ENG 201 3.F: Reviewing Miller’s “Humanistic Rationale for Technical Writing”

Today’s Plan:

  • Miller
  • Herrick (nope)
  • What is Rhetoric? (nope)
  • Homework

Miller

My initial questions:

  • What is positivism? Why is it a problem for technical writing? What does Miller identify as the most problematic dimension of a non-rhetorical approach to scientific communication?
  • Miller identifies 4 problems for technical writing pedagogy that stem from the positivist tradition. How do we avoid them?
  • How does Miller–writing in 1979–describe the epistemology that is replacing positivism?
  • What does it mean to teach technical writing from a communalist perspective? Why might some students reject a communalist approach to teaching writing?

Cole wrote:

Positivism, in the realm of scientific and technical writing, is the fundamental viewpoint that language and rhetoric should be treated as nothing more than unfortunate vehicles to be used for the transportation of scientific facts and concepts. It is the belief that in a perfect world overly-emotional words would give way to clear, untainted figures and facts to express science. One of the larger issues with this argument is that it is based wholly on the supposition that scientific facts are immutable artifacts of reality rather than human constructions created in the effort to understand reality. One of the key issues with this ideology in the realm of technical writing is that it causes the aim of all writing pertaining to science to be the creation of a scientific report, rather than the communication of knowledge between humans. This unemotional, calculating approach is especially harmful when applied to the social and emotional creatures that humans are as it creates a belief structure that says that creatures who do not understand or share presented ‘facts’ have failed or are inherently wrong.

Grace wrote:

In “A Humanistic Rationale for Technical Writing,” by Carolyn Miller she argues that viewing technical writing through the lens of positivism allows this idea that ideas and emotions lay completely separate. The presentation of fact and human emotion remain unrelated. You write with a goal in mind and you write nothing else. Within the English language lies tools for the written to persuade the reader in the way they want, creating an issue for technical writing as it is supposed to be scientific (thus lack of room to interpret)

To clarify: Miller sees positivism as a problem because it attempts to eliminate emotion from discourse.
This captures my own emphasis on the importance of rhetoric in a democracy, the practice and communication of science is dependent on persuasive writing. People aren’t machines. They aren’t Vulcans. We can–like Plato–condemn people for their lack of pure rationality and wish for an intellectually oligarchy in which the inferior know their place and listen to their superiors. Or we can–and I think this is the better option–recognize that communicating information requires we do so in a way that is engaging and persuasive. That leaves open the possibility of response and debate (rather than closing such things off via a tone of imperative authority).

Understanding the difference between logical, “philosophical,” positivism and affective, “rhetorical,” social construction requires we pay more attention to the nature of subjectivity. Shaelyn offered the following reflection:

If you didn’t know already, I’m not a STEM student. So the math and science classes I had to take growing up and even now at UNC were difficult for me because I always tried to create something out of it that wasn’t “part of the study” or not “part of the facts”. I hated having to write Lab write-ups cause they seemed to want you to just give the strict facts and what you saw from them factually, while also insisting that would take fifteen pages. Even sometimes with historical research papers, I would want to talk about what that research and that person’s life or the experiences affected the world or myself, but I always felt like I wasn’t being smart enough or that I was making it too personal, that these assignments needed to be factual. And in class its odd because in a lot of my humanities classes I can’t tell if there’s more than one right answer. Maybe it’s because thirteen years of public schooling conditioned me to think this way, but whenever I have different ideas or visions about the topic (things like authorial intent) being discussed, I always get so afraid of what the professor will say, if they’ll think I’m wrong or stupid, because I wasn’t thinking about the thing in a logical way, even if they respond positively to my ideas. It’s like the professor will say “there’s no wrong answers” but when you answer something with something different then they’re thinking, for a split second you can see the judgement on their face, it’s not intentional most likely, but like since public school made me think there was only ever one right answer, maybe I was waiting for that look.

My response: Cicero once said that the greatest impediment to those who want to learn is those who want to teach.

Many contemporary administrators and “curriculum designers” fail to understand that “teaching,” in the sense they think it, is impossible. What is their sense? That teaching is akin to programming–taking information block A and uploading it to student B. If student B fails to reproduce this information, then their must be something wrong with the student. Remember Miller’s characterization of how positivism treats misunderstanding: “After all, if we do not see the self-evident, there must be something very wrong with us” (p. 613).

Those of us who study teaching (called pedagogy, how to teach), know this is absolute bullshit. No one can be taught anything. You can, of course, learn things. But “learning” is not a seemless upload of information, it is a process–sometimes traumatic–of transformation. It comes from failure, frustration, and pain. It is an internalization, a changing.

One does not learn to write, one becomes a writer. That is–an individual is not an eternal, stable subject onto which we “add” things (the ability to write, a sexuality, a politics, etc). You are what you eat, so to speak.

