ENG 328 11.M: Something Awesome / Prepping the Crucible Design Project

Today’s Plan:

  • Calendar Revisit
  • Sharing Design Something Awesome Proposals
  • Crucible Design Project
  • Setting Up a Multi-Page Document in InDesign (Master Pages?)
  • Homework

Calendar Revisit

Week 11: Crucible Design (Monday: Design Something Check In / Setting Up a Multi-page Document in InDesign / Master Pages; Wednesday: Provided Final Copy, In-class image/text layout exercise)
Week 12: Crucible Design; Gift Progress Check
Week 13: Crucible Design
Week 14: November BREAK
Week 15: Random Acts; Gift Share [Show us the physical thing on Friday, December 3rd / Pizza and Course Evals]

Sharing Design Something Awesome Proposals

I am particularly interested in any research on print production.

Crucible Design Project

Starts Wednesday (team formation, examining the copy, project requirements and due dates).

Setting Up a Multi-Page Document in InDesign / Introduction to Master Pages

Today we are going to set up a document template for the Crucible project. Additionally, we are going to set up a very simple Master document with page numbers.

  • New Document > 6×9 > 32 pages
  • Pages panel (None vs Master)
  • Rename Master
  • New Layer > Text Box > Page Numbers
  • New Master
  • How to Edit a Master

If you want/need to review Master documents in your InDesign CRiaB, see the chapter on Setting Up a Document and Working with Pages.

Homework

If you’ve completed your proposal, then you are good for Wednesday.

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ENG 225 11.M: From Proposals to Research

Today’s Plan (Note: this might be the final class notes of the semester):

  • Rest of Year Calendar
  • Signing Up for Conferences
  • Academic Paper Arrangement Overview
  • Writing a Lit Review
  • Reading Academic Research
  • Homework

Rest of Year Calendar

Here’s how I see the rest of our semester:

  • Week 11 [Nov 1-5]: Writing Your Lit Review
    • Deliverable: Due Sunday, add Research Synthesis to Proposal Document
  • Week 12 [Nov 8-12]: Conducting Primary Research / Playing Your Game / Moar Research:
    • Deliverable: Work Log Entries
  • Week 13 [Nov 15-19]: Drafting Your Paper
    • Deliverable: Conference Progress Check [Submit paper to Canvas midnight before your conference]
  • Week 14 [Nov 22-25]: Thanksgiving [Drafting Your Paper]
    • Submit Drafts by Tuesday Nov 23rd
  • Week 15 [Nov 29-Dec 3]: Revising Your Paper / Research Presentations
    • Deliverable: Submit Google Slides and give lightning talk
  • Week 16: Submit Final Paper by Wednesday Dec 8th

Week 11 & 12: Research Synthesis and Work Logs
For the next two weeks, you will add work material to your proposal document. This week, you should grind through whatever Future Research you listed in your proposal, following the annotation guidelines that I develop below. This weekend, you should synthesize your research into a “literature review,” which I discuss further below. You can write up the lit review in your proposal document, I will be scanning through them on Monday morning (Nov 8th).

What you do next week will vary depending on your project. Let’s call it “get shit done week.” Some of you will have more research articles to read and add to your synthesis. Some of you have a video game to play and log. Some of you have a survey to finish, or a focus group to conduct. Whatever you have to do to write your paper, do that week 12 (Nov 8-12). Do it. DO IT.

Week 13: Signing Up For Conferences
We will not be meeting face-to-face for class during Week 13 (the week before Thanksgiving) or Week 14 (Thanksgiving week). In place of class, I will be meeting with you 1 on 1 to check in on your paper progress.

There is a sign-up sheet with potential meeting times.

You will submit a copy of your draft prior to our conference (Week 13: Paper Draft for Conference). You should come to the conference with a specific question / idea of what you’d like to work on. At this point, here’s what I’ll be looking for:

  • You have a lit review
  • You have collected all your “data” / played your game
  • You have drafted your discussion section(s)

NOTE: I’m not going to look at your introduction yet! I want to see that you’re doing the intellectual labor you need to do.

Week 14: Thanksgiving

You will submit a complete-not-a-mess-this-deserves-to-be-graded draft of the paper on Tuesday Nov 23rd. Early submissions are welcome. I will comment on these papers over the Thanksgiving break.

Week 15: Final Papers and Research Presentations

On Monday, November 29th, I will go over writing introductions for your final papers and review APA format and what have you (whatever common issues come up in the drafts). We’ll do some grade norming in class, looking at past papers. You will all do a 5 minute presentation of your final research materials (Lightning Talk) as well.

You will have this week to revise your papers; final submission is due Wednesday December 8th.

Academic Paper Arrangement Overview

As we move from secondary research (reading articles) to primary research (playing your game), I wanted to review the overall paper structure. My goal today is to give you a clearer sense of how to outline your paper, and how/where the research you’ve already done might fit into that outline.

