Avoid, Adopt, Adapt: An Interview with the Authors

A repeating pattern of a photograph of a silicon chip, recoloured so that it is multi-coloured, in the style of pop art.

Vol. 7 No. 2 (Spring, 2026)

For this post, a member of the CWCR/RCCR Editorial Collective, Julia Lane, interviewed Gillian Saunders and Natalie Boldt.

Gillian Saunders teaches in the Academic and Technical Writing Program and the Faculty of Education at UVic and works as an Advisor at the Academic Skills Centre (formerly the Centre for Academic Communication/Writing Centre. Gillian is also completing a PhD in Curriculum and Instruction at UVic, with a focus on undergraduate students’ academic discourse socialization experiences, in particular, their use of different forms of academic writing support.

Natalie Boldt (she/her) is a former Academic Skills Advisor and writing instructor at the University of Victoria where she now works as the Course Reserves Supervisor for UVic Libraries. She holds Master’s Degrees in Interdisciplinary Humanities and English, and is a graduate student in the School of Library and Information Studies at the University of Alberta.


In the summer of 2024, Gillian and Natalie, two writing centre advisors, conducted an environmental scan of writing centre websites and publicly available materials related to messages about GenAI literacy support. Documents were assessed for 1) a “statement” or “policy” on GenAI use and assistance in the writing centre and 2) a stance toward using GenAI for writing, which were categorized broadly as able to assist with GenAI writing concerns (i.e., adopt) or disavowing use or assistance in the writing centre (i.e., avoid). The scan provides a snapshot of how writing centres, as well as the institutions they operate within, are positioning themselves within the current GenAI post-secondary landscape. Gillian and Natalie presented their results at the IWCA conference in October of 2024 and wrote an article the following summer that includes an update of the scan and contextualizes results within the current post-secondary landscape, where writing centres and academic support units are necessarily adapting in visible and not-so-visible ways to this new technology.

Julia Lane: Can you tell our blog readers about the inspiration for your article, “Avoid, Adopt, Adapt: Positions on GenAI in Canadian Writing Centres.”

Gillian Saunders: The original inspiration was a conference presentation that we gave at the International Writing Centres Association conference in fall 2024. At that point, ChatGPT had been with us for about a year, and we were still trying to figure out what that meant for writing centres. We were aware of the University of Waterloo’s really excellent resources on how to help students with AI concerns in their writing and how to do that, you know, well and ethically. And then we were also aware of at least one other university that had a really strong, “We will not help you learn how to use it or look at your work if you’re using it” kind of statement. So, we thought that contrast was really interesting, and we wanted to see what else was out there. And so that was our proposed topic for that conference and we started scanning other writing centre websites for these types of statements. We ended up looking at 31 in total, and we found… almost nothing.

Natalie Boldt: When we were thinking about how we could contribute to IWCA, we had wanted to present on writing centre responses to ChatGPT because we had had some students coming in to see us about things, or submitting things, particularly asynchronously, that we were fairly certain had been created using GenAI. And so, just figuring out and maneuvering how to respond, especially when the student’s not in the room with you, how to respond to suspicions about AI when policies around AI were not thick on the ground yet. And our unit in particular, and our division, our portfolio even, the whole university was waiting for a capital P policy. And so, we were likewise sort of waiting for that policy to be finalized before we could position ourselves relative to it and articulate how we could help students navigate AI use. But, in the meantime, we were like, “what do we do when stuff like this happens?” And Gillian, because she’s Gillian, started doing some preliminary research and was like, I think we could present on something like this.

Gillian: And I think maybe at that point, we had just learned that we were not going to get a capital P policy, which came as a surprise to some people in our division.

Julia: And how did you make the time to research and write this article possible?

Gillian: Well, I saw the call for papers from Discourse and Writing for a special issue on the future of writing. At the time I think I mentioned to Natalie that maybe we could write something, but also neither of us had time to do that. So, we kind of let it go. It’s not possible for us usually to do something like this. But then the CFP deadline kept getting extended. So by that point in the summer, I was on what I like to call my “dissercation” [a portmanteau of “dissertation” and “vacation”]. I took five weeks off from work, and I was trying to make some progress on my dissertation, which is on academic discourse socialization and undergraduate students’ experiences with accessing writing support. And I’m in year seven: I collected my data in 2020 and 2021. And I thought incorporating this topic would be a great way to bring the dissertation up to date in that area. So I decided to write the article as a chapter of the dissertation and kind of tack it on to the end.

