The rigors of doctoral education and education as the chosen pro

1. The Rigors of Doctoral Education and Education as the Chosen
Program
NOTE: PLS REVISE ALL WRITINGS BELOW IN MAKING A
COHERENT AND COHESIVE ESSAY. DO NOT MAKE
QUOTATIONS. SENTENCES HAVE TO BE REVISED AND
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IN ORDER. PLEASE ARRANGE THE IDEAS. ARRANGE THE
CITED REFERENCE IN APA STYLE INSIDE THE ESSAY
AND LIST ALL REFERENCES AT THE END OF THE ESSAY,
Doctoral education is the highest academic, research training
and scholarship achievement of students worldwide . When a
student decides to specialize in a field where he or she becomes
an authority, he or she enrolls in doctoral education as a
researcher
Hoyne, G, Alessandrini, J., & Fellman, (2016). Doctoral
education for the future: through the
looking glass. In Blessinger, P., & Stockley, D. (Eds.),
Innovations in higher education
teaching and learning: emerging directions in doctoral
educations (pp. 231-38, 1st ed.,
Vol. 6). Bingley, United Kingdom: Emeral Group Publishing
Ltd.
The goal of a doctoral education is to train and
transform students to be ultimate scholars and scientists. It is a
rigorous training which culminates in a dissertation defended

2. before a committee of judges who validate the findings and
approved its publication . PhD training in most graduate schools
worldwide concludes with the preparation and examination of a
thesis. This will usually comprise a full review of the literature
relevant to the themes in the papers, a full account of the
research aims, methodological considerations, results,
discussion, conclusions, and further perspectives of the PhD
project. In addition, the research results will in many countries,
and in all of the institutions presented herein, normall y be
presented as published/accepted research papers or manuscripts
ready for submission.
It is inherent in a doctoral training program that there must be
assessment of to what degree the training of each doctoral
student has been successful. There are two general processes
that are employed to this end—formative assessment in which a
doctoral student's learning can be monitored and feedback given
in order to facilitate improvement, and summative assessment in
which doctoral student learning is evaluated according to a
predefined standard. The former system is employed throughout
the training period, while the latter can be employed, for
example, at mid‐ term and at end of the training period.
The more well‐ constructed and conducted formative version in
North American universities ensures that the students are
repeatedly made aware of both their scientific strengths and
weaknesses and that they also receive detailed instruction of
target areas that need work.
Barnett, J. V., Harris, R. A., & Mulvany, M. J. (2017). A
comparison of best practices for
doctoral training in Europe and North America. FEBS open
bio, 7(10), 1444-1452.
doi:10.1002/2211-5463.12305
Rigor is creating an environment in where each student is
expected to learn at high levels; each student is supported to be
able to learn at high levels , and each student demonstrates

3. learning at high level
Blackburn, Barbara R. (2018). Rigor is no a four-letter word
(3rd ed.)
New York, NY: Routledge
The rigors of doctoral education is to be prepared in extensive
and specialized education to become authoritatively expert of
the body of knowledge the student choose. In my case is
Education. Another rigor is to become an unbiased and
scientific researcher who is able to conduct a research which
results are peer-reviewed and reproducible in same research.
laboratories.
Jones S. P. (2017). I'll have the rigor, but hold the mortis.
Circulation research, 120(12), 1852-1854.
Rigor is a prized quality in scientific work. The word rigor is
derived from an old French word, “rigueur,” meaning strength
and hardness. In scientific vernacular, the underlying concept of
strength resonates in the expressions “hard data” and “solid
work” used to convey a sense of reliable and trustworthy
information. In common usage, the word “rigor” has evolved to
mean the quality of being exact, careful, or strict
Casadevall, A, & Fang, F.C. (2016). Rigorous science: a how -to
guide.
MBio, 7(6), 1-4. doi: 10.1128/mBio.01902-16
Scientific rigor is the strict application of the scientific method
to ensure unbiased and well-controlled experimental design,
methodology, analysis, interpretation and reporting of

