• EdX, the non-profit started by Harvard and MIT, is releasing some software to automagically grade human-written essays. Some see this software as just another tool for educators to use for more immediate feedback to students, while others are worried that these algorithms will be used incorrectly and lead to disastrous educational policies and outcomes. [url]
• There are studies that show algorithms are statistically comparable to humans when it comes to ranking essays on a 5 point scale. There are things machines can do better and things humans do better -- just make sure you know the differences and automated essay grading can be done productively in the right context. [url]
• Automated essay readers can grade 16,000 essays in 20 seconds. The Educational Testing Service is testing out automation, so students may soon be facing algorithmic grading for their college entrance exams. [url]
• Grading a few sentences can be harder than it might look. Professional (human) teachers are obviously better at interpreting the insights and ideas behind the words a student writes, but computers scale much better and never tire of horrible spelling mistakes or misplaced modifiers.... [url]

That's certainly true in India, where an important battle is playing out around this issue. Here's a summary from Al Jazeera's Web site:

Cambridge University Press (CUP), Oxford University Press and Taylor & Francis launched a lawsuit last year against Delhi University (DU) and a reprographics shop near its campus for producing "course packs" -- bound collections of photocopied extracts from books and journals that are sold for much cheaper than textbooks. The publishers claim the practice infringes on copyright, and that they and their authors are losing money as a result.

But Delhi University's Association of Students for Equitable Access to Knowledge (ASEAK) -- set up to help fight the lawsuit -- points out that according to the Indian Copyright Act 1957 (pdf), in addition to the usual fair dealing/fair use rights, copying for the purposes of teaching is explicitly allowed:

52. Certain acts not to be infringement of copyright. -(1) The following acts shall not constitute an infringement of copyright, namely:

…

(h) the reproduction of a literary, dramatic, musical or artistic work-

(i) by a teacher or a pupil in the course of instruction; or

(ii) as part of the questions to be answered in an examination; or

(iii) in answers to such questions;

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• A father spoke to his son in only Klingon for the first three years of his life. He was apparently interested in whether his kid, who was just going through his first language acquisition process, would pick up Klingon just like any human language. And, yes, the kid did start to learn it. [url]
• What it takes to learn Chinese, or any other foreign language, is simply lots of hard work. You don't have to be talented. Just follow the "10,000 Hour Rule," and practice, practice, practice. [url]
• Scientists in China think they've figured out a better way to teach Chinese. Using network theory, they developed a learning strategy that exploits the structural relationships between Chinese characters, which are actually composed of a fairly limited number of sub-characters. [url]

It's also striking that the image chosen by the Daily Express to illustrate the story is the classic perplexed child staring at a screen whose contents we cannot see -- the implication being that there is something bad there, but that we are powerless to protect the innocence of the young viewer. That, too, is something of a cliché in articles about pornography, and it's disconcerting to see it being wheeled out here for an article about promoting democratic principles.

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UPFI, (Union of Independent Phonographic Producers), said that it agreed with the opinion of French music rights group SACEM that a disconnection regime should be replaced with warnings along with fines of 140 euros.

PCInpact contacted Jerome Roger, Director General of UPFI, who confirmed the group is indeed in favor of such fines.

This leaning towards cash penalties is also endorsed by Warner Music President Thierry Chassagne. In recent comments Chassange suggested that not enough punishments have been handed out under Hadopi and that a deterrent is necessary.

Copyright is getting out of control. Prince George's County is one of the top 25 school systems in the country. If this policy goes into effect, it could set a terrible precedent at a time when quality education is needed more than ever. Students and teachers deserve the same rights as everyone else. With this policy, a high school student could get a takedown notice from their own school for posting a video they made for class on YouTube.

If MIT truly wants to atone for joining the federal case against Swartz, it should do something much grander: It should pledge to spend its money, prestige, and moral authority to launch a multiuniversity campaign to free every scholarly article from behind pay-wall archives like JSTOR. In other words, MIT should pledge to finish the project Swartz started.

Making academic articles available to everyone is one of the most direct ways for MIT to fulfill its public-spirited mission to expand the world’s access to knowledge.

