or put into this environment will vary widely based on the experience of the educators, the team they have around them, and how this is structured and led. In TV and print, a producer or publisher is the lead, or chair of such a group ... not the 'creative' whereas in academia the academic invariably feels they are the lead and should instigate decisions, sometimes without acknowledging that they have no expertise in 'external communications' or the platforms and approaches they want to adopt. Money is not set aside to use an external producer or production team, with sometimes, the results being self evident. Fine, perhaps, in a former age, for an internal audience of undergraduate students, but no longer adequate for a far more demanding open audience.

10. Production

Multimedia, which is what this is, draws on expertise that is a combination of skills that in the past would have been more easily denoted as radio, conference, print and TV. Production values and experience in all of these is required when creating online content because decisions should be taken in the context of the learning materials as to what will work best at different times, for different kinds of content. Also recognising the need for varieties of approach and making these appropriate. I have taken, or tried to take, modules that are back to back presenter to camera, as if listening and note taking for many hours is an adequate or doable learning process. On the other hand, I have been engrossed by an entirely 'gamified' Rosetta Stone as an iPad App - rich, complex, repetitive and at times tiresome, but effective as a language learning experience. Not all, or rather few educators, are natural broadcasters. Accepting their strengths in front of a lectern and not taking them out to walk and talk or present on location unless they can clearly do it, requires production skills. There is a language for conducting interviews using a single camera, and for recording multi-camera seminars. If the technician who sets up the kit has no understanding either of framing, or of editing, the result, however good the lighting and sound, will jar. These are all production values that need have to be bought in, or developed to a suitable standard inhouse. Audiences have expectations of certain practices across the media types. Poor practice in use of PowerPoint, for example, is not simply distracting ... people will quit a course on a whim. 

11. Institution

Increasingly leading players in many fields are coming to see that to offer open learning online is a natural progression from things they have already been doing for a decade: putting content online in websites. delivering short courses face to face, even recording podcasts for release as audio or video. There is less mystery behind how to create content and less need for owning and financing the platform. What we are seeing today, is the same transition that occurred as blogs migrated from do-it-yourself coded webpages in 1999/2000 through the first readymade platforms such as Diaryland and LiveJournal, to the 'off the shelf' ease and sophistication of WordPress. Indeed, for MOOCs, the commercial platform Udemy is offering a platform to commercial players.

Institutionally could early adopters trump the laggards? Might the likes of Phoenix and its global reach of associated universities trump traditional hubs of learning like Oxford and Cambridge which are currently proving reticent to engage? Or will inertia, reputation, funding, research and expertise see them grow into e-learning and their substantial foundations? 

Whilst it may appear that the Open University was made for the digital age, can a UK institution be a global player? What happens when an Oxford or a Cambridge can do what the OU does? Or don't they ever want to? Over the last 35 years the percentage of students at Oxford from private schools has shifted from 72/28 to 48/52 .... still not representative of the national split, but moving with determination to being accessible and diverse. Ironic then that staying out of online learning is perceived as necessary to preserve their tradition of tutorial based learning that by its very nature can only be elitist and exclusive. 

12. What next?

This is the hardest question and the one everyone wants an answer to. My guess is better than many another's because I've been riding this wave for several decades through linear video-based learning, to interactive and then online. Thanks to the OU over the last five years I now have the language to explain what has gone on and so make a reasonable stab at what comes next. There are several learning theories that can explain the way we learn, but only a few that describe learning approaches that are suited to the online experience: connected and collaborative learning are what makes MOOCs work. Although there are platforms too, such as QStream and Rosetta Stone that are in effect old-fashioned learning by rote or immersion with repetition constructing meaning. There are subjects, such as medicine and languages, which are suited to this approach. There will be increased fragmentation. We are, if you like, where the printed book was five hundred years ago. The book had yet to develop into multiple printed forms from the novel to the pop-up book (!) or diversify across every subject. Though change is far swifter, the variety of forms, by audience, by subject, by approach and duration is yet to flourish into the thousands of types I can envisage until there is a plethora of MOOCs as there are, or have been, magazines in the past. Some affordances are yet to be realised: feedback into FutureLearn, by way of example, is one way to measure and act upon ideas offered 'by the crowd'. Reasoned responsiveness will see the platform they have now move in regular steps into a different, and different forms. Logic suggests, to suggest an extreme example, that the tools, approaches and affordances of a platform catering to primary school children will be different to one aimed at PhD students. On the other hand, both of these groups find something on TV. With the exception of Ragdoll's 'In the night garden' which is loved by infants and PhD students in equal measure smile 

There will be unforeseen consequences. Will 'leasure learners', a stalwart of the OU migrate to MOOCs where there are no fees, just as much learning and a far greater sense of community engagement? Will MOOCs, as the OU does with an MAODE module, be something that runs in parallel with a formal module. In this instance students in the closed learning MAODE being joined by an open MOOC audience for a period of months. I can envisage an enlightened educator using his/her MOOC to support self-directed learning online, while also acting as the backbone for a formally taught series of classes where they use the readily package content of the MOOC to support their delivery. 

