LEARNING SPACES / DIGITAL EDUCATION / MULTIMODALITY / SOUND
Earlier this year I completed my ESRC-funded PhD research which investigated the relationship between technology and the learning spaces of higher education. Prompted by a recent conversation among colleagues here at Edinburgh University about the potential of the digital dissertation, in this post I explain how my own thesis was presented in multimodal and digital form.
By ‘digital dissertation’, I am referring to the presentation of scholarship in overtly digital and multimodal form in those contexts where work is normally conveyed in a more essayistic and language-privileging format. At least in the arts, humanities and social sciences, it remains difficult to move beyond traditional print-based conventions within the high-stakes assessment setting. In the case of my own thesis, I sought to balance my desire to produce a richly multimodal and digital artefact, with University regulations and tacit disciplinary expectations around the exposition of knowledge.
My wish to produce a digital dissertation came partly from my interest in multimodal assessment, as I have discussed in this journal article, this conference key note and other workshops with academic teachers. More important, though, was finding a representational format that would foreground the sonic and visual data around which much of my PhD was built. As I argue in the thesis itself, sound has tended to exist on the periphery of qualitative research (as discussed by Dicks et al. 2011) while the critical value of audio data has been undermined by a lack of consideration when reproducing sonic material alongside more conventional published researched (see in particular Feld & Brenneis 2004).
The challenge I faced was to present audio and visual content in juxtaposition with written argumentation, while at the same time satisfying University regulations around the preparation of a traditional word-processed thesis. My response was to insert QR codes that linked to different types of digital artefacts. As I explained to the reader in the opening pages of my thesis, the intention here was that they could use a smartphone to access digital material alongside the printed content. True to one of the key ideas of multimodality, argumentation was made through the simultaneous juxtaposition of semiotic material, for instance words, images and sounds.
Therefore where my research involved the use of playlists as ethnographic artefacts, the reader was able to sample the nominated songs alongside my discussion of insights they had provoked into the way that learners used music to negotiate different types of learning spaces. These playlists – one for each of the American History and Architectural Design courses that provided the setting for my research - were hosted on the music-sharing platform Mixcloud. Here is the playlist I created with Architecture students:
Meanwhile in order to convey the sonic character of different teaching spaces, I created interactive sounds maps in Thinglink that situated ambient audio recordings and photographs against corresponding locations within diagrammatic floor plans. Here is the sound map for the area of the design studio where much of my field work took place:
Across more than a year of ethnographic field work I generated several hundred audio recording and thousands of photographs, some of which formed the basis of 15 short videos. Each video combined audio recordings, photographs and excerpts drawn either from my written field notes or from interviews. The following video captures the sights and sound of the architecture studio:
The creation of these different digital artefacts, combined with the way that they could be access via QR code, goes some way to showing how even within the constraints of producing a printed dissertation, it is possible to craft an artefact in digital, multimodal form. An important influence on my approach here was Kress’ work around aptness of mode (2005), the premise of which is that the digital form allows us to consider how we might shape the representational form of a digital artefact in a way that helps to best present the knowledge that is to be communicated. This meant producing a digital, multimodal thesis not for the purpose of experimentation, but rather because it was the most suitable way of executing arguments around the relationship between sound and physical space.
There are sure to be other and more imaginative examples of what a digital thesis can look and sound like, particularly when they emerge from the creative disciplines or within interdisciplinary contexts. And while my use of QR codes (rather than embedded content) may have been a neat concession to University regulations, it does feel like a compromise rather than a true use of the digital form. Nevertheless, I hope that my approach helps to stimulate more conversation about what is possible when it comes to producing richly digital and multimodal scholarship in an assessment setting, perhaps even contributing to conditions that are more conducive to this kind of work.
I am a Lecturer in Digital Education (Education Futures), within the Centre for Research in Digital Education at The University of Edinburgh.