ENG 201 6.M: Report Peer Review

Today’s Plan:

  • Report Grading Criteria
  • Peer Review
  • Homework

Report Grading Criteria

Here was the collaborative assignment sheet. Highlights:

  • Title Page
  • Introduction
  • Methodology
  • Data
  • Discussion
  • Conclusion

What do we know about writing an introduction?

  • The purpose of a feasibility report is to determine which of two proposed options would be best
  • NOT A MYSTERY. TELL ME EVERYTHING. States purpose. Offers
    summary of the whole report.
  • Clear statement of the problem/project
  • Nature of problem and why it should be discussed
  • Concise background information, including past work, current objective, and any and all limitations

What do we know about writing a methodology?

  • The methodology for a feasibility report will contain a Introduction, a body, a conclusion and a recommendation
  • Should be able to replicate your work
  • Should provide explanation sufficient enough to check your own work
  • Information should be expressed in chronological order according to importance

Here are the major criteria:

  • Clear Purpose
    • Does the introduction layout a clear, actionable proposal? Do I know the writer’s purpose?
    • Is there a roadmap that lays out the order of material in the paper? [First this paper… Second it… Finally it… OR I begin by I then turn to Finally I]
  • Job Research
    • Does the section contain a graph of data?
    • Can you understand the graph, is there some kind of key, or is there some mystery meat? (That is, could you understand the graph if you had not done this project)
    • Data: Does the writer make clear and summarize the important information in all graphs?
    • Findings: Does the writer make clear the significance of what the graph says?
  • Clarity and Style
    • Are sentences easy to read?
    • Do I find logical jumps between periods? Is there rhetorical continuity?
    • Does the prose reflect our work with Williams and Bizup on characters and actions?
  • Grammar
    • commas, run-ons, fragments, tense shifts, agreement errors, etc
  • Business Style and Formatting
    • One idea per paragraph? ONE. IDEA. PER. PARAGRAPH.
    • Clear, descriptive title?
    • Single-spaced (or 1.15), block formatted paragraphs? (Don’t let me see an indent people)
    • Headings left-aligned in bold? Subheadings left-aligned in italics?

Homework

I have decided to extend the due date for one more night. I will have office hours tomorrow, but I don’t think I can be there until 1:00. So 1:00 to 3:00 tomorrow in Ross 1180D if you have questions.

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ENG 328 5.W: Adobe InDesign and the Menu Assignment

Today’s Plan:

  • McNairs Scholar Program
  • Upcoming Calendar
  • Adobe InDesign CiaB Lesson 4
  • Homework

McNairs Scholar Program

The McNair Scholars Program is currently recruiting new students for the 2020-2021 Cohort and we need your help to identify students with academic potential who may be interested in graduate school and could benefit from this program.

The McNair Scholars Program is a federally funded Trio Program named after Astronaut Ronald E. McNair. Our mission is to provide curriculum, academic coaching and support to first generation, low income and underrepresented minority students to prepare them for PhD programs. We work with students to help them complete a research project, study for the GRE and present at undergraduate research conferences. We also support them during their graduate school admissions process. If you know of a student who is excelling in your program and exhibits the intellectual curiosity that would make them an excellent candidate for graduate school, can you please direct them to our office, our website at https://www.unco.edu/mcnair/ or to one of our upcoming information sessions below?

Thursday, February 13th 4:00-5:00 pm Gunter 1140
Monday, February 17th 5:00-6:30 pm Michener L77 (meet current scholars)
Thursday, February 20th 8:00-9:00 am Michener L77
Monday, February 24th 5:00-6:00 pm Michener L77 (application review)

We are also hosting joint information sessions with the Honors Program for those students who are trying to determine which program better fits their goals.

Monday, February 10th 6:00-7:30 pm Michener L98
Friday, February 14th 12:00-1:30 pm Holmes Dining Hall (includes free lunch)
Thursday, February 20th 4:00-5:30 pm Michener L98

Upcoming Calendar

Here is how I see our next couple of weeks.

  • Wed (Feb 12): Class: Adobe InDesign Lesson #4 [Working with Objects]; Homework: Adobe InDesign Lesson #5 [Flowing Text]
  • Fri (Feb 14): Class: Review Resumes (some really great work!0 and finish Adobe InDesign Lesson #4; Homework: Adobe InDesign Lesson #6 [Editing Text]
  • Mon (Feb 17): Looking at Menus; Advice on how to revise a menu; Sketching a Mock Up
  • Wednesday (Feb 19): Work on Menus
  • Friday (Feb 21): Let’s Talk Infographics and Visualization; Homework: Finish Menus
  • Monday (Feb 24): Let’s Share Menus
  • Wednesday (Feb 25): Infographic and Visualization Assignment: Looking at cool possibilities. Home: Begin Visualization Proposal Memo
  • Friday (Feb 27): Adobe InDesign Lesson 7
  • Monday (Mar 2): UNCO Literary Magazine ReDesign (Adobe tutorial on let’s design a zine–ugh, I am capitalizing every D in Design, thanks Adobe)
  • Wednesday (Mar 5): Infographic and Visualization Assignment: Finalize Proposal Memo
  • Friday (March 7): Open Date; Likely work with your Literary Mag Redesign team
  • Monday (Mar 10): Making Presentations that do Not Suck
  • Wednesday (Mar 12): Work on the UNCO Literary Magazine ReDesign
  • Friday (Mar 14): Infographic and Visualization Research and Mock Up Presentations
  • Spring Break: Complete UNCO Literary Magazine Redesigns

Adobe InDesign Lesson #4

If you need them, I have stashed the lesson files here.

Homework

Complete Adobe Lesson #5. For next Monday, complete Adobe Lesson #6.

Find or take pictures of restaurant menus. Collect as many as you can. We will look at these Monday!

