Category Archives: Case Studies

The OoS Matrix: FrankenTheorizing Composition MOOCs

What Is A MOOC?

What Is A MOOC?

Composition MOOCs: Theorizing Pedagogy, Space, and Learning.

Why Here? Why Now? As argued in earlier case studies, the Composition MOOC is one of many different types of course offerings in an emerging trend (some would call it a fad) of online higher education. This is a site of considerable tension in our field of Composition studies, perhaps because many scholars see this as a step backward and away from the hard-won push for smaller-sized, learner-centered classrooms for freshman writing courses. Some of the most common concerns expressed by scholars and practitioners in our field about MOOCs are as follows:

  1. They will “devalue the current education system” (Friend).
  2. They will “disrupt” the same (Friend).
  3. MOOCs are a “lightning rod for virtually all that thrills and ails contemporary higher education” (Mitrano).
  4. They are simply another step in the commodification of higher education (Barlow).
  5. By that same token, “college leaders” see MOOCs as the competition, as MOOCs are – by nature – “open” and free of charge (“”What You Need to Know About MOOCs”).
  6. They are anonymous and diffused, thus threatening the teacher/student relationship.
  7. They foster or are founded on wrong-headed teaching practices.
  8. They threaten the role of and need for teachers.
  9. They turn teachers into mere “content developers” (Gardner).
Cover of Sullivan & Tinberg text, What is College-Level Writing?

Cover of Sullivan & Tinberg text, What is College-Level Writing?

Yet, there are other scholars in our field who argue that these digital spaces can, with careful attention to the space’s design, exemplify best-practice models of collaborative learning and scaffolded teaching practices found to be so productive in a face-to-face (f2f) first-year composition (FYC) course (Decker, Cormier, Downes, Hart-Davidson, Bourelle et al.). Some have even gone so far as to argue that many of the criticisms err by conflating MOOC classroom pedagogy design with higher education operations in general (Cormier, Gardner). This discussion reflects our field’s cautious approach to MOOCs in the spirit of Cynthia Selfe’s counsel on “the importance of paying attention” when it comes to 21st century technology literacies. As well, the debate itself seems to emerge from a common paradigm: the place-anchored classroom, one that often limits the “node-load” of a network to a basic binary structure of teacher-learner. However, as this semester’s case studies have demonstrated, a Composition MOOC encompasses a much broader scale of elements: it is a networked space filled with nodes and agencies that emerge from not only the basic system of learning (teacher to student), but ecologies of other systems as well (institutional, assessment, collaborative relations between students independent of teacher directives, software, texts, etc.). As such, when current theories of networks are applied to MOOCs, they are often done so as if all MOOC classroom designs are the same. As Decker points out, this is most certainly not the case (4). Indeed, some Compositionists argue that our field should consider a refreshed pedagogy for learning spaces like MOOCs (Debbie Morrison’s “A Tale of Two MOOCs”). The assertion is that traditional f2f methods and technologies cannot be simply overlaid onto such a complex system / space with any hope of success.

Be that as it may, this final case study is not intended to be an argument for or against Composition MOOCs. Rather, using key threads gleaned from the theories of Spinuzzi, Foucault, Bateson’s and Gibson’s ecologies, and Neurobiology, it is my intention to theorize the potentiality of such space by highlighting key areas of tension in the current debate.


Foucault, Archaeology of Knowledge cover

Foucault, Archaeology of Knowledge cover

Thread 1: Foucault’s attention to “unities of discourse” provides an open door through which to begin mapping an amalgamation of theory, and serves as the premise by which this theory will address the question of “why this / why now?” Put another way, Foucault’s concepts of gaps, hierarchies, systems, and traces are the elemental glue that holds this FrankenTheory partnership together, calling our attention to those theoretical areas of dissonance that often go unmapped (traces). Foucault’s rejection of a linear, universalist lens by which to explore networks of knowledge pushes at what often appears to be a primacy of Composition Pedagogy Theory (situated in an f2f paradigm) in many of the aforementioned tensions when it comes to MOOCs and English Studies. In essence, his theory establishes a primer for this FrankenTheory, as he defers to a concept of a web — of influences and events (a network) — as a more “realistic” way to see and explore knowledge and knowing (3). Indeed, he asserts that we must see knowledge in terms of a complex system through a lens defined by terms he uses to explain statements as nodes. He proposes a more productive network is not a stable system, but one of complexity and discontinuities which have the power to transform current theoretical frameworks (5). Foucault allows that his “notion of discontinuity… is both an instrument and an object of research” (9), and for this reason becomes what amounts to a genomic element to this attempt to create new theory for examining both the Composition MOOC and theories currently infusing the discourse.

http://www.learner.org/courses/biology/textbook/neuro/neuro_6.html

A Synapse, Image from Rediscovering Biology, Chapter 10 “Across the Synapse”

Thread 2: The field of Neurobiology contributes to this discussion in several important ways. First, as a metaphor, it frames the concepts of knowledge and learning in productive ways that can be extended into discussions of ecologies and complex activity systems, as well as the nature of discourse in technologically mediated / created spaces. The neuronal network mapping metaphor provides interesting ways with which to discuss learning and knowledge transfer within a networked system much like a classroom space. It also provides our field with a concrete look into the physiological network that is at the very heart of any learning space: the brain. Learning theories grounded in behavioral / psychology theories are all rooted in this central processing unit; considering the biomechanical processes situates the conversation in a way that moves the more theoretical and ontological discussions back into the realm of “how and where” of learning. Neurobiology, then, allows us to look at the potentiality for knowledge transfer in terms of “how” learners learn. However, the biomechanical will only move the discussion so far; the messiness of a “massive” system composed of many students from varying backgrounds, differently motivated, in many places, and mediated by diverse technologies may push a neurobiology-based metaphor beyond its limits. Alone, it is limited. Combined with these other threads of theory and operationalization, it becomes an important conceptual layer for discussions of the “how.”

Spinuzzi: Traffic Systems (image from NobleEd.com)

Spinuzzi: Traffic Systems (image from NobleEd.com)

Thread 3: Spinuzzi’s Activity Theory contributes in two important ways: (1) distinctive terminology that begins to move our focus from the biomechanical to the relational and (2) as a pragmatic illustration of complex systems operationalized. His work with Actor-Network Theory and Activity Theory illustrates the power of Foucault’s gaps and disruptions when seeking common borders at which this conversation can turn. For example, Spinuzzi points to the gaps of “designer vs. user,” which in turn can productively correlate to a Composition MOOC’s gap / borders between instructor vs. student participant. Further, Spinuzzi’s use of distributed cognition (Activity Theory) and interconnections maps onto MOOC spaces in potentially useful ways, particularly when focusing on “interrelated sets of activities” (such as those described in Downes’ description of a connectivist course) rather than the individual learner, or networked minds vs. an individual mind (62). MOOC classroom models vary widely, earning such monikers as xMOOC and cMOOC, the latter of which has been deemed most effective by several scholars due to its emphasis on coordinated collaborative networking (Downes, Cormier). As scholars and compositionists, we must remain critically aware of the design of the learning / teaching spaces we employ / deploy, and Spinuzzi’s discussion of mediation and mediators provides a means with which to explore these. Spinuzzi’s Activity Theory allows our focus to center on concrete nodes of activity within a system: where and how the participants interact (where the learners learn and connect).

School of Natural Resources & Environment, UF

School of Natural Resources & Environment, UF

Thread 4: Ecology Theory deals exclusively with complex systems, not classroom spaces. However, the potential for mapping a dynamic and complex “living” network of actors, boundaries, and affordances as described by Bateson and Gibson is one of the more productive connections for MOOC discussions.Given the mechanics of the numerous digital platforms and software needed to operationalize a learning/teaching classroom space, it is not surprising to see so many critiques of MOOCs more in line with Hardware Theory, focusing on the mediating structures, than Learning Theory. Bateson and Gibson provide a counterweight to such limitations by attending to the power of boundaries to serve as both frontiers as well as informational economies (Bateson 467). Ecology Theory can thus extend our focus upon a classroom system to a larger scale, allowing me to discuss systems within systems. As proof of this usefulness, Margaret Syverson takes an ecological systems’ approach to the subject of the Composition classroom on the premise that a student’s “process of composing” – i.e., learning – takes place within a dynamic “complex system” based squarely upon ecological principles (Syverson 2-3).

Shaffer MOOC crib sheet

Shaffer MOOC crib sheet

The networked nature of complex systems and the affordances of web technology-based classrooms create a discursive space where each of these theories find play. Building upon Foucault’s concept of traces and gaps, each of these threads serves as both lens and map for examining the nodes and networks that comprise MOOC learning spaces, as well as highlighting the misfits or gaps. Further, each of these theoretical lenses at some point hinges upon the concept of “relationships,” a key component for distributed cognition as well as collaborative, workshop-based FYC theories of pedagogy. Finally, each of these theories provide the means by which to explore collaborative learning as both node and activity, a step which may contribute to the design of future cMOOCs and shape the nature of English Studies.

In sum, exploring this Object of Study using such a FrankenTheory may allow our field to address not only those concerns listed above but others like them, utilizing a network theory that may offer an appropriately complex lens to account for and grapple with the complexity of emerging digital learning, teaching, and theorizing spaces. The design of this synthesis falls into three broad sections, each based on significant questions that seem to lie at the heart of our field’s treatment of MOOCs: (1) knowledge and learning (or, “what does it mean to know?”), (2) the locus or framework of learning (or “how does location shape learning?”), and (3) agency (“who has it and why does that impact the discourse?”).


Baseline Concept: Knowledge and Learning

The concepts of knowledge and learning are key to this attempt to create a viable synthesis using these four theories, becoming an effective organizing principle with which to explore how these theorists give shape or problematize integration into a new theory of networks. Of particular worth is how these theories align and diverge in terms of the theorists’ framing of the terms and how, once synthesized, they become a useful tool with which to describe Composition MOOCs.

Stephen Downes: Connectivism

Stephen Downes: Connectivism

First, spaces in which knowledge is acquired and disseminated are shaped by premises that undergird what we mean when we consider the term knowledge as a thing to be constructed and transferred. David Cormier asserts that in traditional models of online courses that base their knowledge delivery system on a one-to-many model, it is the institution or the instructor who possess the knowledge desired by the students. In their original design, MOOCs constitute “an ecosystem from which knowledge can emerge” as a result of “negotiation”… a nod toward their roots in Vygotsky and the “social nature of learning” (Downes “Connective Knowledge”). From this perspective, it is not enough to use the term “knowledge” as a Composition classroom’s outcomes. Rather, the term “connective knowledge” emerges, pointing to a “gap” in Composition discourse where a network-based FrankentTheory might prove useful.

The field of neurobiology describes the function of the human brain as a communications network that first “takes in sensory information” via neurons, then “process[es] that information between neurons” as thinking, with the end result or response described in terms of neuronal “outputs” (“Neurobiology”). In other words, knowledge, as treated by neurobiology, is to some degree a byproduct of neurotransmitter activity transferring electrical and chemical impulses that create memories (in essence, knowing a thing). However, the network system – and in particular relationships within that system — in which such processes take place are just as important to how we understand knowledge creation, or learning. Synaptic connections operate on a cause-effect basis, transmitting data in one direction over a gap between neuronal structures. It is important to note that these “synapses are not merely gaps but … functional links between the two neurons” (“Neurobiology”). Foucault might say that these synaptic gaps – like black holes – are significant areas of scrutiny because of their functional nature. The entire “communication infrastructure” in which these neurons exist, however, are not the origin of the process.” Rather, the process that occurs within this series of embedded networks (synaptic systems) “develops because there is something to communicate.” In sum, knowledge is both product and initiator of this sequence of events that result in what neurobiology calls learning. When used as a lens with which to examine MOOCs as a space for learning and sharing knowledge, it seems intuitive to utilize a neuronal network as a fitting and productive metaphor with which to explore this Object of Study (OoS) as not only an environment of constructed connections (from Learning Platforms like Blackboard to blog spaces for assigned student writing to student-created back channels in Facebook for student-directed discussions) but as a representation of cognitive transfer – how humans learn. In neurobiology terms, knowledge is both a material to be transferred between neurons but also an initiator that signals neuronal development, altering existing circuits and driving the creation of new neurons to make new connections (“Neurobiology”).

Stephen Downes refers to George Siemens’ definition of connectivism as “the thesis that knowledge is distributed across a network of connections, and therefore that learning consists of the ability to construct and traverse those networks” (Slide 15, Slideshare). Their MOOC, which he describes in a Slideshare presentation from 2009, explores the underlying learning theories informing the structure of the MOOC itself in light of their attention to how students best learn. While his course is not specific to freshman composition content, his theorizing of learning taking place within a network. Each component creates the “mechanisms to input, process and distribute content” (slide 27) – the course map or neuronal network — but students themselves “add to the map” (slides 46-56). The growth of this system — what student writers add and how they add it — might be discussed in terms of our neurobiology metaphor if we align Downes’ “mechanisms” with neurobiology’s initiating force of knowledge to be transmitted, addressing the questions, “how do we know?” and “what is knowledge?” Downes’ use of neurophysiology terminology illuminates a potential connection (what Foucault might say is a case of “minding the gap”) to the type of community networks typical of effective MOOC designs as “a ‘community of communities’” (Connectivism 120), a description which he illustrates using terminology drawn from the field of neuroscience. Downes’ description of a community-as-network asserts that “nodes are highly connected in clusters” and these clusters are defined “as a set of nodes with multiple mutual connections” which are instrumental in the movement or transmission of a “message from one community to the next” (Connectivism 120).

The parallelism to neurobiology is clear here: nodes, transmission, clusters, etc. However, for English Studies and Composition Studies in particular, while such a cellular-based network may ground this physiological process as a scientific set of facts, it does not address the broader question of how this translates to behaviors situated in dispersed cultural and social network systems. This is where Spinuzzi may fill the gap. For example, when Cormier writes of “knowledge networks,” it creates a point of intersection with Spinuzzi ‘s Activity Theory. Spinuzzi employs Hutchins’ theory of distributed cognition to illustrate how humans – not just freshman writers – learn most efficiently when in a collective and collaborative network of others.

Spinuzzi’s effort to correlate Activity Theory with Actor Network Theory provides a view of knowledge and learning from the perspective of activities performed in order to acquire or transmit knowledge. Spinuzzi distinguishes two competing discourse communities and their approaches to knowledge: designers and users, each creating very different hierarchies and relations to the other nodes within the network. His concept of centripetal and centrifugal “impulses” (20) creates a fascinating analogy with which to consider the discourse practices of these two communities and how that creates a perspective of knowledge or learning that could be useful within this FrankenTheory. His suggestion that the centripetal nature of a designer describes a discourse community that gravitates toward “formalization, normalization, regularity, convention, stability, and stasis” (20) may help us characterize a sort of knowledge creation privileging to which Foucault points in his work. The centrifugal nature of the user, on the other hand, represents “resistance…, innovation, — and chaos” (20), features that may also contribute to discussions of agency. This passage alone opens numerous connection nodes of analysis regarding the ways we envision networks functioning or moving knowledge. Spinuzzi’s identification of competing concepts of creation and operationalization of knowledge thus provides a useful tether to which the other theories may connect when examining this Object of Study.

Foucault argues that we must explore discourse “through the use of spatial, strategic metaphors” (emphasis mine) if we hope to perceive “the points at which discourses are transformed” (qtd. in Binkley and Smith). Not only are these points of transformation of a practical matter in the case of MOOCs (e.g., making choices between online platforms and applications to locate collaborative writing), they become the very “gaps” or “traces” (7) so key to Foucault’s theory of knowledge, revealing as they do points of contention and discontinuity where additional theorizing might take the discourse in new directions.