Natalie: I want to go on record to say that Gillian is superwoman. I went away for a couple of weeks on vacation. I came back, and she had a whole article written basically.

Gillian: So, I wrote the thing in 2 1/2 weeks. It’s the only part of my dissertation that’s currently completed. And I have no idea why I can’t just do the same for the rest of it, but that’s how it goes.

Julia: Not all writing is the same in terms of how it emerges from us, right?

Gillian: This girl needs a deadline.

Julia: Is there anything you want to share about your process of co-authorship and working together on this article?

Natalie: I think, for me, joy was a key ingredient. The pleasure of working together, of working with Gillian. But also, the sort of pressing nature of the topic. I say this when, again, I went away for a break and came back and Gillian had most of a draft completed. So, I will maybe let her speak to, like, the bulk of the writing process. But in terms of the research, we were able to collaborate in our capacity as advisors at the Academic Skills Centre. And so, we kind of were able to build bits and pieces of the project into our schedules. And we were in adjacent offices, and so we would just, like, pop in and out and kind of do it piecemeal, the research part of it and preparing for IWCA.

Gillian: Yeah, that part of it was completely half and half collaborative. We just split up the institutions, and Natalie made this beautiful spreadsheet, and we just kind of worked through issues as we went. And we did have issues because we needed to expand the scan. We found so few writing centre resources that we had to expand then to institutional ones and related ones from the library and learning and teaching centres and so on and kind of see what else might be influencing writing centres when they didn’t have any of their own statements or resources. And then the writing of the article I did myself while Natalie was away, and then she gave it a review before I submitted it, and then we worked on the revisions together. At the end I think we had like three weeks or a month to get the changes done at the very end of November and we were both teaching. Doing that was a bit of a challenge, but it was also a really joyful process just because the feedback that we received was so positive and encouraging and constructive and easy to implement. We were also encouraged to update the scan to see if anything had changed since the summer of 2024, which resulted in some interesting findings. And Cara Violini was our wonderful editor and gave us a few days extra, so that helped, and working with her was also like very, I don’t know how to describe it, but like just easy and pleasant and helpful. And her comments really strengthened the paper a lot and helped us deal with some problematic areas.

Natalie: I agree.

Julia: What do you hope people will take away from the article? How do you hope it might impact our writing centre colleagues and our writing centre work and field?

Gillian: Do you have any hopes?

Natalie: I do, but I’ll let you go first.

Gillian: Well, I guess when our initial scan turned up so little, I had hoped to start a conversation about why that was the case. Reaching out to a few colleagues informally was very useful and one responded with some really thoughtful comments about not wanting to scare students away. So, how to write a statement in a way that is inclusive and not judgmental or stigmatizing and will still encourage students to come and have that conversation with us rather than, I don’t know, get them worried or in their heads about how we’ll respond. Just, like, what wording would we use to do that? Coming up with that should be a collaborative effort and requires really a lot of thought. So, my hope, in the broadest terms, was to find out, if you’re going to make a statement on GenAI for your writing centre, what should that look like?

And then in the second scan that we’ve started now, we found two other strongly avoidant stances. So, we don’t want to be critical or say that that’s necessarily the wrong approach. Though, we do think there are like maybe some potential risks, whatever you want to call it. If writing centres don’t take a consistent approach, then that might be problematic in some ways. But I’m mostly curious about where those responses have come from. I guess I’m still just hoping that others will be inspired to make their willingness to help more visible to students, so that they know what to expect. And it would just be better for everybody if we were all on the same page with what students can expect from us, whether that’s, you know, help or no help.

What are you hoping, Natalie?

