Tag: design

A Feeling for the Data Set

/ Derek Mueller
⏳ Approximate reading time: 5 mins

For the last week or so I have been collaging together small pieces readying for a guest presentation and workshop in Virginia Tech’s ENGL6364: Research Design in Rhetoric and Writing tomorrow afternoon, a presentation and workshop I’m calling “A Feeling for the Data Set.” I taught the class in 2020 and 2022, so I have a feel for it, and now—the 2024 & 2026 rounds—it is being taught by my friend and (former, in the sense that I no longer work at VT) colleague, Dr. Shakil Rabbi. The class is reading an old friend, Network Sense; my prompt for the visit is to talk about how to create a data visualization from a large, unwieldy data set.

A Feeling for the Organism
A Feeling for the Organism, Evelyn Fox Keller, 1983.

As moving would have it most of my books and materials are in boxes in Ann Arbor at the moment, so I had to approach this a little bit differently and work only with what I had on these few small shelves at home. Thus, the setup sent me back to Evelyn Fox Keller’s book, A Feeling for the Organism (1983), a biography of 1983 Nobel prize winning geneticist Barbara McClintock, whose research on maize led her to insights about “jumping genes,” or gene transposition—the abruptive events that cause genetic mutations. With the purpose of contextualizing the lag in the reception of McClintock’s work, Keller wrote that her prose was alleged by some to be “difficult to follow” (10). Keller continues, “When she made these ideas public in 1951, in 1953, and again in 1956, in spite of the fact that she had long since established her reputation as an impeccable investigator, few listened, and fewer understood. She was described as ‘obscure,’ even ‘mad'” (10).

I won’t have time on Tuesday evening to go into McClintock’s ingenious research nor into Keller’s brilliant and accessible account on McClintock’s life and career. I will mention it briefly at the beginning, nevertheless, because it has provided me with what I consider an engaging, intuitive analog in the “A Feeling for” precept. Later in the book, in Chapter 12, “A Feeling for the Organism,” Keller wrote, “Over and over again, [McClintock] tells us one must have the time to look, the patience to ‘hear what the material has to say to you,’ the openness to ‘let it come to you.’ Above all, one must have a ‘feeling for the organism'” (198). The time, the patience, the openness, a feeling. Tuck this mantra away on a sticky note and you’d be surprised, as I have been, that it maps as research wisdom again and again, for me, in my own work, and for offering guidance and support to graduate students.

The way I remember it, A Feeling for the Organism first came up in CCR720: Interdisciplinary Influences on Composition and Rhetoric: The Making of Meaning, a class I took with Louise Phelps at Syracuse in Spring 2005. The class compiled with an endless, robust reading list, some of which was focused on “the making of meaning,” and much of which was peripheral, circulated in weekly optional sets of PDFs and in in-class discussions about cognitive psychology, distributed cognition, models of mind, comprehension, memory and forgetting, and more. I must have picked up Keller’s book and read it leafingly-flittingly. And then more recently, a couple of years ago, I picked it up again and read it more carefully after I heard the story that A.’s mom was at Cold Spring Harbor on the day McClintock, who was also working there, learned of the Nobel prize, about how they walked together to the building’s entrance that morning, congratulatory small talk, about how McClintock said it was occasion to have cupcakes at the cafeteria later in the day. “A Feeling for” has become more sticky, a more appealing premise, as I have aged into a career and with each successive research experience.

My picking up and extending “A Feeling for” is also meant to respond to what I have noticed at times an implicit argument that data analysis, data visualization, and big data fascination are appealing because they are, with the heave-ho of computing might, expeditious. Dromological determinism, we might call it, owing to Virilio. This attitude supposes that if you just feed enough interview transcripts or whatever into the software, it will do the “feeling for” part in a jiff and the researcher will have assertion-worthy baseline evidence upon which to build a dissertation, a book, a career, etc. This is akin to a party popper enthusiasm for generative AI, implying that you can dump the data in, wiggle your nose, and ta-da! To contrast this counterpart to “a feeling for” would amount to “a shortcut for,” and its byproduct is more of the mythology that your life will improve because of all of the time you have gained back.

