Regular readers of this blog know that I am doing a bike-focused PhD in Education. In a nutshell, my project explores how bicycles feature in West African girls’ access to secondary education.
It is a great project and I love working on it.
I’ve been developing a research methodology called velo-onto-epistemology (VOE) as part of this project. I know it is a mouthful, but the article explains what it means.
I am delighted to share my latest publication which introduces my novel bicycle-focused research approach for the first time.
I wrote this paper with my incredible supervisor Dr Sherilyn Lennon. In this paper, I take Sherilyn for a bike ride as a way to put to work my VOE research methodology and destablise the traditional power hierarchy of the PhD candidate-supervisor relationship.
To show how velo-relationality works differently, we juxtapose – or ‘recycle’ our experiences next to each other (see below) in what we call ‘tandem writing’.
This article is an engaging read.
It is theoretical enough to be rigorous and interesting, but relatable for the everyday reader-rider.
Below is the abstract and a copy of the paper.
Feel free to download a copy (third icon on right below).
Check it out!
Ride on!
Enjoy!
ABSTRACT
Traditionally, the candidate-supervisor-relationship is predicated on a supervisor as teacher/expert – candidate as learner/novice model. But what becomes possible when the materialities of this power dynamic are destabilised and reimagined? This article draws from emerging feminist ontologies to introduce the concept of velo- onto-epistemology [VOE] as a means of re-cycling candidate- supervisor-relationships. VOE acknowledges the agency of the bicycle in moving and being moved. This novel approach is used to explore how stor(i)ed encounters and in-the-moment bodily responses enact current-future becomings. Through re-cycling, the candidate-supervisor-relationship is dis-articulated and re- articulated in ways that enable alternative and more equitable understandings of the world to emerge.
The EA PD Fest is an excellent opportunity to engage with fellow educators and share ideas and experiences about teaching, learning and educational engagement. I always look forward to this event and have attended several times before. See more on the EA PD Fest 2017 here and the EA PD Fest 2018 here.
The session I am presenting will explore how some AI tools can be incorporated by English teachers into classrooms. I’ve been experimenting with using AI with my English language students for a while now and I’m looking forward to sharing my experiences with other teachers – and hearing their ideas as well.
Innovative AI Tools for English Language Teachers: The Future is Now by Nina Ginsberg
Attention all English teachers! Join us for an exciting session where you will learn how to harness the power of AI in your ELICOS classroom. In this session, we use some of the latest AI tools to engage students and reinforce English language skills. Not only will you leave with a better understanding of how AI can support language acquisition, but you will also gain practical tips and strategies for effectively integrating AI into your existing curriculum and classes. All demos are in real-time so you can see exactly how quick and easy it is to create unique and purposeful AI-supported ELICOS activities.
Bring a laptop or iPad if you want to follow along. All participants receive a handy take-home AI teacher’s resource pack. Suitable for new AI users and teachers who want to know more. This is an opportunity to stay ahead of the curve in education technology and bring some excitement to your English language classroom. So don’t wait any longer, embrace the future!!
Paint by Text is a free and simple AI image editor tool that allows users to create and edit images using natural language commands. Users can give simple instructions, such as “make the sky more blue” or “remove the background”. There are three stock images to edit or you can upload your own photo.
Start with simple instructions and check the basics
Get student suggestions and/or pre-teach some useful words
Start with one simple instruction
Use keywords not full sentences or complex instructions
Check spelling
Discuss ambiguity
AI takes things literally
Some good things to keep in mind from Re-Thought: Write positive prompts that describe what should be present, not what should be missing. “A man without a beard” will result in a bearded man. If it is in the prompt, it is likely to be mapped. So write “a clean-shaven man” for pictures with predictably clean-shaven man
Vocabulary: use concrete instead of abstract words. For example:
Concrete: koala, bicycle, sushi, spaghetti, fire truck (more predicable)
Abstract: hope, happy, success (more diverse results)
Build up instructions
Start with one word, then build up
Give students a few examples: night, Umbrella, Christmas, gift, purple ribbon, in Tokyo
Grammar: discuss different language features
Prepositions – above, next to, besides, from, in, out, under
number noun OR adjective + noun
Class Activity: Change the Picture
Give students a chance to explore the tool. Ask them to change a picture three times and record what prompts were used. Students can also upload their own picture to modify. In pairs or groups, use the four images to practice key English language features, such as
Compare and contrast
Vocab: clothing, colours, setting, time, objects
Past, present, future
Tell the story…
Predict what picture/will happen next
Discuss what worked and didn’t work with each photo edit
MURF AI is a text to speech tool that employs a versatile AI voice generator to produce natural-sounding speech from text inputs. MURF AI voice generator can customize the speech by selecting different voices, languages, and speech styles to suit specific needs. The free version offers a 300-word immediate voiceover recording and 10 mins in the studio and there is a massive range of voice selections.
