If you are visiting this blog for the first time – Hello! And a very warm welcome back to the regular reader. A warning before diving in here: this post is a break from my usual content that celebrates the myriad ways bicycles create positive social and environmental change. My current bicycles-for-education research puts to work feminist New Materialisms, which is a posthumanist approach that encourages creative and disruptive research methodologies. This post shares one of my recent NM experti-ments in discontinous writing. If you are not into that, maybe check out some of my other work, like Cycling for a better brain and happiness …or another good one is Dr. Kat Jungnickel’s Bikes and Bloomers. If you are feeling brave and up for something different – read on! NG.
Image: SplitShire
Funny how when you try not to think of something, it ends up beingall you can think about.
This week, I’ve been noticing researchers’ bodies…. and wondering.
Most academics and researchers don’t talk about, or acknowledge their bodies. Many don’t care for their bodies – literally and metaphorically. As a wholely embodied researcher, I think denying the sensorial is weird and unnatural and borderline unethical. As part of my posthumanist methodology to research-write differently, I set myself a task today to free write discontinously without punctuation, intent, or censorship. I allowed myself parenthesis. Obviously, thoughts about bodies were bubbling close to the surface because this is what I wrote:
Today I m thing-ing without punctuation s cultish and restrictive directionality
whilst yonder canine h/barks
haloed by sunshines thaws
next to that barista who is the second most important person in John s life
after flexible nights roll on
amidst majestic ironbark eucalyptus and mycelium running
drumming
strumming
humming
and thrumming
sexy relationality turned on
Don t speak of it
Don t write of it
But(t) right on it
sexy relationality turned on
sexy relationality (re)turn(ed) on
turn
turned
turning
return
returned
returning
differences between sensuality and sexuality
Bronwyn Davies (w)rites of Hollyoak intensities
It s (not) a graphic of a body (a)part
Researchers turned on
60
researcHER(s)
WeSEARCHers
the participant is turned on
the topic is topographical
and six of them say it s okay
but (what) happens
what happens when bodies are turned on in the middle of a site visit or walking through a field or during a meeting
Don t speak of it
Don t write of it
But(t) right on it
We know it happens but its a private personal world
and not for (the) writing on the screen
or in online writing forums
as people look down at their pages
the cum face of writers as they write
I say this in a meeting
I have said this twice in meetings now
just to gauge reactions
they hear it
but no one acknowledges it
oddly (in)appropriate
just like us
but its out there now
just like us
now they are all thinking about it
sensual
intimate
steamy
delicious
using all the senses
feeling all the time
being open
being responsive
being up and on and over and in and against and beside and into
blurring the lines
awkward teenagers excited by theories that seduce adult researchers
Regular readers of this blog know I have a particular panache for academic writing and research practices.
As a researcher, I like to muddle long-held academic conventions to reimagine scholarship differently – like using experimental feminist approaches when referencing. (Note to any undergrads reading this: don’t do this! Don’t mess with academic referencing. Tow the line! Unless you have a Ph.D. before your name, follow academic style and referencing conventions. You will be penalised if you don’t (ie loose marks). I’m a known disrupter at Uni and the feminist expert-iments I use like the Visible and Valued: In(Citing) Feminist Scholarship and the recent Reading with Recipocity Project are part of my research methodology so I can get away with it!).
As an academic writing advisor, I regularly work with undergrad and postgrads and look for ways to help them better understand course content and practice skills that produce better writing.
I teach an elective course for pre-service teachers called 3404EDN Gender & Literacy and am currently working with a number of postgrads who are diving into their first-ever text analysis.
Text analysis is different from a video/film analysis (like the video above).
This post outlines a few ideas to get started with text analysis – whether you are at uni, a text buff, or just an interested party.
This is not a definitive or exhaustive list of ideas. A caveat: use your good judgment! The ideas here are suggestions that work for me and the undergrads I work with, they are not rules to be applied ALL the time, to EVERY assessment, in EVERY situation.
Here, I’m covering the regular questions I get asked by students doing an AV text analysis at uni for the first time – and some aspects that are interesting more broadly.
Let’s get into it!
Text Aanalysis
Have a systematic way to analyze the text.
Always follow what your tutor/supervisor says as far as how to ‘analyse’.
If you have not been provided with a clear outline of what/how to begin a text analysis, ask for one, or find one and check its appropriacy with your supervisor.
This might be a theoretical framework, a model, a process, or some other way to systematically work through critical points for analysis.