Foucault’s Archaeology of Knowledge offers this work a theoretical foundation with which to explore several key terms: knowledge and knowing (writing and learning), networks, disruptions of unities, différence and traces (169). With regard to knowledge in particular, Foucault argues that the reason some maintain that “the history of thought could remain the locus of uninterrupted continuities” creates a shelter “[f]or the sovereignty of consciousness” (12). Further, he argues that we must “question those ready-made syntheses” that inform current theories of the individual and society. For this FrankenTheorizing of MOOCs, this concept may provide a way to highlight the presence of a “status quo” element to current critical frameworks of knowledge and/or learning that are applied to scholarly treatment of MOOCs in Composition. Gardner and Cormier both point to ways the original MOOC design was more true to composition theory pedagogies of collaborative, decentered learning spaces. However, when MOOC spaces were corporatized through “Coursera, edX, and Udacity,” classes offered through MOOCs became prone to the “sage-on-stage teaching models” against which our field of composition has come to resist (Gardner). The “status quo” of decentering classrooms, however, always already exists within the larger “status quo” of an educational system that relies on assessment to measure what it deems “academic knowledge.” Within that system, MOOC designs are often perceived as “payload delivery systems,” making the online instructor complicit in this framing of teaching as a “content delivery expert” (Gardner).

black hole

From “Nature Communications” website: Black Holes

Foucault calls us to pay attention – much like Cynthia Selfe does – to ways in which points of disruption or tension in this discussion may actually define what we see. Foucault’s description on page 29 of how looking at absences or gaps (disruptions and displacements, the difference) actually helps define what we see makes its way into this FrankenTheory much the way black holes reveal the unseen by observing the actions of other bodies within its sphere of influence. Foucault writes, “in analyzing discourses themselves,” we should look for “the emergence of a group of rules proper to discursive practice” in order to see them as “practices that systematically form the objects of which they speak” (49). Foucault’s interest here is in the “discursive formation,” and I would argue at its core is the concept of knowledge and knowledge networks. With regard to previous comments on “delivery systems” and knowledge, this “disruptive” or transformative power of a MOOC creates a troubling gap in terms of how knowledge is conceptualized as content to be delivered, shared, and transferred within most academic communities. As a result, some Compositionists argue that our field must consider a refreshed pedagogy for learning spaces like MOOCs (Debbie Morrison’s “A Tale of Two MOOCs”). The assertion is that the traditional f2f methods and technologies cannot be simply overlaid onto the MOOC space with any hope of success.

Finally, theories of Ecology as advanced by Bateson and Gibson deal with knowledge in terms of more philosophical ideas rather than concrete transfers of material knowledge made within and between ecosystems. Bateson concerns himself with affordances and perspective within what he refers to as an ecology of the mind. Using a blind man and stick analogy to explore the “mental system” that is involved with knowledge and learning, “the stick” or the non-human node within the system that is considered an affordance serves as “a pathway along which transforms [or the effects] of difference are being transmitted” (465). For Bateson, then, the focal point of any discussion is not the “what” but the “how.” Gibson also focuses on the role of affordances – the environment – but in terms of knowledge, there is a considerable degree of unawareness that takes place between actor and activity. Perception is key. The human-centeredness may seem to situate the power of knowledge squarely in “the eye of the beholder,” but Gibson’s explanation of the role of other players in the environment (water, soil, animals) also suggests that the privileging of humans in the knowledge network may be tenuous.

Perhaps the most relevant “gap” in the discussion of MOOCs where Gibson’s theory may be helpful is his exploration of objects versus affordances. Gibson asserts that in an ecology network, objects should not be defined by their “qualities,” but by their “affordances” (134). He is careful to make the importance of this distinction clear when he observes that “to perceive an affordance is not [the same as] to classify an object” (134). He explains that such a distinction “rescues us from the philosophical muddle of assuming fixed classes of objects, each defined by its common features and then given a name” (134). In the case of a Composition MOOC, this distinction becomes especially relevant when our inquiry turns to the nature of distributed activities and network nodes in terms of student identity within the MOOC. By simply employing classifications such as instructor or student, too often these terms become infused with traditional connotations of power and knowledge creation a la “one to many” (Hart-Davidson) being transferred within a hierarchy of primary to secondary, rather than a pattern which follows a more diffused set of relationships fostered by the sort of collaborative-centered design of a cMOOC (Cromier). Further, Gibson’s theory points out that “[t]he richest and most elaborate affordances of the environment” are not even non-human agents. In fact, they are “provided by other…people” whose “behavior affords behavior” (135).Bourelle et al. describe MOOCs in this way, with knowledge being created and transferred (learning) as much between students as between student to instructor. The disruption created by the affordances of the networked and massive space itself thereby resists a fixed nature of objects. So, what does this mean for this OoS?

"Finding Meaning In Networks"  (www.ysc.com)

“Finding Meaning In Networks” (www.ysc.com)

Knowledge is closely aligned with the concept of meaning. In Composition theory, this pairing is typically framed within key rhetorical concepts of audience and rhetor (writer). Gibson asserts that his theory of affordances provides “a new definition of what values and meaning are,” particularly in terms of how these affordances are directed. Gibson’s theory insists that (unlike neuronal pathways), an “affordance…points two ways, to the environment and to the observer” (140-41). Within the network of a Composition MOOC, such principles of meaning and knowledge allow the discourse to shift to the gap which commonly houses a “chicken or the egg” dilemma: is the MOOC environment to be seen as machine interface housing the human interface (the student-student or student-teacher connections), or are the human connections and interfaces transforming the physical network structure itself?

In short, when it comes to a Composition MOOC, what does it mean “to know” – for both teacher and student? These theorists take the discussion out of the realm of assessment, assignments, and the writing process, and shifts us into the realm of how we learnin a complex system of networked relationships. I deliberately do not refer to “networked space” as these four theories facilitate a move away from the structural configurations of boundaries, tools, and computer-mediated access, and into the realm of social networks.

Baseline Concept: The Locus or Framework of Learning

highed-mooc_475x300_0Of all these lenses, some are more useful than others when it comes to interrogating the MOOC space as a learning and teaching space. Gibson argues that “a place is not an object with definite boundaries” but is instead more of “a region” (136). Bateson famously observes that “the map is not the territory” (455). What do these mean for a new network theory meant to analyze a Composition MOOC? It is Bateson’s map/territory equation that may be most productive initially, as we endeavor to discuss a MOOC as uniquely networked on a level that must be theorized differently than a physical Composition classroom space filled with desks, one teacher, 20 students, textbooks (or even eBooks). When attempting to theorize a space as massive and open as a MOOC, it soon becomes clear that we cannot talk about its practices or its situatedness using the same framework and terms we use to analyze a traditional Composition course following traditional paradigms of f2f classroom theory. In fact, Bateson’s theory is predicated on the assumption that we must “change our whole way of thinking about mental and communicational process” (458). When Bateson notes that the “differences are the things that get onto a map” (457), it is a phrase remarkably reminiscent of Foucault’s differences, disruptions, and traces as the more productive locus of our attention when it comes to theorizing knowledge and networks within MOOCs. But just what does this mean – “the map is not the territory” – for MOOCs?

Neurobiology may help address this if seen as a metaphor for the type of learning that happens in a MOOC. MOOCs have been cast by many skeptics (including many composition scholars) as a troubling “break” from traditional models of higher education. However, if seen through the prism of learning models, a Composition MOOC space may instead become one that facilitates creativity and independent thinking by participants who become co-creative powers within a network of learners. The concepts of neurobiology applied as both metaphor and learning theory may facilitate this view.

Hart-Davidson’s article recently published in Invasion of the MOOCs: The Promise and Perils of Massive Open Online Coursesfocuses on student learning – specifically learning to write — in digital environments.  He observes that digital technology like MOOCs may promote “peerlearning,” which he asserts is “the way most humans actually learn to write” (212).  His analysis relies heavily upon Lev Vygotsky’s theory of learning, and especially the “zone of proximal development” principle, or ZPD (212-213). Briefly, we might summarize this theory in terms of a composition classroom learning model as “I do – We do – You do”: the instructor provides the learner with a scaffolded structure of activity that is at first mediated through modeling, then co-created or co-supported with student involvement, until finally the student requires no further mediated support and proceeds independently. Hart-Davidson summarizes Vygotsky’s importance to his approach to writing in MOOC classrooms by pointing out that peer learning involves “networks” – each individual bringing to the mix “a rich set of resources” that “boosts the learning potential” (213). The “zone of proximal development” or “ZPD” allows students to perform (i.e., write) and learn “better than one of us alone because we are surrounded by resources – one another – to scaffold our learning” (214). In such a network, “[t]here may be no stable individual ‘experts’ at any given moment, but among the group there exists a collective ability for a successful performance” (214).

MOOC Web Wheel

MOOC Web Wheel

She asserts that one course failed because of its reliance on a pedagogy that had not adapted its methods to the characteristics that define the web space as a learning space. In particular, she argues that the failed course did so due to its reliance on a “learning model that most of higher education institutions follow – instructors direct the learning, learning is linear and constructed through prescribed course content featuring the instructor,” a method not unlike the way many face-to-face (f2f) Composition courses are conducted. Such methods, she argues, are unsuited for the ways in which the Web “as a platform for open, online, and even massive learning creates a different context for learning – one that requires different pedagogical methods.” Morrison’s observation may illustrate one of the limitations of the neurobiology thread because the metaphoric image of a neural network isolates the picture somewhat, “tuning out” the environmental influences surrounding the neural pathways. In other words, the neural network nodes are a very small part of a much larger system, equated only to the “basic cellular mechanism in the brain” (“Neurobiology”). The dilemma for this application is whether this “smallness” can correlate to the “bigness” and complexity of a MOOC. This gap may be usefully bridged by integrating Spinuzzi’s work with chained activity networks and the concept of “connectivism” as applied learning theory.

Spinuzzi defines Activity Theory (AT) as “a theory of distributed cognition” that “focuses on issues of labor, learning, and concept formation” (62). Further, this theory continues to evolve, moving “from the study of individuals and focused activities to the study of interrelated sets of activities” (62) – networks that may include collaborative learning and development, both of which play significant roles in Composition pedagogy and MOOC structural designs. Such concepts and terms create a framework with which to explore how using a network lens provides a means with which to locate this discussion in terms of borders. As Morrison observes, such concepts and terms create a framework with which to explore how using a network lens provides a means with which to locate this discussion in terms of borders. As Morrison observes, the nature of a MOOC space does not easily align with the nature of an f2f classroom space. While the basic principles of Composition pedagogical theory must ground both in terms of the aforementioned priorities of student learning (as outlined by the NCTE in “Beliefs About the Teaching of Writing”), the nature of the space – the networks that represent the physical, the theoretical, and what AT calls the “dialectical” qualities of that space – create tensions at those boundaries which represent how to implement that learning. Morrison refers to the importance of “connectivism” as a corollary to “social constructivism,” a thread woven into modern pedagogical theory (and connected to principles of Ecology as well as Neurobiology) that states “students learn more effectively” when they are actively involved in knowledge construction that includes their own knowledge bases.

Spinuzzi Structure of Activity, Networks

Spinuzzi Structure of Activity, Networks

Activity Theory as distributed cognition incorporates mediation as a key concept. Described by Spinuzzi as “tools, rules, and divisions of labor” (71), mediators are used by individuals within an activity system to “transform a particular object with a particular outcome in mind” in a way that is meaningful and connected to a (discourse) community (71-72). Composition MOOCs as networks are often seen through the filter of traditional f2f structural limitations, leading to concerns such as those described by Halasek et al., who assert that reflecting on “the MOOC learning environment” reveals the “ways we understood – and sometimes failed to understand – our roles as teachers of composition and our students’ roles as writers and learners” (156). Again, the example of the Discussion Boards serves as an example of how Activity Theory allows us to productively analyze the MOOC environment. Halasek et al. observe that Discussion Forums are typically conceptualized as nodes in which student participants depend on the “controlled exhanges…shaped and guided by teachers…and oriented toward assignment expectations” (159). In effect, these learning nodes are mediated in specific ways by a limited number of people who occupy academically hierarchical positions with relation to the student-to-teacher activity pathways. In the revised iteration of their MOOC class, Halasek et al. discovered that students “actively occupied” these learning spaces and mediated the activity as well as the flow of content when they “engaged and even tested the faculty team by making their needs explicit and articulating the problems the instructional context posed” (159). Such meta-participation is then makes students the mediators who transform the learning environment through their activity and co-creating of the space.

Finally, Activity Theory involves “chained activity systems,” a concept that may account for the sort of “organizational…boundaries” that create “informal linkages” between activities that could be interpreted as metacognitive nodes where transfer takes place (Spinuzzi “Networks” 74-77). As Spinuzzi explains, there are two types of work that takes place in systems: modular and net work (“How”). Complex tasks in Modular work is described as more compartmentalized and specialized, with clear boundaries and hierarchical orders of authority. Net work refers to the “coordinated work that holds” complex systems together (“How”). Foucault’s concepts of disruption and chaos as areas of transformation may fit here as Spinuzzi explains that modular work (a system of activity that emerged from the Industrial Revolution) has been “disrupted” or “destabilized” by technology’s impact. As a result, homogenous units of work gave way to “heterogenous networks…[that] form dense interconnections among people, texts, tools, etc.” (“How”).

Spinuzzi applies Activity Theory in terms of connected activity systems in which mediators – which in this case may be the digital space itself, the technology, or the pedagogical system that functions as a genre – provide the “tools, rules, and division of labor” (71) to create a system suited for “distributed cognition” (69). In terms of MOOCs, Spinuzzi’s characterization of “contradictions” as “engines of change” and transformation (a key component of Activity Theory) becomes a means of considering the impact of designers’ pedagogies as well as the agency afforded users in this learning space.

Further, Spinuzzi asserts that chained activities “don’t chain so much as they overlap and interfere with each other,” allowing the participants “to take on many functions” (“How”). This distinction is reminiscent of Syverson’s application of ecology to the Composition classroom in terms of how it allows us to treat a MOOC space as a “complex system” rather than a technology-mediated space. As a result of these theoretical combinations, discussions of the most productive teaching/learning models for a MOOC allow more credence to the “many-to-many” as opposed to one of “one-to-many” (Hart-Davidson).

For Composition, metacognitive transfer has become an increasingly foregrounded concept in discussions of student writing. For the Composition MOOC, AT becomes especially productive as a way to analyze it as a potentially viable mediator of student writing. It also offers a point of alignment with the neuronal metaphor (the way axons and dendrites constitute independent nodes of activity as part of the larger neuronal system that make up brain activity) as well as ecology theories.

But what of Agency within these complex systems? What of the students’ ability to co-create their learning and knowledge?

Baseline Concept: Agency

Foucault describes members of a discourse community as existing inside “a web of which they are not the Masters, of which they cannot see the whole, and of whose breadth they have a very inadequate idea” (126). These notions of control and scope are key to understanding and exploring the notion of agency in MOOC spaces, in particular how that impacts writing pedagogy. Because Foucault’s theories challenge the linear homogeneity of not only academic discourse but knowledge conventions as well, the notion of hierarchical agency as a power dichotomy comes under scrutiny.

As stated earlier, classrooms are often analyzed in terms of structural components: the mechanical, the hardware, the situatedness of student and teacher. In the case of any online classroom including MOOCs, it is easy to believe there is an individual mastery over the network, which Spinuzzi might refer to in terms of designer, as when the architects of that network exert an unseen filter in the form of a control system. Agency, then, within such networks must also be a point of analysis, and is a boundary where all four theories contribute to one degree or another.

Foucault’s Definition of Agency – Foucault resists essentialisms and absolutes. Therefore, his approach to agency is one that resists what he refers to as a “history of ideas” that promotes a linear approach to influences — a one-to-one, top-down hierarchy. Instead, he seems to locate that agency in moments of disruption and discontinuity, which networks facilitate in their “redistributions” (5). He argues that the “sovereignty of the subject” (12) is problematic, one fostered by the history of ideas. His assertion, through his archeology of knowledge, is to dethrone or decenter the subject. If we view “subject” as having the sort of primary agency as might a designer (Spinuzzi), a theory that decenters that subject’s hierarchical (and linear) primacy would fit a networked system in which agency is diffused. The MOOC’s essential networked structure can serve Foucault’s argument, but only if the hierarchical system of one teacher distributing knowledge to many students is disrupted. Some MOOCs, as Hart-Davidson points out, fail to operate in this way, but there are cases, such as the online classrooms cited by Bourelle et al. as well as Halasek et al., which operationalize a networked, student-prioritized course that diffuses the agencies of knowledge generation and transfer to tutors as well as students. Moreover, a consideration of how their online course failed to produce envisioned learning outcomes – a gap – served to focus their theorizing efforts to address these disruptions via a redistribution of agency. Foucault’s theory both frames the disruptive powers of networks as well as serving to illuminate the gaps where questions of agency may be asked.

