James Morton Turner: Renewable energy still only modest factor in powering green manufacturing boom

From The Conversation

WELLESLEY, Mass.

Panasonic’s new US$4 billion battery factory in De Soto, Kansas, is designed to be a model of sustainability – it’s an all-electric factory with no need for a smokestack. When finished, it will cover the size of 48 football fields, employ 4,000 people and produce enough advanced batteries to supply half a million electric cars per year.

But there’s a catch, and it’s a big one.

While the factory will run on wind and solar power much of the time, renewables supplied only 34% of the local utility Evergy’s electricity in 2023.

In much of the U.S., fossil fuels still play a key role in meeting power demand. In fact, Evergy has asked permission to extend the life of an old coal-fired power plant to meet growing demand, including from the battery factory.

With my students at Wellesley College, I’ve been tracking the boom in investments in clean energy manufacturing and how those projects – including battery, solar panel and wind turbine manufacturing and their supply chains – map onto the nation’s electricity grid.

The Kansas battery plant highlights the challenges ahead as the U.S. scales up production of clean energy technologies and weans itself off fossil fuels. It also illustrates the potential for this industry to accelerate the transition to renewable energy nationwide.

The clean tech manufacturing boom

Let’s start with some good news.

In the battery sector alone, companies have announced plans to build 44 major factories with the potential to produce enough battery cells to supply more than 10 million electric vehicles per year in 2030.

That is the scale of commitment needed if the U.S. is going to tackle climate change and meet its new auto emissions standards announced in March 2024.

The challenge: These battery factories, and the electric vehicles they equip, are going to require a lot of electricity.

Producing enough battery cells to store 1 kilowatt-hour (kWh) of electricity – enough for 2 to 4 miles of range in an EV – requires about 30 kWh of manufacturing energy, according to a recent study.

Combining that estimate and our tracking, we project that in 2030, battery manufacturing in the U.S. would require about 30 billion kWh of electricity per year, assuming the factories run on electricity, like the one in Kansas. That equates to about 2% of all U.S. industrial electricity used in 2022.

Battery belt’s huge solar potential

A large number of these plants are planned in a region of the U.S. South dubbed the “battery belt.” Solar energy potential is high in much of the region, but the power grid makes little use of it.

Our tracking found that three-fourths of the battery manufacturing capacity is locating in states with lower-than-average renewable electricity generation today. And in almost all of those places, more demand will drive higher marginal emissions, because that extra power almost always comes from fossil fuels.

However, we have also been tracking which battery companies are committing to powering their manufacturing operations with renewable electricity, and the data points to a cleaner future.

By our count, half of the batteries will be manufactured at factories that have committed to sourcing at least 50% of their electricity demand from renewables by 2030. Even better, these commitments are concentrated in regions of the U.S. where investments have lagged.

Some companies are already taking action. Tesla is building the world’s largest solar array on the roof of its Texas factory. LG has committed to sourcing 100% renewable solar and hydroelectricity for its new cathode factory in Tennessee. And Panasonic is taking steps to reach net-zero emissions for all of its factories, including the new one in Kansas, by 2030.

More corporate commitments can help strengthen demand for the deployment of wind and solar across the emerging battery belt.

What that means for US electricity demand

Manufacturing all of these batteries and charging all of these electric vehicles is going to put a lot more demand on the power grid. But that isn’t an argument against EVs. Anything that plugs into the grid, whether it is an EV or the factory that manufacturers its batteries, gets cleaner as more renewable energy sources come online.

This transition is already happening. Although natural gas dominates electricity generation, in 2023 renewables supplied more electricity than coal for the first time in U.S. history. The government forecasts that in 2024, 96% of new electricity generating capacity added to the grid would be fossil fuel-free, including batteries. These trends are accelerating, thanks to the incentives for clean energy deployment included in the 2022 Inflation Reduction Act.

Looking ahead

The big lesson here is that the challenge in Kansas is not the battery factory – it is the increasingly antiquated electricity grid.

As investments in a clean energy future accelerate, America will need to reengineer much of its power grid to run on more and more renewables and, simultaneously, electrify everything from cars to factories to homes.

That means investing in modernizing, expanding and decarbonizing the electric grid is as important as building new factories or shifting to electric cars.

Investments in clean energy manufacturing will play a key role in enabling that transition: Some of the new advanced batteries will be used on the grid, providing backup energy storage for times when renewable energy generation slows or electricity demand is especially high.

In January, Hawaii replaced its last coal-fired power plant with an advanced battery system. It won’t be long before that starts to happen in Tennessee, Texas and Kansas, too.

James Morton Turner is a professor of Environmental Studies at Wellesley {Mass.} College. He does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond his academic appointment.

H.G. Wells: In Boston, 'an immense effect of finality'

Entrance to the Club of Odd Volumes, a social and literary club for bibliophiles. It’s on Mount Vernon Street, on Beacon Hill.

H.G. Wells visited it in 1906.

