2014

Transmedia
Education

by

Chester Branch

[TRANSMEDIA EDUCATION]
LDSL Project turned Article



 TABLE OF CONTENTS
INTRODUCTION
LEARNING SPACES
The Knowledge Economy
Exchange and Specialization
Participatory Learning
Gaming Structures
Self-Organized Learning Structures
The Three Creative Roles in Transmedia Education
The Architect as Guide
The Expert as Project Leader
The Student as Project Member
CREATIVE SPACES
What Is Transmedia?
The History of Transmedia
Web 2.0
Toffler and McLuhan: Social Media Prophets
PERFORMANCE SPACES
Engineering
Environment
Healthcare
Fashion
Scenario Planning
Music
Sports
Politics
CURRICULUM
Transmedia Degree Plan
CONCLUSION
PROGRAM BIBLIOGRAPHY
ENDNOTES














INTRODUCTION
In 1914, Frederick J. Kelly developed SATs as a temporary fix during the war.
By 1926 he renounced them,[i] but we have not. The majority of schools are,
unfortunately, still preparing students for a 20th century world while we are
living in the 21st Century. We are a generation engulfed in the transmedia
revolution. Through an analysis of the three primary transmedia spaces, this
paper will outline the need for a curriculum that can prepare digital natives and
digital immigrants for inevitable shifts in communities of practice.

LEARNING SPACES
Educational institutions are very recent in human history and were based on an
industrial form of work. Modernist industrial forms of work have only been
around for 120 years. Frederick Winslow Taylor, the theorist of scientific
management, began most of the ‘quotas for work’ methodology that we see
today.[ii] Everything about modern education (statistics, standardized testing, IQ
testing, multiple choice testing, etc.) was a static practice developed from a
period of about 1860 to 1915.[iii] Since then, learning spaces have become
more fluid, agile, and increasingly unconventional. Outside of traditional
educational institutions, people learn an incredible amount from each other.
Social media is the biggest societal shift since the industrial revolution.[iv]
Educational institutions will eventually exit the insulated industrial education
style seen below.

Source: plearn.net[1]
Instead, they will shift to a completely networked style of learning like the
following graphic below.


[2]
Source: plearn.net
The new transmedia learning spaces will make better use of the knowledge
economy. They will be more akin to virtual and on-campus learning labs.

The Knowledge Economy
This shift could fundamentally change how teachers grade students. It will also
call into question whether or not grades, in an age of search engines, represent
learning. Traditionally, this top down approach was considered the main way for
measuring learning, but in this day and age, we are beginning to recognize that
“work regimes involve collaboration with colleagues in teams.”[v]
Learning strategies should be shifting away from memorizing information,
because of this. This static information is readily available to everyone. Perhaps
we should be moving towards using the information and finding creative
solutions to solve the problems of the world. [vi] Perhaps the best means to
represent learning in the future will be if a class can successfully create a
solution to a particular problem in their community, as it relates to the subject
matter.
Exchange and Specialization

Today students can go to academicearth.com and watch thousands of video
lectures from the world’s top scholars for free. In the past, learning spaces have
underestimated people’s willingness to help each other and overestimated the
role of money as a motivator. Conventional wisdom regards “… institutions as
being capable of more things than uncoordinated groups are, precisely because
they are able to direct their employees.” [vii] In the future we have “… a
situation where the loosely affiliated group can accomplish something more
effectively than the institution can.”[viii]
Duolingo, for example, offers free language education. What’s amazing about
their model is that while you learn you also translate real-world business
products. The businesses save money because they do not have to hire
translators and the students save money because they do not have to pay huge
course fees. This exchange and specialization method also breaks down the
language barriers of cross-cultural communication. This can happen with several
learning labs, virtual and on-campus.
Participatory Learning

Participatory learning is a key term in thinking strategically about these
emergent shifts in educational structure. With participatory learning, people of
all ages use multiple media platforms to share ideas and give feedback to
ongoing projects. This method of learning has been promoted both by HASTAC
and the MacArthur Foundation’s Digital Media and Learning Initiative.
Participatory learning in social media is different than digitizing your lectures
with IT. IT tends to be “top-down, designer determined, administratively driven,
commercially fashioned.” [ix] On the other hand, participatory learning
structures are “typically customizable by the participants.”[x] Social media
outlets represent one major technical adjustment that institutions must make.
Palfrey makes a compelling case that the only people resisting this is the ‘old
guard.’ The ‘old guard’ is mostly comprised of the baby boomer professors, with
tenure, who reluctantly learned of these things in adulthood. Most ‘Millennials’,
and early adopters from older generations, see embracing participatory learning
as a non-issue. The majority of students entering college have been raised in a
world where blogging, instant messaging, and texting have always existed.[xi]
Cornelia Dean suggested that future learning-labs would be so expansive that
Nobel Prize winners will not just be relegated to oncology researchers from
some distinguished university. Instead, Nobel Prizes will go to a blogging
community of collective insight.[xii] Since the social media revolution, we’ve
seen this happening on a broader scale with what Anderson calls Crowd
Accelerated Innovation.

The picture above metaphorically represents three dials, or gears, on a giant
wheel of innovation and creativity. If you speed up those dials of crowd, light,
and desire, the wheel of creativity and innovation turns faster.[xiii]

Although bigger crowds bring in more innovation, the crowds are mostly
composed of other kinds of people. Each person represents an invaluable
component to the process. Anderson says the light speaks to the willingness to
share and open up your project in these social media outlets. Once the sharing
reaches large social media audiences, it is either ignored or applauded. Positive
feedback dials up the desire.

People continue to share out of a desire for global recognition from the
commenters, trend-spotters, and cheerleaders. It then becomes a perpetual, self-
fueling machine. It is also a self-cleaning machine because the bad ideas lose the
crowd and light or quickly collaborate and improve. For example, the hit web
series LXD is the result of several dancers posting their ‘moves’ on YouTube
and then challenging others to step up their game. The bad dancers lost the
crowd. Some learned from the better dancers, collaborated with others and
reposted improved performances. These videos became the world’s first online
dance adventure and caught the eye of writer/director John M. Chu.

Davidson correctly surmises that:

This puts education and educators in the position of bringing up the
rearguard, of holding desperately to the fragments of an educational
system which, in its form, content, and assessments, is deeply rooted in an
antiquated mode of learning. Every university in the global north, of
course, is spending large sums of money revamping its technology
offerings, creating great wired spaces where all forms of media can be
accessed from the classroom. But how many have actually rethought the
modes of organization, the structures of knowledge, and the relationships
between and among groups of students, faculty, and others across campus
or around the world? [xiv]

Future social media learning models are successfully pushing against most
hierarchical models of the past because the old hierarchical schools and
universities cannot afford to hire all potential participants. They also lack the
ability to direct all potential participants. As a result, they are already missing
out on contributions gained from long tail strategies. Strategies geared towards
the long tail are geared towards people that are not considered to be productive
enough to hire as employees. In the long tail or long run, these products and
contributions turn out to be as significant as the so-called “major” contributors.
[xv]

 Source: plearn.net[3]
This form of crowd-sourcing happens in business organizations all the time.
Educational structures that mirror the boardroom would be more beneficial than
structures that mirror 19th century factories.[xvi] They would essentially be
flipping the classroom structure.[xvii] This method is more in line with the
curricula of Khan Academy.[xviii] Khan Academy is known for flipping the
classroom structure.

It would be more beneficial to have students read, watch, re-watch or listen to
lectures on their own time and at their own pace. This will ensure that they will
all enter the classroom (or virtual ‘second-life’ room) with a confident grasp of
the material. Once they enter the ‘class’ they begin to operate in-group dynamics
similar to the ones we see in successful corporations. Their assignments should
be in-class group projects/products instead of individual papers, reports, etc.

