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We have now confirmed our other speakers for the morning of the reGenring conference.

Julia Molinari will ask ‘What Makes our writing academic?’

In this talk, I would like to explore in what sense a text that does not follow established conventions of English Academic Discourse (EAD) can be considered ‘academic’? I will argue that such a text can be academic not in virtue of its textual features or of its modes, but in virtue of the extent to which it fulfils an academic purpose and practice. I will draw on theories of multimodality (A. Archer & E. Breuer, 2016), of higher education (Barnett, 1990, 2012, 2013; Besley & Peters, 2013) but also of the philosophy of sociology (Winch, 1990) to argue that since creativity, imagination and argumentation are amongst the purposes and practices of a higher education, then we need to look beyond language – understood as just one of many modes – to more fully fulfil the range of our academic aims.

David Hindley and Lisa Clughen will present on ‘Student perceptions and experiences of academic blogging: some reflections on the use of blogs as a way of fostering greater student engagement, collaboration, and ownership of learning’

This paper takes the standpoint that academic blogging offers precisely the type of inclusive writing genre and inclusive environment for writing development that Elbow (2014) advocates. It is informed by a mixed-method research project which analyses the use of blogs as a formative part of the assessment within a final year undergraduate module, Contemporary Issues in Sports Practice.

Finalised programme to follow soon, in the meantime, don’t forget to check out our other speaker here and the Call for Practice here (which is still open). Book your place here before it is too late!

Cover of Unflattening

I am happy to announce that Dr Nick Sousanis, author of the wonderful Unflattening, is going to be one of our invited speakers in the morning of the ReGenring conference at Nottingham Trent (see here for the Call for Practice). The title of his talk will be ‘Unflattening: reimagining scholarship through comics’ . Instead of an abstract, have a look at this page of Unflattening

Page 64 of Unflattening by Nick Sousanis

Also joining us will be Dr Fiona English, author of Student Writing and Genre, who will facilitate the end of day discussion. There have been some really interesting responses to the Call for Practice, and we can expect examples of genred and regenred work in form of comic books, radio plays, posters, poems, blogs, exhibitions, magazines and videos – don’t forget to let me know if you want to share some practice in the afternoon session yourself!

More info on our other speakers coming soon, don’t forget to book your (free) place here.

After the successful workshop where we explored Genre as a Pedagogical Resource in November, I’m happy to be able to announce the follow-up event: a conference on reGenring Academic Writing and Assessment, hosted by the Trent Institute for Learning and Teaching (TILT) at Nottingham Trent University in conjunction with Writing-PAD.

workshop participants making their own nametags in November

workshop participants making their own nametags in November

We will start the day with invited speakers in the morning (not quite finalised who yet, but I’ll keep you posted!) and give over the afternoon to a sharing session – and for this we need YOUR examples of practice! The idea is to have this fairly informal and give everybody who registers their interest some space to show off some artefacts or practice, that could be via posters or by bringing examples. We are also planning to put together a special issue of the Journal of Writing in Creative Practice (guest edited by myself and Dr Fiona English), so what you bring could be linked to an article you want to write for that (although it doesn’t have to be).

If you are playing with genre in your teaching or assessment practice (in any discipline) and you want to share some of this with us, please email Alke at tactileacademia@gmail.com with a brief description of what you are doing and what sort of artefacts you would like to bring to show. Please use ‘reGenring’ as the subject title of the email and indicate whether you would be interested in contributing to the special edition of the journal.

For more information on the conference and to book your place, please click here.

I have been trying to establish a regular get-together at Staffordshire University, where interested people have the space to share ideas they have come across and/or are using within Learning and Teaching. And as I am organising this, I got to pick our first starting point. Since I am also working on the series of Thinking-through-Genre events with Writing PAD, it is probably not surpsiring that I picked ‘Genre’ as a subject.

I had sent around two links as starting points for discussion: Mahmoud Shaltout’s ‘Peda-Comical: A personal account of comics in education’ (2016), where he reflects on the genre of comic books as a resource within his learning and teaching, as well as Fiona English’s ‘Genre as a Pedagogical Resource as University’ (2015), where she gives a short overview of some of the work in her 2011 book.

