Shaping the Message, Using the Medium

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Dan Reed

Daniel Reed is Vice President for Research and Economic Development and University Computational Science and Bioinformatics Chair at the University of Iowa, and a frequent government advisor on science and technology policy. He is a former director of the National Center for Supercomputing Applications (NCSA). Contact him at dan-reed@uiowa.edu or read his other musings at www.hpcdan.org.

Marshall McLuhan’s famous aphorism, “The medium is the message,” has taken on new poignancy in a world of tweet storms, Snapchat imagery, cellphone videos, 24-hour cable news, and ubiquitous digital communication. Within this dizzying cacophony, Paul Simon’s prescient lyrics from The Sound of Silence, which found a new audience in Disturbed’s recent cover, ring ever more true:

And in the naked light I saw
Ten thousand people, maybe more
People talking without speaking
People hearing without listening

How does one gain mindshare and precipitate reflective analysis when Andy Warhol’s fifteen minutes of fame seems so quaint, a Q rating window both languorous and prolix? If you have braved my prose to this point, you have already followed a cognitive causal chain that spans five decades of cultural referents, something increasingly rare as attention spans in our hyperkinetic echo chamber asymptotically approach the de minimis.

Thus, it is no surprise that by today’s standard of truncated discourse, the long-form, reasoned, and buttressed scholarship of a Ph.D. dissertation may seem an anachronism, an obsession that Cap’n Ahab would recognize as his own. All too often the dissertation is an embodied variant of Melville’s classic book, praised but not read. This “write only” attribute is one of the biggest challenges we face in academia. Increasingly, we are writing only to one another, and all too often, to almost no one, using a vernacular and style both learned and discipline-idiosyncratic.

Let’s begin with the fundamental question. As scholars, why do we write? We seek to preserve the insights from our scholarship and add a new tile to the great mosaic of human knowledge, an entirely secular but consecrated goal whose motivations can be traced to the birth of writing itself. Equally importantly, we seek to energize others with the power of our ideas, shaping and reshaping social and intellectual discourse. Simply put, we want to be remembered, and we want to make a difference.

Laid bare, these laudable, twin goals of knowledge preservation and transmission need not be pursued via the same media or mechanisms. In this sense, McLuhan was absolutely right; the medium and the message are inextricably intertwined, mutually shaped by evolving culture and technology. We ignore these shifts at our peril, as the demise of many daily newspapers and news magazines has shown.

Let me be clear; I am not suggesting we abandon the long-form dissertation. (See my comments in an earlier blog post on reflective communication.) Rather, I am positing that we remember our elemental objectives and disaggregate the historically convolved elements of academic scholarship: chronicling and archiving (dissertation writing); provenance and attribution (dissertation committee approval); and dissemination and engagement (publication and communication).

A book-length dissertation has long been the permanent chronicle of the new scholar’s research. However, this is mere tradition, derived from 19th-century German academic practice. Like the man’s legs in Abraham Lincoln’s story, a dissertation needs to be only long enough to reach the ground (i.e., cogently encapsulate the research), and it can—and should—take whatever form and length are most appropriate to the task. Choose a medium appropriate to the message.

Likewise, writing a dissertation should not be a consensual and extended, sadomasochistic partnership between advisor and advisee. The goal is not to solve one of life’s or nature’s most vexing problems nor to include a reference to every possible prior insight. Rather, it is to demonstrate competence to conduct independent scholarship and record sufficient evidence of having done so. It should not be a decade-long, soul-enervating experience.

The key role of a dissertation committee is assuring the originality and sufficient intellectual contribution of an aspiring scholar’s work. This certification of provenance and attribution is the committee’s affirmation of scholarly worthiness, as documented in the dissertation.

Finally, successful scholarship gains currency in the marketplace of ideas. As academics, we teach and prize artful and effective communication, yet all too often we fail to practice what we preach. Yes, plumbing the depths of a novel idea often requires extended and subtle explication, but that is not the place to start. It begins with engagement and meeting others on their literal, intellectual, and emotional territory, not our own. Why might the idea matter to others? How can it advantage them? What is the attraction and the excitement? How to we reach an audience, both in academia and in the broader society?