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ENG 201 5.M: Job Research Report

Today’s Plan:

  • ABO Book on Reports to crowdsource an assignment sheet
  • Homework

ABO / Crowdsourcing an Assignment Sheet

In today’s class, I would like you to collaborate and develop the assignment sheet for this project. Below you will find a link to a Google Document. The second page of the document contains a space called “Links, Notes, and Material(s).” As you work in teams of two in class today, I’d like you to put material in that space. In the last 15 minutes of class, we will review that material to flush out the assignment expectations.

So in ABO we’ve got:

  • Feasibility Reports
  • Formal Reports
  • Investigative Reports
  • Tables
  • Graphs

A few other resources:

Here is our collaborative workspace.

I want to look at the sample proposal on 439. Sample feasability report, 187-188. Sample formal report 202-218. Sample investigative report 291.

Another sample report.

How to write a methodology section.

Homeworks

For Friday, read and post on the Corder reading in Canvas. This is probably our last theoretical reading this semester–and I think you will see that it is different in tone and style than the one’s that have preceded it. Corder is very accessible.

Normally, when I give this assignment, I have people write about a situation in which they changed their mind. But not this time. I’ve spent time answering questions and talking about theory, and now I’d like to hear from you. Just write me a reflection that situates Corder alongside the previous readings and lectures on rhetoric. If you want to answer a question, answer one of these: what challenge does Corder issue that problematizes all rhetoric, but especially positivistic rhetoric? What dimension does Corder add to argument that is often ignored?

By this point you should have totaled your data. Start working on your report. If you haven’t done this yet, use the spreadsheet I shared last class as a template. MAKE A COPY.

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ENG 201 3.F: Questions

Today’s Plan:

  • Your Questions
  • Thinking Through This Stuff
  • Homework

What’s your favorite word
Wow. Tough one. I use “however” a lot, probably because I am trying to see another side of a thought as soon as I’ve traced out one side.

Reflecting on this question after having written this whole thing, I’m going to say “know.” I like to play with double entendre. You’ll see.

Do you actually like the Matrix?
You tell me when we’re done today.

BUT there is only one Matrix movie. You cannot convince me otherwise.

Do we have to have 16 codings of straight coding or does that include reviewing?
The latter. Your initials should have appeared 16 times.

What is the purpose of coding and adding the jobs to the spreadsheet? It makes sense but it also doesn’t. So I feel like I just need clarity.
Why do we have to code so many jobs? 1/2 the jobs quoted I don’t care about doing.

Hmm. Let me tease out three purposes to the first project (which covers the coding and writing the report). (I ended up teasing out four).

First, I want you to learn what jobs exist for writers. You should be strategizing now for how you will earn a living after you graduate. The primary purpose of a University education does *not* concern getting a job; if you are here because you want a job you’ve made a terrible choice. Go to trade school and learn how to do almost anything else (welding, nursing, installing heating and air conditioning, plumbing, auto-repair etc). But, since most of you are majoring in English, I doubt I need to explain this. A University education is about exposing yourself to the fundamental questions of human existence and the myriad ways we approach answering them (hence your liberal arts requirements, so you see the range).

HOWEVER, this doesn’t mean we should ignore the idea of jobs. They are good. Eating and sleeping in a nice warm place etc etc are nice. So, one way to think of the first project is exposing you to a range of ways that you can earn some money and get some health benefits after you graduate.

Second, many of you know how to do textual analysis. But textual analysis is not the only way to do textual research. The kind of research we are doing with coding is much closer to market research or demographic research you might do after graduation. Very rarely is someone going to hand you a 400 page text and ask you to suss out nuance. But they might hand you a pile of materials and ask you to identify keywords and patterns.

Third, most of you are not familiar with actual collaborative research. Too often group projects become something like “okay, I’ll do the first 3 pages and you do the next 3 pages etc and Billy won’t do shit so one of us will do Billy’s 3 pages the night before the paper is due.” As I’ve said before, that is not what will happen in a real job. You will be working as part of a team, contributing to a larger project. You’ve been doing this the past few weeks–while getting a bit of experience using a tool that I imagine is a bit unfamiliar to you (Google Sheets) and a methodology–as I said above–that’s a little different (has anyone here done this kind of social science coding before?)

Finally, I want all the things above to feel meaningful. To feel meaningful, you have to have a legitimate and sizable body of data. By collaborating effort, you have a larger body of coded data than you could have produced on your own.

What is your favorite book?
Phew. I don’t have time to think of one book. Here’s a list of stuff in a rough chronological order of how I read them:

  • Dragonlance Series(middle school, 8th grade)
  • Hitchhikers
  • I’ve read every Agatha Christie Poirot novel
  • Gullivers Travels (undergrad)
  • Every Jon Irving novel up to around 2003 (World According to Garph stands out)
  • Every Vonnegut novel
  • First Game of Thrones
  • Every Louise Penny Gamache novel

What is the meaning of life? 😉
42 😉
Where is a good place to start reading about rhetoric?

Roberts-Miller, Demagoguery and Democracy. Short, accessible, illuminating.

As you are from Boston, what are your thoughts on The Town or The Departed
I meekly admit I have not seen either movie. While cliche, I think Good Will Hunting captures a quintessential tension in Boston between [intellectual] Cambridge and [blue collar] Dorchestah. What makes Boston such a unique city is that people of many different stripes actually live in the city. And, because the city is so geographically small, all of these stripes are squeezed together.

But, for two guys who grew up in Boston, Damon and Affleck’s accents are really disappointing.

Thoughts on how our school systems need to change regarding the video we watched (divergent and creative thinking)?
I’ve published about 4 articles on this topic and could talk about this for a month. Let me try and offer two paragraphs.

We tend to think education as a passing of knowledge–I pass something to you. I check on whether you learned it. If you didn’t, then either I didn’t pass it right or you didn’t catch it right. This is not how I think learning works, and is certainly not what higher education should be.