Commonwealth Avenue, in Boston’s Back Bay, in 1901

“The Boston Enchantment

“Yet even as I write of the universities as the central intellectual organ of a modern state, as I sit implying salvation by schools, there comes into my mind a mass of qualification. The devil in the American world drama may be mercantilism, ensnaring, tempting, battling against my hero, the creative mind of man, but mercantilism is not the only antagonist. In Fifth Avenue or Paterson one may find nothing but the zenith and nadir of the dollar hunt, at a Harvard table one may encounter nothing but living minds, but in Boston—I mean not only Beacon Street and Commonwealth Avenue, but that Boston of the mind and heart that pervades American refinement and goes about the world—one finds the human mind not base, nor brutal, nor stupid, nor ignorant, but mysteriously enchanting and ineffectual, so that having eyes it yet does not see, having powers it achieves nothing....

“I remember Boston as a quiet effect, as something a little withdrawn, as a place standing aside from the throbbing interchange of East and West. When I hear the word Boston now it is that quality returns. I do not think of the spreading parkways of Mr. Woodbury and Mr. Olmstead nor of the crowded harbor; the congested tenement-house regions, full of those aliens whose tongues struck so strangely on the ears of Mr. Henry James, come not to mind. But I think of rows of well-built, brown and ruddy homes, each with a certain sound architectural distinction, each with its two squares of neatly trimmed grass between itself and the broad, quiet street, and each with its family of cultured people within. I am reminded of deferential but unostentatious servants, and of being ushered into large, dignified entrance-halls. I think of spacious stairways, curtained archways, and rooms of agreeable, receptive persons. I recall the finished informality of the high tea. All the people of my impression have been taught to speak English with a quite admirable intonation; some of the men and most of the women are proficient in two or three languages; they have travelled in Italy, they have all the recognized classics of European literature in their minds, and apt quotations at command. And I think of the constant presence of treasured associations with the titanic and now mellowing literary reputations of Victorian times, with Emerson (who called Poe ‘that jingle man’), and with Longfellow, whose house is now sacred, its view towards the Charles River and the stadium—it is a real, correct stadium—secured by the purchase of the sward before it forever....

“At the mention of Boston I think, too, of autotypes and then of plaster casts. I do not think I shall ever see an autotype again without thinking of Boston. I think of autotypes of the supreme masterpieces of sculpture and painting, and particularly of the fluttering garments of the ‘Nike of Samothrace.’ (That I saw, also, in little casts and big, and photographed from every conceivable point of view.) It is incredible how many people in Boston have selected her for their aesthetic symbol and expression. Always that lady was in evidence about me, unobtrusively persistent, until at last her frozen stride pursued me into my dreams. That frozen stride became the visible spirit of Boston in my imagination, a sort of blind, headless, and unprogressive fine resolution that took no heed of any contemporary thing. Next to that I recall, as inseparably Bostonian, the dreaming grace of Botticelli's ‘Prima vera.’ All Bostonians admire Botticelli, and have a feeling for the roof of the Sistine chapel—to so casual and adventurous a person as myself, indeed, Boston presents a terrible, a terrifying unanimity of aesthetic discriminations. I was nearly brought back to my childhood's persuasion that, after all, there is a right and wrong in these things. And Boston clearly thought the less of Mr. Bernard Shaw when I told her he had induced me to buy a pianola, not that Boston ever did set much store by so contemporary a person as Mr. Bernard Shaw. The books she reads are toned and seasoned books—preferably in the old or else in limited editions, and by authors who may be lectured upon without decorum....

“Boston has in her symphony concerts the best music in America, and here her tastes are severely orthodox and classic. I heard Beethoven's Fifth Symphony extraordinarily well done, the familiar pinnacled Fifth Symphony, and now, whenever I grind that out upon the convenient mechanism beside my desk at home, mentally I shall be transferred to Boston again, shall hear its magnificent aggressive thumpings transfigured into exquisite orchestration, and sit again among that audience of pleased and pleasant ladies in chaste, high-necked, expensive dresses, and refined, attentive, appreciative, bald, or iron-gray men....

“II

“Boston's Antiquity

“Then Boston has historical associations that impressed me like iron-moulded, leather-bound, eighteenth-century books. The War of Independence, that to us in England seems half-way back to the days of Elizabeth, is a thing of yesterday in Boston. ‘Here,’ your host will say and pause, ‘came marching’ so-and-so, ‘with his troops to relieve’ so-and-so. And you will find he is the great-grandson of so-and-so, and still keeps that ancient colonial's sword. And these things happened before they dug the Hythe military canal, before Sandgate, except for a decrepit castle, existed; before the days when Bonaparte gathered his army at Boulogne—in the days of muskets and pigtails—and erected that column my telescope at home can reach for me on a clear day. All that is ancient history in England and in Boston the decade before those distant alarums and excursions is yesterday. A year or so ago they restored the British arms to the old State-House. ‘Feeling,’ my informant witnessed, ‘was dying down.’ But there were protests, nevertheless....

