Tag Archives: network

Coda: Rickert’s Wonderful World of Oz Meets Pocahontas

First, an aside: I couldn’t stop myself from thinking of this scene from The Wizard of Oz in an entirely new way. While it’s clearly made with the human worldview of home in mind, I began to think of the technology of the sepia tone, the production tools, the stage scenaries and props, a plot filled with concepts of place in terms of time and dreams, the natural (i.e., the tornado). Thanks a lot, Rickert.

I get it. There’s a pattern here; I think I finally see it. When I started reading Rickert’s Ambient Rhetoric, I thought this was a logical next step to our discussions of ecology, ecosystems, affordances, agency, and ANTS, to bring us full circle to Rhetorical Situation where we began. I had no problems buying into Rickert’s premise that the subject-object binary and rhizomatic network pathways so common to discussions of Internet network theories might need some additional theorizing to be really useful. After all, that’s what FrankenTheory building is all about, right? Taking the theories of others and repurposing them or resisting them to fit an application or case study we see as worthy of analysis?

Cave paintings

Cave paintings

So I enjoyed this text and found innumerable ways to connect it to AND frame our semester’s worth of reading. Rickert’s visit to antiquity – from cave paintings to Aristotle to Plato, to (dare I say it?) the 1970s ambient musician Eno and Microsoft Windows’ early operation system music all created a foundational premise for his argument that was quite engaging. I drank in his discussions of complex systems as evolving environments where – like Deleuze’s rhizome metaphor – the human subject is no longer “all that” given the way our networked lives have evolved to become, well, cyborg like. His discussion of the Earthrise image and the rhetorical nature it reveals, the importance of distinguishing between things and objects – it all really makes sense to me. In fact, I found Rickert articulating so well what I’ve envisioned for many years now: humans and our worldviews err in seeing ourselves through the lens of the “I” for it ignores the almost spiritual balance of existence. I’m avoiding using the words “ecosystem” and “ecology” because Rickert problematizes them in significant ways in Chapter 8, but if delivered through the ambient, these terms may be rendered “safe,” revealing (as he argues) ways these concepts and theorizing “place” as ambient “can be transformative … when it affects our mode of being in the world, making our relationship to the earth not that of subject to depicted object but that of mutually sustaining assemblages of humans and nonhumans fitted into an ecologically modulated world” (218).

I thought of the many movies I’ve watched over the last decade or more with an ecofriendly message – Wall-E, Avatar, Fern Gully, and the one that started it all, Pocahontas – and thought how even the rhetorical moves embedded there remained somewhat human-centered. Even when the messages (as Rickert points out) encourage an eco-consciousness, they still localize the human agency as primary, with rhetoric in persuasive mode rather than a transformative ontological relationship (163).


Even though Pocahontas’ “Color of the Wind” comes close to how I started envisioning Rickert’s approach to ambient rhetoric as “one in which boundaries between subject and object, human and nonhuman, and information and matter dissolve” (1), it soon became clear that it missed one of the features of an ambient rhetoric in terms of how “rhetoric’s comportment toward objects in turn shapes rhetoric itself” (204). As Rickert observes, ambient rhetoric:

  • Can’t be separated from “material being,”
  • Emerges from the environment,
  • This emergence and relationship aren’t simply due to human direction, and
  • In “grappling with these entangled, mutually coevolving and transformative interactions among persons, world, and discourses,” we will need “a new appreciation for…their complexity” (163).

In other words, environmental messages miss the mark when it comes to successfully achieving a rhetoric of ambience. I can already see the benefit of this revisioning to comp/rhet, and thought again and again of how this book takes the call to remap the canon of rhetoric made by Prior et al. in a new direction.

Rickert’s journey through Latour, Heidegger, Foucault, and others clearly qualifies as a FrankenTheory, finding and resolving a gap in the scholarship that – by pulling interdisciplinary threads – offers a richer theory. At the heart of this is the object/subject dichotomy and, as he argues, its continued control of our theories and applications of rhetoric. Rickert’s Ambient weaves together theorists of sociology, psychology, classical rhetoric, linguistics, and more as a means of exploring how these often stumble over a continued reliance on this either/or scenario. As the Borg would say, Rickert is taking the “biological and technological distinctiveness” of others’ theories and rhetorical history and adding it to his own to deal with our culture’s (and our field’s) “standard technological quandary where we are either masters of technology or by technology mastered” (204).

