pulling jw's changes into master

course/config/questions/en.yaml

@@ -1,7 +1,7 @@
 registration:
   -
     id: 1
-    text: Summerise your thoughts on about online courses? Do you prefer them over traditional lectures?
+    text: Summarise your thoughts on about online courses? Do you prefer them over traditional lectures?
     response_type: text
   -
     id: 2
@@ -21,11 +21,11 @@ registration:
     response_type: scale
   -
     id: 6
-    text: Which service, if any, do you use to share pictures and who owns the rights to these images once they’ve been posted?
+    text: Which service, if any, do you use to share pictures and who do you think owns the rights to those images once posted?
     response_type: text
   - 
     id: 7
-    text: What copyright license, if any, would you usually use? (e.g. All Rights Reserved, CC BY, CC BY-SA, CC BY-ND, CC BY-NC, CC BY-NC-SA, CC BY-NC-ND)
+    text: Do you know what a Creative Commons Copyright License is?
     response_type: text
   -
     id: 8

course/content/en/class1/extended.md

@@ -4,7 +4,9 @@ content_type: postclass
 optional: true
 expectsubmission: false
 title: Extended Content
-description: Access Graham and Susan's original interviews in full.
+description: >-
+  Access Graham and Susan's original interviews in full as well as Jim's
+  suggested links for further reading.
 ---
 
 Here you can access Graham and Susan's original interviews in full.
@@ -25,6 +27,11 @@ Here you can access Graham and Susan's original interviews in full.
 
 <iframe width="100%" height="166" scrolling="no" frameborder="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/342495331%3Fsecret_token%3Ds-ZzoJd&amp;color=%23ff5500&amp;auto_play=false&amp;hide_related=false&amp;show_comments=true&amp;show_user=true&amp;show_reposts=false"></iframe>
 
+## Susan's suggested further reading: 
+
+[National Press Photographers Association Code of Ethics](https://nppa.org/code_of_ethics)
+[The Media and Addiction Recovery](http://www.williamwhitepapers.com/pr/2014%20The%20Media%20and%20Addiction%20Recovery.pdf) by William L. White
+
 ----
 
 ## Jim's suggested further reading:
@@ -33,10 +40,10 @@ Here you can access Graham and Susan's original interviews in full.
 
 > Darcy Padilla is a documentary photographer, photojournalist, and lecturer specializing in contemporary issues and long-term projects.
 Her awards include a Guggenheim Fellowship, three World Press Photo Awards, Alexia Foundation Grant, Open Society Institute Individual Fellowship, Getty Images Grant, Alicia Patterson Fellowship, International Photo-Reporter Grant, Canon Female Photojournalist Award, and the W. Eugene Smith Grant for Humanitarian Photography.
-
+![]({{site.baseurl}}/)
 Family Love Based on the documentary The Julie Project that follows a family for 21 years — an intimate story of poverty, Aids, and social issues.
 
-![]({{site.baseurl}}/http://www.darcypadilla.com/_FamilyLove/DarcyPadilla_FamilyLove-Book.jpg)
+![DarcyPadilla_FamilyLove-Book.jpg]({{site.baseurl}}/course/content/media/DarcyPadilla_FamilyLove-Book.jpg)
 
 **Brenda Ann Kenneally** - [http://therawfile.org/](http://therawfile.org/)
 

course/content/en/class1/fourcorners.md

@@ -10,26 +10,23 @@ description: >-
   authoring tool for photographers. It enables the photographer to add extra
   information into an image so that they are no longer reliant on the
   surrounding information to convey their intended meaning. It is central to
-  Interpretation because it enables the reader to interrogate the photograph
-  and better understand the motivation, perspective and values of the
-  photographer.
+  Interpretation because it enables the reader to interrogate the photograph and
+  better understand the motivation, perspective and values of the photographer.
 fourcornersintro: true
 ---
 ## Why Four Corners
 
-Four Corners is simple way of representing context information about photographs. It enables the reader to see what is happening in the photograph, why the photographer made it and under what conditions.
+Four Corners is simple way of presenting contextual information about a photograph. It enables the reader to see what is happening in the photograph, why the photographer made it and under what conditions.
 
