Presentation:

This session focused on the implementation of an interdisciplinary multimedia program within a core humanities curriculum. Dr. Willis' presentation detailed the history of such a program at the University of Southern California – from the early stages of the program's conception, through the adaptability required in the collaboration of two schools within the university, to the practical challenges of implementing principles of multimedia literacy within a classroom and conjoined lab, and integrating these principles with general course material.

The presentation began with a question: How might one introduce multimedia literacy in a university-wide program, both practically, in terms of building labs, instituting classes and hiring people to teach those classes, and theoretically, in terms of rethinking the parameters of traditional literacy and pedagogy such that they include the ability to work productively with sound, images and interactivity? Further, how can the creators of such a program navigate the structures and balance the expectations of traditional academia, which often do not support or value multimedia scholarship?

There are two answers to this question: the short answer is that the implementation of such a program requires nothing less than a paradigm shift and active advocacy across all levels of academia. The longer answer articulates ways that paradigm shift might be implemented, and formed the remainder of Dr. Willis’s presentation.

Multimedia in the Core: Background and Foundation

The Multimedia in the Core program was formally established in April 2006 after a mandate from the University’s Provost Max Nikias in which he announced his desire to offer every student at USC the opportunity to gain skills in multimedia production. The reason behind this mandate is the idea that to be literate in the 21st century requires not only effective skills in reading and writing, but also the ability to use and interpret media effectively.

The result of that mandate was a collaboration between USC’s College of Letters Arts and Sciences and the Institute for Multimedia Literacy to form the Multimedia in the Core Program. In the program, seven classes from the fall and spring semesters were chosen to include a multimedia lab addition; students would enroll in the regular GE course as well as in the associated two-unit lab section. They would attend lectures as usual, but rather than writing papers exclusively, they would complete multimedia exercises and assignments based on the course material.

While the Multimedia in the Core program is new, its foundation was informed by nearly a decade of planning, research and experimentation by the Institute of Multimedia Literacy, which was founded in 1998 by Elizabeth Daley, Dean of the USC School of Cinematic Arts.

The IML received initial grant funding from Atlantic Philanthropies in 2000 with a five-year grant of $8.5 million with additional sponsorship from USC’s Annenberg Center. Because the Annenberg Center was not affiliated with a single school at the University, it was well positioned to work across the entire University, and Atlantic Philanthropies was interested in having the IML develop a broad range of experimental programs. These included a series of courses within the College of Letters, Arts and Sciences, as well as pilot programs in conjunction with the USC Schools of Education and Medicine.

Initial College Courses

The first collaborative courses undertaken by the IML and The College reshaped existing General Education classes, upper division classes and Thematic Option classes (USC’s undergraduate Honors program). Students enrolled in the class and then, in conjunction with paper assignments and written exams, they also created media projects based on media skills taught in a lab environment. The lab portions of the class were taught by teams of two Teaching Assistants from the School of Cinematic Arts and trained through the IML; the labs involved a mix of critical analysis and production skills. In addition, professors in the program were involved in intensive two-week workshops in which they learned how to use specific software applications, such as Flash, Dreamweaver or Final Cut Pro. They produced projects related to their course material, and showed these projects to their students.

Examples of these early classes include African-American Popular Culture, a diversity class taught by Judith Jackson Fossett. Two of the central themes of her course focused on the physical body and the human voice, asking how the fragmentation of the Black self is represented, especially with respect to the severing of voice and body, and how the representation of this self functions in structuring Black Popular Culture. Students were asked to complete three media-based assignments, including a sound-based project in which they were asked to make what Fossett called a “sonic argument” using only sound. For the final project, students contributed to a CD compilation, which Fossett felt was important for generating a sense of shared accomplishment, and in providing a physical object that students could claim as their own at the end of the course.

The IML and College supported close to 50 similar classes, and the focus in these early experiments was on effective methods for training Teaching Assistants and faculty members on ways to integrate multimedia practices in teaching as well as in the production of projects that responded to assignments.

These class experiments were fruitful in demonstrating the value of integration on three levels:

1. It is beneficial for the professor of the class to integrate multimedia into the course itself, whether in the presentation of course material or in discussions of his/her own media production. This not only ensures that the professor understands the complexity of media production, but allows him/her full access to the knowledge needed for assessing the projects produced within his class, and it helps lessen the division between course content and media.
2. It is essential that the teaching instructors integrate course discussion and multimedia instruction so that the two aspects do not appear to be two separate endeavors.
3. And finally, it is essential to integrate the course material and multimedia skills acquisition in the assignments so that they function in unison. The reason for this is that instructors never merely teach students how to use a particular software application or tool; instead, the goal is to teach the applications and skills within a critical context.