Above, in my opening to Shaelyn’s comment, I made a distinction between philosophy and rhetoric–but I scare-quoted “philosophy.” Austin’s comment helps me explain those scare-quotes (which announce my hesitation). Austin writes:

Last semester, I took a philosophy course with Dr. John Ramsey, where we spent weeks reading articles by a particular philosopher named Averroes, in which he determines that all sense data is unjustifiable. This is because we can consistently doubt our senses; after all, it’s possible that we’re all living within a dream. He then makes the claim that the only way to justify any findings is through a consensus of other thinkers working on the same topic. It’s wonderful to see how even after six hundred years, the same ideas can be brought up in the same ways.

Not all philosophy is positivist. Most 20th century philosophy, beginning with phenomenologists like Heidegger, begin to ask the same kind of questions that Averroes is exploring here: to what I extent can I trust my senses? To what extent can I trust language?

These questions regarding language are pressed furthest by philosopher Jacques Derrida (he picks these questions up from others like Wittgenstein). Let’s try a little game.

That game intends to show you why we need writers who recognize the myriad possibilities of interpretation–who are always attuned to how others might (mis)interpret. The goal isn’t to produce absolutely clear language–that is impossible. The goal is to realize there is no spoon.

Mary writes: “most texts I have encountered have multiple meanings. The occasional text will be very straight-forward, but most cause debates on the text’s true meaning.” Even if we agree what the text “means,” we might disagree on our experience of the text/event. Phenomenology challenged positivism by emphasizing how much our “mood,” our emotional-affective state, impacts/shapes/directs our reception, understanding, navigating, experience of the world (to what degree we are in control of our actions remains a question).

Someone was brave enough to try and explicate the term “epistemology.” They were a bit off. Here’s my explication of the term:

So, epistemology is a word we use for “conception/study of knowledge”–what is knowledge? how do we know something? Miller is tracing out two different epistemologies–positivism and a “new” emerging epistemology that she calls “communalist” and that will eventually be called social construction. There’s two key paragraphs from Miller that deserve close reading. First:

This new epistemology makes human knowledge thoroughly relative and science fundamentally rhetorical. […] Briefly summarized, it holds that whatever we know of reality is created by individual action and [emphasis added] by communal assent. Reality cannot be separated from our knowledge of it; knowledge cannot be separated from the knower; the knower cannot be separated from a community [the naming of a thing]. Facts do not exist independently, waiting to be found and collected and systematized; facts are human constructions which presuppose theories. We bring to the world a set of innate and learned concepts [ideology] which help us select, organize, and understand what we encounter. (p. 615)

This is an amazing passage! Why do I emphasize the and? What do I mean by ideology?

A glimpse into why contemporary America is in such a dangerous place:

Truth, or the knowledge for which science seeks, is thus the correspondence of ideas, not to the material world, but to other people’s ideas. Certainty is found not in isolated observation of nature or in logical procedure but in the widest agreement with other people. Science is, through and through, a rhetorical endeavor. […] Science understood as argument asks for assent, for an act of will on the part of the audience. Good technical writing becomes, rather than the revelation of absolute reality, a persuasive vision of experience. (p, 616)

And finally:

Under this communalist perspective, the teaching of technical or scientific writing becomes more than the inculcation of a set of skills; it becomes a kind of enculturation. We can teach a teach technical or scientific writing […] as an understanding of how to belong to a community. To write, to engage in any communication, is to participate in a community; to write well is to understand the condition’s of one’s own participation–the concepts, values, traditions, and style which permit identification with that community and determine the success or failure of communication. (p. 617)

If we have 10 minutes left, I have a video I want to watch.

Homework

Keep coding jobs! By Monday, I will ask that you have 12 total coded jobs.

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ENG 328 3.W: Photoshop Crash Course #1

Today’s Plan:

  • Photoshop Crash Course
  • Homework

Let’s Download and Unzip this Folder

I mean, this folder right here.

Photoshop Crash Course

There’s a number of topics that I would like to cover today. First, some nuts and bolts stuff, including image/canvas size, image resolution, and file types. Second, I want to show you how to display a grid. Third, some basic alterations: cropping and lighting/color adjustments. Fourth, some image editing tricks (magic eraser). Fifth, we want to work with text. Finally, I want to work a bit with layers. We’ll see how far we get through this today–we might carry working with Photoshop over until Friday.

Photoshop isn’t necessarily the best tool for making a flyer–particularly because it isn’t set up for direct printing (though I have a tutorial below that walks us through–sort of–making a flyer). BUT Photoshop is great for making mock-ups–imagining the layout for a print document before you assemble it in InDesign (because it is easier to play around in Photoshop).