Individual reports should only be a result of people who fail to meet and work
together. In the business world, I notice that people work together on projects for
the company. This is the open-source culture that we live in.[xix] At home, on
off-hours, we should simply research concepts and ideas. But at work and school
we should come together. Davidson says, “The power of ten working
interactively will almost invariably outstrip the power of one looking to beat out
the other nine.”[xx]

Gaming Structures

Educational gaming has been seen as a viable alternative to a formal education.
Jane McGonigal, author of Reality is Broken, says playing a video game with a
powerful avatar for just 90 seconds will make you more confident and prepared
for real life problems for the next 24 hours. This happens because gaming taps
into our best qualities: our ability to be motivated, optimistic, to collaborate with
others and to be resilient in the face of danger.[xxi]
Mark Jung-Beeman, a cognitive neuroscientist at Northwestern University,
started mapping the brain to find out what causes people to have insight. He
started this research in 1993 by basing it on Schooler’s verbal overshadowing
concept. In 2004 and 2006 Jung-Beeman and Kounios found quantifiable
evidence as to what causes our minds to change strategies and start creatively
looking for solutions.[xxii]
Schooler says gaming ‘distractions’ are essential. He says, ‘Just look at the
history of science. The big ideas seem to always come when people are
sidetracked, when they’re doing something that has nothing to do with their
research.’”[xxiii] We see that Google and Facebook have already successfully
integrated these learning methods into their organizations. In the book Outliers,
Gladwell proposes a 10,000-hour theory of success. It’s based on cognitive
science research that shows if we can master 10,000 hours at effortful study, at
anything by the age of 21, we will be virtuosos. The average young gamer today
will have spent 10,000 hours playing online games, by the age of 21.[xxiv]
In other words, gaming works as an escape from present day failures but it may
also prepare Gen Y for ‘epic wins’ in the future. Herodotus chronicled that
games, particularly dice games, were invented in the kingdom of Lydia during a
time of famine around 2,500 years ago.[xxv] This went on for 18 years, and then
the king divided the entire kingdom in half. The winners left Lydia, in search of
a new place to take the civilization where they could thrive. [xxvi] DNA
evidence has shown that the Etruscans, who dominated the Roman Empire, share
the same DNA as the ancient Lydians.[xxvii]
The following schools have begun disrupting educational institutions with this
gaming structure: www.Fold.it , Bradley College with Professor Lamoureux,
The Institute of Play with Quest to Learn, Glass Lab, and Studio Q.
Self-Organized Learning Structures

Sugata Mitra noticed an ironic problem. Good teachers don't want to go to those
places where they’re needed the most. Encouraged by the late Arthur C. Clarke
who said “A teacher that can be replaced by a machine should be”, [xxviii] Dr.
Mitra set out to use computers to teach kids in the places teachers are needed the
most.

A large amount of money came into Newcastle University to improve schooling
in India. They funded Mitra’s research. He attempted to show how computers
can get Tamil-speaking 12 year-old children in a south Indian village to teach
themselves biotechnology. The children spoke Tamil but the computer spoke in
English.

He gathered 26 children and he told them that there was some really difficult
‘stuff’, in English, on the computer. He told them that he would not be surprised
if they did not understand any of it. After telling them this, he left for two
months. After two months he tested them in biotechnology. Their scores had
gone from zero to 30 percent.

Dr. Mitra employed the grandmother method. The grandmother method is
simply a facilitation method where someone may coach them along. Oftentimes
the facilitator does not understand the subject anymore than the students, but by
offering encouragement, they nudge the students in a positive direction. After
another 2 months of using the grandmother method, the scores went up to 50,
which is the score the students were earning at the posh schools of New Delhi,
with a trained biotechnology teacher.[xxix]

Based on a decade of research, Dr. Mitra has begun building what he calls
S.O.L.E.s. This stands for: Self Organized Learning Environments. The furniture
is designed so that children can sit in front of big, powerful screens, big
broadband connections, but in groups. If they want, they can call what he calls
the “granny cloud.” This is a facilitator of learning who is more than likely
within the country but they could be anywhere. The “grannies” are people who
coach and encourage the self-directed learners.

In Gateshead, Dr. Mitra built an S.O.L.E. using 32 children that he divided into
groups of four from their own choosing. He also noted that they could exchange
groups, go to other groups, or eaves drop on other groups. He explained that a lot
of scientific research is done using this method. [xxx] MIT has been
successfully working with the government, using similar learning labs, for
decades.

These children are using everything like news groups, Google, Wikipedia, Ask
Jeeves, etc. People question Mitra on whether this is “deep learning.” After two
months, he came back and gave them a paper test without computers and without
group interaction. The average score was an A. This is the result of several
factors: photographic recall, their discussions with each other, and after their
sessions are over the children seem compelled to do more independent research.
A single child in front of a single computer will not spark this form of self-
organized learning. He is convinced that the group aspect plays a very important
role in transmedia education.[xxxi]
The Three Creative Roles in Transmedia Education
Transmedia Education consists of three major roles. These roles operate
differently than the classical hierarchal structure in that these roles often shift
and share levels of power, much like the checks and balances seen in successful
democratic societies. The three roles are the following: The Architect, The
Expert, and the Student.
The Architect as Guide
The Guide sets the tone. This involves restructuring the classroom also known as
flipping the classroom. Instead of the traditional lecture and homework, followed
by a snapshot exam, the new classroom architect encourages experimentation
and expects mastery. With this new structure students can watch and listen from
experts/project leaders, at their own pace, from home. The class setting will be a
space for transmedia projects that can improve local and global communities.
The Expert as Project Leader
As the guide sets the tone for transmedia projects, the local and global
community experts fill the role as project leaders. These will be the lectures and
webinars students listen to and watch outside of class. After mastery of the basic
concepts, they will be drafted as project members for a real-world project.
Experts who are still working for an organization will lead the transmedia
projects.
The Student as Project Member
In this new networking paradigm, we are all students/project members. But
based on the project, different people take on different roles. Transmedia
Education seeks to democratize the current classroom structure. The Architect is
not the ‘sage on the stage.’ The expert in his field remains in his or her field. The
students represent the wisdom of the crowd. Project members are both producers
and consumers of knowledge and product.
Transmedia learning spaces represent new entertaining ways to learn and create.
Students drive both the new learning and creative spaces. Transmedia has made
learning spaces more responsive and more creative. This allows for creative
spaces to open up and become more reactive to the consumer base. Consumers
are now group participants in the transmedia creative spaces.
CREATIVE SPACES
The transmedia creative space centers on transmedia storytelling. These stories
can be fiction or non-fiction. This section on transmedia creative spaces is an
excerpt from my Amazon bestseller Parables Today. For a more in-depth look at
the historicity of what we now call ‘Transmedia Storytelling’ I would suggest
downloading Parables Today. [xxxii]
What Is Transmedia?
Transmedia storytelling means expanding the story world or story universe from
its primary medium into our everyday world with the use of multiple media
platforms. We see this in spinoffs, sequels, prequels, franchising through toys
and gaming.

[4]


The ‘primary medium’ is usually the original one. Sometimes the original
medium works as a launching pad for a ‘hot’ medium like film and television.
 [5]
The universe usually continues to expand across different media platforms,
based on fan demands. The transmedia marketing model above mirrors the law
of diffusion of innovation. This model tells us that if you want mass-market
success or mass-market acceptance of an idea, you cannot have it until you
achieve this tipping point between 15 and 18 percent market penetration.



So it is this little gap that you have to close, as Jeffrey Moore calls it, “crossing
the chasm.”[xxxiii] Because the early majority will not try something until
someone else has tried it first. And these guys, the innovators and the early
adopters, they're comfortable making those gut decisions. They're more
comfortable making those intuitive decisions that are driven by what they
believe about the world (in this case their devotion to the story-world) and not
just what product is available.
Transmedia strategy often mirrors a business model known as Blue Ocean
Strategy.

[6]

Transmedia Storytelling can be more than a marketing tool for the film or TV
premier. Expanding the long tail universe can become more profitable and
sustainable.
[7]
The History of Transmedia
The first computer was built just after WW2 (ENIAC) for military purposes.
[xxxiv] Later, Whirlwind Computer was built at MIT’s Lincoln Lab by Jay
Forrester for the Navy. All of this would have been lost if it had not been for the
entrance of the Atomic Bomb in 1953.[xxxv]

[8]
SAGE led to a lot of what we use today but it was the size of century city. Today
we’ve applied Moore’s law of miniaturization to most computing devices.
[xxxvi]
 [9]
Spacewars is one of the earliest known digital computer games.[xxxvii]
Spacewars was one of the early seeds of interactive storytelling. Although
limited to one media platform and a small storyworld, it was real interactive
storytelling. TV caught on to this concept of interactive storytelling around the
same time.
 [10]
Winky Dink and You was a CBS children's television show that aired from 1953
to 1957, on Saturday mornings at 10:30 a.m. Eastern / 9:30 Central. It was
hosted by Jack Barry and featured the exploits and journeys of a cartoon
character named Winky Dink and his dog Woofer.[xxxviii] While Winky Dink
was fake interactive TV for children, it planted the seeds for young-adult
transmedia storytelling and social television.
21 was fake interactive TV for adults.[xxxix] These quiz shows launched several
reality and game shows and planted seeds for future social TV and future adult
transmedia storytelling.[xl]
 [11]
Walt Disney was close behind Winky Dink and You. Disney was not only
employing social TV, they were expanding their story universe. They have
always been pioneers in Social TV, Transmedia Storytelling, and the curation of
story-worlds.

[12]

[13]
Marvel and DC comics were also making transmedia inroads with the X-men
and Superman. Stan Lee says the X-men were national allegorical responses to
racism and prejudice. Professor X was MLK and Magneto was Malcolm X.
John Markoff also makes a connection between emerging social forms of
entertainment, the seeds of social media, and the social justice movement in the
60s and 70s. John Markoff says, “the anti-war movement in the 60s and 70s had
everything to do with computing. It all happened within 5 miles from Stanford
University between 1960 and 1975. A group of researchers led by people like
John McCarthy and Doug Engelbart. In the midst of that revolutionary ferment
came the microprocessor. It was that interaction that led to personal computing.
They saw these as tools to liberate people and build social online communities.
They also had this ethos of sharing information.”[xli] These computing
endeavors led to present day Wiki projects, You Tube, Facebook, Blogging, etc.