Spunuzzi and Agency: Vygotsky’s theory of learning might locate agency in the relationship b/w nodes — teacher, student – which may be discussed in terms of scaffolding. The scaffolding, of course, takes on an entirely new location in a MOOC, but activity theory may allow this to be applied in a more decentered way than Vygotsky originally intended when he wrote about educational strategies for teaching children new concepts. While Vygotsky’s theories have been folded into Writing Center and even Composition theories, at their core is a collaborative activity. All too often, however, that collaboration still relies on a designer (tutor / teacher) who crafts the structure for that scaffolded behavior. In the case of MOOCs, the course design begins within the institutionalized origin of the course, but the networked system may allow designer agency to be diffused through the course through peerlearning nodes, some predesigned and others initiated and created by students (as in the composition MOOCs of Hart-Davidson and Bourelle et al.). As Downes observes, when MOOCs are designed following theories of Connectivism, students are empowered (i.e., are afforded agency) by the space itself to become “creators of learning” (Downes “Connectivism”). Teachers as well adopt “new roles” as “coaches and mentors” (Downes “Connectivism”). Due to this increased and diffused agency, learning then becomes “a network phenomenon” (Downes). Spinuzzi’s use of distributed cognition (Activity Theory) and interconnections also maps onto MOOC spaces in potentially useful ways, particularly when focusing on “interrelated sets of activities” (62) rather than the individual learner.

Ecology and Agency: For Bateson, meaning is “projected” onto the world by the perceptions and subjectivity of the viewer. Dividing potential agents into “creatura” and “pleroma,” he sets up a binary of subject/object. To set up the question, “what does it mean to know,” Bateson’s agency is diffused, but not shared. It is still very much a human-centered approach to networks, knowledge, and agency, an approach which Spinuzzi might find appealing. Gibson’s theory pushes back against the worldview born of the Enlightenment that sees the world in terms of mechanical cause and effect. Affordances are potential activity that allow agency, but have no agency of their own per se. The environment is not a “cause” of action, but instead facilitates it. The interactivity of an environment’s connectivity is one of give and take, self-regulating. Non-human actors (animals) are not simply machine-like, responding to environmental stimuli. His concept of agency is a theoretical one meant to disrupt a subject-object / subjective-objective dichotomy. Most interestingly, “[a]n affordance points both ways, to the environment and to the observer” (129). This relationship or network, while still privileging the human actor, opens up a means of exploring the structural elements of a created structural network (a system of connections that afford students and instructors to create relationships one with the other) of a MOOC. Affordances themselves, therefore, seem to possess agency of a kind. Their existence does NOT depend on their perception. Actions, then, reveal how animals are using those affordances, which Foucault might see as a trace or gap that results in new possibilities for analysis (statements).

Neurobiology and Agency: The neurotransmitters are the key to connectivity within the network, and specifically between synapses. Neurotransmitters are the key to movement within a neural pathway. A chemically-based reaction to stimuli, these “energy impulses” create a connection between two neurons. The very act of transmission transforms both neurons, opening “channels” and allowing movement through the phenomenon not unlike a differential seeking balance (“Neurobiology”). This action may be useful to discuss as a metaphor of how the types of peer writing practices employed in a MOOC writing class transmit and encounter text; emphasizing the rhetorical importance of audience by introducing the authority of “reader” may change or alter the writer’s perception of what he or she is doing and can have profound effects on a student’s understanding of the process and the text. (Lisa Ede and Andrea Lunsford wrote about this topic decades ago and more recently in a compilation that explores the current trend in English Studies to better foreground audience in Composition.) The usefulness of this metaphor is wide ranging, as the neurotransmitter’s role as agent or node can be applied to questions of student agency as well as affordances of the system itself (that is, technology choices made by both the course designers as well as the students to facilitate learning and/or writing).

Summation: Syverson offers a justification for an ecological approach to Composition, one which translates over to this OoS as well. As she observes, the layering of theory is “crucial in developing new knowledge” (Syverson 2). As well, we might argue that, just as MOOCs should be seen and theorized as a complex system, these theories are part of that system. In the end, as a unifying element of this FrankenTheory, Ecology seems the most productive of the four in terms of framing discussions of MOOCs as spaces for teaching, learning, and practicing writing. Too often, MOOCs seem to be cast in terms of a “simple system” of teacher-student relationships, when in reality – and as Foucault, Spinuzzi, Neurobiology, Bateson, and Gibson all demonstrate – it is far more complicated than criticisms based on “mechanistic explanations” permit (Syverson 2).

Indeed, as Syverson posits, the cMOOC is a “meta-complex system,” one wherein Ecology Theory may productively integrate (subsume) Neurobiology, Activity Theory, even Foucault. As Syverson argues, such ecologies allow us to discuss “writers, readers, and texts” as part of a complex system that is composed of “self-organizing, adaptive, and dynamic interactions” (3). This system, as she envisions it, is built of “interrelated and interdependent complex systems and their environmental structures,” structures that include “theoretical frames, academic disciplines, and language itself” (3) along with – I argue — assumptions about knowledge and agency.

In Music, It’s Called A Deceptive Cadence: I must admit, I’ve been suspicious of MOOCs as a productive place for freshman writing instruction since I first learned of them a few years ago. As a proponent of our field’s insistence upon smaller-scaled classrooms following a student-centered workshop / studio activity design, the sheer size and decentered nature of the MOOC seemed destined for trouble. I have taught freshman writing sequences online in the past, and it quickly became clear to me that the nature of the space cannot simply mirror that of the f2f classroom. The MOOC design takes this distinction to entirely new levels of complication.

But the very nature of our field demands flexibility and openness to new ground and new theories with which to best equip college-level writers for the demands of communication across disciplines and across technology-mediated spaces. MOOCs may be in their early stages of a full life in the realm of Composition Studies, or they may be on the road to extinction – a fast-burning flame. Another possibility is that they must simply be reclassified, recognized as a unique learning space for unique student populations. What the scholarly discussions seem to reveal is that we as a field are not yet certain how to deal with MOOCs, all the more reason why such theorizing (even after the fact) can be so productive.

Coda: If our field approaches the Composition MOOC as an ecology, how might the conversation change? How will it reflect the “enunciative function” identified by Foucault (88)? What new threads, nodes, or means of transmission might emerge as part of the discourse if we apply theories of learning like Vygotsky through the lenses of Neurobiology and Activity Theories combined? How might the goals and motives of our pedagogy evolve if we treat the technology of MOOCs as having productive, rather than reductive, agency in the ways students learn to write in a massive digitally-mediated space?

When these digital spaces are built as adaptive, complex systems rather than static delivery systems based on one-to-many models like Coursera and eduX courses (Hart-Davidson), how will the conversation be transformed?

Questions aside, as important is how we as a field of study will frame this discussion of the MOOCs place in 21st century higher education. Syverson’s question seems productive to our response: “Can the concepts currently emerging in diverse fields on the nature of complex systems provide us with a new understanding of composing as an ecological system?” (5). Her question posits the very behavior itself – composing – as a system (Spinuzzi might call it a networked activity) itself, not a learned behavior designed to produce a product. The transformation of our field of view afforded by this proposed FrankenTheory may allow those of us in the field of Composition Studies to bring this question, and these three key areas of theoretical overlap, to the forefront of this discussion in an effort to move us forward.


 

Works Cited:

Barlow, Aaron. “Teachers and Students: Machines and Their Products?”Academe Magazine 26 May 2013. Web. 1 May 2014.

Bateson, Gregory. Steps To An Ecology of Mind. New Jersey: Jason Aronson Inc., 1987.

Binkley, Roberta and Marissa Smith. “Re-Composing Space: Composition’s Rhetorical Geography.” Composition Forum 15 (2006). Web. 1 Mar. 2014.

Bourelle, Tiffany, Sherry Rankins-Robertson, Andrew Bourelle, and Duane Roen. “Assessing Learning in Redesigned Online First-Year Composition Courses.” Digital Writing Assessment and Evaluation.  Eds. Heidi A. McKee and Danielle Nicole DeVoss. Logan, UT: Computers and Composition Digital Press/Utah State University Press, 2013. Web. 2 Feb. 2014.

Cormier, David. “Knowledge In A MOOC.” YouTube. 1 Dec. 2010. Web. 1 Feb. 2014.

Downes, Stephen. Connectivism and Connective Knowledge: Essays on Meaning and Learning Networks. 19 May 2012. Creative Commons. Web. 30 Mar. 2014.

Downes, Stephen. “The Connectivism and Connective Knowledge Course.” Slide Share. 24 Feb. 2009. Web. 30 Mar. 2014. < http://www.slideshare.net/Downes/the-connectivism-and-connective-knowledge-course>

Downes, Stephen and George Siemens. “Connectivism and Connective Knowledge: Getting Started.” MOOC course, University of Manitoba. 2009. Web. 30 Mar. 2014. <http://elearnspace.org/media/GettingStarted/player.html>

Foucault, Michel. The Archaeology of Knowledge and the Discourse on Language. New York: Vintage Books, 1972. Print.

Friend, Chris. “Will MOOCs Work For Writing?” Hybrid Pedagogy: A Digital Journal of Learning, Teaching, and Technology. 28 March 2013. Web.

Gardner, Traci. “The Misunderstood MOOC.” Bits: Ideas for Teaching Composition. Bedford / St. Martins. 5 June 2013. Web. 1 May 2014.

Gibson, J. J. “The Theory of Affordances.” In R. E. Shaw & J. Bransford (Eds.), Perceiving, Acting, and Knowing. Hillsdale, New Jersey: Lawrence Erlbaum, 1977. pp. 127-143.

Hart-Davidson, Bill. “Learning Many-to-Many: The Best Case for Writing in Digital Environments.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

Mitrano, Tracy. “MOOCs as a Lightning Rod.” Inside Higher Education 31 May 2013. Web. 1 May 2014.

“Neurobiology.” Rediscovering Biology. Annenberg Foundation, 2013. Web. 31 Mar. 2014.

Norman, Don. “Affordances and Design.” jnd.org. 2004. Web. 18 Mar. 2014.

Spinuzzi, Clay. “How Are Networks Theorized?” Network: Theorizing Knowledge Work in Telecommunications. NY: Cambridge UP, 2008. 62-95.

Spinuzzi, Clay. Tracing Genres through Organizations. Cambridge: MIT Press, 2003.

Syverson, Margaret A. “Introduction.” The Wealth of Reality: An Ecology of Composition. Southern Illinois UP, 1999. 1-27.

“What You Need to Know About MOOCs.” The Chronicle of Higher Education: Technology. 1 May 2014. Web. 1 May 2014.

 

Case Study 3.5: Scaffolding Synthesis Project

Subject: Composition MOOCs: Theorizing Pedagogy, Space, and Learning.

The Composition MOOC is one of many different types of course offerings in an emerging trend (some would call it a fad) of online higher education. This is a site of considerable tension in our field of composition studies, perhaps because many scholars see this as a step backward and away from the hard-won push for smaller-sized, learner-centered classrooms for freshman writing courses (FYC). However, there are some scholars who argue that these digital spaces can, with careful attention to the space’s design, exemplify the best-practice models of collaborative learning and scaffolding teaching practices found to be so productive in an f2f FYC course. This final case study is not intended to be an argument for Composition MOOCs; rather, it is my intention to theorize the potentiality of such a space using the following theories.

1.  Which 2-4 theories are you choosing and why?

1st Foucault – As I’ve said all semester long, Foucault is woven into everything we’ve explored this term; so it seems only reasonable to apply his theories of knowledge archaeology to this OoS. Indeed, for this reason Foucault will lay the groundwork of my final Case Study.

  •  “Discontinuities, ruptures, gaps” (169) – I envision applying Foucault’s concepts of gaps, ruptures, and irregularities (“differance”) to several possible areas of theorization / operationalization. First, the apparent tensions within scholars/practitioners within our field over MOOC spaces may allow me to explore (as I did in Case Study 2) what I may call the gaps between two space-dependent pedagogical traditions.
  • What I’ve seen in some of the literature: some compositionists argue that our field must consider a refreshed pedagogy for learning spaces like MOOCs (Debbie Morrison’s “A Tale of Two MOOCs”). The assertion is that the traditional f2f methods and technologies cannot be simply overlaid onto the MOOC space with any hope of success.
  • Discursive Functions, Formations, and Relations – Foucault charges that his theory “reveals relations between discursive formations and non-discursive domains (institutions … and processes)” (162), allowing theorists and practitioners alike to “map…the point at which [these multiple dissensions] are constituted, to define the form they assume, the relations that they have with each other” (155). This part of Foucault’s theory seems to be a productive fit to a complex system composed of both human and technological features, where navigation between humans must take place in spaces mediated through techonologies.

2nd Ecology Theory – The potential for mapping a dynamic and complex “living” network of actors as described by this theory is one of the more productive connections for a MOOC I’ve found thus far. Given the mechanics of the numerous digital platforms and software needed to operate this learning/teaching/collaborative space, it seems a natural tendency to see a MOOC along the lines of Hardware Theory (HT), which may be at the heart of many critical concerns about this trend in education. Therefore, this theory offers several useful threads in contrast to HT.

  • Gipson’s theory of affordances will allow me to discuss the structural elements of MOOC spaces in more agency- and relationship-oriented terms. Some studies on MOOC participant identities seem to suggest that these students are typically older professionals; however, many MOOC critics problematize the connectivity and structure (the “massiveness”) of the space as if the students are the 18-year old freshmen common to a physical, f2f classroom space. Therefore, Gibson’s theory may move the discussion toward the space itself in terms of activity potential.
  • Additionally, Gipson’s critical attention to the observer within the environment speaks to not only the observer/participant MOOC space designer / instructor but also the scholarly critics “reading” this trend. This points to the influence of scholarly traditions of rhetorical and pedagogical value systems informing our concept of the 21st century writing classroom space, a potential secondary network or ecology system impacting the MOOC network, and is well worth examining as part of a case study.
  • Bateson’s concept of boundaries within an ecosystem seem especially promising as a means to discuss boundaries – both as frontiers and as “economies of information” (466-67). Given the many nodes and boundary interfaces of technology-mediated teaching and learning spaces, these concepts appear to be promising methods of discussing the MOOC environment.

3rd Spinuzzi’s Activity Theory and connected activity systems provide a concrete means of application in the potential comparison between Spinuzzi’s designer vs. user and the Composition MOOCs between instructor vs. student participant. Spinuzzi’s use of distributed cognition (Activity Theory) and interconnections also maps onto MOOC spaces in potentially useful ways, particularly when focusing on “interrelated sets of activities” (62) rather than the individual learner — i.e., networks. MOOC classroom models vary widely, earning such monikers as xMOOC and cMOOC, the latter of which has been deemed most effective by several scholars due to its emphasis on coordinated collaborative networking. As Porter observes, we as scholars and compositionists must remain critically aware of the design of the learning / teaching spaces we employ / deploy, and Spinuzzi’s discussion of mediation and mediators

4th The Neurobiology Metaphor – as stipulated in my third case study, the neuronal network mapping metaphor provides interesting ways in which to discuss learning and knowledge transfer within a large, complex network system much like a MOOC classroom space.

2. How are they similar enough that you can justify getting them to work together?

  • Complex systems and affordances of web technology-based classrooms invite these theories to weigh in.
  • Hardware / framework of the technology invites discussions of the activity AND the space, as impacted by the affordances of the technology itself.
  • Mapping the complex systems nodes and networks (ecology, neuro, hardware, AT) PLUS the traces of Foucault all have the potential to align when talking about the learning space of a MOOC and the risks involved.
  • Each of these theoretical tools at some point hinge upon the concept of “relationships,” a concept key to collaborative, workshop-based FYW pedagogy.
  • Each of these theorists provide a means of exploring the types of collaborative activities which an ideal cMOOC might employ to foster distributed cognition.

 3. How do they fill each other’s gaps?

Foucault emphasizes gaps and differences; clearly these theorists provide distinctive focal points for their own work, creating potential for layering.

