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Cross-Disciplinary Faculty Storytelling Commons ( D!AS F"R A #!TT!R T T$! %!$C"M!& Dissertation Proposal DRAFT T'! (F"RMA$, ('"P!F)$$*& AM)S (+, S'"RT ,!RS "( % T' (" PR"P!R C TAT "(S Su-mitte. to the Faculty o/ the School o/ !ngineering !.ucation College o/ !ngineering Pur.ue )ni0ersity %est $a/ayette, n.iana (P$)S MATT 1AD)D FR"M #!R!A& -y Mel Chua S"M! DAT! ( T'! F)T)R!
*ou can share this .ocument 2ith anyone you 2ant, 2ithout as3ing my permission, as long as you cite me as the author o/ this paper4 ($egalese: This .ocument is release. un.er a Creati0e Commons Attri-ution 546 license4&
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Table of Contents p4 5 p4 : p4 ; p4 <-= Chapter 1: %hat .o 2ish 2as .i//erent a-out the 2orl., an. ho2 ha0e my research 8uestions emerge. /rom that 2ish9 Chapter 7: #ac3ing up a -it: 2hat relate. research is there9 ($it re0ie2& Chapter 5: ntro.ucing the players: my participants an. ho2 they got in0ol0e. Chapter :: %hat are 2e going to .o9
p4 >-15 Chapter ;: A 2al3 through sample (/a3e& .ata an. analysis p4 > Stage 6: Ra2 Story an. !.iting Con0ersation p4 ? Stage 1: Pu-lic Story an. +roun.e. n.igenous Co.ing p4 16 Stage 7a4 Tracing the narrator p4 11 Stage 7-4 Tracing other characters p4 17 Stage 7c: Cogniti0e apprenticeships p4 15 Stage 5: Short Story p4 1: Chapter <: %hat is this going to loo3 li3e in the en.9 ("utputs an. potential impact&
p4 1;-1< Chapter =: %hat political, ethical, 8uality, 0ali.ity, an. -ias issues .oes this research raise, an. ho2 2ill a..ress them9 p4 1= p4 1> Appen.i@ A: %hen am planning on .oing 2hat9 (Timeline& Appen.i@ #: Some open 8uestions, in no particular or.er Reading Assignments Alice, A. li3e you to /ocus on metho.s (chapters :-;, p4 <-15&4 Are there gaps 2here .onAt e@plain 2hat am .oing an. 2hy9 ( A0e .eli-erately le/t out a 2hole Bpu-lic engagementC section4 s this o39& / you ha0e time, A. lo0e your thoughts on chapter = (p4 1;-1<& as 2ell4 Ruth, A. li3e you to /ocus on theory4 thin3 my lit re0ie2 is the 2ea3est -it o/ my prelim so /ar, canAt yet satis/actorily ans2er your 8uestions on ho2 storytelling a//ects i.entity /ormation, an. still /eel very sha3y on ho2 little /aculty literature A0e /oun.4 !0en i/ 3no2 thereAs not much, .onAt thin3 A0e /oun. e0en the little -it there isD Can you loo3 at the sample .ataEanalysis in chapter ; (p4 >-15&, -ut /ocus on chapters 1-7 (p4 5-:& an. 2hether my research 8uestions (chapter 1& are li3ely to -e /oun. in my .ata (chapter ;& an. .escri-e. -y my literature (chapter 7&9 %here are the areas o/ misalignment9 Matt, A. li3e you to /ocus on conte@t an. impact4 Does anything in chapters 1-: or <-= (p4 5-= an. 1:1<& stri3e you as #S9 +i0en that this proFect is emergent an. un/oreseen conse8uences might pop up, am -eing properly cogniGant an. respect/ul o/ as many potentially-impacte. groups as possi-le9 Ro-in, as my a.0isor, thin3 youAre stuc3 2ith rea.ing the 2hole thing4 trie. to 3eep it short4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter 1: What do I wish was different about the world, and how have my research uestions emerged from that wish! What do I wish was different about the world! (!ngineering& pro/essors may ha0e great net2or3s /or their research, -ut theyAre o/ten isolate. 2hen it comes to teaching4 !n.ing this isolation means getting pro/essors to tal3 a-out their teaching, -ut that currently means in-person meetings almost no-o.y has time an. money /or4 / con0ersations a-out teaching .onAt happen, no-o.y can o0erhear an. learn /rom them, an. 2e en. up rein0enting the curricular 2heel an. missing opportunities /or collegiality, /aculty .e0elopment, an. greater transparency in (engineering& higher e.ucation4 "ow have my research uestions emerged from that wish!
/ 2e lo2er the -arriers o/ sche.uling an. -u.get, coul. 2e get .ialogue to happen9 From 2or3ing in open source communities, 3ne2 .istri-ute., asynchronous con0ersations coul. -e easy, /un 2ays to get rich insights 2ith no transport costs or sche.uling issues4 A. also seen ho2 the pu-lic nature o/ those communities create. cognitive apprenticeship spaces 2here une@pecte. Blur3ersC coul. learn an. contri-ute surprising insights4 Coul. this approach 2or3 2ith engineering an. technology /aculty9 Aroun. the same time, 2as con.ucting inter0ie2s 2ith /aculty /or another research proFect, an. 2as struc3 -y ho2 much participants .escri-e. their teaching Fourney -y telling other pro/essorsA teaching stories4 This 2as particularly e0i.ent in in.i0i.ual inter0ie2s 2ith t2o /rien.s 2ho 3ne2 o/ each othersA participationH they use. each other as a common re/erence point: B)nli3e Dr4 I, am444C or B444itAs li3e 2hen Dr4 I .i. *4C )n/ortunately, the .ata 2as mostly pri0ate, so coul.nAt share the /ascinating cross-re/erences 2ith others4 Coul. ma3e this happen .eli-erately in a pu-lic space -y using techni8ues /rom open source communities9 What are my research uestions, anyway! #Current semi$aw%ward phrasings& 14 'o2 .o /aculty ma3e sense o/ teaching i.entities through pu-lic storytelling centere. on curricular re0ision9 74 %hat a//or.ances /or cogniti0e apprenticeship .oes pu-lic, asynchronous, .istri-ute. storytelling o//er9 What I'm not studying #outside the scope of my research& • • • • The content o/ 2hatAs taught4 happen to -e stu.ying engineering an. technology /aculty 2ho teach .esign thin3ing, -ut Am not going .ig into 2hat B.esign thin3ingC is4 'o2 Bgoo.C their teaching is or ho2 it coul. impro0e4 Soun. pe.agogy is important, -ut itAs not my Fo- here4 2onAt .ig into 2hat Bgoo. curricular .esignC is, either4 nstitutional politics, processes, an. -ureaucracy4 can get up on that soap-o@ later4 Ra.ically Transparent Research4 Am using the approach, not stu.ying it4 n particular, notice my research 8uestions coul. -e ans2ere. 2ith a non-transparent proFect4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter (: )ac%ing up a bit: what related research is there! #*it review& +ensema%ing, storytelling, and reflecting: what's happening with individual faculty • • • • • •
