Professional Documents
Culture Documents
Grant Unit Day 2:: Research
Grant Unit Day 2:: Research
n Summarizing: Putting the main ideas in your own words, reducing long passages to
shorter ones. Still involves referring to the drawn upon text.
n Both quotes and summaries need to introduce who did the research (name, occupation,
affiliation, year).
n Intro and Outro: Quotes should never stand alone, always use your own words to
introduce them. But also use your own words to describe what they mean after you give
the quote. That is, give an outro.
n To punctuate quotes correctly you usually introduce them with a comma (if what comes
before the quote is an incomplete sentence) or colon (if both the quote and introducing
sentence are complete). Remember that at the end of your quote your punctuation
should usually come before the closing quote. Always use double quotes.
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Sample Quote Styles
n Quote (notice the intro punctuation): If, as Buchanan (2001) and DiSalvo et al. (2012) observe, design is
fundamentally rhetorical because “all products—digital and analog, tangible and intangible—are vivid arguments
about how we should lead our lives,” then nostalgic designs are arguments about how users should relate to the past
(Buchanan, p. 194).
n Quote using colon: Responding to such cultural observations, nostalgia research has become scientific again,
focusing on the emotion’s homeostatic function. That is, as Wildschut, Sedikides, Arndt, and Routledge (2006) have
tested, when life changing events happen (from getting a divorce to being fired) people look back to known times
and positive identities therein: “Those in the nostalgia condition reported less attachment anxiety and avoidance,
higher self-esteem, and more positive affect. . . . when people encounter self-threats, rather than countering directly
the specific threat, they have the option of eliminating its effects by affirming essential, positive aspects of the self”
(p. 989).
n Summary: Like so much social media, On This Day trades in what Sedikides calls “anticipatory nostalgia,” thinking of
events in the now as an opportunity to build nostalgic-to-be memories.
n Quote: From social media memories to confederate Civil War memorials, I call this conflict over nostalgia a nostalgic
contact zone, after post-colonial theorist Mary Louise Pratt’s (1991) “contact zones,” “social spaces where cultures
meet, clash, and grapple with each other, often in contexts of highly asymmetrical relations of power, such as
colonialism, slavery, or their aftermaths as they are lived out in many parts of the world today” (p. 34). Practiced
nostalgic designers learn from the inevitable clashes, layers, and unequal powers present in such spaces.
n Summary: In this light, though features like On This Day may have a slightly insidious weight, they also further what
Nora (2002) calls the “democratization of history.” For so long historical work lay in the hands of an elite group of
historians who decided what was worth recording and what was not to the exclusion of minority cultures and
memories. In the 20th century, with the rise of memory studies, and now in the 21st, with the rise of social media,
everyone is a historian.
n Stand Alone Quote: Cultural theorist Harmut Rosa (2015) argues that such a desire for interactive craft experiences is
compounded by modern “social acceleration.” “As late as 1964, the American magazine Life, warned of an imminent
massive overflow of free time in modern society,” Rosa describes, but “the ‘tempo of life’ has increased, and with it
stress, hecticness. . . . We don’t have any time although we’ve gained far more than we needed before” (p. xxxv).