This is the brief I was received:
"they have no idea what Web 2.0 means but would dearly like to know how, why, when and it [sic] what way it effects the way they do their job."

Much teaching practice that looks to video and blogging, including the examples offered by pod and video casting, confuses the affordances of blogging (what makes blogging successful and qualitatively different to other writing practices) with ease of publication, and in doing so replicates old media paradigms of video in new media contexts. However, for video to be successfully integrated in converged online environments it requires similar affordances to those identified and established in educational blogging. Hence, video needs to become granular, fragmentary, and something that is 'written with' rather than just a delivery or publication format.

This is a special issue of the Fibreculture Journal that I edited (with necessary prodding from Andrew Murphie and markup from Lisa Gye). This themed edition is entitled "New Media, Networks and New Pedagogies" and there is an introductory essay by me and then work by a variety of people. (It's a good collection.)

Multimedia is a term and a product which appears to have managed to monopolise the public, corporate, institutional, and political high ground in the debate about new media. Variously characterised as a synergy between existing media, a combination of text and visual data into a revolutionary recombination, or as an interactive and emancipatory text, multimedia has been promoted in terms that bring it dangerously close to an object that has more to do with Utopian projections about the next millennium than with what any of its fundamental claims might entail.

A self published report on the implementation of hypertext in a media studies program in 1995.

A paper that combines hypertext theory with cinema studies practice to describe a way of 'doing' cinema studies that takes advantage of hypertext theory and practice and the affordances of digital media.

Oh, the essay uses George Bataille's theory of the general and restricted economy as the basis of a critique of some instrumental approaches to linking in hypertext. I also point out that the idea that the link is neutral and only ever instrumental also has affinities with realist literature.

In hypertext criticism when students don't 'get' a hypertext they 'bite the breast' claiming the irrelevance of hypertext rather than questioning the adequacy of their own reading schemas. This brief work uses object relations psychology and its description of our relationship to art, and idea of the breast as a ‘transitional object’ for the child as a model for describing such criticism. The transitional object is that thing that the child uses to mediate its first experiences of itself as an entity separate in the world.

In this brief essay I argue for the materiality of hypertext as a necessary part of interpretation while arguing that the intent of the work is the work for itself, not to be confused with the intent of the author, reader, narrator or whatever.

Writing on specific hypertext titles appears to have commonly confused reviewing with criticism. These are two distinct though complementary genres and each ought to have quite individuated aims and objects.