Ultimately, my job should be to challenge you. To confuse you. I should challenge you to do something, NOT tell you how to do it, then assess you on your ability to teach yourself how to do it. To measure/analyze your ability to solve a problem. That might sound unfair or illogical, but it isn’t. It is establishing the conditions in which you have to figure something out for yourself. That’s called learning (and, as Cicero once said, “the greatest impediment to those who want to learn are those who want to teach”).

I co-published an article with one of my grad students once, and she called my teaching style “trying to get students to walk a line between productively confused and hopelessly lost.” Maybe not in this class, in here I think I do a pretty good job of making my expectations clear (tell me if I’m not). But this adequately describes what I am to do in a lot of my classes. Those of you who have had me in other classes might see the difference. The technical, pedagogical term for this aim is “disequilibrium”: I want to make you uncomfortable, since learning happens as you learn to recalibrate yourself in response to unfamiliar conditions. I am not training monkeys. Rather, I am trying to unleash thinkers. Thought is painful, disorienting, scary. It questions and challenges the world in hopes of precipitating change.

We need more classes that aim less at transferring knowledge and more at cultivating creativity. This means we need less classes that grade you less on whether you got something right and more classes that reward you for failing at something hard–for trying something new and scary and “impossible.” FOR SIMPLY PUTTING IN THE EFFORT RATHER THAN REWARDING SUPPOSED MASTERY.

That took 4 paragraphs, not 2. I guess I failed a bit.

How do we take this class and not, like, fall into despair? These are a lot of less than fun things you’re laying down.
Look, there’s a reason a lot of philosophers and artists and writers talk about how being intelligent can make you lonely. Ignorance, after all, is bliss.

And I don’t offer answers to a lot of the questions I raise. I don’t think “we” (rhetoric as an intellectual discipline, Westerns as a culture, humans as a species) have those answers. My hope is simply to attune you to the depth of the question, the dangerous desire for a simple and Final solution, and the need for us to interrupt that desire.

And I do this because I believe it is necessary for our continued existence–as a people, a society, a planet. I wish I could think of something witty to write here, and I thought about throwing in a Matrix line about “how deep the rabbit hole goes,” but, like, the past three years have really strip-mined my optimism and exuberance.

Welcome to the desert of the real.

What should we value more: our rhetorical influence on others? Or ourselves?
Yes.

Har, har, I know. But it is not my job to tell you what to think, only to open paths on how to think. Whether education is ultimately a path to self-reflexivity or civic duty or to a lucrative career is not a decision I should make for you.

Is there a deep connection between ethos, pathos, logos, and persuasion?
Is it easy to tear apart our brain, body, heart, desires, socioeconomic status, personal history, family influences, friends, failures, and dreams?

Is logos a bandwagon fallacy?
Does ideology make us dumb?

Hmm. Logos can mean a lot of different things. I think I answer this below. Here I will propose: we shouldn’t fall into the fallacy of believing that we can divorce what and how we think from who we are. Objectivity is a dangerous chimera.

When I woke up this morning, my aunt shared a post on Facebook:

There’s a lot of these kinds of essays out there–“Why Facts Don’t Change Our Minds.” Notice–“less than fun”–that I’m the only person who liked or commented on the article. Here’s my comment:

This article touches upon a lot of things I explore in rhetoric classes: that our worldview (ideology), socio-economic position, emotional health, etc over-determine what we can see, believe, and accept.

Intelligence and education signal for me the ability to recognize that the way things are is not the only way they “naturally” must be, to recognize that everything is always more complicated than we believe it, and that we must battle against a natural inclination to be fearful of change and difference.

You say “rhetoric is a virus.” How can that help us write our papers? What makes it a virus?
First of all, if anything I said today helps you write your paper I’ll be fucking amazed. That’s not what these readings and activities aim to do. I dedicate a few classes in 201 to theoretical readings so that you understand that there is a complex, intellectual history and discipline underwriting Professional Writing Studies. It isn’t just prescriptive rules. BUT, you might find yourself in a job in which you need to persuade someone of something. Understanding how persuasion works (less as a direct operation and more as a covert subterfuge) might prove useful.

And–I hope this resonates with what is above–sometimes we need to take a break from the pragmatic for some intellectual wandering, because that’s what differentiates a University education from trade schools (not that there’s anything wrong with trade schools if that’s what you are looking for–but you are paying for the intellectual wandering whether you want it or not).

How is rhetoric like a virus? Very often you catch an idea without ever seeing it get near you. It is working inside you before you consciously know it is there. It strips you of agency–you don’t decide to get sick. We aren’t often comfortable thinking about our beliefs–gun control, abortion, taxation, sexuality, who we love–as things we do not choose (but I will adamantly argue that none of those things is a “choice”). There’s an ethical postulate in there somewhere.

If rhetoric controls power does race affect the “ethos” of said power?
Ethos is entwined with race in myriad, complex ways–beginning with how we even define race and all of the ensuing complexities. For instance, we know that race is a sociological construct that is completely invisible at a biological level, but just because it is a social construct does not mean it does not have incredibly powerful “real world” effects (Ta Nehesi Coates’ “A Case for Reparations” remains the single most powerful thing I have read on structural racism and its 21st century effects). Nor does it mean that we can simply exist “not seeing race” or “post-racially.” Should we even see those things as ideal? Or does a post-racial Ideal eventually lead to a homogeneity that requires the erasure of difference (psst, that’s code for “genocide”)? A desire to return to the real world.


Ever read the 3 body problem?

No, but I’ve explored some quantum science.  I’m assuming this is in there to complicate my over-simplistic presentation of the sciences. Fair! Bruno Latour makes a distinction between the complexity, nuance, and thoughtfulness of the sciences and the unfortunately, logical positivistic reduction of Science (usually philosophized by bad scientists and philosophers).