Of course, there is no one way to organize a paper. But there are some basic principles I can lay out that will work in most situations (genre here also matters, there’s a big difference between a research report and an argumentative essay–the former is more formal and suggests the structure I lay out below, the latter is more informal and allows for more creative play).

The standard science or social science outline looks like this:

  • Introduction: Articulates the problem that generated the research question(s). Poses the research questions clearly. Lays out the thesis: which is the answers to the research questions.
  • Literature Review: This reviews previous research on your topic. As I’ll show below, there’s a lot of ways to “group” this research; you should organize this section around ideas, not around individual articles: that is, make sure your paragraphs open with a strong topic sentence that makes a claim about what/how researchers/scholars are discussing (something). Then group and discuss which scholars are doing that work (and how they are doing it–brief descriptions of methods, findings, and discussion, concise synthesis of your research annotations). See below for more information.
  • Methodology: This section generally needs to do 3-4 things (in our case, most of you will only do two of them). I will go over these below.
  • Data / Findings / Discussion: Sometimes you will see these sections separated–especially in the hard sciences where your data can be presented as numbers, graphs, and tables. Some of you are working on papers that involve this kind of research (Jade, Ainsley, Chris). In these papers, you will see one section for Data (or Findings) and another section for Discussion, in which you compare your findings to previous studies in the literature review (noting what agrees and what disagrees with previous findings), you highlight and explain unexpected findings, and you suggest the impact of these findings (what they mean for the field, or what changes they suggest are necessary to our world–note that sometimes this happens in the conclusion).
  • Conclusion: I think conclusions are quite hard to write; they have to summarize the entire paper (which, REMEMBER, the introduction should do) and either end emphasizing a change (if you did not do this in the discussion), a hope, a direction for future studies (say, what you would do next or what you would have done differently if you could start over or had more time).

Many of you are not writing a social science, experiment or quasi-experimental paper (that is, you aren’t developing a survey, measuring something, counting anything, etc etc). You are doing a more humanities-focused approach, one in which you interpret a “text” to discover hidden meaning, social/personal significance, cultural reflection, etc etc. But–and I hope you already see this–your papers, like our Sicart papers, are following something pretty close to this approach.

These papers still use a literature review, one in which we survey previous interpretations of that text (or, in our case, game). Some of them might be more relevant to our study than others. These papers often also include a methodology, even if we do not label it that. That is where we lay out a way of thinking about texts–we construct a “critical lens.”

For instance, in our Sicart papers, we explicated three criteria that he identifies as essential to developing meaningful ethical game play: player complicity, wicked problems, and forced reflection. Your papers then turned to examine scenes from video games and assessed how well they executed these elements. Some papers argued that games created powerful, meaningful ethical experiences without using these criteria.

I am currently working on a paper comparing Walking Dead to The Last of Us, arguing that the particular form of engaged witnessing Last of Us evokes engenders powerful and empathetic moral reflection, even if we (as players) do not feel complicit in the choices “our” protagonist makes. So, I establish Sicart and use his theory to read Walking Dead and explicate its effectiveness, but they use A Last of Us to illustrate how games can leverage our genre expectations (making difficult choices) to amplify moral experiences (by taking the choice away, making us live through the choices made by another). In my literature review, I talk about the power of books and film to also make us witness and experience, but argue that the interactivity/engagement of games, and the emergence, development, and popularity of the “ethical choice” game amplifies the power here (games are special!). My point here: for pedagogical purposes I want everyone to follow the paper format above; for the more interpretive papers, you will replace the Discussion section with substantive headings that “label” your analysis (e.g., Maternal Imagery in Silent Hill 2, Wicked Problems in Dragon Age: Inquisition).

Writing a Literature Review

Let me tell you a story. Once upon a time I co-wrote a research article on multimodal artist Maira Kalman. The article reported on a multimodal project I developed for a Digital Video course on how Kalman’s approach to art echoed “radical” rhetorical theorists on the unpredictable nature of creative invention–on how we cannot teach creativity, but we can teach habits, practices, approaches, that might allow something creative to happen.

The original outline of that paper looked like this:

  • Introduction
  • Surveying Theories of Choric Invention
    • Gregory Ulmer
    • Thomas Rickert
    • Byron Hawk
    • Jeff Rice
    • Sarah Arroyo
    • Colin Brooke
  • Explicating Kalman’s Aesthetic

Our reviewer feedback was tough, but fair:

On a similar note, the theoretical chops of this article come forward as relatively unconnected blocks. In the ULMER section, we get a block on Ulmer, interspersed with several others, but then it becomes a set of legos: a green block (Rickert [and Rickert and Kristeva]), then a red block (Hawk), then yellow (Brooke [and Brooke and Barthes]), then blue (Arroyo [and Arroyo and Deleuze and Guattari]), then purple (Rice [and Rice and De Certeau]). Each of these feels strangely disconnected and underdeveloped, particularly given the potential connections between Kalman’s work and each of these authors (as well as the theorists they are working in relation to).

