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People in Seattle say that we are one of the best regional orchestras in the country. That may be true, but when you look at the dynamic cities in the U.S. — the places where things really happen — you don’t think of that for Seattle or Portland when you think of the orchestra world. Why is that? What is the missing ingredient that prevents that from happening?

In Seattle, we have this great concert hall. That’s not to say that the Seattle Symphony is a bad orchestra. I just wonder if the ambition for them is not sufficient. Cleveland or Pittsburgh (among the top orchestras in the country) are not in communities that you would think can support such orchestras. Cleveland has lost half of its population in the last 20 years. But the Cleveland Orchestra continues to be a major, major orchestra.

The ambition to really excel at the first level has not been in Seattle or Portland. Maybe people here are so far away from major arts cities that they have nothing truly first-rate to compare our arts organizations with. But it is just strange, given the money, education, and arts involvement of this region, that the orchestras in Seattle and Portland have been left behind.

Also, newspapers have never been able to cover community arts in an interesting way. Things like dance or jazz get really minimal coverage. However, now with the ease and the different ways that you can deliver information, we may discover a new model and improve the way that we cover culture. Right now we are in between the two models. The old one no longer works and the new one hasn’t been established.

Here’s an example of what I’m talking about. I just spent a week in North Carolina with dance critics from around the nation. Like music, dance is hard to write about. You are trying to describe things that are not easy to describe. What would happen if we tried to describe an event in a new way? I broke them into three teams, and signed them up with blogger accounts, and gave them a Flip video camera, which has a convenient USB port with which to upload movies to You Tube. I asked them to use the video to compare dance styles, or show what you mean, or talk to critics, the audience, or the choreographer. So they had a day and a half to expand the palette on which they are working, to find something that is not so linear in form with which to describe this artistic experience.

The value of a service like ArtsJournal is that it looks a great number of things and with curators, it narrows it down to manageable numbers. But when you start adding more and more, then the curation changes. It may be easy for people to look at 20 stories every day, because they have time for that, but if you give them 30 stories, that takes more commitment. So the challenge is how do we make it easy to offer a lot of information and keep it highly curated enough to so that it is valuable for people who appreciate our judgment in choosing one thing over another.

The idea with the blog is to expand it to hundreds of bloggers, ultimately. But we have to install more curation. With 50 blogs there’s more to offer people. With 200 we have to curate it, to get the best of the best. Every time you add something you have to add another grade of curation.

The kind of mystery here is that as arts journalism disappears out of the traditional media, what replaces it, and how do you build a business model that supports people to do blogs? How do critics on the Web make enough money to sustain themselves? If you had a big network of arts blogs and sell advertising across it, advertisers are able to leverage the content that the bloggers provide across a lot of platforms, and then there’s a business model that emerges that can support someone to earn money from writing an arts blog.

It seems that the take-home point here is this: The Clinton campaign has made the case that Obama is nothing but rhetoric; he’s supposedly all words, while she’s all action. Our experiences showed us that their campaigns — at least in Seattle — were exactly the opposite. In their treatment of my students, Clinton’s campaign was all talk, while Obama’s was all walk.

It suggests to me that the Obama campaign’s appeal to younger people is not just because of Obama himself. It’s a campaign that treats young people like full adults. And across Washington state, Obama crushed Clinton, defeating her in every county in the state. It’s been a pattern repeated in every contest since.

When my students had trouble reaching the Clinton campaign in the run-up to the caucuses, I made a call to her national office. I figured that maybe they’d respond to a UW professor better than a student — which would be an error on their part, but still one that we might use to help our coverage. I told them we were having trouble reaching people — anyone — on the ground in Washington state with the Clinton campaign, and I implored them to make sure my request on behalf of my students for press access to Clinton’s event in Seattle received a response. They assured me I’d hear from them. I emphasized my point a second time. They kindly repeated that I would certainly hear from people on the ground here.

I’m still waiting for that call.

In our coverage of the Idaho and Washington state caucuses, there emerged a lean toward Obama in my students’ writing about the Democratic contest. This pro-Obama frame occurred for three reasons:

• Because some of the students have serious political crushes on him, even though they’ve tried to keep all this in check. He inspires them — and I haven’t sought to squelch this, being a prof interested in helping students become citizens.
• Because the class is set up as a blogging class, in which politics meets alternative journalism. So their opinion shines through in places, and this was fine as long as they didn’t cross over into fan mail.
• Because the Obama campaign treated us like pros — they called us back within minutes, set up interviews, got us press passes, went out of their way to make the campaign accessible. The Clinton campaign, in contrast, didn’t return a single phone call, didn’t provide press access, and did virtually nothing to encourage our coverage. It was either arrogance or disorganization on the Clinton campaign’s part.

“Girls are trained to make stories about themselves,” said Pat Gill, the interim director for the Institute for Communications Research and an associate professor of gender and women’s studies at the University of Illinois at Urbana-Champaign.

From a young age they learn that they are objects, Professor Gill said, so they learn how to describe themselves. Historically, girls and women have been expected to be social, communal and skilled in decorative arts.

“This would be called the feminization of the Internet,” she said.

Boys, she added, are generally taught “to engage in ways that aren’t confessional, that aren’t emotional.”

But even though girls surpass boys as Web content creators, the imbalance among adults in the computer industry remains. Women hold about 27 percent of jobs in computer and mathematical occupations, according to the Bureau of Labor Statistics.

In American high schools, girls comprised fewer than 15 percent of students who took the AP computer science exam in 2006, and there was a 70 percent decline in the number of incoming undergraduate women choosing to major in computer science from 2000 to 2005, according to the National Center for Women & Information Technology.

Scholars who study computer science say there are several reasons for the dearth of women: introductory courses are often uninspiring; it is difficult to shake existing stereotypes about men excelling in the sciences; and there are few female role models. It is possible that the girls who produce glitters today will develop an interest in the rigorous science behind computing, but some scholars are reluctant to draw that conclusion.

“We can hope that this translates, but so far the gap has remained,” said Jane Margolis, an author of “Unlocking the Clubhouse: Women in Computing” (MIT Press, 2002). While pleased that girls are mastering programs like Paint Shop Pro, Ms. Margolis emphasized the profound distinction between using existing software and a desire to invent new technology.