His turn to the technological has ramifications for the way MOOCs are currently being theorized as places of learning and places for teaching. His exploration of the image Earthrise as ambient was just the start. His argument that even the network metaphor is insufficient for the task is compelling, pointing out that it still relies heavily on a binary conceptualization of our complex system of inhabiting (122), a flaw he asserts is addressed by his theory of ambience.

Figure 2. Optical array and its variation following the observer position (from J. Gibson, 1979)

Figure 2. Optical array and its variation following the observer position
(from J. Gibson, 1979)

While looking for appropriate images to supplement my post this week, I came back across Maury’s recent post on her 3rd case study, which embedded an image from Gibson’s 1979 work on affordances and the visual similar to that on the left. I found these images to be especially productive in terms of thinking of what Rickert was framing in his book on rhetoric and ambience as the “I” centeredness of rhetoric’s history of discourse and meaning (and the way we often continue to theorize rhetoric and networks in a technological era of MOOCs and communications’ technology). Earlier in the term, I considered Latour’s actants as a way to frame discussions about Composition MOOCs, but Rickert layers in Heidegger seem to carry it a step further: “things make claims on us that help constitute not just the various kinds of knowledge we produce but also our very ways of being in the world” (229). In the case of a MOOC, many scholars (who resist dismissing education MOOC technologies as pedagogically blasphemous) would likely agree with this, and certainly Gibson’s theory of affordances would align neatly here. I can see how conceptualizing the online environment of a MOOC as an ambient place, where learning happens not merely at the direction of the human teacher/student, but also when theorized and discussed in terms of ways the diffusion of knowledge through such a complex system must always already be seen in terms of Foucault’s traces. Indeed, at times I wondered in the marginal comments in my book at whether ambient rhetoric is Foucault’s trace metaphor reborn. What would happen if we discussed learning / teaching / collaboration / writing in a MOOC in terms of “dwelling”? How might that open up the discussion about MOOCs as place and the technology’s impact on design as actant / ambient / attunement? In fact, Rickert’s chapter 7 provided me with a host of new ways to discuss the tensions of the place of MOOCs in education. His exploration of the concept of “dwelling” as an “ecological attunement to the environment” (223) may suggest students and teachers (human actants) are less well served when seen through the “worldview” of a God’s eye perspective and its resulting treatment of objects / subjects and their interpretation (224-25). In fact, Rickert’s theory of ambient rhetoric highlights the cultural lens that may have been at the heart of one of my arguments that a “nostalgic” approach to face-to-face pedagogy is at the core of some of our field’s tensions when it comes to online pedagogy practices.

Really, Rickert’s work brought together for me much of our semester’s trajectory. His theorizing is thick with name dropping, clearly demonstrating how to build a FrankenTheory to fill the gaps made visible by those who have come before. Throughout the work, he builds upon Heidegger’s theories of rhetoric in interesting pathways, reinforcing his view that an ambient rhetoric is preferred over traditional rhetoric in the way it becomes “a responsive way of revealing the world for others” (162). His book brought to mind rhizomes and networks, hardware and ANT. For me, even our final mind map took on new meaning as I read his argument that “the complex cannot be…analyzed through…the component elements but rather enters a new state of order … that transcends the initial state” (100). As we watched our mind maps grow in complexity, we might also say we have been“haunted by increasing points of connection but also by their interactive emergence into new forms” (101). Thus, after reading Rickert, I found myself wondering if being asked to reconceptualize and recreate our semester’s worth of work in Popplet might have been the plan all along.

Coda: it seems only appropriate that I conclude my final reading post with a rerun…

"The A Team": Dr. Romrigo

“The A Team”: Dr. Romrigo

Works Cited

Rickert, Thomas. Ambient Rhetoric: The Attunements of Rhetorical Being. Pittsburgh: University of Pittsburgh Press, 2013.

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.


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.


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.


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.