 > Ex-New York Times Photo Editor [Fred Ritchin], proposed the idea in his book `After Photography`. He envisaged each corner of an image providing access to extra information; top left would be the frames before and after, top right would be links to further, related information. Bottom left would be the background-story of the image and bottom right would be the photographer’s name, copyright terms and, their code of ethics.
 
 ![4c1.png]({{site.baseurl}}/course/content/media/4c1.png)
 
-**We’re using 4C because it shifts the role of the photographer from being suppliers of content to becoming publishers, and allows the reader to interregate the photograph in a richer way.**
+**We’re using 4C because it shifts the role of the photographer from being suppliers of content to becoming publishers, and allows the reader to interrogate the photograph in a richer way.**
 
 
 ## How to Use It
 
-Four Corners is simply extra information that is provided on your website alongside a photo.
-
 Most blogging and content platforms support Four Corners images, and we have put some guides together for the major ones:
 
 ### Wordpress

course/content/en/class1/homework.md

@@ -3,7 +3,7 @@ published: true
 content_type: pre
 optional: false
 expectsubmission: true
-title: Homework
+title: Preparation
 homework: true
 description: Pre-reading and a practical challenge to complete in advance of the class.
 ---

course/content/en/class1/intro.md

@@ -6,12 +6,15 @@ title: Depictions of Addiction
 description: >-
   Photographer Graham Macindoe and journalist Susan Stellin provide a case-study
   for us to consider how images are interpreted and to reflect on their enduring
-  and potentially evolving impact. 
-
-  @[bio](Graham Macindoe|{{site.baseurl}}/course/content/media/thumb/Graham_cropped.jpg|Graham Macindoe is a New York based photographer and an adjunct professor at Parsons The New School. His work has been widely published in the UK and the US.|https://www.instagram.com/grahammacindoe)
-
+  and potentially evolving impact. @[bio](Graham
+  Macindoe|{{site.baseurl}}/course/content/media/thumb/Graham_cropped.jpg|Graham
+  Macindoe is a New York based photographer and an adjunct professor at Parsons
+  The New School. His work has been widely published in the UK and the
+  US.|https://www.instagram.com/grahammacindoe
+  |https://www.twitter.com/grahammacindoe)
 
-  During the course, we will be making [Four Corners](/#/fourcorners) images as a way of sharing and discussing the emergent issues.
+  During the course, we will be making [Four Corners](/#/fourcorners) images as
+  a way of sharing and discussing the emergent issues.
 expectsubmission: false
 ---
 ## Depictions of Addiction - Introduction
@@ -26,4 +29,5 @@ Questions and links will appear in the transcript, please add your thoughts and
 
 @[bio](Susan Stellin|{{site.baseurl}}/course/content/media/thumb/Susan_Stellin_cropped.jpg|Susan Stellin is a freelance reporter, co-author of the memoir Chancers, and adjunct professor in the Journalism + Design department at The New School in New York City.|http://www.susanstellin.com)
 
-@[bio](Graham Macindoe|{{site.baseurl}}/course/content/media/thumb/Graham_cropped.jpg|Graham Macindoe is a New York based photographer and an adjunct professor at Parsons The New School. His work has been widely published in the UK and the US.|https://www.instagram.com/grahammacindoe)
+@[bio](Graham Macindoe|{{site.baseurl}}/course/content/media/thumb/Graham_cropped.jpg|Graham Macindoe is a New York based photographer and an adjunct professor at Parsons The New School. His work has been widely published in the UK and the US.|https://www.instagram.com/grahammacindoe
+|https://www.twitter.com/grahammacindoe)

course/content/en/fourcorners.md

@@ -10,26 +10,23 @@ description: >-
   authoring tool for photographers. It enables the photographer to add extra
   information into an image so that they are no longer reliant on the
   surrounding information to convey their intended meaning. It is central to
-  Interpretation because it enables the reader to interrogate the photograph
-  and better understand the motivation, perspective and values of the
-  photographer.
+  Interpretation because it enables the reader to interrogate the photograph and
+  better understand the motivation, perspective and values of the photographer.
 fourcornersintro: true
 ---
 ## Why Four Corners
 
-Four Corners is simple way of representing context information about photographs. It enables the reader to see what is happening in the photograph, why the photographer made it and under what conditions.
+Four Corners is a simple authoring and context tool for photographers. It enables the reader to see what is happening in the photograph, why the photographer made it and under what conditions.
 