The two MURF features I’ve used are the free text to speech and the Studio.
1. Text to Speech
Access this online via the NUF website Product tab. It gives 200 words and have 3 voices to choose from. Once you paste your text, it will take a few second to covert. You cannot download this copy, just listen online.
2. The Studio
Upload any documents, Google Sheets, PDFs or web links and you get 10 mins free audio. Also has a great range of voices and functionality to change speed, share and export.
Also try Speechify which is the next step up in Text to Speech.
Teach Anything is a simple and easy to use free, open-source AI tool that allows users to ask a question which it then creates two different versions – easy or professional – of the same answer.
This tool can be used in a variety of ways:
a tool to quickly modify a topic introduction for upper/lower levels
exploring diverse perspectives
outlining oral presentation topics
comparing language registers
discussing vocab/language shifts from spoken/written
In pairs. Give one student the ‘easy’, the other student has the ‘professional’ answer. As a team look, for language shifts and changes. Then together, rewrite the answer again as a ‘new’ third version. I like to use the third as an ‘academic’ answer. This task practices and reinforces academic structures (topic sentences, TEEEL paragraphs, transition words, include examples, specific details and evidence, intext citations…etc). Or as a news report. Or as instructions.
Night Cafe is one of many AI Art Generators that uses Artificial Intelligence to create unique pieces of art in a matter of seconds. Users can input a prompt and/or select from a range of styles. Once you sign in, the interface is relatively straight forward and you can generate one free image at a time or get a set amount of free tokens per day.
In class, I usually show three different AI art generators (Night Cafe is one) and let students experiment and chose their favourite one to work with.
Student-created AI art can be used to in English language classes in several ways:
Speaking and Listening: Students work in pairs or small groups to describe the AI-generated artwork to their peers. This activity can help students develop their speaking and listening skills, as well as their ability to use of targeted language features like grammar, conjunctions, transitions phrases and who, what, when, where, how and why aspects.
Vocabulary Building: Elicit students’ own words, preteach or scaffold vocabulary. Use AI-generated art to reinforce and/or introduce new vocabulary words. Students identify objects, places or concepts within the artwork and practice using the new vocabulary in context.
Writing: Use AI-generated art as inspiration for the writing assignments. Students write a paragraph, short story, poem, or dialogue based on the image, and teachers can provide feedback on their writing skills, including grammar, vocabulary and style.
Paragraph/Essay Writing: Students write a paragraph or short essay (cause and effect, compare and contrast, advantages and disadvantages) about the image, focusing on developing vocabulary and grammar skills and applying language features learnt from class.
The example below is from a recent class. We had been working on the topics of climate change, animal extinction and social media to practice cause and effect writing. To end on a more positive note, I asked to students to reimagine a different, more positive future. I encouraged them to be as creative as they wanted. The students used Night Cafe to create an AI image and wrote a cause-effect explanation for their new vision which they then presented to the class. They love it! Here is one example (shared with student’s permission):
I went to Sierra Leone to do my bikes-for-education PhD fieldwork and got back in February 2020, 10 days before COVID ceased all international travel and pushed education online. It was a super hectic time for teachers, academics, students, parents and education administrators – which is why being awarded the Griffith Award for Excellence in Teaching (GAET) – 2021 Teacher of the Year (Sessional) was such an honour. I haven’t shared this news on this blog yet as it happened in July 2022 while I was on my blog break. But now I’m back, here are some details. Hooray! NG.