Multimedia Genres

The IML also began to discern a series of types or "genres" of multimedia projects:

• Argumentative: these projects make a claim and support it through evidence.
• Documentary: these projects make some kind of “truth claim,” and, through a variety of means, demonstrate the validity of that claim.
• Essayistic: these projects are often first-person, and allow us to recognize non-traditional scholarly practices such as oral histories.
• Game: game-based projects establish a set of rules and expectations, and engage users through play and interactivity.

Rossier Masters of Arts in Teaching Program

The Multimedia in the Core program also drew on the experiences uncovered through the IML’s Masters of Arts in Teaching Program, a program conducted in collaboration with the USC Rossier School of Education. The program began in 2001 in response to the growing demand for multimedia in education for teachers. The first classes were offered in June of 2004; the second group began the following June. In this program, the IML’s goal was not to teach teachers what to teach their students, but instead how to use media tools and applications. The lab-based course was developed in consultation with professors in the School of Education and covered four areas:

1. Multimedia Analysis and Production, in which participants analyzed the formal components of multimedia and then used that analysis in the production of their own media projects;
2. Multimedia Pedagogy, in which participants explored the use of media in the classroom and assessed best practices for teaching students how to use media;
3. Classroom Research and Assessment, in which participants were shown a variety of methods for assessing student work, as well as methods for evaluating their own teaching; and
4. Professional Development and Communication, wherein participants learned techniques for using multimedia to communicate with diverse constituents.

The experience gleaned from this program contributed directly to the Multimedia in the Core’s efforts to work with faculty members in the design of their courses, and with Teaching Assistants in how best to orchestrate lab-based teaching.

Honors in Multimedia Scholarship<.

The Honors in Multimedia Scholarship program began in 2003 as a four-year program designed to teach students how to analyze media and to use the tools of media within disciplinary contexts. The program begins with an introductory course which introduces students to a range of multimedia genres, asks students to be critical of media and technology, traces a history of technology in a way that invites scrutiny of utopian claims, and asks students to consider why there is so much pressure to learn these skills. Students then take a course in the Multimedia in the Core Program, followed by a thesis preparation course; they conclude the program by creating a multimedia thesis project in their major.

Vectors

Finally, the Multimedia in the Core program drew on the experiments of Vectors: Journal of Culture and Technology in a Dynamic Vernacular, USC’s multimedia journal, edited by Tara McPherson. [1] Designed to intersect with the larger debates about new forms of scholarship by enacting it, Vectors maintains the peer review format of other academic journals, but invites authors to create media versions of their essays working in collaboration with media designers. Vectors functions effectively in helping advocate for multimedia scholarship and legitimizing multimedia publishing as a valid form for academic practice, and it offers a resource for faculty seeking a venue for their own multimedia scholarship.

Key Events

Another key part of the background that contributed to the creation of the Multimedia in the Core Program was a series of conferences hosted by the IML. In December, 2004, the IML hosted Scholarship in the Digital Age. [2] Funded by a grant from the Ford Foundation and co-organized by Mizuko Ito and Lisa Tripp, this summit featured scholars John Seely Brown, David Buckingham and Lawrence Lessig and addressed the current technological shift in modes of cultural production due to the prevalence of digital technologies. There were several other similar events, all of which brought scholars to USC to contribute to discussions regarding multimedia and pedagogy.

In the spring of 2006, and in direct response to the mandate to inaugurate the Multimedia in the Core Program, the IML invited a group of group of educators from across the country to offer their input on crafting the program. This Symposium on Multimedia Across the Curriculum included presentations by Johanna Drucker, Jerome McGann, Gail Hawisher and Anne Wysocki, all of whom described their own work and programs, offering insights on the design of the Multimedia in the Core Program. [3]

The Program’s Formation

To summarize, then, the participants in the creation of the Multimedia in the Core Program drew on the following resources gathered over the course of nearly a decade:

• a series of test classes;
• a team of seasoned faculty;
• a taxonomy of emerging multimedia genres;
• the understanding that integration forms the foundation for success;
• the understanding that to be effective the program needed to address the needs of faculty, teaching assistants and students;
• a recognition of the larger institutional structures that require expansion or revision;
• support for faculty research and publication in multimedia (e.g., Vectors);
• input and guidance from a larger community of scholars.

