The fun was in the process. We set up a google doc to throw in some ideas, and then think about a song that might accompany each. We pre-recorded the show so Reclaim could just play it on the day.

The topics we came up with:

• Radio show – Clint has a cool global music show over at Electro Magnetic Radio
• Novel writing – I may have mentioned that I’ve published a couple of novels since retirement.
• Sports – In a strange cultural swap, Clint is a big football fan, and I’m a big ice hockey fan. It’s probably because both of these are niche sports in each other’s countries, compared with the dominant ones.
• Exercise – Clint runs and cycles and after the Vancouver half I’ve been working with a personal trainer at a gym to try and build some strength as I head into my sixties
• Vinyl – we both collect vinyl, and have Instagram accounts
• Travel – an old favourite of retirees I guess. I miss having conferences as the reason for my travel, so now have to plan other trips.

Note that none of those options are playing golf.

After a long time, work can become synonymous with identity. What I think we’re both trying to do with these activities is to provide some immunity to that sense you have of some people who retire and find themselves adrift.

We had a staycation this month – in the correct sense of that term in that we stayed at home, not just holidayed in the UK. We went to the Big Pit museum, where you can have a tour of a mine. It could be subtitled “capitalism is terrible”, because you gain a very real appreciation that the only consideration was the maximum extraction of resource for the minimum cost. You don’t need to build tunnels tall enough for people to stand, or allow pit ponies to go up to see light, or provide clean working conditions if you can get away with it. All during the tour I kept thinking that all of this extraction at the cost of human safety and comfort has a lot of echoes with AI. Glad we learned that lesson then.

On a more cheery note, it’s been like the old days with doing three online chats. Firstly, Clint Lalonde and I did a show for DS106 Radio Summer Camp, (I’ll blog this later), then I did a chat with my barber who shares clips on men’s mental health, and lastly I had my third appearance on the fabulous Gettin’ Air show with Terry Greene, talking about my new life as indie horror author.

Writing

My new book, The H-Index, is out on September 1st, so I’ve been engaging in some self-promotion. As an indie author you have to do this, but I don’t like it and I’m not very good at it. I mentioned in the previous post the various tools and platforms that can help. One fun thing I did do (well, I enjoyed it anyway) was to post a picture a day over on Instagram of a copy of the book with a relevant record (that I also own). Some of these are directly related, as in they are mentioned in the book, and others have a thematic relevance. Giving characters a musical taste is a convenient shorthand to their personality, but it can be overdone. Anyway, here are the ten records and my reasoning behind them:

• The Cure: Acoustic Hits. In the opening scene, the main character, Hazel, is driving to the writing retreat in West Wales where the action takes place. She is listening to this album in her car and thinking about the relaunch of her career that the writing retreat will afford.
  Of course, things don’t quite go as planned…
• Women in Revolt: Various. A collection of female punk bands. In the book, Becky is an early career researcher in folklore and feminism. She has a playlist titled “Righteously Angry Women”. I think the Slits would definitely be on that playlist. Becky is probably my favourite character in the book – smart, working class and sassy.
• Kate Bush: Hounds of Love. The novel is based around academics on a writing retreat where a confluence of events leads to the resurrection of an ancient bog demon, the Hen Wrach.
  So, Waking the Witch on this album is the ideal track. It also has a dislocated, other-worldly sound that reflects the manner in which the academics find themselves cut off from their normal environment.
• Radiohead: OK Computer. The academics in the book are all attempting to finish publications which will get them prestige. The H-index is a metric for measuring academic impact (and does double duty for the witch assessing the victims in the book).
  Fitter, Happier by Radiohead captures that metric, data goal based approach to life that drives so much of modern life.
• Florence and the Machine: Lungs. The main character, Hazel, a marine biologist is hoping to relaunch her research career at the writing retreat in the book. Dogs Day Are Over, a song of reinvention seems apt and she also has a cool dog, Sadie. Also, the woman leading the writing retreat, Lisa, is a keen runner, and I feel that this is the sort of track she might have on her running playlist.
• Boards of Canada: Music Has the Right to Children. In the book one of the academics is Nasir, a young AI researcher. He listens to Vaporwave music. I don’t actually own records of that genre but Boards of Canada have been labelled proto-vaporwave. Plus the cover has a spooky quality.
• Fleetwood Mac: Fleetwood Mac. The Hen Wrach witch in the book is based on a figure in Welsh folklore. The song, Rhiannon , by Fleetwood Mac is about Rhiannon from the Welsh myth of Mabinogion. She is a powerful, intelligent and wise Queen in the tales, described as “one of the great female personalities in World literature”.
  There aren’t that many modern songs about the Mabinogion, and one of the characters in the book is an expert in female representation in folklore so would definitely know of Rhiannon.
• PJ Harvey: To Bring You My Love. The track Down by the Water is a dark, brooding song full of menace. The old local fisherman, Gryff, tells a tale of mermaids stealing a child for revenge, which this song could soundtrack. Water plays a big part in the novel – the academics are cut off because of a flooded road, the witch arises from a bog and the sea offers a possible salvation.
• Oasis: Definitely, Maybe.The host of the writing retreat are a married couple, Teddy and Catriona. Teddy describes himself as a simple man, he loves rugby, a full breakfast and his wife. The song Live Forever is playing at a pivotal moment as he attempts to ford the flooded road that has cut them off.
• This Mortal Coil: It’ll End in Tears. Song to the Siren encapsulates a lot of the book, but I hadn’t appreciated that until I came to think of these posts. The witch emits an unnerving cry that the people hear before they know what is happening to them. It has a particular affect on Catriona, the host of the writing retreat. Also, the song is spooky, ethereal and like a summons from another world.

