Writing has nothing to do with signifying. It task for teacher and learner as explorers is to has to do with surveying, mapping, even allow for realms that are yet to come. -(Deleuze & territorialization/deterritorialization/re- Guattari, 1987, p.5 ) territorialization as real life circumstances and experiences impede or open up is a video game series that possibilities. For Drake, the video game follows the journey of a contemporary protagonist, the final assessment of his treasure hunter. In the game, the player as success is whether or not he retrieves the the avatar travels to uncharted treasure. In teaching and learning, multiple islands in search of historical treasures. In treasures can be discovered along the way video gaming, game characters or avatars that are often undervalued by educators, allow players to interact with the digital treasures such as student observations, world; however, the term avatar can be more reflections, and newly formed connections broadly defined as a performable between the student and the larger network embodiment of self. The term avatar of the world. These treasures or avatars can (avatara or incarnation in Sanskrit) already be assessed in order to provoke and engage exists within the collective cultural learners in the process of creating their own consciousness. In fact, any manifestation of learning networks. Avatars as a performance an understanding, concept, or idea in a of self produce formative instances as visual, verbal, and/or tangible form and its fragments of understanding and summative performance is an avatar. In Uncharted, the measures as a big picture map of these player, traveling around the world as the instances over time (, 2007; avatar Nathan Drake, charts a journey. The Britt, 2008; Coleman, 2011). charting performed by the player as Drake does not mimic the experience of following Networked Curriculum a predetermined path on a map as he or she In Uncharted, Drake has an travels across a literal landscape. Instead, the unmapped territory to explore. He can go in landscape is created through its charting. a variety of directions based on the This is cartography, a process in which each formative decisions he makes as he traverses choice made adds a new dimension to the the territory. For education, the concept of a map’s representation. The game Uncharted territory serves as a metaphor for creates a lens through which we as educators disciplinary ways of knowing. Instead of can examine the concept of education in placing the onus of assessment solely on the relation to maps, territories, cartographies, shoulders of the teacher, we can promote and avatars that both produce and can even forms of peer and self-assessment. These become the maps in question. measures of peer and self-assessment (Un)ChARTing poses both problems and become formative points along a charted possibilities for the explorer and educator. path. Rather than urging the creation of a linear Curriculum becomes the path curriculum that focuses on assessing a created between these charted points as preformed final outcome, this article individuals and groups traverse the territory. proposes the concept of (un)ChARTED Art educators such as Efland (1995), Keifer- cartography which moves beyond Boyd (1996), Carpenter and Taylor (2005; visualization of data into performance of the 2003), and Sweeny (2008; 2013) re-image data. Performance (not pre-formance) allows the linear curriculum through lattice, teacher and learner to learn together. The hypertext, and networked models of

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 52 Art Education, (34) (S. Bey, Ed.). 50-61.

curriculum structure. Networks, according to Sweeny (2013), consist of nodes, links, and hubs. Nodes are elements within the network that are distinct. Links are the connections between nodes, and hubs are nodes that have multiple links. Paul Baran’s (1964) version of complexity theory describes the architecture of networks in three separate ways: centralized, distributed, and decentralized Figure 1. Types of Network Architecture. Examples of Network Architecture from or scale-free. Centralized networks are Paul Baran's Model those networks clustered around a single In educational assessment, nodes node. In education, time and efficiency are serve as waypoints of formative contributing factors in the belief that the understanding within the learning network; curricular network should be centered the teacher, the student, and the student’s around the teacher. All information must peers as hubs can track both individual and pass through the teacher as a means of collective growth through a visualization of verification. The negative aspect of such a the network. Each node or hub can be system is that the students are vulnerable to magnified to reveal another network with experiencing complete failure. If the central further connections on each layer. This node (teacher) fails in the performance of model of the learning process requires a his or her job, the whole system can crash. A decentralized network architecture in which centralized network requires the teacher to new experiences of the individual link up at know every aspect of the concepts being various points to form hubs of understanding discussed and be capable of evaluating that can be both individual and collective. students’ understanding of those concepts When this model is applied to assessment, objectively. Distributed networks, however, the teacher serves as a guide for the connect all nodes together in a non- understanding of assessment practices. The hierarchical structure. They can continue to teacher, however, is not the sole evaluator function even if nodes are removed. If nodes for every measure of assessment. Alternate within a system fail, a greater number of routes and multiple hubs in the learning transfers are required before all information process can therefore be assessed as is received by the system. In a decentralized students, their peers, outside assessors, and network a few hubs distribute and evaluate the teacher chart the map/network. the information. Although not every node is connected to every other node, decentralized Cartography or scale free networks have two major Like Drake, educators and students advantages over centralized and distributed must chart their journey through the learning networks: 1) nodes are evenly distributed territory as a path between nodes. This is a and therefore allow for efficiency in the process of cartography. Cartography (carte transmission of information and 2) the or map and graphy or writing) allows us to network is able to withstand shock because write the map of the territory with its the system can continue to function changing or developing contours and regardless of the failure of one node (Baran, boundaries. This map is not the territory; 1964; Davis & Sumara, 2006; Sweeny, although it will resemble the territory, it is 2013).