4. results. National Institutes of Health (n.d.). Policy &
Compliance. Enhancing Reproducibility through Rigor and
Transparency. Retrieved from
https://grants.nih.gov/policy/reproducibility/index.htmThe aim
is for robust and unbiased results to increase the likelihood: (i)
for accuracy of results; (ii) that these accurate results can be
independently repeated. Most strive for the former, and hope for
the latter.
Hofseth L. J. (2017). Getting rigorous with scientific rigor.
Carcinogenesis, 39(1), 21-25.
The study proposes a more student-centred approach to meeting
doctoral students’ needs, and the enhancement of doctoral
student well-being in order, as a long-term goal, to improve
academics’ well-being and productivity.
Schmidt, M., & Hansson, E. (2018). Doctoral students' well -
being: a literature review.
International Journal of Qualitative Studies on Health and Well -
being, 13(1), 1508171.
Genuine interest in research. The successful PhD student can be
described as having an Interest in the PhD program, an
Incentive for the program, and an Idea of what he or she wants
to investigate, showing Initiative, and having high personal
Integrity and good Interpersonal relationships. When these so-
called I-determinants are present, the likelihood of success in a
PhD program is high. More evidence is available for selection
of candidates for postdoctoral appointments since it is known
that the postdoctoral candidate has completed a PhD program,
published papers in peer-reviewed journals, and received
awarded grants. However, other characteristics determine a
successful transition of the postdoctoral candidate into a
research leader. These determinants are Identity, Independence

5. and Image, Implementation ability in terms of being able to
implement decisions and projects, working with Innovative and
Important topics, having In-depth knowledge of the research
topic, being Interactive and Integrated with the scientific
community, and Internationally oriented. In conclusion,
regardless of the framework of research, the personal
characteristics of a researcher play a very important role in the
quality of research. Application of some of the principl es
mentioned in this article might allow decision to reach a more
evidence-based way to recruit PhD students and postdoctorals.
Sorensen H. T. (2016). I-determinants for a successful PhD or
postdoctoral outcome. Clinical
Epidemiology, 8, 297-303. doi:10.2147/CLEP.S110527
The Humboldtian model of higher
education (German: Humboldtisches Bildungsideal,
literally: Humboldtian education ideal) is a concept of academic
education that emerged in the early 19th century and whose core
idea is a holistic combination of research and studies.
Sometimes called simply the Humboldtian model, it integrates
the arts and sciences with research to achieve both
comprehensive general learning and cultural knowledge, and it
is still followed today.
von Humboldt, W. (2018). On the spirit and the organizational
framework of intellectual
institutions in Berlin. In M.A. Peters & R. Barnett (Eds.), The
idea of the university: a
reader (Vol.3). New York, NY: Peter Lang.
When it comes to sizing up America's public schools, test scores
are the go-to metric of state policy makers and anxious parents
looking to place their children in the "best" schools. Yet ample
research indicates that standardized tests are a poor way to

6. measure a school's performance. It is time--indeed past time--to
rethink this system, Jack Schneider says.
Beyond Test Scores reframes current debates over school
quality by offering new approaches to educational data that can
push us past our unproductive fixation on test scores. Using the
highly diverse urban school district of Somerville,
Massachusetts, as a case study, Schneider and his research team
developed a new framework to more fairly and comprehensively
assess educational effectiveness. And by adopting a wide range
of measures aligned with that framework, they were able to
more accurately capture a broader array of school strengths and
weaknesses. Their new data not only provided parents,
educators, and administrators with a clearer picture of school
performance, but also challenged misconceptions about what
makes a good school.
With better data, Schneider shows, stakeholders at the federal,
state, and local levels can undo the damage of present
accountability systems and build greater capacity in our
schools. Policy makers, administrators, and school leaders can
better identify where assistance is needed. Educators can engage
in more evidence-based decision making. And parents can make
better-informed choices for their children. Perhaps most
importantly, better data can facilitate communication among all
these groups, allowing them to take collective action toward
shared, concrete goals.
Schneider, J. (2017). Beyond test scores: a better way to
measure school quality.
Cambridge, MA: Harvard University Press.