[14]
The Paramount film company was in a financial crisis in 1974. They were in
serious debt. Davis and Bluhdorn hired Diller to save the company.[xlii]
As chairman of Paramount from 1974 to 1984, Diller worked closely with Eisner
to bring success to the studio. They have since admitted that they were very
inexperienced in the film world. What they brought to film world was the “high
concept.” According to the urban-legends of the entertainment industry, high
concept is a term that was first associated with Barry Diller. [xliii] 1974 to 1984
changed the entertainment industry forever. This consequently gave birth to film
franchising in the forms of: ‘The Sequel’, ‘The Film Series’, ‘The Prequel’, and
‘The Reboot.’
Media critics emphasized how the “high concept” was ushering in creative
bankruptcy.[xliv] But high concept continues to be the most successful market-
driven type of entertainment being produced. These youth oriented pictures are,
in most cases, focusing more on commerce than art. The goal is marketable
stories, not original stories.[xlv]
Newsweek often touted them for having the “best all-around movie studio.”
During their run Paramount’s Terms of Endearment won five Academy Awards,
including Best Picture. [xlvi] In 1984, several of the higher echelons of the
company left. Diller went to Fox and Eisner went to Disney. This left market
researcher Frank Mancuso in charge of Paramount. As they took over other
studios, all three of these men continued to use the high concept model. Paul
Rosenfield says that Barry Diller single handedly spawned a whole generation of
cross media moguls.[xlvii]
Kinder, the first person ever to use the term transmedia, mentions how mega
branding and cross media marketing gained so much traction because of the
deregulation of American broadcasting in the 80s. In 1984 the FCC lifted its ban
on product-based programming. By the time of the 90s transmedia intertextuality
was in full swing. Crossover genres existed between books, movies, TV, toys,
video games, etc. The cross-platform concept also filtered out of Japan with
Pokemon, whose fans followed the characters across TV, film, games, and
trading cards.[xlviii]
Web 2.0
 [15]
“The influence of the internet is changing stories, by which I mean
movies, television shows, games, any number of advertisements, any
number of ways that stories can be told – it’s changing them in a way that
is making them immersive, above all, but also non-linear, because the
Web itself is non-linear. That’s making it somewhat game-like and
certainly very participatory. In other words, no more passive viewing; it’s
becoming a much more active role.”[xlix]
HyperCard was created by Bill Atkinson. It was an instant hit that revealed all
sorts of prototyping tasks that even surprised its creator.[l] Timothy Berners-Lee
is the English computer scientist that invented/discovered the World Wide Web.
He made a proposal for an information management system in March 1989.
Eventually it was realized that this filing system [hypercards or hyperlinks]
could go beyond a local area network.
All web aspects of transmedia were not fully operable in the 90s, due to the
dot.com bubble.[li] There was also an inherent misunderstanding of internet
value. In the 90s people used the web for digitizing information. Online
companies were essentially glorified spambots. This is an inherently flawed
perception of the web. Its purpose has always been for collaboration, not simply
digitized information. By the 2000s, WEB 2.0 brought a more clear perspective
on the World Wide Web. This caused transmedia to emerge stronger than ever.
MIT professor Henry Jenkins argued in favor of transmedia storytelling in the
world of WEB 2.0. He said transmedia storytelling could make fictional
characters more compelling.[lii] Google was a successful example of Web 2.0.

[16]

The term "Web 2.0" was first used in January 1999 by Darcy DiNucci, a
consultant on electronic information design (information architecture).

In her article, "Fragmented Future", DiNucci writes:
The Web we know now, which loads into a browser window in essentially
static screenfuls, is only an embryo of the Web to come. The first
glimmerings of Web 2.0 are beginning to appear, and we are just starting
to see how that embryo might develop. The Web will be understood not as
screenfuls of text and graphics but as a transport mechanism, the ether
through which interactivity happens. It will [...] appear on your computer
 screen, [...] on your TV set [...] your car dashboard [...] your cell phone
[...] hand-held game machines [...] maybe even your microwave oven.[liii]
Web 2.0 terminology went mainstream in a 2004 state of the internet interview
between O'Reilly and John Battelle. Tim Beners-Lee objects to the term Web 2.0
because his intention was for the world wide web of the 90s to always be
prosumer based: an ebb and flow where the consumer of content is also the
producer of content. Google was one of the few dot.coms to survive the crash,
because they were one of the few first ones to get the prosumer community
concept of the web right. Fuchs realizes this but objects to their prosumer model.
[liv] Amazon (1994) is another successful model that understands prosumerism.
And Facebook (2004) popularized the prosumer movement. In one sense, Toffler
and McLuhan were ‘social media prophets.’
Toffler and McLuhan: Social Media Prophets

[17]
A movie is thus said by McLuhan to be “hot”, intensifying one single sense
“high definition,” demanding a viewer’s attention, and a comic book to be
“cool” and “low definition,” requiring much more conscious participation by the
reader to extract value. “If the audience can become involved in the actual
process of making the ad, then it’s happy. It’s like the old quiz shows. They were
great TV because it gave the audience a role, something to do.”[lv]
Global Theater[lvi] was the initial neologism McLuhan used because he was
predicting a time when computing programs and television programs would be
blended together. This would create story worlds that audiences would have a
role in creating and developing.[lvii]

[18]
McLuhan predicted, to some extent, the World Wide Web saying “the global
village is a world in which you don’t necessarily have harmony. You have
extreme concern with everyone else’s business and much involvement in
everybody else’s life. It’s a sort of Ann Landers’ column writ large. And it
doesn’t necessarily mean harmony, peace, and quiet, but it does mean huge
involvement in everybody else’s affairs. And so the global village is as big as a
planet and as small as a post office.”[lviii]

[19]
Both McLuhan and Toffler’s theories have influenced transmedia. While Jeff
Gomez was in college, one of his communications professors introduced him to
Marshall McLuhan’s theories. This led Gomez to apply these theories to what is
now called Transmedia. He is one of the world’s leading transmedia consultants.
“In today’s interconnected world, young adults, teens and even kids have
become so comfortable with media technology that they flow from one
platform to the next. The problem [in 2009 was] that their content is not
flowing with them. As a discipline, transmedia provides us with a
foundation for the development, production and rollout of entertainment
properties or consumer brands across multiple media platforms.
Transmedia creates the flow.”[lix]
 [20]

[21]
Toffler[lx] disciple Steve Case managed to partner with Google, merge AOL
with Warner, and set up some big transmedia projects (Batman Begins and
Harry Potter).[lxi] The Time-Warner Merger had huge potential but it became a
failed buy-out, leading to Case and others losing out to other emerging media
companies.
These creative spaces ultimately branched out into avenues of business. For
example, prosumer transmedia models like Napster took music out of the money
economy and transferred it into the ‘nonmoney’ economy. Then iTunes used the
Web to move music downloading back into the money economy, creating a very
viable business that did not exist before.[lxii] We will call these projects, which
are lived out in their respective sectors of society, the transmedia performance
spaces. Below are several performance spaces currently occupied by ongoing
transmedia projects.



PERFORMANCE SPACES
Using Jenkins’ convergence theory as a toolkit, transmedia speaks to branching
out beyond entertainment and contributing to society in a worthwhile manner.
[lxiii] Below are several examples of current transmedia performance spaces.
Engineering

In the future, a transmedia authoring kit could facilitate development of
transmedia books by children’s authors who wish to create STEM (now
STEAM) publications. A transmedia proof-of-concept book is currently being
developed by the University of Virginia Children’s Engineering group in
collaboration with the Fab@School consortium.
The book, Make to Learn: Exploring Wind Power, is based on a wind energy
activity developed and first piloted in a summer workshop for underrepresented
youth. This project has been expanded and revised. They plan on piloting this
project in local schools in conjunction with a pilot transmedia book. [lxiv]
Environment
WORLD WITHOUT OIL is a gaming structure that lends to environmental
activism. WWO invites people from all walks of life to contribute and
collaborate. The game highlights the risk that our unbridled thirst for oil poses to
our economy, climate and quality of life. It’s a milestone in the quest to use
games as democratic, collaborative platforms for exploring possible futures and
sparking future-changing action. WWO set the model for using a popular online
storytelling method (‘alternate reality’) to meet civic and educational goals. It
was both compelling and fun.[lxv]
Collapsus uses the transmedia storytelling experience, combining interactivity,
animation, fiction, and documentary. This model offers you the option of
choosing your own perspective on the story as it unfolds. The experience invites
you to interact and make decisions that could avoid future energy blackouts. You
can also get a broader perspective by listening to the experts; or observing the
consequences for everyday people through a fictional story. [lxvi]


Healthcare
Stanford University’s Art Center College of Design worked together with the
health industry to develop a personal health application. This particular PHA
helps adolescents with chronic illnesses transition from the pediatric to the adult
care system. It also helps them assume greater responsibility for their health and
their personal health information. The project team worked on creating a
transmedia experience that gathers and integrates discrete data. By tapping into
multi-media teen behavior, the tools were seamlessly incorporated into their
everyday world. This seamless blend improved communications with their
caregivers.[lxvii]
Fashion
Threadless built an online community of artists through an e-commerce website
based in Chicago, Illinois. Threadless designs are created and chosen by an
online community. Each week, thousands of designs are submitted online and
voted up or down. The staff reviews the top-scoring designs based on the
average score and community feedback. The top 10 designs are selected and
printed on clothing and other products. They plan to expand beyond t-shirts to
other canvases. Threadless designs are sold worldwide through online stores and
at their retail store in Chicago.[lxviii]

Scenario Planning

[22]
Music
Spotify represents a successful commercial music streaming service that relies
heavily on crowd sourcing. It provides Digital Rights Management-
protected content from record labels like Sony, EMI, Warner Music Group and
Universal. Gerd Leonhard is a proponent of Internet Music licensing: taxing for
providing a context, not content. This model is not as democratized as other
crowd-sourced models. Bigger players would dominate the market and cripple
start-up bands. Bigger companies would be able to afford the taxation but start-
ups would not.