I have created a drive folder with the images we will be using for today.

Nuts and Bolts: Image Size, Resolution, Display a Grid

For this part of the tutorial, we will use these images:

Cropping, Adjusting Light and Color

For this part of the tutorial, we will use these images:

Some Basic Image Editing / “Healing”

For this part of the tutorial, we will use these images:

  • Keep working in 02Start, pp. 44-45
  • Image

Working with Text / Layers

For this part of the tutorial, we will use these images:

Two Quick Tutorials

For this part of the tutorial, we will use these images:

Homework

  • Read the WSIYNE chapter “Mini Art School.”
  • Work on your redesign of your redesign.

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ENG 225 3.W: Choosing a Game / APA “Quiz”

Today’s Plan:

  • Choosing a Game
  • Brief Sketch of APA format
  • APA “Quiz”

Choosing a Game

As I’ve said a couple of times, we’ve reached a point in the semester where I’d like you to choose a game to play for the first project.

I will offer three “default” recommendations:

  • Continue playing Walking Dead. Approx time to beat the whole game: 9 hrs.
  • Play Wolf Among Us. 9 hrs.
  • Study in Steampunk Time: unsure. Available on steam, android, iOS.
  • Any Choice of Game. Let’s talk.

Additionally, here is a sheet of games that you might consider (and cross reference them with howlongtobeat.com

Really Quick Gloss of APA Format

Okay, so APA format has a few major changes from MLA.

  • Verb tense: APA format requires that verbs are in past tense.
  • Running Head: APA has very strict requirements for a paper header. The first page is different from every other page. We will not be using a title page.
  • Abstract: APA format normally requires an abstract. We will NOT use an abstract for the Sicart Summary paper.
  • Headings: Unlike MLA, APA requires you to divide your paper into different sections with formatted headings.
  • In-Text Citation. Major differences here from MLA.
  • Reference list format. MAJOR differences here from MLA.

Here’s a quote in MLA: In Archive Fever, Derrida writes that, under the specter of postmodernism, “order is no longer assured” (55).

In APA, I would write: Derrida (1974) wrote that, under the specter of postmodernism, “order is no longer assured” (p. 55).

If that quote had multiple pages: Derrida (1974 wrote that, under the specter of postmodernism, “order is no longer assured” (pp. 55-56).

How do you know when to blockquote? 40 words or longer.

Homework

Read Sicart, chapter 6. Remember that the Sicart Summary paper is due on Monday. We will talk more about the paper in tomorrow’s class.

In preparation, as you read chapter 6, think about 3 core ideas/concepts/dimensions of a game that Sicart believes are central to an ethical game.

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ENG 201 3W: Working with the Google Job Sheet

Today’s Plan:

  • Stop. Collaborate and Listen.
  • Homework

Working with the Google Job Sheet

First, links to resources:

Second, instructions on how to link from the spreadsheet to a specific job ad:

  • BEFORE you submit your codes, you need to make a link to the job ad you will code. And you need to insert your codes into that document as comments.
  • To create a link, open the job ad. Click on it from inside the 2020 folder; then click “Open with Google Docs,” found at the top of the black document preview screen.
  • When the document opens, look in the top-right corner and you will see the blue “SHARE” button. Click that button.
  • A dialogue box will open. Click get shareable link. MAKE SURE THE LINK IS SET SO THAT “ANYONE WITH THE LINK CAN EDIT. Copy that link.
  • Now return to the Google Sheet. Select the title of the job ad (you can either click on the cell or triple click the cell–watch me). Once the cell or text is selected, press the chain link icon (or press CTRL or OPEN APPLE + K). Paste the link in and hit Apply. Presto, chango, welcome to the 21st century.

Third, instructions on how to code a job ad:

  • In the Google Doc, select the text that contains a code.
  • From the Google Doc Tool Bar, select Insert > Comment. Place all relevant comments in the box and press “comment”
  • If more than one code is found in a highlight, then include them together BUT try to keep comments as short as possible
  • Demonstration
  • If you are the first person to input the codes on an ad, then include your initials in the “submitted” column of the spreadsheet (scroll carefully to reveal this column)

Instructions for reviewing codes

  • If you open a job ad that is already coded, then you will need to check those codes.
  • First, examine codes that are already present on the ad. If you agree with those codes, do nothing. If you disagree with a code, then change the TEXT COLOR to ORANGE. Include a comment as a response to the original indicating why you question the code.
  • Second, add any codes that you recorded that the original submitter did not. CHANGE the TEXT HIGHLIGHT to ORANGE.
  • If, after these two steps, there is ANY orange in the document, then go back to the spreadsheet. Input your initials in the “reviewer” column. Then, select the row #. Once the row is selected, set the text color to orange.