Those who want and need the kind of learning the MOOCs offered do not make up the bulk of the audience. How will those young people coming out of higher education who crave a university degree learn at this level when they don't have the funds to attend in person? How, when it comes to assessment, can they afford what remains an expensive process - sitting an exam or submitting a paper for formal scrutiny and grading under stringent criteria relating to potential plagiarism and to sustain standards?

For all their openness and credentials to support access and diversity do MOOCs simply 'preach to the converted' - refreshing an interest for those with a degree, or two, already? Where might a degree taught online be achieved instead of a set of A'Levels. Will it become normal to have more than one degree so raising the bar even higher for those who simply wish to get to first base? 

Is there, as was in the earliest stage of the Internet, a language bias with most MOOCs invariably delivered in English?

What else? 

Restricted access. Poor broadband. Lack of resources to run the MOOC. Lack of means, either time or money to do them. 

 Looking at it another, perhaps more subjective way, I'd like to know about:

  • The Wow factor
  • Usability
  • Changed Behaviours
  • Whether people act upon the learning experience
  • Learning Objectives achieved or not
  • Stickiness: Are people suitably engaged to stay with it and beyond?
  • Reputational
  • Mandate
  • Fun
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What's a MOOC from FutureLearn life? It's as easy as turning the pages of a book

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Edited by Jonathan Vernon, Wednesday, 7 Jan 2015, 11:12

My interest is e-learning. A decade ago it was web-based learning and before that it was online learning ... as compared to 'offline' learning on an intranet or in a computer learning centre. Across this period, whether on Laser disc, CD-rom, DVD, or online the key words to describe a successful piece of learning might include: easy to use, intuitive, effective, measurable results, gamified and impressive. 'Impressive' for a corporate client has always been important - they want to see how their money is spent. It matters to jazz a thing up, to find a way to deliver exception creative qualities in both the ideas and the execution of these ideas. In H.E. this 'impressiveness' has been thin on the ground the experience and view of H.E. that someone talking to camera with a slide show or whiteboard will do the job; it doesn't, not any more.

At the risk of writing a list I want to think about the 'enhanced learning' experiences that have impressed over the last 15 years:

Audi Shop DVD - Gold Award Winner at the IVCA awards. Stunning animated 3D animations of the engine. Like a 3D animated Dorling Kindersley

What are you like? - Gold Award Winner at the IVCA awards. An interactive life and career guide for teenagers done in the style of 'In Betweeners' and 'Some Girls' - nailed the audience with creative tone and visual effects. This won BAFTAs, the IVCA Grand Prix and NMA Effectiveness Awards. 

Ideafisher - first on floppy discs, then a CD. It did in the 1990s what various websites do today by linking vast collections of aggregated ideas and concepts that it filters out and offers up. The closest I've felt to AI for creativity.

MMC - online marketing courses. These were, for me, in 2010, an early example of stringing the face to camera lecture together with course notes to create a course. Still more like a self-directed traditional lecture series but the volume of content was admirable and some of the tools to control the viewing and reading experience were innovative.

TED Lectures. Are they learning? Or are they TV? Are they modelled on the BBC's Annual Reith Lecture series? Top of the Pops for the lecture circuit so tasters and Open Education Resources for grander things. 

Rosetta Stone - iPad App

Pure simplicity. I love these. I gave a year to an intermediate course in French, learnt some grammar and fixed several problems with my pronunciation. Like that game 'Pairs' you play as a child: a pack of cards with pairs of images on one side that you pair up. With considered, only sometimes over art-directed photography. Repetitive, always in the language you are learning. The next best thing to being dropped in amongst native speakers as an infant. It just works.

iTunesU - The History of English in One Minute.

Not so much a course as a series of stunning and memorable cartoon pieces that galvanise your interest. The next step is to follow through with a free trial course through OpenLearn and perhaps a nudge then towards a formal course with the Open University proper. 

FutureLearn - the entire platform.

As easy as reading a book. I've done eight of these and have another three on the go (two for review rather than as a participant). Across the myriad of subjects and offerings there are differences, all gems, but some are more outstanding than others. It is no surprise that those MOOCs (Massive Open Online Courses) produced by the Open University are some of the very best; it's what you'd expect with their experience. Other university's shine through for their confidence with the the platform too, for example, 'How to read a mind' from the University of Nottingham. 

MOOCs I love enough to repeat:

Start Writing Fiction: From the Open University

I may have been through this a couple of times in full and now dip back into it as I get my head into gear. I'll do this as often as it takes to get the thinking to stick. It's working. I read as a writer. I will interrupt a story to pick out how a succinct character description works.  I'm also chasing up a myriad of links into further Open University courses and support on creative writing. For example: next steps, creative writing tasters, and audio tasters on iTunes. 