[23]
Future models will potentially be more transmedia based; enabling every artist to
be connected to a larger narrative. In this future model the audience is free to
consume music. The artist is sponsored by a third party group (KickStarter,
Clothing, Drinks, Venue, etc).

Sports
NikeTown, NikeTalk, and Nike + created the transmedia narrative “Life is a
sport. Make it count.” They’re now curating a large runner’s community. The
Nike+ app allows for a series of products to track users’ movements through a
group of devices. It also helps them manage their workout routine and get a
sense of their level of activity. It comes with an Application Program Interface
for third-party developers, and can even be used to allow users to automatically
‘check-in’ to Foursquare locations via Nike gear.[lxix]
Politics
In March of 2012, the San Diego-based human rights group, Invisible Children,
posted its Kony 2012 video through YouTube and encouraged its base of
supporters to help spread the video. By mid-afternoon Sunday, the Youtube
video had been watched more than 71 million times. The hashtag #Kony2012
became a trending topic on Twitter.” Its explosive circulation was the result of a
ten-year transmedia business model where Invisible Children had been building
a hard-core community. Their hard-core community includes Oprah, and
thousands of young people who felt connected to a grand-narrative of social
justice. They had also been developing school-based clubs since 2002.
Through the involvement of school-based clubs, this transmedia approach
allowed Invisible Children to tell a story that is mobilizing but open to revision.
It is both spreadable and drillable, and requires a variety of participant
performances in order to persist.[lxx] The Kony2012 project also represents the
need for at-least some semblance of school-based curriculum. In order for these
three spaces (learning, creative, and performance) to function successfully, there
needs to be more than a semblance of school-based curriculum. There needs to
be transmedia curriculum set in place with a new networking paradigm between
students and teachers.

CURRICULUM
Transmedia Degree Plan
This degree plan could enhance education on the primary and tertiary level. The
performance spaces above intimate future systems of education and professional
development. The following degree plan could be a major within the School of
Education and a minor in a plethora of other schools.
Transmedia Education could also be a doctoral level degree plan within the
School of Communication. It could also be a minor in the following
Undergraduate Schools: Design, Physical Therapy, Business, Dentistry, Political
Science, Graphic Design, and Engineering. The following is a Transmedia
Education degree plan, specifically designed for an undergraduate degree in
Transmedia Education at Regent University.
I have provided an assessment plan for the new degree, which includes
objectives and tools for measuring success in meeting those objectives. In
addition, existing library resources have been evaluated and recommendations
made for additional acquisitions. The degree-specific requirements for this
program will require the development of several new courses. For each of these
courses, a New Course Proposal, consisting of course description, prerequisites,
objectives, and tentative textbook, have been provided.
Sources for this project have included published research in the area of the
educational preparation needed for people who choose to work in this sector,
consultation with individuals currently employed in the field, and reviews of
similar programs at other colleges and universities.
Objectives
Departmental Objectives
Goal #1: Graduates will exhibit a thorough knowledge of the fundamental areas
of education: character education, classroom management, and assessment
techniques.
Goal #2: Graduates will exercise appropriate problem-solving skills, exhibiting
proficiency in creative thinking, critical thinking, and information literacy.
Goal #3: Graduates will demonstrate expertise in communication skills,
exhibiting proficiency in oral, written, and digital communications.
Program Objectives
The purpose of a BS in Transmedia Education is to prepare students for careers
in the education sector.
Upon completion of this degree, graduates will be able to
Describe the characteristics of Transmedia Education that differentiate
them from ‘old’ single media education;
Apply the principles of education to the recruitment and management of a
transmedia classroom;
Prepare members of the institution’s Administrative Board for service and
maintain strong working relationship with the Administrative Board to
advance the mission of the institution;
Formulate a strategic plan that prepares the institution for sustainable
success; and
Evaluate the success of the institution in achieving its mission.


Degree Benchmarking
A review of degree offerings at other colleges revealed that several offer
programs in Transmedia Education. Several offer a degree in education where
single media is discussed on a surface level. These are offered as Bachelor of
Science. Common degree requirements include courses specific to the general
pedagogy of Transmedia Education as well as MOOCs, the Flipped Classroom,
and Self Organized Learning Environments. Most programs also include an
internship requirement.
The following tables summarize a representative sample of those degree
programs on the basis of the title of the degree, tuition charged, the acceptance
rate, and the academic rank. Comparison of the degree program proposed for
Regent University with these degrees demonstrates the viability of a Transmedia
Education degree.
Education Degree Programs
Out of In-State Room & Academic Acceptance Notes
State Tuition Board Rating Rate
 Tuition
Regent $16,088 $16,088 $8,430 B 83%
University
Christopher $20,596 $11,092 $9,958 B- 65%
Newport
James $23,654 $9,176 $8,873 B- 60%
Madison
University
George $28,592 $9,908 $10,315 B+ 55%
Mason
University
Norfolk $20,696 $7,226 $8,374 C- 67%
State
University
University $39,844 $12458 $9,717 A 30%
of Virginia
Virginia $32,182 $32,182 $8,508 B- 70%
Wesleyan
Liberty $21,036 $21,036 $7,976 B 24%
University
Lee $13,750 $13,750 $6,762 B 89%
University
Hampton $20,724 $20,724 $9,230 C+ 36%
University
George $47,343 $47,343 $10,850 A- 33%
Washington
University


Evaluation of the Benchmark Study
Comparison of the data reveals that Regent University enjoys a strong
competitive position in this market. Only Lee University matches Regent in
academic and acceptance ratings. Lee University manages to offer a slightly
reduced tuition fees but, ultimately, they do not offer an education degree that
prepares educators for the inevitable restructuring of education. In addition,
Regent is currently the only Christian University involved in MOOCs. No other
colleges in the state of Virginia offer a comparable degree, and none are offered
in the southern United States. The proposed Transmedia Education program
would be offered initially in a traditional format, appealing to the largest portion
of the student body.

Proposed Degree Requirements

Bachelor of Science in Interdisciplinary Studies, Transmedia Education
Emphasis

General Education Requirements (49 credits)
Biblical Worldview: Regent Cornerstone and Capstone (6 credits)
GENE 100 The Making of the Christian Mind (3 credits)
GENE 402 The Making of a Christian Leader (3 credits)
Biblical Worldview: Christian Foundations (9 credits)
BIBL 103 Old Testament Studies (3 credits)
BIBL 104 New Testament Studies (3 credits)
BIBL 111 Introduction to Christian History and (3 credits)
thought
Written and Oral Communication (6 credits)
COMM 110 Public Speaking (3 credits)
ENGL 101 English Composition (3 credits)
Critical Thinking and Analysis (6 credits)
ENGL 102 Research and Academic Writing (3 credits)
PHIL 101 Introduction to Philosophy (3 credits)
Quantitative and Scientific Literacy (14 Credits)
Mathematics (6 credits)
Choose one
course
Math 101 Mathematics for Liberal Arts (3 credits)
Math 102 College Algebra (3 credits)
Math 201 Statistics (3 credits)
Math 211 Calculus (4 credits)
Math 220 Discrete Mathematics (3 credits)
Natural Sciences (4 credits)
Choose one
course
BIOL 101 Introduction to Biology with Lab (4 credits)
EASC 101 Introduction to Earth Science with Lab (4 credits)
Cultural Perspective (15-16 credits)
Global Studies (3 credits)
Choose one
course
GEOG 101 World Geography (3 credits)
HIST 101 Western Civilization I (3 credits)
HIST 102 Western Civilization II (3 credits)
HIST 211 World History I (3 credits)
HIST 212 World History II (3 credits)
Literature (3 credits)
Choose one
 course
ENGL 205 Literature of the Western World (3 credits)
ENGL 377 Shakespeare (3 credits)
Economics (3 credits)
ECON 101 Introduction to Economics (3 credits)
Arts (3 credits)
Choose one
course
GENE 200 Art and Culture (3 credits)
ARTA 101 Engaging the Visual Arts (3 credits)
MUSI 101 Music, Creativity, and Culture (3 credits)
U.S. History (3 credits)
Choose one
course
HIST 201 U.S. History I (to 1877) (3 credits)
HIST 202 U.S. History II (from 1877) (3 credits)
Total General Education Credits (49 credits)
Required:
Please note: the information shown on these pages is for general reference only.
Please refer to the academic catalog in effect at the time of your admission for
specific requirements related to general education and other academic programs.
Professional Studies Requirements (27 credits)
UED 400 Curriculum & Design Assessment Techniques (3)
UED 405 Teaching Reading & Language Arts Across the (3)
Curriculum
UED 406 Classroom Management & Instructional Strategies (3)
UED 408 Teaching Reading in the Elementary Grades (3)
UED 441 Child & Adolescent Growth & Development (3)
UED 442 Foundations in Education (3)
 UED 451 Characteristics of Students with Disabilities (3)
UED 495 Field Experience/Student Teaching (minimum 500 (6)
hours required)
Major Content Requirements (22 credits)
UIS 200 Orientation to Teaching (1)
UIS 304 Character Education (3)
UIS 311 Fundamentals of Transmedia (3)
UIS 331 Topics in Social Media (3)
UIS 350 Technology in Education (3)
UIS 361 Introduction to Transmedia Education (3)
UIS 413 Topics in Crowd-Sourcing (3)
UIS 415 Advanced Transmedia Education (3)
ALL UED COURSES OTHER THAN STUDENT TEACHING REQUIRE A
15- hour PRACTICUM.
Electives (10 credits)
Elective credits can be taken in any discipline (100-400 college-level courses)
Total Degree Hours: 120 [24]