Essentially, we had walked through our literature, or research, one source at a time (even if each of those sections often involved multiple sources). What we didn’t do is cut across all those sources to identify the most important ideas they have in common. We didn’t synthesize our sources.

Our second outline looks like this:

  • Introduction
  • Synthesizing Theories of Choric Invention
    • Prioritizing Space
    • Juxtaposing Subjective (Affective) Experience Alongside Objective History
    • Resisting Synthesis
    • Resisting Codification
  • Explicating Kalman’s Aesthetic

The difference here is essential: moving from talking about one source at a time to explicating an idea. The Prioritizing Space section has references to Rickert, Ulmer, and Hawk. The Juxtaposing Subjective.. section also has references to Rickert, Ulmer, and Hawk. The Resisting Synthesis section has references to Brook and Arroyo. The Resisting Codification section has references to all of them, and brings in Rice and Shipka. I put this section last because it was the one idea that runs through all of the stuff I read.

Now I had a clear structure in place (four elements of choric invention) to read Maira Kalman’s work (and then to ask my students to consider in creating video remediations of their experiences in historic/affective spaces).

The point of the long story is this: whether you are writing a social/scientific research paper or a humanities scholarly analysis, you need to organize your lit review around ideas, not around names or articles (and researchers and scholars have names. Don’t write “this article” in an annotation or research paper).

In the proposal document, I suggested the following heuristic for helping you carve up your research:

  • Research that shows there is a problem
    • Also: if applicable, research that argues there isn’t a problem
    • Some of this might appear in the introduction, then get repeated/explored in more depth in the lit review
  • Research that addresses what is causing the problem
    • Not different articles, but different theories for causes (referencing multiple articles per theory if possible!)
  • Research that measures the public’s perception (or lack thereof) of the problem, I don’t think anyone is working on this kind of project
  • Research that offers solutions to the problem
  • Research from which you can steal methodology for your primary research (which would go in the methods section)

By Monday morning, I would like you to complete your research annotations and compose a research synthesis, one that groups your research into conceptual categories rather than mini-book reports.

Think about the following template for getting started: Previous research on TOPIC has generally concerned itself with two/three/four ideas/concepts/issues. First, something. Second, something else. Third, something even elser. Fourth, a final thing. OR Maybe: Third, while scholars agree on A and B, they tend to disagree on C.

That becomes a mini-introduction, followed by four paragraphs that walk through each idea/concept/problem. Note that the same article might appear in many or all of those paragraphs!. That’s okay. The point is to make sure the topic sentences to paragraphs are about ideas, not articles.

For each of these, let’s read slowly and try to do two things:

  • Look at the first sentence of a paragraph. Does it have a citation?
  • How many citations does a paragraph have?
  • How many ideas does a paragraph have?
  • Is the paragraph the author’s ideas or a summary of other people’s ideas?

Methodology

As I mention above, a methodology section has four general goals:

  • How you collect your corpus (group of object you were going to study)
  • How you analyzed your corpus to produce data
  • How you analyzed your data or texts
  • How you ensured your analysis was reliable

Not every study does all four of these things. For instance, scholars do not have to explain why their interpretations of a text are valid–the act of interpreting a text is making a claim for the ingenuity and relevance of the reading. But if you are reading 500 student papers and assessing them for the quality of their thesis statement, then you need to demonstrate how those evaluations are consistent.

If you create a survey, an interview, a focus group, etc, then this section has to walk us through the questions you asked. How/why did you ask this question; what does it attempt to measure, why is it important?

Let’s look at a very detailed example.

Homework

You probably have more research to read and annotate. If you’ve read all your preliminary research, then get to work playing your game or writing up your methodology or polishing up your research tools.

Heuristic for research annotations:
Can I answer all of the following questions?:

  • Paragraph #1: What are the central arguments in the article?
  • Paragraph #1: What recommendations do the authors make?
  • P #2: How did they collect their evidence? [Methods]
  • P#2: How did they analyze their evidence
  • P#3: Why is the article important?
  • P#3: What other article(s) does it echo or challenge? [Compare contrast]
  • P#3: After reading this research, what recommendations can I make?
  • P#3: How does the article contribute to my field of study, my present research?
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ENG 328: WTF is a Zine?

Today’s Plan:

  • WTF is a Zine?

WTF is a Zine?