Thinking Through Rand and Kris’ Questions

Rand asked if we can push ethos and pathos out of the way and strive to become more logical. This “was” philosophy’s response–although that changed a lot. Why? Because it is in a sense thinking that what got us into the problem can get us out of it (i.e., that the perils of late capitalism can be remedied by an even deeper commitment to capitalism; the dangers of guns can be remedied by more guns, etc). The problems introduced by logical positivism cannot, in my mind–and the mind of phenomenological, sociological, feminist, network, affect, etc theorists–by remedied by a deeper commitment to logical positivism. The problem here is at root in a logical positivistic mind set. This does not mean a commitment to discerning truth is in itself bad. But it does mean that such a commitment becomes toxic when it represses other essential elements of our human condition.

It becomes especially dangerous when “logic” gets framed as transcendental, universal, abstract, “natural.” This is where we attempt to argue that there is *one* correct way to live, and divorcing ourselves from community and emotion can point the way.

Kris asked me a complicated question–one I struggle to recall the exact contours to–but it was something about how we escape the tyranny of identification, belonging to a community–doesn’t prioritizing community put us on the path to fascism. My answer, unfortunately, is “yeah.” Or (once again in the language of Victor Vitanza, “nes and yo.” We must recognize that our human existence is predicated on this sense of us/them. It is biological, hardwired into the way we encounter others (our threat detectors are always up). It is soft-wired into the way we inhabit the world. We negate and divide. Let me offer two passages from Vitanza:

What is wrong with the negative?
While the negative enables, it disenables. As I’ve said, it’s mostly a disenabler because it excludes. […] The negative—or negative dialectic—is a kind of pharmakon, and in overdoses, it is extremely dangerous. (E.g., a little girl is a little man without a penis! Or an Aryan is not a Jew! And hence, they do not or should not—because in error—exist) The warning on the label—beware of overdoses—is not enough; for we, as Kenneth Burke says, are rotten with perfection. We would No. That is, say No to females, Jews, gypsies, queers, hermaphrodites, all others. By saying No, we would purchase our identity. Know ourselves. By purifying the world, we would exclude that which, in our different opinions threatens our identity. (12-13)

That passage poses a challenge: do we structure our definitions, particularly our definitions of our communities on criteria that seek to include or exclude? How do we tell the difference? How do we say “yes” to those who might scream “no”? Who will to kNOw us out of existence? (i.e., I kNOw homosexuality is a sin, I kNOw transgender is a liberal fallacy, etc).

I got the question “Does ideology make us dumb?” Nes and Yo again. Ideology is the operating system we need to navigate the world, the hard choices in life, our fears and misunderstandings and failures. It certainly limits what we are capable of seeing. The philosopher Kenneth Burke calls this a “terministic screen”–and reminds us that “a way of seeing is a way of not seeing.” Example: when a forest ranger goes into the woods, does she see more than you? Our learned terminologies, like/a part of our “ideologies” open to us ways of seeing, which also come with ways of not seeing. Unconscious blindness.

There is always a dangerous desire to repress or deny that our ideology is a human, social, construction. An invention that helps us get through the day. A conjecture. Our best effort. So, a second Vitanza quote. This one speaks to a question I didn’t answer above, about how science and the humanities both seek absolute truth. Yes! Vitanza points to the study of language, once called philology. He notes the fantastical investment with which scholars in philology imagine that, by pinning down the true meaning of language, they might “purchase a home of us in language […] a will to mastery over language that would have us forget uncanniness and its affect on our material conditions” (157). He concludes:

My position is that we are not at home in our world/whirl of language. Any and every attempt to assume that we are has or will have created for human beings dangerous situations. (157)

Let me be clear: I am not saying we can live without truth, without really believing in things, without communities and labels and names. We need these things both spiritually and pragmatically. We simply need to remember that this need can turn toxic when we limit who gets to name, what is worthy of a name, when we forget that we, through the act of naming, are making (or eliminating) what is real.

Sure, ideology can lead to terror and death. But I also want to argue that it opens up to us so many other good things. Collaboration. Sharing. Investment. We cannot exist alone–I mean this both literally and figuratively. And whatever libertarian dream underwrites so much of American culture, America is a product of cooperation, sharing, sacrifice, and dedication to a common promise, a common existence. Ideology, then, isn’t just something bad that divides us. It is also the very energy, the thing, that allows us to come together to be divided in the first place. Isocrates used to famously argue that it was the one thing that divided us from “beasts” (which, unfortunately meant both animals and other cultures)–Vitanza often argues that Isocrates’ intense nationalism, his belief in the spirit of Greek ethos and/as cultural identity, lays the first bricks of the road that leads to Auschwitz and Dachau. I find resonance in both of these positions.

But the tyranny of logical positivism, of Platonic philosophy, is that something must be defined as just one thing. Something is or it is not. Either/Or.

The goal of sophistry, feminism, postmodernism, posthumanism (the label changes and does not matter so much as the spirit of the commitment one must make to move outside the deliciously simple sway and allure of positivism) includes embracing the both/and. To see everything as many things. Multiplicity.

To respond to Rand’s initial question–“shouldn’t we be more logical?”– I answer: maybe? Yes if more logical means basing our decisions on all available, credible information. But not if “being more logical” requires more universality, homogeneity, negation, exclusion.

What we really need isn’t more “brains.” What we need is more empathy. In talking with Kris, I described a shift in thinking that I mark as “postmodern.” We can come to think of our ideology as a home. Do we lock our doors? Do we dig a moat? When we think of the strange, or what philosophers would call “the other,” do we build a wall to keep them out? To maintain the distance? Or do we open our doors? Pave a path? Try to cross the gap?

When you encounter the different, chances are your gut reaction is “whoa that’s weird?” That split-second reaction is often instinctive. The shift is to, in the space of a breath, reflect upon our reactions and ask “hmm, that’s different? Why don’t I do that? Why don’t more people do that? The shift in which I place my optimism isn’t necessarily from ignorant to knowledgeable. The ethical failures of the contemporary world cannot be entirely blamed on a lack on information. The shift is from exclusion to inclusion.