Books

For all the opinions (so many opinions!) about Nolan’s The Odyssey, it’s impact on the profile of Greek mythology has been undeniable. When we went to Hay during our staycation, just about every bookshop led their displays with various versions of Homer plus related works. The movie also led me to read Homer Haunted, a deeply knowledgeable journey through the various translations and interpretations of Homer’s classics. It teaches you a lot about poetry, the nature of translation and how each age takes what it needs from these works.

On a very different track, I’ve been on a music book riff this month. Peter Ormerod’s David Bowie and the Search for Life, Death and God, examines the influence of spirituality on Bowie’s work. Ormerod is very good at dissecting Bowie’s music, but overall the book had the strange effect of making me admire Bowie less. His much vaunted chameleon tendencies are intriguing when it comes to musical styles, but seem rather trite as he dips in and out of Christianity, paganism, buddhism, gnostism, the occult and fascism. The music it led to may be fascinating, but I don’t think pop stars are where to go to for insights into religion.

On the other hand, readers of this blog may be aware of my long-time appreciation of the band, Prefab Sprout. I feel that their admirers, such as Stuart Maconie, Richard Osman, Tim Burgess, are like members of a benign cult. We can’t understand why everyone doesn’t appreciate the genius of Paddy McAloon. We’re like the ancient mariner, stopping one in three and asking “have you come to the way of the great McAloon?”. So I was delighted that there is finally a good book about the group, Nige Tassell’s Truly Gifted Kids. Tassell is a fully paid up member of the Paddy Appreciation Society and the book is constructed around short essays that recount and explore different aspects of the group. Feel the love.

Vinyl

British trio, mary in the junkyard (yes, it’s lower case), released their debut album Role Model Hermit. Related to my book promo above, in our radio show Clint pointed out that this would have been an ideal title to associate with my previous book, The Recluse Rules. The album has echoes of Big Thief, Beach House and Wednesday, and the feeling of three people house-sharing and staying up all night arguing about their favourite Ben Wheatley film.

Album of the month though is definitely the new Phoebe Bridgers album, Lost Weekend. It’s only her third solo album, but she’s such a serial collaborator, with BoyGenius, Better Oblivion Community Center and working with a wide range of artists from SZA to Paul McCartney, that it seems part of a bigger discography. The indie singer-songwriter crafts a proper album, the sort that you want to listen to in its entirety, rather than a collection of independent songs. The Dinked edition vinyl I got is also a joy, with glow in the dark cover, beautifully illustrated lyric booklet and a UV torch that illuminates the credits for the “hidden” track on side D. Respect the format.

Amazon ads – mixed results. Probably broke even on what I spent and what I got back on my last book. Will try again with more refinement for this one.

BookBub – you can set up campaigns in here, discounted and promoted. It didn’t really produce any noticeable upturn last time, but I think I may have a better idea of how to use it this time around.

BookSirens – you can give away free ARCs (Advance Reader Copy), so people can read it for free on the condition they leave a review. I got a few reviews this way last time, so will see if it works again. If you want to have a read and review for the H-Index, please do!

Books of Horror Freeview – an offshoot of the excellent Facebook Books of Horror group, where you can offer an ARC in exchange for a reviews. I had a few takers this time.

