For instance, in history and the humanities at most universities in the United States, there is a vertically integrated industry of monographs, beginning with the dissertation in graduate school—a proto-monograph—followed by the revisions to that work and the publication of it as a book to get tenure, followed by a second book to reach full professor status. Although we are beginning to see a slight liberalization of rules surrounding dissertations—in some places dissertations could be a series of essays or have digital components—graduate students infer that they would best be served on the job market by a traditional, analog monograph.

Almost by definition, academics have gotten to where they are by playing a highly scripted game extremely well.

What we did not anticipate was another kind of resistance to the web, based not on an unfamiliarity with the digital realm or on Luddism but on the remarkable inertia of traditional academic methods and genres—the more subtle and widespread biases that hinder the academy’s adoption of new media. These prejudices are less comical, and more deep-seated, than newspapers’ penchant for tales of internet addiction. This resistance has less to do with the tools of the web and more to do with the web’s culture. It was not enough for us to conclude Digital History by saying how wonderful the openness of the web was; for many academics, this openness was part of the problem, a sign that it might be like “playing tennis with the net down,” as my graduate school mentor worriedly wrote to me. ((http://www.dancohen.org/2010/11/11/frank-turner-on-the-future-of-peer-review/))

The story of Nate Silver and FiveThirtyEight has many important lessons for academia, all stemming from the affordances of the open web. His efforts show the do-it-yourself nature of much of the most innovative work on the web, and how one can iterate toward perfection rather than publishing works in fully polished states. His tale underlines the principle that good is good, and that the web is extraordinarily proficient at finding and disseminating the best work, often through continual, post-publication, recursive review. FiveThirtyEight also shows the power of openness to foster that dissemination and the dialogue between author and audience. Finally, the open web enables and rewards unexpected uses and genres.