For example, in my 3404EDN class, we focus on gender. We use the text analysis process below to identify and interrogate gender patterns within a given text. This helps us look carefully at character representations. From there, we might discuss the dynamics we see, like if/where there are examples of traditional, transformational, or a mix of gender representations, how this links to theoretical perspectives of how gender is constructed, and what this means for us (as uni students/pre-service teachers), other audiences (more widely), learners (students in our future classes/workplaces), and society at large.
If it is a recognised text analysis process, theory, or approach drawn from academic literature, include a citation.
So, you need to know what/how to approach your text analysis.
How to reference a visual text.
Most students know (hopefully!) how to reference an academic source – a journal article (best published in last 10 years), a chapter in a book, and/or a book.
Fewer people know who to accurately reference a report (like a UN Annual Report or Government document) or other grey literature.
This is understandable as it is tricky to do.
Even less know how to reference audio/visual (A/V) texts (unless it is your area of study).
Here I am referring to films, TV shows, radio programs, podcasts, posters, artwork, illustrations, TV commercials, comics/manga, video games, and the like.
The best way to approach this is to find a really good referencing guide.
Find an online tool or download a guide you like and keep it handy.
There is no excuse for losing points for references. There is so much help, support and many resources available. Plus, it is an academic skill you’ll need for all courses in your uni degree and beyond, so it’s best to know how to do it accurately.
Know what referencing style to use.
Ask your tutor if unsure…in fact…ask your tutor anyway …just to double-check – don’t assume!
It has examples and formats for both in-text and reference list entries.
But there are limits to this particular tool. For example for AV, it lists video stream database, YouTube/Vimeo, and DVD/BluRay only. Any other AV format means you’ll need to use a different referencing tool/style guide.
In my experience, Griffith’s APA tool will cover most of what is needed for undergrad work.
Here’s an example for a DVD film from Griffith’s APA 7th Referencing Tool:
If you go online there are heaps of downloadable referencing guides.
Find one that you like and one that covers your most used sources.
Make sure it is not overly complicated and is quick to use.
Sometimes, you might need to cite an uncommon ‘wild card’ reference – something that is more challenging to cite – like a podcast or some other source not in your handy guide.
You’ll need to accurately cite any sources used intext in the Reference List.
Let’s say you are writing about the film The Bicycle Thief.
HOT TIP # 1
Always write the title in italics (this helps distinguish it as ‘the text’ as opposed to your writing or citations (anything not in italics).
“The film The Bicycle Thief centers on a man called Mario who….”
HOT TIP # 2
The first time you write the title, you’ll need to include the year the film was first released after it.
First time naming the text example:
“The film The Bicycle Thief (1948) is a classic example of Italian Neorealism as ….”
In my 3404EDN course, the first assessment is only 750 words. For brevity, I’m happy if the text is ‘yeared’ the first time it is introduced, but thereafter, I don’t see a need to include the year every time the text is named.
But if your assessment is longer or your tutor is a stickler, you might be required to include the year every time (like you would for an academic citation… or use some other technique). This is in line with ‘official’ APA 7th formatting.
Personally, I think it is overkill. For me, the initial intext citation with the year is evidence enough the student knows what they are doing (it’s usually more than other undergrads do anyway), as well as the use of italics for the title thereafter, is enough. Besides, it inhibits readability and flow – that is just me. But it is a thought to consider.
My students need only include the year the first time. After that, no need to include the year. Just make sure the title is always in italics.
HOT TIP # 3
If you want to get super fancy and accurate (not many students know or do this, so it stands out when you do – it’s next level), use timestamps (as a page number variation) when discussing a particular scene, an utterance, or a moment.
Timestamping shows extra attention to detail. This is good practice as it shows high-level critical analysis, showcases specific details, and advanced referencing skills.
Most tutors I know (myself included) LOOOVE seeing this.
Again, if you are not sure, ask your tutor. (Maybe after class if you want to keep it to yourself, or in class if you are happy to share this secret weapon).
There are a few ways to timestamp.
The ‘official APA 7th’ way is:
Hours/minutes/seconds format H:MM:SS e.g. 1:35:02
I have also seen it done like this:
Minutes/seconds follows the MM’SS” e.g. 23’12” or 75’33” (if over an hour)
Personally, I don’t mind either way, just as long as it is applied consistently.
Using this technique in writing might look like this:
“Mario’s independence transgresses heteronormative and essentializing male gender roles. An example of this is when Mario and Henry blah, blah (34:12). In this scene, Mario blah, blah, blahs which is/means/demonstrates…..”.