Homework

The Herrick “Overview of Rhetoric” forum post is due tomorrow at midnight. I’ll talk about the Miller, the Herrick, and rhetoric in class on Friday.

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ENG 328 3.M: Re(Makes)

Today’s Plan:

  • Making Things is Hard
  • Monday Bookmark, Design vs Visual Rhetoric
  • Reading Review: WSINYE, chapter 3
  • Looking at your Remakes
  • Homework

Design vs. Visual Rhetoric

I will often use these terms interchangeably. But I want to open today making a distinction between them. Those who have taken 319, or even 201, with me know that I think the word “rhetoric” has myriad meanings–some more productive than others. “Persuasion” would be rhetoric’s most common definition–but that is a pretty bad definition granted to us by philosophers who believed rhetoric was just a bunch of tricks used to communicate “rationally derived truths” to ignorant audiences (those incapable of deriving said truths the “hard” way). A better understanding of rhetoric is the study of how relations, networks, emotions, and affects influence how we see ourselves, our world, and our possibilities for action. It is as much the study of why persuasion (in the rational model outlined above) *doesn’t* work.

When I talk about visual rhetoric, I am talking about the intentional use of visual elements (pictures, colors, texts, etc) to tell a story and shape the way we think or feel. Their is a distinct purpose, a specific audience, and a strategy to connect the two. In rhetorical terms, I use visual rhetoric to emphasize that inventive purpose-driven process.

Design is also purpose-driven. And designers would argue that the inventive process laid out in the previous paragraph is part of design. That’s fine–I just want to suggest that we think about design more as the technical execution of visual elements. That is, there are rules and expectations for visual genres. Those expectations can radically changeover time. Design, for me in this context, is understanding contemporary aesthetics and expectations. Of course, this is offered more as a thought experiment rather than as a strict distinction.

What triggered this thought experiment? I was going through my visual rhetoric bookmark folder and came across a link to South Dakota’s recent public health campaign. If we are analyzing the advertisement according to H&G’s “Mini-Art School” chapter in WSINYE, then it is extremely well designed. But I think its “rhetorical” success is a lot more complicated to assess.

WSINYE Chapter 3

  • When creating a print project, should the headline go over the bottom of an image or under it? [p. 24]
  • How do you know when to break a headline? [p. 25]
  • How long should a line of text be? [p. 25-26] (let’s look here)
  • Looking at your Remakes

    Before we get started, I want you to take a minute to think about three things:

    • What do you feel are the most successful elements of your redesign–what about it makes you happy?
    • What about it are you the most uncertain–what questions/suspicions do you have?
    • On a scale of 1 to 10, how satisfied are you with your redesign?

    Homework

    Three things and fourth thing:

    • Read chapter 5, “Mini Art School.” We can talk about this reading on Friday
    • Due Next Monday, February 3rd. A revision of your flyer remake. I will ask you to identify how reading in mini art school directly influenced your revision. Note that your revision can be a complete redesign (but it doesn’t have to be).
    • Next week we will be working on resumes. I assume you have a resume somewhere. If you don’t, you can make a copy of this to use as a template. To be ready for next week, you need the information: obviously we will spend more time designing it.
    • On Wednesday, we will do a crash course on Photoshop.
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ENG 225 3.M: Using Sicart to Build a Critical Lens

Today’s Plan:

  • Upcoming Calendar (5 minutes)
  • Quick Paper Expectations (5 minutes)
  • Sicart Group Activity (20 minutes)
  • Sicart Discussion (20 minutes)
  • Homework

Upcoming Calendar

Here’s how I see the next 2 & 1/2 weeks:

  • Monday Jan 27th (today): Review Sicart Reading
  • Wednesday Jan 29th: (Ross 1240 Computer lab): Developing a List of Potential Games for Project 1. APA format mini-quiz. HW: Read Sicart Chapter 6.
  • Friday Jan 31st: Discuss Sicart Chapter 6. Crash Course on Writing a Paper
  • Monday February 3rd: Review Sicart Papers. HW: Play your video game for 2 hours.
  • Wednesday February 5rd (Ross 1240 Computer Lab): Williams and Bizup on actions (sentence syntax workshop). Gaming Journal Pre-writing assignment: spend 20 minutes writing about a decision in your game.
  • Friday February 7th: Share pre-write assignments, talk about games and ethical decision making. Homework: Play your game, begin drafting your analysis paper.
  • Monday, February 11th: Open Date (let’s see how the papers are going–but I’ll plan on focusing on integrating sources). Play your game, draft your paper.
  • Wednesday, February 13th: How to write an introduction; Writing Day
  • Friday, February 15th: Peer review. Revision and editing checklist. Final paper due Sunday at noon.
  • Monday, February 18th: Introduce Project 2

Quick Paper Expectations

There are two upcoming paper assignments. The first is the Sicart summary paper. That paper will be due next Monday. The “A” papers from last semester were generally 800-1000 words.