The Labs

The next step was the physical structures that would house the new program. In the Spring of 2006, the IML and College of Letters, Arts and Sciences began to collaborate on the design and construction of two multimedia labs. Each lab includes 24 workstations, a podium for teaching assistants with dual projectors, whiteboards, as well seminar tables to allow an easy melding of discussion and lab work. The labs are also configured to encourage collaborative work, with several teams working simultaneously.

The lab area includes a check-out station where students can borrow still cameras, video cameras, course-related DVDs, guided software tutorials on DVD, and hard drives for the storage of class assignments. The design acknowledged the need for a room for students to work together outside the lab, so the space includes a collaborative lounge, in addition to an office for Teaching Assistants, staff and faculty, with facilities for projecting projects and holding smaller meetings available here as well.

Defining MDA 140

Ten classes were selected from across the requirements of the General Education course curriculum. The next step was to host a workshop with all participating faculty members and Teaching Assistants to create a sense of orientation and to offer training useful for the coming year. There were two primary goals of the initial workshop:

• to clearly define MDA 140, its relationship to its GE correlate classes, and the core literacies that would be taught across all iterations of the course;
• to demonstrate a range of multimedia components and strategies for faculty to consider as they designed the multimedia components of their courses, including assignments, lab exercises, media-based lectures and evaluation strategies.

Prior to the workshop, Dr. Willis met with all faculty members in order to identify the topics and concerns that were of greatest importance to faculty in planning their classes. Presentations and workshops were tailored to address these issues, which included:

• the use of social software in the classroom
• integrating course content with lab exercises and multimedia assignments
• integrating faculty research and teaching
• strategies for evaluation, critique and grading of student work
• designing collaborative and group assignments
• overview of the production process
• strategies for selecting multimedia tools and technologies
• incorporating multimedia into lectures
• objective-oriented syllabus development

To help define multimedia literacy, IML staff members pointed to the definition of 21st century literacy articulated by the New Media Consortium during its 2005 literacy summit:

"Twenty-first century literacy is the set of abilities and skills where aural, visual and digital literacy overlap. These include the ability to understand the power of images and sounds, to recognize and use that power, to manipulate and transform digital media, to distribute them pervasively, and to easily adapt them to new forms." [4]

The IML also distributed a booklet of readings at the beginning of the workshop. The readings included:

Susan E. Metros and Krisitina Woolsey, “Visual Literacy: An Institutional Imperative,” EduCause Review, May/June, 2006.

Larry Johnson, “The Sea Change Before Us,” EduCause Review, March/April 2006.

John Seely Brown, “Growing Up Digital: How the Web Changes Work, Education, and the Ways People Learn,” Change, March/April 2000.

Toddy Bryant, “Social Software in Academia,” EduCause Quarterly, Number 2, 2006.

Peter Meng, “Podcasting & Vodcasting: A White Paper,” University of Missouri, IAT Services, March 2005.

The five-day workshop included presentations by IML faculty and staff; these were supplemented with talks by College faculty Alice Gambrell, Bruce Zuckerman and Jane Iwamura, as well as by Annenberg Center Fellow Bob Stein. Professor Gambrell presented several projects made by students, explaining the ways in which she and her Teaching Assistants assessed them. Grading rubrics developed by the IML were distributed in this context, and the need to articulate the expectations of a multimedia project was underscored by Professor Gambrell based on her own classroom experience. Professor Zuckerman demonstrated his own media-based research with the image collection of West Semitic Research in his media database InscriptiFact.[5] He implored participating faculty members to use the opportunity afforded by teaching in the program as a way to enhance their own research endeavors. Professor Iwamura presented a group-authored wiki project created by students in her class, and explained the ways in which a new generation of students finds satisfaction in producing scholarly media for an audience that expands beyond the classroom. Bob Stein showcased the efforts of The Institute for the Future of the Book, and demo-ed Sophie, a program that allows for the easy melding of images, sound, video and text.[6]

The IML also hosted workshops that detailed effective practices for integrating multimedia into the classroom, academic uses for social software, and emerging multimedia genres.