Not everything has held on much less held together through the collaging. For instance, I spent some time looking at the Nobel Prize website and at the photo gallery, McClintock’s prize lecture, and the short banquet speech. The banquet speech is especially badass for McClintock’s suggestion that being so long ignored might be construed by some as painful and disappointing, it was, for her, rewarding to be left alone with her work and to have so much time to get to know (and name) each corn plant. She said,

“Subsequently, several maize geneticists did recognize and explore the nature of this phenomenon, and they must have felt the same exclusions. New techniques made it possible to realize that the phenomenon was universal, but this was many years later. In the interim I was not invited to give lectures or seminars, except on rare occasions, or to serve on committees or panels, or to perform other scientists’ duties. Instead of causing personal difficulties, this long interval proved to be a delight. It allowed complete freedom to continue investigations without interruption, and for the pure joy they provided.”

Following this framing gesture, which amounts to a few minutes on a book recommendation underscored with why “A Feeling for,” I plan to say a little bit about immersing with the data, which for me in the context of Network Sense and before that the dissertation was stacks and stacks of CCC PDFs, followed by the importance of making visuals, being invested in the imagetext problem, and learning from the dataviz examples modeled by others. Next, a few remarks on CCC Online Archive, on those early graphs, on fretting much later about extending the dataset from 20 to 25 years, and then on word watching and turn-spotting, which will segue to the applied part of the session, where everyone will in effect make a simple cluster map of keywords in their research, then attempt to resolve which of the terms are rising, falling, or flat, and which corpora would be appropriate for corroborating the guesses.

Theoroses 🍎

/ Derek Mueller / 3 Comments
⏳ Approximate reading time: 5 mins
Photo by Nazarizal Mohammad on Unsplash

In what will be the fourth new grad class prep for me in two years, in seven more Mondays, I will begin teaching ENGL6524: Theories of Written Communication. 6524 is one of four required core courses in VT’s rhetoric and writing PhD program. The course description, which I would carbon date back to the program’s launch in 2007, reads, “Studies in theories applied to written communication. May be repeated twice for credit for a total of 9 hours when the topic varies.” Two sentences. The first sounds quite a bit like tautology, or maybe even doublespeak because the repetition isn’t varied enough: theories of written communication is a class that promises studies in theories applied to written communication. Notable here is that this graduate program also features an MA-level (5xxx-numbered) class called “Composition Theory,” and by implied design, I guess this means that theories of written communication and composition theory are demarcated well enough that these are two classes but not one and the same. The second sentence from the course description suggests that the class could be repeated not once, but twice, for a total of nine graduate credits. Trouble is, the class is only offered once every other year, or one time in each two-year cycle of coursework. So it hardly seems possible to repeat it even once, much less twice.

As I’m prone to doing with most classes I teach, I have been mulling over possibilities for several weeks albeit in a low-key, backburner sort of way. I notified the bookstore on Tuesday that I will not be ordering any books for the class. Instead we will sift then trace theoretical antecedents from shorter units of scholarship: 1) published articles, 2) book introductions, and 3) dissertation introductions (or first chapters). In practice, several weeks (~9) of the semester will entail reading the article or chapter along with the theoretical referent and, as such, learning to alternate similar to the way theater-goers might, between actors and props, and a cyclorama, or backdrop. Finding and following theory’s antecedent traces should, if things go well, reward us with a repertoire for theory-finding and, in turn, for theorizing. The approach is similar to the one taken in Cultural Conversations: The Presence of the Past, a textbook that I happen to be familiar with not only because I taught with it a few times but also because a professor and mentor in my MA program at UMKC, Stephen Dilks, was the book’s co-author and co-editor. Cultural Conversations laid out a two-step archeology: a historical-archival text, a contemporary uptake, and then contextualizing pieces that drew connections and filled in gaps. Our upcoming fall semester is fifteen weeks long, but some of the weeks will focus on short-form presentations, or pitches, conferences, workshopping one another’s work, and so on. The class will include weekly writing and a larger project designed in the spirit of anthologics, or assembling and introducing an album of theoretical favorites, influential and inspirational beacons for scholarly offerings students one day hope to create, whether with their own dissertations, with articles or chapters, with teaching materials, with all of it, and so on etcetera.

I want to begin the class with some consideration, together, of our experiences with theory, especially if there are any adverse reactions to theory. I am thinking here both of fear and loathing. Under what conditions, if any, has theory been scary? Are there theories that you loathe? That elicit worry? Why? Like distasteful foods, how many times would you suggest trying a theory before disqualifying it, ruling it out, casting it aside, or dismissing it altogether? This opening segment, then, points to the title of this entry. With theoroses, or something like theory’s neuroses, we might begin to parse why and to what extent theory designated as such may be offputting, difficult, time-consuming, perhaps even abruptive, steep, hazardous-seeming, or even upsetting, dare say violent. Part of this line of inquiry is meant to open up a greater awareness of our dispositions toward (or against) theory and what has formed that disposition. And part of this line of inquiry is meant to reset theory with a light-admitting aperture of possibility. If there is a third part to this line of inquiry, it rests in a few questions I don’t know the answers to yet: Must theories be named to be useful? Must theory be communicable to be useful? Can scholarship proceed with unnamed theories, and might there be any advantages in (or rationale for) shedding antecedents? Can scholarship in rhetoric and writing be theoryless?