On Friday, I will give a one day crash course on writing an academic paper; while much of this should be review (because this is a 200 level writing class and assumes you have already taken ENG 122 or ENG 123), I recognize that for many of you this might be the first formal academic paper you’ve written in college. If so, don’t panic. I like to ease into things. So I will only score the first paper on 4 criteria:

  • Does the paper have an explicit thesis statement (that is, make an argumentative claim regarding the central topic(s) in Sicart’s argument) and contain some kind of road map?
  • Does the paper provide meaningful transitions into quotes from the reading?
  • Does the paper sufficiently summarize and explicate quotes?
  • Does the paper begin paragraphs with claims (topic sentences) and end paragraphs with closure/purpose/reflection?

In Friday’s crash course, I will cover all of these things. And don’t worry if you don’t get them all the first time. I consider these the foundation skills of writing, and we will work on them all semester.

Sicart Group Activity

I’m going to break you up into groups.

From Group Work to Heuristic

We will work together to populate this heuristic [heuristic is a rhetorical term; it means “flexible system of questions used to help generate ideas”]. This heuristic will be our critical lens–that is, as we read we will consult these questions in order to help us understand whether Sicart would consider this an ethical game. At the same time, elements of our game play might suggest new questions–it might show us questions that Sicart doesn’t articulate, elements of ethical gameplay that he does not address.

Homework

Remember–if you have questions about your game or the reading or anything else, I have office hours from 12-3 tomorrow.

Also, being a first-year college student can be disorienting. If you have questions about choosing a major or how to navigate the university, feel free to come to office hours to ask those too. I’m a resource–don’t be afraid to ask me about stuff!

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ENG 201 3.M: Norming Job Ads, Selecting Jobs from the Corpus

Today’s Plan:

  • Norming Job Ads
  • Selecting Jobs from the Corpus
  • Homework

Norming Job Ads

The first 30+ minutes of class today will be dedicated to comparing the codes for the packet of jobs I distributed on Friday. You will work in groups of three and then we will compare group ratings.

Also, classify each job. Is it:

  • Writing
  • Editing
  • Social Media
  • Marketing
  • Sales
  • Design

Here is a link to the coding sheet.

Job Ad Corpus

The next task is for you to determine what kinds of jobs you will focus on for Project One. In preparation for Wednesday’s class, you should go through the job corpus (note: corpus is the term for the body of texts you will analyze in a qualitative research project) and identify *10* initial jobs you would like to code.

Homework

Go through the corpus and identify 10 jobs you would like to code For simplicity, you can just input a numbered list (1-10) to the Canvas discussion forum “First Ten Jobs.”

Print and code 3 of those jobs in preparation for Wednesday’s class.

Wednesday we will meet in the computer lab and input your codes into our collective spreadsheet.

Also: a reminder that the forum post on Herrick’s “Overview of Rhetoric” is due Thursday at midnight; we will discuss Herrick and the Miller article on Friday (if you did not complete the Miller discussion post, this is an opportunity to make that up).

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ENG 328 2.F: (Re)Make it Work

Today’s Plan:

  • Hello!
  • I sort of have a syllabus
  • Basic C.R.A.P.
  • Layout Sins
  • Mini-project #1

Hello! Syllabus

I’m finally here! I’ve got a syllabus and a calendar for the first half of the course.

Let’s start there.

Basic C.R.A.P.

Before we dive into the layout sins assignment and our first mini-project, I wanted to cover four fundamentals of graphic design, plus a bonus concept.

The first design book I ever bought was in 2003, when I was teaching composition as a first-year PhD student. We had a multimodal assignment that required students to develop a CD cover (not kidding–we thought we were hip as hell). The mentor who developed the approach had us use Robin Williams’ (in)famous The Non-Designer’s Design Book. I say infamous, because a lot of people find the book incredibly reductive and/or wrong. I went on to teach courses in document, web, and information design, and used more complicated books and approaches. But Williams’ core four concepts have always stuck with me. They are the basic crap:

  • Contrast
  • Repetition
  • Alignment
  • Proximity (which I think works better as “spacing,” but “basic cras” doesn’t have the same ring to it; some people call it the basic “carp” but I assume those people are not fun)

Let’s look at a PowerPoint.

Layout Sins

Let’s look in Canvas.

Homework: Mini-Project #1

For homework I want you to read chapter 3 of the WSINYE, in which Hagen and Golombisky share their “works every time layout.” They outline 7 parts of the layout: margins (no bleed), columns (two), visual (graphic image), cutline (alt text for image, not common), headline, copy (body text), tags (logos, etc).