On the day I also brought Galman’s The Good, The Bad and The Data (2013) and Sousanis Unflattening (2015), as they are both examples within the comic book genre and I thought this would present a nice extension of the readings. They are particularly interesting when looking at the use of traditional narrative and visual narrative.

What I had overlooked, probably due to my established  familiarity with the subject, was that none of these actually defined the term genre in this context – and neither did I at our meeting until somebody actually specifically asked me to. Clearly I need a bit more practice facilitating these get-togethers so I can set aside my assumptions!

Let’s try to do it now: I think the easiest way to define genre as I am talking about it is that it describes different ways in which to communicate content. Each genre has different rules (or ‘affordances’), and deciding on one over another means that you possibly gain something, but might lose something else. I have previously tried to make this concept accessible in the Dress-up Doll of Formality activity.

My favourite quote that encapsulates this is by Douglas Adams, who wrote:

(…) the moment you have any idea, the second thought that enters your mind after the original idea is “What is this? Is it a book, is it a movie, is it a this, is it a that, is it a short story, is it a breakfast cereal?” Really, from that moment, your decision about what kind of thing it is then determines how it develops. So something will be very, very different if it’s developed as a CD-ROM than if it’s developed as a book. (Adams, 2003: 155f)

This always spoke to me because it makes a lot of sense to a designer. Because in a way (and this is also something we discussed briefly at our meeting), communicating content in a variety of guises is what being a designer (any type of designer, although it might be most obvious in the case of graphic designers) is all about.

And maybe this is also why I have always been absolutely fascinated by adaptations, especially cross-platform ones. Regenring (as in putting the content of one genre into another) is just another word for the same principle.

A visual representation of the 'minutes' of our meeting

A visual representation of the ‘minutes’ of our meeting

With the question of what ‘genre’ actually is (or can be) agreed on, we then proceeded to talk about the affordances it has, and how we can make use of them. The comic book, for example, is what one of us used as part of the dissemination mix of a research project to broaden its impact (find more details here). She made the point that producing a comic didn’t just get some of our Comic and Cartoon Arts students a live project to work on, but more importantly transformed some of the findings from the report into a format accessible to students, the people it might be most valuable to and who were unlikely to read neither the original report nor scholarly articles based on it because of their genre.

In a way the question of accessibility is what we probably most talked about – and particularly the problematic that comes with academic genres that are often not very accessible to students. Not just the question whether it makes more sense to ask students to communicate their research in a format that is more relevant to ‘real life’ than academic formats like the essay or research report, but also the academic genres we use within the university, such as module descriptors, module handbooks and similar, often filled with our own jargon that surely must seem like a foreign language to students. Sure, we give them a glossary, but is this the most accessible way to invite them to understand the processes and procedures of their academic life…?

…something to discuss further in our next meeting!

I’m currently writing an article. Literally while I am typing these words I should be writing on my article, but I am getting distracted by something I haven’t tried before when it comes to structuring the work, and I can’t wait to share it with the readers of this blog. (Tangential Procrastination in full swing!)

The article is sort of last minute, but it is based on research that I have done a few months ago, and some of it is based on research I have done a few years ago. (Parts of it probably go back to my PhD thesis, so make that a bit more than a decade… scary.)

I am clearly in the writing up stage of this, I have a draft to work on, but I haven’t quite figured out the structure and order of the points I want to make. I have written my key words on post-it notes and gotten an overview that way. I have highlighted the key words in my text, which is very helpful when moving paragraphs around. Nothing new so far, surely storyboarding academic work in this way is common practice by now.

But now I have done something that I have never done before… I not only added section titles, but also little descriptions. Erich Kästner used to do this in his books, many of whom I grew up with. Chapters would start with a tiny little summary of what would happen in this chapter. I don’t think there were any spoilers, but it would set up the scene and add a bit of intrigue as what was to come. It was also very handy when re-reading the book and looking for your favourite bits. I didn’t quite go as far as paragraphs, but short, descriptive subtitles. And you know what? It seems to make the writing process much easier. By just reading these subtitles (which I put in bold and italics to make them easier to find) I can check whether I am still using the order planned out with my overview, or whether I need a reshuffle to make this flow as a story (I did). A small addition to my writing process, but incredibly useful – and it might just be a way to support my students with writing the dreaded argument/main body of the text section in their essays and reports!