“If there is one note of incongruity in Boston, it is in the gilt dome of the Massachusetts State-House at night. They illuminate it with electric light. That shocked me as an anachronism. It shocked me—much as it would have shocked me to see one of the colonial portraits, or even one of the endless autotypes of the Belvidere Apollo replaced, let us say, by one of Mr. Alvin Coburn's wonderfully beautiful photographs of modern New York. That electric glitter breaks the spell; it is the admission of the present, of the twentieth century. It is just as if the Quirinal and Vatican took to an exchange of badinage with search-lights, or the King mounted an illuminated E.R. on the Round Tower at Windsor.

“Save for that one discord there broods over the real Boston an immense effect of finality. One feels in Boston, as one feels in no other part of the States, that the intellectual movement has ceased. Boston is now producing no literature except a little criticism. Contemporary Boston art is imitative art, its writers are correct and imitative writers the central figure of its literary world is that charming old lady of eighty-eight, Mrs. Julia Ward Howe. One meets her and Colonel Higginson in the midst of an authors' society that is not so much composed of minor stars as a chorus of indistinguishable culture. There are an admirable library and a museum in Boston, and the library is Italianate, and decorated within like an ancient missal. In the less ornamental spaces of this place there are books and readers. There is particularly a charming large room for children, full of pigmy chairs and tables, in which quite little tots sit reading. I regret now I did not ascertain precisely what they were reading, but I have no doubt it was classical matter.

“I do not know why the full sensing of what is ripe and good in the past should carry with it this quality of discriminating against the present and the future. The fact remains that it does so almost oppressively. I found myself by some accident of hospitality one evening in the company of a number of Boston gentlemen who constituted a book-collecting club. They had dined, and they were listening to a paper on Bibles printed in America. It was a scholarly, valuable, and exhaustive piece of research. The surviving copies of each edition were traced, and when some rare specimen was mentioned as the property of any member of the club there was decorously warm applause. I had been seeing Boston, drinking in the Boston atmosphere all day.... I know it will seem an ungracious and ungrateful thing to confess (yet the necessities of my picture of America compel me), but as I sat at the large and beautifully ordered table, with these fine, rich men about me, and listened to the steady progress of the reader's ever unrhetorical sentences, and the little bursts of approval, it came to me with a horrible quality of conviction that the mind of the world was dead, and that this was a distribution of souvenirs.

“Indeed, so strongly did this grip me that presently, upon some slight occasion, I excused myself and went out into the night. I wandered about Boston for some hours, trying to shake off this unfortunate idea. I felt that all the books had been written, all the pictures painted, all the thoughts said—or at least that nobody would ever believe this wasn't so. I felt it was dreadful nonsense to go on writing books. Nothing remained but to collect them in the richest, finest manner one could. Somewhere about midnight I came to a publisher's window, and stood in the dim moonlight peering enviously at piled copies of Izaak Walton and Omar Khayyam, and all the happy immortals who got in before the gates were shut. And then in the corner I discovered a thin, small book. For a time I could scarcely believe my eyes. I lit a match to be the surer. And it was A Modern Symposium, by Lowes Dickinson, beyond all disputing. It was strangely comforting to see it there—a leaf of olive from the world of thought I had imagined drowned forever.

“That was just one night's mood. I do not wish to accuse Boston of any wilful, deliberate repudiation of the present and the future. But I think that Boston—when I say Boston let the reader always understand I mean that intellectual and spiritual Boston that goes about the world, that traffics in book-shops in Rome and Piccadilly, that I have dined with and wrangled with in my friend W.'s house in Blackheath, dear W., who, I believe, has never seen America—I think, I say, that Boston commits the scholastic error and tries to remember too much, to treasure too much, and has refined and studied and collected herself into a state of hopeless intellectual and aesthetic repletion in consequence. In these matters there are limits. The finality of Boston is a quantitive consequence. The capacity of Boston, it would seem, was just sufficient but no more than sufficient, to comprehend the whole achievement of the human intellect up, let us say, to the year 1875 A.D. Then an equilibrium was established. At or about that year Boston filled up.

Late 19th Century print

“III

“About Wellesley

“It is the peculiarity of Boston's intellectual quality that she cannot unload again. She treasures Longfellow in quantity. She treasures his works, she treasures associations, she treasures his Cambridge home. Now, really, to be perfectly frank about him, Longfellow is not good enough for that amount of intellectual house room. He cumbers Boston. And when I went out to Wellesley {College} to see that delightful girls' college everybody told me I should be reminded of the ‘Princess.’ For the life of me I could not remember what ‘Princess.’ Much of my time in Boston was darkened by the constant strain of concealing the frightful gaps in my intellectual baggage, this absence of things I might reasonably be supposed, as a cultivated person, to have, but which, as a matter of fact, I'd either left behind, never possessed, or deliberately thrown away. I felt instinctively that Boston could never possibly understand the light travelling of a philosophical carpet-bagger. But I hid—in full view of the tree-set Wellesley lake, ay, with the skiffs of ‘sweet girl graduates’—own up. ‘I say,’ I said, ‘I wish you wouldn't all be so allusive. What Princess?’”