You can choose to redesign one of your layout sins (bonus points if you replace the sin with your redesign) or I have something for us to work with…

One thing: whatever you redesign, I want you to take the graphic image picture. I want you to practice both taking a good picture and modifying that image in photoshop (cropping it so that it fits your area, adjusting lighting, etc–nothing major needed). I just want to see if you have experience taking a good photograph.

A few tips for taking a good photograph:

  • Lighting: if you are outside, make sure the sun is behind you casting natural light on your subject. If you are inside, you want indirect light behind you–if you have a lamp directly lighting your subject, then you are going to get glare. Throw a tee-shirt over a lamp (make sure the tee-shirt is not touching the bulb or you might start a fire). Do not use a flash.
  • Rule of thirds; this is a rule that you must follow until you have permission to break it
  • Zoom in with your feet. Don’t use the zoom on your camera. If you want to be close to your subject, then get close.
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ENG 225 2.F: Ethics and Games

Today’s Plan:

  • Ethics, Trolley Problem, and Video Games
  • Using Sicart to Construct an Analytical Lens
  • Homework

Introduction to Ethics

Today I want to give some sense of what constitutes ethics. I’ll start by attempting to differentiate ethics from morals. Both ethics and morals are a part of what we call practical philosophy–rather than dealing with “what is,” practical philosophy deals with how we should act. In simplest terms, both the study of ethics and morals deal with right and wrong. Generally, morality is thought to deal with personal convictions developed via abstract or religious/spiritual principles. Morals can be stated as laws: “thou shalt not kill.” Ethics are thought to be rules derived from “external” agencies–our secular social/institutional contracts. Ethics are far more fuzzy and ambiguous, and often arise as questions that problematize morals. “Thou shalt kill if a solider in war.” And something can be ethical, but not moral and vice versa. Murder, then, is almost always immoral and usually unethical (except, for say, the soldier example, which we wouldn’t call “murder”). However, adultery is often immoral, but it isn’t necessarily unethical.

I should say that I find this distinction between morality and ethics a bit too simplistic. I think of ethics otherwise.

For me, morality is the study of the rules that govern our behavior, our internalization of the rules, what we value and believe. The spiritual-internal vs. secular-external distinction isn’t particularly productive for me. I don’t care if the rules come from state agencies or spiritual institutions. Again, morality is how we develop and internalize the rules: thou shalt not kill. A moral.

Ethics, for me, signals how we employ, actualize, our moral values in lived experience. It is how we act. If morality is our sense of what should be, ethics is the study of how we actually act. Ethics operates in relation to morality, always in its shadow, and often in the places where morals break down. I think the study of ethics is the most interesting when we encounter a situation in which or moral convictions come into conflict. Again, if we believe that “thou shalt not kill,” then how do we also celebrate the soldier? How do we operate in the face of competing morals?

But more than just an analytical science of how we act, ethics for me marks our ability to handle, to process, the unknown. How do we feel, and respond to our feelings, when we encounter the strange? The stranger? Something different? What happens when we encounter something we cannot control, when we have to make a decision with no clear right answer, when we face something that resists our mastery?

My understanding of ethics is heavily indebted to the work of philosopher Emmanuel Levinas. Levinas’s work encourages us to recognize our aversion to difference, and the lengths humans will go to eliminate alterity (that which is strange, different, unknown or unknowable to them). He jests that we have an allergy to the strange and different, to the other. We seek to “joyously possess” the world as a certain knowledge. Such possession is akin to mastery–to rule the world without question. To eliminate questions that make us uncomfortable. Rather than deal with the other, we desire the same–we desire to know, label, categorize, understand something. Facing something we do not know, or cannot know, brings out the worst in us. To be ethical, for Levinas, is to learn to inhabit this discomfort, disequilibrium and repress the desire to transform something Other into something familiar, what he calls “the same.” To welcome the other as an other, to let them be different, rather than to convert them into the “same” thing that I already know.

What does this have to do with the distinction between morality and ethics? I believe that the more we recognize and study ethics (as moments of moral indecision), the more we learn to choose when no one true, certain, “right” answer is evident, available, or even possible, the more ethical–the better people–we will become.

Using Sicart to Construct an Ethical Lens

Ok, enough blather. Let’s talk about the Trolley Problem, created by Foot and complicated by Thompson. Very simply: the trolley problem is a philosophical thought experiment created in the 1970’s by philosopher Philippa Foot. If you have a laptop or mobile device in front of you, then click the following link.

Let’s play 4 quick choose your own adventure games.

Let’s try again.

So, if you haven’t guessed by now, here is my theory for what video games have learned is their unique province: they can leverage the emotional unrest, affectation, difficulty, disequilibrium of Trolley Problems. Foot’s trolley problem is meant to explore the moral consistency, or lack thereof, people use to make life or death decisions. Video games can proceduralize this thought experiment, to make it more visceral or “real.” We feel the decision–this kind of feeling is called “affective” or pathetic (deriving from the Greek term for emotion, patheos).