Regular reader of this blog know I love teaching.
I have been teaching for 17+ years and this is my 10th year at Griffith University.
I have worked hard to become the kind of inspirational teacher I wanted to have when I was a student at Uni.
In 2020, like every other educator, I was busy managing students, classes, and colleagues as we all responded to the educational and institutional disruptions due to COVID lockdowns and migrating everything online.
So, it is an absolute honour to be recognised for all that hard work with the 2021 Griffith University Award for Excellence in Teaching – Teacher of the Year (Sessional).
2021 GAET Teacher of the Year (Sessional)
I received this award for dedication to improving the quality of education and learning experience for Griffith students and my use of a strength-based approaches to promote lifelong learning through themes of community, care, confidence, and curiosity.
The panel feedback commended my ability to make students feel more valued, empowered, and connected to learning.
After such a hectic time – this award is a wonderful boost!
Thank you to all who have supported me over the years – to the countless students, colleagues and friends who encouraged, provoked and joked with me along the way.
What is the GAET Teacher of the Year (Sessional) Award?
Griffith University’s Awards in Excellence in Teaching is a prestigious, annual award that recognizes the outstanding contribution of sessional teachers who have demonstrated excellence in their teaching practices and have made a significant impact on their students’ learning outcomes. The award aims to promote and celebrate excellence in teaching, acknowledging the hard work and dedication of sessional teachers who play a vital role in the university’s academic community.
This award recognises teaching skills, innovative teaching practices, student engagement, and contribution to the enhancement of the learning experience of students.
Griffith University Awards Night. Image: Griffith University
As part of my bicycles-for-girls-education PhD, I am always on the look out for inspiring projects where bicycles create change. This week, I came across a join venture between CAMFED and The Clara Lionel Foundation from a few years ago. Enjoy! NG.
Image: CAMFED
CAMFED and The Clara Lionel Foundation delivered over 1,000 bicycles to girls and young women in the Salima District of Malawi.
These bicycles are part of a comprehensive aid program offered to high school students, with the potential to revolutionize the opportunities for girls who confront up to 10km (6 miles) commutes to and from school.
The success and longevity of this initiative will depend on the CAMFED Association (CAMA) network, as they acquire proficiency in entrepreneurship, bike upkeep, and repair skills.
The collaboration between CAMFED and the Clara Lionel Foundation is facilitating the continuation of secondary education for 7,500 Malawian girls, a crucial effort considering the low 30% enrollment rate of females in secondary school due to insufficient facilities and long distances.
These bicycles has generated a lot of attention in rural communities where girls often face challenges commuting to school, such as exhaustion and hunger from walking and attending to household duties. The bicycles provide a pathway for academic success in rural areas.
This programme is part of a wider and multifaceted strategy to remove obstacles to girls’ education, which also includes paying for school fees, peer mentoring, supplying necessities like sanitary pads, and bridging huge distances from home to school.
The Malawian alumni of CAMFED programmes are essential to bringing about change for the next generation of females. CAMA members serve as mentors and role models in rural areas where there are few female teachers and professionals. So far alumni have helped 20,000 females pursue education in just five years.
The Clara Lionel Foundation is a non-governmental organization founded by the singer and entrepreneur Rihanna in 2012. The foundation aims to support and fund education, health, and emergency response programs around the world. It prioritizes initiatives that promote education and provide access to healthcare in impoverished communities, particularly for girls and women. The foundation also works towards disaster relief and climate change resilience. The foundation partners with local organizations to achieve its goals and has provided significant support to countries in the Caribbean, Africa, and the United States.
CAMFED
CAMFED (Campaign for Female Education) is a non-governmental organization that aims to eradicate poverty and improve the educational opportunities of girls in sub-Saharan Africa by supporting them through primary and secondary school and into adulthood. The organization provides assistance with school fees, mentorship, and life skills training to ensure that girls are able to complete their education and become confident and economically independent leaders in their communities. Since its founding in 1993, CAMFED has helped over 4 million students in Zimbabwe, Zambia, Ghana, Tanzania, and Malawi.