34:12 or 34’12” means 34 minutes and 12 minutes – an A/V text equivalent of a page number.
“…and this is best exemplified when Mario publicly shouts, “I am a man, not a mouse!” (56:22), which is meant to position him as…”
References List entries
Keeping in mind you will always need to double-check/modify/edit all Reference List entries regardless. Vic Uni offers this basic reference list format for films:
Primary contributor or contributors with their contribution identified in round brackets (e.g. the Director).
Year (in round brackets).
Title (in italics).
Description of work [in square brackets].
Publisher (e.g. the production company).
URL (where relevant).
The first line of each citation is left adjusted. Every subsequent line is indented by a TAB or 5-7 spaces.
Reference List format example:
Ireland, P. (Director). (2016). Pawno [Film]. Toothless Pictures.
A few ideas to get started with text analysis and referencing AV texts.
As always (again) … double-check with your tutor (they have the final word) and make sure you check formatting and edit references to suit your specific purposes.
I first came across this story while scouring the internet for community-focused, bike-related, arts-based projects. This project caught my eye as it was initiated by a group of senior UCLA academics and I like the innovative use of technology to get more people engaged with bicycle commuting. Projects like this are inspiring not only in the end product, (more people on bikes), but also in the process (engaging arts-based participation in new and creative ways) and in bringing together a range of people (professors, artists, riders, and community members) who are passionate about bikes, sustainability, transport, healthy communities to create a more positive future for all. Below is an article published earlier this year in Transfer Magazine explaining the project in detail.
I love the idea of senior academics and professors being passionate about biking. Here’s to (hoping for) more projects (and academics) like this! Enjoy! NG.
Image: Los Angeles County Bicycle Coalition
For many Los Angeles residents, the daily commute is frustrating. A project by three UCLA faculty members aims to change that — especially for those who ride to work on two wheels — by creating bicycle “flows” that produce real-time digital art exhibitions throughout the city.
One of the project’s goals is to make cycling to work feel as accessible and safe as other modes of travel, so the professors envision groups, or flows, of cyclists that would be organized by a smartphone app. The app would encourage reluctant or inexperienced cyclists to participate by pointing them toward those flows, suggest routes that are optimized for enjoyability and safety over efficiency or speed, and enable participants to share their experiences.
Those experiences, in the form of text, photos, videos and other creative submissions, would feed directly into digital murals throughout Los Angeles. The murals would be located in community spaces and transportation hubs around the city — including, for example, a large interactive display at the Los Angeles State Historic Park, adjacent to Chinatown — elevating biking to work to a collective creative experience.
“We envision the cooperative bike flows as a type of performative media artwork that is shared live with all of Los Angeles in public spaces and on the internet,” said Fabian Wagmister, the project’s principal investigator and the founding director of the UCLA Center for Research in Engineering, Media and Performance, known as UCLA REMAP.
“By inviting communities to think about bicycle riding as a way to express themselves in the urban landscape, we can strengthen commuters’ ownership of the system and offer a deeper level of engagement in the future of the city.”
The project, called Civic Bicycle Commuting, or CiBiC, is co-led by Jeff Burke, co-director of REMAP and a UCLA professor-in-residence of theater, and Anastasia Loukaitou-Sideris, a distinguished professor of urban planning at the UCLA Luskin School of Public Affairs.
The project already is gaining some traction: In February, the initiative received $50,000 in funding from the Civic Innovation Challenge, which is funded by the National Science Foundation in partnership with the U.S. Department of Energy and the U.S. Department of Homeland Security. CiBiC is now in contention for an additional grant of up to $1 million, which the researchers would use to create a prototype of the project.
CiBiC’s art-led approach makes it somewhat of an anomaly among most of the competitors in its category, “communities and mobility” — most of the other proposals have origins in the STEM fields and social sciences.
To ensure the project incorporates the diverse experiences and needs of Los Angeles commuters, the researchers are soliciting input from Los Angeles neighborhood groups. Loukaitou-Sideris said the team will especially seek participation from low-income residents of Chinatown, Solano Canyon, Dogtown and Lincoln Heights.
“We want to hear from community groups and residents and understand how we can create something that is tailored to their needs,” she said.
The researchers also are collaborating with Eli Akira Kaufman, executive director of the Los Angeles County Bicycle Coalition, who said the project could demonstrate how transformative bicycle culture could be in Los Angeles if bicyclists could help create infrastructure that reflected their needs.