As I’ve previously indicated, next week we will begin working on the Crucible Fall 2021 Design project. I will provide more concrete details for the project on Monday, but here’s some preliminary info:

  • For this project, you will have the option of working individually or in teams of two
  • You will develop a front and back cover for the issue, using student submitted art
  • The aesthetic, stylistic inspiration for your design should be influenced by the zine

So that last one leads us to the question of the day: WTF is a Zine? Kenneth Burke would remind us, via the properties of identification, association, and the negative, that such a question also asks us WTF is(n’t) a Zine? Such is any ontological project haunted: to seek what something is, its properties essential and inessential, we inevitably bound upon its boundaries, borders, limits.

And so I turn to Google, contemporary arbitrator of the market’s interminable wrangle:

Okay, so what adjectives can we already use to talk about zines?

Some more resources:

Homework

Complete Adobe Classroom in a Book chapter on Printing and Exporting

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ENG 225 10.W: Surveys, Focus Groups, and Interviews

Today’s Plan

  • Surveys
  • Focus Groups
  • Interviews

Surveys

Surveys typically collect three kinds of information:

  • Attitudes and Preferences
  • Opinions and/or Reactions
  • Demographic information

Generally, you measure attitudes and preferences using multiple choice, ranking (favorite to least favorite) or likert scales. While the term likert scale might be unfamiliar, I can almost guarantee you’ve encountered one before.

  • It is very likely you have encountered a Likert scale
  • It is likely you have encountered a Likert scale
  • It is neither likely or unlikely you have encountered a Likert scale
  • It is unlikely you have encountered a Likert scale
  • It is very unlikely you have encountered a Likert scale

Note: social scientists and marketers often omit the middle option above. Doing so forces a respondent to make a decision (the middle option provides them an opt out).

Note: If you do a ranking scale, make sure you tell someone whether 1 is their favorite or 1 is their least favorite. That is, if you ask someone to rank their preferences from 1 to 5, then be sure to write something like: please rank the following options from 1 (least favorite) to 5 (favorite).

We can collect more information in surveys via open ended, free write questions. There’s a few issues with these though. One is that people are likely to skip them. If you have more than one of these in a survey, your response rate is likely to plummet. The other difficulty is that these require quite a bit of time to “code”: that is, to go through and synthesize responses. However, that time is usually rewarded; for instance, I’ve published several articles on experimental class projects and I often get the best data from open-ended student responses, but this data takes much more time to analyze than a likert question.

Collecting demographic information is tricky because (some) people are skeptical of surveys. People can become suspicious if they think they know what your survey is attempting to prove. This can, if they disagree with you, create animosity, and lead to survey trolling. This is one reason it is important to create neutral, objective, balanced questions that do not preference a particular response.

This skepticism often manifests itself as a resistance to supplying demographic information. However, sometimes demographic information is extremely important! You have to think about what information you need to meaningfully code and analyze your data. If you need to collect demographic data, particularly data relating to race, sex, gender, and/or sexuality, then you need to be careful, diligent, and respectful. I think gender and sexuality are particularly difficult these days, given the rapid reconceptualization of those concepts (which is a good thing). So we should spend some time investigating how to ask demographic questions, particularly about gender and sexuality.

There’s more information on question types and some tips in this article.

What Not to Do in a Survey

Some general tips (emphasis–avoid loaded words). Some more tips (emphasis–use audience’s language).

Ok, let’s try an exercise.

A classic example of how not to construct a survey.

Focus Groups

Focus Groups

Today I want to spend some time exploring focus groups. Focus groups can come in one of two generic flavors–either simple question/response (more common) or activity-based (less common). The value of a focus group lies in collecting a variety of perspectives *and* recording how people react to the ideas/opinions/experiences of other people. There is something unpredictably inventive, or choric, about the kind of dynamic conversations that focus groups can prompt.

  • Group size: 3-5, 6-8
  • Record discussion, assistant moderator takes notes
  • Generate an outline and a “script” of questions
    • Welcome
    • Overview of Topic
    • Ground Rules
    • First Question [Build Trust]
    • Follow Up Strategies
    • Second Question [Probe Attitudes]
    • Third Question [React to Commonplace / New Information]
  • Sample questions / activities
  • How to synthesize data

Let’s start by walking through this guide to focus groups by Richard Krueger.

Outside of academia, focus groups are generally used by marketing researchers.

You will also encounter focus groups in local journalism and political research

Interviews

Like focus groups, interviews are also constructed around recording responses to open-ended questions. Asking “yes” no questions, even with a “why?” follow up, tends to be counter productive.

For instance, don’t ask: “do you think gender portrayal in AAA video games is improving? … Why / not?” That might be an okay warm up question in a focus group (maybe), but if you’ve properly researched your interview subject, then you should be able to ask a more pointed, substantive question (move from attitudes to ideas): “What are some recent examples of games that are moving gender portrayal in more positive directions?” Or “Why, as the industry as a whole moves toward more positive portrayals, do you think games like Daddy’s Sugar Factory are still popular?” Good interviews will prompt experts to *think* rather than merely respond. And, like a good focus group leader, a good interviewer will be attuned to a subject’s comfort and mood–they can notice agitation and work to pull something more out of the subject (subtly re-asking a question).