“It was, of course, that thing of Tennyson's. It is a long, frequently happy and elegant, and always meritorious narrative poem, in which a chaste Victorian amorousness struggles with the early formulae of the feminist movement. I had read it when I was a boy, I was delighted to be able to claim, and had honorably forgotten the incident. But in Boston they treat it as a living classic, and expect you to remember constantly and with appreciation this passage and that. I think that quite typical of the Bostonian weakness. It is the error of the clever high-school girl, it is the mistake of the scholastic mind all the world over, to learn too thoroughly and to carry too much. They want to know and remember Longfellow and Tennyson—just as in art they want to know and remember Raphael and all the elegant inanity of the sacrifice at Lystra, or the miraculous draught of Fishes; just as in history they keep all the picturesque legends of the War of Independence—looking up the dates and minor names, one imagines, ever and again. Some years ago I met two Boston ladies in Rome. Each day they sallied forth from our hotel to see and appreciate; each evening, after dinner, they revised and underlined in Baedeker what they had seen. They meant to miss nothing in Rome. It's fine in its way—this receptive eagerness, this learners' avidity. Only people who can go about in this spirit need, if their minds are to remain mobile, not so much heads as cephalic pantechnicon vans....

“IV

“The Wellesley Cabinets

“I find this appetite to have all the mellow and refined and beautiful things in life to the exclusion of all thought for the present and the future even in the sweet, free air of Wellesley's broad park, that most delightful, that almost incredible girls' university, with its class-rooms, its halls of residence, its club-houses and gathering-places among the glades and trees. I have very vivid in my mind a sunlit room in which girls were copying the detail in the photographs of masterpieces, and all around this room were cabinets of drawers, and in each drawer photographs. There must be in that room photographs of every picture of the slightest importance in Italy, and detailed studies of many. I suppose, too, there are photographs of all the sculpture and buildings in Italy that are by any standard considerable. There is, indeed, a great civilization, stretching over centuries and embodying the thought and devotion, the scepticism and levities, the ambition, the pretensions, the passions, and desires of innumerable sinful and world-used men—canned, as it were, in this one room, and freed from any deleterious ingredients. The young ladies, under the direction of competent instructors, go through it, no doubt, industriously, and emerge—capable of Browning.

“I was taken into two or three charming club-houses that dot this beautiful domain. There was a Shakespeare club-house, with a delightful theatre, Elizabethan in style, and all set about with Shakespearean things; there was the club-house of the girls who are fitting themselves for their share in the great American problem by the study of Greek. Groups of pleasant girls in each, grave with the fine gravity of youth, entertained the reluctantly critical visitor, and were unmistakably delighted and relaxed when one made it clear that one was not in the Great Teacher line of business, when one confided that one was there on false pretences, and insisting on seeing the pantry. They have jolly little pantries, and they make excellent tea.

“I returned to Boston at last in a state of mighty doubting, provided with a Wellesley College calendar to study at my leisure.

“I cannot, for the life of me, determine how far Wellesley is an aspect of what I have called Boston; how far it is a part of that wide forward movement of the universities upon which I lavish hope and blessings. Those drawings of photographed Madonnas and Holy Families and Annunciations, the sustained study of Greek, the class in the French drama of the seventeenth century, the study of the topography of Rome fill me with misgivings, seeing the world is in torment for the want of living thought about its present affairs. But, on the other hand, there are courses upon socialism—though the text-book is still Das Kapital of Marx—and upon the industrial history of England and America. I didn't discover a debating society, but there is a large accessible library.

“How far, I wonder still, are these girls thinking and feeding mentally for themselves? What do they discuss one with another? How far do they suffer under that plight of feminine education—notetaking from lectures?...

“But, after all, this about Wellesley is a digression into which I fell by way of Boston's autotypes. My main thesis was that culture, as it is conceived in Boston, is no contribution to the future of America, that cultivated people may be, in effect, as state-blind as—Mr. Morgan Richards. It matters little in the mind of the world whether any one is concentrated upon medieval poetry, Florentine pictures, or the propagation of pills. The common, significant fact in all these cases is this, a blindness to the crude splendor of the possibilities of America now, to the tragic greatness of the unheeded issues that blunder towards solution. Frankly, I grieve over Boston—Boston throughout the world—as a great waste of leisure and energy, as a frittering away of moral and intellectual possibilities. We give too much to the past. New York is not simply more interesting than Rome, but more significant, more stimulating, and far more beautiful, and the idea that to be concerned about the latter in preference to the former is a mark of a finer mental quality is one of the most mischievous and foolish ideas that ever invaded the mind of man. We are obsessed by the scholastic prestige of mere knowledge and genteel remoteness. Over against unthinking ignorance is scholarly refinement, the spirit of Boston; between that Scylla and this Charybdis the creative mind of man steers its precarious way.’’

— From The Future in America (1906) by H.G. Wells (1866-1946), prolific English author

LiAnna Davis: How New England students are improving Wikipedia

Dante holding a copy of the Divine Comedy, next to the entrance to Hell, the seven terraces of Mount Purgatory and the city of Florence, with the spheres of Heaven above, in Domenico di Michelino's 1465 fresco. Wellesley (Mass.) College students have been editing the Wikipedia articles on the masterpiece to highlight the women Dante referenced.

From The New England Journal of Higher Education, a service of The New England Board of Higher Education (nebhe.org), based in Boston.