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 53 Art Education, (34) (S. Bey, Ed.). 50-61.

incapable of representing all the territory territorialization as the creation of borders or (Korzybski, 1990). boundaries; deterritorialization as the Cartography in relation to students’ process by which one traverses those personal understanding and learning is about boundaries; and reterritorialization as the student construction of maps that are both process by which new boundaries or borders individual and collective and speak to the are created. illumination of the path rather than the The processes of territorialization, dictation of a path. One can use a map in deterritorialization, and re-territorialization order to speak about a map. If we think of are integral to complex systems. the map as language or creation, words or Cartography allows us to “write” the map of objects in and of themselves are not the our evolutionary territorialization in the sea thing, feeling, fact, situation, relationship, or and our deterritorialization in the movement learning that might or might not be taking to land. Our emergence from the sea through place. As such, words and objects are unable the formation of legs, development of to express every aspect of our virtual oxygen breathing lungs, and the growth of understanding of the world. We leave opposable thumbs becomes a form of re- footprints or evidence of our learning along territorialization of the body which enhances the way, but we are unable, in that moment, our survival in our new territory. This to interpret or understand it. Language and deterritorialization and re-territorialization is creation are, however, self-reflexive. We can not a hierarchical scenario; it is a talk about our words and creations. What performance that is context specific and this property of language and any other form dependent on the needs of the organism of re-presentation allows is the ability to (Petersen, 2005; Ling, 2009). create feedback loops. Through feedback loops, the map is self-reflexive and can be The Cartography of Rubrics revisited in order to create and discover new Metaphorically, rubric (from rubrica meaning. As we move across different Latin for “red earth”) is the land as material aspects of the terrain, adaptation must occur. for creation and communication through the Each node in a networked construction of processes of territorialization curriculum and assessment is a point of /deterritorialization/re-territorialization. territorialized knowledge that can be Rubrics, as currently used in most revisited based on the context of a given educational settings today, act as maps with learning situation. Knowledge and predetermined routes that are utilized in assessment, therefore, become dynamic assessing curriculum, teaching, and student rather than static and are arranged as a learning. A rubric as a chart akin to a star network rather than a straight line, spiral, or chart or network architecture can, however, lattice. The network that is formed becomes promote exploration of the educational a macro view of the micro territories formed landscape rather than dictating a by individual nodes (Petersen, 2005; Davis predetermined course (Coil & Merritt, & Sumara, 2006; Ling, 2009). 2011). In medieval illuminated manuscripts, Territorialization/Deterritorialization/Re- red letters (or rubrics) served as instructional territorialization guides for readers, hence the connection In A Thousand Plateaus (1987), between the word rubric and the red pigment Gilles Deleuze and Felix Guattari discuss used to grade papers. The rubric provides territory as a metaphor. They define landmarks or guideposts without dictating

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 54 Art Education, (34) (S. Bey, Ed.). 50-61.