In the previous blog post, I detailed a project I was involved in earlier this year called Reading with Reciprocity run by The Ediths. In that post, I explained the contributor’s brief, what we did and how we did it. In this post, I am excited to share the final output that contributors cocreated. It’s such a wonderful way to wrap up the year. What a project! So exciting! Great ideas on how to research more generously. See more below. NG.
Image: The Ediths
The Ediths are a feminist interdisciplinary research collective based at Edith Cowan University in Western Australia. The collective uses socially engaged creative methodologies to conduct ecologically responsive research.
I am delighted to announce the Edith’s Reading with Reciprocity Project has just been released. Congratulations to the organisers, Mindy Blaise, Jane Merewether and Jo Pollitt and to all book responders.
I was very honoured to be invited to contribute to this project and to have my book response included.
Reading with Reciprocityis an initiative by The Edith’s inspired by the Civic Laboratory for Environmental Action Research’s (CLEAR) blog post,#Collabrary: a methodological experiment for reading with reciprocity (2021), which draws on the scholarship of Joe Dumit (2012), Zoe Todd (2016), and Eve Tuck (2017) to learn reading practices that are “humble, generous, and accountable” (CLEAR, 2021). We were interested and impressed with the ways in which this methodological experiment was creating reading practices grounded in a feminist ethic committed to making room for diverse knowledges.
This initiative began by first curating a list of books based on the research interests of the membership and our commitment to privileging different voices. After sending out an expression of interest, we were surprised and humbled at the overwhelming response to the invitation and selected 11 members to take part in Reading with Reciprocity. Similar to the care taken in deciding which books to read and review, we also selected members with consideration and intention, including representation of early career, mid-career, and experienced researchers. Because we see the roundtables as part of postgraduate supervision and an expanded form of mentoring, some of the students we supervise were also selected to participate.
Those who took part in Reading with Reciprocity were asked to read the (CLEAR) blog post, #Collabrary: a methodological experiment for reading with reciprocity (2021) and then submit a review that was based on reading a selected text with reciprocity. We hoped that participants would reciprocate the gifts that the authors had given in their writing.
Reimagining how we might read and review these books with care, reciprocity, and generosity ended up not being as easy as we first thought. It is clear that there is such a dominant way of reviewing work that makes being generous to authors so out of the ordinary and unsupported in the academy. We have to do better! Reading with Reciprocity is one way that we can do this work, individually and as a community of scholars who are interested in doing academia more kindly and generously.
The Ediths
I enjoy being part of The Edith’s collective because the group’s ethics, topics and discussions align so well with my research and personal interests. When we meet, we focus on exploring the material and situated effects of environmental change on feminist bodies and practices and the relations between social justice, ecological sustainability, and Indigenous self-determination. This means a strong commitment to the decolonization of Western knowledge production.
Being part of this research collective creates opportunities for dialogue and collaboration among feminists from diverse backgrounds and to contribute to the development of more just and sustainable societies – such as this Reading with Reciprocity project!
It is so helpful for researcher-writers to have like-minded people to process, feed and be inspired by – I hope you have your own group that does this for you!
I’ve been missing meeting with other like-minded writer-researchers. So August this year, I had an idea to form a ‘student club’ where we could meet to talk about writing and share skills and hold events that helped us become better writers and researchers.
Well… I pitched the idea to three friends, and we made it happen!
We called it the Research & Write Studio or RAW for short.
(Actually, we called it GAWLERS first… see more below)
I just found out that RAW has been award Griffith’s New Club of the Year!
Woohoo! I am so proud!
A big thanks to all the inaugural members for trusting in me!
And an especially heartfelt thanks to Janis, Rebecca and Jenny for all their great input and effort in forming the Executive Commitee with me.
You guys all rock!
See below for more about RAW.
Nina (R) with other Griffith Uni Club Awards Friends.
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, EPS HDR candidate Nina Ginsberg established an online ‘Show Up & Write’ space for students she 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, Rebecca 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 at end) 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 all over 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.
Editing Heptathlon by RAW President Nina Ginsberg. November 2021.