Paired with the theoroses check-in, I want us to read Eve Tuck and C. Ree’s “A Glossary of Haunting.” The glossary is a list of keywords, and these keywords are followed by vignettes, images, and microhistories/microanalyses. The set is referential, naming other texts, but it is also personal, heeding gravity in the co-authors’ standpoints, which intersect in their collaboration but also outwardly to their respective and sometimes overlapping ways of being, knowing, and acting. So I am imagining this as an imitable text; each project (theory microanthology) will include a custom glossary of haunting and an introduction to the contents, including some engagement with the question-led threads above: fear? loathing? named? unnamed? possibilities opened? foreclosed?

Some of what I’m sorting out includes, Where to start with theory? And, How well-formed a grounding case, or object of analysis, will serve us well in coming to terms with any theory? There is of course the French critical deck with cards featuring major figures from the 1960s and 1970s. There is, alternatively, a cluster of more contemporary theorists who have given language to deleterious and destructive -isms, late Capitalism, the Anthropocene, climate collapse, globalization, and colonization and its aftermath. And, too, there are earlier models, like Stephen Pepper’s World Hypotheses: A Study in Evidence , which looks into root metaphors for formism, mechanism, organicism, and contextualism, notably nodding toward but then leaving out animism and mysticism. In yet another deck, we could have theories that direct us to consider phenomena differently still, such as with CRT, standpoint theory, intersectionality, and misogynoir, though this might also include Polanyi’s The Tacit Dimension (1966). Whichever thread I begin to work with, it pulls the others, and eventually what surfaces returns to the other part of the course title, written communication.

I would like our step-back antecendent throughlines to follow a narrowed few specific choices. Early maybes are from Alt Dis, such as Royster’s “Academic Discourses or Small Boats on a Big Sea,” stepped back to Deborah Brandt’s Literacy as Involvements (1990) or Beverly Moss’s Literacy Across Communities (1994), or Malea Powell’s “Listening to Ghosts,” stepped back to de Certau’s The Practice of Everyday Life (1984) or Harjo’s The Woman Who Fell From the Sky (1994). Another possibility is Jenny Rice’s CE article, “Para-Expertise, Tacit Knowledge, and Writing Problems” (2015) stepped back to Polanyi or to Stewart’s Ordinary Affects (2007). Another is Cynthia Haynes’ JAC article (later updated in The Homesick Phone Book (2016)), “Writing Offshore” (2003) stepped back to Worsham, “Writing Against Writing” (1991), Graff, “Hidden Intellectualism” (2001), or De Landa, “Extensive Borderlines and Intensive Borderlines” (1998). Another is Paul Prior and Jody Shipka’s “Chronotopic Lamination” (2003) stepped back to Bakhtin’s The dialogic imagination (1981) or Engeström for a check-in on CHAT. And for the book introduction step-backs, I am thinking in particular of the winner, runners-up, and perhaps a few other nominees for the RSA Book Award this year: Hsu’s Constellating Home (2022), Hawhee’s A Sense of Urgency (2023), Smilges’ Queer Silence (2022), LeMesurier’s Inscrutable Eating (2023), Detweiler’s Responsible Pedagogy (2022). And this leaves as yet-to-be gathered a small set of dissertations whose introductions and/or first chapters we’ll read similarly.

I’ll pause here, this entry vining long enough and several other to-dos lingering. But I hope to return to this, to say more about the short-form weekly writing, the intervals of pitches and workshopping, the build-ups to the larger project, which I hope will find synchrony with lead-ins to our exams process at VT. I would also like to work back to first principles, to say a bit about what I understand theory to be and do in the context of research, scholarship, teaching, and writing, both within and beyond the academy, and also to revisit the commonplace in rhetoric and composition that theorein requires practice, or application, that theory without practice is baseless, harmful, chaotic-evil, etc.