You probably use Wikipedia regularly, maybe even every day. It’s where the world goes to learn more about almost anything, do a quick fact-check or get lost in an endless stream of link clicking. But have you ever stopped to think about the people behind the information you’re reading on Wikipedia? Or how their perspectives may inform what’s covered—and what’s not?

All content to Wikipedia is added and edited in a crowdsourced model, wherein nearly anyone can click the “edit” button and change content on Wikipedia. An active community of dedicated volunteers adds content and monitors the edits made by others, following a complex series of policies and guidelines that have been developed in the 21 years since Wikipedia started. This active community is what keeps Wikipedia as reliable as it is today—good, but not complete. More diverse contributors are needed to add more content to Wikipedia.

Some of that information has been added by college students from New England, written as a class assignment. The Wiki Education Foundation, small nonprofit, runs a program called the Wikipedia Student Program, in which we support college and university faculty who want to assign their students to write Wikipedia articles as part of their coursework.

Why do instructors assign their students to edit Wikipedia as a course assignment? Research shows a Wikipedia assignment increases motivation for students, while providing them learning objectives like critical thinking, research, writing for a public audience, evaluating and synthesizing sources and peer review. Especially important in today’s climate of misinformation and disinformation is the critical digital media literacy skills students gain from writing for Wikipedia, where they’re asked to consider and evaluate the reliability of the sources they’re citing. In addition to the benefits to student learning outcomes, instructors are also glad to see Wikipedia’s coverage of their discipline get better. And it does get better; studies such as this and this and this have shown the quality of content students add to Wikipedia is high.

Since 2010, more than 5,100 courses have participated in the program and more than 102,000 student editors have added more than 85 million words to Wikipedia. That’s 292,000 printed pages or the equivalent of 62 volumes of a printed encyclopedia. To put that in context, the last print edition of Encyclopedia Britannica had only 32 volumes. That means Wikipedia Student Program participants have added nearly twice as much content as was in Britannica.

Students add to body of knowledge

It’s easy to think of Wikipedia as fairly complete if it gives you the answer you seek most of the time. But the ability for student editors to add those 85 million words exposes this assumption as false. Let’s examine some examples.

Since the COVID-19 pandemic, the public’s interest in vaccines and therapeutics has skyrocketed. Thanks to a Boston University School of Medicine student in Benjamin Wolozin’s Systems Pharmacology class in fall 2021, the article on reverse pharmacology has been overhauled. Before the student started working on it, the article was what’s known on Wikipedia as a stub—a short, incomplete article. Today, thanks to Dr. Wolozin’s student adding a dramatic 17,000 words to the article, it’s a comprehensive description of hypothesis-driven drug discovery.

Medical content is popular on Wikipedia. In fact, Wikipedia’s medical articles get more pageviews than the websites for the National Institutes of Health, WebMD, Mayo Clinic, the British National Health Service, the World Health Organization and UpToDate.

Student editors in Mary Mahoney’s History of Medicine class at Connecticut’s Trinity College improved a number of medical articles, including those on pediatrics, telehealth, pregnancy and Mary Mallon (better known as Typhoid Mary), to name just a few. In the handful of months since students improved these articles, they’ve been viewed more than 932,000 times. As many tenured professors who’ve taught with Wikipedia note, more people will read the outcomes of student work from their Wikipedia assignments than will read an entire corpus of academic publications.

Sometimes their work adds cultural relevance to existing articles. Take Gwen Kordonowy’s “Public Writing” course at Boston University. Before one of her students expanded the article on Xiangsheng, the traditional Chinese performance art, it covered Xiangsheng in mainland China, Taiwan, Hong Kong, and Malaysia—but not in North America. The student added a section on Xiangsheng in North America, noting famous Canadian and American performers.

Many students study Dante’s Divine Comedy as part of their schoolwork, but have you considered the women Dante references? Until Wellesley College’s “Dante’s Divine Comedy” class started working on their Wikipedia articles, you may not have been able to learn much more. The course, taught by Laura Ingallinella, focused on highlighting the women Dante referenced and improving their articles.

Diversifying perspectives

The Wellesley College example is a good one because it’s indicative of a larger challenge of gaps within Wikipedia. Wikipedia’s existing editor base is relatively homogenous: In Northern America, the diversity demographics are grim. Only 22 percent of Wikipedia contributors are women, which directly correlates to content gaps like the ones the Dante class tackled. The race and ethnicity gaps are even worse. Recent survey data revealed 89 percent of U.S. Wikipedia content contributors identify as white.

With an overwhelmingly white, male editor base, content coverage and perspectives can get skewed. That’s where Wiki Education’s work comes in. By empowering a diverse group of college students, the program is able to help shift Wikipedia’s contributor demographics. In Wiki Education’s programs, 67 percent of participants identify as women, and an additional 3 percent identify as non-binary or another gender identity. And only 55 percent of Wiki Education’s program participants identify as white.

By empowering higher education students to address Wikipedia’s content gaps as class assignments, Wiki Education is helping to diversify the contributors to Wikipedia too. Wikipedia’s mission—to collect the sum of all human knowledge—requires participation from a diverse population of participants. Initiatives like the ones run by Wiki Education are key to helping achieve that vision.

