DIGITAL EDUCATION, MULTIMODALITY, LEARNING SPACES
Sound, including the practices of listening and production, have been used in a range of ways to ask questions around community, culture, power and other aspects of our social world. Researchers have turned a critical ear to the sonic environment in order to understand how sound can be used to construct personal space (Flügge 2011), exercise control and enact power in the hospital ward (Rice 2003) improve workplace efficiency (Bijsterveld 2012) and beyond. Elsewhere, reflecting the relationship between emergent technologies and the recording and reproduction of sound, Bull has studied rituals around the iPod (Bull 2005), Sterne makes the case for the MP3 as a cultural artefact (2006) and Prior has recently written about the complex hybrid of human-and-machine in the vocal assemblages of popular music (2017). These examples point to the growing recognition that sound has an important role to play in contemporary research, thus beginning to address what Bauer, writing almost two decades ago, saw as the absence of adequate methodology or mass of research to exploit the critical potential of sound within social inquiry (2000).
These contemporary research-adventures-in-sound have started, in a small way, to challenge what Daza & Gershon describe as the ‘ocular hegemony’ of inquiry, through its devotion to the visual, to speech and to text (2015: 640). A survey of the literature concerned with sound in social settings describes research under the banners of acoustemology, acoustigraphy, acoustic ecology, anthropology of sound, ethnomusicology, pyschoacoustics, sonic cartography, sonic ethnography, sound studies and beyond. Considering the breadth of critical work that begins with sound, alongside the potential for these activities to ask questions around comprehension and epistemology, human relations and hierarchy, it is surprising to find that sonic phenomena and practices have rarely featured within education research. A rare voice in this respect is Walter Gershon who, in making the case for sound as educational systems (2011), questions the ‘scant study of sound in educational contexts either in or out of schools, other than as a distraction to learning.’ (2011: 67). In contrast, Gershon has used what he describes as ‘sonic cartography’ to explore ideas of race and place within the urban school classroom (2003) and more generally argues that an attention to the sociocultural character of sound provides us with insights into the construction of values in educational settings and the nature of meaning itself (2011).
My own education research (investigating meaning-making around assessment) hears Gershon’s call for greater attention to sound as a means of inquiry around learning. Alongside the collection of field recordings in and around the classroom, I have collaborated with students in the creation of music playlists that accompany or inspire their work, and am gradually piecing together an interactive sound map that reflects how epistemology is enacted in the American History and Architectural Design courses that represent my field sites. More recently I have been thinking about whether I can produce sonic artefacts as a way of communicating some of the rituals and meaning-making practices that I have heard, seen and been told about within the dominant learning spaces of these two courses. Rather than simply writing about my experiences (with the associated problems of translating sounds into words) or re-playing recordings, I have been selecting and repackaging this sonic material, considered in the light of my wider research, in order to make arguments about the nature of meaning-making in different educational setting.
There is a precedent for this approach - what we might call the critical manipulation of sonic research material - in Steven Feld’s influential work around acoustemology where he proposes a ‘a union of acoustics and epistemology’ that seeks to ‘investigate the primacy of sound as a modality of knowing and being in the world’ (2003: 226). Rejecting the tendency within ethnography to view sound as supplementary to the serious business of writing-up in monograph-form, Feld produces, manipulates and then releases sound recordings as a way of asking questions and conveying the ‘sense of intimacy and spontaneity and contact between recordist and recorded, between listener and sounds.’ (Feld & Brenneis 2004: 465). The case for this approach is further made within sound studies by Bruyninckx where he adapts Latour’s (1986) belief in the immutability and mobility of inscriptions (1986) to argue that a scientific approach to working with sound should allow the researcher to ‘dominate’ sonic material through cutting-up, recombining and superimposing what was collected (2012:143). As long as the sound recording can never accurately reproduce what was heard in the field (see amongst others Gallagher 2016 and Sterne 2006), we should take advantage of this detachment, Bruyninckx suggests, to meaningfully re-work the gathered sonic material. There are echoes in this work of speculative methodology which encourages imaginative approaches to social research in order to account for the complex and open-ended nature of our lived world. The remixing and repackaging of sonic material resonates with the creative capacity of speculative research (Ross 2016) as well as its interest in nuance and the unhinged rituals of everyday life (Michael 2017) over reproducibility and generalisability that dominates social research. Furthermore, the digital reworking of recorded sonic content, with the purpose of exploring and explicating ideas through research material and activity, is in tune with Ross & Collier’s (2016) call for methods that reflect the increasingly digitally-mediated nature of society.