Throughout the workshop, key issues and ideas related to the core literacies that constitute MDA 140 were recorded and revised via a group-authored wiki (an online, collaborative authoring tool). This resource included materials that continue to be useful to Teaching Assistants and faculty:

• sample assignments
• grading rubrics
• course descriptions
• readings on multimedia in higher education

More immediately, however, the wiki served as a space to negotiate the definition and description of the MDA 140 course. All participants in the workshop were invited to revise or expand the definition as it evolved over the five days; on the final day, the morning was spent fine-tuning the course description and accompanying course expectations. The results:

MDA 140 Course Description

This course introduces multimedia as a critical and creative tool that functions to enhance traditional forms of academic work. Students will learn basic skills in multimedia authoring and complete the course having acquired proficiency in several core, media-based literacies described below. The precise nature of the multimedia work undertaken in this class will vary depending on the specific needs and content of the course to which it is linked.

Foundational Literacies for MDA 140

Further discussion yielded agreement on several "foundational literacies," namely those areas that students in all versions of MDA 140 should encounter and understand before leaving the course. These foundational literacies are distinct from the "recommended literacies," which are areas that may be adopted as needed depending on the focus of the correlate GE course.

•  Digital Literacy
• Proficiency with basic tools of digital authoring
• Understanding of storage, backup, compression, file types, naming conventions, etc.
•  Network literacy
• Ability to use network-based software for sophisticated participation in online communities
•  Design literacy
• Ability to use appropriate design principles in service of critical goals
• Ability to control and articulate the relationship between form and content
•  Argumentation
• Ability to use multimedia to develop and express a persuasive thesis
• Effective use of evidence and complex thinking in constructing an argument
•  Research Literacy
• Ability to perform effective, critical online research
• Knowledge of academically appropriate protocols for selection, citation and attribution of electronic source materials
• Knowledge of fair use and copyright issues

Recommended Literacies for MDA 140

•  Presentation
• Ability to deploy strategies for effective presentation using multimedia
• Understand and use appropriate tools for the publication or dissemination of multimedia materials
•  Visual literacy
• Ability to convey information visually
• Understand and control systems of visual signification
•  Sonic literacy
• Ability to communicate effectively with sound
• Understand and work with various components of sound
•  Interpretation
• Ability to use multimedia to enhance a critical interpretation
• Ability to identify and articulate the cultural, historical and ideological contexts of a media object
•  Annotation
• Understand strategies for critical annotation of text, images and media
•  Collaboration
• Ability to work effectively in a group authoring environment
• Ability to design and lead a team project
•  Narrative Literacy
• Knowledge of basic components and genres of narrative
• Ability to deploy elements of narrative in a critical context
•  Pedagogical literacy
• Understand strategies for creating an effective tool for teaching
•  Interactivity
• Ability to communicate effectively in a non-linear, interactive format
• Ability to design an effective interactive interface or navigational structure
•  Code literacy
• Ability to understand the basics of how code operates
• Ability to write or use basic code

Pedagogical Goals

In addition to addressing the contents of MDA 140, the workshop highlighted a range of pedagogical issues and priorities related to implementing multimedia across the curriculum. For example, faculty articulated their interest in:

• encouraging students to think differently about their disciplines;
• training a more literate and engaged citizenry;
• mobilizing the critical capacity of media practices with which students are already engaged;
• and, strategizing new teaching methods and forms of discussion appropriate to multimedia-based scholarship.

The discussion highlighted many of the difficulties associated with incorporating multimedia, the most prominent being the ability to balance course material and technological needs. How can we teach the course material and train students how to use the software needed to create a multimedia project without exceeding the time constraints of the course?

A second major concern centered on the challenges associated with grading multimedia projects. It was agreed that it is essential for all assignments to clearly state the grading rubric against which a project would be judged and provide specific mechanisms for evaluating and critiquing student work.

On Workload

A related concern stems from the grading process: how can the workload for both the faculty and the TAs remain reasonable despite the extra demands of a multimedia class? Answers to this question emphasized sharing resources, tightly focusing the goals of assignments and preparing instructional materials prior to the start of the class. To this end, prior to leaving the workshop, each faculty member and TA had the opportunity to meet and make plans for developing these materials with the help of IML instructional staff.