A Five-question Series

/ Derek Mueller
⏳ Approximate reading time: 3 mins

The latest bulletin from The Common Table reached subscribers last Wednesday, May 29, this time announcing an article titled “Food Thinking.” The article’s premises were inviting, in that it works across a few theoretical beacons, Anna Tsing, Horst Rittel, and Anthony Dunne and Fiona Raby, to expand the thesis that food studies is suited to dusting off design thinking, reviving again those dimensions of design thinking that have worn thin or blinked out. You’ll find good stuff there, worthy of reading and worthy of returns, on mindsets, or questioning attitudes; with such practiced, inquisitive dispositions follows something almost ritualistic in noticing taken-for-granted interdependencies, in a feel for the organism, whether the corn plant or the baby bok choy leafing dark green hopeful from the raised beds where we planted them in mid-May. I don’t quite identify with design powerfully enough to prefer that same language (or field of specialization), but I did read in this piece something akin to a foodwise network sense, an atoll whose cartographic attempts I imagine would be delicious and intriguing at once. And this, in turn, relayed me to look around at more of The Common Table, to explore a few of the other recently published pieces beyond “Mother’s Hand Taste,” the piece on Jiwon Woo’s ever-fascinating work about son-mat, which I wrote about a few months ago and also explored in the spring semester with students who were taking Food Writing.

There is much to admire, appreciate, and learn from at The Common Table. I found especially standout the series “On Food and Education,” which follows the pattern of five-question interviews. The five questions invite responses from a host of respondents, and each is featured in elegant, readable posts, organized with the questions as the governing structure. The five questions are

  • How would you explain your perception of food as an educational discipline or tool to someone who might think that means just cookery lessons?
  • What are you doing/have you done to change understanding related to food?
  • Who are you trying to reach and teach and why?
  • Where would you like to take your work in this field; what are your goals?
  • What is the big-picture perspective in terms of the future of food education and where is it coming from?

The repeating pattern causes me to find the series more inviting as a series; there is so much good stuff here. It got me thinking, too, and again, about the substitutive interplays with food, writing, and visuality, about how this interviewing format, because it is simple and consistent, coheres multiple responses and fashions them into a genre unto itself. Semi-structured, multi-phase interviews have, as I conceive of them, ascended as the interview method that has the best chance of summoning in-depth perspectives, yet these strictly structured, one-phase interviews, like we find in The Common Table‘s series, offer just as much for the researching writer’s repertoire. I suspect that part of what explains my quiet, unchecked bias in favor of semi-structured interviews is that academic publications rarely publish in plain view the uncut and unfiltered responses from interviewees. This is a meandering way of expressing my own realization that the value of the strictly structured interviews has been skewed by wading too deep for too long in academically styled prose. What would a five-question series on writing be? Or visuality? What would the questions be? Who would be the interviewees?

So many pieces in the five-question series prompt new ideas and invite thoughtful responses, such that it is hard to choose one as a paragon, though I suppose “On Food and Education: Marije Vogelzang” rises to the top because I have already bookmarked it for a future section of Food Writing. Her response to the first question strikes connection with our lesson on apple and orange mindfulness, the day when, with Thich Nhat Hanh’s guidance, we linger, slowing down with a piece of fruit to listen for the crunch or to test edges as we pull a Mandarin orange apart, segment by segment. Vogelzang’s lists are rangy and uncanny, playful but not self-consciously so. I love this as a model for the inventional copia generated from something simple, ordinary, everyday. That this piece strikes in so many directions—and all from the repeating five-questions—is why I am holding onto it, tagging it for returns in my teaching, my writing, and my glimpsing thoughts for what would one day be a striking feature in a rhet/comp journal, perhaps.

Are the Artificials Expressive?

/ Derek Mueller
⏳ Approximate reading time: 3 mins

Stepping into AI discussions since November 2022 has felt to me like stepping into a mixed gravity bounce house, enthusiasts bounding miles-high right next to cautionaries clinging clutch-knuckled to whatever handles avail themselves of the seeming-eternal humanistic basics.

Me, I’m just doing what I can to check the conversations, keep walk-jog sideline pace, or possibly bounce high enough for an occasional dunk-thought, sort of like those tenth grade lunch breaks when the gymnastics spring boards were theatrically repurposed so that everyone who wanted one could have an attempt at reaching the rim. Just a touch! I hope that’s not too much mixing, from bounce house to springboard-boosted basketball, considering I am over here trying to make a point about artificial intelligence, large language model “writing,” and the scoops of words masquerading as discourse from ChatGPT.