"ur auto-iographical storytelling interacts 2ith our i.entity /ormation (still /in.ing citations& %e change the auto-iographies 2e tell -e/ore 2e change our 0isi-le -eha0ior (A.ler& %e resist change 2hen 2e canAt see oursel0es in a change. /uture (Jegan K $ahey9& %e -ene/it /rom -eing conscious o/ things as 2eAre .oing them (Schoen& ncrease. a-ility to ma3e sense o/ conte@t is a hallmar3 o/ mastery (Drey/us K Drey/us& Re/lecti0e practice is a thing thatAs -een stu.ie.H there are techni8ues, theories, an. pu-lications a-out its -ene/its (tons o/ things /rom Ro-in an. Dr4 Ra.cli//eAs class that ha0e yet to sort&
Cognitive apprenticeship: what I hope will occur between faculty storytellers • Jno2e.ge is situate. an. enculturate.H apprentices progress /rom speci/ic em-e..e. acti0ities to general principles o/ the culture (#ro2n& • $earners situate their o2n .e0elopment 2ithin a space 2here many stages an. 0ariants o/ mastery are .isplaye. acting in relation to each other (%enger K $a0e& • $egitimiGing peripheral participation (li3e lur3ing& is important (%enger K $a0e& • $ur3ing may -e particularly important /or access -y the un.errepresente. (#elen3y& • BMentorsC (inclu.ing BpeerC mentors& create Gones o/ pro@imal .e0elopment that allo2 BmenteesC to accomplish things they coul. not .o unai.e. (,ygots3y& • BMentorsC can support BmenteesC 0ia mo.eling, sca//ol.ing, /a.ing, an. coaching techni8ues /or s3ill per/ormance and metacognition .e0elopment (Collins& ,aculty development: the #largely empty& field to which I want to contribute • +eneral arguments that engineering e.ucators sometimes .onAt 3no2 ho2 to Bspea3 the language o/ e.ucation,C incorrectly trans/er an Bengineering researchC mentality into the classroom, an. sometimes .onAt teach 0ery 2ell in general (nee. to /in.Esort these -etter& • %eA0e got goo. 2ays to socialiGe engineering gra. stu.ents into engineering practice an. 2or3 (#orrego, -ut coul. /in. -etter citations&4 How about teaching practice? • 'o2 .o ne2 /aculty (in any .iscipline& a.Fust to teaching9 solation an. lac3 o/ teaching preparation is a pro-lem4 (Austin& Would cognitive apprenticeships address this? • %e .iscuss curricular re/orm in engineering /rom a 0ery high theoretical le0el (!ngineer o/ 7676& an.Eor a lot o/ practitioner research (Stre0eler K Smith& 2ith not much in--et2een lin3ing theory an. practice4 How useful is this to practitioners in mid-reform? • !ngineering e.ucators sprea. pe.agogical inno0ations 0ia personal contact, not Fournal papers4 (#orrego K Froy.& Computing e.ucators B-ump intoC teaching practice changesH they .onAt intentionally search /or them4 (Fincher& How could we make it more likely that professors will “accidentally” make personal contact around their teaching? (nee. Bacci.ental learningC resourcesH coul. as3 Monica Car.ella9& • BDisciplinary CommonsC is an attempt to create a Bcommunity o/ practiceC gathering spaces /or computing /aculty to tal3 a-out their teaching (Fincher K Tenen-erg&4 Could this work without in-person meetings? Could this work with a cross-disciplinary group? • ThereAs really not much /aculty .e0elopment research, perio. ((!!D citationH my ina-ility to find citations is currently my strongest e0i.ence /or this point&
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter -: Introducing the players: my participants and how they got involved Who am I interviewing! ha0e > storyteller participants /rom 7 schools (minimum num-er /or cross-institutional .ialogue&: • 5 /aculty per school (minimum num-er /or multiple perspecti0es 2ithout a -inary& ◦ All /aculty 2ithin an institution 2ere on the same curriculum re0ision team ◦ All /aculty acti0ely teach classes a//ecte. -y the curriculum re0ision ◦ All /aculty are cross-.isciplinary (not a su-Fect selection criteria, -ut interesting any2ay& ▪ All ha0e stu.ie.Epractice.Etaught engineering, technology, an.Eor computer science ▪ All ha0e ha0e a humanities or e.ucation .egree, .issertation, or research /ocus • 1 a.ministrati0e sta// mem-er per school (/or access to -ac3groun. in/ormation& ◦ 'ea0ily in0ol0e. throughout the entire curriculum re0ision ◦ Jno2s all stu.y participants /rom their school personally an. pro/essionally ◦ 'as access to curriculum re0ision .ocuments (meeting notes, sylla-i, etc& What schools are they from! My participants teach at either "lin College or #erea College, small un.ergra.uate teaching colleges 2ho ha0e implemente. B.esign thin3ingC across their entire :-year engineering or technology curriculum4 The .i//erence is timing: "lin starte. their B.esign thin3ingC curriculum 11 years ago, 2hereas #erea .i. it 1 year ago4 Ta3ing stories -ac3 an. /orth -et2een these t2o schools allo2s us to -ri.ge B2e .i. this a 2hile agoC 2ith B2eAre .oing this no24C Why did I choose them! chose these /ol3s -ecause A0e got e@isting relationships 2ith them an. their schools4 Am an "lin alumna 2ho 2as hea0ily in0ol0e. in curricular .ecision-ma3ing as a stu.ent, an. spent a chun3 o/ Summer 7617 2or3ing on course .esign at #erea4 3no2 all my potential participants e@cel at telling thought/ul, re/lecti0e, an. interesting stories4 A0e spo3en 2ith them all a-out this research, an. theyAre e@cite. an. 2illing, 2hich is important on such a .eep .i0e into a small stu.y populationH thereAs pree@isting rapport that may help our inter0ie2s .el0e .eeper into thorny topics4 A..itionally, my committee mem-er Matt 1a.u. 2as a 0isiting pro/essor at "lin an. no2 teaches at #erea, so heAs 2ellpositione. to help 2ith a..itional conte@t na0igation an. sanity-chec3ing4 Are there potential participants beyond your . interviewees/storytellers!