The Three-Minute Thesis competition captures the essence of this idea, as do public speeches and popular articles. In this light, a tweet isn’t such a bad idea after all. All of these modes of communication serve to spark conversations, rather than to transmit extended colloquies. In the spirit of an aphorism attributed to Leonardo da Vinci, “Simplicity is the ultimate sophistication.”

And no one dared
Disturb the sound of silence

Make some noise; use all the available media; rise above the cacophony; make a difference.

Risk, Creativity, and Careers

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Jen Teitle

Guest post by Jennifer Teitle, Assistant Dean for Graduate Development and Postdoctoral Affairs, University of Iowa. Dr. Teitle’s 2012 dissertation, completed in the UI Department of Teaching and Learning, focused on the decline in the number of youth “hangout” spaces. Her cartoon blog post juxtaposes Nick Sousanis‘ Next Gen PhD presentation with Kevin Birmingham’s Truman Capote Award acceptance speech. Jen’s twitter handle is: @jteitle. (You can click on the image for a larger version.)

The comic below, “3 Talks on Risk, Creativity, and Careers,” uses dialogism—the notion that all statements presuppose earlier statements and anticipate responses—to explore narratives about graduate school and careers. The three juxtaposed narratives in the comic happened on the same day, October 19, 2016, here at the University of Iowa. Nick Sousanis came to speak on our campus as part of the NEH funded #nextgenPhD project. His talk was inspiring, full of the same unapologetic creativity that characterizes his comic book dissertation, Unflattening. Sousanis was candid about his job search, which was challenging despite that fact that his award-winning dissertation was being published by Harvard University Press. Kevin Birmingham’s acceptance speech for the 2016 Truman Capote Award must have been astonishing to witness, but I read it later that night after my sleepy children were put in bed. Birmingham’s parrhesia is an icy splash in the face, an important contribution to conversations about PhD “placement,” and it should be shared widely. Finally, I wanted to include a nod to the narratives I hear most frequently: those of graduating PhDs and MFAs. Today’s graduate students are struggling to find their scholarly voices at a moment when if one deviates from the expected scholarly norm, one may put at risk the dream of a tenure-track position.

I wanted these three voices to anticipate, and respond to, each other, as well as to add dimension to the complex decisions at play in graduate education. How are we to be transparent with students about their work and prospects? Do we understand what is at stake when we encourage students to take risks or to play it safe? Where is the line between student ambition and faculty intervention?
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by Jen Teitle

 

 

The Dissertation as a Tool for Thinking and Knowing

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Matthew Brown

Matthew Brown, Associate Professor in the Department of English and the UI Center for the Book, teaches classes on book studies and early American literature. He is the author of the The Pilgrim and the Bee: Reading Rituals and Book Culture in Early New England (U of Pennsylvania Press, 2007), and the editor of the UI Press series Impressions: Studies in the Art, Culture, and Future of Books. Matt’s twitter handle is @mpbrown.

On Friday, October 21, the NEH-funded Next Gen Ph.D. team brought comics artist and historian of ideas Nick Sousanis to campus to discuss his unique dissertation: a meditation through images and words on ways of knowing and seeing, a dissertation using graphic design to enact its very subject. If you have not seen it, hie thee now to Unflattening, available from Harvard University Press. There were a series of wonderful insights in Sousanis’s flipped lecture, wherein a seven-minute positioning of the visitor’s work by host Judith Pascoe was followed by an extended—and extraordinarily generous—hour with Prof. Sousanis answering questions.

I was struck most by a question floated between interlocutor and speaker (there was such good rapport and fertile inquiry, I can’t remember where the answers left off and the questions began): why is the standard dissertation the best tool for thinking and knowing? Sousanis had been making the case for drawing as a way of thinking: it is “a conversation with yourself . . . the mark you make is one you then have a dialogue with.” Here Sousanis observes the close connection between the work of the mind and the work of the hand.

Prof. Sousanis turned the question on us, asking the audience what a representation of their thoughts would look like, what their material image would be. We proffered music, video, a thought balloon (I mean, I thought that last one). Sousanis then showed a flow-chart diagram of his ideas for Unflattening (it is reproduced on the end-pages of the published version), one stage of preparation for his dissertation. In reference to the diagram, he returned to his point about mark-making by saying “this isn’t a picture of my thinking. This is my thinking.” Prof. Sousanis noted that it may sound mystical to put it this way. My reaction, though, was that it was actually very much of the world. This is the labor of thinking, given a material shape. Intellectual projects—standard and non-standard dissertations—emerge from this kind of toil. I recall copying long passages from obscure devotional manuals when writing my conventional dissertation and commenting on them after transcription—two levels of mark-making and a kind of immersive act then seeded connections much as the diagram generates thought for Sousanis.