Mind Map: Ecologies Part II (March 30th)

Link: http://popplet.com/app/#/1571354

Last week’s activities asked us to apply our network questions to the Ecology readings of Syverson, Spellman, the Cary Institute, and fill in the gaps with Guattari, resulting in new connections for my mind map. And even though Syverson’s was the “applied Franken Theory” example, I really found that article the most compelling (thanks to its connection to Composition, relating back to my OoS). It situated the theory in an already moving, dynamic system with concrete nodes of application and inquiry, reminding me that this is exactly what we’re creating in Popplet.

My take-away from this week’s map has to do with the ways in which definitions shape our application of theory. Granted, that is an obvious observation, but thinking of ecology in terms like agency, networks, and nodes made me realize what a very useful theory it will be when working with my OoS: MOOCs. Even though, as Dr. Julia pointed out, the Academy sees Ecology as a “mushy” science, I believe it is that flexibility that makes it such a dynamic and useful framework with which to examine complex systems — and composition classrooms are certainly complex.  One of our group members in our Google Doc activity last week posed this question: “What is “meaning” in the ecosystem? Is it the interaction among environment, organisms? Is it the tension between these?” This question of meaning must certainly begin with the way we define an ecosystem, and since meaning evolves from perspective, our role and position within that ecosystem — our agency as participants — must become part of our analysis (or so says Guattari).

Our class conversation pointed to a possible reason why I was not entirely comfortable with Latour’s ANT approach, one which Ecology may answer. When we deal with humans and technologies and communications, the variables resist the sort of “flattening” Latour asks us to do. As Dr. Shelley remarked, Latour’s emphasis is on the individual’s trajectory, not the group itself. While this certainly serves a useful purpose in some situations,  in systems within which collaboration and connections are as dynamic as they must be in an “ideal” composition classroom (where the teacher is not the arbiter of perfect knowledge), I’m not always convinced the individual writer is the only player with agency. As the ecological readings point out, it often comes down to how we “scale” what we’re theorizing.

Mind Map Week of March 30th

Mind Map Week of March 30th

So, in my mind map for this week, I “up-scaled” an image to try to show “the big picture.” I made several new connections between our recent readings and some of our previous topics (Foucault as well as the “Where I Write” activity) based on this sense of being part of this emerging ecology of thinking, reading, and theorizing (although I think the Ecology readings could connect to every node in my map in some way). Thus, this is why I included an image (or “snapshot,” as Dr. Shelly called it) of the entire network as one of my Popplet nodes with the subtitle, “Ecologies: What It’s Really All About.” Here is where Guaterri makes a big difference for me — humans / students / teachers are not simply observing the ecosystem. As participants and framers simultaneously, we must see ecology — not from the God’s eye view — but through a lens placed “deep in the weeds,” as part of that ecosystem, with an awareness that as the ecosystem changes we are changed as well. It’s always already in motion.

Revisiting the Proposal: March 30

cyborgbrainDonna Haraway has been credited as one of the first to use the term “cyborg” to describe our relationship with the Digital, as we become “hybrids of machine and organism” (151). The field of English Studies, and in particular Composition Studies, has wrestled with theorizing digital space itself as well as the best practices for operating within (and toward) that space, particularly in terms of pedagogy. The scholarship published on this subject in the 1990s, such as that published by Haraway, Selfe, Inman, and others, ranged from discussions of computer interfaces and hardware (Baron) to writing in hypertext (Sosnoski, Johnson-Eilola). The MOOC now extends this discussion in ways that often feel familiar, but create very new spaces in which to theorize composition pedagogical practices and professional tensions.

My Object of Study for this course is still MOOCs, or Massive Open Online Courses, designed to teach freshman-level writing. 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. There are two distinct “breeds” or genres of mooCs, which might be defined along pedagogical lines: the cMOOC and the xMOOC.

What Is A MOOC?

What Is A MOOC?

Specifically, I plan to examine Composition MOOCs, as writing courses – especially freshman writing – as 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.

Thanks to the readings involved in my first two Case Studies, my concept of MOOCs has evolved, especially as I have traced the layers of opposition and possibility represented by the scholarship. The rhetoric of space has emerged as a distinct node in this debate, one which offers possible opportunities for discovery and exploration in terms of theorizing Composition MOOCs.