*es4 Since 2eAre .oing public storytelling on the internet, anyone 2ith an internet connection an. comman. o/ 2ritten !nglish coul. hypothetically participate -y rea.ing an. commenting on stories as they appear (more on this later&4 'o2e0er, All target some speci/ic groups as B/irst au.iencesC: • The engineering e.ucation research community: Pur.ue !(!, F !, AS!!, +!!CS • "lin an. #erea communities: /aculty, sta//, stu.ents, an. alumni4 #oth schools ha0e a history o/ strong community participation in curricular initiati0es4 • "lin an. #erea /aculty .e0elopment initiati0es: #ereaAs BCenter /or Trans/ormati0e $earningC (CT$& an. "linAs B nstitute /or nno0ation in !ngineering !.ucationC ( 7!7&, an. the au.ience (inclu.ing non-#erea an. non-"lin /aculty& they teach an. ser0e4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter 0: What are we going to do! (*es, this is cri--e. an. shortene. /rom my R# application, 2hich is a0aila-le upon re8uest4&
What am I as%ing of storytellers! 14 Sche.ule an. atten. = (/or /aculty& or 7 (/or sta//& online or in-person inter0ie2s, 7 hours or less each in length, -et2een Septem-er 7615 an. "cto-er 761:4 74 n.icate 2hether they 2ish to -e noti/ie. a-out the proFect -et2een inter0ie2s, an. i/ so, 2hich noti/ications they 2ish to recei0e (2hen other su-FectsA stories are poste., 2hen someone comments on their stories, etc4& an. 2hat /ormat they 2ish to -e noti/ie. in (email, phone, etc&4 What is the interview setup! 14 The inter0ie2 2ill ta3e place at a 8uiet location o/ the su-FectAs choice4 74 A microphone 2ill -e set up to recor. 0ocal au.io /rom the su-Fect (an. 2hen possi-le, the researcher&4 This recor.ing 2ill only -e use. /or chec3ing transcriptions /or accuracy 2ithin < months a/ter the inter0ie2 .ate, at 2hich point it 2ill -e .iscar.e.4 54 / the inter0ie2 is remote, 0i.eo chat 2ill -e set up -et2een the su-Fect an. researcher to /acilitate the con0ersation4 This 0i.eo 2ill ne0er -e recor.e.H only the au.io portion o/ the inter0ie2 2ill -e recor.e.4 (Most inter0ie2s 2ill -e remote4& :4 For -oth remote an. in-person inter0ie2s, a pro/essional transcriptionist 2ill listen to the con0ersation an. transcri-e it in realtime4 (This realtime transcription techni8ue is /re8uently use. to ma3e classrooms accessi-le to .ea/ stu.ents4& The transcription te@t 2ill -e 0isi-le to, an. e.ita-le -y, -oth researcher an. su-Fect in realtime4
What happens in an interview! 64 %elcome an. preliminaries (o/ course&4 $i0e transcription -egins4 assign copyright o/ the inter0ie2 to the storyteller so that they ha0e /ull /inal control o/ the .ata (su-Fect protection&4 14 The /irst hal/ o/ the inter0ie2 (L1 hour& is the BstorytellingC hal/, an. the transcript o/ this portion is calle. the Raw +tory1 gi0e the storyteller a prompt: ◦ First inter0ie2 M tell me the story o/ your teaching li/e, particularly the chapter thatAs a-out this curricular re0ision4 ( tAll -e -etter 2or.e.4 These are short 0ersions4& ◦ Mi..le inter0ie2s (/or /aculty storytellers only& M hereAs a +hort +tory /rom another
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua
/aculty storyteller a-out their curricular re0ision4 %hat story /rom your o2n curricular re0ision e@periences .oes this remin. you o/9 ◦ $ast inter0ie2 M 2hat has it -een li3e to participate in this proFect9 74 The secon. hal/ o/ the inter0ie2 (a/ter an optional short -rea3& is the 2diting Conversation hal/4 Since 2eAre using realtime transcription, 2e alrea.y ha0e the Raw +tory transcript4 (The transcription 2ill continue in the -ac3groun., creating the 2diting Conversation transcript4& The storyteller an. no2 go -ac3 through their transcript an.: ◦ !.it /or pu-lic release M anonymiGing, changing, or .eleting anything the storyteller /eels uncom/orta-le 2ith4 %hen the Raw +tory has -een e.ite. an. appro0e. /or pu-lic release, it is calle. the 3ublic +tory4 The original Raw +tory is then .iscar.e.4 ◦ !.it /or accuracy M chec3ing .ates, name spellings, an. those other little .etails4 ◦ %riteE.ra2 4rounded Indigenous Coding .irectly on the transcript M re/lecting an. -eginning to analyGe the story thatAs Fust -eing tol. (an. pro-a-ly is still -eing tol.&4 54 "nce this is /inishe., 2e ta3e care o/ the pu-lishing logistics4 ◦ Since the storyteller o2ns the transcript copyright (see step N6&, they are the ones 2ho release it un.er an open license4 The license All strongly suggest is the Creati0e Commons Attri-ution Share-Ali3e 546 $icense (BCC-#*-SAC&, 2hich allo2s sharing an. remi@ing 2ithout as3ing permission, as long as the original 2or3 an. authors are cite., and the resulting pro.uct is also open-license.4 This means that anything using our data analysis will become part of the open-licensed dataset! ◦ gi0e the storyteller a grace perio. timeout o/ at least 1 2ee3, .uring 2hich they can contact me an. say B2ait, .onAt pu-lish thatDC (in 2hich case 2eAll re0isit e.iting&4 / they .onAt spea3 up .uring the grace perio., it automatically gets pu-lishe. on the 2e-4 "ow are you going to analy5e this! This 2ill ma3e a lot more sense in the ne@t section 2hen actually 2al3 you through .ata an. analysis e@amples, -ut: All -e using primarily a narrati0e analysis approach (-ecause this is storytelling& 2ith groun.e. theory (-ecause 2e .onAt 3no2 2hat themes 2ill emerge /rom this .ata yet, an. groun.e. theoryAs emphasis on iterations an. memos 2or3s 2ell 2ith -logging to spar3 pu-lic participation&4 All ta3e t2o -ig .e0iations /rom groun.e. theory practice4 First, All -e using cogniti0e apprenticeship as an a priori co.eset (more on this in the ne@t section&, -ut it 2ill not -e my only co.eset M the other theories 2ill emerge /rom the .ata4 Secon., am not using saturation to .etermine inter0ie2 sche.ulingH there are a /i@e. num-er o/ inter0ie2s 2ith a /i@e. num-er o/ su-Fects4 2ill control the BreachingC o/ saturation -y .etermining 2hich .ata su-sets All inclu.e in my /inal .issertation analysis, an. 2hich 2ill -e B/un things to play 2ith as a post.ocC: • • • • • • 6 storytelling sessions from 7 faculty 8 -9 hours of data #what I currently plan to analy5e& ; Be.itingC sessions /rom < /aculty (imme.iately /ollo2ing storytelling& M 56 hours o/ .ata 7 preEpost inter0ie2s /rom < /aculty O 7 sta// M 1< hours o/ .ata 7 Be.itingC sessions /rom preEpost inter0ie2s 2ith < /aculty O 7 sta// M 1< hours o/ .ata Documents su-mitte. -y participants M 2ho 3no2s9 Pu-lic commentary an. analysis M 2ho 3no2s9