 > Ex-New York Times Photo Editor [Fred Ritchin](https://www.icp.org/users/fredritchin), proposed the idea in his book `After Photography`. He envisaged each corner of an image providing access to extra information; top left would be the frames before and after, top right would be links to further, related information. Bottom left would be the background-story of the image and bottom right would be the photographer’s name, copyright terms and, their code of ethics.
 
 ![4c1.png]({{site.baseurl}}/course/content/media/4c1.png)
 
-**We’re using 4C because it shifts the role of the photographer from being suppliers of content to becoming publishers, and allows the reader to interregate the photograph in a richer way.**
+**We’re using 4C because it shifts the role of the photographer from being a supplier of content, to becoming a publisher, whilst affording the reader a richer and more active reading experience.**
 
 
 ## How to Use It
 
-Four Corners is simply extra information that is provided on your website alongside a photo.
-
 Most blogging and content platforms support Four Corners images, and we have put some guides together for the major ones:
 
 ### Wordpress

course/content/en/info.md

@@ -8,20 +8,20 @@ expectsubmission: false
 ---
 ### Welcome to the Connected Academy!
 
-**“Interpretation”** is one class from an open class in critical visual storytelling. It is designed, and run in association with the _World Press Photo Foundation_. The course to which it pertains is made up of seven classes which run every other week, these are accessible online and participation is free. Between the classes are webinar reviews where industry experts discuss some of the themes that have emerged and review some of the work that people have submitted.
+**“Interpretation”** is one class from an open course in critical visual storytelling. It is designed, and run in association with the _World Press Photo Foundation_. The course to which it pertains is made up of seven classes which run every other week, these are accessible online and participation is free. Between the classes are webinar reviews where industry experts discuss the emergent themes and review the work people have submitted.
 
-@[bio](Jonathan Worth|{{site.baseurl}}/course/content/media/small/jw_by_gw-768x774.jpg|Jonathan Worth is a British portrait photographer and educator. He has worked for The New York Times, New Scientist magazine, Universal Music and Vogue amongst others.|https://www.instagram.com/jonathan_worth)
+@[bio](Jonathan Worth|{{site.baseurl}}/course/content/media/small/jw_by_gw-768x774.jpg|Jonathan Worth is a Photographer, a National Teaching Fellow and Senior Research Associate at Newcastle University's Open Lab. He has worked for The New York Times, New Scientist magazine, The Guardian, Stern, Universal Music, Vogue and his work is on permenant collection at the National Portrait Gallery, London.|https://www.instagram.com/jonathan_worth)
 
-Interpretation is a connected conversation about photography in the 21st century, and the classes are where those conversations begin. The format and the platform are designed to enable both the teacher and the learner to be parts of a global conversation that is informed by an international range of perspectives and joined live, by the same photographic experts who feature in the content. Participants are also invited to create, to share and to feedback on each other’s photographic responses, through the same networks.
+_Interpretation_ is a connected conversation about photography in the 21st century. The format and the platform are designed to enable the participant to be a part of a global conversation informed by an international range of perspectives and joined live, by the same photographic experts who feature in the content. Participants are invited to create, to share and to feedback on each other’s photographic responses.
 
-For each class we have staged a conversation between a **photographer**, a **subject** and **someone who represents the audience**. A subject expert also provides historical or thematic context. These conversations are designed to help us address five key questions, namely:
+Each class contains a montage of interviews with **photographers**, a **subjects** and **people who represent the audience**. Subject experts also provide historical and/or thematic context. These pieces are designed to help us address five key questions, namely:
 
 - What are you saying?
 - Who are you saying it to?
 - How are you saying it?
 - Why should they believe you?
 - And finally, what do you want them to do as a result?
 