7. UNIVERSITY OF TORONTO SCARBOROUGH
DEPARTMENT OF ARTS, CULTURE & MEDIA
MDSC61H3 ALTERNATIVE MEDIA
Winter, 2019
Monday, 1 – 3PM
BV355
COURSE DESCRIPTION
This course examines the history, organization and social role
of a range of independent,
progressive, and oppositional media practices. It emphasizes the
ways alternative media
practices, including the digital, are the product of and
contribute to political movements
and perspectives that challenge the status quo of mainstream
consumerist ideologies.
The course takes a broad view of the idea of alternative media.
Specifically, it begins
with the question "alternative to what?" Alternative, by
definition, means something along
the lines of "different than the mainstream" or "different from
that which predominates".
This course will approach this notion of alternative along four
separate, but nonetheless
interconnected, lines:

8. • alternative content and perspectives
• alternative organizational & structural models
• alternative practices
• alternative technological configurations
ASSIGNMENTS (see weekly class schedule for due dates)
*** Detailed assignment sheets will be provided on Blackboard
1) Slow media assignment 15% (of final grade)
3 page (or equivalent) exploration of a slow media practice of
your choice
2) Reading analysis 15%
2-2.5 page summary and analysis of selected week's readings
3) Research essay 35%
5% 1 page proposal plus annotated bibliography with 3 sources
30% 7-8 page final paper
4) Final exam 35%
ASSIGNMENT FORMATS, DUE DATES AND LATENESS
PENALTIES
All assignments are due AT THE BEGINNING of class. All
assignments are expected to be
legible (e.g. in dark ink, on white paper, NOT printed out with
empty toner cartridges,
etc.), properly identified and correctly stapled. All formal
assignments must make
consistent use of an accepted citation format (preferably APA
style). For information about
how to do this, please see
http://ctl.utsc.utoronto.ca/twc/citations
There will be a penalty deduction of 2.5% per day (including

9. weekends) for late
assignments. To avoid extra late penalties, email a copy of the
late assignment to me when
completed, and bring a paper copy next class. We will NOT be
responsible for printing out
copies of assignments for students, stapling them, if your email
file is corrupt or for your
failure to attach the file. Failure to submit a paper copy after
having submitted an email
copy of any assignment will constitute failure to submit the
assignment.
Deadline extensions will be granted only for a compelling
reason and with authorized
documentation. Such reasons include illness (documented with a
Doctor's note) or family
emergency. Extensions will NOT be granted for reasons such as
computer crashes or
breakdowns, inability to print the file on time, or other such
technical problems. ALWAYS
MAKE SURE TO BACKUP YOUR FILES AS YOU WORK!
CLASSROOM CONDUCT AND COMPORTMENT
Students are expected to assist in maintaining a classroom
environment that is conducive
to learning. In order to assure that all students have an
opportunity to gain from time spent
in class, and unless otherwise approved by the instructor,
silence your mobile phones and
put them away at the beginning of every class and use your
notebook computers for
classroom purposes only. Inappropriate behavior, making
offensive remarks, or engaging
in any other form of distraction in the classroom shall result in,
at the minimum, a request
to leave.

10. STUDENT RESPONSIBILITIES AND ACADEMIC
INTEGRITY
It is the student’s responsibility to be aware of policies,
procedures and deadlines that are
in effect during their attendance at the University of Toronto. It
is also the student’s
responsibility to attend classes regularly, to keep their work up
to date, and to complete
assignments as required. Academic Integrity is essential to the
pursuit of learning and
scholarship, and breaches in the form of plagiarism and
cheating are taken very seriously.
All violations of the standards of integrity found in the
university’s Code of Behaviour on
Academic Matters will be reported. Please familiarize yourself
with aspects of academic
integrity and methods of proper citation:
How not to plagiarize:
http://www.writing.utoronto.ca/advice/using-sources/how-not-
to-plagiarize
How to use and cite sources:
http://www.utsc.utoronto.ca/twc/using-and-citing-sources-0
Information regarding academic integrity:
http://www.utsc.utoronto.ca/aacc/academic-integrity
CONTACTING PROFESSOR KAYE
I encourage you to contact me regarding issues involving the
course, including questions
about material covered and or your own progress. This is best
done during my weekly

