That’s a wrap

I just told a section of introductory World History they were going to make me cry, and let them out a half hour early.

Their second paper is due next week, so this week was for workshopping. My focus was on the analysis rubric: people, events, ideas, structures, dynamics. I had run through this several times over the course of the semester, not expecting them to learn it yet but just to get it familiar. (They don’t learn things until they need them for something. I’ve observed this over and over – we waste so much time teaching out of sequence with tasks! But I learned it first from Dyke the Elder years ago remarking that he’d had Calculus three different times but only learned it the third, because he needed it then for something else he was doing. Feynman says this in his famous lectures on physics, as well.)

Tuesday I asked the students to pull out their devices and look up structure and dynamics. Because the pump was primed, they found the ‘right’ definitions right away. We talked for a second about how these concepts could be helpful in organizing and making sense of the mass of information they’ve accumulated in their research. Then I pulled up one of their draft introductory paragraphs and we walked through it together, finding the people, events, ideas, structures, and dynamics it mentioned or implied. I diagrammed this all simply on the whiteboard as we went, and filled it up easily. I got the sense that this process really opened their eyes to how much was involved in even the simplest analyses.

Today we pulled up another paragraph, and with very little prompting they did the same exercise with it. The topic was Nazi propaganda, and the author had already figured out that their project was more about redirection than persuasion. By the end, we were talking about feed-in and feedback dynamics among citizens, the army, and the party. It was way cool.

I asked the whole group what they were learning for their own work from the discussion of their classmates’. One said it was seeing its research in a whole new light, as a way to figure things out rather than just amass and spout information. Another said it was now seeing a whole series of connections between its research and the rest of the class. A third chimed in that it was like we were writing a textbook together.

I asked if they wanted to workshop another paragraph and they said no, we’re ready. Which I thought was a good place to stop for the day.

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Fixing a hole

(Crossposted from Dead Voles)

One of the themes of my history classes for the last little while is arrangement and assembly, both in relation to how history works and in relation to how the students work. If the little dinger goes ‘ding’ and they get that they’re part of history (I mean actually get it, not just spout canned homilies about it), so much the better.

I try to work this up into an appropriately complex analysis on the history side, in part by leveraging a more simple version of it on the student side. What’s been missing is a really clean image of the process of accumulation, arrangement, and assemblage that routinely goes into human works like, say, college essays – and their evaluation. You’d think you could just talk this through by direct reference to their own writing, but for reasons that are fairly complicated, many students are not receptive or actively resistant to direct writing instruction. I’ve found that a good metaphor sidesteps the blockage and creates leverage to move it. So, I finally just got around to accumulating and arranging a slideshow ( house presentation ) that I think may do the trick. It’s twelve slides of twelve pictures, which I’ll reproduce and discuss below (and crosspost on Attention Surplus to be part of that archive). The assembly will happen in each class discussion. I expect to take a whole class period with each group on this, timed right before they start producing process work for their first papers. Suggestions welcome.

The metaphor is building a house. First slide:

blueprint1

Easy enough. A plan. What is this, in relation to the assignment? Here I get to call their attention to all of the design guidance in the syllabus. Second slide:

cottage sketch

Is this a house yet? Why not? What is it? Third slide:

lumberyard1

Here we’re looking at raw materials. A tidy pile of lumber is obviously not a house yet, just like a pile of facts is not an essay yet. But wait, fourth slide:

rawlumber

Turns out that lumber wasn’t so raw, as materials go. We’re following the history of accumulation and arrangement here. (For me, and sometimes to the students, another image is a story Dyke the Elder tells about ordering a bicycle, ‘some assembly required’, and then having a truck roll up with a drum of raw latex sap, bauxite, petroleum, and so on.) Research; primary sources, secondary sources, interpretation, analysis. Fifth slide:

forest1

At this point we can safely say ‘and so on’, perhaps mentioning acorns and the strategies squirrels use to hide them from each other. We can also start to have a little side conversation about what it means to say ‘I built this’, which gets us to slide six:

on the patio

– which affords an opportunity to humanize the discussion, reflect more deeply on the narratives of independence in relation to the realities of massive systems of enabling interdependence, and talk about the relative fungibility of materials – since this is clearly not a house, although it’s made of some of the same things as a house. This is also a place to begin to bring home the connection to authorship and plagiarism. (Speaking of plagiarism, all of the images except this one used in this post and presentation came right up on a google search and represent ‘types’ in a way that makes me feel comfortably fair-usey about them. This is not an official legal opinion. My thanks to all of the creators and rights-holders.) Slide seven:

victorian1

Well that’s very nice, isn’t it. A finished house, a finished paper. What went into that? Planning, an image, materials, craft, elaborated skill and care. Slide eight:

modern1

Oh well hey, that’s nice too, and very different. Now we can talk about style. How would you pick between these too? Matter of taste here, but also who it’s for and what it’s trying to accomplish. Speaking of which, slide nine:

ranch1

Nothing wrong with this, especially if you’re getting a bit older and the stairs have become a quandary, or if you’re moving up from a single-wide and don’t want your sensibilities too jostled, or you’re a developer looking to make the cheapest possible buck, or you’re a society seeking a kind of material consensus, or etc. So here we get to talk about how styles do things in relation to audiences and agendas. I anticipate this is where the conversation is most likely to get bogged down in defense mechanisms. Slide ten:

grass house

Everyone just relax. Of course people build to suit local purposes and materials. And of course we can read those right back off of what they build. Is the ranch a ‘bad’ house? How about the grass one? How about the victorian? Depends on what you’re trying to accomplish, what resources are available, who’s judging and by what criteria. But that ‘depends’ is not an ‘it’s all good’ depends. Slide eleven:

wooden_and_tin_shack_488k

Most of the papers I get. In some ways an admirable contrivance, but we are still justified in reading a lack of resource, skill, and attention to detail back off of it. Not the sort of thing you’d want from certified accomplished fabricators like college graduates. And now slide twelve:

screwy house

Is this the same as the one before it? Why, or why not?

Sticky

Patrick and I have been talking a lot about what makes education ‘sticky’. The reason being that we keep working through analysis discussions with both our groups of students, to where they seem to be ‘getting it’, and come back next time to find that we’re basically starting from scratch. I actually find this process so mentally exhausting that I don’t have much more to say about it right now.

Speaking of mental exhaustion, at least part of the problem is that they’re not doing the reading. This may be some playing limpy, but even when they do the reading, they don’t understand it. It’s hard. Which creates an obvious vicious circle. And a further problem is that the readings are in some ways deeply unfamiliar to the students, even when the conceptual level is not forbidding. And a further problem is that because these are history classes we can’t pause too long on a familiarization strategy to create interest and comprehension (‘this reminds me of me because…’) – time, place, and change matter in history. It’s how they’re NOT like us that we’re after, in large and essential part.

In my introductory World History classes I handle this by turning the bug into a feature and doing very close readings of very short texts in class, to get the process of critical reading, uptake, and analysis fairly well ingrained before getting too fancy with coverage. It doesn’t feel like I should have to do this as much in upper-division classes – these are ‘more advanced’ classes, more ‘in-depth’, and I want to be able to dive into a more extensive and conceptually rich content without grinding through the skilling preliminaries. But once again it’s not working very well. Eventually I may even learn from my experience about this. Apparently I need to think about what has made my own education in this area less than sticky.