Draft2Digital – this is really a distribution platform. From here I have placed the book with a variety of ebook shopfronts.

IngramSpark – like Draft2Digital, a useful platform for distributing the physical copy into bookstores and library databases. No idea if it will work yet.

Kindle Unlimited – a lot of authors have success with this, because if you are a Kindle Unlimited member it lowers the barrier to the “I’ll give it a go”. It requires a 90 day exclusivity period though, so you can’t put it in those other platforms for that time. I did this with The Recluse Rules, but I haven’t for the H-Index. My plan is to do it for the next book, as there will be three then in the Cursed Coast series, which is often a draw for KU readers.

I can’t say any of these have propelled me to the New York Times bestseller list (given the blurb on book covers, I sometimes feel I must be the only author who isn’t a NYT bestseller), but I think that is as much down to my learning how to play those algorithms as their effectiveness. I’ve deliberately not used a few, where discussion groups have suggested they are not worth the investment.

I’m also going to do some promo over on my personal and vinyl Instagram accounts (10 days with a relevant album).

And then there is this blog of course! So here is where you can order the H-Index if you so desire (it’s only £0.99 so what have you got to lose?):

Apple, Smashwords, etc

Barnes & Noble

Amazon

Sneha Krishnan writing for Al Jazeera, correctly highlights the underlying motivation behind the campaign against Arday, saying “There was no ambiguity from the beginning that this so-called revelation of “plagiarism” was a cudgel: it was a way to make a point that equality, diversity and inclusion (EDI) initiatives are supposedly academically dishonest.” She goes on to call out the media outlets who wilfully neglected their due diligence process, stating “for any media outlet that claims seriousness to fail to investigate the intensity of the pile-on that Arday experienced, and its origins within a eugenicist’s fantasy of ridding universities of Black professors and antiracist scholarship, is profoundly irresponsible.”

Paul Tiyambe Zeleza asks “Who killed Jason Arday?” and concludes that he “was killed by white liberal proponents of performative inclusion who propelled him, shrouding him with the aura of heroic exceptionalism”. That is Cambridge (and by extension, most of white liberal higher ed) likes to perform inclusion, but only to the extent that it reflects well on themselves. The “I have a lot of black friends and really like hip hop” defence. It’s not only not enough, but actually places people like Arday in the line of fire.

Writing in Inside Higher Ed, Shaun Harper points out that Arday’s treatment can be seen as part of a longer practice of “racialized punishment inequities” that begins in school. He cites research showing that “Black girls and boys in K–12 schools… are routinely suspended and expelled at exponentially higher rates than their white peers for the same misbehaviors”. What Arday’s case demonstrates is that there is no misdemeanour too trivial when it comes to ruining the life of a Black intellectual.

What I do have some experience to comment upon, if I may, are the allegations of Arday being a fantasist. Considering the intensity of the analysis he experienced, the claims here seem pretty thin. I wonder what that level of scrutiny would reveal about any of us. But what I do know is that in my field, educational technology, I could list several prominent “thought leaders” who have built an entire career out of being bullshitters. Exaggerating impact, claiming significant change, predicting revolution – not only are these actions not pilloried, they are in fact, rewarded with prestigious keynote invites. White Ed Tech Bullshit is labelled “visionary”.

Witnessing a lynch mob lessens all of us, even if we don’t participate in it or actively fight against it. The very existence of such an ugly act shreds a bit of our humanity. But I’m guilty here also, I didn’t blog about this while it was happening, and just moaning about it to people isn’t enough. We all need to be calling it out as it happens, to show that it is not “in the public interest”. Now the tragic outcome of this episode seems inevitable, and we need to ensure that inevitable is unacceptable.

Given that AI providers are in fierce competition with each other to have better models than their rivals, finding ways of avoiding model collapse is imperative for them. Harvesting content pre-2020 is one way, but that will run out. The insidious interpretation of the book destruction approach is that it is an attempt to deliberately remove content from the public domain that your competitors might use.

This is now an active business model. Maren has a podcast and has been approached by a company to have exclusive access to her raw recordings (she declined, obviously). They want to train conversational models on real humans speaking, not just the published version. But they don’t want competitors to have that content. Once you start seeing _all_ human interaction as potentially exclusive content for harvesting then it lends itself to some “interesting” business models (and by interesting, I mean awful). Let us consider a near future (it is probably already happening), where the requirement for content that is not infected by AI is increasingly precious. It then makes capitalist sense for people to wear smart glasses or other devices, and walk around surreptitiously recording conversations, to be sold to AI vendors. One can picture them like traders of old, arriving with their cartload of goods and it being sold by weight, in this case gigabytes of data.

