Unlike traditional online courses that charge a fee, limit enrollment and provide credit or certification, Moocs (massive open online courses) are usually free or low cost and can host hundreds of  thousands global participants.  Although MOOC have been around for years in the form of collective techie learning gatherings, participation in 2012 has ballooned at a rapid pace likened to FaceBook in its heyday.  According to The Year of the MOOCarticle in the New YorkTimes, edX, a nonprofit start-up backed by Harvard and MIT, had 370,000 registrants in the fall of its first official courses. This paled in comparison to the amount of students that Courseraattained in its first year of online learning opportunities, 1.7 million!

Will MOOCs Replace education as we know it?

Like any new trend, massive participation in online classes has its challenges. Lynda Weinman has ample experience when pointing out that they are by no means a replacement for formal education.  As a former digital animator, special effects designer and classroom college teacher, Linda paved the path for an earlier version of MOOC education in the mid 90’s when she founded Lynda.comas an aide to her own students. Over four million students and 2,200 courses later she’s confident when clarifying that many of the collegespartnered with Lynda.com use the tutorials as added features to their existing courses.  When asked in an interview with ReadWriteBuilders, if high technical companies look at online programs in terms of advancement as a supplement to traditional education or as a way for people to further their careers, Lynda feels that “it’sjust one example of something that you can do to enhance your attractiveness to potential employers. But [it’s also important to have] a portfolio and body of work, references that actually work out, showing that you had success in the past.”

MOOC Benefits:

There has been and continues to be a plethora of observational studies by different researchers in the publishing industry focused on how e-books have affected hard-copy book sales. Evidence from these studies has indicated that there is a significant and monumental shift away from hard-copy books to e-books.[1]These findings precipitate fears that hard-copy books might become more expensive in the near future as they begin to be less available.  This scenario could escalate to the point where only collectors of hard-copy books are willing to pay the high price for ownership.

The founder of Amazon, Jeff Bezos, made a statement in July 2010 that sales of digital books had significantly outstripped U.S. sales of hard-copy. He claimed that Amazon had sold 143 digital books for its e-reader, the Kindle, for every 100 hard-back books over the past three months. The pace of this change was unprecedented;  Amazon said that in the four weeks of June 2010, the rate of sales had reached 180 e-books for every 100 hard-backs sold. Bezos said sales of the Kindle and e-books had reached a "tipping point", with five authors including Steig Larsson, the writer of Girl with a Dragon Tattoo, and Stephenie Meyer, who penned the Twilight series, each selling more than 500,000 digital books.[2] Earlier in July 2010, Hachette said that James Patterson had sold 1.1m e-books to date.

According to a report made by Publishers Weekly, for the first quarter of 2011, e-book sales were up 159.8%; netting sales of $233.1 million. Although adult hard-cover and mass market paperback hard-copies had continued to sell, posting gains in March, all the print segments had declined for the first quarter with the nine mass market houses that report sales. Their findings revealed a 23.4% sales decline, and that children’s paper-back publishers had also declined by 24.1%.[3] E-book sales easily out-distanced mass market paperback sales in the first quarter of 2011 with mass market sales of hard-copy books falling to $123.3 million compared to e-books’ $233.1 million in sales.

According to .net sales report by the March Association of American Publishers (AAP) which collected data and statistics from 1,189 publishers, the adult e-Book sales were $282.3 million in comparison to adult hard-cover book sales which counted $229.6 million during the first quarter of 2012. During the same period in 2011, eBooks revenues were $220.4 million.[4] These reports indicate a disconcerting diminishing demand for hard-copy books.

Python and Ruby, each with roots going back into the 1990s, are two of the most popular interpreted programming languages today. Ruby is most widely known as the language in which the ubiquitous Ruby on Rails web application framework is written, but it also has legions of fans that use it for things that have nothing to do with the web. Python is a big hit in the numerical and scientific computing communities at the present time, rapidly displacing such longtime stalwarts as R when it comes to these applications. It too, however, is also put to a myriad of other uses, and the two languages probably vie for the title when it comes to how flexible their users find them.

A Matter of Personality...