Homework

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ENG 225 4.F: Sicart Analysis Paper

Today’s Plan:

  • Sicart Analysis Paper Expectations
  • Reading an Analysis Paper
  • Homework

Sicart Analysis Paper Expectations

The Sicart Analysis Paper will be due Monday, February 17th at midnight. A complete draft of the paper will be due in class on the 17th for peer review–this draft will be worth 20% of the final draft. The final draft will be due at midnight.

The Sicart analysis paper will be conference length, meanging 7-10 pages double-spaced, or approximately 2000-3000 words.

The length of the paper is not as important as the objectives. The first objective here is to analyze a game according to Sicart’s theory of ethical gaming. Your first paper helped you to identify Sicart’s theory, and we’ll go over a list of questions that can help you think through your gameplay.

A second objective here–a more tricky objective–is to reflect on whether your playthrough of a game identifies a “weakness,” oversight, missed element in Sicart’s theory. No, I will not provide an example. But, during your play, did you encounter a powerful ethical/emotional moment for which Sicart’s theory does not account?

So, your task is to evaluate Sicart’s theory, to give the reader an argument as to whether game X is an ethical game according to Sicart’s criteria. And at the same time, you might argue that game X is an ethical game despite the fact that it doesn’t match up with Sicart’s criteria. Or that X games suggests to us a criteria that Sicart doesn’t mention. There is a range of possibilities for this paper–and it is impossible for me to anticipate how your game, your sensibilities, your arguments will play out.

While I cannot predict the nature or trajectory of your thought, I can insist upon a particular outline. This is the standard “social science” outline for qualitative, textual, analytical research. I will refer to it as the APA Analysis paper (as opposed to, say, MLA or Chicago Style analysis paper which follow no pattern–they map out ideas in an idiosyncratic order unique to every argument/problem/rhetorical situation). APA format is a social science–and so it borrow from the scientific method, setting up the act of interpretation as a kind of experiment. There’s no “hypothesis,” but those of you familiar with science might recognize the process at work here.

  1. Introduction [What was the object of my analysis? What lens did I apply to it? What were the results?]
  2. Literature Review [What have other writers said about this object? What previous studies have been conducted?]
  3. Theoretical Frame [What is my lens for examining something? What was I looking for/through? Upon what theory did I orient my examination?]
  4. Results/Analysis/Discussion/Application/Witty Names
  5. Conclusion

Now, I do not expect your papers to have a literature review beyond Sicart–sections 2 and 3 will be crushed into one Sicart’s Theory of Ethical Gaming section. And, yes, that section should be a concise revision of your first paper, one that outlines 2-4 questions/elements of Sicart’s theory.

There are a few different ways to structure/organize section 4, and this depends on your game play experience and depth of ideas. Think of this like a grid. When it comes time to draft the paper, you either think about structuring on a decision-by-decision basis, like:

The first decision that challenges a player’s ethics concerns whether to lie to Herschel. The player has just arrived at his farm early in the game and plot summary etc. Sicart’s theory of player complicity comes to the fore in this season because thought thought thought. Of course, this decision also resonates with his discussion of something something something).

OR you can structure this around a particular theoretical concern:

Several moments in Walking Dead resonates with Sicart’s theory of player complicity–below I will focus on three of them: the decision to lie to Herschel, to save Shawn, and to save Carly. In each of these situations thought, thought, thought. In the first decision, to lie to Herschel, the player has just arrived at his farm early in the game and is forced to plot summary etc. What makes this decision so powerful from the perspective of player complicity is thought thought thought.

Two resources:

This is the first time I’ve thought about using a grid with this assignment, and if you think it looks like a useful idea, then put a link to your grid in your Gaming Journal and do your reflective writing in there. I can help you set this up / link stuff in office hours Tuesday or in the lab next Wednesday.

So, what does our homework and class schedule look like between now and Monday the 17th?

  • Wednesday 5th. Class: Review Writing. Home: Play your game 90 minutes, write for 15
  • Friday 7th. Class: Looking. Home: Play your game 120 minutes, write for 30
  • Monday, 9th. Class: COMPUTER LAB, Review Writing.
    Home: Play your game for 60 minutes, write for 20 minutes
  • Wednesday, 11th. Class: COMPUTER LAB, I leave you alone to write (I’ll come around and read some of your drafting). Home: Write for 90 minutes
  • Friday, 13th [EEEK]. Class: Review the rubric. Grade Norming Session. Home: Print a complete draft of your paper for Monday. This includes a Reference List and a title (that does not suck).
  • Monday, 15th. Class: Your paper will get read by three different people across three different vectors:
    • The 25 minute substantive pass (thesis, first and last sentence of paragraphs, before and after quotes)
    • The 15 minute stylistic pass (sentence syntax, circle subjects and underline verbs)
    • The 8 minute APA pass (Running head & page numbers, in-text citations, reference list)

Academic Analysis Papers

Let’s scan a few:

Homework

Play your game 120 minutes, write (or grid) for 30 minutes.

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ENG 328 4.W: Resumes, Evaluating Templates

Today’s Plan:

  • Share resumes (15 minutes)
  • Resume Revision (10 minutes)
  • Designer Resume Assignment (20-25 minutes)

Share Resumes

Due to some unclear instructions on my part, there is a chance you have 4 resumes with you today or only 2. Whoops. Here’s what I would like you to do:

  • Find a partner who does not sit in the same row as you. Branch out, meet some new people
  • Give them two different versions of your resume
  • Take 5 minutes to review the different resumes. You should check for:
    • Alignment (examine margins)
    • Hierarchy (how well does the document prioritize important information?
    • White Space (does this feel open or crowded?)
    • Typography (font choices–drill down, what do you think of the pairings? Think about serifs, stress, x-height–all the things we talked about last class and WSINYE covered)
    • Obviously, 5 minutes is not a lot of time–but I’m looking for your impression, what you see. What is your gut response?
  • Take five minutes to talk about person #1’s resumes
  • Take five minutes to talk about person #2’s resumes

Resume Revision

Take 10 minutes to revise one of your resumes. Upload this file to Canvas.