“Instead of allowing the built environment to dictate the culture of bicycling in Los Angeles, we need to uplift the culture of bicycling to make sure the built environment is defined by the social infrastructure and the people who use it,” he said.
Aggregated data from the app could also eventually be used to influence Los Angeles’ long-term infrastructure planning.
And Wagmister said the project stands to both reflect and amplify the city’s creative spirit: “We want to create an alternative transportation system in Los Angeles, one that values our collective creative capacity to transform the city for all.”
Image courtesy of Los Angeles County Bicycle Coalition. This article was sourced from Transfer Magazine and was originally posted on the UCLA Newsroom.
Over the last few weeks, I’ve been working on a new program for academic writers*, researchers and postgrads at Griffith Uni.
(*I am deliberately not using the term ‘students’ here – a strategic shift in language from a subordinate-learner mentality towards a more peer-professional modality).
During formulation, I called it GAWLERS.
GAWLERS stood for (whatever words work best for you):
G____(?) Growing? Griffith? Gorgeous? Graduate?
Academic
Writing
Language
Expression
Research
S_____(?). Studio? Students? Syndicate?
I pitched my idea to three kick-ass postgrads (Jenny, Bec and Janis) colleagues and invited them to come on board as the Executive Board – which they did! Woohoo!
We then set about formalizing the club and registering it with Griffith student associations. This took longer than expected, but we were undeterred and ran a number of sessions before being formalized anyway. I had contacted 26 students I’d worked with previously and they became the inaugural RAW members.
Internally, we referred to ourselves as GAWLERS, but we needed a more recognizable name – one that was easy to understand what the group was about. So instead of GAWLERS, we decided on RAW (Research And Writers).
RAW origins
Like most other educational institutions, Griffith University life and work changed profoundly in response to the recent COVID-19 ‘educational scramble’.
Soon after moving online in April 2019, I established an online ‘Show Up & Write’ space for students I knew as a way of staying connected, focused and productive. These sessions were regularly attended and participants said how useful it was to have a collegial space to talk, share, and create academic work. In break times, we asked questions, offered support, discussed our writing, and gave suggestions for improvements in a low-stakes and impactful way.
While Griffith responded to COVID and snap lockdowns by reducing staffing, decreasing services, and suspending many student professional development and networking opportunities until further notice, our study group flourished. As word of mouth about our group passed to others, ‘new’ people joined from all over Griffith.
It was clear there was an immediate need for this group and so in June 2021, the main proponents (Nina, Janis, Bec and Jenny) decided to formalise this opportunity and open it up for all Griffith students and candidates.
We call the group Griffith ‘Research and Writers Studio’, or RAW for short.
What we do
We are an online club bound by our commonality of academic work, research, and writing. Our club aims (see below) articulate our ethics, commitment and focus. RAW members include undergraduates, postgraduates, and professional teaching staff who are also studying at Griffith.
Our members come from all Griffith locations, not only in Brisbane (26) and Queensland (10), but across Australia (6) and around the world (6). We are proud to be a truly transdisciplinary group, transcending cultures, hobbies, degrees and programs, ages, gender, ability, locations, backgrounds, and personalities. This plurality in membership adds vibrancy, interest and new skills we would not otherwise have access to at Griffith elsewhere.
Research and Write (RAW) Studio
This group helps members be more confident, productive, and stylish academic writers and researchers.
Our group is guided by three key aims:
Aim 1. To present academic writing and research in influential ways to diverse audiences.
Develop and grow fundamental and advanced academic, writing and research skills and experience through a range of online and in-person opportunities. These include exclusive focused study groups, writing, editing and specialist workshops, writing process forums, accountability writing groups, skill drill sessions, special events and writing retreats and targeted academic skill sessions. These events consolidate and extend transferable oral, written and visual communication skills underpinned by positivity, engaged expression and critical evaluation of information, argument and opinion. Applicable for all levels of study across all disciplines.
Aim 2. To build confident, competent, and collaborative identities.
An inclusive and safe space to share university, writing and researching experiences. Instead of the usual teach-to model, this club moves towards a learn-with approach. Members are X to pursue their own academic and professional goals in ways that are productive, thoughtful, engaged and self-directed. Supporting a passion for lifelong learning through achievement, capacity and mastery. Provide opportunities for leadership and active engagement. Connect members with additional editing, proofreading, mentoring and/or other academic support services if needed. Interaction between Ph.D, Masters, Honours and undergrads is encouraged. To build relationships within and beyond the physical campus by establishing a collaborative and diverse community of practice.