So while you should enter an interview with a script of questions, you should also treat them as more free-flowing encounters. Great interviewers adapt their tone and approach to the specifics of the situation, paying close attention to their subject’s deportment and comfort level as the interview goes on.

Two resources on interviews:

Homework

I’d like you to sink at least one hour into your project between today and Friday: I leave it up to you on how to spend that hour. Except: if you are developing a research tool (survey, focus group, interview), then I’ll ask you go back into your proposal and revise it after today’s session.

I’ll review all of the proposals before Friday’s class. We will meet in the Ross 1240 computer lab Friday for an in-class writing day.

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ENG 328 10.M: Designing Something Awesome Project Plans

Today’s Plan:

  • Extra-credit opportunity
  • COVID Visualization Revisited
  • Designing Something Awesome
  • Homework

Extra-Credit / Design Something Awesome Opportunity

Design a drink sponsor sheet (and write a bit of copy) for the Go West film festival. I need this on a quick turn around (5 days max).

COVID Visualization Revisited

I have come up with what I hope is a clear grading scale:

  • If your infographic contains at least 3 visualizations, then you get a 75%
  • If your infographic contains at least 3 visualizations and some text boxes describing those visualizations, 80%
  • If your infographic contains at least 3 visualizations that are good (easy to understand findings, contains legible key/legend/labels, uses color to differentiate data) OR the text boxes describing your visualizations are meaningful, concise, descriptive, accurate, sufficient, etc: 85%
  • If your infographic contains at least 3 visualizations that are good (easy to understand findings, contains legible key/legend/labels, uses color to differentiate data) AND the text boxes describing your visualizations are meaningful, concise, descriptive, accurate, sufficient, etc: 90%
  • If your infographic does all the things above and is nice to look at 95% (pays attention to contrast, repetition, alignment, and spacing/proximity)
  • If your infographic does all the things above and is really nice to look at (je ne sais quoi, something that suggests you really invested in the project): 100%

Designing Someone’s Holiday Gift(s) and/or Designing Something Awesome

Let me begin by revisiting what I mapped out in my earlier rest of year post.

People need gifts this holiday season. People need love and connection. So, instead of buying them crap, make them something special.

What might you make? If your friend is a poet, you could steal some of their poems and design them their own volume of poetry. Get that thing printed. Hand it to them.

If your friend is a gamer, then you could make them some kind of calendar with collages of their favorite game characters. Print that thing. Hand it to them.

You could also make a calendar about your relationship with someone. I hope the relationship lasts as long as the calendar. Or maybe your parents have a dog. No cats allowed.

Maybe you want to make a photo essay about a Colorado location, or person, or historic event. Maybe you are familiar with the work of Maria Kalman? Maybe you could make a photographic Kalman essay.

Maybe there’s a professor you really like and you could surprise them by turning their syllabus into a kick ass infographic. Or you could design the syllabus to be a much cooler print document rather than the standard black and white full-page fare.

Maybe there’s a novel you love and you could turn it into a zine. Or a visual essay. A poet, and a volume of their poetry. Make that collection into a multimedia collection. Juxtapose classic poems against contemporary art. Maybe you have a friend or sibling who has a favorite band: turn song lyrics into a classical volume of poetry? Maybe you could make your favorite professor a volume of poems, or a visual edition of a short story. Or illustrate one of their academic research articles. ( See the graphic guides / introducing series.

Maybe *you* have a favorite author/game/person. Make yourself something.

I used to teach a rhetoric class that concluded with the following assignment: make something that says something significant to someone. This is a bit of a rebrand: make something significant for someone. I leave it to you to fill in the details (though I will ask you what you made, why you made it, what design decisions you are particularly proud of, etc).

Assignment Expectations
Looking back through this material, I’m thinking about the following criteria for this project:

  • Audience: You will have to determine to whom you will give the final product (I will accept yourself as an option)
  • Introduction / Dedication: In most cases, your project should include either an introduction or dedication that talks about what you’ve done, why you’ve done it, and highlights the major design decisions [we can talk about this more later]
  • Copy: You will need to specify, locate, thread, and stylize body copy
  • Images / Illustrations: whether you take your own pictures, or work with found objects, there should be some kind of aesthetic/rhetorical strategy guiding your choice. You should be able to explain to me why you selected the images/illustrations/whatever given your copy and your audience

Note: the above expectations speak to books, because I expect that is what most of you will elect to develop. I am still willing to entertain the calendar option, although I haven’t done research on how to get one of those printed.