New Course Proposals
Department: Interdisciplinary Studies
Course title: Fundamentals of Transmedia
Prerequisites: None
Catalog description: Introductory study of transmedia organizations and their
role in society. Examines the history of media intertextuality, the goals of Web
3.0, and future transmedia projects. Considers Social TV and what McLuhan
called the ‘Global Theater.’ Includes investigation of career opportunities within
the transmedia sector.
Possible text: Jenkins, Henry. 2006. Convergence Culture: Where Old and
New Media Collide. New York, NY: New York University Press.
Course level: Freshman
Does this course replace another course? No
Purpose of the course: To introduce students to the realm of transmedia
activity in modern society and to lay the foundation for continued study.
Are library resources adequate? See attached program bibliography.
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
Distinguish between transmedia and old media organizations;
Describe McLuhan’s prediction of the World Wide Web or “the global
village;”
Discuss the roles played by transmedia organizations within contemporary
society;
Identify the tools within Jenkins’ transmedia toolkit; and
Evaluate career opportunities within the transmedia sector.

Objectives will be evaluated through tests, written assignments, and class
participation.
Who will teach this course? To be determined.
Submitted by
Dr. Branch, Department Chairperson

Fund. Of Transmedia … Sample Curriculum Map
Month Unit Content Skills Assessment
Name/Essential
Questions
TBA

Fundamentals A1. A1 – A4.
of Transmedia/
A. The Transmedia Distinguish Plans/
What is Creative Space Resources between Compromises
Transmedia Guy Fraumeni; Ernest transmedia 4-Team
and why should Pintoff, This is Marshall and old Debate
I care? McLuhan: The Medium media (Evaluation:
organizations Peer Review/
is the Massage (New
How does A2. Describe Presentation
York: NBC, 1967). McLuhan’s
transmedia and Stance
shape our Resources prediction of Rubric)
culture and our Henry the World
worldview? Jenkins "Transmedia Wide Web or
“the global
Storytelling." Technology
village.”
Review (January 2003).
A3. Calculate

the drivers

and triggers
that cause

media
concern.
A4. Identify B1 – B4.

the tools 20 MC/10

Key Terms: within Short-
Answer Test
- intertextuality Jenkins’
 - Transmedia B. Crossing the transmedia
Creative Space Transmedia Marketing toolkit.
- Social TV Chasm
- Web 2.0 B1. Define in

Resources writing the
- Global
Theater Marsha Kinder, Playing law of
- Transmedia with Power (Berkeley: diffusion of
Storytelling University of California innovation.
Press, 1993), 40-43. B2. Explain
in writing
Resources BOS models

Geoffrey A. Moore,
that can lead

Crossing the Chasm (New to mass-
market
York: Harper Collins
success.
Publishers Inc., 2002).
B3. Identify
in writing the
early
adopter,
pragmatist,
conservative,
and skeptic

in the C1 – C3.
diffusion
Small-Group
model.
Note Cards
B4. Explain Debates
the historical
(Evaluation:
connection
Teacher Ob/
between
Student Self-
cross-media
success and Critique/
FCC Feedback)
regulations.
C. The Beginning of
Social TV

Resources
James A. Mead, Survivor
and other Reality TV
Gameshows
(Whitewater: University
of Wisconsin, 2006). C1. Describe
 in writing the
evolution of
Game Shows.
C2. Compare
Winky Dink
with other
kids shows in
the 80s, 90s,
and 00s.
C3. Compare
and contrast
in writing the
progression
of Reality TV
and Social
Game
Shows.


Department: Interdisciplinary Studies
Course title: Topics in Social Media
Prerequisites: GENE 100, GENE 402
Catalog description: Social Convergence and Peer Production. Considers
short-term and long-term benefits of peer-to-peer file sharing. Includes
discussion of the irreversible paradigm that will soon dictate the student public’s
expectations for online media ‘prosumer’ consumption.
Possible text: Erik Qualman, Socialnomics (New Jersey: Wiley & Sons Inc.,
2010).
Course level: Junior
Does this course replace another course? No
Purpose of the course: To prepare students in the Transmedia Education
emphasis to manage the social convergence of the educational institutions.
Are library resources adequate? see attached program bibliography
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
 Apply the principles of social convergence in an educational setting;
Distinguish between top-down digital-media learning and bottom-up
social media forms of education;
Calculate how search engines will redefine how we measure learning; and
Explain in writing educational exchange/specialization models like
Duolingo.
Who will teach this course? To be determined.
Submitted by
Dr. Branch, Department Chairperson




Topics in Social Media … Sample Curriculum Map
Month Unit Content Skills Assessment Standards
Name/Essential
Questions
TBA


Topics in A. The A1. Distinguish A1 – A4. A1.
Social Media/ Transmedia between top-down Plans/ Project
How does Learning digital-media learning Compromises part 1.
social media Space and bottom-up social 4-Team
shape our Resources media forms of Debate
culture and Cathy N education. (Evaluation:
educational Davidson; A2. Describe Ken Peer Review/
institutions? David Theo Robinson’s element for Presentation
Goldberg, The innovative learning. and Stance
How can Future of A3. Calculate how Rubric)
institutions Learning search engines will
cope with the Institutions in redefine how we
pace of social a Digital Age measure learning.
media? (Cambridge:
A4. Identify shifting
MIT Press,
 2009), 27. learning strategies i.e.
Resources static memorization vs.
Ken community projects.
Robinson; Lou
Aronica, The B1.
Element (New Project
York: Viking, B1 – B4. Part 2
2009). 20 MC/10

Short-
Key Terms:
Answer Test
- Exchange and

Specialization B1. Define in writing

- Transmedia the law of diffusion of
B. Exchange
Learning Space innovation.
and
- The Element B2. Explain in writing
Specialization
- Participatory educational
Resources
Learning exchange/specialization
Clay Shirky,
- Millennials models like Duolingo.
Here Comes
- Crowd B3. Identify other social
Everybody
Accelerated media educational
(New York:
Innovation exchange models like
Penguin
- Digital Books, 2009), Duolingo .
Immigrants B4. Explain the
See “Post
overestimated role of
Managerial
carrot-stick motivators
Organization.”
in conventional
Resources
education.
Daniel H.

Pink, Drive

(New York:
C1.
Penguin
Books, 2011). Project

Part 3


C1 – C3.

Small-Group

Note Cards

Debates

(Evaluation:

Teacher Ob/

Student Self-

Critique/

Feedback)
 C1. Describe in writing
C. the evolution of
Participatory Learning Labs.
Learning C2. Compare Digital
Resources Natives with Digital
Cathy N Immigrants.
Davidson; C3. Compare and
David Theo contrast IT designer
Goldberg, The driven lectures with a
Future of customizable/participant
Learning driven lecture.
Institutions in
a Digital Age
(Cambridge:
MIT Press,
2009), 13.

Resources
John Palfrey
and Urs
Gasser, in
Born Digital:
Understanding
the First
Generation of
Digital
Natives (New
York: Basic
Books, 2008).