MIT could stop the whole business with a few bold steps. First, it should declare that, within three years’ time, its libraries will cease subscribing to all academic journals and archives that do not make their articles available online to everyone. Second, MIT should require all of its faculty, grad students, and other affiliated researchers to submit their work only to open-access journals. Third, MIT should instruct its deans and other officials to no longer look favorably upon the mere fact of publication in a “prestigious” journal when making hiring and tenure decisions. Instead, promotions should be based on the quality of a person’s work, wherever it’s been published. (This sounds obvious, but most people in academia will tell you that where you publish is just as important as what you publish.)

Finally and perhaps most importantly, MIT should encourage other universities to participate in this effort. Specifically, it should establish a fund that pays for the true costs of publishing academic journals. Call it the Aaron Swartz Memorial Open-Access Fund. Instead of paying exorbitant subscription fees to for-profit journals, universities would instead contribute to the fund. (The amount would be a function of a school’s size and research budget.) Journals would draw from the fund according to how often their work is accessed. It’s not unlike the compulsory license system that pays musicians when their work is covered or played on the radio, except instead of allowing for more poppy renditions of Elvis tunes, this fund would let anyone in the world access any academic article at any time.

But what’s more spectacular than the times, places, and races is Anthony’s unusual and creative marketing campaign and his unorthodox methods for connecting with fans and formulating his own brand. It’s something we’ve never really seen before. And as some of the post-Olympic sponsorship money begins to dry out for elite swimmers, it could be a precedent going forward -- a way to generate and self-brand and connect with fans, a way to keep going.

What struck me about this is an entirely new way for swimmers to fund some of the more expensive swim tours out there. By providing creative incentives – like singing a song, or making a phone call – Anthony is literally giving back to the swim community dependent on the amount of support he gets. Also, throughout the Tour, Anthony’s journey is being updated. So not only can you donate, and then receive an autographed postcard, but you can also feel like you’re on the World Cup tour with him. Check out his Tweets, or his website. He’s uploading pictures of him talking to kids in Sweden, traveling around Russia.

It’s almost like Anthony has embraced some of the rock band roots he has and created his own “rock tour” of Europe, partially funded by his very own street team of loyal supporters. What’s amazing about all this is that bands have been doing this for years. Start-ups, films, photographers, long-distance athletes, too. And now, we’re seeing Olympic swimmers take to the Internet, to help fund their travels and excursions and training.

• One proposal for college students to try to pay for rising tuition fees is for schools to take a cut of their students' future earnings in lieu of upfront tuition. Indentured servitude 2.0 might kill the classical liberal arts education, but oh well. [url]
• Baby boomers might be able to take college-level classes via iPads and chatrooms, but do they really want to? Mobile classes sound useful for students of any age, so why target just the baby boomers? (This exercise left to the reader.) [url]
• Sal Khan discusses the future of credentialing -- and how schools might be separated from the role of providing proof of proficiency. The future of microcredentials could offer a way for anyone to obtain proof of expertise in a narrowly-defined domain. [url]

...these cases strengthen the claim that universities and their libraries have a special place in copyright law because they have a special place in society. Courts and even Congress have long acknowledged the essential role of copying in the educational process. That’s why the preamble to the section of the 1976 U.S. Copyright Act that outlines “fair use” specifies “teaching (including multiple copies for classroom use), scholarship, or research” as examples of “fair uses”—uses that, although they involve the copying of protected material, are considered noninfringing because they enable essential public goods.

Universities are not copyright-free zones—far from it. But they do perform special services that often demand flexibility and liberties that enable them to “promote the progress of science and useful arts,” the core mission of copyright as declared by the U.S. Constitution.

In any event, we are never going to see that operatic courtroom showdown between Google and publishing industry over whether the sweeping scanning of millions of books for explicitly commercial purposes constitutes a fair use by Google. I have written many times over the years that I am dubious of the strength of Google’s argument, and nothing in either the settlement news or the HathiTrust case has undermined my conclusion.