MOOCs I may repeat next year ... or follow similar topics from these providers:

Word War 1: Trauma and Memory: From the Open University with the BBC

World War 1: Paris 1919 - A New World: From the University of Glasgow with the BBC

MOOCs I admire that target their academic audiences with precision:

How to Read a Mind: The University of Nottingham

Shakespeare's Hamlet: From the University of Birmingham

Web Science: How the Web is changing: From the University of Southampton

 

 

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Review, Reflect, Repeat ...

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Edited by Jonathan Vernon, Sunday, 4 Jan 2015, 09:05

Fig.1. My mash-up from the Start Writing Fiction, OU and FutureLearn MOOC. 

Many weeks after the Open University MOOC on Future Learn closed 'Start Writing Fiction' I find I am returning to the many activities across the eight weeks to refresh, reflect, and build on my knowledge. As well as doing my bit for that 'community' by doing a few reviews (all assignments are peer reviewed). I completed the course in early December.

I return to reflect, to develop ideas, to be reminded of the excellent lessons I have learnt there, and in particular on how we use fact and fiction, whether consciously or not. In pure fantasy writing I find, inevitably, that I ground events in places I know from my youth, or have since researched. I use the hook of reality and my experiences on which to build the fiction. While currently I am embedded in what started as 90/10 fiction to fact I find it is increasingly looking like 95/5 in favour of fact as my imagination is close to the truth about a particular character and his experience of the First World War. All this from a simple exercise in week one called 'Fact or Fiction?' where we are asked first of all two write something that contains three factual elements and one fiction, and then to write something that contains three fictional elements and one factual. There are thousands of these now, many very funny, original or captivating. In week one, I'm guessing that around 10,000 got through the week. How many posted? There are 967 comments. This happens. It is an open course. The same applies for most web content: 95:5 is the ratio of readers to writers. Many people prefer not to do what they feel is 'exposing themselves' online. Why should they.

Anyway, this gives me reason to argue that it is an excellent idea to keep a blog of your OU studies. All of this can remain private, but at least, as I know have in this blog, when the doors close behind a module you can, months, even years later, return to key activities and assignments and build on the lessons you learnt. More importantly, as we all forget with such ease, we can keep the memory of the lessons fresh.

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An exploration of the MOOC

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Edited by Jonathan Vernon, Wednesday, 17 Dec 2014, 19:37
From E-Learning V

Fig.1. My mash-up of a correct answer to a quiz in the FutureLearn course from the University of Nottingham 'How to read a mind' that ties in directly to The OU course on the same platform 'Start Writing Fiction'.

As these MOOCs complete I have a few weeks over Christmas to reflect on a busy year of Moocing about and to catch up with regular coursework on L120, assisted with a necessary business visit to France.

My MOOCing is enjoyed all the more while reading Martin Weller's new book that covers MOOCs, 'The Battle for Open'. These are interesting times indeed.

With friends yesterday I evangelised about MOOCs on FutureLearn and found that what worked was to describe a MOOC in layman's terms as the equivalent of a hefty, hardback, coffee-table book you buy because you have an interest in a thing. Let's say it is architecture. The book is written by an expert with engaging photographs, charts and maps. From time to time you indulge yourself. A good MOOC is similar, different and better. Online you have an expert who leads the course. The introduce themselves, the course and perhaps the team. And then over the weeks they drop in to say something with a pre-recorded video piece or text. They may even appear from time to time to contribute to the discussion: though you may miss them if the thread is running into the hundreds. 

I explained how threaded discussions work: that there can be thousands of comments, but you know everyone is talking about the same thing. That if you don't get a point you can ask and someone offers a response. You may still not get it. So you ask again. Once again, there is a response. You may do this a few times. Even come back to it a day or so later, but you are likely, eventually to see something that says it for you - your fellow students have fulfilled the role of the tutor that a tutor could never manage: they only have one voice and they can't give up the huge number of hours - there is one thread in 'Start Writing Fiction' that runs to 7400 posts.

These are filtered in three useful ways: activity, following and your comments. In this way you either look only at the lates posts, the posts of those you are following: say 10 out of 23,000 or, of course, you look back at your comments.

It works.

As for my graphic? Does obscuring the writing assist with anything? By making an effort to read the question are you any more likely to remember it?

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How to read a mind

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Edited by Jonathan Vernon, Friday, 12 Dec 2014, 15:03

 How to Read a Mind: The University of Nottingham[Two Weeks] Fig.1. The image I've used for a decade to represent my blogging under the pseudonym 'mind bursts'.

79% Complete

Four activities remaining to complete. A touch more academic than some. I guess this is undergraduate English Literature, but third year. Or is it pitched at postgraduate level. I have had to spend more time with the reading than I expected in order to grasp the main thesis relating to ‘Theory of Mind’. It is proving complementary to ‘Start Writing Fiction’ as it shows how we conceive of, and follow imagined and real characters in a world, in our heads, that is always part factual, part fictional.

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