The Wrench, a new MSc in Engineering Education, and Blogging as reflective practice

During the International Symposium for Engineering Education 2018, which has taken place at UCL over the past two days, I have recommended The Wrench by Primo Levi to two engineering educator colleagues, so I'm including it here too - one of my favourite books, essential reading anyway in my view, but it happens to be about the trials, tribulations and achievements of an engineer, the main protagonist....a wonderfully wise and life-affirming novel (?) which I have written about before.

My Optimistic but Sceptical blog has never exactly become extinct, but I have made very few posts over the past five years.  I am hoping to be able to post more often now, for a number of reasons: first, I have come to the end of my stint as Programme Leader for the Institute of Education post-compulsory PGCE, and second, I am teaching and leading one of the core modules for an exciting new MSc here at UCL Institute of Education, in Engineering Education.

The first change means I expect to have a little more space and time for musing and reflecting on the issues and ideas that arise from my work, and for sometimes at least writing them down.  The second development has come about as a result of my Ed D thesis study, now completed in draft, and awaiting the final stage of formative feedback before formal submission in September.  This study is about the contribution of informal aspects of workplace life and activity to effective practice, practitioner learning, and innovation.  My research sites included a Further Education college and the R&D division of a large engineering company.  My department at the Institute of Education has teamed up with the UCL Faculty of Engineering in a number of different projects, one of which is this new MSc, and I am leading one of the core modules, on Engineering and Education: Practice, Innovation and Leadership. 

This module will cover such topics as:

• Persuading more girls to study engineering

• Organisations and change: the engineering workplace as a site for learning and innovation

• Preparation for C21st engineers: innovative design in UG and PG engineering programmes

• Apprenticeship as a model for learning engineering in times of change

• Approaches to leadership in multinational engineering partnerships

• Policy development and organisational strategies for an uncertain future

Anyone interested in finding out more about this programme should contact me here.

A third reason for coming back to my blog is that one of the stand-out findings of my research is the importance for effective practice, and especially for innovation, of 'writing' on the one hand, and of 'peer review' on the other.  By writing I mean any form of representation of any aspect of practice, including the most informal or temporary incidences of writing - doodles and scribbles for example, also notes, drafts, rough drawings or charts, and more formal types of writing such as reports or position papers, hether or not for publication.  By peer review I mean any kind of evaluative feedback, whether formal and written, or informally and unplanned as part of a conversation. Organisations which enable and encourage these practices as key elements of work, in terms of making space and time available for them, are likely, my study suggests, to be more effective and more innovative.  A blog is both a platform for writing in different degrees of formality, and a medium for sharing and potential evaluative feedback.  So I'm aiming to practise a little of what my study appears to teach.

My final reason for taking up the blog again is that my colleague working on the new MSc, Abel Nyamapfene, blogs regularly about Teaching and Learning in Engineering - see the link over on the right - and I like the idea of occasional blog conversations, especially as we work in different buildings!

Primo Levi

Walter Benjamin - the work of learning: writing and thinking as collecting

'Benjamin, always working, always trying to work more, speculated a good deal on the writer's daily existence.  One Way Street has several sections which offer recipes for work: the best conditions, timing, utensils.  Part of the impetus for the large correspondence he conducted was to chronicle, report on, confirm the existence of work.  His instincts as a collector served him well.  Learning was a form of collecting, as in the quotations and excerpts from daily reading which Benjamin accumulated in notebooks that he carried everywhere and from which he would read aloud to friends.  Thinking was also  form of collecting, at least in its preliminary stages.  He conscientiously logged stray ideas: developed mini-esays in letters to friends; rewrote plans for future projects; noted his dreams (several are recounted in One Way Street); kept numbered lists of all the books he read.' (Susan Sontag: Introduction to One Way Street and Other Writings, Walter Benjamin, London: New Left Books, 1979)

I once wrote an essay on Walter Benjamin.   I argued that his characteristic style of writing, collecting wreathes of aphoristic, tentative and often gnomic paragraphs which delineate his themes as it were from the outside, indirectly, rather than presenting them descriptively and directly, could be compared to a gestural, bodily style of communication as opposed to the more direct and familiar use of spoken language. He believed that copying a text was the best way to understand it, as a landscape is best understood by walking through it rather than by flying over it. 'All the decisive blows are struck left-handed'. Benjamin's work first suggested to me an idea which has come to seem more and more important in my work as a teacher: that writing (or drawing, composing music - the making of any cultural artefact, or as Raymond Williams and Stephen Yeo would say, cultural production) - is a mode of thinking and therefore of learning.  But should 'copying' be seen as production in its own right, or merely a stage or tool of the production process?  Ultimately there is no difference - copying is always a process of re-creating, re-contextualising.  My smallest utterance, in whatever form, is both completely original and a 'copy' of other people's work, made new by the act of my uttering it, and the context in which I am uttering it.  All work consists both of archeology and craft, and as well as existing for itself, it also exists to be recycled