... Google is not a library. It is not a university. It is not a public service. It is a business. Too often we forget those distinctions. The project of creating, maintaining, and offering vast collections of digital material should be something that universities and libraries control, not something we depend on one company to handle.

Here's an interesting story from Costa Rica, where the same effects are playing out in education:

Thousands of students participated in a march in San José on Tuesday, October 9, 2012, protesting for their right to photocopy textbooks for educational purposes. The unrest was caused by President Chinchilla vetoing Bill 17342 (known as the 'Photocopying Law') which seeks to amend Law No 8039 on Procedures for Enforcement of Intellectual Property Rights, on the grounds that it removes protection of the work and intellectual property in the artistic, literary and technological areas.

It's interesting that large numbers of Costa Rican students felt strongly enough about this issue to take to the streets -- rather as thousands of their contemporaries did in Europe over ACTA earlier this year. That's evidence that this isn't simply a case of people wanting to get "something for nothing", as copyright apologists might try to frame it. Rather, this is about a group who depend on unauthorized copies in order to gain access to knowledge that is vital for their studies, but which is otherwise unaffordable thanks to monopoly pricing.

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most small-to-mid-level musicians i know don't have health insurance. some musicians find tricky ways, some pay, most take the risk & pray.
when i was in my early twenties, buying my own insurance would have been equal half my rent. it just didn't seem like an option. my parents had just watched the death of my step-brother (uninsured when stricken with a disease) almost destroy the family bank, and so they DEMANDED i get insurance.
we fought.
they offered to pay half.
i agreed.
i was lucky.
many aren't.

people OUTSIDE the US were looking at all the tweets from the US and feeling really, really, really bad for us. and some younger tweeters (teenagers, i can only assume) were shocked that we americans don't have what they have (the NHS was getting a lot of love and support from the brits, especially seeing as it's under threat).

people INSIDE the US couldn't believe what people OUTSIDE the US didn't KNOW. this is the amazing power of twitter sometimes. we all think we share common knowledge, and then something like this pops up and BAM – you see a whole bunch of people in different countries shocking the hell out of each other. we all know that lance armstrong doped, that lady gaga gained weight, , etc….but tons of people in the UK/Finland/Australia/etc don't know the extent to which US people FREAK OUT on a daily/monthly/yearly basis about insurance. how much it changes our lives. and how EVERYbody has a story.

Americans downloaded more than 97 million albums and singles using BitTorrent during the first half of 2012, with Gainesville, FL named as the country’s “pirate capital” in an influential new report. Of the 97 million torrents downloaded across the USA, around 78 percent were albums and 22 percent singles. Assuming an album contains 10 tracks, the total number of songs downloaded would have surpassed 759 million in six months.

Let’s recall that there are two conventional ways of talking about the ethics of copying–both in relation to the theft of material property. First: that copying is not like theft because it is non-rivalrous–making a copy does not deprive the owner of the use of the good.  For short, call this the Paley position–the defense of digital culture as a culture of abundance.  Second: that copying is like theft because it deprives the owner of the potential economic benefit from the sale of that good (in the case of downloading, to the copier).  Call that the MPAA position–the defense of culture as a market that depends on the scarcity or controlled distribution of digital goods.

First, that strong moral arguments against file sharing mistake the structure of public attitudes. Not surprisingly, the public engages in many of the same negotiations of context as the law. For most people, like theft and not like theft are not diametrically opposed moral judgements about copying. Rather, they operate on a continuum. They depend on the context and scale in which copying takes place. Copying, our data makes clear, is widely accepted within personal networks, reflecting a view of culture as not only shared but also constructed through sharing. Outside networks of family and friends, in contrast, a commercial and property logic tends to prevail. Support for more active forms of dissemination and ‘making’ available’ through such networks is quite low. Support for commercial infringement–selling copied DVDs–is minimal.