Designer Resume Assignment

I consider this a practical assignment–and I *think* this is the last thing we will design without an Adobe software. I want you to use Canva for this assignment. You will evaluate and select a Canva resume template. This assignment is as much about learning how to evaluate a template (and, thus, evaluate other people’s design work) as it is about learning how to manipulate a template in Canva.

Design is fundamentally a way of seeing the world. Like literary close reading, it is looking beyond the surface to understand the inner workings. In writing classes, I often cite a quote from Robert Pinsky, the former Poet Laureate. I was lucky enough to attend a lecture by Pinsky; during the Q&A after his talk, a graduate student asked him a fairly sophomoric question: “how do I become a good poet?” Despite the question, I was entranced by his answer: “You learn to read like a good chef eats.” That is, we learn to taste not only the flavor (the sensory experience), but through that sensory experience we re-imagine the process that brought it into being. Good food is effortless, but good cooking is not. We have to bring that investment, that effort, to the surface.

At the same time, we need to construct an almost subconscious rubric that let’s us see mistakes (not as mistakes but as unrealized possibility). So that’s what this assignment is about–how do we take some of the rules and guides that we’ve covered so far, our readings in WSINYE, and put them to use analyzing a visual (even as we are in the process of constructing it).

The criteria I listed above give us a starting point for what to look for, but let me flush that out a bit drawing (mostly) upon our WSINYE readings:

  • Alignment (how clean? how many lines?)
  • Space (is there sufficient negative space? Is there jungles of text?
  • Contrast?
  • Focal point?
  • Hierarchy?
  • Color? (what are the emotional resonances of the colors? where do the colors appear in nature? what are the likely cultural associations of the colors you choose? ALSO: what colors does the job to which you are applying use on their website?
  • Typography? (what fonts, what are the values/associations of those fonts?)

Let’s look at some curated design resumes.

Let’s look at some out-of-the-box creative designer resumes.

Let’s look at some Canva templates.

Classwork / Homework

I would like you to write a brief resume evaluation memo for three different Canva templates. This memo should not exceed 350 words. The memo will begin by informing me which of the three you will use for your Designer Resume Assignment–highlighting its strengths and acknowledging potential weaknesses. The memo should then dedicate a paragraph to each of the other templates, noting strengths/what initially attracted you to the template, but also highlighting why these would be suboptimal choices.

Before you write the memo, apply each of the criteria above to each of your three Canva templates. You don’t need to share this research with me, but this should help you decide which of the three you will select. While it might seem unnecessary, attempting to apply each of the criteria above to a template might open different ways of seeing it–it is an exercise in focused attention.

In the professional world, memos are often emails; although they can be more formal documents distributed at meetings (say a project manager asked you to review a content management system, that memo would be written to be distributed to a wider network of people). Blah, blah, blah.

For simplicity’s sake, I’m going to have you submit the memo as a text input via Canvas. Write the memo anywhere you want, and copy/paste it into Canvas.

Bring your InDesign book to class on Friday.

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ENG 201 4.W: Working with Our Sheet

Today’s Plan:

  • Job Ad Analysis Report
  • Creating a Graph in Excel
  • For Next Class

Job Ad Analysis Report

Friday I will lay out the expectations for our first “major” assignment, the job ad analysis report. The purpose of the report will be to tell graduating high school seniors about what tools/technologies, professional competencies, and personal characteristics appear in contemporary writing ads.

Graph in Excel

I will ask that your report include 3 meaningful graphs. We’ll talk a bit about what makes for a meaningful graph in next Monday’s class.

Today, while we are in the lab, I wanted to give you the opportunity to teach yourself how to make a graph using Excel. The reason I’m asking you to teach yourself is that, as a professional writer, you are going to have to learn how to use a lot of different tools on your own. Whether it is a CMS interface, an invitation maker, an email marketing software, or a new presentation software, that’s often a large part of the gig. Today I’m here to help you if you get stuck.

The tutorial is how to make a graph in Google Sheets (note the Related Articles). Thinking ahead to your project, once we have collectively completed the Spreadsheet, then you will probably (nudge, nudge) want to create your own Google spreadsheet quantifying that qualitative data. That would look something like this [NOTE: these numbers are fake]. You can use those fake numbers to follow the Google Sheets tutorial.

For Next Class

Two things: if we do not finish the sample tutorial graph above, then finish that. This is due Friday.

The second thing is a bit more complicated. Assuming we have cleaned up our spreadsheet, I would like you to select one kind of job (if you select Design, then please do both Design and marketing). You are welcome to select a second kind of job if you wish.

You should then tally all of the codes that appear in each category (Tools and Tech, Prof Comp, Pers Char). To facilitate this, simply make a copy of my sample spreadsheet from today.

This second project is due on Monday. I also don’t mind if you work on this collaboratively.

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ENG 201 4.M: Herrick and Rhetoric

Today’s Plan:

  • I enjoy this Herrick reading because I feel he gives a comprehensive introduction to Rhetoric as a discipline. Like Herrick, I am rather suspicious of folks who define rhetoric as persuasion–that definition is forced on rhetoric from a *logocentric* perspective that would limit its scope and influence. This is the kind of stuff we discuss in my 319 class.I’d like to split into groups; each group will be responsible for compressing a section of the Herrick down into 3-5 sentence walk away.
    1. Rhetoric and Persuasion (pg. 3-5). How does Herrick attempt to nudge our understanding of persuasion?
    2. Rhetoric is Adapted to an Audience (pg. 8-10)
    3. Rhetoric Reveals Human Motives and Rhetoric is Responsive (pg. 10-12)
    4. Rhetoric Addresses Contingent Issues (pg. 15-16)
    5. Rhetoric Tests Ideas (pg. 16-17)
    6. Rhetoric Assists Advocacy (pg. 17-19)
    7. Rhetoric Distributes Power (pg. 19-21)
    8. Rhetoric Discovers Facts and Rhetoric Shapes Knowledge (pg. 21-22)
    9. Rhetoric Builds Community (pg. 22-23)

Passages I would like to highlight: Why does studying rhetoric matter? (pg 6).

