Jeremy Knox has presented and published a paper on massive open online courses, looking at three in particular. Here is a link to the paper. Here are a few sentences from one of the sections on ModPo:
A salient example of the use of video can be found in the ‘Modern and Contemporary American Poetry’ (known as ModPo) course from the University of Pennsylvania in partnership with Coursera. As part of the introductory material, this course provided a video tour of the Kelly Writers House, a campus building associated with the instructors of the ModPo MOOC and creative writing students at the University of Pennsylvania. As a production of space, this video offers a remarkable enactment of the domestication of the MOOC, involving, I suggest, the production of familiarity and the practice of mapping. Rather than the imposing campus edifices foregrounded by the MOOC platforms, this faculty-level promotion aims at establishing a space of intimacy and community by providing a tour of the building which hosts the ModPo course. Course convenor Al Filreis hosts the tour, providing commentary as he is filmed proceeding through various rooms within the building, in which he interviews each of the ModPo Teaching Assistants (TAs) in turn. Of primary emphasis in this video is the promotion of a community at the Kelly Writers House.
Here is a video-recording of a performance of “Facts,” performed by Jake Marmer, Frank London, Greg Wall and Uri Sharlin at Cornelia Street Cafe at the release party of the Hermeneutic Stomp CD, October 14, 2013. Watch and you’ll hear the refrain, chanted by the audience: "We’re not of this world." For more about the CD, see this comment at Jewish Currents; the piece includes a link to an audio recording of "Bath House of Dreams." Frank London is of course the Grammy Award-winning trumpeter who performs with the Klezmatics. Marmer’s first book of poems is Jazz Talmud, published by Sheep Meadow Press in 2012. He left a small provincial town in the Ukraine at the age of 15. He is co-founder of North America's first Jewish Poetry retreat at KlezKanada Festival.
On March 17, 2014, Julia Bloch hosted a conversation about the relevance of the Beats in contemporary poetry, with Frank Sherlock, Michelle Taransky, Maria Raha, Chris McCreary, and Thomas Devaney. The session was webcast live, and was tweeted with the #PhillyBEATS hashtag. The video recording is available here, and the audio recording of the session is available here.
The visualization of the sound of Charles Bernstein’s recording of “1-100” (1969), which I presented in a recent commentary titled “Anti-ordination in the visualization of the poem's sound,” struck artist, poet, maker of books Stephen Vincent as interestingly relevant to “haptic” drawings he has made while listening to various poets reading their work in the Bay Area, and I agree. He has called this activity drawing by sound (rather than of). “I like comparing my ‘physio/digital’ responses to the digital electronic ones,” he has written to me.