Taylor Walsh – författare

Over the past decade, a small revolution has taken place at some of the world's leading universities, as they have started to provide free access to undergraduate course materials--including syllabi, assignments, and lectures--to anyone with an Internet connection. Yale offers high-quality audio and video recordings of a careful selection of popular lectures, MIT supplies digital materials for nearly all of its courses, Carnegie Mellon boasts a purpose-built interactive learning environment, and some of the most selective universities in India have created a vast body of online content in order to reach more of the country's exploding student population. Although they don't offer online credit or degrees, efforts like these are beginning to open up elite institutions--and may foreshadow significant changes in the way all universities approach teaching and learning. Unlocking the Gates is one of the first books to examine this important development.Drawing on a wide range of sources, including extensive interviews with university leaders, Taylor Walsh traces the evolution of these online courseware projects and considers the impact they may have, both inside elite universities and beyond. As economic constraints and concerns over access demand more efficient and creative teaching models, these early initiatives may lead to more substantial innovations in how education is delivered and consumed--even at the best institutions. Unlocking the Gates tells an important story about this form of online learning--and what it might mean for the future of higher education.

"If photography is about light and sculpture about material, Shirreff's work makes an unresolvable knot of the two that's as beautiful as it is puzzling." —Murray White, Boston GlobeA feeling of suspended animation haunts the work of Canadian artist Erin Shirreff (born 1975), melding historical reference and the present tense of live encounter. Shirreff favors the stark geometries of mid-20th-century abstraction, and often engages works of art—Donald Judd's concrete buildings, Tony Smith's monoliths—to ask broader questions about the act of looking. Contemplating what is lost and gained when art is filtered through the camera's eye, Shirreff's spare, evocative works compel new forms of attention. This is the first comprehensive monograph to capture the breadth of her studio practice, richly illustrated and featuring new scholarship by art historians Megan R. Luke, Kate Nesin, Taylor Walsh and Jeffrey Weiss, and an original text on Shirreff's experiments with cyanotype by author Rivka Galchen.