None of these theorists wrote with MOOCs in mind, yet their attention to varying components of a network may produce a FrankenTheory that covers the key moving parts essential to any discussion of a Composition MOOC.
Foucault calls our attention to those theoretical areas of dissonance that often go unmapped (traces). Spinuzzi and Activity Theory allows the focus to be centered on the concrete nodes of activity with a system, where and how the participants interact (where the learners learn and connect). Ecology looks at the system from a larger scale, allowing me to discuss systems within systems. Neurobiology allows us to look at the potentiality for knowledge transfer in terms of “how” learners learn.

4. How do these theories align with how you position yourself as a scholar?

  • For a Compositionist who mixes in rhetoric with digital media interests, online spaces for teaching are an intriguing area of study. MOOC spaces seem to carry incredible potential for the type of scaffolded learning and teaching practices common to writing centers, theories that have informed my scholarly interests in writing center theory as well as learning theory (such as pedagogy vs. andragogy, a key area of difference that appears to be fruitful ground of inquiry).
  • I am also a pragmatist, looking to ways to operationalize theory in practical classroom application. As an instructor, I am more interested in discovering ways to make every space – online or brick-and-mortar – one in which students are visible and active in their learning.
  • These theories intersect in varying ways with each of these positions.

5. How do these theories align with your own biases and background (the reason you came to this project in the first place)?

  • I must admit, I’ve been suspicious of MOOCs as a productive place for freshman writing instruction since I first learned of them a few years ago. As a proponent of our field’s insistence upon smaller-scaled classrooms following a student-centered workshop / studio activity design, the sheer size and decentered nature of the MOOC seemed destined for trouble. I have taught freshman writing sequences online in the past, and it quickly became clear to me that the nature of the space cannot merely mirror that of the f2f classroom. The MOOC design takes this distinction to entirely new levels of complication.
  • But the very nature of our field demands flexibility and openness to new ground / tools with which to best equip college-level writers for the demands of communication across disciplines as well as across technology-mediated spaces. MOOCs may be in their early stages of a full life in the realm of Composition Studies, or they may be on the road to extinction – a fast-burning flame. Another possibility is that they must simply be reclassified, recognized as a unique learning space for unique student populations. What the scholarly discussions seem to reveal is that we as a field are not yet certain how to deal with MOOCs, all the more reason why such theorizing (even after the fact) can be so productive.
  • My interests are also in the field of rhetoric, and in particular the rhetoric of classroom space. From what I’ve read so far, it seems that much of the criticism leveled at MOOCs within higher education emerges from ideologically-infused rhetorical frameworks. These gaps might be revealed – perhaps even bridged – through such intentional FrankenTheorizing.

Case Study 3 — MOOCs and Student Learning: Under the Microscope

The rhetorical nature of classroom spaces has certainly influenced our field’s scholarship when exploring digitally mediated writing classrooms. Terms such as constructed, architecture, location, ecology, environment, and space appear regularly in our field’s discussions of where and how writing takes place in FYC (first-year composition), typically in terms of ways location influences and mediates student identity and pedagogical practices. However, spatiality also provides other useful layers of analysis when exploring the composition classroom and our field’s discourse. Michel Foucault argues that we must explore discourse “through the use of spatial, strategic metaphors” (emphasis mine) if we hope to perceive “the points at which discourses are transformed” (qtd. In Binkley and Smith). While Foucault was concerned with “relations of power,” this Case Study is designed to suggest that our exploration of composition classroom spaces need not be limited to the geometric, architectural renderings of four walls, tables, and chairs, or – for that matter – a computer terminal, a Blackboard platform, and an Internet connection. In the last two case studies, I have examined MOOCs from a structural lens (how it works) as well as a pedagogical lens (how we teach). For this case study, it may be productive to “drill down a level” and use a different architectural metaphor to theorize MOOCs, this time using a lens that foregrounds the learning process (how students learn) itself. Given the subject of MOOCs as a space for learning and sharing knowledge, it seems intuitive to utilize a neuronal network as a fitting and productive metaphor with which to explore this Object of Study (OoS) as not only an environment of constructed connections but as a representation of cognition – how humans learn.

A Brief Literature Review / Overview

Three scholars provide the foundation of this Case Study, all of whom approach the subject of learning and composition studies for somewhat different purposes. However, their points – or nodes – of intersection provide an interesting network of terminology and theory with which to inform my approach to this OoS. Margaret Syverson takes an ecological systems’ approach to the subject of the composition classroom, while Bill Hart-Davidson’s article is more narrowly concerned with MOOCs and learning theory. The final component of this Case Study is one of the early designers of MOOC-based college learning, Stephen Downes, who builds upon George Siemens’ theory of Connectivism (an outgrowth of Vygotsky’s theories of learning and Hutchins’ theory of Distributed Cognition) in his work in MOOC design and deployment.

Syverson begins her book on An Ecology of Composition with the premise that a student’s “process of composing” – i.e., learning – takes place within a dynamic “complex system,” which she theorizes using ecological principles (2-3). Writers interact with and are affected by this environment, as they learn through a variety of (mediated) encounters: instructor-student, student-student, readers-writers, etc. She explains such interactivity is a “network of independent agents – people, atoms, neurons” which “act and interact in parallel with each other, simultaneously reacting to and co-constructing their own environment” (3). Her theory is an interdisciplinary one, borrowing from the fields of biology, ecology, behavioral sciences, and learning theory in order to address what she perceives as gaps in our field’s ability to account for student writer improvement (or lack of same) (2). She argues that our discipline often focuses primarily on the “social; there is little discussion of the material or physical world as a significant component of composing activity” (24).  If we approach this idea of composition as an ecological system, one which narrows the lens to the realm of learning, then a neuronal metaphor may offer new language and frameworks with which to consider the MOOC as a space for composition.

Stephen Downes refers to George Siemens’ definition of connectivism as “the thesis that knowledge is distributed across a network of connections, and therefore that learning consists of the ability to construct and traverse those networks” (Slide 15, Slideshare). Their MOOC, which he describes in a Slideshare presentation from 2009, explores the underlying learning theories informing the structure of the MOOC itself in light of their attention to how students best learn. While his course is not specific to freshman composition content, his theorizing of learning taking place within a network – complete with discussions of how distribution nodes like Moodle (slide 20) Twitter (slide 24) and UStream (slide 25). Each of these components creates the “mechanisms to input, process and distribute content” (slide 27) – the course map — but students themselves “add to the map” (slides 46-56). Both Downes and Siemens’ work on MOOCs provides the “ideal” baseline for my approach to composition MOOCs.

Vygotsky's Zone of Proximal Development, from blog of Johnna Lorenzano 2012

Vygotsky’s Zone of Proximal Development, from blog of Johnna Lorenzano 2012

The key contributor/node of operationalization for this third Case Study is Hart-Davidson’s article recently published in Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses, which focuses on student learning – specifically learning to write — in digital environments.  He observes that digital technology like MOOCs may promote “peerlearning,” which he asserts is “the way most humans actually learn to write” (212).  His analysis relies heavily upon Lev Vygotsky’s theory of learning, and especially the “zone of proximal development” principle, or ZPD (212-213). Briefly, we might summarize this theory in terms of a composition classroom learning model as “I do – We do – You do”: the instructor provides the learner with a scaffolded structure of activity that is at first mediated through modeling, then co-created or co-supported with student involvement, until finally the student requires no further mediated support and proceeds independently. Hart-Davidson summarizes Vygotsky’s importance to his approach to writing in MOOC classrooms by pointing out that peer learning involves “networks” – each individual bringing to the mix “a rich set of resources” that “boosts the learning potential” (213). The “zone of proximal development” or “ZPD” allows students to perform (i.e., write) and learn “better than one of us alone because we are surrounded by resources – one another – to scaffold our learning” (214). In such a network, “[t]here may be no stable individual ‘experts’ at any given moment, but among the group there exists a collective ability for a successful performance” (214).

Hart-Davidson’s contribution to this next layer of analysis is especially productive here, as he asserts that these peer networks and their resource potential lead to “the possibility of … near-constant connection with a peer network [as]…the best reason to think about digital technology in relation to writing, learning, and teaching” (215). Along these lines, he points out that MOOCs as a “model of learning” are far too often designed as a “learning one-to-many” model, which evidence suggests “work less well than peer learning in the zone of proximal development” (215). Thus, Hart-Davidson’s study of MOOCs as theorized using learning theory provides a sense of the framework in which this Case Study may fit.

Neurobiology as Metaphor: Conceptualizing Learning as a Knowledge Interactivity Network

While it should be acknowledged here that Downes resists the equation of the computer = human mind analogy as a myth, his reasoning behind that resistance offers a useful segue into the use of neuropathways as a more precise and productive metaphor. Downes writes that the equation of the way our brains work – through external stimuli, transfer of information through neurotransmission signals – at first glance may seem akin to the type of “processing” performed by computers, but he rightly argues that communication is much more than a simple transmission to be processed (Connectivism 122-123). Moreover, he points out that the originating metaphor of mind:computer originated prior to the technology itself (123), and as our understanding of the brain physiology has advanced, so too must the metaphor.

Borrowing heavily from the online textbook chapter, “Neurobiology,” as a guide to this metaphor, I would assert that the way students learn to write in any classroom follows the same highly generalized schema of the brain function described as “(1) take in sensory information, (2) process information between neurons, and (3) make outputs” (“Introduction”).  However, such a model is obviously limited, and does not represent the complexity of learning and teaching that happens in composition classrooms – especially those that practice student-centered pedagogy models. Downes refers to the type of community networks typical of effective MOOC designs as “a ‘community of communities’” (Connectivism 120), a description which he illustrates using terminology drawn from the field of neuroscience. Downes’ description of a community-as-network asserts that “nodes are highly connected in clusters” and these clusters are defined “as a set of nodes with multiple mutual connections.” These connections are instrumental in the movement or transmission of a “sessage from one community to the next” (Connectivism 120). What makes Downes’ use of neurophysiology terminology so appropriate to this case study is the way in which he applies it to the MOOC. He clearly points to the less effective organizational schema of a classroom designed to move information unidirectionally in the “school-and-teacher model…which is a hub and spokes model” and favors the alternative “community of practice” mode which “maximizes the voice of each of its members” (121). His description of the theory of connectivism relies on terminology very similar in language and meaning to neurobiology, suggesting a useful correlation to the composition field is already in progress. For example, Cormier writes of “knowledge networks” and Spinuzzi (as well as other Activity Theorists) points to Hutchins’ theory of distributed cognition to illustrate how humans – not just freshman writers – learn most efficiently when in a collective and collaborative network of others.

Terminology

At this point, it would be useful to create a map of correspondence between key neurobiology terms and analysis of learning in Composition MOOCs. Neurobiology definitions are drawn from Chapter 10 of the online textbook Rediscovering Biology. As terms commonly create the creative connection potential between metaphor and object, these become the means of addressing the key network questions at the heart of the Case Study. The primary terms are defined here; others are defined in the course of addressing key questions of networks in the section that follows.

  • NEURON: a “specialized cell” that “works by changes in its voltage.” It is dependent on, and sensitive to, changes in its environment in terms of ions. The chemical imbalances create movement across the membrane of the cell, leading to exchanges in material or electrical impulses (i.e., information).
  • NETWORK: a vast series of neurons that make up the nervous system and brain.
  • SURFACES or MEMBRANE: critical borders of a cell that facilitate transfers of energy, chemicals, and influence transmission or nerve impulses along “sodium channels.”  Transmission along these channels is only one-way.
  • AXON: the long extension at the opposing end of the neuron that “ends in ‘synaptic terminals’ which send signals to the dendrites of an adjacent neuron.”
  • DENDRITE: small extensions at one end of the neuron designed to “receive information.”
  • VOLTAGEGATED CHANNELS: see neuron and membrane definition.
  • EXOCYTOSIS: process in which neurotransmitters are released.
  • SYNAPSE: the “meeting points” between neurons.

How It Works: Mapping the Terminology to Questions of Application

1.    How does the metaphor define this OoS?

Neurobiology as metaphor provides a useful structure and vocabulary that in many ways parallels the MOOC as a student learning space. This parallelism seems well suited to facilitating an exploration of key concepts of neurobiology as a means of illuminating the connections between MOOC designs. Through this, I am hoping to discover new means through which to analyze how MOOCs may best maximize the benefits of networked learning and knowledge transfer as key features of a technology-mediated writing classroom space. A case study of this length cannot possibly fully develop such a plan, but it may provide the groundwork for a more intensive operationalization at another time. In short, this Cyborg-theory may lead to a fully realized Franken-theory for Composition MOOCs.

The neurological network system of neurons may be visualized as a network within a network, a scalable system w/in a system. While any writing classroom might borrow this metaphor overlay to explain the relationships between participants within the classroom, as well as the relationship between the classroom and the educational institution hosting it, the MOOC classroom model creates additional areas for analysis. While the previous two case studies examined other layering possibilities (the structural lens, followed by the  pedagogical lens), a neurobiology metaphor allows for a more narrow scale of lens, allowing for a closer examination of what is at the heart of the classroom space: how we learn. The neurobiology metaphor provides a way of parsing that process as both a biological as well as a writing theory network of activity. The connection seems obvious, given our field’s emphasis on accommodating multiple learning styles in our lesson designs, as well as a call to be hyper-aware of technology’s mediating power and influence on pedagogy as well as learning, a vigilance called for by Cynthia Selfe in her 1999 book Technology and Literacy in the Twenty-First Century: The Importance of Paying Attention. 

Cynthia Selfe Cover Image

Cynthia Selfe Cover Image

Despite this utility, this metaphor may not be as widely useful in terms of mapping all of the connective potentiality for learning as mediated through a Composition MOOC. What it does provide, however, is a useful redirection, moving the discussion out of the realm of socio-cultural theory and into a more pragmatic realm of asking, “How does this space and technology facilitate learning and transfer for our student writers?” The neuronal pathway activity that corresponds to learning and memory are part of that deeper layer, a layer that serves to reinforce attention to the student perspective.

2.    Nodes & Agency: Relationships Defined & Transformed by Neurobiology (What and/or who is a network node & how are different types of nodes situated?)

An immediate assumption commonly ascribed to node identification within a networked classroom like a MOOC is that the human participants are the nodes. Another possible and logical application is that each mediating digital feature (such as those examples illustrated in Downes and Siemens MOOC) serves as a node, attracting and housing as they do participation, direction, and collaborative action. For example, students working in a Composition MOOC might be asked to participate in a collaborative space such as a Wiki to create a group research writing exploration project, creating a node of activity predetermined by the primary instructor. Such a node would simply be a creation of the instructor in terms of course design, but becomes a co-created space thanks to the ways student participants use it.

In Hart-Davidson’s article, he represents these learning communities through visualizations which, when compared to an image of a neural network, suggests possible overlap potential between the two systems.

Bill Hart-Davidson, "Learning Many-to-Many" (c) Creative Commons License

Bill Hart-Davidson, “Learning Many-to-Many” (c) Creative Commons License

Hart-Davidson reviews “the way learning involves interaction” (215), incorporating graphics which “represent…our thinking about what writing classrooms should look like” and “the kinds of interactions we think best facilitate learning to write” (216). He uses these representations to explore how, in the history of composition studies, we have “decentered” the traditional classroom model in a “disruption of the lecture model in favor of more engaged, peer-learning models in the undergraduate curriculum” (quoting Harris, 216). His “one-to-many” model (the center graphic above) is the lecture model (216), contrasted with the preferred  “studio model” (above left) or the one-to-one system (above right) of “peer groups – few to few” (217). He locates the new MOOC model – see graphic below as a “many-to-many learning infrastructure” that may be the apex of online learning modes, one which he asserts “[m]ost…MOOCS…get wrong” (217).

Bill Hart-Davidson, "Learning Many-to-Many" (c) Creative Commons License

Bill Hart-Davidson, “Learning Many-to-Many” (c) Creative Commons License

Just as a neural node – the neuron – serves as a locus or site of transmissions between neurotransmitters and neuroreceptors, it also serves as a facilitator of that transmission of signals (knowledge or information) via synapses, defined as the “meeting points” between neurons (Chapter 10). The synaptic space separating the two neurons is more than just a gap; these are “functional links between the two neurons” over which “signals are transferred” (Chapter 10). This transfer is facilitated by structural configurations, key to the system’s operation and what we might refer to as “knowledge building.” As mentioned earlier, the discourse of “space” is one that is a common site of tension discussions of pedagogy, access, technology, and digital spaces, and therefore may be reconceptualized using this metaphor.