Minuteman Press
I called Minuteman Press this afternoon and got quotes for material production of a 16 page spinal booklet (front and back printing). Note: 16 is a minimum, you can do as many pages as you would like.

  • Black and White (no-bleed option) with cover, black back page: $5.50
  • Color (without bleed, slight upcharge for bleed) with cover and back page: $12.50
  • Print submission: .pdf file. They can do same day production (but you should give them 24 hours to complete printing)
  • Booklets: 5 1/2″ x 8 1/2″, 8 1/2″ x 11″, 8 1/2″ x 11 and 11″ x 17″
  • For full credit, you will need to bring your printed item to class on Thursday, December 2nd

(Note, there are a lot of online options for printing books, however they will likely take more time for shipping).

Design and Create Something Awesome Project’s Timeline

Something like this:

  • Today: intro discussion
  • Due Monday, November 1st: Project Proposal Due
  • Wednesday, November 10th: Project Progress Check [Complete body copy, collected illustrations/assets, InDesign wireframe]
  • Wednesday, December 1st: Show and tell with printed materials (in class pizza party)

Homework

Finish infographic.

For next Monday: complete proposal.

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ENG 328 9.W: Infographics

Today’s Plan:

  • Infographics
  • Homework

Infographics

So far this project has focused on developing graphs and presenting data. I realized today, as I was writing today’s class notes, that I haven’t discussed the ethical presentation of data. Whoops. Let’s cover this quickly by looking at a Business Insider article that highlights what *not* to do.

My sense after Monday’s class is that this isn’t your favorite assignment this semester–and that might be a bit of COVID fatigue, or it might be that the concept of an infographic is a bit murky. I don’t think I’ve clearly articulated the expectations for this project, so let me do that now.

When I taught this course for the first time in 2014, here’s the three infographics I used as examples:

I think they still hold up. Of course, these were “new” and “cool” in 2014, and, if you were moving around social media, you’d bump into a lot of them. Today? I’m not sure I still see them, and am wondering how anachronistic an infographic project actually is. I do think there’s importance in learning how to present data, but am wondering about how, in future classes, I might ask students to present their data.

I say future classes, because y’all are making an infographic. We are going to push through and finish this project so that we can start researching zine layout and learn how to assemble a book/magazine in InDesign.

In hopes of soldiering on, I looked into infographic templates for InDesign. Let’s take a look at what I found. Hmm. Let’s modify that search a bit. Hmm.

So it looks like Illustrator is now the program for developing infographics. Or, if you have less text/content, Photoshop. InDesign has templates for infographic-influenced brochures or presentations. What to do? We are going to ignore this fact and soldier on because I say so. We need a template for designing an infographic.

Infographic Expectations

Content: As I originally indicated, your infographic should have four different visualizations. Each visualization might be composed of one or more graphs. There should be some textual description/analysis of your graphs as well. Technical writing 101: whenever you share a graph or chart, you should concisely explain what a graph or chart says–do not leave it to the reader/viewer to figure this out.

Describing a graph can be tricky. Let’s get some language and templates.

Design: The infographic project reinforces many of the design concepts we’ve learned in previous projects: contrast, repetition, alignment, spacing, typography, and color. Let’s think about how those concepts manifest in an infographic:

Typography

  • Sans-serif
  • Headings tend to be thick (when thin, they have a tall x-height
  • Alternatively, headings can be all caps or small caps
  • Font color is rarely black; occasionally, you get gray font on a white background–trick is to make sure fonts have enough contrast that they are readable
  • Alignment/Layout/Spacing

    • Adequate margins/padding/space between elements?
    • Shouldn’t look cluttered
    • Symmetrical layout for graphics; designed on a grid; elements repeat

    Color

  • Generally a 3-5 color palette (sample palettes)
  • Strong contrast that creates a focal point

Homework

I’m having a bit of a hard time estimating how long it will take you to put a nice looking infographic together. There’s no Adobe CRiaB this week, so I’m going to ask that you have your infographic finished by Monday? [Increase in vocal pitch]

Do we want an infographic draft / revision? [more points, higher stakes] or an infographic done [fewer points and we move on]?

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ENG 225 9.W: Final Proposals

Today’s Plan:

  • ENG 231: Ways of Analyzing Games
  • Sicart Paper Feedback/Revisions
  • Final Research Project Proposals
  • Reading Academic Research
  • Homework

Writing Minor / ENG 231 Ways of Analyzing Games

Moar video gamez.

Paper Feedback

Some stuff we need to work on:

Final Research Project Proposals

You will need to make a copy of this document.

Strategies for Reading Academic Research

As we move past proposals, it is time to dig deep into research. I’ve already suggested some promising research to most of you. Now comes the challenging part–reading and digesting that material.