When we support higher education students to contribute their knowledge, the story told by Wikipedia becomes more accurate, representative and complete.

LiAnna Davis is chief programs officer at Wiki Education.

Michael Tyre: Colleges must make physical campuses foster students' affinity

On the campus of Wellesley College, in Wellesley, Mass. It’s considered one of the loveliest campuses in America, which may help explain the high rate of alumnae donations to the women’s college.

Quinnipiac University’s Lender School of Business, with dome, with Sleeping Giant in background, in Hamden, Conn.

From The New England Journal of Higher Education, a service of The New England Board of Higher Education (nebhe.org)

The brand of a college or university is more than its logo or tagline. It’s an accumulation of experiences for students, staff, faculty, alumni and community members. Marketing is part of it, but every time someone sets foot on your campus, they are walking into your brand.

This fall, fewer students will be on campuses and they may be there with less frequency. COVID-19 won’t last forever, but in a way, this year is a glimpse into the online learning future that was coming with or without a pandemic. It’s more important than ever that the physical campus foster in students a strong affinity for the school to keep enrollment, retention and alumni engagement numbers high. Without a deep connection to the physical place, students may fall into a commoditized mentality, enrolling in online courses where the prices are lowest and not thinking of themselves as an Owl, Bobcat or Camel.

There are four areas on a campus that can be designed or used in expressing the institution’s brand: interior spaces, buildings, outdoor spaces and the environment surrounding the campus. Below are one or more well-executed examples from each category, one of which I was involved in directly.

Walking inside your values

One way to more affordably and quickly align the brand of a particular college or program with its physical space is to work within the walls you already have. My team at Amenta Emma Architects and I recently redesigned the interior of the Lender School of Business at Quinnipiac University, in Hamden,Conn., to bring it in line with the school’s refocused identity.

With a glass dome against the backdrop of Sleeping Giant State Park, the exterior is an iconic part of the university’s brand. However, the interior, with muted colors and dim lighting, hailed from a Wall Street era of student aspirations and university curriculum. As with many business schools, there has been a shift in emphasis toward innovation and entrepreneurship, and the interior of the Lender School of Business had yet to catch up. The goal of our update was not just to reset the tone to reflect the work being done there currently, but also to change student expectations about the qualities they will be developing in themselves in this space.

The transformation used exposed ceilings, light colors and transparent materials to energize the programming. Colors and furniture play a central role in creating an impression that is contemporary in the App Development Center. The Financial Trading Center was given a refresh by way of accent colors and lighter colors on the ceiling to create a brighter space. To accommodate a change in pedagogy toward active learning, three small, traditional classrooms were converted to two collaborative classrooms with technology integrated into custom furniture and reconfigurable writing surfaces. The school’s history meets its future in wood wall panels with a cutout pattern that creates a “digital” impression that’s at once warm and forward-looking.

Start with words, then build from there

In our redesign of the interior of the Lender School of Business, words like “innovation,” “entrepreneurship” and “collaboration” fueled the process. When colleges and universities begin thinking about adding or replacing buildings on campus, I recommend that they start with words.

While it’s tempting to begin picturing the actual building (“It should be three stories and we want lots of glass,” or something similar) start by asking how the building relates to your institutional values and mission. What does it need to say or express about the university or a particular college? How should the space feel? When students approach the building and enter it, what words should describe their first impression? What will students feel empowered to do in this space?

When I think of a university using a campus building to differentiate itself, I go all the way back to 1826. That’s the year the University of Virginia (UVA) completed construction of the Rotunda at the head of its lawn. It’s a beautiful building, but what makes it unique isn’t so much its appearance, but the simple fact that it houses a library as the focal point of the quad, where other campuses may position a student center or church. UVA describes the Rotunda as the “architectural and academic heart of the university’s community of scholars,” and from day one, that’s the word it has embodied: scholarship.

For a more recent example, look to the University Center at the New School, in New York City. Transparent, crystalline stairwells are exposed to the Manhattan streets and a sign set against a red background inside the building and visible through windows seems to suggest, “Things are different and exciting here.” This overtly contemporary building reflects the school’s dedication to academic freedom and intellectual inquiry and telegraphs that this is a home for progressive thinkers.

Living out your campus identity

The Low Steps and Plaza at Columbia University are remarkable for the variety of activities that take place there. This plaza hosts open markets, concerts and the occasional demonstration. Located in the center of campus, it is a natural gathering place for students, faculty, staff and alumni and is infused with history and campus culture.

Not every campus has a Low Plaza or Harvard Yard, but most have an outdoor space which can be leveraged to promote community and a shared sense of identity. Central outdoor spaces often focus on a particular element—such as a bridge, clock or statue. It can even be a big rock if that says something about who you are. Embellishments such as paving, planting, furniture, lighting and graphics can create central spaces on campus in areas that may be lacking or underused. Repeating these elements on multiple campuses can unify the brand message within an institution that spans many locations within a city or even around the world.