There are many differences of course, not least his hard-won skills as an artist, between the conventional dissertation and what Sousanis has achieved. But most germane perhaps for a rethinking of the dissertation format is how Sousanis foregrounds the role of tools in activities of thinking and knowing. Pen, sketchpad, lay-out, and the book format: a continuum of tools and platforms announce themselves in tandem with the dissertation’s heady content as we read and view Unflattening.

For the next generation of humanists, one matter that distinguishes their practices from my version of rote copying and critical reflection is the bevy of digital tools and mediating platforms available to scholars. With the dissertation itself a tool for thinking and knowing, how can we nurture digital technologies and new media interfaces as places of critical reflection? How do modes of mark-making with these tools and platforms arrive at the point where we say “this isn’t a picture of my thinking. This is my thinking”? How do mentors sustain new scholars in this work, such that the tools serve a larger project that is the dissertation-as-tool? As someone committed to long-form argument, I would finally hope that graduate training is mindful of criteria from the world of the standard dissertation, the criteria of knowing one’s field and offering a minor or major contribution to its scholarly conversation. Nick Sousanis’s Unflattening is an inspiring model, wherein the tools and platforms result in a powerful new view of viewing itself.

On Winning the 3-Minute Thesis Competition

 

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Miele~Benjamin

Ben Miele, Assistant Professor of English at University of the Incarnate Word, won the University of Iowa 3-Minute Thesis competition in 2015. Ben will be a guest participant in the UI Next Gen PhD Elevator Pitch/3-Minute Thesis symposium (Nov. 18, 12-1, Main Library 2032).  He allowed us to republish a blog post he wrote just after he completed his PhD in English last year. Ben’s twitter handle is @HarpocratesJr.

I am using this opportunity not only to brag about finishing grad school but also to brag about winning the University of Iowa’s inaugural 3MT®Competition. What is it? According to Iowa’s website for the competition, 3MT is “an academic competition developed by The University of Queensland, Australia. In this competition students share their dissertation research with a general audience in an oral presentation lasting at most … three minutes. Begun in 2008, the competition has grown to include more than 125 universities worldwide, including 45 in the United States.”

Distilling a dissertation down to three minutes is challenging but doable—and valuable. The emphasis is on clarity and concision, cornerstones of those ever-important communication skills, and so it helps students in any discipline, primarily because they can practice explaining an involved and arcane research project to an audience that is not in the field. But even those “in the field” are not experts on the particular topic of each and every dissertation. My dissertation was about surveillance and reading, and few researchers of early modern English literature are experts on Renaissance surveillance practices. So the 3MT can help with the thesis defense, the elevator pitch, and the job interview—as well as with the justification of the English PhD to inquisitorial relatives at Thanksgiving.

If students start planning to do it early enough, the 3MT can even help them hone their arguments at the prospectus stage. The 3MT asks students to explain how they arrived at their research, what new discoveries they made, and why it matters—all in just three minutes. Prospectuses, ideally, also aim to situate one’s research in a larger conversation, explain one’s unique contribution, and show why a research finding is important. I think the 3MT model could even help in the creation of a prospectus.

Going through the 3MT process can make one more competitive when applying for scholarships, fellowships, and grants. It encourages students to think about how to appeal to a broader audience—something that, unfortunately, is often not considered until late in the writing process. if preparation for the competition is started early enough, the 3MT can make the thesis better. In any event, or as in my case, it can make the explanation of the thesis better. And if the competition takes place at an amazing place like the University of Iowa, one can get a short, user-friendly video about one’s research, great for showcasing on one’s web site.

Check out my three-minute presentation, which garnered me a first-place prize and a People’s Choice award—not thePeople’s Choice©, ®, , etc. award, but an award nonetheless.

PhDs in the Library

Dr. Amy Chen

Dr. Amy Chen is the Special Collections Instruction Librarian and Interim English and American Literature Librarian at the University of Iowa. Her Twitter handle is @AmyHildrethChen.