There’s a lot of jokes out there about the nature of academic research–why is it so difficult? Is this even English? Etc. Some of these chides are well-earned. But the thing to remember here is that academic vocabularies and styles develop over long periods of time. The more people study a particular problem, the more precise and deep meanings become.

Whatever your field, you will encounter these precise vocabularies. At first encounter, the prose can be daunting and appear almost impenetrable. My focus these next few weeks is to help acclimate you to academic discourse, to help you wade in to the kind of material that you will encounter over the next few years. Learning to read complex research in a short amount of time is a hard skill, but it is important to learn how to read it strategically. Likewise, it can be quite difficult to condense a 20-page article into a few paragraphs, and certainly the I have collected a few readings that should help us do this.

From these, we can synthesize a few general rules:

  • Pass One–see the framework–Begin by reading the abstract, introduction, and conclusion. Look at any tables, diagrams, and/or illustrations. Have an overall sense of the argument.
  • In or near the conclusion, look for where the writer(s) advocate(s) for us to do something differently; what does she perceive as the impact of this research?
  • Can you summarize the paper in a sentence or two in your own words?
  • Pass Two–
  • Highlight and annotate as you go. Look for keywords that indicate findings. Try to identify what problem the article hopes to address
  • Especially when working with research, make note of the methodology. Was it a survey? An experiment? Was it qualitative research (textual analysis), or more quantitative (measurement)? When working with scholarship, pay attention to the theorists or scholars the author uses to support her argument.
  • Pass Three–Can I answer all of the following questions?:
    • What are the central arguments in the article?
    • How did they collect their evidence?
    • What does their evidence say?
    • Why is the article important?
    • What recommendations do the authors make?
    • After reading this research, what recommendations can I make?
    • How does the article contribute to my field of study, my present research?

Stewart, Arif, and Starbird (2018) detail how russian trolls inflamed arguments regarding police shootings in America by creating and retweeting highly partisan, inflamatory statements. They analyzed almost 249k tweets from 160k accounts and found that over 91% could be classified as either leans-left or leans-right. They chart how many of the top hash-tags and tweets from each leaning were produced or boosted by russian agents. Their analysis reinforces research on how filter bubbles are increasingly plaguing American political discourse: they find that troll activity “primarily circulates within and not across” political leanings (pp. 5).

At first, it might take you an hour to go through three passes of a typical 25 page academic article. It might take you two hours. With practice and experience, you will likely be able to cut those times down dramatically. But I want to stress that academic reading takes a lot more time than reading a medium.com post. When doing research, set plenty of time aside and be sure to write–DON’T JUST READ!

Homework

Okay, after all that, what is due? When is it due?

  • For Friday, do some preliminary research. Read and annotate a second article. Try to put that article in conversation with the first article you read for today. Draft up some sentences/ideas for the Preliminary Research section of the proposal
  • Friday’s class is a “work day” in the Ross computer lab. I will ask you to locate sources to include in the proposal and/or start working up your primary research tool (if you are working on a survey/focus group, questions etc if you are playing a game).
  • I will ask you to complete the proposal assignment by Monday at midnight

Note: if you are working on Sicart, read this. No, I have not read it. But I skimmed it, and it looks promising.

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ENG 328 9.M: Flyer Revision, Sharing Data, Creating Graphs in InDesign

Today’s Plan:

  • Sharing COVID Data
  • Creating a Graph in InDesign

COVID Data Sharing

I’ve created a Google Drive folder where you can upload whatever tables you created for today.

I’ve created a Google Doc where you can write/link to those graphs.

Creating a Graph in InDesign

Resources:

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ENG 301 8.R: Wrapping Up Project 2

Today’s Plan:

  • Two (or Three) Extra Credit / Internship Opportunities
  • Spring 2021 Writing Courses / Writing Minor
  • Wrap Up Project 2
  • Report Revisions
  • Homework

Extra Credit Opportunities

Reminder: Contact Bob for Oct 20th (see Canvas)

Okay, so are there any writing minors with podcasting experience looked for an internship/indie study. We have our set up, and we are serious about creating weekly podcasts—including interviews, etc.—and we thought it could be really practical experience for some student. We’ve done it with students who need a credit or 2 to get to 120 and graduation. But we thought maybe as a full-time gig?

And, also, The CEA Critic is always looking for a full-time intern.

Spring 2021 Writing Courses / Writing Minor

  • ENG 200 Intro to Creative Writing
  • ENG 225 Embodiment, Identity, and Society
  • ENG 225 Protest and Resistance
  • ENG 231 Ways of Analyzing Video Games
  • ENG 323 Advanced Argument
  • ENG 420 Writing as Witness
  • ENG 427 Digital Editing

Wrap Up Project 2

I’m quite pleased how our proficiency projects have developed. Before we move on, a few reminders/clarifications:

  • I have published the Deliverable #3 assignment in Canvas (apologies). Social media doesn’t have to worry about putting stuff here, I have what I need. Design should post their contest flyers and Grant Writing should post their revisions of the Programs/Benefit section
  • Let’s take a look at our contest designs!