I was listening to a podcast—Ezra Klein, I think—while driving to Virginia from Michigan on August 2, and although the podcast wasn’t about AI, per se, the discussion of First Amendment law and free speech got me puzzling through a question about whether AI-generated prose is legally expressive. I am not the first; I am also not a lawyer. But. To illustrate, consider this: a local politician is running for a seat on the Board of Supervisors. Not being much of a speech writer, they tap GPT4 on its non-shoulder, prompting it to return for them an applause raising statement about democratic values. The AI returns a lukewarm soup of a statement, and it just so happens to include in it a damaging and slanderous falsehood about another local official. Litigious gloves are off. Legal teams are enlisted. And the candidate mea culpas with the grandest of agentic shifts: “GPT4 made me say it!”

It reads to me as one of the most ground floor conditions, a lower order stases: Is AI expressive? Is ChatGPT responsible, legally or otherwise, for its so-called writing?

If no, then follows a corresponding set of questions about what writing qua “content generation” actually boils down to. Humans are, arguably and correspondingly, small(er) language models (SLMs). Certainly this doesn’t mean that an SLM can’t every so often augment their repertoire of inventional, compositional, and interpretive range with a sidekick LLM, a backdrop behemoth spitting possibly everything ever. But my hunch is that the SLM should be cautious about surrendering its language to this other phenomenon overmuch, or all-out ventriloquizing the LLM as though its expressions will be satisfactory, sufficient, or both, just because it is big.

Writing, as a verb, doesn’t shield itself especially well from contending, sometimes mismatched, activities. In fact, three decades of writing studies scholarly activity has worked mightily to expand writing, sparing writing its alphabetic-linear reduction, and pluralizing it loftily with overtures of multimodality. Much of this has been good and necessary and warranted, but there has been a trade-off. The trade-off is the you can fit a whole lot of yes-that-too under the baggiest of umbrellas, and then along came the LLMs. I wouldn’t argue that anyone should revert to exclusive or narrow-banded definitions of writing, tempting as it might be (e.g., only a pencil-holding activity, or a thing that happens when a human hand makes a keystroke). But I would say that the lines have blurred between “content generation” and “writing” in ways that are not always helpful for demarcating reasonably distinctive activities and in ways that risk promoting shortcut mindsets when writing is presumed to be ready-made, extractive, and infinitely/generically scoopable from an allegedly ever-improving LLM.

Collin recently referred me to Alan Jacobs’ recent entry, “on technologies and trust,” which aptly sketches the position that we wouldn’t ever think of enticing prospective students to cooking school only to tell them that everything they learn will be derived from HelloFresh boxes. A similar logic extends to graphic designers from templated fallbacks. While the masticated options might be appealing to the uninitiated, they are not quite the same as learning by practicing when that practice entails selection, decision, trial and error, and so on.

I am not convinced that LLMs are expressive, and I want to work on making evaluative sense of AI more forwardly in these terms.

A final illustration: In April an HVAC technician visited the house for routine maintenance on the heat pump leading into the air conditioning season. Before leaving, he started to tell me about how he used to manage a big game preserve in Tennessee, though it closed, and so he changed careers. He then went on to tell me about his daughter who was taking an interest in cattle AI because she had a friend who was working with ranchers in Texas; the friend was finding cattle AI quite lucrative, he explained.

It took me a while to figure out that large-scale livestock procreation, too, has an artificial alternative; that’s “cattle AI,” for us non-ranchers. I think about this often as a checkpoint in conversations about AI and content generation. Might be, cattle AI is for cows what ChatGPT is for writing–artificial, expedient, not to be mistaken for the other embodied, developmentally-dependent, organic-contextual (more than mechanistic) act.

Gorgoylean Methods

/ Derek Mueller
⏳ Approximate reading time: < 1 min

Appealing are the sense-making motives in the Berlant-Stewart exchanges, with a nod echoic to Jenny Rice’s variation—gorgoylean methods—in Awful Archives where the generative tenets follow, 1) What is going on? and 2) What accumulates as being rhetorical figuration? and 3) How does it (fail to) add up? Not anchored entirely in story nor narrative, in description, in data nor database/collection, the gorgoylean approach hearkens maybe to positional disruption: What is for me phenomenological is for you empirical is for Earl not even worthy of inquiry.

Note on Contentment; Note on Fire

/ Derek Mueller
⏳ Approximate reading time: 2 mins

I’ve held for what months or longer this excerpt from Ram Dass, posted at Revoked some time before they shed space suit for some alternative astral way of being around. On contentment as method:

In yoga, one of the methods is called ‘contentment’. That’s not a goal, that’s a method.

