History of the OU

The below is part of a posting written on an OU blog by Linda Anderson in 2018.

I fetched up at the OU in 2002, already a designer and deliverer of a successful distance learning writing course. Here’s what I knew. Distance learning widens participation in a dramatic way. It is a truly intimate form of shared learning. It empowers shyer people to have their say. Students benefit from a permanent record of feedback and discussions that they can return to as necessary. I also knew about the risk of quarrels that can blaze suddenly, leaving relationships in tatters. I knew on a deeply personal level about tutor burnout. I had been warned about it on the OU training course but had naively failed during the first couple of years to set limits to word counts or frequency of submissions to tutors. In the production of A215, I hope I kept in mind the tutors’ right to have a life.

I still remember how thrilled and challenged I felt by the job. At its core was a highly demanding form of teaching that had to be lucid and accessible as well as replete with lively, planned activities to both practise and test skills. But there was a cluster of other exciting elements: team management, peer review, editing, programme-making, interviewing famous writers, liaising with publishers internal and external, and ultimately, tutor training and supervision.

In the making of A215, what I wanted to import from the Lancaster model was the student-centred approach, to mix tutor-led online conferencing with occasional face-to-face day schools. I wanted students to try their hand at the three main genres of fiction, poetry, and life writing, finally being free to specialise in their chosen form or forms. The production team was a superb one, and despite our fair share of arguments and injured feelings, our work was relatively frictionless. The main authors were myself; Mary Hammond, an expert on publishing; Sara Haslam, a prime mover in the establishment of the ‘Start Writing’ series; W.N. Herbert, award-winning poet based at Newcastle University; and Derek Neale, who was steeped in the UEA writing culture both as an MA and PhD graduate and tutor for many years. Bob Owens, despite his workload as head of department and staff tutor in London, edited the Readings section of the Workbook. He and Shirley Coulson (course manager) contributed their extensive knowledge of how to navigate OU systems, a vital role in a team with so many new staff. Clare Spencer gave us an AL perspective.

I was surprised at how much teamwork kept us to a tight schedule while not curbing our creativity. Different colleagues often pushed the boundaries to create ambitious or unexpected elements, such as Sara Haslam’s recorded panel discussion by eminent biographers – Michael Holroyd, Blake Morrison, and Jackie Kay, chaired by Robert Fraser – a beautifully realised debate. Derek Neale included a range of innovative styles of biographical writing in the Workbook, showing how to mix fact and fiction. Within a couple of years we had an array of audio CDs, a study guide, and a 600 plus page book, Creative Writing: A Workbook with Readings, co-published with Routledge.

The course launched in 2006 with approximately 2500 students and gained the highest retention level in the University as well as high scores of student satisfaction. The Workbook was acclaimed and is still in wide use in other universities. Over a hundred ALs, most of them new to the OU, were trained and supported in online teaching. These successes remained consistent over eight years, so that 22,000 students had taken the course by the time I left in 2013. It was Maggie Butt, our first external examiner, who made what felt to me like the best tribute to the course: ‘You have managed the industrial scale without losing the personal touch.’

Creative Writing has gone from strength to strength. Derek Neale chaired A363: Advanced Creative Writing, which launched in 2008. Although I had some hand in the production, the course materials were largely written or produced by Derek Neale and Bill Greenwell. Derek designed a distinctive approach of experimenting with form. He aimed to deepen students’ engagement with fiction, poetry, and life writing while also introducing scriptwriting for various media. The core text A Creative Writing Handbook: Developing Dramatic Technique, Individual Style and Voice was co-published with A & C Black. When both courses were up and running, we were organising teaching and assessment of more than 3000 students annually with a very small course team.

Research developments

The PhD programme began in 2008. Of the four researchers I co-supervised with Derek Neale, two won internal scholarships against Faculty-wide competition and all gained their doctorates either shortly before or shortly after I retired. Three of their four novels have now been published and widely reviewed: The Longest Fight by Emily Bullock was named as ‘a fine addition to the canon of boxing literature’ in ‘The Independent’; Owl Song at Dawn by Emma Sweeney was shortlisted for the Amazon Rising Star Award in 2016; Heather Richardson’s Doubting Thomas was recently listed by ‘The Independent’ as one of the nine best Scottish fictions of 2017.

In the spring of 2012 I founded The Contemporary Cultures of Writing research group with my creative writing colleagues. I organised and chaired our first series of seminars at the Institute of English Studies, University of London on the theme of ‘The Rise of Creative Writing’ to coincide with just over forty years of Creative Writing in higher education in the UK. We explored the question of whether writing courses had a traceable and positive impact on literary culture. I found that eminent authors and academics like Maureen Freely, Andrew Cowan, and Alison MacLeod, were prepared to travel to London and speak for expenses only. (It’s a generosity that my colleagues have subsequently also been able to rely on.) The audiences were gratifyingly large, with about 25 people showing up to two events and a dozen for one on poetry. These series are still going strong and have given colleagues experience in event organisation and panel chairing as well as raising the public profile of the OU.