11. office hours or, if those are not convenient, at another
scheduled time. Email is not an
option for questions where a proper answer requires a
discussion. If you do send one, I
will try to respond within 72 hours however this is not always
possible. I am absolutely not
available or accessible on weekends. When communicating with
me via email you must
use your U of T email account and address, use the course
number (i.e. MDSC61) in the
subject line, and clearly identify yourself in the main body of
the message. Please address
your message "Dear Dr. Kaye." Please note it is my policy to
not discuss grades over email.
WEEKLY CLASS SCHEDULE
Week 1, Jan. 7 What do we mean by "Alternative"?
This week introduces the idea of alternative media by
addressing the basic and
fundamental question of what we mean by alternative. Put
another way, the key question
is "Alternative to what?"
Hamilton, James (2000) "Alternative Media: Conceptual
Difficulties, Critical Possibilities".
Journal of Communication Inquiry. 24(4), pp.357-378.
Sandoval, Marisol and Christian Fuchs (2010) "Towards a
critical theory of alternative
media". Telematics and Informatics. 27(2), pp.141–150.
Week 2, Jan. 14 Slow Media as Alternative Practice
What do we mean by "slow media"? Has the rush to embrace all

12. things digital led us to
ignore a whole host of slower, analog alternatives? How do
these alternatives differ from
their faster, digital counterparts? What can they teach us about
our own media practices?
Rauch, J. (2011) "The Origin of Slow Media: Early Diffusion of
a Cultural Innovation
through Popular and Press Discourse, 2002-2010."
Transformations: Journal of Media &
Culture. iss. #20. http://www.transformationsjournal.org/wp-
content/uploads/2016/12/Rauch_Trans20.pdf
http://en.slow-media.net/manifesto
http://slow-media.org/2009/12/students-slow-media-
experiments-the-weirdest-three-hours-
i-ever-spent.html
http://slow-media.org/2010/05/slow-media-experiment-ii.html
Week 3, Jan. 21 From Dada to Dilla: Appropriation as
Alternative Practice
What do we mean by cultural practices of appropriation? How
are they to be considered
as alternative? What are problems are posed by the
reappropriation of such practices back
into the cultural mainstream?
Schaefer, Janek (2001) "Audio Oh!: Appropriation, Accident
and Alteration". Leonardo
Music Journal. 11. pp. 71-76.
Zimmermann, Patricia R. (2006) "JUST SAY NO: Negativland's
No Business". Cultural
Studies. 20 (2/3), March/May. pp.316-322.

13. videos: RIP: A Remix Manifesto
http://films.onf.ca/rip-a-remix-manifesto/
Negativland – Gimme The Mermaid
http://www.youtube.com/watch?v=TTrHwH2gEY8
Week 4, Jan. 28 Noise, Glitch and Error as Alternative Digital
Culture
ASSIGNMENT DUE: Research Paper Proposal And Annotated
Bibliography
If traditional cultural production is predicated on the idea of a
complete, finished and
"perfect" final product, what happens when we start consciously
basing our work on
mistakes? Could errors, glitches, skips and noise become the
basis for alternative cultural
production in the digital age?
Menkman, Rosa (2010) Glitch Studies Manifesto. http://rosa-
menkman.blogspot.com/2010/02/glitch-studies-manifesto.html
Kelly, Caleb (2009) Cracked Media: The Sound of Malfunction.
chap. 1, "Recording and
Noise: Approaches to Cracked Media". Cambridge, MA: The
MIT Press.
Week 5, Feb. 4 Open Source Culture and the Idea of the Digital
Commons
What is "free software"? How does it differ from "open source"
software? How do both of
these models of software production and distribution present an
alternative to the
predominant mode of commercial, proprietary software
production?

14. Ghosh, Rishab A., Rüdiger Glott, Bernhard Krieger and
Gregorio Robles (2005) "Free
software developers: Who, how and why". in The Economics of
the Digital Society. L.
Soete and B. ter Weel (eds.). Cheltenham, UK: Edward Elgar.
Stallman, Richard (2010) Free Software, Free Society: Selected
Essays of Richard M.
Stallman 2nd ed. chap. 1, "The Free Software Definition" and
chap. 2, "The GNU Project".
book available at http://shop.fsf.org/product/free-software-free-
society/
Vaidhyanathan, Siva (2012) "Open Source as Culture/Culture as
Open Source". in The
Social Media Reader. M. Mandiberg (ed.). New York: New
York University Press. pp.24-
31. Electronic copies of this book are available at
http://archive.org/details/TheSocialMediaReader
Week 6, Feb. 11 Social Networks, The Interface and
Alternatives
ASSIGNMENT DUE: Reading Analysis
How do digital technologies and services mediate online social
interaction? Does this
mediation create expectations about how such interaction should
occur? What might
alternatives to mainstream social networking platform look like,
and how might they
mediate interaction in a way that empowers, rather than
exploits, its users?
Langlois, Ganaele (2013) "Social Media, or Towards a Political
Economy of Social Life".
pp.50-60.