Combining the interests of speculative research and sonic artefacts as method, I have produced a sonic artefact for each of the American History and Architectural Design courses, primarily drawing on the dominant teaching and learning spaces of each course. Working through my field recordings and field notes, and influenced by ideas that emerged from observing, interviewing and photographing students and tutors across two semesters, each artefact talks about the nature of meaning-making in the corresponding course. The selection, configuration and prominence of the different phenomena (explained in the short commentaries below) are my attempt to use sound to explore and convey ideas around hierarchy, materiality, epistemology and pedagogy that reflect the broader interests of my research. What the artefacts do not attempt is a complete or accurate recording of what takes place in each learning space: the possibility of producing this type of record is challenged by the way that we each hear what we want to hear (Augoyard & Torgue 2005), that sound alters in response to the shifting presence of human and non-human bodies within any setting (Gallagher 2016) and the manner in which devices for recording and re-playing sounds deconstruct, filter and then repackage what is heard in the moment (Sterne 2006).
Sonic adventures in American History
This artefact is made up almost entirely of sounds recorded in (and around) the two lecture theatres and tutorial rooms where teaching was delivered across two semesters. The only exception is a short piece of conversation from a tutor’s ‘office hours’ that took place in a cafe adjoining the History department. Human voice - and more specifically that of the four lecturers and their tutor colleague - dominate this artefact, reflecting how classroom pedagogy depended heavily on a predominantly one-way communication of Historical knowledge. We briefly hear students discussing course content and an upcoming coursework essay (within a tutorial exercise; during office hours) however for the most part the presence of students is audibly present through typing, coughing, shuffling of paper, shuffling into class, and so on. At other times we can vaguely make out the sound of informal chatter as students wait outside the lecture theatre ahead of the scheduled start time: this period of anticipation or hiatus reflects the highly structured nature of the American History course. That we can hear the sound of students producing notes using word processor software (the clicking of keyboards) and also by hand (the zip of a pencil case opening, a fresh page being torn out of an A4 pad) reflects the different approaches I heard and observed during class. The audible contrast between keyboard composition and the more conventional technologies of rollerball pen and refill pad point us towards the varying literacy and meaning-making practices with a body of learners who are often lazily assigned the status of being entirely devoted to digital interests and rituals. Beyond the varying digital literacy practices of students, this sonic artefact makes three suggestions about the nature of meaning-making within the American History class: the communication of a body of Historical knowledge; the hierarchical authority of the lecturer, and; the heavy privileging of language (spoken, written, typed).
Sonic adventures in Architectural Design
The artefact for Architectural Design comprises field recordings from the design studio, exhibition gallery, lecture theatre, print room, crit room and site visit. For the most part however, we hear sounds from the design studio, reflecting its dominance as the space where students and tutors would congregate, and where students for the most part preferred to work. The artefact also captures the conversational nature of teaching and learning: a group tutorial; a one-to-one discussion between student and tutor; a group of students sharing ideas and offering each other feedback. The conversation does veer away from the subject of Architectural Design, however, as we hear students making chatting informally, laughing and generally enacting a sense of social amiability. Returning to the design-work-in-hand, there is the sound of constructing knowledge through technology (typing instructions into design software), paper (the rustling of posters) and other physical materials (sanding a block of wood), thereby reflecting the varied ways that meaning is constructed and conveyed within Architectural Design. We briefly hear music, on this occasion played through laptop speakers but more typically through earphones, when students wanted to enter an ‘auditory bubble’ (Bull 2005: 344) that would exclude the competing actions and distractions of those around them. The pedagogical approach in the Architectural Design course also placed importance on students explaining their work to an audience of peers and tutors, through a multimodal orchestration of voice, gesture, models and visual work: this can be heard in the sound of students presenting their plans-in-progress.
