Revolution Lullabye

October 9, 2013

Symposium on Massive Open Online Courses

“Symposium on Massive Open Online Courses.” College Composition and Communication 64.4 (June 2013): 688-703. Print.

This CCC symposium brings together two short essays by Steven D. Krause and Jeff Rice who reflect on their experiences as students enrolled in a massive open online course (MOOC) sponsored by Coursera. This seven-week MOOC offered in July 2012 was entitled “Listening to World Music” and led by University of Pennsylvania professor Carol Muller. The purpose of the symposium is to understand how MOOCs change (or replicate) the traditional face-to-face classroom learning environment and to speculate on how MOOCs or other forms of distance/digital learning could impact the teaching and learning of writing.

“It seemed wise to learn more about MOOCs, and it seemed wise to learn about them from learners – who continue as perhaps the most consistent source of information about writing and learning to write in the field” (689).

Krause, Steven D. “MOOC Response to ‘Listening to World Music.'” College Composition and Communication 64.4 (June 2013): 689-695.

Krause’s response focuses on the MOOC’s writing assignments and the evaluation of those writing assignments. The writing assignments (2-3 paragraph responses to a choice of weekly prompts), coupled with the video-taped lectures and the discussion boards, were part of the course’s basic curricular structure, not really all that different from the structure of lecture-driven courses. At the beginning of the course, the MOOC had registered over 36,000 students; however, only a small percentage (2,731) of that number actually finished the course. To deal with the vast number of writing assignments that needed to be assessed, Muller and her graduate assistants turned over the grading to the students themselves in a kind of “crowdsourced” assessment, with peers evaluating each other’s writing responses based on an (under-explained) 10-point rubric.

Krause notes the problems of this kind of under-directed peer evaluation and response and contrasts it with the research on peer evaluation in the classroom, which does work well given the correct guidelines and constraints. He points out that one of the key issues of this crowdsourced grading is accountability – there is no mechanism to reward or correct good responses or peer evaluations.

In his conclusion, Krause moves beyond discussing and critiquing the MOOC’s writing assignments to comment on the failures of MOOCs and some of their untapped potential. The MOOC he experienced was “content without teaching,” focused only on the delivery of prescribed content, and that delivery itself had a pretty low production value.  However, Krause contends, MOOCs could break out of this static pedagogical delivery model and tap into the collaborative, social, and multimodal possiblities afforded in the digital sphere.

“After all, a MOOC is first and foremost a content delivery platform, one significantly more interactive and dynamic than a traditional printed book. Perhaps future Coursera MOOCs will do better at breaking out of what is essentially a nineteenth-century pedagogy of lectures, tests, and writing prompts that go nowhere. Perhaps it will turn out that writing ‘papers’ for a MOOC makes no sense because it doesn’t take advantage of the possibilities of networked writing” (694).

“So the writing assignments in ‘Listening to World Music’ left me with a feeling I fear some of my own students might share: it didn’t really matter what I wrote because no one (including myself) cared, and I was destined to get the same grade no matter what I did. It was garbage in/garbage out” (694).

“And as we all know as both educators and students, a textbook is not the same as a teacher. If education were merely about content delivery, then Socrates would have been the last teacher and Phaedrus his last student” (694).

The crowdsourcing grading: “It was a strange feeling: even though the class consisted of thousands of students from all over the world, this review process was oddly lonely, even more anonymous than the discussion forums” (693).

Writing assignments in a MOOC: “simulataneously a bold effort at thinking outside the box and a foolish exercise that was doomed for failure at the start, an example of both the grand promise of MOOCs to challenge education orthodoxy and the delusional, wishful thinking of pundits and administrators who think MOOCs will solve various education crises” (690).

 

Rice, Jeff. “What I Learned in MOOC.” College Composition and Communication 64.4 (June 2013): 695-703.