Department: Interdisciplinary Studies
Course title: Introduction to Transmedia Education
Prerequisites: GENE 100, GENE 402
Catalog description: Study of the practice of class management in a
Transmedia Education by using verbal overshadowing, gaming, and
gamification. Study how transmedia education redefines teacher/student roles?
Possible text: Cathy N Davidson; David Theo Goldberg, The Future of
Learning Institutions in a Digital Age (Cambridge: MIT Press, 2009).
Possible text: Salman Khan, The One World Schoolhouse: A New Approach to
Teaching and Learning (London: Hodder & Stoughton, 2012).
Course level: Senior
Does this course replace another course? No
Purpose of the course: To inform students of the practice of management in
Transmedia Education and to prepare students for careers in this field.
Are library resources adequate? See attached program bibliography.
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
Calculate the drivers and triggers that cause gamers to be motivated,
optimistic, and to collaborate with others;
Explain in writing the Verbal Overshadowing effect in relation to the
“eureka moment;”
Explain the difference between looking at gaming as distraction and
gaming as part of the 10k-Hour Master Theory;
Describe the new role of the Business Administration in future transmedia
Institutions; and
Describe various methods of structuring classes for students.
Objectives will be evaluated through tests, written assignments, and class
participation.
Who will teach this course? To be determined.
Submitted by
Dr. Branch, Department Chairperson
Department: Interdisciplinary Studies
Course title: Topics in Crowd-Sourcing (performance space)
Prerequisites: GENE 100, GENE 402, BIBL 111, UIS 331
Catalog description: Building on UIS 331 this course will study of the
governance of crowd accelerated innovation. Analyze the prosumer effect of
transmedia and social media on learning institutions. Compare the cost of
integration with the value of ‘superspecialization.’
Possible text: Clay Shirky, Here Comes Everybody (New York: Penguin
Books, 2009).
Possible text: Alvin Toffler, The Third Wave (New York: Bantam, 1980).
Possible text: Anthony D Williams, Don Tapscott, Wikinomics (London:
Atlantic Books, 2011).
Course level: Senior
Does this course replace another course? No
Purpose of the course: To prepare students in the Transmedia Education
emphasis to manage the social convergence of educational institutions. Consider
how liquid networking has given birth to some of the world’s best ideas.
Are library resources adequate? See attached program bibliography.
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
Explain how mass collaboration will change the innovation economy;
Define STEM and STEAM;
Calculate the drivers and triggers that cause crowd sourcing; and
Identify in writing how learning labs can contribute to their local-living
economy.

Who will teach this course? To be determined.
Submitted by
Dr. Branch, Department Chairperson


Topics in Crowd-Sourcing … Sample Curriculum Map

Month Unit Content Skills Assessment
Name/Essential
Questions
TBA


Topics in A. The Transmedia Performance A1. A1 – A4.
Crowd- Space Resources Distinguish Plans/
Sourcing/ Gerd Leonhard, “Spotify Rocks-But” between Compromises
What is Crowd- www.mediafuturist.com 27 July, 2009, taxing for 4-Team
Sourcing and http://www.mediafuturist.com/2009/07/i- providing a Debate
why should I love-spotify-but.html context, not (Evaluation:
care? content. Peer Review/
Resources
A2. Describe Presentation
Henry Jenkins "Transmedia Leonhard’s
How will shifts and Stance
Storytelling." Technology Review
from out- 3rd Party Rubric)
(January 2003).
sourcing Sponsorship
models to a Model
crowd-sourcing A3. Calculate
models effect the drivers
the knowledge and triggers

economy? that cause

crowd-

sourcing.

A4. Identify

B. Liquid Networking the tools
within B1 – B4.
Resources
Jenkins’ 20 MC/10
Leonard Read, “I Pencil: My Family Short-
transmedia
Tree as Told to Leonard E. Read.” The Answer Test
toolkit.
Key Terms: Freeman (December 1958).

- Prosumerism Resources

- Crowd- Steven Johnson, Where Good Ideas
Sourcing
Come From (New York: Riverhead B1. Define
- Customization Books, 2010). STEM and
- Wikinomics STEAM.

- Liquid
B2. Explain
Networking
in writing
- 3rd Party worker-
Sponsorship
ownership
- S.T.E.E.P. through

various

forms of co-
ops.
B3. Identify

in writing

 how learning
labs can
contribute to

their local-
living

economy.
C1 – C3.
B4. Explain Small-Group

C. Wikinomics the historical
Note Cards
connection
Resources Debates
between
Don Tapscott; Anthony D. Williams, (Evaluation:
crowd-
Wikinomics (New York: Penguin group, Teacher Ob/
sourcing
2008). Student Self-
learning labs
Resources and the Critique/
Alvin Toffler and Heidi Toffler, invention of Feedback)
Revolutionary Wealth (New York: GPS.
Doubleday, 2006), 189.
Resources
Gary Becker, “A Theory of the
Allocation of Time.” Economic Journal
(September 1965): 493-517.



C1. Describe
in writing the
evolution of
prosumerism.

C2. Identify
S.T.E.E.P.
signals in the
open
software
market.
C3. Compare
and contrast
in writing the
Encarta’s
learning
model with
 Wikipedia’s
learning
model.

Department: Interdisciplinary Studies
Course title: Advanced Transmedia Education
Prerequisites: Intro to Transmedia Education
Catalog description: Study how does transmedia education shapes the digital
subcultures that cut across nationalities. Includes examination of the flipped
classroom and the classroom architect. Examines self organized learning
environments.
Possible text: Cathy Davidson, Now You See It (New York: Penguin Group,
2011), Chapter 3.
Possible text: Sugata Mitra, Beyond the Hole in the Wall: Discover the Power
of Self-Organized Learning (New York: Ted Conferences, 2012).
Course level: Senior
Does this course replace another course? No
Purpose of the course: To prepare students in the Transmedia Education
emphasis to design a program that effectively uses a transmedia locally and
globally.
Are library resources adequate? See attached program bibliography.
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
Explain the factors that motivate individuals to engage in transmedia
learning;
Describe the three roles within Transmedia Education;
Distinguish between:
‘Sage on the stage’ and the classroom ‘Architect;’
Compare and contrast the Group dynamics of S.O.L.E.s and conventional
online learning in the states Objectives will be evaluated through tests,
written assignments, and class participation.
Who will teach this course? To be determined.
 Submitted by
Dr. Branch, Department Chairperson


Advanced Transmedia Education … Sample Curriculum
Map

Month Unit Content Skills Assessment

Name/Essential
Questions
TBA


Advanced A. The Architect A1. Distinguish A1 – A4.
Transmedia as Guide between Plans/
Education / Resources transmedia Compromises
What would Cathy learning labs 4-Team
Transmedia Davidson, Now and traditional Debate
Education look You See It (New snap shot (Evaluation:
like on a York: Penguin exams. Peer Review/
Global Scale? Group, 2011), A2. Describe Presentation
Chapter 3. how the Guide and Stance
How does Resources restructures or Rubric)
transmedia ed Sugata Mitra; flips the class.
shape Payal Arora, A3. Identify the
subcultures “Afterthoughts” effects of
that cut across British Journal content
nationalities? of Educational experimentation

Technology and mastery.

(September A4. Distinguish

2010): 703 – between

705. ‘Sage on the
B1 – B4.
stage’ and the
 Key Terms: classroom 20 MC/10
- S.O.L.E. B. Transmedia ‘Architect’. Short-
- Project Projects Answer Test
Leader Resources
- ‘glocal’ Cathy
- Flipped Class Davidson, Now B1. Define in
- Classroom You See It (New writing the
Architect York: Penguin Expert as
Group, 2011), Project Leader.
Chapter 3. B2. Explain in
Resources writing the
Sugata Mitra; Student as
Payal Arora, Project

“Afterthoughts” Member.

British Journal B3. Identify in

of Educational writing the

Technology networking

(September paradigm
2010): 703 – where we are all
705. students/project
members.

B4. Calculate
the level of
impact these C1 – C3.
transmedia Small-Group
projects have on Note Cards
‘glocal’ Debates

communities. (Evaluation:

Teacher Ob/

C. Self Student Self-

Organized Critique/
Learning
Feedback)
Environments

Resources

Dr. Sugata

Mitra, “Self

 Organizing
Systems for
Mass Computer C1. Describe in
Literacy” writing the
International ‘Granny
Journal of Cloud’.
Development C2. Compare
Issues (2005): S.O.L.E. big
71-81. questions with
Resources conventional
Sugata Mitra; ‘essential
Payal Arora, questions’
“Afterthoughts” C3. Compare
British Journal and contrast the
of Educational Group
Technology dynamics of
(September S.O.L.E.s and
2010): 703 – conventional
705. online learning
in the
states.



Department: Interdisciplinary Studies
Course title: Internship
Prerequisites: Consent of the department chair
Catalog description: Field experience in a nonprofit organization under the
direction of supervisor at internship site and faculty supervisor. Each internship
experience is designed individually in consultation with the field supervisor and
Regent faculty.
Text: None
Course level: Senior
Does this course replace another course? No
Purpose of the course: To provide students in the Transmedia Education
emphasis with practical field experience in the transmedia sector.
Are library resources adequate? Yes
What are the learning objectives, and how will they be assessed?
At the conclusion of this course, students will be able to
Comprehend the unique nature of transmedia organizations;
Understand the challenges faced by leaders of Transmedia Education;
Experience the local, global, and ‘glocal’ transmedia environment.