The students, instructors, and teaching assistants operating in a Composition MOOC (such as the situation described by Halasek et al. in Case Study 2) might be described using these terms, as long as the classroom is designed according to the “Many-to-Many” model explored by Hart-Davidson. Yet an alternative representation may suggest that instead of seeing these nodes / neurons as the active agents in both the productivity as well as design and direction of the learning (via synaptic transmissions), they might be perceived as the larger framework itself, with nodes being located in the transmissions themselves. This alternative, however, is troublesome in terms of metaphoric alignment, and may be better expressed as networks of nodes embedded within networks of nodes – a complex system understood in terms that function equally well along a scale of size. In other words, individual neuronal nodes might be interpreted as sites of collaborative activity set up by the course designers as infrastructural lines of connectivity potential (like Downes’ examples of Twitter, the course Moodle Forums, or UStream). However, the metaphor also allows for a smaller scaled analysis, with each node / neuron representing the human actors in the system, learning through connectivity. This is the feature which aligns best with Syverson’s Ecology of Composition, and – more importantly – Hart-Davidson’s description of learning in a MOOC space.

http://www.psychologyinaction.org/2011/04/01/conventional-wisdom-upset-persistent-action-potential-firing-in-distal-axons/

Image of Neuron. The dendrites are in green; the axon is in blue. Taken from http://www.uic.edu/classes/bios/bios100/lectures/nervous.htm.

If we think of the brain as an incredibly complex system, one in which neural pathways are active and creating multiple connections and covering a wide range of spatial locations, it would be difficult to envision a successful MOOC as one in which a “learning one-to-many” model would produce the kind of learning and writing our field has come to accept as optimal. However, this is also one area where the metaphor may falter, as the synaptic transfer occurs in “only one direction” over synaptic space (Chapter 10). As our field actively resists returning to any practice premised upon a one-way power structure (i.e., transmission) between teacher and student as described in Freire’s banking model of education, this unidirectional transfer is troublesome. However, what if we think of this as a communications network, in which communication between speaker / rhetor / writer and listener / audience / peer reader (or instructor) requires that we see this in terms of delivery, not power? In this light, an understanding of presynaptic and postsynaptic neurons create a critical unity, perhaps even in terms of collaborative energy. The presynaptic neuron’s firing transmits information across the axon, a “long extension at one end of the neuron that “ends in ‘synaptic terminals’ which send signals to the dendrites of an adjacent neuron” called the postsynaptic neuron. These neurological elements may be rather easily translated into a discussion of peer-to-peer communications when student writers are framed as co-creaters of the learning taking place – made possible by the type of peer-to-peer activity promoted by Downes, Siemans, Syverson, and others who see the composition classroom as more of an ecology than a top-down delivery system.

This adjacency may be another area where this metaphor falters. The neurological system is predicated on physical proximity – a system of neurons transfer information based on physicality. Can a MOOC space adequately replicate this in a way that is as productive to learning as a face-to-face classroom space provides? This is a key challenge to Composition MOOCs. Proponents of MOOCs like Downes would argue that the digital technologies available to us as teachers allows for a level of interactivity not possible just years ago. Digital tools like Skype, Google Hangout, Group Prezi spaces, and even Facebook create potential for what we might refer to as synaptic plasticity, a feature of the human neural network that promotes change as a way of ensuring viability and learning (Unit 10). Creating new forms of synaptic spaces may be a feature of the more effective MOOC designs. These are interesting tensions that may prove productive to future analyses.

3. Agency and Relationships: Nodes, Neurons, Synapses

The neurobiology text reveals that there is no standardized neuron – they come in varying sizes, all of which must be employed in signal transmission and processing activity for the network to function efficiently. This physiological characteristic of the neural network may become important to discussions of how learning takes place in a MOOC when considering the dependence on a collaborative “many to many” model (Hart-Davidson).  The premise of the composition MOOCs deemed “successful” (although no real assessment studies have been done to substantiate that) is that learning is decentralized; in other words, the massiveness of the MOOC space demands a model of classroom design and learning facilitation that employs peer-to-peer knowledge building. As Hart-Davidson observes, “digital technologies” have the potential “to get us closer to supporting the way most humans actually learn to write” (212). More specifically, he is pointing to “Peerlearning” (212), a term that stems from Vygotsky’s theory that employs “peer scaffolding” (213). In essence, this theory is based on the idea that “we learn most and most effectively from peers rather than adults or other figures” (213). Even though Vygotsky was writing about children, his theory has become an important thread in writing center theory as well as in composition. Further, if we apply the neurobiology metaphor, this becomes increasingly important to discussions of Composition MOOCs.

Neuroscientist Wolfhard Almers (“Expert Interview Transcripts”) indicates that the neuronal system is massive, making it a suitable metaphoric partner to this discussion of learning networks in MOOCs. Moreover, the size and activity of neurons in the brain are not uniform: “On average, [neurons] make about a thousand connections, very roughly. But there are neurons that that send a signal to only one other cell. And there are other neurons that get input from only, you know, maybe ten cells. So it varies quite enormously. There are big neurons and small neurons” (Almers, “Expert Interview Transcripts”). This may suggest that productive activity taking place within the network between cells (what we might call learning as knowledge transfer) isn’t dependent on one node (the teacher or tutor in the one-to-many or one-to-one model described by Hart-Davidson). In Composition theory, this valuation of the individual student contributions and voices is important to a student-centered classroom framework, one which accounts for varied learning styles in classroom design.

http://www.learner.org/courses/biology/textbook/neuro/neuro_6.html

A Synapse, Image from Rediscovering Biology, Chapter 10 “Across the Synapse”

The neurotransmitters are the key to connectivity within the network, and specifically between synapses. Neurotransmitters are the key to movement within a neural pathway. A chemically-based reaction to stimuli, these “energy impulses” create a connection between two neurons. The very act of transmission transforms both neurons, opening “channels” and allowing movement through the phenomenon not unlike a differential seeking balance (Chapter 10). This action may be useful to discuss as a metaphor of how the types of peer writing practices employed in a MOOC writing class transmit and encounter text; emphasizing the rhetorical importance of audience by introducing the authority of “reader” may change or alter the writer’s perception of what he or she is doing and can have profound effects on a student’s understanding of the process and the text. (Lisa Ede and Andrea Lunsford wrote about this topic decades ago and more recently in a compilation that explores the current trend in English Studies to better foreground audience in Composition.) The usefulness of this metaphor is wide ranging, as the neurotransmitter’s role as agent or node can be applied to questions of student agency, affordances of the system itself (that is, technology choices made by both the course designers as well as the students to facilitate learning and/or writing).

4.    What is moving within the network?

The neuronal system is akin to a cascade. One neuron does not work in isolation – it is a network of networks, embedded in an ecosystem that makes knowledge acquisition (and memory – which might be described in terms of “transfer potential”) possible. Similarly, in a decentered composition classroom, the importance of collaborative peer networks is key to learning and writing growth. The question has been raised by Syverson, however, is whether or not the way we teach writing promotes the type of long-term learning that is needed to translate into transfer. She suggests that there “is no evidence that students are writing, reading, or thinking better than any time in the past” (2). What, then, is happening – or more to the point, not happening – in the learning space of the composition classroom? This is where the neurobiology metaphor may provide fresh pathways to address this.

The term Long-Term Potentiation (LTP) describes a process crucial to learning and memory formation in which the synaptic communication is modified over time. Postsynaptic neurons’ firing rate “depends on how much stimulation it receives from presynaptic neurons.” But in this process of LTP, the Postsynaptic Neuron keeps firing “at an elevated rate” as it has “become more sensitive…to a given stimulus” (Chapter 10). A feature of LTP that carries over into this analysis of MOOCs and learning is one that highlights the role of networked learning pathways as promoted by Hart-Davidson:

LTP, like learning, is not just dependent on increased stimulation from one particular neuron, but on a repeated stimulus from several sources. It is thought that when a particular stimulus is repeatedly presented, so is a particular circuit of neurons. With repetition, the activation of that circuit results in learning. Recall that the brain is intricately complicated. Rather than a one-to-one line of stimulating neurons, it involves a very complex web of interacting neurons. But it is the molecular changes occurring between these neurons that appear to have global effects.”

Such changes on the “small” scale of an individual brain takes on important nuance when that scale is upsized to “massive” in an online MOOC.

5.    How do networks emerge, grow, and/or dissolve?

If the MOOC platform for learning is designed to create new networks of connection among and between student participants, how does that help us better understand the way the pathways to learning are designed? If we interpret network growth in terms of learning, the neurological metaphor offers interesting possibilities for analyzing this in a Composition MOOC. The activity, growth, and nature of the neural system is characterized in terms of Brain Function:

“Basically, the brain works by communication between neurons. There are trillions of neurons in the human brain, and it’s the communication between these neurons that make us feel, think, be able to sense, to actually have consciousness. And it’s this continuing communication between neurons that’s important for processing information. But also, the synaptic connections between neurons in our brain are changing all the time, and it’s this change, or what we call “synaptic plasticity,” or changes in synaptic connections that underlie things like learning and memory, or any response to our environments, so the information we take in is processed” (Unit 10).

These processes of information transfer ideally lead to some form of cognitive permanence in the form of learning and memory. As Hart-Davidson observes, in terms of writing improvement (a sign of learning), “writing improves most for students that spend time revising” (219). Practice makes perfect, we’ve all heard. In the context of neurological network growth, learning means the creation of new pathways and new neurons. In neurobiology, this is referred to as Neuronal Communication / Memory. Neuroscientists study memory creation as well as brain physiology, and assert that the process of learning involves the creation of new networks between neurons. Learning, in other words, changes the brain and the way the nodes interact with other nodes.

Hart-Davidson refers again to Vygotsky’s theories of learning when he argues that the peer-network nature of writing in digital spaces like properly designed MOOCs (i.e., those that follow the many-to-many model) “provide … the ideal conditions for deliberate practice” as a result of the “connectivity” of such networks. Applying the metaphoric terms associated with neuronal communication and memory, such practice could be interpreted in terms of “enhancing certain connections between certain neurons…[to] sculpt out a pathway, a neuronal pathway through this network of neurons” (Chapter 10).

Beyond the basic neurophysiology of learning, this terminology also avails itself to exploring the nature of the MOOC ecology as both massive and open. The sheer number of students involved in the network creates collaborative potential that may not exists in a twenty-person f2f classroom. The variable of experience brought into the classroom also increases with the “open” nature of a MOOC, unrestricted as it is by limits of college tuition or geographical boundaries. Of course, there are other boundaries, such as technological access and / or equitability; however, if the sites built into the MOOC infrastructure are also open (i.e., free) with a reasonable level of operational skill required, this may become less restrictive if one considers that people who are currently opting to take MOOC courses have thus far been demonstrated to be non-traditional students. 

who takes MOOCs

There is the opposite to growth, of course. How do MOOCs fail, and what does that tell us about learning in MOOCs? There are numerous voices that weigh in on this: attrition rates are reportedly high for MOOCs, and many are designed with a one-to-many approach which has been proven again and again to be counter-productive for a writing course (Hart-Davidson). Of course, there may also be failure at the node level when students do not participate, thereby stunting the benefits of collaborative peer-to-peer interactivity and, in turn, learning. We see this as well in f2f classroom spaces, even without the “massive,” so how are these concerns about network growth or dissolution addressed if we apply neural network metaphor terms?

Networks grow best when student driven, but the instructor can facilitate these network nodes by creating software / program / virtual locations for such growth  (Google Docs, Group Prezis, Discussion Boards, Email). The University of Manitoba’s course “Connectivism and Connective Knowledge,” part of that University’s Certificate in Emerging Technologies for Learning program, is a useful example of a MOOC that utilizes what Hart-Davidson might refer to as the many-to-many approach to learning. New communication nodes that emerge “off the grid” – initiated by students to collaborate (Facebook, email, etc.) – are other ways which a MOOC network may grow and transform in pursuit of learning and connectivity. This might be explored in terms of Neurogenesis, the generation of new neurons. Until recently, neuroscientists believed this process ended by “early childhood,” but recent technological developments have led them to discover that “the brain maintains a reservoir of stem cells that are capable of generating new neurons” (Chapter 10), much like a networked Composition MOOC that encourages “peerlearning” (Hart-Davidson 212).

Networks falter when a MOOC is more xMOOC than cMOOC, a model that relies on the “one-to-many” educational delivery system (video lectures and quizzes and essays) described by Hart-Davidson. Networks may also falter if too little invention authority is granted to students. Some structural integrity (as course design) is needed to prevent a free-for-all and undirected – systems of scaffolding, like neuronal pathways. However, just as neuroscientists have discovered that neuronal networks grow new neuronal pathways as needed in response to new or increased stimuli, the same general metaphor-inspired principle may be applied to explore ways in which MOOCs may facilitate learning. Again, the Manitoba MOOC, and the idea of connectivism as explained here by course co-designer Stephen Downes, may provide a useful example of networked systems of communication and collaboration that illustrate neuronal-like connections designed to foster interactivity and exchange of knowledge to move the learning forward. The premise of an effective many-to-many MOOC course design is to accentuate these individual neural networks and make them part of the learning, not an accessory to it.

Conclusion: MOOCs have been cast by many skeptics (including many composition scholars) as a troubling “break” from traditional models of higher education. However, if seen through the prism of learning models, a Composition MOOC space may instead become one that facilitates creativity and independent thinking by participants who become co-creative powers within a network of learners. The concepts of neurobiology applied as both metaphor and learning theory may facilitate this view.

A limitation of this approach is that the metaphoric image of a neural network isolates the picture into one location. The neural network nodes are a very small part of a much larger system, equated to “a basic cellular mechanism in the brain” (Chapter 10). The dilemma for this application is how this “smallness” can correlate to the “bigness” of a MOOC. Some possibilities have been proposed, but there are other limitations.

What this metaphor does not do – and where an ecology theory might help – is properly explain how this fits into the wider system beyond that of a neural pathway, into the environment that provides the stimuli responsible for neuronal firing and transmission. For a Composition classroom, that might introduce other surfaces beyond the neural pathways and into the realm of stimuli and actions. Syverson asserts that we must see the composition process and students engaged in it as “situated in an ecology, a larger system that includes environmental structures, such as pens, paper, computers, books, telephones, … and other natural and human-constructed features, as well as other complex systems operating at various levels of scale.” Student learning, as Vygotsky might agree, takes place within “a meta-complex system composed of interrelated and interdependent complex systems and their environmental structures and processes” (Syverson 5). The metaphor of neurology does not extend the environment this far.

Finally, comparing the overall efficiency of a neural network to the learning going on in a MOOC reveals several gaps, the most obvious of which are the assumptions we must make in an online space for teaching composition in order to avoid allowing the MOOC to become a glorified test or worksheet bank. Perhaps we need to think about the type of student who might be in a MOOC; why is that student in THAT space? This question as well might be best answered with the additional overlays of such theories as Ecology. In the meantime, however, the neurobiology lens offers interesting ways to connect other scholars and Compositionists in a thoughtful exploration of learning facilitation in networked spaces.

Works Cited:

Binkley, Roberta and Marissa Smith. “Re-Composing Space: Composition’s Rhetorical Geography.” Composition Forum 15 (Spring 2006). Web. 1 Apr. 2014.

Cormier, Dave. “MOOCs as Ecologies – Or – Why I Work On MOOCs.” Dave’s Educational Blog: Education, Post-Structuralism and the Rise of the Machines.” 25 June 2011. Web. 1 Apr. 2014.

Downes, Stephen. Connectivism and Connective Knowledge: Essays on Meaning and Learning Networks. 19 May 2012. Creative Commons. Web. 30 Mar. 2014.

Downes, Stephen. “The Connectivism and Connective Knowledge Course.” Slide Share. 24 Feb. 2009. Web. 30 Mar. 2014. < http://www.slideshare.net/Downes/the-connectivism-and-connective-knowledge-course>

Downes, Stephen and George Siemens. “Connectivism and Connective Knowledge: Getting Started.” MOOC course, University of Manitoba. 2009. Web. 30 Mar. 2014. <http://elearnspace.org/media/GettingStarted/player.html>

Hart-Davidson, Bill. “Learning Many-to-Many: The Best Case for Writing in Digital Environments.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

 Syverson, Margaret A. “Introduction.” The Wealth of Reality: An Ecology of Composition. Southern Illinois UP, 1999. 1-27.