If these artefacts immediately lack the coherence or order of more conventional approaches to communicating scholarship, they should heard in the context of John Law’s work around mess in social research. The fluctuating and occasionally jarring assemblage of sounds surely reflects the untidy reality of our world (and educational practices and spaces). The awkward orchestration of academic content, coughing and construction work penetrating the classroom alerts us to the minutiae that, according to Fenwick et al. (2011) have so often been overlooked in educational research, where inquiry privileges what Fox & Alldred (2017) describe as a ‘what works’ agenda, driven by a desire for outcomes and learning gains, over the complex reality of what takes place within learning events. What the different artefacts do not offer is a complete representation of the meaning-making that takes place across the two courses, only the work which happens in the major teaching spaces. It became clear in conversation and interview, as well as in the ‘digital postcards’ they sent me, that beyond the learning activities represented above, students would write and read, design and research, in a diverse range of settings. Assuming it was possible to gain regular access to these often private and occasionally impromptu study spaces, an alternative and more extensive sonic exercise might seek to account for learning that took place in the cafe, jazz bar, bedroom, train, plane, street and other settings that students described. Taking the example of the American History class, an attention to activities beyond the classroom would reveal how students use the body of knowledge communicated by tutors, demonstrated during other parts of my research, including the days I spent shadowing students in the lead-up to an essay deadline. A further limitation of this approach is that while I think the artefacts feature almost everything significant that took place in the different teaching and learning settings, the use of PowerPoint technology in American History lectures, and the consumption of food and drink in the Architectural Design studio, which were prominent in the visual research material I collected, do not register in my sound recordings and therefore do not feature in the pieces presented here. Therefore where the case is made for sonic methods in social research, this perhaps need to exist in conjunction with an attention to other sensory material in order to recognise that ‘regardless of how they are conceptualized, the senses are utilized in concert with one another’ (Gershon 2011:78). In justifying my own approach, the creation of the sonic artefacts presented here has been shaped by what I wrote, photographed, read and was told, as well as what I heard around the lecture theatre, tutorial room, design studio and beyond.
From design studio to lecture theatre
Finally, as my research is undertaking a comparative analysis of meaning-making across the two courses, I produced a third artefact that brings the two sonic pieces together. Assigning the sounds of the Architectural Design course to the left audio channel and American History the right channel, aural attention shifts over the course of one minute. The unexpected value of this third artefact is that it emphasises the shifting level of formality and student voice between the Architectural Design and American History courses in a way that was less apparent when listening to the individual sound pieces in isolation. More generally, listening to the different courses without interruption emphasises the contrast between the calmness, order and structure of the learning that took place in the lecture theatre, with the more erratic and creative energy of the design studio. In this way the configuration of each sound clip broadly exposes the nature of meaning-making in the two courses, something I am writing about elsewhere. At the same time this artefact reminds us that there are qualities and rituals that transcend disciplinary boundaries: the sound of students at work persists across the combined artefact, even if differently represented through sound. Further, in each case the learning that takes place is interspersed or accompanied by interests and activities beyond the immediate purpose of the Architectural or Historical project: air conditioning, passing cars and chairs; social media notifications, shuffling feet and the slamming shut of desks at the end of class.
Speculative Research feat. Slick Rick
Processing sound for research
The sonic spaces of online students
I am an ESRC-funded Doctoral student in the Centre for Research in Digital Education at The University of Edinburgh.