Objectives will be evaluated through a journal, a written report, and evaluations
by workplace and faculty supervisors, and other tools as deemed appropriate.
Who will teach this course? To be determined.
Submitted by
Dr. Branch, Department Chairperson




CONCLUSION
An analysis of the three primary transmedia spaces revealed a need for a
curriculum that can prepare digital natives and digital immigrants for the
inevitable changes in our current communities of practice. In the learning spaces
we see networking paradigms overpowering the hierarchical structures. In the
Creative spaces we see interactivity overriding product broadcasting. With
Performance spaces we see crowd-sourcing replacing outsourcing. It would be
easy to conclude that our institutions of education are antiquated and therefore
doomed. Their persistence suggests that, outmoded as they may be, they are not
doomed but that they will adapt and thrive.[lxxi] William G. Bowen, former
president of Princeton once said, “One of the characteristics of academia is that
nobody wants to be left behind.”[lxxii] He goes on to say that, with more
research, there is great promise for the future of education. Additionally, there is
great promise to the future of Transmedia Education.



























 PROGRAM BIBLIOGRAPHY

“Communication Content by Organization Type.” www.plearn.net. 30, May,
2011. http://www.plearn.net/2011/05/30/communication-content-by-org-type/
Branch, Chester Elijah. Parables Today. VA Beach: Parables Today Consulting,
2013.
Band, Doug; Clinton, Bill. “CGI University Network.” www.cgiu.org. March,
2007. http://www.cgiu.org/university_network/
Davidson, Cathy N; Goldberg, David Theo. The Future of Learning Institutions
in a Digital Age. Cambridge: MIT Press, 2009, 27.
Davidson, Cathy. Now You See It. New York: Penguin Group, 2011, see Chapter
3.
Dean, Cornelia. “If You Have a Problem, Ask Everyone.” New York Times. July
22, 2008.
DiNucci, Darcy. “Fragmented Future.” Print. (January 1999): 32.
Hargreaves, Andy; et al. Second International Handbook of Educational
Change. Dordrecht: Springer, 2010, 506.
Jenkins , Henry. "Transmedia Storytelling." Technology Review (January 2003).
Johnson, Steven. Where Good Ideas Come From. New York: Riverhead Books,
2010.
Kaplan, David A. “Sal Khan: Bill Gates’ Favorite Teacher.”
www.Money.Cnn.com 24 August, 2010,
http://money.cnn.com/2010/08/23/technology/sal_khan_academy.fortune/index.htm
Kelty, Christopher M. Two Bits: The Cultural Significance of Free Software.
Durham: Duke University Press, 2008.
Kinder, Marsha. Playing with Power. Berkeley: University of California Press,
1993, 40-43.
Lehrer, Jonah. “The Eureka Hunt.” New Yorker (July 2008): 42.
McGonigal, Jane. Reality is Broken. New York: Penguin Press, 2011.
McLuhan, Marshall. Understanding Media. New York: Routledge, 2001, 22.
Mitra, Dr. Sugata. “Self Organizing Systems for Mass Computer Literacy.”
International Journal of Development Issues. (2005): 71-81.
Mitra, Sugata; Arora, Payal. “Afterthoughts.” British Journal of Educational
Technology. (September 2010): 703 – 705.
Moore, Geoffrey A. Crossing the Chasm. New York: Harper Collins Publishers
Inc., 2002.
Palfrey, John and Gasser, Urs. Born Digital: Understanding the First
Generation of Digital Natives. New York: Basic Books, 2008.
Qualman, Erik. Socialnomics. New Jersey: Wiley & Sons Inc., 2010, 261-264.
Shirky, Clay. Here Comes Everybody. New York: Penguin Books, 2009. See
“Post Managerial Organization.”
Toffler, Alvin. The Third Wave. New York: Bantam, 1980.
Toppo, G. “Flipped Classrooms Offer Students Virtual Learning.”
www.usatoday.com 06 October, 2011,
http://www.usatoday.com/news/education/story/2011-10-06/flipped-classrooms-
virtual-teaching/50681482/1
Weller, Martin. The Digital Scholar. New York: Bloomsbury Publishing, 2011,
see Rapid Innovation.
Winslow Taylor, Frederick. Principles of Scientific Management. New York:
Harper Brothers, 1913.












ENDNOTES

[1] “Communication Content by Organization Type.” www.plearn.net 30, May,

2011, http://www.plearn.net/2011/05/30/communication-content-by-org-type/

[2] Ibid
[3] “Communication Content by Organization Type.” www.plearn.net 30, May,
2011, http://www.plearn.net/2011/05/30/communication-content-by-org-type/
[4] Robert Pratten Getting Started in Transmedia Storytelling (United States:
CreateSpace, 2011).

[5] Chester Elijah Branch, Parables Today (VA Beach: Parables Today
Consulting, 2013), Also see Geoffrey A. Moore, Crossing the Chasm (New
York: Harper Collins Publishers Inc., 2002).
[6] Chester Elijah Branch, Parables Today (VA Beach: Parables Today
Consulting, 2013).
[7] Chester Elijah Branch, Parables Today (VA Beach: Parables Today
Consulting, 2013).
[8] Ibid.
[9] Ibid
[10] Ibid
[11] Ibid
[12] August E. Grant; Jennifer Meadows, Communication Technology
(Burlington: Focal Press, 2010), 205. Also see Mia Consalvo, “Console video
games and global corporations: Creating a hybrid culture.” New Media
Society (2006), 117–137.
[13] Chester Elijah Branch, Parables Today (VA Beach: Parables Today
Consulting, 2013).
[14] Ibid
[15] Ibid
[16] Ibid
[17] Ibid
[18] Ibid
[19] Ibid
[20] Ibid
[21] Ibid
[22] Zhan Li, “Rabbit Holes Into Wind Tunnels” www.slideshar.net 31 July,
2012, http://www.slideshare.net/ZhanLi1/scenario-planning-and-transmedia-
storytelling-ocad-july-31-slideshare
[23] Gerd Leonhard, “Spotify Rocks-But” www.mediafuturist.com 27 July, 2009,
http://www.mediafuturist.com/2009/07/i-love-spotify-but.html
[24] “Bachelor of Science in Teacher Education and Interdisciplinary
Studies”www.regent.edu
(2/3/2014)http://www.regent.edu/acad/undergrad/academics/degree/ids/ids_req.cfm

[i] Cathy Davidson, Now You See It (New York: Penguin Group, 2011), see
Chapter 3.

[ii] Frederick Winslow Taylor, Principles of Scientific Management (New York:
Harper Brothers, 1913).

[iii] Cathy Davidson, Now You See It (New York: Penguin Group, 2011), see
Chapter 3.

[iv] Erik Qualman, Socialnomics (New Jersey: Wiley & Sons Inc., 2010), 261-
264.

[v] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 27.

[vi] Ken Robinson; Lou Aronica, The Element (New York: Viking, 2009).

[vii] Clay Shirky, Here Comes Everybody (New York: Penguin Books, 2009),
See “Post Managerial Organization.”

[viii] Ibid.

[ix] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 13.

[x] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 13.

[xi] John Palfrey and Urs Gasser, in Born Digital: Understanding the First
Generation of Digital Natives (New York: Basic Books, 2008).

[xii] Cornelia Dean, “If You Have a Problem, Ask Everyone,” New York Times,
July 22, 2008.

[xiii] Martin Weller, The Digital Scholar (New York: Bloomsbury Publishing,
2011), see Rapid Innovation.

[xiv] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 13.

[xv] “Communication Content by Organization Type.” www.plearn.net 30, May,
2011, http://www.plearn.net/2011/05/30/communication-content-by-org-type/

[xvi] Andy Hargreaves; et al, Second International Handbook of Educational
Change (Dordrecht: Springer, 2010), 506.

[xvii] G. Toppo, “Flipped Classrooms Offer Students Virtual Learning.”
www.usatoday.com 06 October, 2011,
http://www.usatoday.com/news/education/story/2011-10-06/flipped-classrooms-
virtual-teaching/50681482/1

[xviii] David A Kaplan, “Sal Khan: Bill Gates’ Favorite Teacher.”
www.Money.Cnn.com 24 August, 2010,
http://money.cnn.com/2010/08/23/technology/sal_khan_academy.fortune/index.htm

[xix] Christopher M. Kelty, Two Bits: The Cultural Significance of Free
Software (Durham: Duke University Press, 2008).

[xx] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 30.

[xxi] Jane McGonigal, Reality is Broken (New York: Penguin Press, 2011).

[xxii] Jonah Lehrer, “The Eureka Hunt” New Yorker (July 2008): 42.

[xxiii] Ibid.

[xxiv] Jane McGonigal, Reality is Broken (New York: Penguin Press, 2011).

[xxv] Herodotus; William Beloe, Herodotus V. 1 (London: L. Hansard & Sons,
1812), 31.

[xxvi] Robert Drews, “Herodotus 1.94.” Historia (1992): 14-39.

[xxvii] Nicholas Wade, “DNA Boosts Herodotus’ Account” New York Times
(April 2007).

[xxviii] Dr. Sugata Mitra, “Self Organizing Systems for Mass Computer
Literacy” International Journal of Development Issues (2005): 71-81.

