Revisiting methodological issues in transcript analysis: Negotiated coding and reliability

Transcript analysis is an important methodology to study asynchronous online educational discourse. The purpose of this study is to revisit reliability and validity issues associated with transcript analysis. The goal is to provide researchers with guidance in coding transcripts. For validity reasons, it is suggested that the first step is to select a sound theoretical model and coding scheme. Particular focus is placed on exploring the advantages of the option of a negotiated approach to coding the transcript. It is concluded that researchers need to consider the advantages of negotiation when coders and researchers are not familiar with the coding scheme

Creative destruction in science

Drawing on the concept of a gale of creative destruction in a capitalistic economy, we argue that initiatives to assess the robustness of findings in the organizational literature should aim to simultaneously test competing ideas operating in the same theoretical space. In other words, replication efforts should seek not just to support or question the original findings, but also to replace them with revised, stronger theories with greater explanatory power. Achieving this will typically require adding new measures, conditions, and subject populations to research designs, in order to carry out conceptual tests of multiple theories in addition to directly replicating the original findings. To illustrate the value of the creative destruction approach for theory pruning in organizational scholarship, we describe recent replication initiatives re-examining culture and work morality, working parents\u2019 reasoning about day care options, and gender discrimination in hiring decisions. Significance statement It is becoming increasingly clear that many, if not most, published research findings across scientific fields are not readily replicable when the same method is repeated. Although extremely valuable, failed replications risk leaving a theoretical void\u2014 reducing confidence the original theoretical prediction is true, but not replacing it with positive evidence in favor of an alternative theory. We introduce the creative destruction approach to replication, which combines theory pruning methods from the field of management with emerging best practices from the open science movement, with the aim of making replications as generative as possible. In effect, we advocate for a Replication 2.0 movement in which the goal shifts from checking on the reliability of past findings to actively engaging in competitive theory testing and theory building. Scientific transparency statement The materials, code, and data for this article are posted publicly on the Open Science Framework, with links provided in the article

The Day Nobody Died, War Photography, and the Violence of the Image

En juin 2008, les photographes Adam Broomberg et Oliver Chanarin étaient « embarqués » (« embedded ») au sein de l’armée britannique dans la province de Helmand en Afghanistan et ont réalisé The Day Nobody Died en réponse aux événements et aux violents incidents qui ont eu lieu pendant leur engagement. Les images de cette série ressemblent à des abstractions colorées et non à des photographies conventionnelles : alors que le papier photographique a été exposé, rien de reconnaissable n’apparaît dans les oeuvres. The Day Nobody Died est le résultat d’une négociation entre l’imaginaire créatif des artistes sur les conflits armés et les images assainies de la guerre qui découlent souvent, d’une part, des programmes d’art militaire subventionnés par l’État et, de l’autre, du journalisme d’entreprise. Les questions qu’adresse The Day Nobody Died portent tant sur le médium de la photographie en lui-même que sur la façon dont celui-ci représente la guerre. Cet essai soutient qu’en ne montrant pas la violence de la guerre de la manière photographique traditionnelle, cette série d’images entreprend un examen autoréflexif sur la pratique plus large de la photographie de guerre. Ce refus de The Day Nobody Died est une résistance à ce que Jean-Luc Nancy appelle la tendance propre à la violence de faire image en soi. Cet essai aborde les questions de violence, de guerre et d’image par le biais des travaux de Judith Butler, Jean-Luc Nancy et Geoffrey Batchen, parmi d’autres. L’auteur place The Day Nobody Died dans la tradition d’une culture visuelle critique qui est concernée par ses propres opérations et par les relations qu’elle ouvre sur le monde

Andrew Wright : Pretty Lofty and Heavy All at Once = Beau, noble et pesant tout à la fois.

"Four distinct exhibitions featuring Andrew Wright’s multimedia works form the backbone of this superbly produced exploration of an artistic practice preoccupied with the discourses of photography. Wright's multivariate photographic, sculptural and video work decipher the visual opportunities that photographic technologies make possible, while drawing on theoretical models of the photographic that are less concerned with its ability to depict than with its more digressive properties. Scholars set out to show that Wright's work is located within key contemporary discourses on the status of photography, art, and the image." -- Distributor's website

Carol Wainio : The Book

"Carol Wainio’s recent work comprises an extended reflection on the subject of storytelling, the art of the copyist, and the social transformations in contemporary society engendered by mass production. Essays by Donald Beecher and Randy Innes offer illuminating insights into the paintings’ sources, such as the Puss in Boots folk tale, and discuss the book as a figure of modernity that Wainio systematically calls into question in her paintings." - Publisher's website

On the limits of the work of art : the fragment in visual culture

Thesis (Ph. D.)--University of Rochester. Graduate Program in Visual and Cultural Studies, 2009.The influence the romantic fragment had on literature, poetry, and philosophical criticism has been studied extensively. The current study considers the relationship between the romantic fragment and European visual culture between 1760 and 1850. Rather than comparing a visual inventory of formal examples of fragments with literary, poetic, and philosophical examples, this study asks whether the fragment might be understood as a symptom of a broader cultural condition that informed the origins of western modernity. The romantic fragment made it possible to think of the work of art as productive of its own conditions rather than being evidence of something else. The differences between neo-classicism and romanticism and their impact on representational modernity are examined through analyses of Winckelmann, Diderot, and the ruin aesthetic. While ruins constitute a genre that directs the spectator towards the fullness of aesthetic experience, works of art accumulate within an increasingly far-reaching organizational system. I indicate the essential difference between ruin and fragment. The museum organizes the difference between fragment and whole into a visual demonstration, and I consider how the museum influences our notion of what art is through an analysis of paintings and museum projects from Revolutionary Europe, and how the logic of the museum is questioned in contemporary film. The photographs in Auguste Salzmann’s 1854 book Jérusalem perform a visual archaeology, and suggest that the archaeological attention to fragments is neither metaphorical nor discursive, but informs the nature of the photographic image as such. If nineteenth century photography contributed to the increasing demand that a theory of the visual be found within the operations of the visual work as such, film introduced this demand as contemporaneous with lived experience. I turn to Víctor Erice’s 1992 film Dream of Light in order to suggest that the theoretical and critical disposition of the romantic fragment has not been entirely overcome by the formal closures of modernism

Teaching in Blended Learning Environments: Creating and Sustaining Communities of Inquiry

Teaching in Blended Learning Environments provides a coherent framework in which to explore the transformative concept of blended learningÑthe organic integration of complementary face-to-face and online approaches and technologies. Built upon the theoretical framework of the Community of InquiryÑthe premise that higher education is both a collaborative and individually constructivist learning experienceÑthe authors present seven principles for harnessing the opportunities for teaching and learning available through technology. Focusing on teaching practices related to the design, facilitation, direction, and assessment of blended learning experiences, this text addresses the growing demand for improved teaching in higher education