Rice, who was enrolled in the same MOOC as Krause, questions why he ended up not completing the course. He points to the lack of affect in the MOOC structure: the MOOC relied on “nonsocial” videotaped lectures, multiple choice quizzes, anonymous discussion boards, and short writing assignments that failed to keep him engaged in the course (699). He draws on Richard Lanham’s argument about the attention economy, arguing that the interactive, networked, and inventive environment of the Web cultivates more desire and attention than the packaged content available in MOOCs like “Listening to World Music.” Rice argues that digital writing invites participation through aggregation, and that participation leads to occupation and desire. In their current form, MOOCs treat participants as spectactors, unable to invent and truly engage affectively in the material.

“Our current emerging institution, we might argue, is aggregation. Texts, images, ideas, videos, responses, and critiques are aggregating virtually into shifting identites of information encountered in online spaces” (701).

“This aggregation keeps me occupied with a sense of learning unique to network spaces. Being occupied is a feeling, an affective state central to a learning experience or occasion. Being occupied is a state of desire. Being occupied is an occassion for digital aggregation (i.e. learning and expression). When I am occupied, I encounter (as opposed to just ‘watching’). In other words, I want occupation. Pretaped lectures and a message board don’t provide me with that same feeling…My issue with Coursera was not just that its method of content delivery has nothing to do with how content is aggregated online, but that I cannot be aggregated aswell in this particular setup. I am left as spectator. Message board commenter. Watcher of videos. Writer of two paragraphs” (701).

“What Coursera lacks, many higher education courses taught via lecture and graduate student breakout discussion lack as well: emotional occassion” (702).

draw on Jim Corder (the occassion) and Gregory L. Ulmer (avatar)

“The overall question of whether or not to endorse online learning because it will save/destroy higher education – at the level of MOOCs or some other type of iteration – is not a question worth asking because it falls into the cliche trap of face-to-face value or the fear of alleged corporatization. Neither response gets at the issue of desire or occasion regarding learning and how such desire might be facilitated in a digital age where attention functions differently than lecture formats and message boards deliver” (700).

MOOCs as part of a long line of other forms of distance learning (like correspondance courses) (696).

 

May 26, 2011

Enos and Miller, Beyond Postprocess and Postmodernism

Enos, Theresa and Keith D. Miller; with Jill McCracken (Eds.). Beyond postprocess and postmodernism: Essays on the spaciousness of rhetoric. Mahwah, NJ: Erlbaum (2004).

This collection centers on a discussion of Corderian Rhetoric (Jim Corder), a rhetoric that plays between narrative, creative nonfiction, expressivism, classical rhetoric, and academic discourse, asking in various essays how this rhetoric can impact the field’s scholarship and teaching. It looks to see how the field might begin to value nonacademic, nonprofessional writing and rhetoric, including expressive writing, seeing it as something to be practiced and theorized as a legitimate way of knowing.

Corder advocates dialogic rhetoric with the goal of discussion and dialogue instead of “winning” an argument.

Quotes and Notes

A collection inspired by and dedicated to Jim Corder (“Argument as Emergence; Rhetoric as Love”); Corderian rhetoric, pushing boundaries of academic/nonacademic rhetoric, style – a combination of classical rhetoric and expressivism

“Certainly, rhetoric and composition studies is now – and perhaps has always been – a complex field characterized by agreements and tensions, as bodies of thought crash, merge, and shift like the tectonic plates of the earth’s surface” (vii)

“gentle persuasion” (ix)

Corder wrote Uses of Rhetoric, was a friend of Winterowd, Berlin, Corbett, Kinneavy, D’Angelo, Burke.

Explored ancient, modern, postmodern rhetoric, weaving them together in his own thinking.

 

Enos and Miller, Beyond Postprocess and Postmodernism

Enos, Theresa and Keith D. Miller; with Jill McCracken (Eds.). Beyond postprocess and postmodernism: Essays on the spaciousness of rhetoric. Mahwah, NJ: Erlbaum (2004).

This collection centers on a discussion of Corderian Rhetoric (Jim Corder), a rhetoric that plays between narrative, creative nonfiction, expressivism, classical rhetoric, and academic discourse, asking in various essays how this rhetoric can impact the field’s scholarship and teaching. It looks to see how the field might begin to value nonacademic, nonprofessional writing and rhetoric, including expressive writing, seeing it as something to be practiced and theorized as a legitimate way of knowing.