Conclusion (five themes of Herrick’s article–what are they? How can you frame each one in a single sentence?) (pg. 24-25)

2 of Herrick’s 4 primary elements/dimensions of rhetoric:

  • Argument (claim, supported by reasons/evidence. Logos)
  • Appeals (ethos, an ethical appeal, who are we? Do I want to be this person? Pathos, how do I feel? How should I feel?

Homework

Code a total of 16 jobs. Your initials should appear in the Google Sheet 16 times, whether as a submitter or a reviewer. In Wednesday’s class, we will resolve all orange entries.

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ENG 328 4.M: Typography

Today’s Plan:

  • Quick Hit
  • Introduction to Typography
  • ReReMakes
  • Homework

Quick Hit

Typography matters.

Let’s have a quick laugh and cover some basics.

Fundamentals of Typography

As I think a number of those fails above indicate, typography isn’t just selecting a kind of font. It also involves the placement of type. We want to control and influence a reader’s attention, and to make our type as accessible and readable as possible. While fancy might seem fun, clarity should be the priority.

So, what are some basic principles for pairing fonts?

  • Contrast of weight
  • Similarity of x-height and proportion
  • Similarity of stress
  • Generally, avoid using two serif fonts (you can have more success mixing two san-serif fonts)

Ian Yates, A Beginner’s Guide to Pairing Fonts

Nick Kolenda on “Font Psychology”

Answer to Karl’s Question about layouts

The typographic scale

Canva on Guide to Font Pairings

Okay, let’s play around a little bit.

Homework

Read WSINYE on Typography. Know:

  • Basic parts of a font, especially: ascender, descender, x-height, and stress. These are the parts you want to pay attention to when you are pairing fonts
  • Types of fonts and their uses
  • Basic guidelines for selecting body copy (for print and screen) and headlines
  • Whether to use faux bold or faux italic (and why/not)
  • Whether to use ALL CAPS or Small Caps
  • What is leading–its potentials and dangers
  • What is kerning and tracking
  • What is reversed type and when/how should you use it?

This chapter has a lot of information on layout and columns, especially for printing, to which we will return later. While their dominant focus is on web design, I still think it is an accessible introduction.

Compose your resume four times, using at least two fonts and three levels of hierarchy per version.

  • First, style two resumes in Word designed for printing.
  • Second, create two resumes in Word that are designed to be saved as a .pdf for screens

Your redesigns should take into account:

  • Font selections
  • Leading
  • Kerning
  • Typographic Scale
  • White space / proximity
  • Margins

Bring print copies of your resumes to class on Wednesday.

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ENG 225 3.F: Academic Writing Crash Course

Today’s Plan:

  • Duck and Shawn (Trolley Problem, Sicart?)
  • Disclaimers
  • Nuts and Bolts
  • Further Exploration
  • Writing Activity
  • Homework

Disclaimers

Some of my staples:

  • Writing cannot be taught, only learned
  • “Teaching” Writing is not like “teaching” Math (student edition)
  • “Teaching” Writing is not like “teaching” Math (teacher edition)

Sicart Review Paper

Your first writing assignment will be due before our next class session on Monday, February 3rd at midnight. I will turn these papers around as a fast as I can (24 students, about 20 minutes a student, 8 hours of grading).

Invention / Content

What should this paper do? Your overarching task is to explain what Sicart believes constitutes an ethical game. Every paragraph in the paper should focus on a specific element Sicart describes. As I discussed in class, your paper has to address player complicity and explore what Sicart believes makes a choice meaningful. Additionally, the paper should address one more idea.

The focus here should be on explicating these terms/ideas so that we can apply them to a variety of games. As player-scholars, what dimensions of games should we pay attention to if we want to assess said games ethically?

Organization / Arrangement

As I said last class, my emphasis with this first assignment is to check your handle on the fundamentals of academic writing, especially in terms of arrangement. So there’s three things that I’m looking for:

  • ARGUMENT. Does the paper’s introduction lay out a CLAIM rather than ask a QUESTION? Does the introduction lay out what the paper will conclude? Does it include specifics? I got all fire and brimstone about this on Wednesday–but I cannot stress the importance of crafting a sophisticated thesis paragraph (not a statement). Let me clarify that you are writing an evaluation of Sicart. Your purpose is to explain his theory of ethical games to someone who has not read his book. I am *not* asking you to evaluate Sicart’s theory. When you are writing academic reviews, I shouldn’t necessarily be able to tell whether you agree with the review or not. You present the information, and leave it to the reader to make her own judgement (this is obviously different from argumentative writing, where you defend a particular position). This writing has an argument only insofar as it argues for an interpretation of Sicart’s work. You will have an opportunity to challenge/respond to Sicart’s work in the next paper.
  • PARAGRAPH STRUCTURE. Does each paragraph open with a topic sentence that lays out the claim of that paragraph? Does it transition into and contextualize evidence? Does it supply evidence (quote, reason, anecdote, etc). Does it summarize and then analyze evidence? Does the closing sentence of the paragraph “end” the thought by referring the specific claim of the paragraph back to the overall argument of the paper?
  • HANDLING OF EVIDENCE. I’ll be paying closer attention to two of the elements above–how well do you transition into a quote? Do you know how to contextualize a quote [that is, briefly tell the reader where the quote falls in view of the original author’s argument]. What do you do after the quote? How deftly can you summarize the quote–putting it into your own words in a way that “opens” it up for the reader without sounding too repetitive. This is a fucking skill, a real hard one. AND then, how well do you add something to that quote/evidence that does something with it? For instance, if you are talking about player complicity, what can you add to the quote(s) from Sicart to help me understand it more. Do you recognize what keywords in the quote require more explication? Do you have personal experience that can help illuminate the concept? Do you have something to add to the quote to amplify its argument?