Kästner kept his as part of his novels, I’m going to delete mine from the article, but just so that they won’t be lost forever, here they are:

  • Section One, in which the problematic of the textbook genre is introduced
  • Section Two, which contains musings on different types of knowledge and different types of teaching that go with them, introducing a focus on study skills
  • Section Three, in which we compare academic and creative practice – and come across hidden practices that need to be made visible
  • Section Four, in which I explain why the pedagogical model needed should use the workbook as delivery method.
  • Section Five, in which I explain analogies as a way of making hidden academic practice visible, and why this called for a picture book, but not a narrative.
  • Section Six, in which I discuss some design choices of Writing Essays by Pictures.
  • Section Seven, in which I sum up and highlight the need for learning resources to be designed according to pedagogical principles, not traditional templates.

If the full article makes it to publication, I will add a link here 🙂

Dear all,

I’m glad to announce that I have finished the workbook for students I have been talking about for years and that after the ‘test’ copies produced as part of last year’s Kickstarter campaign, an extended version of  “Writing Essays by Pictures: A Workbook” (ISBN 9780957665224) is now in print… just in time for all those lovely new first years arriving at Uni!

This is very much a development of the work I have been doing for the last few years, much of it chronicled on this blog, and it uses visual analogies to lead students through the process of writing essays at University. Find out more about its origins on the dedicated page here. Mainly designed for students to work through on their own, it could also be used in led workshops and is full of creative and visual ideas for teaching information and academic skills. It is priced at a level that hopefully many students will be able to afford to buy themselves, and I hope that some of you might add it to your reading lists to help students transition to writing at undergraduate level.

Available from all normal book suppliers from this week, list price £15, currently £12.99 on Amazon (http://www.amazon.co.uk/dp/0957665229) or just £10 direct from the publisher (http://innovativelibraries.org.uk/press/thebooks/).

I am currently working with both the Writing PAD network and my fabulous publisher to organise some workshops for staff who want some more ideas how to use the material within in their teaching, which I will of course announce here once we have settled on dates.
Best wishes,

Alke

As you will know if you are following this blog, last year I put together my own version of a guide to writing research essays (see Writing by Pictures), which I am currently revising for a proper release. Caught up in the excitement of this project, I don’t think I have ever really talked about WHY I thought it was important to do so. Yes, I wanted to collect the analogies and activities I do with my students in one place, but in a way this came out of a much larger context, which I am trying to tackle at the moment. I recently presented my initial thoughts at the Popular Culture Association/American Culture Association conference as well as the Writing PAD East Midlands Forum and thought I would sketch it out here, too, in case you are interested, but couldn’t make it to either of these meet-ups.

In my work my main challenge is to engage art and design students with academic research and writing. We are using a Writing in the Disciplines Approach, so these students are not doing something like Composition 101 with other subjects, as they might be doing as part of a liberal arts college in the US, for example, but rather they are in the cohorts that they spend most of their time with, which are very subject focused. I have some sessions with them in their first year (most of them in the first term), and I believe I give them the skills to research and write a pretty decent basic essay. Most of these students, however, I don’t see again after these encounters – other colleagues are taking over their contextual studies education. One class, however, I do see again in the second and also in their third (and final) year, and I noticed that they urgently need a refresher in all these skills. Of course the main issue here might be that they don’t have to write enough research papers to internalise these skills as part of an academic practice, but that is probably a different discussion (and also something that ultimately I probably won’t be able to change…). Anyway, so I was wondering whether there is an appropriate resource out there to teach or remind them of how to write an essay. And there are some very good books on this, but I could only find TEXTbooks, in the sense that they are predominantly made up of text. Occasionally you’ll find the odd diagram or cartoon, but most of them are very much text based.