15. AND
Sevignani, Sebastian (2013) "Facebook vs. Diaspora: A Critical
Study". pp.323-327.
Both are found in G. Lovink and M. Rasch (eds.) Unlike Us
Reader: Social Media
Monopolies and Their Alternatives. Amsterdam: Institute of
Network Cultures.
*** A free PDF copy of the Unlike Us Reader is available at
http://www.networkcultures.org/_uploads/%238UnlikeUs.pdf
Rokeby, David (1998) "The Construction of Experience:
Interface as Content"
http://www.davidrokeby.com/experience.html
Week 7, Feb. 25 Indymedia
What is Indymedia, and where did it emerge? What are the
relationships between
Indymedia practices and practitioners and anti-capitalist and
anti-globalization social
movements? How does the content, form and social organization
of Indymedia differ from
the mainstream media?
Ballvé, Teo (2004) "Another Media Is Possible". NACLA
Report on the Americas. 37(4),
Jan/Feb.
Giraud, Eva (2014) "Has radical participatory online media
really ‘failed’? Indymedia and
its legacies". Convergence: The International Journal of
Research into

16. New Media Technologies. 20(4), 419–437.
Kidd, Dorothy (2003) "The Independent Media Center: A new
model". Media
Development. 50(4).
Pickard, Victor W. (2006) "Assessing the Radical Democracy of
Indymedia: Discursive,
Technical, and Institutional Constructions". Critical Studies in
Media Communication.
23(1), March. pp.19-38.
Week 8, Mar. 4 Zines, Blogs and Subcultures
What are "zines"? How are they implicated in processes of
identity formation? How are
they related to other media forms such as music and visual art?
How do they help weave
subcultures together across time and space? Are blogs the zines
of the 21st Century?
Atton, Chris (2002) chap. 2, "What Use is a Zine? Identity-
building and Social Signification
in Zine Culture". Alternative Media. London: Sage. pp.54-79.
Jetto, Beatrice (2010) "Music Blogs, Music Scenes, Sub-cultural
Capital: Emerging Practices
in Music Blogs"
Week 9, Mar. 11 Independent Music and Alternative
Distribution
Does where we buy (or how we acquire) our music have
anything to do with the actual
types of music that we listen to? How have alternative and non-
commercial musical forms
survived and thrived outside the mainstream? In a period of flux
such as today, where

17. mainstream channels of distribution are being challenged by
emerging online forms, is
there the possibility for new musical forms and genres flourish?
McLeod, Kembrew (2005) "MP3s Are Killing Home Taping:
The Rise of Internet
Distribution and Its Challenge to the Major Label Music
Monopoly". Popular Music and
Society. 28(4), October. pp. 521–531.
Harrison, Anthony Kwame (2006) "‘Cheaper than a CD, plus we
really mean it’: Bay Area
underground hip hop tapes as subcultural artefacts". Popular
Music. 25(2). pp. 283–301.
Jones, Simon (1995) "Rocking the House: Sound System
Cultures and the Politics of Space".
Journal of Popular Music Studies. 7(1), March. pp.1-24.
Week 10, Mar. 18 Alternative Radio
Radio is a powerful medium, one with a long history of
alternative forms and uses. This
week will explore and compare a number of these, including
pirate radio, community
radio and low-power microradio.
Boyd, Douglas A. (1986) "Pirate Radio in Britain: A
Programming Alternative". Journal of
Communication. 36(2), Spring.
Dunbar-Hester, Christina (2008) "Geeks, Meta-Geeks, and
Gender Trouble: Activism,
Identity, and Low-power FM Radio". Social Studies of Science.
38(2), April. pp. 201–232