In a book or a film, we are left to watch the trolley driver pull the switch or not. The author decides. The author justifies. Perhaps she does so to secretly stir our outrage, to get us to deconstruct her flawed reasoning. She can spur reflection, contemplation, resistance. But we are always a bystander to the action, distanced from the choice. We are witness.

But not so in a game. I remember my first play through of Dragon Age: Origins. The details are a bit foggy–I remember encountering some elves and some werewolves. Maybe the werewolves were created by dark elven magic? And then, like Frankenstein’s monster, abandoned by their creators. Or maybe a wolf had killed and assaulted an elf? I honestly don’t remember. But I remember, unexpectedly, having to decide which species to exterminate. Only one can survive. Neither is innocent. And there is no heroic path to saving them both. I am responsible. I must pull the lever.

I’ve played games since roughly 1984 on my Atari 2600. I’ve murdered hundreds of thousands, if not millions of aliens and demons and terrorists and zombies and horde (“For the Vangaurd” or “For the Alliance!”). I’ve killed all these things from a moral position that authorizes their death. I’ve never been troubled by all this killing. Those aliens threaten our light. Those demons threaten Tristram. Those terrorists threaten democracy. Those zombies would eat me and the few others remaining in Raccoon City. I killed them all without friction. (Save for Silent Hill 3, one of the greatest mindfuck games of all-time unfortunately lost to history).

But Dragon Age interrupted my joyous possession of the world, my righteous action, my moral foundation. It stung me. This was something different.

I introduce the Trolley Problem, the lever, the notions of disequilibrium, ethics, and agency as a way of thinking about games. I imagine many of you are already thinking of games that leverage this dynamic. Soon we will work together to generate lists of games–AAA, mobile, indie–that we can play and explore as a class (in addition to my required experience: Walking Dead (or A Wolf Among Us).

First, however, I want us to carefully read Sicart’s book to develop more specific language to analyze why/when games are effective triggers of moral/ethical reflection. We’ve already read his first chapter, and have some initial terminology.

  • Player Complicity (p. 12, surrendering, but what makes us surrender?; p. 20, designing for feeling; pp 21-23) (
  • Meaningful Choices (pp. 9-10, wiggle room vs. morality games; pp. 13-14 Walking Dead what makes a choice meaningful/ethical?; p 15-16 design objectives/open vs closed; )
  • Violence as Aesthetic/Affective (p. 19;
  • Reflective Goal (pp. 20-21, designing for feeling; p. 25 explore your own identity;

These are a few interrelated themes I teased out of the first chapter. There’s more themes–and a lot more explication of the themes above–in the rest of the book. Over the next week we are going to focus on reading the book and building up Sicart’s theory of what makes an ethical game. That will culminate in a 4 page paper summarizing Sicart. This will be your first major writing assignment, due Monday, February 3rd.

Quickly, I want to highlight two passages. Sicart describes his method of analysis as a “postphenomenological analysis” that sees games “as objects that create experiences by limiting the agency of an ethical being” (p. 26). He explicates what it means to limit agency by pointing specifically to Walking Dead:

Ethical gameplay is a process of decision making that is constrained by moral technologies and mediated by a game world that translates the principles of those technologies into behavioral patterns that can be understood by players. In Walking Dead, a choice is technically a branch in the narrative–a path in the story. However, through narrative, players are encouraged to care about characters and to choose the company more than optimal paths.

What Sicart hints are here, and what I have argued more extensively, is that the decision-making in Walking Dead remains in the realm of the ethical rather than the realm of the economic.

If we have time today, I’d like to talk about the first episode of the Walking Dead. If we are near the end of class, then I’ll wait until Monday.

Homework

We’ve got to read some Sicart! For each of the chapters below, you should add an entry to your gaming journal. In the entry, begin the work I outline above–what are the significant themes/terms Sicart introduces? How do we know how those ideas contribute to a successful ethical game? As we play a game, what should we be looking for? How does Sicart help us distinguish good from bad design? What is a checklist of questions we can apply to a game?

  • Chapter 4 (13 pages): pages 62-65 (there’s a gold nugget on 65), 66-75 (nuggets on 74 and 75)
  • Chapter 5 (22 pages): 88-98 (several passages on cognitive friction); 98-110 (wicked problems and lists of questions)
  • Chapter 6: whole thing, examples of how to analyze games

For Monday, read the sections from chapter 4 and chapter 5. While that’s only 35 pages, it will not be easy reading. It is theory, and while I think Sicart works hard to make his writing accessible, I imagine you will have to read slowly and look up some unfamiliar terms. I list chapter 6 here because that reading will be due next Friday.