Natalie: Yes. So, I agree with Gillian. I think– Oh, I have so many thoughts. I hope that writing centres, more writing centres, will issue or provide clarity around how they help students maneuver questions about generative AI in addition to a whole host of things related to academic integrity in particular. Partly because I think that there’s a lot of curiosity. I think there’s a lot of, for some students, shame in asking questions about those things. And I think the most amazing thing about writing centres is that they can be really safe spaces for students to maneuver those questions because obviously we don’t submit claims about student academic misconduct. We keep students’ privacy, right? If they come to ask us a question about how they maybe used something or are intending to use something, we can guide them, but we’ll never report them. And so, I think helping students to know what they can ask for and what the parameters of that kind of engagement are is really helpful for them. Even if it’s like, we don’t go there as a writing centre, that’s also helpful for students to know,

I also think it’s helpful for writing centres to know what other centres are doing. I’m new, and when we started this research, I was even newer, to the writing centre game. And it’s a really robust and I would even say tight-knit community. But I also think that your mileage may vary depending on the institutional context. So not all writing centres are able to go to IWCA conferences or to be part of CWCA or be plugged in the way that Gillian is plugged in.

Gillian: I plug myself in by putting my fingers in everything.

Natalie: And we love that. But like, if you’re a writing centre that doesn’t have the ability to go to conferences and be part of those conversations, what do you have access to? You have access to the internet. And if the internet is not communicating to you the robust conversations that are happening around that topic, then you’re kind of in the dark. And that was kind of what we were so shocked to discover. Because again, there was this disconnect between–we were having these conversations amongst ourselves, and we were having them with our colleagues across campus and across institutions. And then if you looked at the internet landscape, it didn’t look like anything was happening. But I also want to qualify that to say I understand that there are all sorts of institutional reasons why you couldn’t have a statement, why you have to be careful about what that statement looks like, et cetera, et cetera.

Gillian: Yeah. Yeah, I think something else that I talked about in the article was that a lot of the questions that I’d had were from students who had never even been here before. one was a group project: “Somebody else in my group has used AI and I’m not happy about that. What am I gonna do?” And one had an instructor that had just blanket accused their whole class of using AI in a discussion forum. And so, she just showed up without an appointment and was really upset. So, I think, in a way, it was really good to know that even if a student had no idea, had never used this place for anything else, they, you know, they’re like, “I have this problem with this thing and I’m just going to go there and show up and ask this question.” So that kind of made me think , do we even need a statement? Do we need any public facing things on the internet? I still think that we do, but it’s nice to know that even in the absence of that, students have this idea of a writing centre as a place that they can go and ask these questions and, you know, at least talk to somebody who knows something about it and, yeah, hopefully have their concerns heard or find next steps.

Natalie: But I think too, like both of those situations involved students in crisis. So, if that’s what it takes for them to–

Gillian: We’d love for them to know that they can come before they’re in a crisis situation.

Natalie: Yeah, for sure.

Julia: For sure. Well, is there anything else that you’d like to share for the blog post?

Gillian: I don’t know if I have anything else to add. It’s my first first-author publication. So it was very motivating to have it published as part of my dissertation. And working with Natalie is obviously a dream always and also the publication process with Discourse and Writing was just so supportive and lovely. So yeah, all around, I think best possible writing and publication experience probably ever. I know they won’t all be like this, but yeah, it’s definitely very encouraging that this kind of thing is possible. And the response has been so positive from the writing centre community. So, I really appreciate all the support.

Julia: I love that. That’s such a nice note to end on as an encouragement for the publication process as motivating and supportive of why we do the work we do when we can feel so stuck in our own “who is this for and does it even matter?” And getting things out there, though it is vulnerable and challenging and time consuming and all of those things, of course, as well can also really be motivating and validating.

Gillian: At least I know this part of it is done. My committee can’t require any changes, right?

Natalie: It has been judged and deemed acceptable. That is perfect.

Julia: It has a stamp on it. I have the watermark on the back. Finished.

Gillian: Don’t touch this. Don’t even read it. It’s fine.

 

Decoding the Lab Report: Building STEM Genre Awareness

gloved hands writing in a lab notebook

Vol. 7 No. 1

Elisabeth van Stam is a Writing Advisor on the Graduate and Postdoctoral team and STEM Resource at the University of Waterloo’s Writing and Communication Centre (WCC). Trained as a professional biologist, she brings extensive experience conducting and communicating scientific research to her work supporting writers and colleagues at the WCC. Her pedagogical approach is student‑centered and genre‑aware, drawing on firsthand STEM writing experience to foreground global structure and meaning‑making while positioning students as experts in their disciplinary knowledge and communication goals.