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter 6: A wal% through sample #fa%e& data and analysis +tage 9: Raw +tory and 2diting Conversation The Raw +tory is the li0e, une.ite. transcript o/ the /irst hal/ o/ the inter0ie2, 2hen the narrator is storytelling4 t is ne0er use. /or analysis an. is .iscar.e. once the 3ublic +tory is create.4 (Since the Raw +tory is almost i.entical to the 3ublic +tory, 2ill not inclu.e a separate e@ample here4&
The 2diting Conversation is the anonymiGe. transcript o/ the secon. hal/ o/ the inter0ie2, 2hen the narrator an. re0ie2, e.it, an. tal3 a-out the story theyA0e Fust tol.4 *ouAll notice in.ications that 2eAre 2riting something (B Am 2riting 2hat you Fust sai. on line 77,C etc4& M this is the B-ehin. the scenesC con0ersation /rom creating the 3ublic +tory an. 4rounded Indigenous Coding (ne@t section&4 The 2diting Conversation is part o/ the 3rivate :ataset an. is anonymiGe. an. 3ept pri0ate4 .onAt nee. it /or my current research 8uestions, so may not analyGe it4 'o2e0er, Am curious 2hat sorts o/ things people e.it out an. 2hat they say 2hile theyAre e.iting, since realtime transcription, groun.e. in.igenous co.ing, an. ra.ically transparent research are ne2 8ualitati0e metho.s that A. li3e to 2rite a-out some.ay M so this is really .ata /or my /uture sel/4 2;ample of +tage 9: Raw +tory #not shown& and 3rivate :ata #e;cerpt&
RESEARCHER: So what we have is, as you can see, the transcript. Let's go back over it together. I' !ike you to !ook "or whether there is anything you' !ike to change or e it or e!ete be"ore this story goes pub!ic, an a!so i" there are any pub!ic notes or co##ents you' !ike to #ake, things that stan out "or you about what you sai . $AR%ICI$A&%: 'e!! I #ean I think one thing is this i ea o" there's this, you know, the big book. Even using the !anguage the big #agic book that has a!! the answers, you know, an kin o" thinking about is there such a thing as the big book that has a!! the answers. (!ti#ate!y I ha to #ake it #y own. I think that was so#ething I was thinking about. RESEARCHER: )kay. So I'# writing what you *ust sai on !ine ++. %his is a!! very rough an i#provisationa!. 'e have the big book you ta!k about so there wasn't a big book. 'hat e!se i you ta!k about having the big book, %a!ke about the e""ect o" not having... $AR%ICI$A&%: Right. So the big book being the p!aceho! er "or in"or#ation about the c!ass, what we cou! o, what are the key points, you know, what are the goa!s. RESEARCHER: )k, I'# writing that own a!so. %his is great. I want to re#in you that we're trying to pub!ish this story a!so, so is there anything you' want to take out be"ore we pub!ish this, $AR%ICI$A&%: -eah, I #ean in this particu!ar scenario it has so#e ba stu"" attache to it, that the guy who was suppose to teach the c!ass su en!y cou! n't, but there were !egit hea!th prob!e#s there nobo y e.pecte , so... take that out, RESEARCHER: /oes this !ook ok to you now, $AR%ICI$A&%: -eah. -eah, that I wou! be co#"ortab!e going pub!ic with.
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua +tage 1: 3ublic +tory and 4rounded Indigenous Coding #released online, open$licensed& The 3ublic +tory is an almost-ra2 transcript o/ the /irst (BstorytellingC&P hal/ o/ the inter0ie24 t is an e.ite. 0ersion o/ the 3rivate +tory that has -een appro0e. -y the narrator /or pu-lic release4 The 4rounded Indigenous Coding #4IC& is the annotations the narrator an. 2rite directly on the "ublic #tory transcript while we$re reading it (Bgroun.e.C& an. while the story is still being told (Bin.igenousC&4 + Cs are thus an early /orm o/ analysis4 TheyAre also a mechanism the narrator an. can use to ma3e parts o/ the 2diting Conversation o/ our inter0ie2 pu-lic4 P Am calling this the Bstorytelling hal/C o/ the inter0ie2 as a con0enient la-el, not a har. -oun.ary4 .onAt consi.er the storytelling to -e -oun. to a speci/ic time perio. M not e0en the the inter0ie2 itsel/4 2;ample of +tage 1: 3ublic +tory #e;cerpt&
$AR%ICI$A&%: 'e!! the e.a#p!e that you're showing #e is so#ebo y who here is this c!ass an here is the big book, you know, o" a!! the stu"" that goes with the c!ass. 0or the c!ass I taught, you know, there wasn't a big book. So that was essentia!!y, you know, copies o" a!! the rea ings, the version o" the sy!!abus an I ha a!! o" a ay to sort o" sit own an try to have so#ething 1uick so that the stu ents in the c!ass ha a c!ue o" what to o the ne.t week. 2Laughter3 RESEARCHER: (h4huh. $AR%ICI$A&%: So it's been an interesting story in ter#s o" not having a "air a#ount o" in"or#ation about what was one in the past, an not knowing why he chose the things that he chose to rea , an not rea!!y seeing the pattern an not rea!!y even seeing a, you know, a set o" 1uestions that he #ight have ha in his #in . It was *ust wi e open. -ou know, the ownsi e o" that is I i n't rea!!y "ee! co#"ortab!e *ust saying I wi!! o e.act!y what he i because I on't know e.act!y what he i . 2Laughter3 RESEARCHER: Right. $AR%ICI$A&%: -ou know, an then it was, we!! I can't be hi#. I have to be whatever it is that I can be. So then the o! %As starte getting e4#ai!s about can you te!! #e how he use ti#e in c!ass... you wou! have thought #aybe I cou! have spent ti#e be"ore the ter# happene to anticipate, p!an it out, but in so #any ways I i n't want to rock the boat. I on't know i" there was a big book o" !ike, 5this is how to teach the c!ass.6 RESEARCHER: A book "or the teacher, not necessari!y the stu ent, $AR%ICI$A&%: I" I wou! have necessari!y gone ah, you know, here is the recipe. %his is what I wi!! o this week. %his is what I wi!! o ne.t week to kin o" see the big story so that I cou! con"i ent!y o it... we i n't rea!!y have the resources. %here's no such thing as the 57ig 7ook,6 u!ti#ate!y I have to #ake it #y own. E""ects o" not having the 57ig 7ook.6
4rounded Indigenous Coding
%he 57ig 7ook6 is a the#e in this interview. It's a p!aceho! er "or in"or#ation about the c!ass, what the key in"or#ation is, what are the goa!s.