On Traditional and Emerging Literacies

While there is much talk about new forms of learning, participants agreed on the need to avoid falling into the too easy binary division between "progressive" and "reactionary" models of education. The relationship between these two forms is far more complex, and differs from discipline to discipline. As incoming generations of students continue to bring new skills and sensibilities to their learning practices – e.g., facility with multi-tasking and engaging multiple information streams, for example – the challenge for this program will be to guide students toward critical thinking and a rigorous engagement with course materials.

Institutional Issues

Several issues arising during the workshop point to the need for consistent and tangible institutional support at the departmental, College and University levels. Faculty members expressed their desire to have their work in the program recognized as legitimate academic activity and service, which should be worthy of concrete institutional support (e.g., course release). An additional imperative was introduced regarding the need to diversify the program racially and economically.

Multimedia in the Core Classes, Fall 2006

The Ancient Near East (LING 295g)
Taught by Professor Bruce Zuckerman, The Ancient Near East is a linguistics class that uses digital imaging to examine ancient inscriptions and to explore the development of writing in the ancient world. For this class, Professor Zuckerman focused on a collection of 50 cylinder seals housed at the Spurlock Museum. Working in tandem with a similar course at the University of Illinois, students examined, analyzed and documented these ancient seals, building a unique – and unparalleled – database for other scholars to use.

Earthquakes (GEOL 240Lg)
Professor Jim Dolan’s "Earthquakes" class surveys the history and causes of earthquakes, and students used 3-D modeling software, combined with images, text and sound, to tell the story of a major earthquake in a short video.

Love and its Representations in Literature, Philosophy and Film (PHIL 225g)
Professor Ed McCann’s "Love and its Representation in Western Literature, Philosophy and Film" looks at a wide range of myths, stories and notions about love. Students used multimedia to analyze the ways love has been represented in cultural forms from Greek epic poems to contemporary film.

Expanding Beyond Specific Programs

The success of the collaboration between the IML and The College has allowed for expansion through a series of endeavors designed to support multimedia at USC. The Multimedia in the Core program has hosted a series of faculty and Teaching Assistant workshops, for example, exploring academic uses of the tools of Web 2.0, the role of multi-user virtual environments such as Second Life in the classroom, and tools for crafting interactive projects, among others. The IML is also working on methods for supporting the university’s Digital Dissertation Fellowship, and offers workshops to graduate students on methods for using media, whether in research or presentations.

Discussion:

The session discussion consisted of a lively exchange of questions and answers. Topics covered include:

• Details regarding advance planning for events (such as summer workshops, lab materials and early development of course materials such as syllabi to enable graduate teacher coordination): Dr. Willis discussed the difficulties of requiring faculty members to be present for five days during the summer break, and the requirement that those five days be stellar. The strongest faculty workshops combine best practices assessment by other faculty members, followed by hands-on work in the labs. She also acknowledged the challenges placed on Teaching Assistants, who are expected to develop a syllabus for their particular MDA 140 section, often with little or no training in syllabus creation. She noted that Multimedia in the Core staff members work closely with Teaching Assistants to develop a strong syllabus, using other syllabi as examples and demonstrating methods for platforming assignments in a manner that allows students to build competencies across the semester.


• Emphasizing creativity in addition to substantive and technical material (for example by including design in assessment and as a core literacy): Dr. Willis noted that a key in assessing student multimedia projects should center less on "good" design versus "bad" design and more on the student’s facility and control over the media used in the project. Are the project’s choices the result of careful attention and deployment?


• Critique as a literacy: Participants advocated including the ability to analyze multimedia as a core literacy.


• Group work and evaluation: Dr. Willis acknowledged the challenges associated with collaborative work in evaluation, and noted some of the methods used in assessment. Students write reflections that describe and assess their role in the collaborative process, for example, allowing them a familiar method for expressing a complex interaction.


• Non-digital multimedia formats: Participants inquired about the use of non-digital media, and Dr. Willis asserted that the focus of the program centers on digital tools and networked scholarship.


• Citation and fair use: Dr. Willis discussed the challenges of citation and fair use, noting both USC’s general policy and the program’s policy, which is discussed with students as part of the lab orientation that takes place on the first day of class. Students are encouraged to understand distinctions among remix, parody, "decorative" borrowing and plagiarism. They are also taught methods for citing work across multiple media formats.