[xxix] Dr. Sugata Mitra, “Self Organizing Systems for Mass Computer Literacy”
International Journal of Development Issues (2005): 71-81.

[xxx] Steven Johnson, Where Good Ideas Come From (New York: Riverhead
Books, 2010).

[xxxi] Sugata Mitra; Payal Arora, “Afterthoughts” British Journal of
Educational Technology (September 2010): 703 – 705.

[xxxii] Chester Elijah Branch, Parables Today (VA Beach: Parables Today
Consulting, 2013).

[xxxiii] Geoffrey A. Moore, Crossing the Chasm (New York: Harper Collins
Publishers Inc., 2002).

[xxxiv] Joel Shurkin, Engines of the Mind: The Evolution of the Computer from
Mainframes to Microprocessors, 1996.

[xxxv] Jay Forrester, Digital Computers as Information-Processing Systems
(Cambridge: MIT, 1951).

[xxxvi] Nathan Myhrvold "Moore's Law Corollary: Pixel Power." New York
Times (June 2006).

[xxxvii] John Markoff, "Alan Kotok, 64, a Pioneer In Computer Video
Games.”The New York Times (June 2006).

[xxxviii] Mark Gawlinski, Interactive television Production (Burlington: Focal
Press, 2003).

[xxxix] Su Holmes, The Quiz Show (Edinburgh: Edinburgh University Press,
2008), 47.

[xl] James A. Mead, Survivor and other Reality TV Gameshows (Whitewater:
University of Wisconsin, 2006).

[xli] John Markoff, What the Door Mouse Said (New York: Penguine Books,
2005).

[xlii] Tony Schwartz, “Hollywood’s Hottest Stars.” New York (July 1984), 31.

[xliii] Gary Edgerton, “High Concept, small Screen.” Journal of Popular Film
and Television (Fall 1991), 114-127.

[xliv] David Ansen and Peter McAlevey, “The Producer Is King Again.”
Newsweek (May 1985), 84-86.

[xlv] Thomas Schatz, Hollywood: Cultural Dimensions (New York: Routledge,
2004), 374.

[xlvi] George Mair, The Barry Diller Story (New York: J. Wiley, 1997), 97.

[xlvii] Paul Rosenfield, Club Rules (New York: Warner Books, 1993).

[xlviii] Marsha Kinder, Playing with Power (Berkeley: University of California
Press, 1993), 40-43.

[xlix] Frank Rose, The Art of Immersion (New York: W.W. Norton and
Company, 2012).

[l] David Needle, "HyperCard: Rumors or Reality", Computer Currents (August
1987.) Also see Nick Montfort; Noah Wardrip-Fruin, The New Media Reader
(Cambridge: MIT Press, 2003), 253. Work for it began in March 1985 under the
name of WildCard (hence the creator code of 'WILD'). In 1986 Dan Winkler
began work on HyperTalk and the name was changed to HyperCard
for trademark reasons. It was initially released in August 1987, with the
understanding that Atkinson would give HyperCard to Apple only if they
promised to release it for free on all Macs. Apple timed its release to coincide
with the MacWorld Conference & Expo in Boston, Massachusetts to guarantee
maximum publicity.

[li] James K. Galbraith; Travis Hale, “Income Distribution and the Information
Technology Bubble” University of Texas (January 2004). The dot-com
bubble (also referred to as the Internet bubble and the Information Technology
Bubble) was a speculative bubble covering roughly 1995–2000 (with a climax
on March 10, 2000, with the NASDAQ peaking at 5132.52 in intraday trading
before closing at 5048.62) during which stock markets in industrialized nations
saw their equity value rise rapidly from growth in the more recent Internet
sector and related fields. While the latter part was a boom and bust cycle,
the Internet boom is sometimes meant to refer to the steady commercial growth
of the Internet with the advent of the world wide web, as exemplified by the first
release of the Mosaic web browser in 1993, and continuing through the 1990s.

[lii] Henry Jenkins "Transmedia Storytelling." Technology Review (January
2003).

[liii] Darcy DiNucci, “Fragmented Future” Print (January 1999): 32.

[liv] Christian Fuchs, “A Contribution to the Critique of the Political Economy
of Google” www.uta.edu 1 August, 2011,
http://www.uta.edu/huma/agger/fastcapitalism/8_1/fuchs8_1.html Google
relates to Internet prosumer commodification in two ways: On the one hand it
indexes user-generated content that is uploaded to the web and thereby acts as a
meta-channel of all user-generated content producers. Without user-generated
content by unpaid users, Google could not perform keyword searches. Therefore
Google exists through all users, who create World Wide Web (WWW) content.
On the other hand users employ Google services and thereby conduct unpaid
productive surplus-value generating labor. Such labor includes for example:
searching for a keyword on Google, sending an e-mail via GMail, uploading or
searching for a video on YouTube, searching for a book on Google Print,
looking for a location on Google Maps or Google Earths, creating a document on
GoogleDocs, maintaining or reading a blog on Blogger/Blogspot, uploading
images to Picassa, translating a sentence with Google Translate, etc. Google
generates and stores data about the usage of these services in order to enable
targeted advertising. It sells these data to advertising clients, who then provide
advertisements that are targeted to the activities, searches, contents and interests
of the users of Google services. Google engages in forms of economic
surveillance of user data and user activities, thereby commodifies users and sells
users and their data as Internet prosumer commodity to advertising clients in
order to generate money profit. Google is one of biggest economic surveillance
machine.

[lv] Marshall McLuhan, Understanding Media (New York: Routledge, 2001),
22.

[lvi] Tompkins, Vincent, “Assimilation of the Counterculture.” American
Decades (Detroit: Thomson Gale Publishing, 2001).

[lvii] Janine Marchessault, Marshall McLuhan (Thousand Oaks: SAGE
publications 2005), 213-214.

[lviii] Guy Fraumeni; Ernest Pintoff, This is Marshall McLuhan: The Medium is
the Massage (New York: NBC, 1967).

[lix] Laurie Burkitt, “On the Record with Jeff Gomez” www.forbes.com 9
March, 2009, http://www.forbes.com/2009/03/03/jeff-gomez-advertising-
leadership-cmo-network_starlight_runner.html

[lx] Alvin Toffler, The Third Wave (New York: Bantam, 1980). Toffler
describes the age of prosumption as the arrival of a new form of economic and
political democracy, self-determined work, labour autonomy, local production,
and autonomous self-production. Christian Fuchs would argue that he overlooks
how prosumption is used for outsourcing work to users and consumers, who
work without payment. Thereby corporations reduce their investment costs and
labour costs, jobs are destroyed, and consumers who work for free are extremely
exploited. They produce surplus value that is appropriated and turned into profit
by corporations without paying wages. Notwithstanding Toffler’s uncritical
optimism, his notion of the “prosumer“ describes important changes of media
structures and practices and can therefore also be adopted for critical studies.

[lxi] Kara Swisher, There Must be a Pony in Here Somewhere (New York:
Crown Business, 2003), 188.
[lxii] Alvin Toffler and Heidi Toffler, Revolutionary Wealth (New York:
Doubleday, 2006), 189.

[lxiii] Henry Jenkins, Convergence Theory (New York: New York University
Press, 2006), 2.

[lxiv] Glen L. Bull, “The Transmedia Book Initiative” www.curry.virginia.edu 4
October, 2011, http://curry.virginia.edu/research/projects/transmedia-book-
initiative

[lxv] Ken Eklund, “World Without Oil” www.worldwithoutoil.org 30 April,
2007, http://worldwithoutoil.org/metafaq.htm#wwoblog

[lxvi] Michael Anderson, “Exploring the World of Collapsus with Director
Tommy Pallotta” www.argn.com 25 October, 2010,
http://www.argn.com/2010/10/exploring_the_world_of_collapsus_with_director_tommy_pall

[lxvii] Christy Sandborg, “Living Profiles: Transmedia Personal Health record
Systems for Young Adults” www.projecthealthdesign.org July, 2006,
http://www.projecthealthdesign.org/projects/round-1-projects/living-profiles

[lxviii] Jennifer van Grove, “Living Profiles: Transmedia Personal Health record
Systems for Young Adults” www.mashable.com 19 May, 2009,
http://mashable.com/2009/05/19/twitter-tees-by-threadless/

[lxix] Tim Ogilvie, “The Future Of data Is Sneaker Optimization”
www.mediapost.com 27 March, 2012,
http://www.mediapost.com/publications/article/171158/the-future-of-data-is-
sneaker-optimization.html#reply#ixzz2aYz7lWdG.

[lxx] Henry Jenkins, “Contextualizing #Kony2012” www.henryjenkins.org 12
March, 2012,
http://henryjenkins.org/2012/03/contextualizing_kony2012_invis.html
[lxxi] Cathy N Davidson; David Theo Goldberg, The Future of Learning
Institutions in a Digital Age (Cambridge: MIT Press, 2009), 40.

[lxxii] Tamar Lewin, “Universities Abroad Join Partnerships on the Web”
www.nytimes.com 20 February, 2013,
http://www.nytimes.com/2013/02/21/education/universities-abroad-join-mooc-
course-projects.html?_r=0