Although STEM students frequently engage in diverse writing and communication tasks throughout their degree, feedback from instructors and supervisors primarily focuses on discipline‑specific content rather than the writing itself (Berdanier, 2019; Carter, 2007; Rollins et al., 2020; Russell, 1997; Zhu, 2004). As a result, many STEM students seek support at their university writing centre for guidance on STEM‑specific writing conventions. However, in writing centres that support students across disciplines, within the Canadian context, it seems that most writing centre staff come from Arts and Humanities backgrounds. This often means they have limited formal training in STEM writing conventions and little experience producing STEM‑specific writing. Subsequently, when a STEM student walks in with a lab report, it’s completely reasonable to feel unsure about how to navigate conversations and feedback around the organizational patterns of a genre that isn’t familiar.

However, supporting STEM writers does not mean writing centre staff must have STEM degrees or deep disciplinary expertise (Bryan Malenke et al., 2024; Soliday, 2005; Summers, 2016). What matters far more is having a working understanding of the structural conventions that govern how content is organized within STEM genres of communication (Bryan Malenke et al., 2024; Carter, 2007; Weissbach & Pflueger, 2018; Yeo, 2001). Put simply, effective STEM writing support doesn’t require mastery of scientific content—it requires recognition of how STEM genres work. When writing centre staff understand STEM genres, they can look past local sentence‑level issues to identify the organizational patterns shaping STEM writing, anticipate the recurring challenges STEM students encounter, and work with students to interpret the genres they’re using.

So, how do we strengthen our genre awareness to better support STEM students in the writing centre? To answer that question, I’ll draw on my background as a STEM researcher, communicator, and writing instructor and share how STEM genre knowledge has shaped the way I work with student writers. In this opening post, my goal is to highlight why genre awareness is foundational to supporting STEM writers and to introduce IMRaD—Introduction, Methods, Results, and Discussion—as a helpful framework for recognizing the structural patterns that underpin many of the STEM genres we encounter in the writing centre. This post also lays the groundwork for a series of subsequent posts, each exploring one major IMRaD section and offering practical, genre‑aware strategies that writing centre staff can use to support STEM writers with greater clarity and confidence.

From Intuition to STEM Genre Awareness

My background as a STEM researcher and communicator helps me build immediate trust with the STEM students who fill my writing centre appointment calendar. They often seek me out because they assume my disciplinary background means I am a subject expert who can follow their technical reasoning or that I “understand the statistics.” And while I am often familiar with their technical content and can follow their reasoning, my feedback is never about disciplinary knowledge or statistical tests. Still, students consistently leave appointments clearer on their writing goals and confident about next steps. Despite this consistent outcome, I couldn’t always articulate what, in my approach, makes my support so effective for STEM students.

That understanding began to take shape during an appointment with a student who arrived with a well‑structured Results section outline and wanted feedback on whether it was “good” before starting to write. At first glance, the outline appeared well-written and logical: writing centre staff unfamiliar with STEM writing might have asked about the student’s organizational choices—which the student could readily explain—and suggested a collaborative exploration of genre expectations—which the outline met. Instead, I asked to see their Methods section. Even without a shared disciplinary expertise, I knew that evaluating a Results outline requires comparing it to the research process described in the Methods. When the student and I reviewed the two sections side by side, we quickly identified missing content by noticing gaps between what the Methods promised and what the Results outline delivered. That comparison also revealed where the outline needed to be reorganized to create a clear, coherent narrative aligned with the described research process.

When the appointment ended, I felt briefly relieved—as if I had simply stumbled onto the right approach for supporting this student. But I quickly realized my support was not accidental. I had been supporting STEM students in this way for years, drawing on genre knowledge rather than disciplinary expertise. I was collaboratively establishing genre expectations, reading for structure, and assessing how well their writing aligned with the rhetorical patterns of academic STEM communication. Put simply, my guidance worked because I understood how genre shapes the presence, sequencing, and framing of information in STEM communication. This insight marked a turning point in my own understanding: genre awareness wasn’t new to me—it’s foundational to what we do in the writing centre—but this was the first time I could clearly articulate how that awareness functioned in STEM contexts.