These spaces come to life when students feel empowered to make them their own through scheduled events as well as impromptu activities. You don’t always need a big plaza-type formal space; something as simple as a porch with moveable chairs can be a welcome contrast to all of the restrictions students have to contend with right now due to COVID-19. With the design of the Middlesex Community College Dining Pavilion in Middletown, Conn., Amenta Emma aimed to create a campus living room. Adirondack chairs and picnic tables line a protected porch overlooking a large lawn banked by forest. The space reflects the open character of the college with community members, students, faculty and staff using it for events, meetings or individual study.

Inviting environs

The brand experience of a campus doesn’t begin and end with the property line. Views and surroundings shape the brand as well. Savvy institutions lean on their environs as a differentiator.

The homepage of the Web site for College of the Atlantic, in Bar Harbor, Maine, doesn’t show the campus. Online visitors are greeted with images of the countryside and the water. The campus has some iconic and historic architecture, but the institution recognizes that its identity and brand are explicitly tied to the location. The college focuses on the relationship between humans and the environment. By underscoring that nature is part of its campus, College of the Atlantic aims to attract students who are a good fit for its programs.

In stark contrast to College of the Atlantic is New York University (NYU), a campus whose buildings are woven into the fabric of the city. It makes a statement about its brand and the type of student experience it offers simply with its location. For colleges and universities without an obvious natural or urban asset in their surroundings, simply being aware of lines of sight and making sure air conditioners don’t obscure a pleasant view, for instance, can enhance the experience of being on campus.

Unmasking your culture

This year, as administrators look for creative ways to foster a sense of community that may be eroded in the wake of the pandemic and associated social distancing, it may seem like the campus you have is the campus you have. That’s not necessarily the case. Here are a few short-term ideas on how New England colleges and universities can leverage their brands this fall to make sure the campus still feels like home for students.

Our research has shown that students like to see their own faces and those of their peers in imagery associated with their college. Since your students’ faces likely will be obscured by masks while on campus this year, why not make use of otherwise blank spaces in hallways or building exteriors to hang large wall graphics or banners showing the student experience and featuring real, current students?

The pandemic, and its focus on avoiding crowded, indoor spaces, provides something of a license to make unusual use of outdoor spaces. Can aspects of student life or academics move outside? Are there spaces where additional seating can be added to encourage outdoor studying or eating? Could something dramatic with landscaping be done this year that is new, facilitates additional outdoor activities, and celebrates the school culture? Can you add more outdoor programming in the winter months with heaters, bonfires or events that make use of snow?

While use of school colors and logos on campus can be effective in moderation, difficult times like these call for a greater show of unity, which can be temporary. Boldly repainting interior and exterior spaces in school colors can always be undone if it seems over-the-top when the masks come off.

Trying as this academic year is going to be, there’s no better time to sharpen your institution’s brand and explore how it can be expressed on your campus in the long and short term. This year has truly tested what it means to be a student and an institution of higher education. The fact that colleges and universities need a strong value proposition to retain students on the physical campus has never been clearer.

Michael Tyre is a principal at Amenta Emma Architects, with offices in Hartford, Boston and New York City.

David Warsh: 'How do economic crises end?' and other mega-questions

Wall Street on May 14, 1884 during a panic

— From Harper’s Weekly

SOMERVILLE, Mass.

Economists are occasionally accused of physics envy, because some of the mathematical language they use to describe, say, the interdependence of supply and demand was originally devised to explain equilibrium in celestial mechanics.

In the current crisis, economists may be suffering from physician envy. Every day brings reassuring new evidence of the depth of knowledge that life scientists, public health experts and medical doctors are bringing to bear on the COVID-19 pandemic. 

Economists have ample reason to be proud of themselves. I can’t prove it, but I can demonstrate to anyone willing to learn, thanks to a regular series of short analytic memoranda published by a non-partisan Web site with the slightly in-your-face name of EconoFact.

EconoFact, published by the Edward R. Murrow Center of the Fletcher School of Tufts University, was founded in January 2017 by Michael Klein, of Tufts, and various colleagues. A former chief economist in the Office of International Affairs of the U.S. Treasury Department, Klein was accustomed to writing policy briefs laying out options for decision-makers, So were many of his friends.

Dissatisfied with what they regarded as overmuch weight being given to fringe views by news accounts and op-ed pages striving for balance, they aimed to convey to key journalists and others affecting policy in Washington and state capitals the scope of differences among mainstream views. Contributors, many of them with government experience, have since grown to a network of nearly a hundred economics professors. 

Unlike the National Bureau of Economic Research, the leading U.S. consortium of research professors, the charter of which specifically forbids advocacy in its sponsored research, EconFact authors begin with the premise that action is required and then briefly lay out possibilities. Project Syndicate, an online op-ed page promoting the work of some 75 leading economists, makes interesting reading; so does Vox-EU, edited by Richard Baldwin, of Geneva’s Graduate Institute, and published by the Centre for Economic Policy Research, the European counterpart of the NBER.  

Compared to these, EconoFact has a much tighter focus. Its headings include

Immigration Policy, Federal Budget Deficit, Jobs and Employment, and Coronavirus. Nine briefs on the COVID-19 crisis have been published in the last two weeks, each around 1,300 words. You can read them individually below, or scan them serially here.