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua +tage (a1 Tracing the narrator #released online, open$licensed&
Tracing the narrator is the /irst o/ t2o narrati0e analysis passes -ase. on Doucet K Mauthner4 start this pass a/ter the inter0ie2, (pro-a-ly& on my o2n4 (%ith Ra.ically Transparent Research, colla-orators arenAt re%uired, -ut theyAre al2ays possible!& This pass Batten.s to the444 narrator in the inter0ie2 transcripts444 ho2 this person spea3s a-out herEhimsel/444 Q2e useR a coloure. pencil to trace the S T in the inter0ie2 transcripts4 This process centres our attention on the acti0e S T 2ho is telling the story444 highlighting 2here the respon.ent might -e emotionally or intellectually struggling to say something4 t also i.enti/ies those places 2here the respon.ent shi/ts -et2een S T, S2eT, SyouT or SitT, 2hich can signal 0arie. meanings in the respon.entTs perceptions o/ sel/4C 2;ample of +tage (a: 3ublic +tory #e;cerpt&
$AR%ICI$A&%: 'e!! the e.a#p!e that you're showing #e is so#ebo y who here is this c!ass an here is the big book, you know, o" a!! the stu"" that goes with the c!ass. 0or the c!ass I taught, you know, there wasn't a big book. So that was essentia!!y, you know, copies o" a!! the rea ings, the version o" the sy!!abus an I ha a!! o" a ay to sort o" sit own an try to have so#ething 1uick so that the stu ents in the c!ass ha a c!ue o" what to o the ne.t week. 2Laughter3 RESEARCHER: (h4huh. $AR%ICI$A&%: So it's been an interesting story in ter#s o" not having a "air a#ount o" in"or#ation about what was one in the past, an not knowing why he chose the things that he chose to rea , an not rea!!y seeing the pattern an not rea!!y even seeing a, you know, a set o" 1uestions that he #ight have ha in his #in . It was *ust wi e open. -ou know, the ownsi e o" that is I i n't rea!!y "ee! co#"ortab!e *ust saying I wi!! o e.act!y what he i because I on't know e.act!y what he i . 2Laughter3 RESEARCHER: Right. $AR%ICI$A&%: -ou know, an then it was, we!! I can't be hi#. I have to be whatever it is that I can be. So then the o! %As starte getting e4#ai!s about can you te!! #e how he use ti#e in c!ass... you wou! have thought #aybe I cou! have spent ti#e be"ore the ter# happene to anticipate this an p!an it out, but in so #any ways I i n't want to rock the boat. I on't know i" there was a big book o" !ike, 5this is how to teach the c!ass.6 RESEARCHER: A book "or the teacher, not necessari!y the stu ent, $AR%ICI$A&%: I" I wou! have necessari!y gone ah, you know, here is the recipe. %his is what I wi!! o this week. %his is what I wi!! o ne.t week to kin o" see the big story so that I cou! con"i ent!y o it... we i n't rea!!y have the resources. 5knowing6 an 5seeing6 .b.n. 8 one by narrator: but no pronoun 5I6 i n't "ee! co#"ortab!e 8sa#e as 5"e!t unco#"ortab!e,: because 5I6 i n't know e.act!y 8is 5e.act!y6 a key wor ,: turning point: 5I6 can't o ;, #ust o -. a!ternate "uture why 5I6 i n't take that a!ternate "uture
Tracing the narrator
8i.o. 9 instea o": i.o. 5#y c!ass6 5I6 was hurrie Inserte 5try to have,6 not *ust 5sit own an have6
speaking as a!ternate "uture se!" su en!y a 5we6 appears, resources epen ent on others,
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua +tage (b1 Tracing other characters #released online, open$licensed&
Tracing other characters is the secon. narrati0e analysis pass -ase. on Doucet K Mauthner, 2ho call it a Brea.ing /or social net2or3s, an. close an. intimate relations4C a.apt it slightly to as3 the 8uestion: i/ this 2ere a theatre monologue /rom a /ull play, 2hat 2oul. the Bcast o/ charactersC on the play-ill rea.9 n this e@ample, one might ha0e:
$RI)R $R)0: %he #ystery #an who taught this c!ass !ast year, then su en!y an une.pecte !y was unab!e to teach it at the start o" ter#. He's !e"t a rea ing !ist an sy!!abus behin , but no e.p!anation "or the !ogic behin their esign.
2;ample of +tage (b: 3ublic +tory #e;cerpt&
$AR%ICI$A&%: 'e!! the e.a#p!e that you're showing #e is so#ebo y who here is this c!ass an here is the big book, you know, o" a!! the stu"" that goes with the c!ass. 0or the c!ass I taught, you know, there wasn't a big book. So that was essentia!!y, you know, copies o" a!! the rea ings, the version o" the sy!!abus an I ha a!! o" a ay to sort o" sit own an try to have so#ething 1uick so that the stu ents in the c!ass ha a c!ue o" what to o the ne.t week. 2Laughter3 RESEARCHER: (h4huh. $AR%ICI$A&%: So it's been an interesting story in ter#s o" not having a "air a#ount o" in"or#ation about what was one in the past, an not knowing why he chose the things that he chose to rea , an not rea!!y seeing the pattern an not rea!!y even seeing a, you know, a set o" 1uestions that he #ight have ha in his #in . It was *ust wi e open. -ou know, the ownsi e o" that is I i n't rea!!y "ee! co#"ortab!e *ust saying I wi!! o e.act!y what he i because I on't know e.act!y what he i . 2Laughter3 RESEARCHER: Right. $AR%ICI$A&%: -ou know, an then it was, we!! I can't be hi#. I have to be whatever it is that I can be. So then the o! %As starte getting e4#ai!s about can you te!! #e how he use ti#e in c!ass... you wou! have thought #aybe I cou! have spent ti#e be"ore the ter# happene to anticipate this an p!an it out, but in so #any ways I i n't want to rock the boat. I on't know i" there was a big book o" !ike, 5this is how to teach the c!ass.6 RESEARCHER: A book "or the teacher, not necessari!y the stu ent, $AR%ICI$A&%: I" I wou! have necessari!y gone ah, you know, here is the recipe. %his is what I wi!! o this week. %his is what I wi!! o ne.t week to kin o" see the big story so that I cou! con"i ent!y o it... we i n't rea!!y have the resources.