I can be content this moment, and the next moment I’m moving toward something else. When I am here I am content, when I am here I am content, when I am here I am content. So even though you are going to change something the next minute, that doesn’t mean you change it out of discontent. It changes because it changes.

That is the basis that you do everything in yoga.

“Words of Wisdom,” Ram Dass, Revoked, August 14, 2019

Contentment as method. Contentment as above-path, quagmire hovercraft; in yoga, yes, I can find this. The good enoughness of a pose right now. The satisfieciency of this, here-now, floor and mat, gravity and breath. With contentment as method, for work (research, teaching, administrating), for non-work and all that it entails, there is in this relief from straining and striving. Go sit on a shelf, goals. Agency is fatiguing and sometimes needs quieted. Contentment says enough, have an exhale and a pause, surrender to the entropy, have a break from so much reaching.

I am teaching a research design class this semester. And too, of course, we’ve been visited by a pandemic, which has meant IRB suspensions, workaround-thinking, making do, resignation to changes that are out of our hands. We shift online. We Zoom. We grant flexibilities such that everyone can to the extent possible adapt and adjust. Lives are different from waking until sleeping again. Yoga intersperses, walking yoga, reading yoga, cooking yoga, Netflixing yoga, and relationship (the most difficult of yogas). And, too, research goes on–wondering and inquiry that sometimes involves others and sometimes involves only writing, processing, sorting things out. I’ve been thinking a lot about the friction (that edge, almost touching) between career and contentment, between inquiry and contentment, between rhetoric (as compositional, making, striving for change) and contentment. About motive(s).

Contentment as method (in yoga) risks hinting at passivity. In one way of approaching this (perhaps too difficult, perhaps needlessly difficult) pose, motive lapses, disperses. Contentment seems to abandon motive, doesn’t it? I’m not interested in sketching an argument with Ram Dass; no jousting at evacuated space suits. Where’d they go? But I am wondering about that something-more, the fire whose heat is felt in yoga as in motive as in inquiry. Contentment, too, draws on some kind of spark that is not exclusively passive. I have enough, yes, and I am enough, yes. This here-now is enough, yes. And then some–always a paradox. Even so, wonder and inquire, reach and breathe.

Contentment as method, it’s qualitatively helpful. But fire as method, too, grasps at something important about how that change happens. Not another definition of agency (we are reading about agentic shift this week, fittingly). Not necessarily fire as raging with destructive force. But a striker strip, a spark, heat and flame and combustion, immolation as method. Fire as method. What does your research turn to ash? What does your research raise up from the embers? Fire as above-path, quagmire hovercraft; in yoga, yes, I can find this. And sometimes in research. The potential and ever-rising heat of a pose right now, in spite of being human.

Until Finally a Carrier Stumbled

/ Derek Mueller

⏳ Approximate reading time: 2 minsEspecially the second paragraph:

Close to large tinajas [water pockets or pools] the trails converge like strands of a spiderweb coming to the center, and within a few miles of water, broken pieces of pottery tend to appear alongside. Mostly the pieces are plain: thick-rimmed, ochre ceramics called Colorado River buff ware. Clay vessels would have been hauled back and forth until finally a carrier stumbled. The stumbles added up in places so that over hundreds upon hundreds of years pottery became evenly scattered, in some places pieces on top of pieces. Along with the pottery a small number of shells might be found, brought from far oceans probably for adornment, wealth, or ceremony. Along one of these trails I picked up part of a shallow-water cockleshell, its delicate hinges still intact after being carried hundreds of miles from the Sea of Cortés.

I started calling these trails waterlines. Waterlines are the opposite of canals, moving people to water rather than water to people. This bestows a formidable significance on the origin itself, the tinaja, because that is where you must go. Must. It comes and goes over the year, or  over the days, while the location always remains the same. You can put your finger down and say here. Of all this land, all this dryness, all of these mountains heaped upon mountains, here. (31)

Childs, Craig. The Secret Knowledge of Water. New York: Back Bay Books, 2000.

For the talk I’m giving next month at Macomb CC, “Writing Desert Survival Kit,” I’m leafing Childs’ Secret Knowledge, struck by the shard trails, anticipating the desert metaphor (much like food deserts) as accounting for what diminishes, dehydrates, and becomes perilous in crawls across the writing barren, writing spare curriculum. Waterlines, in this extended metaphor, however, introduce a centripetal and extracurricular counterpart, desert traversals, travels that surfaces and circulate writing (also supporting it). These tinajas are comparable to the writing center, which, if you decline to provide a formidable writing curriculum (e.g., explicitly guided and supported writing experiences in every year of university education), you’d damned well better fortify your tinajas.