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ENG 201 2.F: Project One

Today’s Plan:

  • HELLO!
  • Introducing Project One
  • Qualitative Coding

HELLO!

A very quick gloss of the course:

  • Project One: Analyzing Job Ads
  • Project Two: Developing a Proficiency
  • Project Three: Working with a Non-Profit Organization
  • Project Four: Applying for Jobs

Syllabus is here.

Office hours: 1180D Tuesday 12:00-3:00. Also by appointment (email to set up a time).

Project One: Analyzing Job Ads / Sharing mediabistro.com Job Corpus

Your first project this semester dovetails with a current research project I have been working on. As we revise UNC’s writing minor, I have been curious as to what skills and technologies to focus on. This curiosity led me to research job advertisements for English majors, and Brumberger and Lauer stands as the most recent and comprehensive study I found. However, their article focuses on “technical communication.” This designation can have many meanings–sometimes it is merely a synonym for professional writing. But not in their case–they use (as do I) in the more precise sense of developing documentation (instruction manuals), product testing (usability reports), and working with scientific experts to communicate scientific/technical knowledge. Our department doesn’t have someone with those specializations (though we have developed ENG 227 to introduce you to these genres/skills). While I appreciate B&R’s research, I wanted something a bit more relevant to a smaller department. Their research speaks more to folks at large research institutions with Professional and Technical Writing majors, more specialized faculty, and software licenses such as MadCap Flare or Adobe RoboHelp. We are a much smaller department with 5 tenure-track faculty (and none of us, I think, would claim Professional or Technical writing as a core specialization). My background, for instance, is in rhetorical theory, ethics, and digital technology (how the internet, social media, video games, wikis, etc [digital technologies] change the way we see and interact [ethics] and how we perceive, distribute, question, and respond to knowledge/argumentation/feeling [rhetoric]).

So I’ve turned my attention to Professional Writing jobs outside of technical writing. During my research, I came across a specialized job listing site–mediabistro.com. From their “About Us” page:

Mediabistro is the premier media job listings site and career destination for savvy media professionals. Whether you’re searching for new job opportunities, striving to advance your career, or looking to learn new skills and develop valuable expertise, we are here to strengthen and support your professional journey. We have the tools and resources to help you navigate your own path and find career happiness.

In addition to job postings, mediabistro.com offers resume services and courses on professionalization and personal brand building. Rather than turning to a more popular site like monster.com, I used mediabistro.com because it focuses specifically on jobs involving writing and communication. It also brands itself as a place for creative folks (mostly writers) to find jobs. And, after a cursory preview, most of the jobs advertised on the site are not technical writing jobs as I described them above.

I spent the month of June 2018 scanning every job ad posted to mediabistro.com. I filtered out jobs that:

  • Called for experience in television production (especially those that required years of on-air experience)
  • Called for extensive experience as a field journalist (although I retained jobs open to those without journalistic experience; a few jobs were looking for bloggers or content contributers)
  • Required degrees in finance or accounting
  • Required extensive experience with Google Ads and/or other Customer Relationship Management (CRM) softwares (Salesforce was particularly popular)
  • Required applicants bring a client log with them
  • Required management or hiring experience (the term management is quite slippery in adverts; sometimes it means “manage a team” and clearly indicates the need for leadership experience. Sometimes it means “manage our twitter account” and isn’t, per se, a leadership position)
  • Required backend coding skills
  • Required extensive graphic design portfolios (I did retain entry level graphic design jobs)
  • Required 5 or more years of experience
  • Telemarketing jobs, part-time jobs, or unpaid internships

After filtering out these jobs, I was left with a corpus of about 300 jobs.

Over the next week, you will code 20 jobs from this site. But before I ask you to select and code those jobs, we will first work on what is called “norming.” Coding qualitative research means looking at a text to identify pre-determined features. In our case, we will be using a slightly modified version of Brumberger and Lauer’s coding scheme. We will be sharing our research findings using a Google Spreadsheet. In order to make this research as reliable and valid as possible, we want to make sure that everyone understands the coding scheme and is “seeing” the same codes in our texts (our job ads). This might sound confusing now–but I am confident you’ll pick this up quickly. Later today we will begin norming by practicing coding adds and sharing results.

First, let’s take a look at the coding scheme.

Okay, now let’s use the coding scheme to code a sample job ad.

Homework

This weekend your homework is to code the remaining jobs in the introductory packet. We will compare codes in Monday’s class.

We will discuss the Herrick, “Overview of Rhetoric” chapter (.pdf in Files section of Canvas) on Friday. There is a discussion forum post with instructions in Canvas. Complete that discussion forum by midnight on Thursday.

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