Tracing other characters
&E': $RI)R &ARRA%)R 8pro"essor whose story the narrator is respon ing to: < ca!!e 5so#ebo y,6 etai!s not i#portant, &E': nee 8are in a S%(/E&%S I& CLASS so#ething to o they being cast passive ro!e,:
&E': $RI)R $R)0 #ystery #an= Le"t arti"acts about the course behin , but narrator can't un erstan the !ogic behin the#. 8Soun s !ike narrator a!so can't get in touch with hi# an ask,: &E': )L/ C)(RSE %AS aske about $RI)R $R)0's past actions 8not !ogic behin the#,: since $RI)R $R)0 is gone. Living source o" in"o about the c!ass, in contrast to written #ateria!s !e"t behin . S%(/E&%S I& CLASS on't use the 5big book6, 8#y probe:
&E': RES)(RCE $E)$LE, 'ho's the 5we6 here,
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua +tage (c: Cognitive apprenticeships #released online, open$licensed&
The Cognitive apprenticeships pass loo3s at the interaction across stories, as narrators re/er to each other in their storytelling o0er time (since each story is tol. as a response to another story&4 tAs tough to sho2 in a short transcript e@cerpt, -ut A0e trie.4 The theory itsel/ comes /rom 2or3 -y %enger, $a0e, Collins, #ro2n, (etc4 etc4& an. re/ers to ho2 practitioners o/ cogniti0e tas3s can Bma3e thin3ing 0isi-leC to learners o/ that practice (BapprenticesC& 0ia modeling, coaching, scaffolding, an. fading strategies, since cogniti0e practices are not automatically 0isi-le the 2ay Bcra/tC apprenticeships li3e 2oo.2or3ing are4 $earners are thus immerse. in an authentic practice /rom the start, learning the discourse o/ the practice as an integral part o/ the practice an. seeing other learners at different stages along multiple routes to multiple models of mastery the entire time4 $earners engage in legitimate peripheral participationH e0en i/ they are no0ices, they are consi.ere. to /ully B-elongC in the scene4 They create &ones of pro'imal development, accomplishing 2ith assistance things they coul. not ha0e accomplishe. alone4 2;ample of +tage 1: 3ublic +tory #e;cerpt&
$AR%ICI$A&%: 'e!! the e.a#p!e that you're showing #e is so#ebo y who here is this c!ass an here is the big book, you know, o" a!! the stu"" that goes with the c!ass. 0or the c!ass I taught, you know, there wasn't a big book. ... $AR%ICI$A&%: I" I wou! have necessari!y gone ah, you know, here is the recipe. %his is what I wi!! o this week. %his is what I wi!! o ne.t week to kin o" see the big story so that I cou! con"i ent!y o it... we i n't rea!!y have the resources.
>)/ELI&?: here's a resource 857ig 7ook6: $RI)R &ARRA%)R ha but &ARRA%)R < in contrast < i not >(L%I$LE R)(%ES %) >AS%ER-: i" &ARRA%)R ha the sa#e resources as $RI)R &ARRA%)R, &ARRA%)R #ight not have chosen the sa#e,
-elie0e (engineeringP& /aculty alrea.y learn a-out curricular re0ision 0ia cogniti0e apprenticeships M theyAre Fust not 0ery goo. ones4 Most thin3ing a-out curricular re0isions is not ma.e 0isi-le, is not in /ormats /aculty consume (#orrego K Froy.&, an. is not sought out -y /aculty in the /irst place (Fincher et al&4 %ith no .iscourse to o0erhear, legitimate peripheral participation an. the a-ility to see .i//erent learners, stages, an. routes to mastery are limite.4 This means that 2hen it comes to curricular re0ision, (engineering& /aculty are o/ten thrust into authentic practice an. e@pecte. to -e /ull practitioners in a process they .onAt 3no2 the .iscourse /or M especially since engineering concepts are o/ten B/arC (in a trans/er sense& /rom e.ucation ones, an. misapplication o/ Bengineering thin3ingC to Be.ucation thin3ingC o/ten lea.s to erroneous assumptions (#orrego&4 P2hy B(engineering& /acultyC9 .onAt thin3 these characteristics are uni8ue to engineering /acultyH Anne AustinAs research points out that ne2 /aculty /rom all .isciplines are ill-prepare. /or their su..en thrust into teaching, an. most ST!M /iel.s (an. some non-ST!M /iel.s& 2oul. ha0e the same B/ar trans/erC pro-lem 2ith Be.ucation thin3ing4C So 2hile am stu.ying engineering an. technology programs, this research shoul. -e rele0ant to /aculty .e0elopment across the .isciplines as 2ell4 n /act, none o/ our storytellers are Bstraight upC engineeringEtechnology /acultyH all ha0e either complete. an !.D, 2ritten a ST!M e.ucation .issertation, or ha0e humanities or e.ucation research as their current primary research interest4 This means that our storytellers alrea.y 3no2 a great .eal o/ e.ucation .iscourse M 2hich means that the lur3ing pu-lic might (hope/ully9& pic3 some up 2hile 2atching4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua +tage -: +hort +tory #released online, open$licensed&
The (long& 3ublic +tory is con.ense. into a 1-; page +hort +tory1 nspire. -y Poetic Transcription an. !thno.rama techni8ues, it uses .irect 8uotes /rom the storyteller to illustrate themes /rom any o/ the analysis passes4 t is .esigne. to -e concise, stan.alone, an. engaging, an. 2ill li3ely -e the most 2i.ely rea. research output4 t is also use. as the inter0ie2 prompt /or the ne@t storytellerAs Raw +tory4 2;ample of +tage -: +hort +tory
In !ooking at this 2story, I a#3 i##e iate!y thinking o" what wou! it have been !ike to have the 7ig 7ook o" how to teach this c!ass, the p!aceho! er "or key points, goa!s, written to be share , an how wou! I have use it... I was teaching a c!ass I ha basica!!y no prep ti#e "or, ha a!! o" a ay to sit own, pu!! together stories "ro# the o! %As, the #ateria!s we ha "ro# the !ast ti#e it was taught, an very, very 1uick!y co#e up with so#ething to give to stu ents so that there was so#e stabi!ity. It was *ust wi e open. I i n't rea!!y "ee! co#"ortab!e *ust saying 5I wi!! o e.act!y what 2the previous pro"essor3 i 6 because I on't know e.act!y what he i . 