Looking over Dr. Amanda Visconti’s CV before her talk at the University of Iowa a few weeks ago, I realized that part of her success as a tenure-track Digital Humanities (DH) Assistant Professor and DH Specialist Librarian derives from her background. Dr. Visconti received an MS degree in Information prior to obtaining her PhD degree in Literature/Digital Humanities.

So does it matter that Dr. Visconti has both the MS and the PhD degrees? The truth is that obtaining an information science degree may not be necessary in every case for future digital humanities faculty and/or librarians, but it does allow candidates more flexibility on the job market.

I believe Dr. Visconti’s MS degree helped her in four ways:

  1. It highlighted her commitment to a professional orientation beyond a tenure-track job in a literature department. While Dr. Visconti does not have one of the most common library degrees, the Master in Library and Information Science (MLIS) or the Master of Library Science (MLS), her Information MS can perform the same role as these degrees do by formally expanding her identity.
  2. It added value to her Literature/Digital Humanities PhD. The Information MS degree is for students who might wish to work in a variety of settings, including the technology industry. As Visconti went on to have her PhD cross-listed in Literature and the Digital Humanities (DH), she was able to take the broader understanding of technology she acquired from her master’s degree and apply it to the research she was doing for her PhD, increasing her academic exposure to digital methods.
  3. It allowed her to be a more sophisticated doctoral student in Literature. With her first degree behind her, Visconti was better informed when she needed to research graduate schools and choose a mentor. This savviness also allowed her to be better positioned to reshape the paradigm of what the dissertation looked like, and to be able to advocate for her work.
  4. It gave her better timing on the job market. Dr. Visconti got her “additional” certification first. For doctoral students interested in library or DH careers, contemplating—while taking coursework, studying for exams, or writing dissertations—the pursuit of an additional degree can be overwhelming. But waiting until after graduating to consider this possibility can be even worse: at some point, a newly-minted PhD needs to earn a living wage, establish a family, settle down geographically, or simply leave her student days behind. Rather than finding a master’s program to professionalize her doctorate credential, Visconti carried her professional orientation into her PhD research, empowering her literary analysis while also giving her more options on the job market.

Writing this as an academic librarian—I am currently the Special Collections Instruction Librarian and Interim English and American Literature Librarian at the University of Iowa—without an additional master’s degree, I can’t approach Visconti as a model of how to pursue a career in libraries because she is relatively exceptional.

It’s not just that she holds two degrees, but that the order in which she obtained them is important. Acquiring additional credentials so as to move into a different career track after graduating with a doctorate is a much more complicated undertaking, although certainly not impossible, as my career proves. To acknowledge this reality is not to make Visconti’s new role at Purdue seem any less exciting, or to suggest that her research is any less avant-garde, but it does concede that her experience is difficult for many students currently enrolled in PhD programs to emulate.

Tweeting Dangerously

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David Gooblar, Lecturer, Department of Rhetoric

David Gooblar, Lecturer in the Department of Rhetoric, is the author of The Major Phases of Philip Roth (Continuum, 2011). He writes a column on teaching at chroniclevitae.com.  His twitter handle is @dgooblar.

It is impossible to talk about Twitter, it seems, without talking about danger. In the first minutes of Ivan Kreilkamp’s “flipped lecture” on Twitter and the academy on Tuesday, the following subjects were broached: the lack of control one has after a tweet makes its way into the world; the “context collapse” that can allow viral tweets to be easily misinterpreted; the tendency of some graduate students to maintain two twitter accounts (one professional, one personal) to be on the safe side; and Jon Ronson’s So You’ve Been Publicly Shamed and the case of Justine Sacco, who tweeted a joke before boarding a plane, flew to South Africa, and disembarked to find herself a newly jobless pariah. Tweeting, it would seem, is a dangerous activity, best practiced with an abundance of caution.

I think this sense of danger arises from something particular to Twitter’s design: it feels private, but it definitely is not. Kreilkamp mentioned a number of times the “conversational” appeal of Twitter, how the medium is filled with what Walter Ong called “secondary orality.” We type tweets quickly, often on our phones, and use the informal vocabulary and syntax of texting. As well, the only people reading our tweets, the vast majority of the time, are the people who have elected to follow us. For most of us, this is a small number of people. This can fool us into acting as if we are at a cocktail party, speaking freely to people we can trust. Even if we can’t trust them—they’re just a handful of people.