Corder advocates dialogic rhetoric with the goal of discussion and dialogue instead of “winning” an argument.

Quotes and Notes

A collection inspired by and dedicated to Jim Corder (“Argument as Emergence; Rhetoric as Love”); Corderian rhetoric, pushing boundaries of academic/nonacademic rhetoric, style – a combination of classical rhetoric and expressivism

“Certainly, rhetoric and composition studies is now – and perhaps has always been – a complex field characterized by agreements and tensions, as bodies of thought crash, merge, and shift like the tectonic plates of the earth’s surface” (vii)

“gentle persuasion” (ix)

Corder wrote Uses of Rhetoric, was a friend of Winterowd, Berlin, Corbett, Kinneavy, D’Angelo, Burke.

Explored ancient, modern, postmodern rhetoric, weaving them together in his own thinking.

January 28, 2009

Tate, Teaching Composition

This blog entry is a comparison of the table of contents across two editions of Gary Tate’s bibliographic essay collection, Teaching Composition. I’m looking at a couple of these composition guides intended for beginning composition teachers and/or entering graduate students in the field to see how they change over different editions and to correlate the publication dates with major movements and trends in the history of composition pedagogy. I see the table of contents and the terms that the chapter titles use as a map that can suggest these transformations in how we view the field of composition and its pedagogy.

Tate’s collection pulls together bibliographic essays that scan the literature written about different parts of the field. Each is written by an “expert,” and it’s interesting to see what constituted different areas and specialties in the field in 1976 and in 1987. There hasn’t been an edition published since, probably due to the sheer number of articles, books, reviews, and other scholarship published in rhetoric and composition since 1987. Plus, there are more databases and other ways of finding relevant scholarship now that weren’t in place in the 1970s and 1980s.

Tate, Gary, ed. Teaching Composition: Ten Bibliographic Essays. Forth Worth: Texas Christian UP, 1976.

Young, “Invention: A Topical Survey”
Larson, “Structure and Form in Non-fiction Prose”
Corbett, “Approaches to the Study of Style”
D’Angelo, “Modes of Discourse”
Shaughnessy, “Basic Writing”
Comprone, “The Uses of Media in Teaching Composition”
Winterowd, “Linguistics and Composition”
Korder, “A Rhetorical Analysis of Writing”
Kinneavy/Kline, “Composition and Related Fields”
Giannasi, “Dialects and Composition”

Tate, Gary, ed. Teaching Composition: Twelve Bibliographical Essays. Fort Worth: Texas Christian UP, 1987.

Richard Young, “Recent Developments in Rhetorical Invention”
Richard Larson, “Structrue and Form in Non-narrative Prose”
Edward P.J. Corbett, “Approaches to the Study of Style”
Frank D’Angelo, “Aims, Modes, and Forms of Discourse”
Richard Lloyd-Jones, “Tests of Writing Ability”
Mina P. Shaughnessy, “Basic Writing”
Andrea Lunsford, “Basic Writing Update”
Jennifer Giannasi, “Language Varieties and Composition”
W. Ross Winterowd, “Litearcy, Linguistics, and Rhetoric”
Joseph Comprone, “Liteary Theory and Composition”
Jim Corder, “Studying Rhetoric and Literature”
James Kinneavy, “Writing across the Curriculum”
Hugh Burns, “Computers and Composition”

Some things I notice: “dialects” turns into “language varieties;” the “basic writing update;” Winterowd’s chapter now includes literacy and rhetoric in the title; “media” becomes specifically computers; addition of writing across the curriculum as an area of interest and research; introduction of the term “rhetoric” in two of the chapter titles; “modes” of discourse becomes “aims, modes, and forms”; new chapter on assessment with “tests of writing ability.”

What these might suggest: turn away from linguistics and toward rhetoric; beginning of interests in cultural studies and the rhetorical practices of minority groups; seeing composition as an administrative force in the academy (with both chapters on WAC and assessment); move away from traditional notions of style, arrangement, and structural form to a more social approach to the teaching of writing; lots of growth in the reseach in basic writing and literacy.

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