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This exploratory study, framed in an interpretivist paradigm and hermeneutic approach, examined a world-wide collection of 28 dedicated open educational resources (OER) policy documents published on the Internet from post-secondary institutions. The guiding research question was how to understand OER in a dedicated OER policy corpus, that was answered through an interpretation of the policy texts. Thus, a rich picture of post-secondary institutional dedicated OER policies developed with close and distant readings that revealed emergent patterns, control patterns, and key terms such as liability. Emergent patterns in the dedicated OER policy corpus were: branding, Creative Commons, liability, licenses, metadata, OER definition, preamble, and roles. Emergent patterns of the corpus texts and institutional OER policy templates illuminated differences in consistency, commitment, and comprehensiveness of the policy texts for how OER was expressed within the dedicated OER policy corpus. Patterns of control for institutional entities in production, support, collaboration, and voluntariness revealed inequalities in student production, support, and collaboration. An interpretation of dedicated OER policy is that it is more about institutional organization than OER material. The utility and opportunities of the findings suggest that institutional dedicated OER policy could evolve with consideration for, but not limited to, standardisation, engagement of academic community, role modelling free and open source software (FOSS), liability for OER stakeholders, and students as primary stakeholders for development and implementation of dedicated OER policy. OER activities, such as online open etextbook publishing, could benefit from a supportive dedicated OER policy for guidance, promotion, development, and sustainability of OER., 2024-06, 2023-09-07T17:18:13Z

In this inventive collection of poems, McCutcheon engages in sophisticated literary play and deploys the Surrealist practices of juxtaposition, cut-up, and defamiliarization. Moving from eroticism to the macabre and from transformative quotation to the individual idiom, Shape Your Eyes by Shutting Them explores intertextuality in poetry by challenging the cultural tradition of seeing quotation as derivative.

Technology, a word that emerged historically first to denote the study of any art or technique, has come, in modernity, to describe advanced machines, industrial systems, and media. McCutcheon argues that it is Mary Shelley’s 1818 novel Frankenstein that effectively reinvented the meaning of the word for modern English. It was then Marshall McLuhan’s media theory and its adaptations in Canadian popular culture that popularized, even globalized, a Frankensteinian sense of technology. The Medium Is the Monster shows how we cannot talk about technology—that human-made monstrosity—today without conjuring Frankenstein, thanks in large part to its Canadian adaptations by pop culture icons such as David Cronenberg, William Gibson, Margaret Atwood, and Deadmau5. In the unexpected connections illustrated by The Medium Is the Monster, McCutcheon brings a fresh approach to studying adaptations, popular culture, and technology.