That isn't to say that there aren't some major, immediately noticeable, differences between the two programming tongues. Ruby is famous for its flexibility and eagerness to please; it is seen by many as a cleaned-up continuation of Perl's "Do What I Mean" philosophy, whereby the interpreter does its best to figure out the meaning of evening non-canonical syntactic constructs. In fact, the language's creator, Yukihiro Matsumoto, chose his brainchild's name in homage to that earlier language's gemstone-inspired moniker.

Python, on the other hand, takes a very different tact. In a famous Python Enhancement Proposal called "The Zen of Python," longtime Pythonista Tim Peters declared it to be preferable that there should only be a single obvious way to do anything. Python enthusiasts and programmers, then, generally prize unanimity of style over syntactic flexibility compared to those who choose Ruby, and this shows in the code they create. Even Python's whitespace-sensitive parsing has a feel of lending clarity through syntactical enforcement that is very much at odds with the much fuzzier style of typical Ruby code.

For example, Python's much-admired list comprehension feature serves as the most obvious way to build up certain kinds of lists according to initial conditions:

a = [x**3 for x in range(10,20)]
b = [y for y in a if y % 2 == 0]

first builds up a list of the cubes of all of the numbers between 10 and 19 (yes, 19), assigning the result to 'a'. A second list of those elements in 'a' which are even is then stored in 'b'. One natural way to do this in Ruby is probably:

a = (10..19).map {|x| x ** 3}
b = a.select {|y| y.even?}

but there are a number of obvious alternatives, such as:

a = (10..19).collect do |x|
x ** 3
end

b = a.find_all do |y|
y % 2 == 0
end

It tends to be a little easier to come up with equally viable, but syntactically distinct, solutions in Ruby compared to Python, even for relatively simple tasks like the above. That is not to say that Ruby is a messy language, either; it is merely that it is somewhat freer and more forgiving than Python is, and many consider Python's relative purity in this regard a real advantage when it comes to writing clear, easily understandable code.

And Somewhat One of Performance

As someone who works in many facets of the music industry, I used to seethe with a mixture of anger and jealousy when I would hear people in more “traditional” goods-based industries argue in favor of music content-based piracy. They made all the classic talking points, like “I wouldn’t spend money on this artist normally, and maybe if I like it I’ll spend money on them when they come to town” (which never happened), or “artists are rich and I’m poor, they don’t need my money” (rarely the case), or the worst, “if it were fairly priced and worth paying for, I’d buy it” (not true).  I always wondered if they’d have the same attitude if 63% of the things acquired by customers in their industries weren’t actually paid for, as was conservatively estimated as the case for the music industry in 2009 (other estimations put the figure of pirated music at 95%). Well, we may soon see the answer to curiosities like that. Though one can say with tentative confidence that music piracy is on the decline thanks to services like Spotify and Rdio, it could be looming on the horizon for the entire global, physical supply chain. Yes, I’m talking about 3d printers.

Before I get into the heart of this article, let me take a moment to make one thing clear: I think these machines are incredible. It’s damn near inspiring to think of even a few of their potentially world-changing applications: affordable, perfectly fit prosthetic limbs for wounded servicemen and women; the ability to create a piece of machinery on the spot instead of having to wait for a spare to arrive in the mail, or en route if your car or ship breaks down in a far away place; a company based out of Austin, TX even made a fully functioning firearm from a 3d printer a few months ago.

If these machines become as consumer-friendly and idiot-proof as possible (like computers), it’s possible that in a matter of decades (maybe less), a majority of U.S. households will have their own 3d printer. There’s also the possibility they could take the tech-hobbyist path, one that is much less appealing to the masses. Dale Dougherty of Makezine.com estimates there are currently around 100,000 “personal” 3d printers, or those not owned for business or educational purposes. I don’t think they’ll ever be as ubiquitous as computers, but there are plenty of mechanically inclined, crafty hobbyists out there who would love to play around with a 3d printer if it was affordable enough.

That being said, is there reason to worry about the economic implications of consumers making what they want, essentially for free, instead of paying someone else to produce it? Or will the printers instead be used for unique items more so than replicating and ripping off other companies’ merchandise in mass amounts? The number of people working in industries that would be affected by a development like this is far greater than the number of people who work in content-based industries, so any downturn would probably have a much larger economic implications. Certainly, those times are a ways off, but a little foresightedness never hurt anyone!