Open Educational Resources in Business Law: Notes from the Field

Open educational resources (OERs) are an alternative textbook to publisher materials used by colleges and universities. OER materials have a cost advantage for students; many are published as free or cost-reduced textbooks for students. The authors developed and piloted an OER textbook for Business Law I in the Management program of the School of Business, Technology and Law. Over 800 Community College of Baltimore County (CCBC) students enroll in this course each academic year. The authors evaluated the cost savings for students compared to traditional publisher materials, and also examined student success rates in OER courses compared to traditional publisher courses. The authors’ assessment is that OER materials can save students substantial costs to attend college, and though there is some difference in student success between OER and traditional publisher courses, this variation is likely explained by other independent variables such as the course teaching modality. The process for receiving funding, developing OER-based materials on a publicly available and no-cost website, and distributing the materials to students is also discussed.

Wydawnictwo Bauer – tradycyjny wydawca w cyfrowym świecie

Bauer Publisher – Traditional Publisher in the Digital World The Bauer publishing house has gained the position of the largest press publisher in Poland thanks to the creation of an extensive portfolio of magazines aimed at various groups of recipients. The pub­lishing strategy based on a low copy price and efficient marketing ensured high sales revenues and relatively high independence from advertising revenues. Despite the decline in the readership of the printed press, the publishing house did not make any efforts to digitally transform its magazines and develop its activities on the Internet. Only in the face of the coronavirus pandemic, it created e-edi­tions and websites of a few titles. However, the recent business decisions of the German owner in­dicate that instead of investing in digital change and waiting for its effects, it is more willing to quit the traditional media markets.

A new funding model for open-access monographs

We outline the work of a university press, with assistance from the COPIM Project (Community-led Open Publication Infrastructures for Monographs), in building an innovative revenue model to fund open access monographs at a traditional publisher. Building on library journal subscription models (eg: OLH) and on Knowledge Unlatched's approach to monograph funding, we present a sustainable OA publishing model that gives members exclusive access to a backlist, with the revenue then used to make the frontlist openly accessible. The model can be emulated by other scholarly presses who wish to take advantage of the opportunities that open access publishing affords. Supporting information: Led by Dr Frances Pinter (Publishing Advisor, & founder of Knowledge Unlatched) and Professor Martin Paul Eve (OLH, Birkbeck & COPIM) the case study explores an innovative revenue model that will transition new titles at a well-known publisher to a viable open-access model. COPIM is an international partnership of researchers, universities, librarians, publishers and infrastructure providers working on bringing about a new OA publishing ecosystem. Their remit is to build a revenue infrastructure, and examine production workflows and metadata, experimental publishing and archiving. The project is working with colleagues across the sector to document existing and potential ways of funding open-access monographs and is consulting with academics, publishers, libraries, funders, and policy makers. The publisher case study aims to initiate and document a ‘working model’ as the next step in creating a practical toolkit and roadmap for other publishers.

Double Duty: Crowdfunding and the Evolving Game Production Network

As independent game makers strive to tackle the demands of game production without the help of a traditional publisher, a familiar game production environment has started to evolve. Adopting a game production studies perspective, this article focuses on crowdfunding as a new channel for independent game development and the shifts crowdfunding causes in the game production network. Two successfully crowdfunded case examples— Bloodstained (2018), a digital game, and Conan (2016), a board game—are used to illustrate changes crowdfunding causes in the traditional game production environment. In removing the publisher as an “unnecessary” middleman, crowdfunded productions need to take care of the many tasks that used to belong to publishers, such as marketing, partner sourcing, distribution networks, and customer relationships. As projects turn to emerging production network intermediaries, their significance—as well as that of the crowdfunding backers—provides evidence to classify the crowdfunding model as a new game production logic.

The return of the social author

The rise in self-publishing, digital folk culture and social media participation, have revolutionized reading and writing practices. Readers can directly contact their favourite authors, and publishers, through social media and become authors, and publishers, themselves. One of the outcomes of digital reading and writing is that writing is now becoming more democratic: traditional publishers are no longer the sole gatekeepers of culture. The popularity of social writing platform Wattpad is a recent example of how a new generation of influential and innovative writers is entering the publishing arena. This also demonstrates that there is a demand for authorship without the intervention from publishers. Despite this, traditional notions of authorship, ownership and control are prevalent in contemporary publishing hindering the true potential of creativity. The disharmony between the rise of the amateur author and the control of the traditional publisher is confronted in the digital public sphere. Consequently, issues such as authority and influence are mediated during the activities and interactions that take place on social media and other online platforms. Established authority figures, such as famous authors or well-known publishers, that exert authority and influence in the traditional sphere, can shift this authority and influence to the digital world; however, this sphere is also occupied by emerging networks of influencers, such as emerging authors or micro-celebrities, who gain popularity as a result of specific trends, in specific domains, at specific times. This article will examine how new and established authors are using social platforms, and social media, to publish their writing, build communities and extend their dialogue with readers and other writers. A netnographic study of Wattpad will identify which authors are the influencers and innovators in social publishing. Consequently, this article will underscore the increasing importance of social networks and social relationships in 21st century publishing.

Expectancy-Value

Consumers today have more control over media consumption than ever before, with interactive media helping to transform the industry away from a traditional publisher-centric focus towards a new dynamic user-centric model. Examples of prominent Web 2.0 media environments that support the creation, distribution and consumption of user-generated content (UGC) include YouTube, MySpace, Facebook, Wikipedia, StupidVideos, Flickr, Blogger, and personal Web pages, among others. In addition, recent media research involving Social Cognitive Theory has emerged to offer explanatory power for Internet use and could provide a better understanding of the UGC phenomenon. Therefore, a theoretical model grounded in Social Cognitive Theory was tested examining the relationships between media experience, desirability of control, attitude and the consumption of UGC. A survey was administered to an opt-in online panel (N=325) recruited for Web-based research with the findings confirming the hypothesized model.