'e!!, I can't be hi#. I have to be whatever it is that I can be. I ha copies o" a!! the rea ings, the sy!!abus. Lots o" wor s on the 2o! 3 sy!!abus are things about 5i" you on't show up "or c!ass...6 I i n't change that. I ha to change the course pro*ect because I i n't rea!!y have the resources to 2gra e3 +@ papers. %i#e, ti#e. It's the one thing that you can't go an get #ore o". Even though there were peop!e who were wi!!ing to he!p, that actua!!y ha its own cost at the get4go 2an 3 I nee e to o so#ething as 1uick!y as possib!e. I rewrote the ob*ectives because we nee e to think about what were the big i eas. 7ecause we wou! !ook at the stu"" 2"ro# !ast year's c!ass3 an go 5it's !ike +@@ pages, oes he rea!!y e.pect you to rea a!! that,6 I can't assign rea ings i" I'# not going to rea the# an be responsib!e "or it. I on't have ti#e to rea +@@ pages... -ou're going to be rea ing a who!e bunch o" so"tware eve!op#ent #etho o!ogies. I'# not going to give you a test at the en o" the week an say 5which one oes this,6 I want to eve!op your abi!ity to be ab!e to engage with these i eas. %here's not a sing!e, universa! #etho . %he reason they a!! e.ist is because they are each speaking to a weakness or so#ething that wasn't a resse so#ewhere e!se. So that en e up being an en uring i ea, 2#aking3 sense o" these things on your own. )nce I i that I ca#e back an !ooke at each week at the rea ings, trie to #ake sure that there was so#e sort o" rea ing that was ta!king about strengths or weaknesses 2o" the #etho o!ogy o" the week3, 2an 3 a case stu y "ro# a co#pany that use it. In the process o" oing that I'# noticing that so#e o" the 2rea ing3 se!ections are not what I wou! have chosen. 0or e.a#p!e one o" the key parts o" any Agi!e #etho is re1uire#ents ana!ysis. He i n't have any rea ings that went rea!!y into that. So I !ooke aroun "or that one an ca#e across a paper by one o" the authors that we were going to o the week a"ter, ta!king about the #etho o!ogy that we ha rea be"ore hi#. 'hat a great opportunity to have this person sort o" sit back an ta!k about these two #etho s, because these are rea! peop!e. %heir i eas i n't co#e out o" so#e #agic bo.. It carrie a story !ine connecting the various peop!e we rea . I" there was a 7ig 7ook o" 5this is how to teach the c!ass,6 I on't know i" I wou! have necessari!y gone 5ah, here is the recipe.6 I probab!y sti!! wou! have trie to "igure out what were the big i eas. (!ti#ate!y I ha to #ake it #y own. %he 7ig 7ook is #e. 2It oesn't3 necessari!y !ook pretty but it oes capture conversations about the c!ass. %he 27ig3 7ook is co#ing out o" the process.
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Chapter 7: What is this going to loo% li%e in the end! #<utputs and potential impact& What stuff will you have! n a..ition to a .issertation an. a PhD .iploma, 2ill ha0e the /ollo2ing .ata an. analysis (the -oun.aries -et2een the t2o are -lurry here&: =ame Pu-lic Story What is it! transcripts o/ BstorytellingC portions o/ inter0ie2s, as e.ite. -y storytellers /or pu-lic release4 Who ma%es it! The storyteller, 2ith my help
Where does it go! The pu-lic 2e-, un.er an open license The Pri0ate Data set in a secure location (BnormalC 8ualitati0e .ata& The Pri0ate Data set in a secure location (BnormalC 8ualitati0e .ata& The pu-lic 2e-, un.er an open license
anonymiGe. transcripts o/ the con0ersation The storyteller -et2een me an. the storyteller 2hile 2eAre an. me e.iting the Raw +tory (original transcript& to create the 3ublic +tory1 Pri0ate notes ta3eH other materials recei0e. Me (an. others /rom storytellers or other stu.y participants 2ho 2ant to Foin that theyA. li3e a..e. to the .ataset -ut .onAt in& 2ant to release pu-licly Pu-lic notes ta3en on the 3ublic +tory 2hile The storyteller engage. in the 2diting Conversation4 n an. me other 2or.s, these are the parts o/ the 2diting Conversation the storyteller 2ants to ma3e pu-lic4
Pri0ate Data (other than !.iting Con0ersation& +roun.e. in.igenous co.ing
Analysis passes Co.ing the 3ublic +tory /or Tracing the narrator, Tracing other characters, an. Cognitive apprenticeship Short story Con.ense. 0ersions o/ the 3ublic +tory compose. o/ .irect storyteller 8uotes4
Me (an. others The pu-lic 2e-, 2ho 2ant to Foin un.er an open in& license Me The pu-lic 2e-, un.er an open license
What's the potential impact! • Reasona-le: 2ill gra.uateD • Reasona-le: !ngineering e.ucation reseachers 2ill ha0e a collection o/ pu-lic .ata (engineering e.ucation stories& easily usa-le /or /uture research an. sho2ing people ho2 our 2or3 is .one4 • Reasona-le: Participating storytellers 2ill ha0e a .eeper un.erstan.ing o/ their sensema3ing process as it relates to curricular re0ision an. a stronger net2or3 o/ li3emin.e. colleagues4 • Stretch: Faculty .e0elopment initiati0es ma3e use o/ proFect materials (using Short Stories as case stu.ies .uring /aculty 2or3shops, etc& • Super-stretch: A culture o/ transparency ta3es root in engineering e.ucation, an. more inclusion an. accessi-ility accompanies it (plus -utter/lies an. unicorns&4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua
Chapter >: What political, ethical, uality, validity, and bias issues does this research raise, and how will I address them! 2veryone's A 4rownup: ethical/political ris%s and responsibilities A0e got a paper trail o/ copyright, licensing, an. consent /or inter0ie2ing, online participation, an. pu-lishing, so legalities are co0ere. M -ut thatAs not enough4 Telling a story al2ays -rings the ris3 that someone might .isagree 2ith M or simply not li3e M your story, an. ta3e action against you as a result4 My responsi-ility as a researcher is to remin. participants M inclu.ing me M that they are storytelling in a pu-lic space4 / see something in a story that coul. cause issues, especially 2ith institutional politics, 2ill point it out to the storyteller, -ut a/ter that point the /inal call (an. responsi-ility& is theirsH 2e are a.ult aca.emic pro/essionals, a/ter all4 I admit it1 I'm biased1 !0eryoneAs -iase., an. Am no e@ception4 As a stu.ent, Am use. to -eing in a Blo2erC po2er position relati0e to the sta// an. /aculty Am inter0ie2ingH in /act, all storytellers either 3no2 me as their (/ormer& stu.ent or a stu.ent o/ their colleague4 This means A0e got a mentor-mentee .ynamic 2ith many storytellers, 2hich All ta3e a.0antage o/ -y /raming storytelling sessions as instances o/ B2ise el.er gi0es tri-al 2is.om to young person4C This relationship setup