The underlying foundations of classroom writing practices are framed by physical brick-and-mortar, f2f classroom paradigms. Will the characteristics of MOOCs, framed as they are as “massive” and “open,” challenge those paradigms in a way that demands a reconsideration of our definitions of composition pedagogy? In other words, can we still talk about pedagogy and composition in MOOCs in the same way we talk about them in more traditionally (i.e., f2f spaces) informed classroom spaces? For example, teaching “digital writing” from the perspective of producing texts that will be assessed in a classroom capped at 20 may not share the same features as teaching “digital writing” in a completely digitally interfaced classroom that has no cap at all. Will we then, as Prior et al. argue, need to “remap” the canon of Composition instruction as a result of the pressures brought to bear by this new iteration of networked classroom space? Theorizing this Object of Study in terms of a digitally networked space may help answer such questions.

As I said in my first proposal, 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. Applying a variety of theories to composition MOOCs has provided a deeper sense of the possible, leading to additional ways to think of this object of study as a network and why that may be important to English Studies.

Works Cited

Baron, Dennis. “From Pencils to Pixels: The Stages of Literacy Technologies.” Passions, Pedagogies, and 21st Century Technologies. Eds. Gail E. Hawisher and Cynthia L. Selfe. Logan, UT: Utah State UP, 1999.

Foucault, Michel. The Archaeology of Knowledge and The Discourse on Language. Trans. A. M. Sheridan Smith. New York: Vintage Press, 2010.

Haraway, Donna. Simians, Cyborgs, and Women. London: Routledge. 1991.

Johnson-Eilola, Johndan. Nostalgic Angels: Rearticulating Hypertext Writing. Norwood, NJ: Ablex Publishing, 1997.

Jones, Sherry and Daniel Singer. “Composition On A New Scale: Game Studies and Massive Open Online Composition.” CCCC 2014.

Sosnoski, James. “Hyper-Readers and Their Reading Engines.” Passions, Pedagogies, and 21st Century Technologies. Eds. Gail E. Hawisher and Cynthia L. Selfe. Logan, UT: Utah State UP, 1999.


1.  NY Times article Nov. 2012


2.  Educause resource list


3.  Businessweek article Jan. 2014


4.  Duke Univ. Coursera Comp I course page


5.  Blog written by a participant in the above


6.  Georgia Institute of Tech Comp MOOC course page


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



Latour & Spinuzzi Together Again: Reading Notes Post part II

Continuing from my previous post — I just couldn’t wait to share those two videos — So, back to Latour.

Let me start by saying — Flick’s facial expression in the image below captures my mindset while trying to correlate Latour and Spinuzzi‘s dance of AT-ANT. I rather feel as though Spinuzzi tossed me a lifeline toward getting a better handhold on Latour’s theory (which he says is not a theory at all), but I’m not quite on safe footing yet. In fact, even as I reread my marginalia, I find myself jotting down still MORE questions. So, to be safe, in this blog I’ll focus only on a few passages and concepts that provided discernible leverage for me on this climb.

Flik in danger A Bug's Life

(c) Disney A Bug’s Life

1.  Several of Latour’s ideas in the latter part of the book stood out to me, but I think it’s worth focusing on the chapter in which Latour creates an imaginary dialogue in the chapter entitled “The Difficulty of Being An ANT.”  Specifically, Latour’s assertion that ANT is a “negative argument” (141) at first seemed appropriate given the rather adversarial quality of his argument, and given Spinuzzi’s side-by-side look at AT and ANT as voices commonly treated as competing theories. But Latour also claims that it is “by comparison with other competing ties that any tie is emphasized” (32). Doesn’t a “negative argument” suggest a counter or negation rather than an illuminating relief, or potential “tie”? Certainly, that is how Spinuzzi approaches it, if I’m reading him correctly, when he writes on page 72 that such “contradictions” should be treated — not as binaries or negations — but as “historically accumulating structural tensions within or between activity systems” (quoting Engestrom). Indeed, I’m rather partial to the notion that we find more productive theorizing potential when we focus our lenses on areas of tension, borders (why, hello again, Monsieur Foucault), or threads of activity / movement. So, I seem to be standing on a bit of a fulcrum, but I find Spinuzzi’s approach to competing theories of networks to be a more compelling approach to this mapping expedition. Rather than choosing one path over another, seeking “common ground” (94) may be the more productive means of understanding these two lenses … reminding me at this very moment of our Case Study approach to a single Object of Study. Rather than seeing the dissensions as nodes of work-stoppage, I think I’ll find more productive leverage by seeking out — as Spinuzzi suggests — nodes or “points at which the approaches can inform each other” (95).