Or let’s consider another area – that of creative writing. The self-publishing community is substantial (I’m a proud member). There are a lot of online tools that provide platforms for writing, with formatting, analytics, and advice. I use Reedsy when my novel is complete, for instance. This is original content being created on a platform that can be harvested, and all the changes, modifications, and tweaks themselves are useful data for AI models (I’m not suggesting any of the platforms are doing that currently). We might also see providers offer incentives to allow exclusivity on their platform so that only their models are trained on that content. Amazon requires a 90 day exclusivity for Kindle Unlimited promotion currently. This is probably more about market dominance at the moment rather than AI training, but it could easily lend itself to the latter.

But this pales into insignificance next to the great content production engine that is Higher Education. All those assignments, forums, artefacts. And all the variations of them, along with revisions and edits, and all those detailed conversations in online forums. This is rich and largely endless, human generated content for AI models to train on. With nearly all HEIs using TurnItIn or similar, they are already handing over that data. At the moment I don’t think those companies are selling it on, but one could imagine a business model where they might (and perhaps offer the HEI a discount in return).

I’m sure someone has already written it, but I can foresee a future with people in large warehouses, sitting and generating content for the big machine to suck up, a sort of Matrix-like feeding, but with bad poetry and essays as the food rather than electrochemical energy.

One of the ironies of this is that AI is acknowledging itself as an infection, or invasive species. It doesn’t want content that’s been affected by AI. Maybe AI companies will start helping students to avoid using AI in assignments so it can be sure to harvest their content afterwards. It also recognises that human generated content really is worthwhile, despite all the promises of the great AI reckoning. Odd that.

PS – I thought I had been all clever with the title as a play on the band Pop Will Eat Itself (I nearly got beaten up at one of their gigs in the 80s, but that’s a different story). It turns out that it’s a commonly used phrase on social media. Oh well.

I also went to see the Odyssey twice, once with Maren and once “the way Nolan intended” in IMAX. It’s been interesting to see the online discussion about it. I must admit, I hadn’t appreciated hitherto how many experts in ancient Greece walked amongst us. I also can’t recall a film where so many people have opinions. My insightful view is, I quite enjoyed it as a piece of cinema. I will note that many who criticise Nolan’s version seem to have a rather noble vision of Odysseus as hero (one suspects they haven’t read it). Like many people, my first introduction to the book was via the TE Lawrence translation (a man no stranger to his own ego). You don’t go into the book with any high-minded ideals when the translator in his introduction says Homer has “thin and accidental characterisation. He thumb-nailed well; and afterwards lost heart… that cold-blooded egotist Odysseus, and the priggish son… It is sorrowful to believe that these were really Homer’ s heroes and exemplars.” As he concedes (although one suspects through gritted teeth) “the tale was the thing.” Approach the film in the same manner I would say. The tale is the thing. Mind you, I also enjoyed Evil Dead Burn which I saw this month as well.

Writing

My second horror novel, The H-Index, is scheduled to come out on the 1st September. I blogged the cover reveal, and pre-orders at Amazon and other platforms are available. I think the writing has really improved since the last novel, so if you enjoy the idea of a group of academics on a writing retreat is remote Wales being tormented by an ancient big demon, then this book is for you. It’s possible to read it as a parable for the academic system of metrics, but I couldn’t possibly say.

I also finished the first complete draft of my third book this week, a bio-tech horror set in Aberporth. More on that later…

Books

Jenny Radcliffe’s account of her career as a social engineer in People Hacker, was a fun read, but also a useful reminder amidst all the tech focus that people are both strength and weakness of any organisation. An updated version of Soccernomics does the sorts of things with data that you want, it asks interesting questions and then sets out to answer them methodically, including why the financial fair play rules reinforce existing power structures, why black managers are so under-represented compared to black players and why women’s soccer should receive reparations. Katy Hessel’s The Story of Art Without Men seeks to undertake some reparations of its own by providing a thorough (and thoroughly readable) account of a wide range of female artists through history.

Other books I’ve read this month can be found on my Goodreads page.