What makes us exciting
We began with 28 inaugural members in August 2021. This increased to 48 members in 6 weeks by end of September 2021 with no advertising, further attesting to the popularity and need for this club. At a time when many other clubs have slowed activities, RAW has expanded in response to member needs, thus standing out as a unique, reliable and reassuring hub for Griffith students and candidates in progressing their university work.
What makes us so exciting as a new club at Griffith is that we are a cheap, open access and inclusive club for all. We are also lockdown proof, independent of university-dictated content and wholly needs-based and our events are run by RAW members for RAW members – meaning members gain valuable presenting and leadership experience. We are a grass roots club that continues to grow organically and is responsive to member’s needs.
One of RAW’s greatest features is that we are not defined by, or exclusive to, any particular educational discipline, cultural background, sporting or personal interest. On the contrary, RAW incorporates and celebrates disparate characteristics, harnessing these valuable differences in diversity collectively, so members collaboratively learn with other members, not learn about each other as separate from others in most other contexts. And it has been a smashing success!
Our membership includes Griffith researchers and writers who are First Nations, international students and speakers of languages other than English, mature aged and returning to study, first-in family, differently-abled and adaptive learners, part-timers, single parents and many others – including a wide range of cultural backgrounds. Being online means we are not bound by campus restrictions or scheduling, so RAW operates anywhere (across all Griffith campuses, remotely, online and for those on-campus as well) and at any time (for example, we have a 24-7 open online, drop-in ‘study’ space where local, national and international members meet). This enables multiple opportunities for social connections as people study and work from a myriad of locations.
As well as study group spaces, we offer a range of writing, editing and university skills workshops (see some examples below) which can be joined virtually in real time or accessed asynchronously via recordings. This means our events are equitable and accessible to all members. Our club allows for networking and skill sharing and provides opportunities to broaden minds and sharpen transferable capabilities. We have an active Teams site that is our communications, events and resource space where we also notify members of other (external) writing and editing events of interest so members can expand skills and contacts within and beyond the RAW cohort.
Screenshot of RAW’s Get ahead for T2 classes (Session 2): Rediscover your motivation! July 2021. This session was run by RAW Vice President, Wiradjuri woman & Griffith PhD Candidate, Ms. Jennifer Campbell
What is our future?
Our vision is to allow the club to grow and to continue to offer a range of academic skill workshops not provided elsewhere, while providing online participation and facilitation. We seek to connect people with our overarching purpose of enhancing our research and writing capabilities.
Some 2021 RAW events already held:
Show Up & Write Space – 24/7, online, drop-in study space.
Early Bird Study Sessions – every weekday 5am -7.30 am.
Inaugural Annual General Meeting.
RAW Coffee & Chat: Member Drop-in Meet-and-Greet. (1-hr)
Get ahead for T2 classes (Session 1): Leveraging course profiles. (1-hr)
Get ahead for T2 classes (Session 2): Rediscover your motivation! (1-hr)
Get ahead for T2 classes (Session 3): Start(ing) class right. (1-hr)
The Dark Academy (and how to survive it). (2-hr symposium)
Getting Feedback on Thesis Writing (HDRs). (1-hr)
Goal Setting Bootcamp. (half day intensive)
How trees help us write better sentences by RAW President Nina Ginsberg. December 2021.
Research and Writer’s Studio 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 people, culture, 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.
and what does gender and sexuality have to do with it?
We were very excited to have guest presenter Assoc. Prof. Alyson Campbell from the School of Theatre, Victorian College of the Arts (University of Melbourne) to lead us on this curious and provocative journey.
Artist-scholar-makers: Thinking about affect work to queer performance.
My understanding of affect draws on Brian Massumi and cultural theorist Jeremy Gilbert. I’ve built on this general line of thinking to explore more particularly concepts and strategies for queering performance. This all springs from working with Reza Abdoh in Los Angeles in the early 1990s, where I encountered live performance in a way I never had before. Abdoh’s play Bogeyman was dealing with the AIDS pandemic and it has taken me many years to try to find ways to articulate how its queerness was based on something far beyond its content; it was the experience of it, or, in other words, its affect. I’m still trying to understand that interrelationship in my own and others’ work. One strand of this links directly back to Reza in thinking about affect as viral (Viral Dramaturgies, co-edited with Dirk Gindt, 2018) and another strand is as erotohistoriography (Freeman, 2010; e.g. Campbell 2015). As an artist-scholar the whole thing converges in trying to find specificity in language for this (e.g. through musicology/musical thinking, e.g. Campbell 2012) and rehearsal/making strategies.