This got me thinking about the textbook as a genre, and I came up with three pillars upon which the development of the textbooks that we know, use and, yes, also write are based on:

  • An assumption that knowledge can (and needs to be) expressed in words (both spoken or written, but really better written) in order to be counted as ‘proper’ academic knowledge.
  • The transmission model of education, which assumes that there is fixed knowledge that needs to be transmitted to the students, filling them up with it.
  • And, maybe slightly overlooked in academic discussions on learning strategies and resources, the simple fact that when the textbook genre developed, printing technology had become very good at printing words (removable type and all that), but until fairly recently was very expensive when it came to reproducing quality images in large numbers.

Since this happened, however, a lot of development has taken place that has challenged all this. I would argue that while writing is still seen as a very good way to share insight, it is not considered the only way to develop your thinking. There has, for example, been a noted rise in the popularity of taking notes in non-written ways, which has come to the fore recently particularly through very popular publications in the business/management sector. Dan Roam argues in his Back of the Napkin series (my favourite is Blah Blah Blah, 2011) that words don’t work in some contexts, that drawing doesn’t mean you are ‘dumb’ but rather that we need ‘vivid‘ thinking, the visual and verbal working interdependently (Roam, 2011). Sunni Brown makes very similar points in her book The Doodle Revolution (2014), where she questions the usefulness of copiously written notes, that don’t really question the noted or put it into a personal context. Mike Rohde has developed the same problem into ‘sketchnoting’, which he states developed out of frustration with purely written notes (2013). Now, none of these people write for an academic context, but the success of their publications makes clear that the way to develop your thinking (which I would argue is actually quite crucial in an academic context) goes beyond the written word. While these books aren’t academic textbooks, they challenge the ‘three pillars of the textbook genre’, however, they are still pretty close to the familiar format of lots of text.

So I was wondering, are there any examples out there that go beyond this and that are aimed at an academic audience?

Design Fundamentals by Gonnella, et al

Design Fundamentals

Rose Gonnella, Christopher J Navetta and (illustrator) Max Friedman have put together a series of books on Design Fundamentals (2013, 2014, 2015), and I would say that the contents of these books are very close to textbooks, but the presentation is very colourful and visual. The idea behind these books is that these are the notes your friend might give you if you have missed class. They include summaries and exercises of sessions, seemingly taped in, as well as the most important facts of the subject matter at hand.

The Good, the Bad and the Data

The Good, the Bad and the Data

The Good, the Bad and the Data (2013) is the second of Sally Campbell Galman’s Shane the Lone Ethnographer’s Guides. These are set out like comic books, with very simple black and white line drawings. They use the narrative device of Shane, the heroine, becoming the clueless student, asking all the questions we might ask about ethnography, and allowing us to go on a journey of learning with her.

Syllabus

Syllabus

Syllabus, Notes from an Accidental Professor (2014), by Linda Barry also has traces of a comic book in it, but then it is about a class for comic book students written and drawn by a comic book artist. This book has a very eclectic feel, simulating a yellow paper composition book popular in the US, and consisting of seemingly collaged together notes Barry made throughout her first few years of teaching a new course.

Unflattening

Unflattening

Unflattening (2015) is Nick Sousanis’ PhD thesis that was conceived in form of a graphic novel. It is a fascinating document that is a commentary on current educational practices, using the format of the graphic novel to make some very complex points in an incredibly elegant way.

While they are very different, and all of them have advantages and disadvantages, I think these four examples demonstrate that it is possible to redraw the textbook. While they all include linguistic knowledge, this is complemented – not just illustrated – by images more akin to a symbiosis. They are more inclusive in that they cast the reader in a role that makes you work for it – these are texts that need to be actively read in order to make sense of them, thus transcending the transmission model of education. They also use the current possibilities in printing, until quite recently none of them would have been able to be produced to this quality for a mass market.

A similar treatment might not be suitable for every subject discipline, but these examples show a way to open up the genre of the academic textbook and encourage us to redraw its rigid templates in order to allow our students to learn more effectively.

Do you know of any examples that should be included here?