Report Revisions

MYSTERY MEAT ABOUNDS.

Homework

One more installment of rhetorical theory, this time a few excerpts from Lisa Blankenship’s Changing the Subject, .pdf and discussion post in Canvas.

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ENG 328 8.W: Visualizing Complexity

Today’s Plan

  • Mayer Poster Update (Help!)
  • Internship Opportunities
  • Visualizing Complexity: COVID-19
  • Homework

Mayer Update

From Michael:
I know this is late in the game, but I got Zackary’s title for her event: “Wherever You Are Is the Center of the Universe.”

It’s looking more and more like Lindou Auditorium.

Internship Opportunities

Okay, so are there any writing minors with podcasting experience looked for an internship/indie study. We have our set up, and we are serious about creating weekly podcasts—including interviews, etc.—and we thought it could be really practical experience for some student. We’ve done it with students who need a credit or 2 to get to 120 and graduation. But we thought maybe as a full-time gig?

And, also, The CEA Critic is always looking for a full-time intern.

Visualizing Complexity: COVID-19

Note: I’ve debated this project a lot over the past 48 hours.

Last class, I mapped out 4 projects of varying lengths for the rest of our year. Here’s what I wrote about the Visualizing Complexity Project:

This project kills two of the proverbial birds with one deliverable:

Ethically and Responsibly Presenting Data
Designing an Infographic that Doesn’t Suck

Normally, when I teach this class, I have a visualization project that asks students to choose something complicated, research it, and present their research in a visually engaging and coherent way. In short, to take something complicated and make it seem simple.

This semester I want to tweak that assignment a bit, and in the process make it a bit less open-ended. As a rhetorician, I have found COVID to be incredibly problematic given the amount of misinformation and disinformation it has engendered in America (while mis/disinformation are problems world wide, they are particularly problematic in America, which has a more divisive political field, a history of freedom of the press, a lack of social programs, a greater mistrust of government, etc etc than most other places). Also, Emerson and Thoreau. Fuck those guys. I digress.

This semester, I’d like the visualization project to focus on designing some kind of infographic that deals with some element of COVID 19. In Wednesday’s class, we are going to spend some time collaboratively collecting information, looking at/for existing visualizations, and thinking about different possibilities for projects.

Today I worked on nailing this assignment down a bit more so I can supply you with specifics.

First, I identified a data set with which everyone can work. The data set comes from Our World in Data (who, in turn, gets their data from John Hopkins University). We are going to download the complete data set as a .csv (comma separated values) from their Github site, which we can open in Excel (or Google Sheets, though it is a bit much for Sheets to handle).

This data set is absolutely massive–it contains over 122,000 rows of data (the rows equate to different days for different countries). (Note: United States starts on row 116874). The columns track a massive amount of information, including:

  • Daily data on total cases
  • Daily data on new cases
  • Daily data on total deaths
  • Daily data on new deaths
  • Daily data on vaccinations

Second, I have pinned down some clearer expectations for the project. Your goal is to translate this numerical data into charts, graphs, or timelines that visual the pandemic. What you visualize, and what argument you perceive that visualization making, is up to you.

  • You might imagine you’ve been hired by a pharmaceutical company to produce and infographic on the efficacy of vaccines.
  • You might produce an infographic to hand to your uncle Roger during Thanksgiving. Chew on that Rog.
  • You might create an infographic that compares and contrasts the American COVID experience to other countries around the world. Or you might create an infographic that focuses more attention on just one country

Whatever you create, I would like your final infographic to have at least 4 charts/graphs/timelines. At least one of these graphs should be a multitudinal timeline, meaning it should track more than one thing (comparative) over time (for instance, Deaths in the United States compared to Canada and Mexico from March 1st 2020 to October 1st 2021).

I imagine this will lead to a 10 block grid design (two top blocks for heading and textual description, 4 blocks for graphs, 2 blocks at the bottom for a kind of conclusions).

Homework: Holy Crap, How Do I Get Started?

Before we visualize data, we have to think about what we might visualize. You will create smaller spreadsheets, using Excel–one spreadsheet for each graph you intend to make. (NOTE: if 4 graphs seems excessive, we can share data next week).

In Monday’s class I am going to share a tutorial on how to create graphs in InDesign (debating between a few, this looks good now). We’ll work on it a bit in class, and I will have you finish it in place of an Adobe InDesign CRiaB lesson next week.

In preparation for that, I’d like you to assemble the data for two graphs. Create a new Excel sheet, and make sure you have at least 8-12 data points. Let’s look at an example.

We should have some time to play with. Let’s use this spreadsheet to collaborate on a sample data set.

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