Case Study 2: AT + GT + MOOCs = Alphabet Soup

Shaffer MOOC crib sheet

Shaffer MOOC crib sheet

Introduction: In my first case study, I examined the Composition MOOC from the lens of structural theory, which provided a foundation upon which to build this second layer of analysis. There are a number of scholarly discussions concerning the technological “space” of MOOCs, including debates of access, politics of labor, and institutional economies. Those will not be the main focus of this case study, however, due to the limits of this project’s scope. Therefore, the second layer of analysis on which this study will focus reveals an area of tension and conflict that seems common to many discussions of Composition MOOCs: pedagogy.

This issue of pedagogy appears central to many debates over MOOCs, and especially for Composition. In her article “A Tale of Two MOOCs @ Coursera: Divided by Pedagogy,” Debbie Morrison argues that online classroom spaces are “transforming how people learn” and this “is driving the need for a new pedagogy” (emphasis mine). Morrison presents two case studies of MOOCs – one successful and one that was cancelled after only one week — offered by one of the leading platforms for educational MOOCs, Coursera. She asserts that one course failed because of its reliance on a pedagogy that had not adapted its methods to the characteristics that define the web space as a learning space. In particular, she argues that the failed course did so due to its reliance on a “learning model that most of higher education institutions follow – instructors direct the learning, learning is linear and constructed through prescribed course content featuring the instructor,” a method not unlike the way many face-to-face (f2f) Composition courses are conducted. Such methods, she argues, are unsuited for the ways in which the Web “as a platform for open, online, and even massive learning creates a different context for learning – one that requires different pedagogical methods.” If we accept this, then, as Porter suggests, “writing teachers will…have to change their fundamental thinking about teaching composition at the college level” (15). It is this premise that provides a framework for this analysis.

To this end, I have elected to focus on ways Genre Theory and Activity Theory may be used to illuminate, complicate, or obfuscate the field’s discussion of Composition MOOCs in terms of pedagogy, represented by the work of selected scholars integrated directly into the analysis. Morrison explores pedagogy in terms that are at times reminiscent of Genre Theory, but by highlighting the “variables common” to each course’s design (e.g., course platform, start and end dates), clear influences of Activity Theory may be seen as well. The elements of Genre Theory set forth by Bazerman, Miller, and Popham — in particular the concepts of classification, motives, and systems located in action (Miller 75) — productively draw attention to several key boundaries (or tensions). Especially important are assumptions made about learners and learning (what we might call “motives”) that inform teaching pedagogy. The online space and design of MOOC platforms, as well as assessment and delivery practices, may differ significantly from traditional f2f classrooms, depending on the course. If we explore these differences in terms of genre, these boundaries become sites of “contradiction” upon which to focus this analysis (Halasek et al.).

First, not all MOOCs are created equal. Design features and functions vary, so there is a risk in applying theories to this OoS as if the object is static. Decker defines two of the most prominent forms of MOOCs: xMOOC and cMOOC. The cMOOC is “based on distributed learning and connectivism” described as focusing “on knowledge creation and generation” (4). The xMOOC design “leans towards [theories of] Behaviorism and use more conventional instructor-centered delivery methods” such as “automated grading” (4). Fortunately, Composition pedagogy is a rather consistent node among ongoing networks of debate concerning the role of MOOCs in higher education in that our field’s (ideal) methodology seems well suited to the networked, student-centered learning models advanced by proponents of MOOCs. In fact, Dave Cromier (an early MOOC designer and proponent) asserts that knowledge in a MOOC is actually “an ecosystem from which knowledge can emerge,” a description that lends itself to alignment with the NCTE “Framework for Success in Postsecondary Writing” that is key to our current Composition classroom practice and pedagogy (WPA “Outcomes Statement for First-Year Composition”).

[http://youtu.be/bWKdhzSAAG0]

However, pedagogy itself – whether discussed in terms of practice or ideological moorings – is a complicated and vast expanse with a wide-ranging history of debate. Therefore, the purpose of this study is not to justify or discourage using MOOCs for teaching Composition, but to locate key nodes and borders upon which these theories may play a productive and illuminating role for those who are assessing MOOCs as a space for teaching freshman Composition.

How Theories Define This Study

Activity Theory: Spinuzzi’s articulation of Activity Theory’s characteristics provides a useful starting point to begin outlining key areas in which to analyze Composition MOOCs and pedagogy. Current Composition theorists prioritize collaborative, process-based, and student-centered learning as underlying motives for classroom design.  However, how to best implement such priorities is a subject of much debate within the field. Scholarly publications highlight this range; from WAC, to vertical writing curriculum design, to the role of reading (specifically concerning literature as primary texts for teaching), how such learning takes place can be discussed productively in terms of networks. As such, networks imply the presence of nodes of activity, connectivity, and interactivity. Examining Composition pedagogy in these terms allows us to examine the border between f2f and online MOOC course environments using Activity Theory principles and vocabulary.

Characteristic #1: In his article, “How Are Networks Theorized,” Spinuzzi defines Activity Theory (AT) as “a theory of distributed cognition” that “focuses on issues of labor, learning, and concept formation” (62). Further, this theory continues to evolve, moving “from the study of individuals and focused activities to the study of interrelated sets of activities” (62)  – networks that may include collaborative learning and development, both of which play significant roles in Composition pedagogy and MOOC structural designs. Such concepts and terms create a framework with which to explore how using a network lens provides a means with which to locate this discussion in terms of borders. As Morrison observes, the nature of a MOOC space does not easily align with the nature of an f2f classroom space. While the basic principles of Composition pedagogical theory must ground both in terms of the aforementioned priorities of student learning (as outlined by the NCTE in “Beliefs About the Teaching of Writing”), the nature of the space – the networks that represent the physical, the theoretical, and what AT calls the “dialectical” qualities of that space – create tensions at those boundaries which represent how to implement that learning. Morrison refers to the importance of “connectivism” as a corollary to “social constructivism,” a thread woven into modern pedagogical theory that states “students learn more effectively” when they are actively involved in knowledge construction that includes their own knowledge bases. Porter’s “Framing Questions About MOOCs and Writing Courses” suggests that if we are to critically assess MOOCs as a space where we teach freshman Composition, we must be critically aware of the design of the space, as well as the “toolbox of [instructional] methods” employed (14). He also highlights the importance of recognizing the differing networks of students who enroll in MOOCs as “a broader audience than simply campus-resident students…in relatively small classes…or via 1-on-1 tutorial consultations” (14).

Characteristic #2: Further, such activities require interaction and, according to the dialectical underpinnings that characterize AT, constitute a means of analysis that relies on a “‘science of interconnections’” (Spinuzzi “Networks” 69) to reveal the importance of networks to development or (in the case of pedagogy) learning. Such interactivity, then, leads to change or growth as a result of operating within a system of activity, one which allows for participants to bring “their own internal rules and expectations as well as external relations with other activity systems” into an operationalized framework (Spinuzzi “Networks” 79). This allowance for individual experiences and/or cultures to become a valued part of the learning environment creates an opportunity for “boundary crossing” if we see the role of instructor no longer limited to the teacher of record. Indeed, in some Composition MOOCs, the common pattern of teacher/node-to-student/node of activity relationships is transformed, much like Spinuzzi describes users innovating to make a space better serve users’ needs (Tracing Genres). Analysis such as Spinuzzi’s can affect information design – including pedagogy and activity networks (course designs) of MOOC or f2f class setting. Halasek et al. describe how the initial course design for their second semester FYC sequence as a MOOC was based on traditional f2f pedagogies, or what they called “grand pedagogical narratives” of “a central doxological status” (157). As they began to modify the course, they created new pathways or activity system that transformed the roles students and teachers played as students began to take on increasingly “teacher-ly” roles as peer readers and co-facilitators in Discussion Boards (158-9). This increase in connectivity that takes place in a MOOC are principles that every teacher of a FYW course who prioritizes peer workshop would acknowledge is a key component of classroom pedagogy.

Spinuzzi structure of activity

Spinuzzi, Activity System, p. 71
“How Are Networks Theorized”

Characteristic #3: [Spinuzzi Triangle Diagram Insert} Activity Theory as distributed cognition incorporates mediation as a key concept. Described by Spinuzzi as “tools, rules, and divisions of labor” (71), mediators are used by individuals within an activity system to “transform a particular object with a particular outcome in mind” in a way that is meaningful and connected to a (discourse) community (71-72). Composition MOOCs as networks are often seen through the filter of traditional f2f structural limitations, leading to concerns such as those described by Halasek et al., who assert that reflecting on “the MOOC learning environment” reveals the “ways we understood – and sometimes failed to understand – our roles as teachers of composition and our students’ roles as writers and learners” (156). Again, the example of the Discussion Boards serves as an example of how Activity Theory allows us to productively analyze the MOOC environment. Halasek et al. observe that Discussion Forums are typically conceptualized as nodes in which student participants depend on the “controlled exhanges…shaped and guided by teachers…and oriented toward assignment expectations” (159). In effect, these learning nodes are mediated in specific ways by a limited number of people who occupy academically hierarchical positions with relation to the student-to-teacher activity pathways. In the revised iteration of their MOOC class, Halasek et al. discovered that students “actively occupied” these learning spaces and mediated the activity as well as the flow of content when they “engaged and even tested the faculty team by making their needs explicit and articulating the problems the instructional context posed” (159). Such meta-participation is then makes students the mediators who transform the learning environment through their activity and co-creating of the space.

Characteristic #4: AT involves “chained activity systems,” a concept that may account for the sort of “organizational…boundaries” that create “informal linkages” between activities that could be interpreted as metacognitive nodes where transfer takes place (Spinuzzi “Networks” 74-77). For Composition, such metacognitive transfer has become an increasingly foregrounded concept in discussions of student writing. In MOOC spaces, this feature of AT becomes especially productive as a way to analyze it as a potentially viable mediator of student writing. Porter’s concerns about MOOC spaces appears centered on the nature of the systems in which learning / teaching take place. He argues that the frame of reference used to classify what is a Composition course is one area of tension in our field’s discussions of MOOCs. This feature then becomes a shared focal point or bridge that links to the second theory of analysis.

Genre Theory: Bazerman and Miller effectively lay out the foundational elements of Genre Theory, while Popham provides helpful principles of practical application. In fact, Popham’s concept of border genres effectively frames a means of exposing the instructional “belief systems …that determine the pedagogical methods selected for instruction” in courses, both MOOC and classroom based (Morrison). If we interpret pedagogy as a genre / border, the classroom space – f2f or MOOC – becomes a network of activity within which we might conceptualize and theorize participants (who occupy both learning and instructional roles at various times), assessment practices, media, and even the genre itself as nodes within that network that can become sites of closer analysis. There are several characteristics of genre theory, but for now, I will apply two primary features to this discussion of MOOCs.

Characteristic #1: Bazerman asserts that we must correct the enculturated habit of seeing a genre as just a set of features (322). This contention is reiterated by Porter, Decker, Morrison, Halasek et al., and others who argue that MOOCs cannot simply be treated as a mere duplication of f2f Composition classroom pedagogy. For example, in their article “Digital Genres: A Challenge to Traditional Genre Theory,” Askehave and Neilsen draw heavily from Swales’ seminal work in genre theory to advance the argument that any discussion of digital learning spaces must include an “up-grade[d]…genre model” that incorporates the element of media. Further, they argue that the terms “genre” and “medium” are often conflated, obscuring the importance of “the borders between the two” as distinctive areas of analysis. They assert that such conflation occurs when characteristics of digital spaces push the limits of traditional text-bound frameworks for understanding and studying genre.  This leads to the observation that “media is not only a distribution channel but also a carrier of meaning, determining … social practices [such as] how a text is used, by whom it is used, and for what purpose” (138). Such observations demonstrate the productive potential of applying genre theory to this analysis of Composition MOOCs in terms of revealing key assumptions that drive not only the definition of “genre” but pedagogical ideologies as well. They also raise a question of separation, one which exposes yet another border tension common in discussions of MOOCs in our field: should we teach a Composition MOOC exactly the same way as we teach a f2f Composition class? This is a question that intersects this analysis on points of pedagogy in terms of genre or form as well as activity and agency.

Characteristic #2: Bazerman and Miller add the feature of exigence or motives to their expanded definition of genres. These factors allow us to think of delivery and interpretation (Miller) as ways of discussing participants in networks. When we consider Spinuzzi’s description of activity theory as “the study of interrelated sets of activities” (Tracing Genres 79), the networked nature of a MOOC seems to be a perfect object of examination using this lens to clarify relationships and hierarchies in terms of what Spinuzzi calls “sociotechnical networks” that create spaces for “distributed cognition” (62). Thus, the need to push past a concept of genre that creates a monolithic frame of “the thing” may be transformed and its usefulness for digital spaces expanded when we integrate users’ / participants’ / designers’ motives in terms of  “the role of individuals in using and making meaning” (Bazerman 317). As Miller points out, genres should be seen as a way to accomplish tasks and not simply as a form (151). Therefore, if we see the activity nodes as part of this work, the relationships between nodes in this activity system become an integral part of the pedagogy, and a marker of both pedagogy and MOOCs as potential genres. For a MOOC space, this highlights many of the contradictions or tensions of the boundary created between the f2f genre of composition pedagogy and that employed in effectively designed MOOCs.

Legend, map of Iraq 1970

Legend, map of Iraq 1970

When combined with Activity Theory, highlighting as I believe it will the importance of a networked conception of learning in MOOC spaces, exploring this object of study as a genre may open new possibilities to theorize pedagogies and classroom design. In fact, it is my assertion that this analysis suggests it may become fruitful to see modern Composition pedagogy as a genre that has evolved as our field has evolved, taking on canonical status within our field as theories of practice replace others in terms of dominance. Just as Prior et al.’s argument for “remapping the rhetorical canon” using a variation of activity theory (CHAT) is based on the boundary between print text-mediated ideologies and those informed by the evolution of digital media, our fields’ discussions of MOOC-based Composition pedagogy may require a bit of remapping as well. Genre and Activity Theories may provide the legend (or map key) for this endeavor.

Chris Friend illustrates the usefulness of such an approach in his blog post entitled, “Will MOOCs Work for Writing?” Friend argues that while “[w]e cannot teach all students every intricacy of writing…using a MOOC format, …we can use MOOC strategies to improve our existing in-class teaching efforts.” In a more strongly worded assessment of interpreting the MOOC as part of a genre system, he writes that “MOOCs force a paradigm shift in pedagogy as we consider education in different contexts and at different scales.” His list of “five essential MOOC philosophies that can be applied to face-to-face instruction” echoes Miller’s theory of genres as one that incorporates a social discourse dimension.

However, there is a danger here, one that genre theory illuminates: when we conflate MOOCs with other forms of online education, or see MOOCs as “one size fits all,” we highlight a site of tension common to studies of MOOCs. Friend’s assertion that MOOC practices can actually enhance – but not replace — f2f Composition classroom pedagogy is suggestive of Popham’s theory of boundary genres (283), in which the activity or action locates the site of analysis, typically embodied in an artifact of some sort. Popham’s focus is on forms shared between a medical community network and the insurance / business community network as part of the medical practice ecology. If we interlace elements of activity theory that examine “interrelated sets of activities” (Spinuzzi “Networks” 62), it is also possible the boundary form may become the pedagogy itself. Each boundary suggests a system of networks in play, carrying with them “influence” and “relations” (Popham 280) that stem from the social discourses and expectations described by Miller’s three-level model: pragmatic (action) + syntactic (form) + semantic (substance of the “cultural life”)  (Miller 68). This model highlights the nature of relationships inherent not only between theories but in their analysis as well.