Vinyl

Baby Rose returns with her smokey vocals and cinematic production on Yearnalism, an album rich with, well, yearning. My favourite new album this month os from indie-folk stalwart Kevin Morby. On his 8th album, Little Wide Open, he teams up with The National’s Aaron Dressner for a more expansive, Americana sound, for an album of the year contender. With partner Katie Crutchfield already releasing the brilliant Snocaps album & them having their first child, it’s a busy year on the Waxahatchee ranch.

Here is the cover:

The back cover blurb reads:

Publish or perish just got real.

An isolated writing retreat on the Welsh coast brings together five academics, in single-minded pursuit of career progression. Each of them has their own reasons for why they came to Pembrokeshire, and as they begin their work together tensions between them rise. Not all is as it seems however and when a storm hits and forces them to shelter together against the elements, they begin to fear that there is more to contend with than their personal demons. The picturesque coastal setting turns into a sinister stage in a fight for survival pitching their intellectual prowess against a natural horror.

The H-Index is academic horror at its blackest and funniest — proof that no amount of citations will save you from what’s coming.

The demon in this book is a bog witch from Welsh folklore, the Hen Wrach, and the cover really captures that slimy, dripping menace. More to come later on with links for all those pre-orders you want to put in.

I try to do this periodically on my Gmail account also. But what I hadn’t done was a real back catalog clear out. I had around 90,000 emails which Gmail placed in the Updates folder, and a similar number in the Forums and Promotions categories. I’ve used Gmail as my main account since about 2008. I generally try to delete stuff as it comes in, but even so it accumulates. At one point in the early Twitter days I had my setting to be notified when someone liked or retweeted my posts. So I had emails from 2010 informing me “David Kernohan retweeted your post”. I mean, that’s nice to know (thanks David!), but I probably don’t need to keep it.

As this article highlights, the environmental impact of all this pointless storage is pretty significant. I try to always opt out of further emails when I’m buying something, but inevitably you still end up on quite a few. And then there are those I deliberately signed up for, thinking “I’m going to read all of these”. I have been going through the process of assiduously unsubscribing from all of these as they come through. I’ve kept a few newsletters that I do actually read, but even then I try to burn after reading.

The unsubscribing process falls into three groups I’ve found:

Straightforward – you click unsubscribe, it knows who you are, you select unsubscribe. Job done;

Unnecessary steps – you have to enter your email address, or select a reason, or they send you another email saying you have successfully unsubscribed. More annoyingly you end up only unsubscribing from one of twenty different categories of emails they send you;

Pain in the butt – a few academic lists I have ended up on have asked me to log into an account I didn’t know I had, or email someone to get taken off a list that I didn’t ask to be on in the first place.

One good practice I came across was via BookBub – I get regular emails with deals for ebooks in them. In one of these it highlighted at the top that I hadn’t interacted with this type of email in a while and to click a button if I wanted to keep receiving them. This proactive checking in is a good idea to reduce our load I think.

Mind you, I have a newsletter, and it doesn’t do this. And you should definitely sign up for it.

(Image – Unsubscribe graffiti)

A month that almost resembled the old days of working. I gave a keynote (online), had an external examiner meeting (the end of my tenure for the fabulous Warwick IATL courses) and went to a conference. I need a month off now.

I may blog this in more detail later, but this month made me reflect that when I first left the OU I was quite focused on creating distance between my old identity of ed tech and open ed, because I wanted to carve a new path. But after a couple, of years (during which time I have remained connected if not deeply involved), I feel that I can combine both the new and old identities. It’s not a case of one or the other. And I still have some thoughts on education.

Writing

I usually cover books I have read and vinyl I’ve bought in this monthly round up, and now I’m adding a new category of writing, which will cover my progress on fiction writing. See? I’m combining those identities already.

This month I finished the final round of copy-editing on my new book – The h-index (I’ll blog more about the book later). I also sent the brief to the cover designer, Roderick, who did the cover for The Recluse Rules. I hope to have a cover to reveal later in July.

After several rounds of copy-editing I am very happy with this book. The writing is a clear improvement on the last one, and the characters really lead the way. I had the experience this time of not being sure where things would go, but letting the characters themselves lead me.

Books

John Kampfer’s Braver New Worlds attempts something very noble – to try and offer realistic hope. He examines some of the main political, social, and economic problems that democracies are dealing with, such as immigration, health care, education and technology, and for each find one country that is at least attempting to deliver a practical, long-term solution, instead of simplistic, populist responses. These are not without issues themselves, and I don’t always agree with him, but they are at least reasonable, robust solutions based on careful policy and not the “old man shouting at clouds” based approach we have now. Mind you, I also found it a bit depressing because for each of them I tried to imagine them being implemented in the UK, and the right-wing press would stir people up into a frenzy each time.