every aspect of the learning. The teacher content and construct meaning for produces objectives, but the objectives themselves. Butler (1988) describes become flexible enough to allow for performance as a discourse of “acts.” In multiple outcomes (Coil & Merritt, 2011). her discussion of John Searles, she As educators, we have transformed the references “speech acts,” which refer to function of a rubric from a guide for the act of speaking as well as the bond instruction to an evaluation tool, which that occurs through dialogue between can crystallize outcomes. Returning to speakers. As art educators we can begin “red earth” as the original meaning of to see ideas and concepts performed as rubric opens up a multitude of avatar through dialogue, artwork, writing, possibilities for understanding video, audio, mapping, and a variety of assessment as guidance that includes other incarnations. Butler (1988), quoting evaluation in red ink, but is not its Simone de Beauvoir, states that “one is exclusive mode of operation. If we begin not born, but, rather, becomes woman” to think of the experience itself as the red (p.1). This understanding of performance earth from which meaning is made, each introduces the concept of time into the map becomes a networked avatar that constitution of self-identity. One is not consists of layers of incarnation that can born an artist; one becomes one through be both formatively and summatively performance. assessed. Each time students arrive at a Deleuze uses a literary reference new understanding, the embodiment of to Alice from Alice in Wonderland to that understanding can serve as a means illustrate the process of becoming. Alice by which assessment can take place (Coil becomes both bigger and smaller when & Merritt, 2011). she drinks from the bottle marked “Drink me.” Each moment she is larger than she Performance was and smaller than she will be; she is In terms of assessment of student becoming. In deconstructing this process, understanding, we should be looking for we can see that Alice moves in two performance rather than pre-formance or directions simultaneously through the a predetermination of the network creation of a network. Network creation structure. The most recent iteration of the is a process that involves de- National Standards for Art Education territorialization and re-territorialization removed the area of performance from through stratification or classification of the standards because it was believed immanence/possibility; Alice both gains that it did not directly relate to visual arts and loses nodes or strata in this process. education (Stewart, 2013). To understand Each passing increment provides a performance only in its most literal performance through movement and each interpretation as a musical or theater stratum is a new node in the networked performance is to limit the possibilities of Alice. Like Alice, as students engage in the what performance can be for visual arts performance of new concepts and education. The player in the game creations, they are formulating their own Uncharted performs Nathan Drake and understandings through the creation of becomes him through his or her actions. networked selves that both add to and The students in the learning situation subtract simultaneously. Such a network perform their understandings of the constitutes “world formation” through an content in order to internalize that ever-changing state of becoming. It

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 55 Art Education, (34) (S. Bey, Ed.). 50-61.

encompasses both growth and decay back again. As the avatar moves between (Deleuze, 1990; Deleuze & Guattari, 1987; strata, it accumulates and creates new Nancy, 2007; Sutherlin, 2010). avatars; it both is and becomes (Deleuze Learning is less about achievement & Guattari, 1983). and more about growth over time or the As avatars, students have the process of becoming. A tree or plant opportunity to critique assumptions held continually expands, getting larger as about the binary logic of right and wrong; time progresses. The tree or plant does the concept of the truth becomes a truth not grow without losing leaves and that shifts with context. The arts depend sometimes must be pruned to allow for upon this type of thinking because they new growth. Students’ assumptions that are not subjects that promote the prove invalid to their current assessment of a right answer. Instead, the understanding of the world atrophy and arts are an exploration of larger themes provide a space for new understandings that embody what it means to be human. to grow. Invalid assumptions are The embodiment of these themes exists examples of atrophic nodes, those aspects as dialogue, object, and/or action that are of the network which “fail” or become simultaneously representation and action. non-essential to the process of network Dialogue, objects, and/or actions become formation. When a student or teacher avatars or incarnations of a truth and a “fails,” he or she can begin to evaluate documentation of the student learning those aspects that caused the “failure” process (Deleuze & Guattari, 1983; Britt, and/or those aspects that are no longer 2008; Ulmer, 2012). essential to the creation of the learning network. Performing Student/Teacher Avatars This model of thinking turns the In the following section, student concept of failure into success because avatars serve as methods of formative learning becomes an ever-evolving and summative assessment of student process. Assessment adds to the understanding and my own teaching in a complexity of the network. In the graduate course I teach entitled decentralized network architecture Educational Theory: Teaching and described previously, node failure can be Learning in the Arts. Each week students redirected to another hub as a record three one-minute performances as continuation of the process of becoming. reflective pieces to help them synthesize Instead of relying on a single and embody their learning. The goal of authoritative method of creating art, these one-minute presentations is to avatars allow us to think differently document the student's learning process, through iteration. Understandings can be both implicitly and explicitly, over the made visible and interpreted to gain new course of the semester. This means that insight through self-reflection and outside what students say and do (the content) is critique. as important as how they say and do it According to Deleuze & Guattari, (the form it takes). When students create the birth and rebirth of an avatar is a desire lines, or routes created through performance of arrangement that both use rather than intention, they match territorializes and de-territorializes as it their own interests. Concepts and skills moves. This movement as performance emerge from student interest and flows from the virtual to the physical and necessity of use rather than connection to

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 56 Art Education, (34) (S. Bey, Ed.). 50-61.

