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When talking about educational technology, what does the idea of openness mean? The word open appears in bothopen-access publishingand MOOCs (massively open online courses), but does it represent the same things? Does it stand for the same values, or help the same set of people?

A small essay by Amherst College professorJohn Drabinski, published today, examinesthe word in the context of a higher education institution confronted with contemporary technological choices.

In 2013, Drabinski writes, the Amherst faculty had to decide on three big questions:

All of these questions turn on the concept of openness. Two concerned open-access publishing," one "massively open online courses." The Amherst faculty chose to create a digital repository and make Amherst College Press open-access," but not to capitulate to MOOC manufacturers.

Drabinskis post has a long explanation of why, in addition to a great inside look at what it feels like to be wooed by a MOOC instructor. (The companies continually assured Amherst of its specialness.)Ultimately,the faculty decided the first two were beneficial to the fellowship of scholars, and the latter was not. MOOCs could put scholars out of work; an open-access repository could make more knowledge available to good researchers who were not affiliated with an institution or university library.

This is the developing, conscientious line among academics: Pro-openness on open-access; anti-openness on MOOCs. (Just last week, aprofessor at Princeton, Mitchell Duneier,stopped teaching his popular MOOCout of concerns that it would undermine public higher education.)

So when is openness good? Dickinsons little explication is, I think, useful:

It occurred to me then, after we discussed this in pairs and groups and as a whole faculty, as it occurred to most, that openness is nothing like an absolute value. In fact, it is a value that is made good by what it enhances in self and offers to others. When we publish, openness is a value because it enhances our visibility and offers ideas to others without classist and cultural conditions. If you think that is worth doing, you support (in this case) the repository and the press.

He continues, and its worth reading.But this is an elegant, short rebuttal to the always-positivebuzzword senses of open, and a nice framework for thinking and handling the wholerhetoric of openness.Openness is nothing like an absolute value. Well said.

Read this article:
What Does 'Open' Mean? One Academic Weighs In

Published on September 12, 2013

SYDNEY Six books published by Cape Breton University Press will share the various stages at The Word on the Street festival which takes place September 22 from 11 a.m.-5 p.m., on the Halifax waterfront.

Steve Wadden - Cape Breton Post

Cape Breton University offers programs at a campus in Cairo that is currently closed due to turmoil and violence in the streets of the Egyptian city.

New to the regions biggest book and magazine festival is the Open Book tent to be located immediately behind the Maritime Museum of the Atlantic.

That tent will highlight literature from the regions predominant cultures: aboriginal, Acadian, African-Canadian, Celtic and English, as well as other immigrant experiences.

CBU Press authors making presentations on the Open Book stage are Cassie Deveaux Cohoon ("Jeanne Dugas of Acadia" 11 a.m.), Trudy Sable and Bernie Francis ("The Language of This Land, Mikmaki" 1 p.m.) and Michael Newton (editor of "Celts in the Americas" 3 p.m.).

The Remarkable Reads tent aboard HMCS Sackville will feature a cooks and books panel featuring Anne Marie Lane Jonah (co-author of "French Taste in Atlantic Canada" 11:30 a.m.), while the Vibrant Voices tent, focusing on books for young adult readers, will include Hugh R. MacDonald ("Trapper Boy" 1 p.m.).

Dynamic Dialogues will include a railways panel discussion with Herb MacDonald ("Cape Breton Railways: An Illustrated History" 4 p.m.). That book is shortlisted for the Evelyn Richardson prize for non-fiction, the winner of which will be announced Saturday evening at a Writers Federation of Nova Scotia ceremony on September 21.

Mike Hunter, editor-in-chief at Cape Breton University Press, says he is delighted about the selection of authors and their books for Word on the Street.

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Cape Breton authors featured at Word on the Street

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Press Release Distribution Site Makes SES Debut in San Francisco

With the first weekend of the Toronto International Film Festival passed and just five more days of the festival to go, CBS Films has stepped forward for the third major acquisition, picking up the U.S. distribution rights to The F Word, the new romantic comedy from Canadian filmmaker Michael Dowse (Goon) starring Daniel Radcliffe and Zoe Kazan.

In the movie, Radcliffe plays medical school dropout Wallace, a hopeless romantic who strikes up a friendship with an animator named Chantry (Kazan) who already has a boyfriend, played by Rafe Spall.

You can read the full press release from CBS Films below:

CBS Films announced today that it has acquired the U.S. rights to Michael Dowses THE F WORD which made its world premiere at the 2013 Toronto International Film Festival this week. The film stars Daniel Radcliffe, Zoe Kazan, Adam Driver, Rafe Spall, Megan Park, and Mackenzie Davis. CBS Films Co-President Wolfgang Hammer and EVP of Acquisitions and Productions Scott Shooman made the joint announcement.

Directed by Michael Dowse (FUBAR, Goon) from a screenplay by Elan Mastai, THE F WORD is the story of medical school dropout Wallace (Daniel Radcliffe), a hopeless romantic whos been repeatedly burned by bad relationships. Deciding to put his life on hold, Wallace strikes up a friendship with animator Chantry (Zoe Kazan) who lives with her boyfriend Ben (Rafe Spall). Wallace and Chantry click immediately, becoming best friends; but with the chemistry between them, can that last?

No Trace Campings David Gross, Jesse Shapira and Jeff Arkuss produced the film along with Macdara Kelleher and Andre Rouleau. Hartley Gorenstein, Michael Dowse, Bryan Gliserman, Mark Costa, Ford Oelman, Marc Stephenson also served as Executive Producers, along with Patrice Theroux and Bryan Gliserman for Entertainment One, who co-financed the film. The screenplay is based on the play Toothpaste and Cigars by T.J. Dawe and Michael Rinaldi.

"This is a romantic comedy for a new generation that calls to mind classics like Say Anything and When Harry Met Sally, said CBS Films Co-President Wolfgang Hammer.

Rena Ronson at UTA Independent Film Group and attorney Jamie Feldman negotiated the deal with CBS Films. Entertainment One Films International (eOne) handles worldwide rights to the film in all media, excluding the U.S. THE F WORD will be released by eOne in the UK and Canada. Michael Dowse, Daniel Radcliffe, Zoe Kazan, Mackenzie Davis and Rafe Spall are represented by UTA.

Original post:
CBS Films Picks Up The F Word

White House: After Benghazi, this time we're ready for 9/11 anniversary

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John Kerry's blunders helping to overcome Obama's blunders?