But if using Twitter is like conversing at a cocktail party, it’s like conversing at a cocktail party on a reality show. We are free to confess our most shameful secrets to our fellow contestants, but we’d be wise to remember the cameras recording us, all the time.

Every tweet you compose and send out into the ether remains inscribed on your profile page, searchable for as long as the service remains online. In addition, the Library of Congress wants to archive every tweet ever sent (although, with more than 500 million tweets a day being added to the archive, it is by no means certain that the project will succeed). So even if you delete that embarrassing joke you made back before you had any followers, you can’t be sure someone won’t find it someday and use it against you.

This built-in confusion—the way Twitter masks its publicness—leads directly to the cautionary tales that make us want to warn graduate students to be careful. Of course we have no such fear of scholarly articles, say, or other kinds of public writing. We don’t warn our graduate students about the necessity of maintaining professional personae when they give conference papers—there’s no need to. When any of us speak or write publicly, we accept that there are certain risks we take. We are free to express whatever dubious personal opinions we have, but we understand that someone out there might be listening, and they might not like those opinions.

For those who are on or will soon be on the job market, caution seems wise. But this caution is medium-independent: it wasn’t Twitter that caused the University of Illinois to rescind its job offer to Steven Salaita; it was that the university’s chancellor objected to what Salaita said publicly.

Whatever else Twitter is—promotional megaphone, generative writing lab, networking tool, community space—it is, first and foremost, a public medium. If we are to help graduate students, or indeed anyone in the academy, navigate the world of social media, we could do a lot worse than to underline this fact: Twitter is public, Twitter is public, Twitter is public.

If we say it enough, maybe we’ll remember.

How Laura Kuhlman Got to the Three-Minute Thesis Finals

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Laura Kuhlman, English PhD Candidate

A guest post by Laura Kuhlman, PhD Candidate, Department of English

The Three Minute Thesis Competition (3MT) finals are this Friday, and I am beyond excited to be part of this event. I was asked to share my experience in going through the preliminary round of the competition, so that other students might know what to expect if they sign up in the coming years. Essentially, 3MT gathers graduate students from all over campus to share their research with a larger community and to highlight some of the awesome work taking place at the University of Iowa. The challenge set out for competitors is to cogently describe their research to folks who might not be familiar with their subjects, making it clear why this research is important, and describing their work in a compelling, interesting way—all in three minutes or less.

I had heard that the 3MT was great practice for future job interviews, so when I got the email from the Graduate College advertising the preliminaries, I signed right up. This year, 43 graduate students participated in the first round, sharing projects from many disciplines. My favorite part of the competition has been hearing about some of the other projects, from researchers striving to cure blindness and cancer to researchers involved in getting more people to vote. It is exciting to be able to learn something new from an expert on his or her subject in such a small burst of time.

So, what is it like to shrink your thesis down to the bite-size version and give the three-minute pitch? It’s a challenge, but a fun one. I had a few weeks to prepare, so I started by drafting a script and reading it out loud with a stopwatch. To talk about the women writers of the Beat Generation, I had to think about what someone would need to know to understand what I’m doing if they aren’t familiar with this time period in literary history. (Who are the Beats? What did they do? Why do we need to talk about the women writers? Why does this project matter?) I did my best to cut out as much jargon as possible, and to shape my explanation around a story that would keep people interested. Then, it was time to practice, practice, practice!

On the day of the preliminary speeches, we were called up one at a time to present our work. Everyone was allowed to have one static PowerPoint slide projected onto the auditorium widescreen behind them, and a time clock in the corner ticked down from three minutes to the end. Presenting to a panel of judges and a small audience (I’d say there were about fifteen people watching my group), we delivered our speeches, each of us keeping one eye on the clock as we spoke. Presenters were evaluated based on the accessibility of the content, the clarity of the speech, and the style of the presentation.

Although I was a bit nervous as I went through my speech, it was great practice for presenting my work, and I’d recommend taking part in the competition to anyone in the later years of their graduate research, especially those preparing for prospectus defenses or the job market. If you want to check out the 3MT finals, they’ll be held this Friday, November 4th, from 3:00-5:00 in the Art Building West, room 240. Come and hear about some really cool projects, and come cheer us on—it should be a lot of fun!