Keywords in Threshold Concepts, #4c15 Poster Presentation

/ Derek Mueller

⏳ Approximate reading time: < 1 min

I’m in Tampa this week for the 2015 Conference on College Composition and Communication–an event I’ve been attending every year (except one) since 1999. This year I proposed (and was accepted to present) a poster, and after several hours of finessing for more white space, shifting elements around, and tinkering in Illustrator, here’s what I’ll be standing next to for 75 minutes this afternoon.

Keywords in Threshold Concepts: Time-Binding and Methodologizing Disciplinary Lexicon by DerekMueller

Michigan Transfer Agreement (MTA)

/ Derek Mueller

⏳ Approximate reading time: 5 mins

A few weeks ago, I attended a “Regional Faculty Conversation” about the new Michigan Transfer Agreement (MTA), an effort to update and improve seamless transfer among Michigan’s community colleges and public colleges and universities. There were three such conversations across the state in three days. I attended the four-hour get-together at Washtenaw Community College along with approximately 50 faculty and administrators from other programs in SE Michigan (e.g., Jackson College, Schoolcraft, Washtenaw CC, Henry Ford, Wayne State, Saginaw Valley State, UM-Dearborn, and EMU). The new MTA is an update to MACRAO, which has been the acronym used to name a comparable agreement initiated 42 years ago (though not updated since) and also for the Michigan Association of Collegiate Registrars & Admissions Officers.

The MTA was approved by the state-wide Council of Presidents last September, and it is scheduled to begin this fall. According to those who led the conversation, the state legislature prompted the update to MACROA in 2011. Generally, the agreement is a good idea. It is student-friendly and it stands to encourage efforts across two- and four-year colleges to make sure their lower division courses bear family resemblance. It brings Michigan into alignment with comparable efforts in other states. And it is long overdue. Forty-two years should not pass without such an agreement being revisited, but that’s the sort of thick-crust stagnation that becomes possible absent any high education authority in the state.

I’m writing a bit about MTA, though, and translating my notes into this entry, because the agreement includes a significant change related to writing. This slide sums up that change. Additional materials from the meeting are available at the Michigan Center for Student Success website.

Essentially, the highlighted lines indicate that the old agreement, MACRAO, required students to complete a two-course sequence in writing. MACRAO is clear about this point: students had to complete six credit hours in English Composition. The MTA, however, allows students to satisfy the agreement (and therefore, to become eligible for a full general education waiver) with one composition course and a second course in composition or speech. The new requirement requires less writing, and yet we are at the same time hearing continued pleas for more writing on all sides, particularly among campus stakeholders.

It might not seem like much, but this change creates conditions at odds with the design of first-year writing programs premised on a Comp I and Comp II sequence, in which Comp I offers foundational experience with writing in college and Comp II builds upon and extends those experiences to include research-based academic writing. The new MTA appears to create a path into the university along which students could satisfy general education never having explicit, direct experience with research-based academic writing. Stop for a moment to consider this. I mean this as a fair characterization of what the MTA sets up, and I would urge caution before weighing in with axiological conclusions, tempting though they might be. Late last summer, Michigan WPAs wrote, signed, and sent a letter expressing concerns about this change, but the Council of Presidents approved the MTA and assented to its Fall 2014 implementation in spite of the request for more consideration of the change to writing and input from faculty colleagues with expertise, training, and experience in rhetoric/composition/writing studies and writing program administration.

This preamble should be enough to catch others up on a few of the concerns that continuing faculty conversations might address.