Mapping the Journey

Mapping the Journey

So, yet again, the borders are our friends — but what does that border look like? Is it a place? A space? An unseen trace? An actant? An acton? A Theoretical domain (like cultural historical nodes)?  A form? Is it the destination or the journey we need to be theorizing?

2. Latour’s critique of frameworks (137) led to a marginal comment of mine: “is this how a MOOC becomes a contested object / space when treated only as a genre of pedagogy / class type?” Latour points to the dangers of “descriptions” vs. “explanations” in his “Fifth Source of Uncertainty” chapter, which reminded me of a MOOC article I’m reading as part of my 2nd case study. He argues that once “a site is placed ‘into a framework’, everything becomes rational much too fast and explanations begin to flow much too freely” (137). I’m struck by how composition pedagogy over the decades has gone through stages of envisioning what “the perfect teaching classroom” should look like — from the Banker’s Model described by 1899classroomused_by_david_buckingham_in_-scaled1000Freire (see image on left on the predictions of an 1899 artist) to the “sage on the stage” to the student-centered / collaborative classroom we boast of today. But online classrooms have become contested borders, defining the “best” classroom model through the f2f standard. As Johnson-Eilola points out in Angels, the “nostalgia” (22) effect could be what Latour is describing as a “framework” into which all of our notions of learning are sealed. Is that what we want? Is that what a MOOC might challenge? And aren’t frameworks sometimes good things?

3.  Further, Latour defines a network as “a tool to help describe something, not what is being described.” I think this semester we’ve seen it applied effectively as both, and I wonder if it’s possible to use it only as one rather than the other, given the nature of network-noun / network-verb. There was a part of the Latour dialogue that led me down one of those “rabbit trails” that seem more and more purposeful, especially if we are to accept Latour’s claim that these trails are really where our focus should be.

4.  Finally, back to the imagined conversation between student and professor. Question: “what can it do for me?” (Latour 141). Answer: ANT is “a theory…about how to study things, or rather how not to study them — or rather, how to let the actors have some room to express themselves” (141). The learned professor goes on to point out that this may prove especially useful when “things are changing fast” and traditional theoretical frameworks are simply too rigid to follow suit. For my object of study — composition MOOCs — this may be useful. But wait — isn’t an anti-frame a frame itself? Latour-in-cognito-as-Professor observes that ANT “says nothing about the shape of what is being described with it” (142) — I rather like his twist on the word “worknet” as opposed to “network” (143) — but we are treating all of these theories as ways of framing a discussion about objects of study, a way of thinking and articulating concepts in a way that applying them in a practical way is more than possible — it’s productive. Does this mean that in exploring the ANT along all its twists and turns, it is more an “actor / actant” than a theory-as-tool?

There are plenty of other questions like these in my book margins, but I’m also finding a need for a running list of the vocabulary — especially since some of the terms are being contested and applied in varying ways. I’ve only just started creating this gloss, but I did locate a helpful List of Key Terms for Latour, while others that I’ll need to keep track of are:

  • Controversy – tracing the Nodes, connections
  • Actors
  • Informants
  • Intermediaries
  • Mediators


Works Cited

Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network Theory.” New York: Oxford UP, 2005. Print.

Spinuzzi, Clay. “How Are Networks Theorized?” Network: Theorizing Knowledge Work in Telecommunications. New York: Cambridge UP, 2008. Print.

Latour & Spinuzzi Together Again: Reading Notes Post part I

I suspect that the following video has been sourced in others’ posts (I  spotted it on Daniel’s after posting), but I found it packaged Latour‘s sometimes rambling / sometimes ranting first half. I must admit, his critique of the Activity Theorists and Sociologists made me laugh at times — he’s clearly quite secure in his position as critic — but by the time I made it through the 2nd half of the book, I found his posturing a bit disconcerting, especially having just read Spinuzzi‘s chapter on Networks  encouraging common ground.