also means All naturally 2ant to help my storytellers loo3 as goo. as possi-le4 come 2ith many preconceptions, an. my storytellers all 3no2 that to 0arying .egrees4 To start 2ith, Am an engineer 2ith enough e.ucation training to -e .angerous4 #ecause o/ my e@periences .oing curricular .esign an. engaging in B.esign thin3ingC acti0ities, A0e got my o2n i.eas on ho2 curriculum shoul. -e re0ise., 2hat learning e@periences shoul. -e li3e, an. 2hat B.esign thin3ingC ought to mean4 canAt e@cise those preconceptions /rom my -rain, -ut can -e a2are o/ them, an. ma3e sure 2rite those opinions as coming /rom +ra. Stu.ent Mel an. not Platonic Truth "n 'igh4 During the storytelling itsel/, can /ocus on getting the storyteller to tal3 as much as possi-le, -ecause their tal3ing consists o/ their thoughts an. not mine4 My process o/ creating the Bshort storyC -y using only .irect 8uotes /rom storytellers (e.ite. /or grammarEconte@t& 2ill also let my atten.ees Bspea3 /or themsel0esC as much as possi-le4 Finally, the transparency o/ pu-lic .ata an. analysis 2ill allo2 any intereste. person to -ac3-trace 2here an. ho2 my o2n thoughts, analysis, an. opinions ha0e trans/orme. the storytellerAs story into 2hate0er /inal outputs they may -e 0ie2ing4 What does ?validity@ and ? uality@ mean to me for this proAect! TheyAre -oth social constructs4 For the engineering e.ucation research community: • Do situate my /in.ings in relation to e@isting Bengineering e.ucationC research an. use the Bright languageC 2hen .iscussing theories an. 2hy my research is 0alua-le9 • Are there outputs in the places (con/erences, Fournals& 2here these people hang out9 (ote that not all outputs may -e in these places, that outputs may -e in uncon0entional /ormats e0en i/ they are in con0entional places, an. that may not -e the author4 • Do engineering e.ucation researchers share an. .iscuss my research 2ith each other as a positi0e an. interesting proFect in their /iel.9
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua More important to me is that my storytellers consi.er their stories B0ali.4C (ote that there is o0erlap -et2een the t2o groupsH some storytellers engage in engineering e.ucation research4 • Are they satis/ie. an. com/orta-le 2ith their pu-lic portrayal (2hich 2e ha0e colla-orati0ely shape., .iscusse., an. e.ite.&9 • Do they prou.ly share their stories 2ith colleagues as goo. e@amples o/ BthemC9
My .ata an. analysis are pu-lic, so BanyoneC can -ac3trace an. criti8ue my 2or3 at any time4 Pu-lic per/ormance an. .ialogue un.er the gaGe o/ Bmany eyesC has a B0ali.atingC 8uality to it, e0en i/ some eyes are Buntraine.4C There/ore: • s my 2or3 -ac3-tracea-le9 s all .ata an. analysis pu-lic in a na0iga-le 2ay such that e0ery portion o/ the /inal output can -e i.enti/ie. 2ith 2here an. 2hen it appeare. an. 2ho (-y pseu.onym& 2or3e. on it9 What other metrics of ? uality@ am I using for this proAect! • • • • 'a0e une@pecte. participants emerge. an. ha. a positi0e impact on the proFect9 'a0e proFect materials ha. positi0e e//ects in une@pecte. places9 'a0e 2e -een, in general, pleasantly surprise.9 s there potential to continue -eing pleasantly surprise.9 Are other people coming up 2ith e@citing things this proFect coul. gro2 into ; (or 16, or ;6& years /rom no29
What metrics of ? uality@ am I not using for this proAect! • • • %ho contri-utes to pu-lic analysis, an. ho2 .o they compare .emographically to the general population o/ engineers or engineering e.ucation researchers9 Anything that re%uires participants to trac3EregisterEreport usage o/ proFect materials 'a0e ( (not someone else& pu-lishe. this proFect as a paper (not another /ormat& in a highimpact-/actor Fournal (not another location&9
am not necessarily avoiding things on this listH theyAre Fust not goals4 / happen to trac3 an. hit them, thatAs o34 / .onAt, thatAs o3 too4
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Appendi; A: When am I planning on doing what! #Timeline& )note that storytelling session dates listed are the earliest date that storytelling session might happen* not the latest+ they may occur as late as ,ctober -./0!1 Sep 7615: R#, prelim .ra/t, sche.uling storytelling sessions "ct 7615: pre-inter0ie2s M acclimation to pu-lic process , get 2e-sites up D" T' S S""( (o0 7615: storytelling session 1, .e/en. prelim Dec 7615: storytelling session 7, e@pan. to 2i.er au.ience 1an 761:: #R!AT'!RECATC'-)P Fe- 761:: storytelling session 5, #ig Committee Chec3- n Mar 761:: storytelling session : AprEMayE1un 761:: storytelling session ;, post-inter0ie2s 1ul-Aug 761:: ,ACAT "( Sep 761:: #ig Committee Chec3- n Remain.er-o/-/all 761:: analyGe an. 2rite, engage community Spring 761:: /inish (yes, itAs a 0ague agen.a item right no2&
Dissertation Proposal DRAFT: Cross-Disciplinary Faculty Storytelling Commons, Mel Chua Appendi; ): +ome open uestions, in no particular order 'o2 .oes ma3ing our o2n stories help us /orm BourC i.entity9 'o2 .oes hearing othersA stories help us /orm BourC i.entity9 'o2 .oes Bour storyC relate to Bour i.entityC9 %hat are the cross-.isciplinary aspects o/ this research9 %hat in/orms my thin3ing a-out cross.isciplinarity in this proFect9 Does it matter that Am inter0ie2ing engineering /aculty at one school an. technology at the other9 %hat 2ill the inter/ace /or (pu-lic, online& pu-lishing an. interacting 2ith the .ata loo3 li3e9 'o2 2ill Bpu-licC participants -e recruite. (i/ at all&9 'o2 can -ecome more engage. 2ith the /aculty .e0elopment research net2or3Ecommunity9
%here the hec3 is the /aculty .e0elopment literature9 t canAt not e@ist4 t can$t2 ( 3no2, itAs possi-le it .oesnAt, -ut444 Am still uncom/orta-le 2ith this4& s there some cool stu// coul. .o 2ith this M ethno.rama per/ormance remi@es o/ the .ata, PhD ComicsA 7-minute .issertation animations, BDance *our DissertationC competition, etc9 (this 2oul. -e /unEoptional, not B.irect progress to2ar.s completing .issertation,C -ut might -e a cool 2ay to get other people e@cite.Ein0ol0e.444 Fust nee. to not -e .istractomel4&
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