Aim 3.To extend, challenge and share innovative, creative, ethical, and positive writing-research-action.
Provide members with opportunities to develop their own personal and professional goals. Respecting and strengthening engagement with First Nations, cross-cultural, and individual or cultural diversity peoples, cultures, perspectives and lifeworlds. This club adheres to an ethical code of conduct based on compassion, positive change and social and environmental responsibility and action. This club supports members to be intrepid and innovative in their writing and research endeavours to initiate, develop and implement new ideas and projects.
A massive thank you to Janis, Bec, Jenny, and all those early adopters who jumped in to get us started – thank you all!
We’ve already had some amazing sessions and I can’t wait to see where this leads.
I’m excited about this project and will be sharing some of our highlights along the way.
August 9th is the UN International Day of World Indigenous People.
Recognition for Indigenous people needs far more work.
This year, the UN is highlighting the marginalization of Indigenous Peoples by demanding a ‘social contact’ that better recognizes the social and economic inclusion, participation, and approval for all involved.
This post outlines 2021 the UN International Day of Indigenous Peoples and this year’s central theme.
I’ve also included a curated list of resources and links for those who want more at the end.
Image: UN
This year’s theme is:
Leaving no one behind:
Indigenous Peoples and the call for a new social contract
Here’s what the UN has to say:
Indigenous peoples & a new social contract
There are over 476 million indigenous peoples living in 90 countries across the world, accounting for 6.2 per cent of the global population. Indigenous peoples are the holders of a vast diversity of unique cultures, traditions, languages and knowledge systems. They have a special relationship with their lands and hold diverse concepts of development based on their own worldviews and priorities.
Although numerous indigenous peoples worldwide are self-governing and some have been successful in establishing autonomy in varying forms, many indigenous peoples still come under the ultimate authority of central governments who exercise control over their lands, territories and resources. Despite that reality, indigenous peoples have demonstrated extraordinary examples of good governance, ranging from the Haudenosaunee to the existing Sámi parliaments in Finland, Sweden, and Norway.
The COVID-19 pandemic has exposed and exacerbated many existing inequalities, disproportionately affecting populations all over the world that were already suffering from poverty, illness, discrimination, institutional instability or financial insecurity. From the perspective of indigenous peoples, the contrast is even starker. In many of our societies, the social contract, at the very least, needs some revision.
Image: UN
What is a social contract?
This August 9, International Day of Indigenous Peoples, we must demand indigenous peoples’ inclusion, participation and approval in the constitution of a system with social and economic benefits for all.
That is why the 2021 theme is ““Leaving no one behind: Indigenous peoples and the call for a new social contract.” But, what does it mean?
A social contract is an unwritten agreement that societies make to cooperate for social and economic benefits. In many countries, where indigenous peoples were driven from their lands, their cultures and languages denigrated and their people marginalized from political and economic activities, they were never included in the social contract to begin with. The social contract was made among the dominant populations.
Over recent years and decades, various societies have sought to address this, including through apologies, truth and reconciliation efforts, legislative reforms, as well as constitutional reforms, while at the international level, these efforts have included the adoption of the United Nations Declaration on the Rights of Indigenous Peoples and advisory bodies such as the Permanent Forum on Indigenous Issues.
Image: UN/Rick Bajornas
Despite the existence of international instruments to respond these inequalities, not all are embarked on the collective journey to ensure that no one is left behind, including indigenous peoples. Therefore, the building and redesigning of a new social contract as an expression of cooperation for social interest and common good for humanity and nature, is needed.
The new social contract must be based on genuine participation and partnership that fosters equal opportunities and respects the rights, dignity and freedoms of all. Indigenous peoples’ right to participate in decision-making is a key component in achieving reconciliation between indigenous peoples and States.
Cultural Survival is an organization committed to advancing indigenous peoples’ rights and cultures worldwide. They have a well-curated list of 12 things to do ranging from articles, podcasts, interactive maps, and other links to learn more about indigenous people around the world. It is well worth a look – check it out here.
For our August New Materialisms SIG, we were delighted to have Dr. Theresa Ashford (USC) share some of her current NM research considerations, thoughts and processes.
In this session, we explored how ethics feature in New Materialisms research.
NM Session: Ethics in/with classrooms, comics and computers.