Nodes & Agency: Relationships Defined & Transformed by Theories

Both Activity Theory as defined by Spinuzzi and Bazerman’s System of Genres are particularly helpful frameworks when theorizing Composition MOOCs as networks in terms of the relationship between nodes and agency. In their article, Halasek et al. argue that MOOCs are currently analyzed through two “grand pedagogical narratives” that create a system of “doxological status” informing such analysis. In these forms, the instructor and student occupy defined hierarchial positions, or nodes, with the teacher in the dominant knowledge-delivery role. The pedagogy of a more traditional f2f Composition classroom platform created by this model then serves as the “dominant hierarchical genre form” used to analyze all alternatives (157). Halasek et al. see these as “entrenched narratives” that “rigidly define the respective roles of teacher and student alike, making it difficult to imagine alternative learning dynamics” (157). Given the overlaid network of academic institutional histories, such systematized pedagogy may be read as part of a larger system that may be useful for mapping the “pathways” (Bazerman 99) or networks of learning as well as instructional design in any analysis of MOOCs as an object of study.

Spinuzzi applies Activity Theory in terms of connected activity systems in which mediators – which in this case may be the digital space itself, the technology, or the pedagogical system that functions as a genre – provide the “tools, rules, and division of labor” (71) to create a system suited for “distributed cognition” (69). With respect to Halasek’s argument, Spinuzzi’s characterization of “contradictions” as “engines of change” and transformation (a key component of Activity Theory) becomes a means of considering the impact of designers’ pedagogies as well as the agency afforded users in this learning space.

The most obvious nodes discernible in a network-theorized classroom such as a Composition MOOC are the participants (students, tutors, and instructors), as well as the means of mediating the connections between them: the technology itself. Such articulations of nodes function similarly whether seen through a lens of Activity Theory or Genre Theory. For example, by classifying participants as nodes of activity, pedagogical considerations driven by a student-centered learning environment are revealed to function along lines common to social constructivism, emphasizing collaborative features but also “cognitive orientations” of the pedagogy informing course structure (Morrison). If this “cognitive orientation” mirrors that of a writing course in which the instructor-to-student hierarchy of delivery is dominant, Genre Theory may prove effective as a means of identifying characteristics of that pedagogical style which informs the direction and function of network connectivities. If, on the other hand, the nodes are connected in multiple, non-hierarchical ways — such as the student-to-student group learning or embedded tutor-to-student conferencing described by Halasek — such characteristics reveal a pedagogy at work that may create sufficient differentiation that would require we examine Composition MOOC spaces as a separate genre within a larger system of Composition education. Such framing might lend credence to arguments that these cMOOC designs validate their place in higher education as a manifestation of the possibilities born of extended application of our notions of the student-centered theory of writing pedagogies.

Image from "MOOCs From the Student Perspective" Pepper Lynn Warner

Image from “MOOCs From the Student Perspective” Pepper Lynn Warner

Aside from the human participants engaged in this classroom network system, activities such as, writing, writing assessment, and collaboration can also be explored as nodes as well as sites of movement with the MOOC space. The forms they take are heavily influenced – as is true with any genre – by the dominant classification system at work. The pedagogy, if we accept this as a type of genre, dictates not only the participants or agency at each node but also what tools will mediate this activity. In the case of a Composition MOOC, the platform-as-node influences the means of writing and assessment. However, the pedagogy-as-genre will be reflected in these nodes and the relationships between nodes. For example, in a cMOOC, multiple layers of assessment are made possible by the non-hierarchical nature of the teaching model. Students and embedded tutors may be part of the assessment process, as well as the teacher of record (Decker 7). The dominant role of peer review in a typical f2f Composition classroom is expanded in ways mediated by the open, massive digital space of a MOOC. Such design is mediated further by the pedagogically-driven choices by the class designer – the instructor. However, student input driven by navigational habits may be interpreted as influential agency in determining the network activity and nodal importance.

However, there are tensions which cannot be so easily mitigated by framing MOOCs in this way. Friend’s article demonstrates some of the risks revealed by applying genre theory to discussions of Composition MOOCs, particularly in terms of pedagogies. Friend argues that “we can use MOOC strategies to improve our existing in-class teaching efforts” tends to conflate the two spaces, perhaps running the risk of narrowing this discussion into nostalgic frames. While his suggestions may at first glance legitimize the composition MOOC by validating its pedagogical methods as potential “levers” (Bazerman 79), it also exposes a controversial border space in which both Morrison and Porter situate their arguments. Such “space to space” transference points to the argument made by Glance, Forsey, and Riley that a conflation of these genres creates additional tensions in discussions of pedagogy, or what they refer to as “the potential disruptive nature of MOOCs.” They write, “A difficulty with the analysis of MOOC structure and its pedagogical foundations is the question of how similar a MOOC is to existing online courses offered for distance learning or as an extension of face-to-face delivery of courses as part of a so-called blended delivery. In some ways they are not and so the analysis of MOOCs is inherently not that different from research examining the benefits of online delivery of courses generally.” Therefore, even if we treat pedagogy as part of a genre system, there still remains the question of transfer when it comes to the “massive” environment of MOOCs.

Networks & Distribution of Content:  Meaning In Motion

Askehave and Nielsen assert that the multi-dimensional nature of the WWW promotes the argument that “the medium forms an integral part of the genre and should be” considered as an important part of any analytical model (128-9). Mapping paths within this networked medium used to distribute content or meaning-making (inherent to any discussion of pedagogy) raises the question of how MOOC spaces affect not only the relationships between participants but activities as well. If we accept the premise that everything is moving in the network that is a MOOC – student identities, navigation, student compositions, collaborative energy, instructions, links to materials, assessments and feedback – does the network alter this content or meaning in substantial ways that can be usefully theorized? Some Composition MOOCs, like the one taught at Duke University, crowdsource feedback and assessment to some degree. Bazerman’s observation that we consider systems of activity as a way to “identify a framework which organizes…work, attention, and accomplishment” (319) might be used to consider not only the MOOC as a networked space but also activities such as assessment and collaboration using such features as crowdsource response and Discussion Boards. The “Massive” quality of MOOCs significantly complicates the Composition practices as well as the pedagogy, but if we think how activities might be located at carefully constructed nodes that create parcels of space, a system within a system, would that mitigate this concern? Bazerman explains that a “genre system” focuses “on what people are doing and how texts help people do it, rather than on texts as ends in themselves” (319).  The problem arises when we see a genre (like pedagogy or like the Composition classroom space) as just a collection of features, that “makes it appear that these features of the text are ends in themselves, that every use of a text is measured against an abstract standard of what correctness to the form rather than whether it carries out the work it was designed to do” (Bazerman 323).  In the Composition classroom envisioned by most of our field’s scholarship on pedagogical issues, this work is process- and feedback-dependent. Yet, Activity Theory encourages us to see activities in terms of “modular configuration[s] of work” (Spinuzzi Tracing Genres 75). In a cMOOC, roles of student and instructor (and pedagogy) are transformed due to the nature and demands of the space upon the ways these “nodes” interact.

Digital Humanities Course Page, University of South Carolina

Digital Humanities Course Page, University of South Carolina

Conclusion: Activity and Genre Theories are productive lenses through which to examine the ways we might explore Composition MOOCs as pedagogically informed spaces. What these two theories do not allow me to explore is the very real impact played by technology itself in terms of exerting agency, mediating behaviors, and user navigation (whether in the formalized role of student or teacher) in the same way that Actor Network Theory might have allowed. However, seeing the technology as a mediating tool may fit more cleanly into discussions of pedagogy, providing a familiar node from which the conversation can proceed and evolve. Technology does play a role in transforming the way we read, the way we think, and the way we teach – the question becomes one of degree. Activity Theory foregrounds the movement, the relationships, and the connectivity of a network, perhaps neglecting the power of those elements that make activity possible – things like space itself.

What these two theories do allow me to explore is the motivation that shapes the choices a learner or a teacher makes in terms of transmission (knowledge, assessment, identity). Both lend themselves powerfully to pragmatic applications of pedagogy. If we accept Miller’s observation that genres must be “grounded in the conventions of discourse” (67), then in the case of a Composition MOOC, we must consider another system may be at work, another type of discourse that is native to online spaces. Miller asserts that genres change as cultures change, leading us to treat genres as “cultural artifact[s]” (69). Along these lines, can we approach pedagogy as a genre as well – and thereby as “cultural artifact” (Miller 69) – wherein our theories of Composition pedagogy become the determining forms of practice, static no matter what the space? When defined as “reproducible,” a genre should certainly carry over from space to space; and perhaps some features of Composition pedagogy do (for example, collaborative networking, activity- and student-centered classroom practices). Yet a MOOC is not the sort of f2f classroom envisioned by our field’s discourse community by any stretch of the imagination, which raises the question of whether a different genre of pedagogy is required when analyzing this Object of Study. Should we, like Prior et al. suggest, “remap the canon” of Composition pedagogy to account for the “contradictions” (Spinuzzi, “How” 72) created by that space? Should we treat pedagogy as exigence because it must be more than “form or event” and be seen as “social action” (Miller 164)? Such questions may remain unanswered until our field can avoid conflating many of the nodes of this discussion – what Porter refers to as “a dangerous elision” (16) – which are used to define or frame the nature of a MOOC as a space for learning. Some argue it is a platform of materials, “an object to be bought and sold as if it were a textbook” (Porter 17). Others argue that all MOOCs are defined as if all share a common delivery focus, yet as Porter observes, there are significant differences between xMOOCs and cMOOCS which can be described in terms of motivation and nodes of interactivity (Activity Theory) or in terms of applying a universalized “formalist frame” (Genre Theory) to generate a framework for analysis (25). For all of these reasons, it is clear that these pedagogical / conceptual borders and related tensions are far from being resolved.  Popham’s concept of boundary forms may offer a fruitful next step forward in this discussion. By treating cMOOCs as a genre whose boundaries often create sites of contention in discussions of Composition pedagogy, Popham’s strategies for “crossing boundaries” begins with locating “recognizable commonality of certain elements” like form (284). It may be that applying these two theories fulfill Popham’s recommended triplet of Translation, Reflection, and Distillation (284) to create a useful bridge over which we may navigate such boundaries in future discussions of the place of MOOCs in Composition. Theoretical lenses such as Genre and Activity Theories offer valuable framing devices with which to move such discussions forward — a necessary direction given the suggestion that MOOCs may not be a “fad” that we can easily dismiss.

Works Cited

Askehave, Inger and Anne Ellerup Nielsen. “Digital Genres: A Challenge to Traditional Genre Theory.” Information Technology & People 18.2 (2005): 120-141. Web. 28 Feb. 2014.

Bazerman, Charles. “Speech Acts, Genres, and Activity Systems: How Texts Organize Activity and People.”  What Writing Does and How It Does It. Mahwah, NJ: Lawrence Erlbaum, 2004. 309-339.

Cormier, Dave. “Knowledge in a MOOC.” YouTube Video, 2010.

Decker, Glenna L. “MOOCology 1.0.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

Friend, Chris. “Will MOOCs Work for Writing?” Hybrid Pedagogy.  28 Mar. 2013. Web. 28 Feb. 2014.

Glance, David George, Martin Forsey, and Myles Riley. “The Pedagogical Foundations of Massive Open Online Courses.” First Monday 18.5. 6 May 2013. Web. 5 Feb. 2014.

Halasek, Kay, Ben McCorkle, Cynthia L. Selfe, Scott Lloyd DeWitt, Susan Delagrange, Jennifer Michaels, and Kaitlin Clinnin. “A MOOC With A View: How MOOCs Encourage Us to Reexamine Pedagogical Doxa.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

Levine, Alan. “A MOOC or Not a MOOC: ds106 Questions the Form.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

Miller, Carolyn. “Genre As Social Action.” Quarterly Journal of Speech 70 (1984): 151-167.

Morrison, Debbie. “A Tale of Two MOOCs @ Coursera: Divided by Pedagogy.” Online Learning Insights: A Blog about Open and Online Education. 4 Mar. 2013. Web. 3 Mar. 2014. <http://onlinelearninginsights.wordpress.com/2013/03/4/a-tale-of-two-moocs-coursera-divided-by-pedagogy>

Popham, Susan.Forms as Boundary Genres in Medicine, Science, and Business.” Journal of Business and Technical Communication 19 (2005): 279.

Porter, James. “Framing Questions About MOOCs and Writing Courses.” Invasion of the MOOCs: The Promise and Perils of Massive Open Online Courses. Eds. Steven D. Krause and Charles Lowe. Anderson, SC: Parlor Press, 2014.

Prior, Paul, Janine Solberg, Patrick Berry, Hannah Bellwoar, Bill Chewning, Karen J. Lunsford, Liz Rohan, Kevin Roozen, Mary P. Sheridan-Rabideau, Jody Shipka, Derek Van Ittersum, and Joyce Walker. Re-situating and Re-mediating the Canons: A Cultural-Historical Remapping of Rhetorical Activity. Kairos 11.3 (2007). Web. 14 Feb. 2014.

Spinuzzi, Clay. “How Are Networks Theorized?” Network: Theorizing Knowledge Work in Telecommunications. NY: Cambridge UP, 2008. 62-95.

Spinuzzi, Clay. Tracing Genres through Organizations: A Sociocultural Approach to Information Design. Cambridge: MIT Press, 2003.

Theory Application Rubrics: This Is Only A Test

This is only a testThis week, we were asked to create a “theory assessment” rubric as a means of deepening our understanding of how we might apply theory to objects of study (at least, I think that’s the reasoning!). Given my sense that I’m still a bit of a noob at applying these theories effectively, I thought that thinking through an assessment protocol would be a useful way to frame what I’m attempting with my OoS. As a comp instructor by day / grad student by night, I assumed this would be a quick and easy task. However, as you might expect, I may have been premature in that assumption.

I’ve often heard (and witnessed) that one of the best ways to learn a thing is to teach a thing. Perhaps that also applies to building a rubric — a way to learn a thing is to learn how to assess a thing. In building this rubric and preparing to apply it to a classmate’s Case Study, I tried to think of this through the lens of the rubrics I use to assess FYC student writing — which are based on clearly articulated outcomes (thanks WPA and NCTE). While those Outcomes are designed as heuristics for learning (as well as teaching) writing, I wondered whether those categories might help me think through a theory application as well — especially in terms of rhetorical knowledge, knowledge of conventions, and critical thinking.

I was also reminded of our early exploration of “How Stuff Works” as applied theory – and in doing so, I just couldn’t resist if that site had entries on Theory. Much to my delight, it does – Game Theory – as well as a critique of said theory, demonstrating the application of some sort of rubric. I looked into this after having produced a rather minimalist rubric as part of this week’s activity assignment, and found that the criticism in this article actually employed some of the elements I’d proposed. A good sign, perhaps. But will it work on a classmate’s Case Study?

First, here are the criteria from the “clean” copy of said rubric:

  • Selected Theory is summarized – context, authorship, background or origins
  • Specific criteria of theory identified and defined
  • Application of criteria appropriate to OoS – logic of connections is clear
  • “Mis-fits” or gaps of application identified and discussed
  • Discussion or explanation of how the local experience is illuminated (invisible made visible) by the Theory in productive ways – new understanding
  • Case study builds upon the assertion that the theory fits the OoS by demonstrating new connections and applications.

measuresuccessHow to measure these, though? Using a model of the type of rubric I use for my FYC students, I knew I’d need a range of demonstrated application: from “Highly Effective” to “See me after class.” (No, really, the lower scale actually reads “Unsatisfactory.”) But how exactly does the rhetoric of a rubric – the term “effective” – play out? What IS “highly effective” when it comes to making “criteria of theory” visible or opaque for a reader who may not have explored a theory as thoroughly as the writer / Case Study author? I’m still thinking through this."Clean" Theory Rubric

“Clean” Theory Rubric

 I opted to “test” my rubric using Suzanne’s Case Study (“Dorothy Does Not Approve”), Bazerman’s Genre Theory as applied to her OoS of UPS (a “news-sharing network”). Here are my results, using said Rubric:

Microsoft Word - Theory Rubric ENG894 Applied to SSink.docx

Suzanne’s election to use the assignment prompt questions as guided application provides a useful means of identifying and defining the criteria of said theory, as well as a way of illustrating ways in which connections between the theory and its application to an OoS make sense logically: Nodes, Agency, Relationships Between Nodes as a function of Network, Content, and Growth Potential. Moreover, her decision to compare UPS to AP provides a clear demonstration of how this application can work for other, similar applications. Suzanne was also able to point to limitations of the OoS as revealed by the Theory when she states, “Bazerman also points out that there are rules and laws that govern how content is formed and organized (81, “Speech Acts”). These constraints allow an object to be recognized as belonging to a particular genre, but these precedents limit agency. For the UPS, the process of selection and editing also limited the choices that others in the network could make.” One area which I did not see was a discussion of the limits or failures of this theory in terms of applications, assuming that there is no such thing as a “perfect fit” when dealing with theories. This is the only reason one category received a “Somewhat Effective & Clear” rating.