Linda Anderson worked as Reader in Creative Writing at The Open University from 2002 – 2013. She is a contributor to the short story anthology The Glass Shore, ed. Sinead Gleeson, which won the 2016 Irish Book of the Year Award. She is co-editor with Dawn Sherratt-Bado of the acclaimed anthology Female Lines: New Writing by Women from Northern Ireland (New Island 2017), described by Arts Council Head Damian Smyth as ‘one of the most important books to be published about Northern Ireland in half a century.’ Her novel Cuckoo, first published in 1986 by The Bodley Head, will be reissued in 2018 as a modern Irish classic by Turnpike Books.

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Source: https://www.open.ac.uk/blogs/english/on-establishing-creative-writing-programmes/

The use of technology to promote co-operative and collaborative learning goes back to the earliest days of the OU. Despite initial complaints from the GPO, which ran the UK telephone system at the time, since 1973 telephones were used to support the physically isolated, the itinerant, the housebound and the shiftworkers who were often unable to attend tutorials. Expert strategies were developed and a pack produced. Advice was offered to tutors about encouraging students to gather around a loudspeaker telephone for self-help activity ‘with the added bonus of you taking part from a distance – like an academic Cheshire cat’. Soon audio conferencing, which could involve up to eight people on telephones in different locations, was  employed as were faxes, personalised audio-cassette messages and video-conferencing.

In 1988 the OU introduced courses which required students to have access to a desktop computer. It presented Information technology: Social and technological issues, DT200, (1988–94). This used computer conferencing. By 1990 about 2,000 students were using CoSy to communicate with tutors and with other students. Programming and programming languages, M353 (1986–99) required a home computing facility, while Matter in the universe, S256 (1985–92) provided computer assisted learning for home computers and employed interactive videotape. Students were given opportunities to buy or rent computers. In 1995 twenty courses, with a total of almost 21,000 students, required undergraduates to have access to an MS-DOS machine. Conferencing enabled students to select a time which was convenient to them to respond. This did not offer the immediacy of quick-fire debate but it did provide opportunities for reflective dialogue. The large-scale use of this facility on Information technology, DT200, helped to shift the focus within the OU away from the individual learner towards consideration of how best to support social interaction. Individual students were encouraged to construct personal meaning and to contribute to their own learning and that of others through online discussion.

Information technology: Social & technological issues, DT200 (1988–94) introduced many students to computer conferencing with this electronic map of a virtual campus.

A new text-based conferencing system was developed. In 1994 FirstClass was provided for undergraduate courses following successful trials of the collaborative learning activities that it supported. It was considered to be much more intuitive a system than CoSy and within a year 5,000 students were conferencing. By 1996 there were 13,000 and soon 50,000. Initially the conferencing facility was used for interactions previously carried out by phone or letter. Tutors offered advice and responded to requests via FirstClass. The house-bound and those overseas began to exchange ideas with other students, particularly if conferencing was structured and linked to assessment. The university began to devise guidance for tutors on conference moderation and ideas about conferencing were further developed for an online course You, your computer and the net, T171 (1999–2005), which enrolled around 10,000 students in its first year and had 12,500 students by 2000. In addition to access to an extensive website students received a CD-ROM of software and set texts.

As new ways of providing interactive and individualised support for learners became possible so the importance of maintaining face-to-face contact declined. The OU study centre had begun life as ‘a “Listening and Viewing Centre” with the express purpose of providing access to VHF radio and BBC2’. Used for counselling and other purposes, many initially cost little to rent. The increased use of home video players and desktop computing cast some doubt on the value of study centres.

Typical FirstClass screen, 1996

On Discovering science, S103, computer-mediated communication was optional for students but a requirement for ALs. They used FirstClass to access a national conference at least once a week and they could also exchange messages using conferences designed for the localities in which they were based. ALs were provided with guidance as to how to teach in the interactive seminars and offered practical advice which reflected the ethos of OU teaching practices. It was suggested, for example, that they ‘adopt an informal, friendly tone. Start a message with a greeting such as “Hello” … avoid the more formal “Dear Chris”.’ In addition, they were told that ‘CMC is a medium devoid of warmth and you need to compensate for this’.

Learning was integrated with practice and students were required to submit their work electronically. They communicated not only with the central computing facility but also with one another and their tutors. Groups of about fifteen worked collaboratively on projects in their own tutor-moderated conferences. Reflection was integral to the assessment. Students were required to provide evidence of participation in online discussions. The intention was to use the new delivery modes to ensure that the OU’s environment remained congenial and supportive of the creation of knowledge by learners.

Online conferencing enabled data to be recorded for later analysis of how students learn and which were the most effective teaching strategies. Illustrations from Morris, R.M., Mitchell, N. & Bell, M. Student Use of Computer Mediated Communication in an Open University Level 1 Course: Academic or Social? Journal of Interactive Media in Education, 99, 2, 1999.