This session explores the idea of New Materialisms and ethics. This is a tricky space that tests emergence and experience. In this session, Theresa used several key papers as a way to continue working-with how to pull these aspects together in some (in)comprehensible form.
Bio: Dr. Theresa Ashford is a Geography and Sustainability Lecturer in the School of Law and Society (USC). Her key interest is investigating human-non human ethics and responsibility – response(ability) in the world. Her undergraduate and postgraduate education is in Geography and spans physical and human geography domains. She has worked in the regional planning field in Canada and her Masters research explored the use and role of public spaces in the support and co-construction of homeless punk youth identities in Winnipeg, Canada. Dr. Ashford’s Ph.D. research (2018, Education, UQ) used Actor-network theory to investigate the emergence of digital ethics in 1:1 classrooms and the active role of technology mediating, supporting, and translating human behaviour and understandings.
In this session, Theresa deep-dived into Ethics and how it has been bubbling up in her work wide-ranging research.
Theresa set the ethical scene and outlined the Artistolian entry point she was using to discuss ethics.
She then led us through a series of ‘searching for ethics in awkward places’.
Theresa used the metaphor of a ‘Mud Map’ to introduce herself and establish how her background as a human geographer and teacher informs her concerns for the state of inequity in the world and across human-nonhuman spheres of doing. She also outlined her particular interest in phronesis (practical wisdom informed by a sound understanding of ethics, the world and humans), and how she uses Aristotelian means to navigate the excesses and deficits in life and theoretical applications in the world.
We then turned to (Bruno) Latour, ethics and technology.
Theresa spoke of the New Materialisms tenets of decentring anthropocentrism, reconfiguring subjectivity, and elevating the role of non-human actors.
She problematized this type of ‘rethinking’ as it extends to sources of ethics – to the extent of which she argued, could be considered a ‘breaking point’.
Theresa also spoke about the cultivation of ethics grounded in care for the world. Here, we were provoked to consider how we enact and perform care (recognizing it is a network effect) what is derived in a positive ethos and practices of cultivation (requires awareness/wisdom), ideas on care in the human estate – and our “manifold entanglements” with non-human, and how we might reorient ourselves profoundly in relation to the world, to one another and to ourselves (Coole & Fox, 2010) and bioethics.
Collaborative NM SIG word association
There are four main NM streams (see here for more on this). I sit with the feminist New Materialists within the Baradian tradition, so it was really enjoyable to learn more about the Latourian approaches to New Materialisms, such as how ANT:
Sees technology as a mode of existence (exploring existence and being)
Technology as ‘fold’ – time, space and actants – it keeps folded heterogeneous temporalities (materials, modes, memories, mobilities)
Technology extends potentialies unrealisable without its presence
Affordance – schemes of action – permission and promise – a new entity together
Tech mediation – inadequately captures the new possibilities created
Teresa used three data vignettes from her research (a school daily internet bandwidth usage, Women Woman Stuff, and student-Apps), to highlight some of the ethical sticky points and moments of insight that come from looking at these educational situations from an Ethics and ANT New Materialisms POV.
After this incredible presentation, we had a lively Q & A and an open forum to unpack some of these vexing and encouraging connections between ethics and New Materialisms.
Below are a few ideas from Dr. Ashford’s presentation. I’ve deliberately not included the full PPT to respect and protect Dr. Ashford’s intellectual property and current research.
It was an exciting, robust, and thought-provoking session – so much to think and talk about!
A massive thanks to Theresa for sharing her ideas and experiences so generously.
Theresa’s Publications
Ashford, T., & Curtis, N. (2020). Wonder woman: An assemblage of complete virtue packed in a tight swimsuit. Law, Technology and Humans, 2(2), 185-197. doi: 10.5204/lthj.1593
Ashford, T. (2021). App-centric students and academic integrity: A proposal for assembling socio-technical responsibility. Journal of Academic Ethics,19(1), 35-48. doi: 10.1007/s10805-020-09387-w
Readings
Blackman, T. (2020). Experiences of vulnerability in poverty education settings: developing reflexive ethical praxis. Postcolonial Directions in Education, 9(2) 198-225.
Waelbers, K., & Dorestewitz, P. (2014). Ethics in Actor Networks, or: What Latour Could Learn from Darwin and Dewey. Science and Engineering Ethics, 20, 23-40, doi: 10.1007/s11948-012-9408-1
All images from Dr. Ashford’s presentation (attributed in-text) unless otherwise specified.