Overall, I think this rubric works, but it is very limited and likely cannot capture many of the nuances of what we’re seeing as very complex and intersecting systems of conceptualizing our Objects of Studies through Theory. I wonder if it will serve our Case Studies when we begin applying multiple theoretical constructs.

 

Case Study Gumbo: Responses

(My alternative title to this post was going to be a music reference: “Bridge Over Troubled Waters.” But then, I thought the video link I posted below would be more fun.)

building bridges MIT

Photo credit to Donna Coveney of MIT

I found the applications of theories by classmates Daniel and Leslie to really expand the thinking I’ve done so far on my own OoS. In fact, building bridges between such operationalizing of network objects suggests they are not so different at all. Leslie’s comments on the hardware theory’s impact on her writing center space reminded me at some points of Daniel’s (as well as my own OoS of Composition MOOCs), especially with Leslie’s observations about ways data is transformed through back end and front end access points. Daniel’s treatment of Google Analytics is all about transformation of data, by the software as well as the hardware, and of course the human agents who apply the information thus gathered for future analysis and interrogation.

This passage in Leslie’s Case Study also reminded me of Popham’s article on “Forms as Boundary Genres,” in that the forms used by students and moved along the network system to different nodes / operators effectively transformed / were transformed by the localized exigency of the user and the activity. Given the nature of that movement, which Leslie points out resembles the serial / parallel bus structures of hardware theory, I could not help but think of the networks of a MOOC space, a thought I also had while reading Daniel’s Case Study. In my response to Daniel’s post, I wrote about his attention to Foucault’s “conditions of existence,” an idea that “seems [perfectly] suited to a discussion of the inner workings of a website, a “text” or locus of activity that for many readers conceals such rules and conditions.”

The connection between Daniel’s and Leslie’s thinking, then, emerged in this consideration of concealment or underlying structures that often go unrevealed, whether due to their existence as software / hardware “behind the scenes” movements or when they are considered from the perspective of agency. For example, what control (or creative agency) does the user of the websites Daniel discusses have upon the ways in which that data is used by those on the “back end” of the network’s framework? Similarly, Leslie’s observations about the latent hierarchies of power / oversight made me think of the user-design focus (could this be Spinuzzi creeping in?) and how the direction of information has the power to mediate the form or site of encounters.

There is so much potential application to my own OoS as a result of reading both Daniel’s and Leslie’s posts. I feel as though I’m going to need a bigger invention space than one Popplet will allow. Leslie, can I come and work on your studio  white board space?

And now, the promised audio — not a bridge metaphor precisely, but attention-getting just the same.

Case Study #1: MOOCs and Theory

The Power of Analogy: MOOCs and Hardware Theory (How Stuff Works)

The Value of the Lens

The value of what we might call “hardware theory” (for this project, this reference is to the collected “How Stuff Works” readings) is both practical as well as theoretical when used as a lens through which to analyze my object of study: a Composition MOOC. In fact, it appears to be a nearly flawless fit, given the overlapping functionality of the vocabulary used to define MOOCs in this instructional video:

“What Is A Mooc?” EdTechReview:

Further, the theory provides concepts that are key to understanding not only the hardware but also the relationships between hardware and software when used to make and exploit connections.  These very same concepts often mirror the issues, practices, and structural considerations of an online composition classroom space like a MOOC.

As the image below suggests, a MOOC is not yet a widely accepted educational space or practice. In fact, the tensions and reservations frequently expressed by

day of the MOOC gif

Creative Commons image; author M. Branson Smith

those in higher education toward online learning in general (but especially for freshman writing courses) seem to be based most commonly in pedagogical theories (Kolowich). For example, Jones and Singer, in an article to be presented at the 2014 CCCC, make the observation that these tensions exhibited toward educational MOOCs are not just manifestations of “techno-phobia,” but “a conflation of the … model with the whole of the MOOC movement” (1). In other words, the individual writing classroom application is interrogated in the context of a larger trend. While framing the subject in this way seems to drive many of the discussions in our field, and often incorporates a discussion of access-as connectivity, a narrow focus on pedagogical theory may not closely examine network paths as physical / mechanical components that allow such connectivity to take place.  Therefore, it may be productive if we first examine this structurally to reemphasize how a MOOC’s networked structure may actually reinforce some of the Compositionist’s pedagogical outcomes (i.e., WPA and NCTE frameworks) as Glance, Forsey, and Riley explore in their article.

The Network as Infrastructure / Space 

A MOOC, as the above video describes, is “learning in a networked world” (Cormier), but is in some very basic ways very much like off-line courses in that it involves students, assignments and materials, a facilitator, activities that promote knowledge or data generation, assessment, and an infrastructure or space where this learning and communication take place. Applying a network / hardware lens in order to define this object of study builds upon these pre-existing instructional design systems, frequently using language that carries over from the face-to-face composition classroom (assignments, essays, peer review, due dates, writing process, etc.). Yet, as Cormier states, “a MOOC is not a school; it’s not just an online course. It’s a way to connect and collaborate while developing digital skills.” Interestingly, a MOOC is described not simply in terms of knowledge or skill dissemination; it is described in more dialogic, distributed agency terms. Cormier even describes it as “an event around which people who care about a topic can get together and work and talk about it in a structured way.” Therefore, an additional means of analyzing this educational space is needed, in order to account for the digitally-mediated spaces of access and the means by and degrees to which the technology itself informs and defines this as an object of study.

Another relation to network is also the most obvious: the medium. While initially the term might be read as a reference to the digital nature of the course, the medium might also be explored as a node of communication. For example, Pappano writes that “the lecture” – however brief — is still the most commonly used delivery / pedagogical tool with which to share knowledge. MOOCs frequently deliver course content via short instructor videos, but also may rely on discussion threads (a common feature of Blackboard) or blogs to facilitate connectivity or activities assigned. The home page of Georgia Institute of Technology’s composition MOOC explains that its platform is comprised of a series of instructor-generated videos, along with “recorded ‘Hangout” discussion sessions. These are “complemented by” other, unspecified multimodal materials for assessment and activity.

Nodes & Buses highway

Borrowing terms from articles found on the site “How Stuff Works” offers a beginning, but there are publications that highlight the usefulness of this analytical approach. For example, Jeffrey Young refers to the means by which the classroom becomes a node of dispersion and connectivity as a “platform,” a term that connotes a physical launching or foundational place upon which the classroom emerges. However, his article refers to a software component (Blackboard) much the same way others might refer to a physical classroom or institution. Thus, this hardware/software “node” of the online learning network structure opens new possibilities of discussion in terms of theorizing digital spaces, from platforms like Blackboard to Facebook, Google Hangout, or online tutoring (Fredette 32).

By incorporating the analogies afforded by such articles as “How PCI Works,” the concept of a bus — defined as “ a channel or path between the components in a computer” (Tyson and Grabianowski) – may serve in some situations as a synonym for a network node, a focal point of transference and intersection. If, as the article states, we understand a bus as a means of connecting all of the vital components of a computer to the primary hub – the central processor – it is possible to extend this powerful analogy to the way an online classroom functions. In the case of a MOOC, this is especially advantageous as the concept of a “serial PCI” may be used to discuss both agency of participants as well as the relationships between nodes. The “serial bus is a one-lane road” (thanks to Leslie Valley’s research into buses for the video), while a parallel bus allows more traffic, in multiple directions. This analogy suggests a means of thinking of the multiple network paths made possible by a MOOC classroom design. Whereas a f2f writing classroom often involves one node of facilitation or direction (the instructor herself), typically in the direction from instructor to student (although in a very effective student-centered design, student-to-student learning also takes place), a composition MOOC may be designed to allow multiple avenues. For example, in the MOOC at Georgia Institute of Technology, the instructor as well as learning center tutors participate in the instruction; conceivably the student-designed multimodal assignments also contribute to the learner-centered knowledge exchange. By thinking of this system of exchange in this way, issues with labor, technology divides, and other areas of tension frequently associated with online learning may be discussed in terms of structural terms.

The structural nature of a network itself provides new ways to interrogate and explore a MOOC as an educational space. Thinking of such a system in terms like routers or switches or modems allows us to focus on the subject of information transfer, which raises the subject of agency. As instructors – whose packets of information may be disseminated through texts or eBooks as well as discussions, videos, web activities, etc. – we must examine how such information delivered from a distance might be transformed by the path and mechanisms of transference. For example, a successful MOOC experience demands that the technology – like a router —  “handles the traffic to and from other networks” or nodes in a way that maintains the integrity of the material. But we might also think of the boundaries (which may be how we might see routers) MOOC students must face. What if a student experiences access issues due to technology? Further, routers serve as gatekeepers of information, moving, redirecting, or even halting information between networks. Such a concept resonates strongly among Compositionists, as student access and agency have become bywords for our field over the past several decades. Moreover, using such hardware terms allows us to consider the identity assignment function of a router when discussing issues of digital identity and persona when planning for a Composition MOOC.

In summary, some of the most compelling ideas prompted by this theory when examining my object of study has to do with connectivity, another article found at the “How Stuff Works” resource. In the FYC classroom – whether f2f or online or in a MOOC – the collaborative nature of the course design is an essential element. It is likely safe to state that Compositionists reject the idea of an FYC classroom that follows the Banking Theory model (Friere) that was so prominent in our field’s past. This hardware theory provides powerful, analogous language and imagery with which to explore what is still an emerging topic of study: the MOOC.

 

References:

Clark, Donald. “MOOC Platforms: A Primer – Biggies, Newbies & Freeboters.” Donald Clark Plan B. 3 Dec. 2013. Web. 5 Feb. 2014.

Franklin, Curt. “How Cable Modems Work.”   20 September 2000.  HowStuffWorks.com. Web. 10 February 2014.

Fredette, Michelle. “How To Convert a Classroom Course into a MOOC.” Campus Technology. 27 – 30. 28 Aug. 2013. Web. 6 Feb. 2014.

Glance, David George, Martin Forsey, and Myles Riley. “The Pedagogical Foundations of Massive Open Online Courses.” First Monday 18.5. 6 May 2013. Web. 5 Feb. 2014.

Google Course-Builder.  https://code.google.com/p/course-builder/

Head, Karen. “First-Year Composition 2.0.” Georgia Institute of Technology. Coursera.org.

Jones, Sherry and Daniel Singer. CCCC 2014 – “Composition on a New Scale: Game Studies and Massive Open Online Composition.”  Forthcoming Presentation, Conference on College Composition and Communication. Mar. 2014. Web. 1 Feb. 2014.

Kolowich, Steve. “Why Some Colleges Are Saying No to MOOC Deals, at Least for Now.” The Chronicle of Higher Education 29 Apr. 2013. Web. 10 Feb. 2014.

McGuire, Robert. “Building A Sense of Community in MOOCs.” Campus Technology. 31-33. 28 Aug. 2013. Web. 6 Feb. 2014.

Pappano, Laura. “The Year of the MOOC.” The New York Times. 2 Nov. 2012. Web. 5 Feb. 2014.

Tastic, Raz. “The Computer Bus.” http://www.youtube.com/watch?v=x6Rw2Q7KPIE

Tyson, Jeff, and Ed Grabianowski.  “How PCI Works.”  2 May 2001.  HowStuffWorks.com. 10 February 2014.

White, Joshua. “The Ultimate Student Guide to Navigating the Writing MOOC.”  MOOC News & Reviews. 26 June 2013. Web. 1 Feb. 2014.

Young, Jeffrey R. “Blackboard Announces New MOOC Platform.” Wired Campus. 10 July 2013. The Chronicle of Higher Education. Web. 5 Feb. 2014.

 

Proposal: Object of Study — MOOCs in Composition

Over the years, higher education has experienced a variety of shifts, some qualifying as seismic (such as admitting women), others deserving more modest descriptors (for example, electronic textbooks). Add to the seismic column the distance learning classroom. Yet even that arena of growth has seen variations that now may seem tame; for example, distance learning programs have a surprisingly long history, as this graphic from the website Straighterline illustrates.

day of the MOOC gif

Creative Commons image; author M. Branson Smith

In my own lifetime as a composition instructor, I have witnessed the growing demand for online course offerings – and with that growth tensions between pedagogy and university business models. However, the field of English Studies appears to be progressively engaging this trend, if publication records are any indication. (See this link for the CCCC annotated bibliography on online writing practices.) A thread in this conversation appears to invite intense scrutiny, and is my chosen Object of Study for this course: MOOCs, or Massive Open Online Courses.

What Is A MOOC?

“What Is A MOOC?” EdTechReview. Image and video. 15 March 2013.
http://edtechreview.in/dictionary/198-what-is-a-mooc

MOOCs, simply defined, are typically tuition- and credit-free classes offered online to any and all interested students, using a variety of methods which include recorded short lectures, discussion boards, and asynchronous activities, depending on the subject matter. Specifically, I plan to examine Composition MOOCs, as writing courses – especially freshman writing – are problematic areas of study given the established theories of best practices that have evolved in concert with our field’s evolution into digital spaces. The subject matter seems especially useful as an object of study given that many discussions of the online or digital classroom in our field often reflect tensions associated with the history of our field’s quest for professionalization. Given the nature of MOOC-based learning systems, questions of best practices and integrity of degree programs are likely to be part of any network.

The demand for online higher education course offerings comes from a variety of sources and stakeholders. The unique characteristics of MOOCs, however, offer additional challenges, many of which mirror common discussions within our field: assessment, access, instructor training / qualifications, questions of labor, plagiarism, student engagement, retention, and pedagogy. Given recent attention paid to the trend of MOOCs by higher education publications (see resources list below), it would appear that this is an area of debate and activity that may promise productive research. For example, MOOC-based composition courses, such as that described in a paper being presented by Sherry Jones’ and Daniel singer at the 2014 CCCC on incorporating gaming in the classroom, also open up new potential for digital pedagogy.

Given the inherent structural nature of MOOCs, it seems self-evident to approach this Object of Study as a network. However, I believe the network (the rhetorical situation of this study) must incorporate more than the rather obvious element of online connectivity among students and teacher. There is the “incorporeal discourse” of which Foucault writes (24) – and what Biesecker might link to Derrida’s concept of “différance” in discussions of rhetorical situation — which might be explored through consideration of the structural / mechanical, economic / business, as well as pedagogical discourses. In short, the network concept offers a way to connect stakeholder discourses with those of the technical and the pedagogical. As I am largely unfamiliar with MOOCs, opportunities for discovery and exploration are rich, and I anticipate unexpected nodes and layers emerging as I progress.

“What is a MOOC?” A Video Explanation.

[youtube: http://youtu.be/eW3gMGqcZQc]

Preliminary List of Resources:

1.  NY Times article Nov. 2012: http://www.nytimes.com/2012/11/04/education/edlife/massive-open-online-courses-are-multiplying-at-a-rapid-pace.html?pagewanted=all&_r=0

2.  Educause resource list: http://www.educause.edu/library/massive-open-online-course-mooc

3.  Businessweek article Jan. 2014: http://www.businessweek.com/articles/2014-01-16/academics-are-down-on-moocs-dot-business-schools-arent

4.  Duke Univ. Coursera Comp I course page: https://www.coursera.org/course/composition

5.  Blog written by a participant in the above: http://stevendkrause.com/2013/06/21/the-end-of-the-duke-composition-mooc-again-what-did-we-learn-here/

6.  Georgia Institute of Tech Comp MOOC course page: https://www.coursera.org/course/gtcomp

7.  Academe blog: “The Gates Foundation and Three Composition Blogs”: http://academeblog.org/2012/12/03/courage/

8.  The Chronicle of Higher Education – “What You Need to Know About MOOCs.” Frequently updated hub of articles:  http://chronicle.com/article/What-You-Need-to-Know-About/133475/

9.  CCCC 2014 – “Composition on a New Scale: Game Studies and Massive Open Online Composition” by Sherry Jones and Daniel Singer

10.  “What Is A MOOC?” EdTechReview.  Image and video. 15 March 2013.