a specific teacher generated outcome. In terms of the one-minute video/audio reflections, students choose what content to discuss and how that content is utilized and synthesized. The prompt for these reflections requires them to reflect on some aspect of their learning either inside or outside of class over the course of the week. While the example given is specific to an exploration of theories, desire lines can be applied to a student-centered form of curriculum in Figure 2. Student Video Reflection. Student performing an object as her avatar art education that defines outcomes and for reflection. assessments reflexively. These digital she begins with, “Huhhhhhh! All right. . . . footprints create a record of students’ So, reflection number one. Ok, so this feels individual journeys. Furthermore, desire incredibly strange and unnatural. . . . lines produce a map of the territory from Wow, I am already at 20 seconds.” (D. the inside out. They are a set of Klim, personal communiction, October 17 possibilities rather than the totality of the 2013). She is taken off guard by how territory in question. In a practical sense, quickly the time passes and proceeds to this means that students explore theories finish up her comments. In her second and acquire skills and knowledge through video, she is more comfortable with exploration of themes (Myhill, 2004). recording herself as she discusses Design Themes become points of entry for Thinking, a process utilized by designers student exploration. Students to empathize, define, ideate, prototype, respectively decided the format of these and test concepts out. In this reflection performances. Some students chose to she begins to connect her art making use audio only. However, many students practice with her teaching practice. videoed the performance of an object as Ok, so this is my second reflection their avatar, while others utilized their this week. I just had my meeting with Lily own image in the video. Figure 2 shows about Design Thinking, and we had the how one student chose to speak through most amazing conversation that I have an object. Performing through an object had recently. It was unbelievable just the allowed this student the opportunity to things that surfaced and just how we are open up through performance and both connecting to this way of thinking. It provided a comfortable level of is just, I don’t know. It is so refreshing. I anonymity. Two students are highlighted feel like I am finally starting to find a way to demonstrate the development of to bridge my academic and intellectual avatars, Tom and Danielle. pursuits with my creative pursuits Danielle was reluctant to begin through Design Thinking. (D. Klim, recording her thoughts. In her first video personal communication, October 28, 2013).

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 57 Art Education, (34) (S. Bey, Ed.). 50-61.

asynchronous nature of the module allows Tom to stop it part way through in order to process some of the information that he has encountered. I just got finished with half of module three and I thought I would take a break for a second and reflect on what has happened so far in the module. . . .I found it really fascinating to hear you discuss this rhizomatic structure and more of these Figure 3. Danielle's Avatar. Danielle displaying her playlist as avatar. non-linear organic crossing Through recording, Danielle is able points for disciplines and to create avatars of her own thoughts and knowledge and situations and conversations with others. These experiences all culminating conversations are interpreted and in one unit for reality. But [I synthesized through Danielle’s am] also finding it really perspective as a designer, illustrator, interesting that you are researcher, and teacher. By the time we talking about Arthur Efland’s get to her third and fourth reflections, Lattice structure as Danielle has found an avatar format that something that ivy can grow she continues to utilize throughout the on as a way of describing underlying structure. I was remainder of her reflections. She designs thinking about what does the playlists that can be played to embody her rhizomatic structure grow on mood and thoughts in relation to course and is it part of the root content and fieldwork. These playlists structure or is it what the root become avatars within avatars that allow structure is growing on? (T. the viewer to perform Danielle’s associations by finding and listening to the song. In Figure 4, Tom begins his first video with a description of his interaction with my online avatar in the form of a learning module. Learning modules for Education Theory are online lectures, part of the flipped classroom format that provokes students to think deeply about a variety of learning and curricular theories through reflection and classroom experiences. The flipped classroom allows the teacher to place lecture/discussion-

based material online and opens up the Figure 4. Tom's Avatar. Tom Doyle's avatar of his engagement face-to-face classroom for experiential with theory and practice. learning. Like the videos, the

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 58 Art Education, (34) (S. Bey, Ed.). 50-61.