...there is a strong generational divide in attitudes, with 18-29 year olds far more likely than older groups to view a wide range of copying practices as reasonable. This shift is strongest in relation to sharing within networks of ‘friends’–a category that has become very elastic in the last few years through the rise of online social networks. Among 18-29 year olds, sharing with friends is entirely normalized and large in scale. On average, ‘copying from friends/family’ accounts for nearly as much of music file collections as ‘downloading for free.’ What are the reasonable boundaries of such a network? My siblings? My five closest friends? My 500 Facebook friends? Or the 5000 music aficionados who subscribe to a private file sharing network? This is where the rubber hits the road as people develop their own digital ethics. The law has not begun to address it, and educational efforts to convince people that sharing within communities is theft are likely doomed.

As the above indicates, those 50 titles won't be ready until next year. Meanwhile, in Finland, some teachers decided to produce something a little sooner:

A group of Finnish mathematics researchers, teachers and students write an upper secondary mathematics textbook in a booksprint. The event started on Friday 28th September at 9:00 (GMT+3) and the book will be (hopefully) ready on Sunday evening.

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The government of Guyana is making no apologies about the fact that it is buying pirated textbooks for public schools as a cost-saving measure.

Cabinet Secretary Roger Luncheon says officials are buying pirated books from printing firms and companies that photocopy books because of their high quality and lower prices. Luncheon said the government's move is justified.

The Cabinet’s decision in Guyana to procure pirated textbooks for public schools is an indisputably illegal act. This decision is in contravention of Guyanese law, Caribbean law (CARICOM’s revised Treaty of Chaguaramas) and the international Berne Convention.

However, the report implies that education translates into gainful market skills, an assumption not found in the research. For instance, while Chinese students, on average, have twice the number of instructional hours as Americans, both countries have identical scores on tests of scientific reasoning.

Most importantly, the innovators at the helm of an economy come from the top quarter of students. While the United States has a dismal track-record of inequality, we treat our brightest minds quite well. The “average test scores are mostly irrelevant as a measure of economic potential,” write Hal Salzman & Lindsay Lowell in the prestigious journal, Nature, “To produce leading-edge technology, one could argue that it is the numbers of high-performing students that is most important in the global economy.”

The United States, they find, has among the highest percentage of top-performing students in the world.

This year, however, the textbook for Global VISUAL and Material Culture has no pictures. Students have been told that the publisher couldn’t get the copyright permissions settled in time for the print run, so students will have to read the book, and see the pictures online by following along on their computer.

There is no discount on the $180 price for an ART textbook that has NO PICTURES. Devoid of pictures. Bereft of art. If I am going to have to pay $180 for an art history book that is of no resale value to next year’s students, it had damn well better be an excellent visual reference with hard cover and full colour plates, to keep around for years, festooning my coffee table and that of my heirs.

So the current state of the library ebook market is this:

• 2 major publishers which charge high prices (Hachette, Random House)
• 2 major publishers which won’t sell at all (Macmillan, Simon & Schuster)
• Penguin, which is only selling ebooks to libraries grudgingly and with support for the Kindle explicitly blocked
• HarperCollins, which imposed a 26 checkout limit for library ebooks

Hachette used to be one of the bright lights in library ebooks because they charged the regular retail price for their ebooks. And even though they wouldn’t sell their front list titles to libraries, at least we knew the titles would eventually be available. Only now those titles will be terribly expensive.

Hachette is increasing backlist prices by 220% and … what? And we get ownership? And we get increased simultaneous lending? And we get anything other than another price gouge from a publisher that seems to not comprehend the basic fundamentals of publishing?

Let’s make this really easy to understand. Publishers publish content. Libraries buy content. As long as publishers keep publishing content, libraries will keep buying content. Why? Because libraries buy content. Only we buy it from a relatively fixed budget.

By drastically increasing the price of backlist titles, all Hachette is doing is reducing the funding that can go towards purchasing its new titles.

That is why I cannot begin to comprehend this move by Hachette. Increasing backlist prices must either reduce the available budget for new titles or reduce acquisition of backlist titles—lost sales for Hachette either way. Furthermore, it reveals a lack of focus on the part of Hachette; instead of building profits on releasing the best possible titles every year, the company is stuck looking backwards. Finally, it shows a lack of understanding about the benefit of having more open access to backlist titles as additional entry points into new book purchases.