-These are not the only questions we hope will emerge and throughout the conversations traditional storytelling themes such as Evidence, Interpretation, Fiction, Fact, Narrative and Impact are also discussed.
+Traditional storytelling themes such as Evidence, Interpretation, Fiction, Fact, Narrative and Impact also emerge are discussed throughoute.
 
-> For submitting photographic work during the course, we are using Four Corners. Four Corners is an authoring and context tool first envisaged by Fred Ritchin that enables the photographer to furnish an image with extra content. This content provides context and more information about the subject and the photographer.
+> Submission of photographic work must be in the Four Corners format. Four Corners is an authoring and context tool first envisaged by ex-NY Times Photo Editor, Fred Ritchin. It enables the photographer to furnish an image with extra contextual information, related frames, links, copyright information and their code of ethics.

course/content/en/runclass.md

@@ -1,14 +1,21 @@
-If you’d like to run a class of your own at your school/university or within your community, then you can access all of the course materials via the platform. Content goes live according to the schedule <linked> and online participants can then access the content and join the connected conversation in their most convenient a time zone.
+---
+published: true
+content_type: title
+optional: false
+expectsubmission: false
+title: Untitled
+---
+If you’d like to run a class of your own at your school/university or within your community, then you can access all of the course materials via the platform. Content goes live according to the schedule <linked> and online participants receive an email notification when their local hub is live.
 
 Be sure to register your class in the correct time-zone in order for us to map where and when it is running!
 
-The Connected Academy Platform organises content like a playlist. The participant can then choose to listen to the bare minimum or do the deeper-dives. The staged conversations are in fact audio-montages edited from 3 or 4 different interviews. The full versions can be accessed via the playlist, as well as a series of podcasts by photographers who address the course questions directly.  As a registered teacher you will have access to, and should listen to, all of the content prior to the launch day. As a teacher you should also feel confident adapting that content to better cater to your participant’s needs by, for example, creating your own playlists or augmenting the materials with your own.
+The Connected Academy Platform organises content like a playlist. The participant can then choose to listen to the required minimum or do the deeper-dives. The staged conversations are in fact audio-montages edited from 3 or 4 different interviews. The extended versions can be accessed via the playlist, as well as a series of podcasts by photographers who address the course questions directly.  As a registered teacher you will have access to, and should listen to, all of the content prior to the launch day. As a teacher you should also feel confident adapting and contextualising that content to better cater to your participant’s needs by.
 
-In order for your class to benefit from the connected conversation they will have to tweet their notes and comments throughout. The Connected Academy Platform enables participants to see the networked conversation. It visualises hot-spots in the materials where reaction and conversation are most lively, and the pause, scrub-back/scrub-forward options allow the participant to dig around in and around there.
+In order for your class to benefit from the connected conversation they will have to share their notes and comments throughout. The Talking Pictures Platform enables participants to see the networked conversation. It visualises hot-spots in the materials where reaction and conversation are most lively, and the pause, scrub-back/scrub-forward options allow participants to interrogate those places at their own pace.
 
 The classes have four phases, phase one the participant is invited to produce photographic response to a provocation, for example lesson 1: “Tell me the story of something that isn’t there”
-Phase two is where the participant gets access to the class content and is directed to make notes and comments via the Connected Academy Platform.
+Phase two is where the participant gets access to the class content and is directed to make notes and comments via the Platform.
 Phase three is review, reflection and discussion.
-Phase four is a revisiting of the initial photographic response (with the benefit of both the class session, its deep-dive content and the networked class community) and sharing the updated or new version.  <this might be better as a diagram?>
+Phase four is a revisiting of the initial photographic response (with the benefit of both the class session, its deep-dive content and the networked class community) and sharing the updated or new version.
 
-Sign me up! <email address, twitter id, name, country, age and size of class>
+Sign me up! <email address, twitter id, name, country, age and size of class>