Of course, I am also testing whether you pick the “right” quotes here–this is as much a test of your writing ability as it is your reading comprehension. All of this is hard. I’ve tried to help you thus far by suggesting specific places and passages in the text that you might return to.

Format / Style

This paper should be formatted in APA format, but it does not require a title page or an abstract. In place of a title page, just put your name, course name, semester, and instructor name at the beginning of the paper. It does require a Running Head. The paper should include a References list. It is quite likely that Sicart will be the only reference on the list (I am just checking for global formatting). Information regarding APA formatting is in the Hackers and Sommers Pocket Manual or can be found at the Purdue University OWL.

Further Explication

Below I articulate three important elements of writing that I will use to evaluate your first paper: developing a specific thesis, properly contextualizing and analyzing evidence, and maintaining logical development.

That said, every piece of academic writing should offer a “thesis” in the introduction. I tend to hate this word, because it comes with so much baggage. For me, a strong thesis lays out AS SPECIFICALLY AS POSSIBLE what information a paper will present. It is a kind of idea map. Let me show you a few potential thesis statements:

  • I/this paper explain(s) Inoue’s theory of anti-racist writing assessment
  • I/this paper explain(s) Inoue’s theory of anti-racist writing assessment, noting his key terms and summarizing his suggestions for new teachers
  • I/this paper explain(s) how Inoue’s theory of anti-racist writing assessment might create problems for teachers who prioritize grammar as the central concern of writing instruction

All those examples are bad. Though not equally bad. The first one is an F. The second one is also an F. They are equally devoid of specific thought. They are a placeholder for a thought that, at the time of writing, the writer did not yet have.

The third one is better. It is in the high C, low B range. It could potentially be higher based on what comes before or after it.

Okay, so what does an A look like? Examples:

  • I explain how Inoue’s theory of anti-racist writing assessment emphasizes the importance of familiarizing students with assessment rubrics, often through practice norming sessions
  • I explain how Inoue’s theory of anti-racist writing assessment calls for teachers to separate grading and assessment from the act of providing feedback. When students encounter feedback alongside grades, they often receive that feedback as a justification for a (bad) grade rather than as an attempt to guide and develop their abilities. Inoue makes clear that providing distance between grades and feedback increases the likelihood that students engage and implement feedback
  • I explain how Inoue’s theory of anti-racist writing assessment challenges traditional enforcement of “standard” English on the grounds that it severely and unjustly punishes students from multilingual backgrounds. The evidence Inoue presents creates problems for teachers who prioritize “proper” grammar as the central concern of writing.

Here’s the deal y’all: WRITE YOUR THESIS LAST. Trust me, I’ll know if you write the introduction before you write the paper. Pro-tip: when you are done with your rough draft compare the thesis in your intro to the conclusion. You won’t know what a paper is actually going to say until you write it!

Pro-tip #2: academic and professional writing are not mysteries. This isn’t Scooby-Doo. Don’t keep me in suspense. Make sure all the important things you find in the course of a paper appear in the first few sentences, paragraphs, or pages (depending on the length of the paper). Front load, front load, front load.

Remember that an actual, breathing human is grading your papers. Sometimes they are grading as many as 80 papers a week. I’m not supposed to say this, but very often they are formulating an attitude toward your paper from the first paragraph. If it is some lazy first-draft-think-aloud-stream-of-consciousness-bullshit, then it is highly unlikely that anything you do later in the paper is going to reverse that first impression.

Okay, on to point #2–working with sources. From the rubric:

  • Is the evidence in each paragraph sufficient to support claims?
  • Does the writer’s transitions provide enough context to help a reader? A description of the methods to understand the value of a statistic, for instance, or enough explication of a quote’s significance? Do I feel like I know where the evidence comes from or is it suddenly thrust at me?
  • Connect the evidence to the claim of the paragraph? Put the evidence in conversation with other paragraphs?
  • Is it clear where a source stops thinking and the writer’s own thoughts begin? Is there an “I” that differentiates the writer from her sources/”they”? Is the writer adding something to the quote, or just leaving it there?

Plagiarism. It isn’t stealing words, it is stealing thoughts, ideas. Be sure to make a parenthetical reference when you use a idea from Sicart.

Sicart’s theory of ethical games centers around an idea of play as more than merely diversion or enjoyment. Sicart’s believes play is important because it allows us to explore ourselves and our beliefs. He refers to the ambiguity of moral rules as wiggle room, writing: “To play is to inhabit a wiggle space of possibility in which we can express ourselves–our values, beliefs, and politics” (p. 9). Play, as imaginative activity, makes possible explorations that we might never consider in our regular daily lives. Of course, not all play might meet Sicart’s notion of wiggle rooom. Playing Madden Football allows me to pretend I’m an NFL executive, but rarely does it call me to question my personal or political beliefs. But X game, however, does make me confront questions of Y and Z. When evaluating the ethical power of a game, Sicart’s notion of play asks us to think about how much wiggle space of possibility the game provides.

Next paragraph begins with some kind of transition. Then topic sentence. then context some evidence.

Even if I took the quote out, I need a reference:

Sicart’s theory of ethical games centers around an idea of play as more than merely diversion or enjoyment. Sicart’s believes play is important because it allows us to explore ourselves and our beliefs. He refers to the ambiguity of moral rules as wiggle room, noting how play, as imaginative activity, makes possible explorations that we might never consider in our regular daily lives (pp. 8-9). Of course, not all play might meet Sicart’s notion of wiggle room. Playing Madden Football allows me to pretend I’m an NFL executive, but rarely does it call me to question my personal or political beliefs. But X game, however, does make me confront questions of Y and Z. When evaluating the ethical power of a game, Sicart’s notion of play asks us to think about how much wiggle space of possibility the game provides.

Writing Activity: Working with Quotes

From Katherine Isbister’s book How Games Move Us / Emotion by Design. 2017.

Homework

Get that Sicart paper done!

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