NICK SOUSANIS IS COMING!!!

 

unflatteningcover         We look forward with great anticipation to the arrival of Dr. Nick Sousanis, an Assistant Professor in the School of Humanities and Liberal Studies at San Francisco State University. Nick is the creator of Unflattening, which started as a dissertation in comics form, an experiment in making an argument through images, and went on to become a much-celebrated book published by Harvard University Press. Nick will be a participant in our second Next Gen PhD symposium, one that is focused on the footnote or, more generally, forms of citation, but Nick’s creative practice will also help us talk about the dissertation (the topic of our first symposium), and social media forms like the tweet and the blog post (topics of future symposia). Because Nick’s book argues that words and images are equal partners in meaning-making, he finds ways to cite images that influenced his argument as fundamentally as did the words of philosophers and theorists.

We planned for Dr. Sousanis’s visit through our regular series of planning meetings, but also through an Unflattening reading group composed of faculty, graduate students, and librarians. At all of these gatherings, we tossed around questions that we hope will fuel conversations when Nick hits campus on Friday (October 21, graduate student session in main library from 12:00 to 1:00; a conversation with Dr. Nick Sousanis in BCSB, 101, from 3:30 to 5). Here are some of the questions we posed:

Why did you choose academe? What was the utility of the PhD for you? Did you consider careers outside the academy?

What were the limitations of traditional modes of scholarship that led you to prefer the comics form? What new things did this format allow you to do? Were there kinds of information that exceeded the boundaries of a traditional dissertation?

Please talk about images as sources.

Who were your main artistic influences?

How do you manage your archive?

Are there moments when you rue the word limitations that are placed upon you by the comics form?

What’s the most challenging criticism your work has received?

Who did you see as your audience while you were working on your dissertation? on your book?

What were the most important aspects of the ways you were mentored as a graduate student?

Are there aspects of your graduate education that you would do differently if you were to start over again?

Does it matter whether or not conventional scholarship cites your work?

How would you mentor traditionalists? Do aspects of your creative practice translate to working with students who are writing in more conventional modes?

The role of generosity in best practices for digital humanities advisors

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img_0959Dr. Amanda Visconti reflects on her dissertation experience at Next Gen Humanities PhD Symposium

Post by Amy Chen, Special Collections Instruction Librarian, U of Iowa

What struck me as I listened to Amanda Visconti’s question and answer  session last Wednesday is that the generosity of Visconti’s mentors helped enable her success in academia as an Assistant Professor in the Humanities, Social Sciences, Education and Business division of Purdue University Libraries. I focus on the word “generosity” because it indicates that the mentorship Visconti received went beyond what traditionally is given in an academic setting. The exceptional support her committee provided highlights two examples of best practices that could be adapted by future digital humanities advisors to make Visconti’s experience more universal.

First, Visconti’s committee members prepared her to answer negative feedback that would misinterpret the value of her digital humanities work. In so doing, they viewed themselves as advocates of their unconventional student rather than as traditional certifiers of disciplinary expertise. As the author of the first fully digital dissertation, Visconti needed to anticipate how textual studies scholars would perceive Infinite Ulysses. Although her committee—Matthew Kirschenbaum, Neil Fraistat, Melanie Kill, Kari Kraus, and Brian Richardson—was fully supportive of her approach, they recognized Infinite Ulysses could be perceived as just an edited digital edition of Joyce’s masterwork. Then, the question would be if editorial work was sufficient for obtaining a doctorate. But Visconti did not shy away from this critique because she was able to engage with it early in her project’s development. Therefore, doctoral committees need to view their role as not only grounding graduate students in the extant scholarship, but also helping them anticipate how these modes of scholarship will view digital approaches.

Second, Visconti’s entire committee met every semester. In contrast, many graduate students only are able to get their committees in one room in person at critical moments in their graduate careers, such as at their exam or defense meetings. The collective approach taken by Visconti’s committee did not replace individual relationships; rather it bolstered those one-on-one meetings by helping Visconti to discuss Infinite Ulysses in both settings. However, to make biannual committee meetings possible for graduate students, faculty may need to formally revise their expectations for mentoring. Otherwise, as Visconti’s use of the word “generosity” recognizes, the majority of faculty will not find the time for these additional recommended meetings.
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