Katherine Rundell’s hugely readable biography of John Donne managed to be both entertaining and thoughtful. She gets the balance right in not judging Donne by today’s standards, but also highlighting his flaws, as well as his gifts. I also learnt that Renaissance flattery and sucking up was on a level that Gianni Infantino would aspire to. This is how you do biography.

And Graeme Thompsons book on Talk Talk is how you do music writing. His book covers the last three Talk Talk albums and the solo Mark Hollis one. He details the gruelling, extraordinary process of creating the beautiful, influential album The Spirit of Eden. He doesn’t glorify Mark Hollis, but also gives due reverence to the music itself. It made me go back and listen to each album again, with new ears.

Vinyl

Which neatly segues into my music listening this month. As well as revisiting the post-rock, minimalist world of Talk Talk, this month I purchased the new record from 00s indie rock favourites Death Cab For Cutie. This group personified the American wave of that indie movement in the noughties (covered in depth in the book Such Great Heights), and their album Transatlanticism was one of my favourites. I didn’t think I’d get to see them live but last year they toured that album, as well as the hughly influential rock/dance cross over Give Up (by the Postal Service). Without become a tribute band to themselves, the new album mines the best parts of what made them so great to start with. The sound of an artist being comfortable with their legacy,

The most unusual record I bought this month, and probably this year, is Frankie Archer’s The Dance of Death. Archer has a classic northern English folk voice, and this album covers folk songs, but it is very far from a traditional folk album, with each given an electronic, dance treatment. She describes it as “a collection of nu-ancient trad bangers”, which I didn’t know I wanted, but it turns out I very much did.

My album of the month is Aldous Harding’s Train of the Island. It sounds deceptively simple, and is quirky, distinctive and memorable. I’m still finding new elements to it.

By the way, if you’re interested I’ve started doing a short “What I’ve Been Listening To This Week” video over on my music Instagram account.

The theme of the conference was “Looking Back and Looking Forwards”. The conference started with an engaging keynote form my colleague Eileen Scanlon looking back over her career in open education, and citizen science. There was also a 20 years of OpenLearn panel and 30 years of JIME retrospective.

This chimed with something I’ve been pondering for a while. The rise of AI has caused some existential musings in the open ed community – is AI the new OER, or the very antithesis of this? This has combined with the Hewlett Foundation undergoing a strategic review which looks to be moving away from open ed as a focus. I notice too that ALT has launched a new strategy, and openness is no longer one of the core values.

In short, it seems that open education has rather fallen out of favour. I’ve no doubt we’ll see a few “the death of OER” type posts over the coming months, but I don’t feel despondent about it. In his opening talk, Rob Farrow made reference to my 2014 book The Battle for Open, and commented that the battle is never won, and the current mission is to redefine our ambition. What is the problem that open now solves? I’ll come on to that but first a couple of thoughts on what might be termed the OER Phase of Open Ed.

If we take the launch of MIT’s Open Courseware in 2001 as the start, then that is a 25 year run. Of course we can argue about start dates, and this represents only one aspect of open education (the type embodied by the Open University has a longer history). But this represents a convenient framing.

The first thing to say is – 25 years is a bloody long run in a lot of educational movements. Lots of other things have come and gone in that time. Nothing lasts forever.

Secondly it has had significant, practical impact in that time. It has often felt like OER is always “just about to happen”, where “happen” means enter worldwide dominance as the mainstream way of teaching. While it’s nice to have grand goals, the failure to realise this can sometimes make you forget all the incredible work that has been done – in terms of open textbooks, open pedagogy, OER sites like OpenLearn, OER for social justice, and so on. Nearly all Silicon Valley movements in education which get all the headlines don’t come anywhere near that level of actual impact.

The movement (that is a contentious term, but let’s go with it for convenient shorthand), has evolved a lot over that time, with a shift in focus away from purely content to more practice based considerations. And that broad umbrella has been both a benefit and a drawback as it allows for a broad range of interests and research but can also lead to a dilution of vision.

I think now is a time to re-evaluate and consider what were the key aspects of openness that we valued in education, and how they are best represented now. It’s not my place to say what that vision is, but I think it will be around the centring of the role of people, creativity and ethics in education which is facilitated by transparency, openness and trust.

So, I would say that as Open faces the end of one phase it is not a time for mourning but for stating how it can stand for (and against) things we value (or despise).