My question for the session is: What are the gaps in the discourse around affect in performance?
What we did in this session…
… er… how to summarise this session … is very hard… we did so much!
It is so hard to explain all we covered and what stuck for each of us. I loved how Alyson took the time to just think-out-aloud her ideas and explain her motivations, musings, work, and connections – for me, that was so interesting and inspiring (we so rarely have those personal insights as to the process-thinking that goes into academic and performance work!).
I did capture some of what we did, discussed, thought-with, and activated in this session in a few 100-word worldings I wrote from this session. Here are my worldings:
Seek the Affect mechanism.
Freefalling with A/P Alyson Campbell’s Queer Dramaturies. Director process(es) unfolding: pertinent theatre movements, Phenomenology, Massumi’s ‘Affect’, Gormley’s ‘body’s first way of knowing’, Gilbert’s ‘affective specificity’, and Epstein’s ‘shaping affect’. More important than describing affect (as end point), is seeking the mechanism by which it is structured. Not ‘supposed’ to talk about the ‘real’ journey/process/practice. Various maker book think-throughs: Practice-as-research (Practitioners), Affect Explorations (Theory), or Queer Encounters (Personal). More on intersectionality, form and hybridity… maybe queer hybridity? How long does it take for language to move? Pondering practice-theory as contagion or miasma. A juggernaut of multiple threads.
What’s missing in Affect.
With a new artist-scholar friend, we discuss what is missing in Affect. Thoughts disperse and range from uncomfortable school-based moments, to performance making, to the inescapable hard lines of capitalism, to points of deficit in myriad forms. A strong conversational start. Body sameness and what (im)presses. Someone mentions ‘anti-lack-thinking’. I like that idea. I settle into queering beyond what I think and know – and I’m excited by new viral suggestions. We talk of the joys of popping fuchsias and what is learned from migrating bodies. The importance of ‘accepting your in-thereness’ and of (missing) laughter. ‘Not just’ embodied jerks.
Bound up with affect.
I’m leaning into intense inquiries of somatic means and translations. Being led, hand-held, through body-emotion(s) that disregard mental training. I’m ‘bound up’ with affect, constipated by shifting ‘pulling a(part)s’. I’m intrigued by In your face theatre as an attempt to synthesize smaller audiences, funding, and affective capacities – and the aesthetics of what that might mean and do. I see inchoate segregised resistance, near-Punk tendencies, and pre-queering workings (t)here. Not just relying on arguments between characters or choreographies to drive dramatic interest. Activating experiential theatrics and what that actually means when working through ideas, bodies, and hearts.
Grokking 4:48 psychosis.
Moving within/without a binarized sociality bites. Invitations to re(un)see Amelia Carvello’s extraordinary bodies. Being crossed out and knowing the marginalia is where it is at. Meeting a lang-scape for the first time. Considering body-affect as thinking-of-performative ‘affect’, or as queer dramaturgy applied to worlding and how to shape it all. The ‘roomness’ of the room stands out. Grokking 4:48 psychosis. Theories only get you so far, but new meanings and makings lead naturally into methodological spaces, processes, loops, actions, ambiguities, openness and speculations. Uncovering universal ‘truth(s)’ of research-making becomings seasoned with psychological implications and pre-intentional purpose.
Alyson’s main areas of research and supervision are in gender and queer theory/performance, directing and dramaturgy, phenomenological approaches to performance, social justice and disability in the arts. Alyson’s focus is around the representation of women and the nexus of queer theories and feminism. She is committed to developing modes of practice led/as research throughout her teaching at all levels. Alyson is a freelance director and dramaturg with an astounding 30-year career, and teaching credits that feature the School of Creative Arts, the University of Melbourne, Queen’s University Belfast and Brunel University, London.
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.
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.
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.