When will the US be able to lift social distancing restrictions and begin to restore its economy? by Hoyt Bleakley, University of Michigan (March 26)

How many workers are likely to need cash income assistance during this economic slowdown? by Melissa Kearney and Luke Pardue, University of Maryland (March 26)

What do interpretations of the Great Depression and the Financial Crisis of 2008 suggest about how the current crisis might end?, by Dan Sichel·

Wellesley College (March 23)

How much additional funding and what modifications to the system of unemployment might be required in the current crisis?, by Patricia M. Anderson and Phillip Levine, Dartmouth College and Wellesley College (March 22)

What is the appropriate infrastructure to disburse cash payments rapidly and fairly, given that those most desperately in need are often the hardest to reach?, by Lisa A. Gennetian, Sanford School of Public Policy, Duke University (March 20)

How to rate speed as a factor in an economic policy response? by Megan Greene and Michael Klein, Harvard Kennedy School Fletcher School, Tufts University (March 17)

What lessons can be drawn from experience of the 1918 influenza pandemic? by Phillip Levine and Robin McKnight·Wellesley College (March 17)

What is the Federal Reserve doing to stabilize market affected by closures and quarantines? by Kenneth Kuttner, Williams College (May 15)

My favorite of these is “How Do Economic Crises End?” because of its obvious sophistication. Sichel, its author, retired from the Fed in 2012, having been part of its senior analytic team in the years before and after the 2008 crisis. The comparison he makes between the unaddressed banking panics that ushered in the Great Depression and the quickly confronted Panic of 2008 has not yet become a standard feature of Coronavirus crisis discussion. 

It opens the door for more careful attention to resemblances and dissimilarities of current shutdowns to the events of 1929-1933 and their aftermath. And it identifies common denominators in the ends of both major crises: “two ingredients are needed to stanch the acute phase of an economic crisis,” it states: “a resolution of the underlying cause and a dramatic economic policy response that mitigates the economic damage and causes a shift in sentiment.”

About that slightly pugnacious name: It may be just me, but at a time when claims to deliver “truth” are being bandied about in marketing campaigns as if it were something easy to know, even a claim to having assembled the relevant facts seems a little immodest.

Executive editor Klein demurs: “We back up everything we publish with lots of hyperlinks to sources; so maybe EconoFact is not so much in-your-face as accurate, perhaps even revelatory, that is “revealing something hitherto unknown.” The work we publish is probably not news to trained economists, but may be so to the public who are regularly fed a diet of “Experts disagree about ...” (fill in the blank) when, in fact, there is often broad consensus among economists.

“Too often news media treat economic matters like a sports event with a lonely and unsupported economist on one side and someone else (who represents the consensus view of economists who have spent their professional careers studying these issues) on the other.”

EconoFact is looking for long-term funding. It wouldn’t cost a fortune to keep a couple of editors and an intern employed. Here’s hoping those deep pockets can be found. The name, no doubt, is here to stay. Long may the enterprise continue to ask and answer pointed questions.

 David Warsh, an economic historian and veteran columnist, is proprietor of economic principals.com, where this essay originated.

Free speech and big money at colleges

On  the Wellesley College campus.

From Robert Whitcomb's "Digital Diary,'' in GoLocal24.com

Colleges should afford a very wide range of speakers the opportunity to express their views, be they left, right or other. So on the face of it, a program at elite Wellesley College, in Massachusetts, called the Freedom Project sounds fine. The programs bring “libertarian’’ and conservative speakers to the beautiful campus, with the idea of offsetting the generally liberal views of students and teachers there.

But the program is funded by the Charles Koch Foundation, a right-wing group aimed at promoting the views of the current version of the Republican Party. Charles Koch, of course, is a member of the billionaire Koch Brothers, who inherited their sprawling business from their father and are leading members of the plutocracy now running the country. They are, not surprisingly, obsessed with tax cuts for the wealthy and deregulation.

Conflicts of interest abound. For example, reports The Boston Globe, Wellesley sociology Prof. Thomas Cushman, who has been running the Freedom Project there but is stepping down, said he wouldn’t invite The New Yorker’s famous investigative writer Jane Mayer  to speak because he didn’t like her book  about the Kochs, Dark Money: The Hidden History of the Billionaires Behind the Rise of the Radical Right.

To read The Globe’s story, please hit this link.

But the Wellesley Freedom Project has invited Alex Epstein, author The Moral Case for Fossil Fuels, which the Kochs, who have huge stakes in the fossil-fuel industry, not surprisingly have recommended to their donors.

Better if colleges assiduously avoid relationships with big foundations and businesses that want to pick speakers for propaganda reasons. But that also means that college administrations and faculties have a duty to ensure that students can hear a very wide range of views on their campuses and that they punish students and faculty who try to prevent speakers from making their arguments. Too many colleges have been weak on free speech, which should be enshrined in academia.

And to have foreign propaganda  and surveillance outlets on campus, such as the Chinese government-run Confucius Institutes at, among other places, Bryant University and the University of Rhode Island, is utterly inappropriate.