Doyle, personal arrive at a particular conception communication, October 17, inhibited the process and limited the 2013) learning that may have been Tom discusses his understanding of possible. What if I had given a series complexity theory and the rhizome from of links that allowed Tom to explore both his readings and his viewing of the his own point of view in relation to online module. This avatar serves as our this concept of structure? This point of entry into our discussion with one hypertextual and exploratory method another and with the class as a whole. Tom of teaching is one that requires a ends with a question about underlying significant amount of time and structure. He states, “I was thinking about patience from both parties. what does the rhizomatic structure grow on In Tom’s next video, he returns to and is it part of the root structure or is it the concept of complexity theory in relation what the root structure is growing on?” I to the feedback loop. He talks about wrote back the following to Tom on our reflection and iteration in relation to the social networking site: artistic process. He asks the following Tom, this is a really question: interesting question. In terms Is it simply a reflection of something of the rhizome, it grows on . . . different . . . like the dual mirror what is termed the plane of image? Which . . . seem[s] kind of immanence. It is described as strange . . . the image is alternating . . a smooth space that allows . but . . . is ultimately stemming from movement in all directions. . . the same origin rather than branching .When you think about the off . . . you are not doing again but creation of curriculum or a you are doing with something else in situation, you want to make a mind.” (T. Doyle, personal map, not a tracing. In relation communication, October 17, 2013) to your question about the In a later video in the series, situation, I would say that the Tom talks about a field visit to the situation facilitates the Greenmount School in X,X. growth. In the case of So we were at the teaching, it could become the Greenmount School today map by which students could visiting Mr. X, and it was so territorialize and amazing. We were talking deterritorialize their with Mr. X and asking him knowledge. In other words, about the importance of performance allows for the leaving Greenmount with a creation of a rhizome and set catalogue of facts and growth in all directions. . . . figures; in his case, historical (X, personal communication, facts and figures. He kept October 17, 2013). reiterating this point: that he In reflecting on my own did not care about dates, but avatar, I can see that it took the route it was what was behind the of efficiency over exploration. date, and why that event Instead of allowing Tom to discover happened that was so on his own, my desire to see Tom important . . . We were all

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 59 Art Education, (34) (S. Bey, Ed.). 50-61.

kind of startled . . . and However, the connection to his curious about how a child discussion of the lattice based could go through his or her structure is apparent. education at Greenmount, At the end of the day it and they would get the theme seemed like Mr. X was of, let’s say . . . colonialism seeing the Civil War kind of or maybe it is something like we see an art material, about the Civil War in where it is more than just its kindergarten, and since it is base. You know paint is not the whole school, just a fluid medium that can kindergarten is tackling it in be used, that . . .[can be] their own way and so is the moved around with color and opposite end of the spectrum texture, and it means so much age-wise which is 8th grade. more innately. And that we So they are learning different use paint not to just show pieces of it [the Civil War] what paint is, but we use it as and maybe getting the same a means to get somewhere feeling, but eighth grade is else and that seems to be the certainly getting more of way that the Civil War is these facts and figures and used at Greenmount. (T. more . . . base knowledge. Doyle, personal What we were . . . hung up communication, November 4, on was that, what if you were 2013) that kindergartener who was In relation to his statement about . . . learning the Civil War . . . iteration in his second video, you can and you went to high school, see that Tom is able to apply his and you would not have those understanding of artistic medium to facts and figures . . . (T. his phrase “doing with something Doyle, personal else in mind” to his analogy of paint communication, November 4, and the Civil War as a medium. Each 2013) of Tom’s avatars or incarnations of Tom’s description of his experiences understanding adds a new dimension at Greenmount exhibit not only his to his own personal learning process. understanding of the theory in practice, but also his hesitation with Conclusion some of the ramifications inherent to Through the use of cartography, such a construct. He discusses both networks, avatars, and performance as part his and his classmates’ shock and of the assessment process, we can begin to curiosity in relation to the lack of make the invisible visible and at the same base or structure, such as facts and time perform that visualization. Utilizing figures, upon which something is networked cartography in the form of built. This is a return to his first avatars allows educators, students, and peers video reflection as a form of to begin to document and assess growth over feedback loop. Whether or not Tom time as both formative and summative was aware of this connection when measures. Like Nathan Drake, we can begin he recorded this video is unknown. to see the map of our charted curriculum.

Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 60 Art Education, (34) (S. Bey, Ed.). 50-61.

Performance and visualization can both interacted with and performed as a take a variety of forms that extend student network as the evidence of their process. For artworks. The videos in this article are but art education this has tremendous one iteration of how the learning process can implications. Instead of focusing solely on be embodied as an avatar. Charts are often the art product as a way of understanding thought of as checklists rather than star what students have learned, the process charts or network architecture. Charting, as becomes an embedded part of the defined here, is about un-charting traditional assessment. Performance and conceptually notions of how curriculum is developed. based artists have long understood the Instead, it is a process of actively charting or importance of process to the creation of mapping the paths taken, as students engage artwork (Bourriaud, 2002). The recording of with a concept, idea, theory, process, etc., student avatars as blocks of reflection for re- through exploration. visitation creates a map of student growth Students layer each of these learning over time in relation to artistic and teaching fragments into a cohesive image that can be practice and philosophy.

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Sutherlin, M. (2014). (Un)ChARTED cartographies: Mapping Networked Avatars. Journal of Social Theory in 61 Art Education, (34) (S. Bey, Ed.). 50-61.