The OU achieved national, indeed international, fame through its use of television for teaching purposes. However, it was teaching so much that the time allocated to OU broadcasts soon became inadequate. The BBC wanted to broadcast a range of materials. As noted under Object No 31, the number of television transmission slots available to the OU did not grow at the same rate as the number of OU broadcasts. By 1978  about 20 per cent of OU television broadcasts had only one transmission. The percentage of students watching the broadcasts fell and the OU’s Video-Cassette Loan Service was introduced in 1982. As only about 8 per cent of OU students had a VHS player at home, machines were distributed to the regions. OU study centres began to be stocked with collections of videos and replay machines. In 1981 students could attend centres in order to use Europe’s first ‘interactive videodisc’.

Soon the technology spread. By 1986 60 per cent of OU undergraduates had a video player in their homes. Britain had the highest ownership of video-cassette recorders in Europe, and OU students’ access to such technology was ‘well above the national rate’. A survey found that only 14 per cent of OU under- graduates could not arrange access to a machine. In 1992, 90 per cent of OU students surveyed had a VCR and 80 per cent of them recorded OU programmes. From 1993, instead of mailing video-cassettes to students, the OU arranged for the night-time broadcast of programmes for students to record.  Video-cassettes liberated students from a fixed viewing schedule. OU Professor John Sparkes argued that ‘it was a mistake to try to teach conceptually difficult material by broadcast TV. It goes too fast and cannot be slowed down to allow for thinking time.’ Using video, students could skim, pause, rewind, fast forward and search. They could integrate reflection on of other teaching media. By contrast, a third of students who watched television material focused on the details and failed to draw out the general principles.  For courses with fewer than 650 students each year it was cheaper for the OU to distribute returnable video-cassettes than to broadcast the material. he OU had its own purpose-built television studio complex at Walton Hall. This enabled it to produce a video which generated three-dimensional images of the brain for the Biology: brain and behaviour course. The OU began to produce course-specific, non-broadcast materials (for group viewing at residential schools, for example).

OU videos, unlike broadcasts, were designed for students not general viewers and could be and replayed by the students. The OU considered how best to use the equipment. Research was carried out at the OU into the effectiveness of teaching by non-academic organisations, such as British Telecom (which used interactive video to train managers dispersed throughout the UK) and Price Waterhouse (which used a videodisc-based training programme to acquaint employees with potential computer security risks). An ‘Alternatives to print for visually impaired students: feasibility project report’ was produced for The Mercers’ Company and Clothworkers’ Foundation. A team from IET worked with Rank Xerox EuroPARC in order to design effective computer-based support for collaborative learning where people were located at different physical sites and connected via various forms of technology.

The OU made a number of videos as part of its Continuing Education activities. A video for Talking with young people, P525, included forty- three sequences. Students were invited to watch in groups and consider their reactions. The constraints inherent in a 23-minute broadcast slot did not apply to a video-cassette with a number of independent sections of varying lengths. For Social psychology, D307 (1985–95), students were invited to analyse a drama by referring to letters in the corner of the screen and a grid provided in the video notes. The presenter explained:

watch the excerpt straight through first time, even if you can’t get it all down in your notes, you’ll have a chance to replay this section of the tape later on. Doing this analysis in real time will be good practice for when you do your own observation.39

Similarly, the, video associated with Matter in the universe, S256 (1985–92), included the instruction that viewers should watch it more than once and that they should address questions related to the numbers in the corner of the screen. For Engineering mechanics: Solids and fluids, T331, 1985–2004, students were expected to measure the time period of an oscillating pendulum, and then stop the tape and apply the data to an equation. The impersonal broadcast to an infinite crowd had been adapted to enable personal use by members of the OU’s student body.

By the 1990s for Studying family and community history: 19th and 20th centuries, DA301 (1994–2001), students were encouraged to develop their transferable skills by making audio and video recordings.

During a Lords debate of 24 July 2013 the contributors mentioned the OU’s experience and dynamism in regard to part-time education. Lord Rees of Ludlow noted that while across the nation numbers applying to be part-time students had fallen by 40% over the previous year, ‘the OU has to some extent bucked the trend’. He also called it ‘excellent news’ that the Open University had established FutureLearn. Baroness Garden of Frognal called FutureLearn ‘an exciting development’. Baroness Brinton commended the OU’s recruitment campaign and called FutureLearn ‘groundbreaking’, adding that ‘the key is the OU’s expertise in distance learning, which has been critical to getting this off the ground. These courses, and the way in which students interact with each other as well as with staff across the various institutions, is the learning environment of the 21st century’.

The OU has long been in a league of its own. Many have seen it as rising above the others in a manner comparable to the way the inspirational tower associated with Blackpool is clearly far above the flat countryside of the Ipswich Town tractor boys. (more…)