18. Price-Davies, Eryl and Jo Tacchi (2001) Community Radio In A
Global Context: A
Comparative Analysis. London: AMARC. "Introduction", chap.
7 "Comparative Analysis"
and chap. 8 "Recommendations".
http://www.amarc.org/documents/articles/Community_Radio_Gl
obal.pdf
Week 11, Mar. 25 Ethnic Media as Alternative Media
ASSIGNMENT DUE: Slow Media Project
ASSIGNMENT DUE: Final Research Paper
What place do ethnic media have in our overall media
landscape? If media in a
democratic society are supposed to be representative, why do
we need ethnic media?
What sort of alternatives do ethnic media provide?
Ojo, Tokunbo (2006) "Ethnic print media in the multicultural
nation of Canada: A case
study of the black newspaper in Montreal". Journalism. 7(3), pp.
343–361.
Deuze, Mark (2006) "Ethnic media, community media and
participatory culture".
Journalism. 7(3), pp. 262-280.
Week 12, Apr. 1 Self-Produced Media as Alternative Media?
In an era where media production technologies and distribution
systems are more
accessible than ever, we now have the ability to circumvent
mainstream media oligopolies
on our own. But is this enough for us to consider such self-
production practices as
alternative media?

19. Croteau, David (2006) "The Growth of Self-Produced Media
Content and the Challenge to
Media Studies". Critical Studies in Media Communication.
23(4), October. pp. 340-344.
van Dijck, José (2006) "Users like you? Theorizing agency in
user-generated content".
Media, Culture & Society. 31(1), pp. 41-58.
ALTERNATIVE MEDIA MDSC61H3
Major Essay Assignment
DUE DATES
Proposal and Annotated Bibliography 5% of final grade
Length: 1.5 pages (not including headers) PLUS annotations
Final Paper 30% of final grade Week 11 – Mar. 25
Length: 8 pages (not including headers and bibliography)
** Please know you may take a one week extension and hand
your paper in week 12. Should you
do so, your paper will be returned with minimal comments. Also
please know that this only applies
to the final paper and NOT the proposal.
This assignment is a standard academic essay. Your papers are
expected to make use of original
research (i.e. you MUST go beyond the readings listed in the
syllabus), develop an original insight or
perspective, and put forth an original and compelling argument.

20. Instructions for Research Proposal and Annotated Bibliography
Your proposal should provide a brief outline of the topic you
intend to explore in your final. A good
proposal does three things: (1) it should identify and describe
the primary research question
animating your investigation; (2) it should provide a
justification for why this question is relevant
within the context of this course; and, (3) it should provide an
outline of how your paper proposes
to investigate this question. The annotated bibliography should
have 3 scholarly sources, none of
which are assigned as course readings (you can use course
readings and/or non-scholarly as sources
for your final paper, but NOT for the proposal). Each should
provide a properly formatted
bibliographic entry bibliographic entry, a brief summary of the
source, and a brief description of
how it is appropriate to your chosen research topic.
Suggested Research Topics （you can decide the topic）
1) Profile an alternative media organization of your choice. Pay
attention to its historical
development. What inspired its founders to create the
organization? Does it cooperate with other
similar organizations? What sort of challenges has it faced over
the years? What, exactly, makes it
alternative?
2) Compare similar alternative media organizations across
national boundaries, history or
technologies. For example, how is community radio different in
Canada and the United States? How
is pirate radio constituted differently in the UK and the US?
How is alternative news podcasting
different from alternative or community radio?

21. 3) Do an historical overview of a particular alternative media
practice. What are the origins of this
particular practice? Are there related or similar practices in
different media? Has there been any sort
of social, cultural, legal or economic resistance to the
development and proliferation of this
practice? Be sure to provide a compelling argument as to why
your chosen focus constitutes an
alternative media practice.
4) Explore the definitions of, and possible tensions surrounding,
the idea of alternative media. What
do we actually mean by alternative media? Alternative to what?
For whom? Be sure to reference at
least THREE definitions of alternative media (and the scholars
who provide them) and include
concrete examples to illustrate your argument.
5) How has the Internet helped transform a particular alternative
media practice? How has it
changed the conditions for practitioners or audiences? Has it
made things easier, or more difficult?
In what ways? Be sure to clearly identify the media practice you
are talking about, as well as
describe its history and the dynamics of change you are
identifying. NOTE: This is NOT a general
question about how the Internet has changed the media. Be sure
to focus on an alternative media
practice and be sure to provide a discussion of what makes this
practice alternative in the first place.
6) Develop and propose your own topic. If you wish to do this,

22. it is a very good idea to consult with
me before either part of the assignment is due.