  • At the May 15 Regional Faculty Conversation, there was quite a bit of discussion about convening a subcommittee who would suggest changes to the MTA that would clarify the focus of the composition course required to satisfy the MTA. Without such clarification, the MTA (as written) appears to allow one-credit writing courses (i.e., nothing explicitly prohibits this). It also allows combinations of Comp I and speech. Comp I could be online, accelerated, basic skills focused, or just about anything ranging from computationally scored five-paragraph themes to full-on project-based and portfolio-assessed courses. The subcommittee would, as much as possible, define common ground for the composition course. But would its input be incorporated into MTA? At the May 15 meeting, it remained unclear whether revisions, amendments, or footnotes could be introduced after this fall. Notably, the MTA doesn’t include any explicit provision for updates or future revisions.
  • Input throughout the process was either mishandled, miscommunicated, or never regarded as especially important by those organizing and leading the project. It’s not clear. Perhaps there was a sense that representation was adequate? To be fair, input would have slowed the process down, and it would have been resource-intensive to invite and involve more people. Math faculty were able to convene a group who collaborated to define the expectations for the math course. But writing did not receive a comparable invitation until recently, after the agreement was approved. Pressing this point–why, exactly?–brought to the surface different characterizations of how the MTA developed, from one version suggesting it was measured and deliberative, evenspread over the two years it was developed to another version indicating that the change to the composition requirement happened at the last minute.
  • The rationale for the change to writing is also difficult to pinpoint. Nobody would confirm it at the May 15 meeting, but it has elsewhere surfaced speculatively that the last minute change was an effort to bring Michigan State on board with the agreement. That is, because MSU only requires one composition course and a speech course, it creates conditions amenable to transferring to or away from MSU, which, once it was on board, was the largest public university in the state to participate in the agreement (i.e., University of Michigan does not). Whether or not this is valid, the changes to the writing requirement should have been based on something more substantive, e.g., evidence from participating institutions about how students with or without a two-course writing sequence during the first two years of college fare relative to their counterparts who do not take two writing courses. If they graduate at equal rates, maybe there isn’t anything more to consider here (aside from the caveat that high-achieving high school students oftentimes by-pass the two-course sequence because of exemptions and waivers).
  • Authority for the agreement remains ambiguous. That is, Michigan does not have a higher ed authority, and the MTA does not come with an implementation officer (even temporarily; its implementation is steered primarily by a 13-page handbook and a few similar documents, including FAQs and checklists. Who should programs contact for an authoritative stance on whether or not a program can require a course for MTA-eligible students, provided that same course is required for all FTIACs? The MTA seems to be rolling out with loose consent, and the agreement itself, as written, doesn’t spell out strict conditions that adopters must follow. For instance, at EMU, we’re told we can continue to require Writing Intensive courses as a fixture in General Education, but we cannot require all students satisfy ENGL/WRTG121: Comp II or its equivalent because that’s considered a “proviso,” and provisos are prohibited by the MTA.

That’s enough for now. Like I said, I don’t see much urgency in guessing how this is going to play out. I put my name in for the committee and would consider pitching in if and when such a group convenes. I suspect we already have more consensus across programs than we have had much chance to explore, much less articulate. And in fact, one of the most promising take-aways from the regional faculty meeting was a sense that we could begin exploring something like a SE Michigan alliance of writing programs that would help us tremendously toward articulating what we hold in common curricularly and also bench-marking for the persistent WPA arguments concerning part-time lecturer (over)reliance, full-time lecturer teaching loads, course caps, and so on. Other than that, as far as the MTA is concerned, we will continue to seek better institutional data that can tell us how FTIACs who take the two-course sequence compare with FTIACs who take only ENGL/WRTG121: Comp II compare with transfer students, in all matters of retention and graduation rates as well as performance in upper division WI courses. Better data will help us understand whether we have cause to be concerned, whether we have exigency to make further adjustments to the writing curriculum at EMU.

Now: Visual Rhetorics

/ Derek Mueller

⏳ Approximate reading time: 2 mins

The visual rhetorics course I’m teaching this semester is by now well enough plotted to pass along a link, finally. I haven’t taught the class before, which only means that its materials this time are spun provisionally from many influences–an independent study and qualifying exam at SU, Michael Salvo’s syllabus, Dànielle DeVoss’s syllabus, and good conversations with CGB just after the new year. Its large arc follows from photography to document design to infographics and data visualization. I remain cautiously optimistic that these three sub-arcs will fit together okay within the fourteen meetings we have. No surprise, but I’m supplementing heavily with PDFs and assigning as required texts only Barthes’ Camera Lucida, Handa’s edited collection, and Cairo’s The Functional Art. One project involves writing (and designing) Ch. 10 for the Cairo book–a “missing” chapter focused on visual rhetoric. There’s an ignite presentation set up to articulate in short-form one’s emerging visual-rhetorical priorities and interests in relation to one of the people interviewed at the end of The Functional Art. And then there is a loose-fitting, build-your-own-collection portfolio whose creation and assembly is spread as evenly as possible throughout.

I’m still trying to figure out the role of in-class workshop blocks devoted to self-paced attempts with Photoshop and Illustrator. And I can’t quite decide how formally and explicitly to dwell on technical matters and rationale related to different image file types. Against these uncertainties (or yet-unmade decisions), I count as one advantage that I have had all but three of the fourteen students in class before, and it’s a terrific bunch who will assert their preferences whenever I’m slow to decide.