• Archiving: Larger multimedia programs face a considerable challenge with respect to archiving; Dr. Willis explained the development of the IML’s student portal, which allows students to archive their work, using a structure based on the class within which they are enrolled. The work is linked to the project assignment and faculty comments, and it is accessible to faculty and Teaching Assistants for assessment. In discussing scalability and support, however, Dr. Willis admitted that determining how student work should be archived beyond the end of each semester and whether it should be archived by the class’s department, school or program was an issue still pending decision at USC. She also discussed ideas regarding creating a student portfolio for the IML’s Honors Program and teaching students methods for showcasing their work effectively.


• Choosing tools: A participant queried the use of PCs instead of Macs in the program’s multimedia labs. Dr. Willis noted that many faculty participants advocated for the use of PCs, which are used by a broader array of students, and which tend to be less expensive.


• Increasing the scale of a multimedia program at a university: Participants wondered how the IML and The College could expect the program to grow when it requires a large degree of hands-on support. Dr. Willis again admitted that scalability remains an issue, but noted that the program’s current goal was to expand slowly, gradually building a community of faculty members adept with multimedia, while also expanding efforts across the university to train Teaching Assistants.


• Promoting interest among students as well as faculty: Dr. Willis detailed recruitment efforts for the Multimedia in the Core program, which included:
• the development of a Web site with an explanation of the program; [7]
• the creation of a three-minute explanatory video;
• outreach to incoming students;
• outreach to specific undergraduate constituencies, including students in the School of Cinematic Arts, Annenberg School of Communication and the School of Fine Arts;
• presentations to student advisors;
• Open House events designed to bring students into the labs;
• a student showcase, in which students present their work to other students.

Recommendations:

For Individual Campuses:

• Formulating explicit and mutually agreed upon principles of multimedia literacy is critical to the success of any multimedia program. Doing so provides specific goals, the approach to which must be modulated according to particular course material and teaching style.
• The general project is greatly facilitated by the involvement of senior professors possessing experience with the role of administrator/university committee members, and an interest in multimedia technology/digital scholarship. The involvement of such instructors makes the practical necessity of obtaining university support for a multimedia program itself much more attainable.
• Integration is essential. Too often multimedia is considered an "addition," something added to text as an enhancement. That approach is to be avoided, and instead, multimedia should be integrated fluidly in the classroom, in the labs and in the work produced by students.
• Be aware of the many challenges of incorporating multimedia within an educational infrastructure resistant to change.
• If faculty members cannot find support in their departments and in their fields for their own multimedia efforts, it is very difficult to expect them to participate in the production of their own work and any instruction of this kind with their students.
• Similarly, if tenure committees discourage multimedia publication, how can we expect tenure-track faculty members to pursue this kind of publication, and by extension, this kind of instruction, especially when it demands a far greater time commitment than a traditional form of publication and teaching?
• While the challenges of scalability, integration and multimedia instruction are tremendous, full-scale adoption of a program of this kind requires nothing less than a paradigm shift.

References:

Websites

[1] Vectors: Journal of Culture and Technology in a Dynamic Vernacular http://www.vectorsjournal.org
[2] Scholarship in the Digital Age http://www.iml.annenberg.edu/html/research/summits/index.htm
[3] Symposium on Multimedia Across the Curriculum http://www.iml.annenberg.edu/mac
[4] The definition comes from the New Media Consortium’s report, “A Global Imperative: The Report of the 21st Century Literacy Summit,” NMC, 2005: 8. http://www.nmc.org/padf/Global_Imperative.pdf
[5] InscriptiFact is an online database of images from the West Semitic Research collection. http://www.usc.edu/dept/LAS/wsrp/scholarly_site/
[6] Institute for the Future of the Book http://www.futureofthebook.org/
[7] Multimedia in the Core Web site: http://cmm.usc.edu

Print Publications

1. Susan E. Metros and Krisitina Woolsey, “Visual Literacy: An Institutional Imperative,” EduCause Review, May/June, 2006.
2. Larry Johnson, “The Sea Change Before Us,” EduCause Review, March/April 2006. 3. John Seely Brown, “Growing Up Digital: How the Web Changes Work, Education, and the Ways People Learn,” Change, March/April 2000.
4. Toddy Bryant, “Social Software in Academia,” EduCause Quarterly, Number 2, 2006.
5. Peter Meng, “Podcasting & Vodcasting: A White Paper,” University of Missouri, IAT Services, March 2005.