Latour‘s work seems to be both theoretical as well as application — given his  examples of “how it works” embedded throughout the text. But I actually found our second reading for the week, Spinuzzi‘s chapter “How Are Networks Theorized?,” to be a helpful translator for Latour’s book, written as it is to be an overview of the tensions between Activity Theorists and Actor-Network Theory proponents. Indeed, I’m finding myself drawn more and more to both Foucault and Spinuzzi’s ways of translating theory to real-world frames (certainly no surprise, given their alliances), all the while thinking of how much it seems we’re still grappling with genres — only this time, the theories themselves are the genres. This struck me especially when reading about the “contradictions” versus “alliances” Spinuzzi writes about in his “Network” article. The attempt by Latour to categorize ANT and AT by examining their conventions of practice and reference certainly reminds me of genre theory, and Latour’s and Spinuzzi’s insistence that we trace the contradictions and conflicts as a way of truly understanding the activity / actor node theorizing priorities, certainly echoes the advantages of genre tracing (Spinuzzi again).

But Latour’s attention to science as part of his argument really appeals to me, given my background. So much so, that when I found the following RSA – TED video, I thought to myself, “THIS captures so much of our discussion over the past few weeks.”

More thoughts on Spinuzzi’s Network Chapter and Latour’s 2nd half in Part II.


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.



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.


Synthesis Post: What did I learn from the Annotated Bibliography?

synthesis image

Michael Babwahsingh: “Putting Visual Thinking to Work”

First of all, let me say that after reading classmates’ bibliography posts, I’m convinced I must read this publication in its entirety. For this post, however, I chose to focus on readings reviewed by Maury and Summer.

I selected Maury’s post as she worked with an article that centered on rhetorical concerns of assessment models. Maury’s reference to the actual steps used to create the assessment rubric by Van Kooten and her students was – I think – particularly helpful in terms of referring back to using “existing systems” (print media networks), reminding me of some of the How Stuff Works articles describing WiFi. Such rubric building processes may suggest not only the “shortcomings” (Maury’s notes) of previous creations meant for another type of genre, but may also be worth examining in order to peer into how this new genre reveals a situational as well as theoretical gap. I’m reminded here of Foucault’s emphasis on the value of examining disruptions as a way to “disconnect the unquestioned continuities by which we organize, in advance, the discourse that we are to analyze” (Foucault 25). In the case of this article, those “unquestioned continuities” are the traditional rubrics of text assessment.

Summer’s entry focused on an article highlighting the “Language of Evaluation” and the “Language of Instruction.”

Her post reminds me further that the culture – might we say genre culture? – that guides and informs the logic and vocabulary of its discourse is often invisibly bound by the threads of its origins in text (again I’m reminded of Foucault’s archaeology as an analysis tool, which is proving useful time and again). Summer’s observation that the assignments described in the article represent “a network unto themselves between different kinds of technologies, students and teachers” etc. as well as a “network of shared skills” through collaborative work is particularly useful to me as I begin to think about how to explore the MOOC structure of my OoS. It reminds me that the concept of network can serve us well on multiple levels: visualization, logic and rhetoric, mechanical and organic structures. The web of possibilities is taking shape!

Spider Web Fractal by RavenMadArtwork

Spider Web Fractal by RavenMadArtwork

HTW Activity Response 2: Daniel’s Social Network Nodes

I may be an oddity, because I only use one social networking site: Facebook. I have a Twitter account, but never use it. I know Google Hangout exists, but I haven’t used it either. So, I thought I’d subdivide the ways I use FB through some of its built-in naming or organizational tools that are designed to create network nodes: family, friends (with some overlap through work), and membership in groups. I completed this activity shortly after completing Leslie’s activity on Buses, and so when I began to draw connecting lines between groups, I began to think of how a single line can represent a means of transferring data … which I think this illustration implies. What this image could have included as well are unseen / untracked dispersion patterns. Facebook allows sharing, which often leads to data moving iSocial Network_ HTW Activity (Daniel)n unexpected, sometimes unintended ways. For example, I see a lot of interesting material posted on my ODU groups, which I then Share with either Friends or Work acquaintances because I see relevant applications / appreciations there. So does that mean I serve as a sort of CPU, or is that the Facebook space? And these connecting lines I’ve drawn — I’ve represented them as “serial buses,” but would it have been more accurate to represent them as “parallel buses”?

Interesting cross references here!