Why STEM Genre Awareness Matters in Writing Support

Genre awareness plays a crucial role in the effectiveness of writing centre consultations (Bryan Malenke et al., 2024; Carter, 2007; Dinitz & Harrington, 2014; Gordon, 2014; Hill, 2016). Specifically, without a clear understanding of how STEM genres of communication are organized, it can be hard to see when writing diverges from expected structural patterns or when a student is struggling with a global‑level issue they cannot yet name (Kiedaisch & Dinitz, 1993; Mackiewicz, 2004; Shamoon & Burns, 1995; Summers, 2016). Consequently, those of us who are less familiar with STEM writing may feel unqualified or overwhelmed when we encounter unfamiliar disciplinary writing conventions in student writing (Dinitz & Harrington, 2014; Robinson & Hall, 2013). In these moments, it’s natural for us to focus on the writing features we can readily identify (Mackiewicz, 2004)—sentence‑level features such as whether to use first or third person or author‑vs. information‑prominent citations.

These sentence‑level features matter, but without STEM genre awareness it is easy to treat them as the defining characteristics of “STEM writing.”  When local writing features take precedence over global features, we risk missing the deeper organizational challenges that most often affect students’ clarity, logic, and confidence in their writing (Bryan Malenke et al., 2024; Dinitz & Harrington, 2014; Hill, 2016; Kiedaisch & Dinitz, 1993)

Developing a deeper understanding of STEM genres helps us shift our attention to the structural conventions that shape STEM communication. With this global‑level awareness, we can more easily recognize when student writing departs from disciplinary norms, identify underlying issues in logic or organization, and engage students in collaborative conversations that help them evaluate and strengthen their writing (Bryan Malenke et al., 2024; Dinitz & Harrington, 2014; Mackiewicz, 2004; Rollins et al., 2020; Velez, 2022).

Not only does this global‑level awareness enable more effective guidance, but it also enhances writing centre staff confidence—something students notice immediately (Yeo, 2001). As our confidence grows, so does student willingness to participate in meaningful discussion and engage in the collaborative work of revision (Gordon, 2014; Velez, 2022).  This creates a reinforcing cycle: as we apply our genre knowledge with confidence, students engage more deeply. In turn, increased student engagement opens space for more exploratory, student‑centered conversations—conversations where our core writing centre practices, such as asking curious questions, inquiring into disciplinary expectations, and positioning students as experts in their fields, become even more effective.

IMRaD as a Foundational Structure

One practical way to begin developing this STEM‑genre awareness is to start with the structural pattern post‑secondary writing instructors encounter most often: IMRaD. IMRaD is a foundational organizational pattern used in STEM communication (Mensh & Kording, 2017) and underpins a wide range of academic genres. Undergraduate STEM students—as emerging specialists—learn to report research using IMRaD as part of their disciplinary training. Graduate students use IMRaD—or a discipline‑specific iteration—to communicate their original research, extending these structural principles into advanced STEM writing.

STEM Writing is Not a Monolith

Before I go any further, I want to pause for a moment and clarify: STEM writing is not a monolith. Even though IMRaD plays a major role in STEM communication, not all STEM writing involves communicating research, and not all STEM disciplines use IMRaD in the same way. Students in applied fields like engineering or nursing often work within highly specialized professional genres that don’t follow IMRaD. Others write argumentative essays on STEM topics, which follow familiar academic structures across disciplines. And even within research‑based writing, IMRaD is adapted in different ways depending on the discipline (Moskovitz et al., 2024) and the expectations of instructors, supervisors, or journals. Because this is a blog post, not a book, I’m focusing on IMRaD as it applies to reporting empirical research—the structure we most often encounter with undergraduate and graduate students at the writing centre.

What to Expect in the Series

Over the next few months, I’ll share a post on each major IMRaD section as it appears in lab reports—and other IMRaD structured genres—we commonly see at the writing centre. Each post will:

  • outline the section’s purpose and structural logic
  • highlight common challenges for students and writing centre staff
  • offer practical strategies for giving clearer, more targeted, structure‑focused feedback

My goal with this series isn’t to prescribe rigid rules, but to offer flexible, foundational knowledge that helps writing centre staff ask thoughtful, genre‑aware questions and engage more confidently with STEM communications. STEM writing isn’t a foreign language; it’s another dialect in a conversation we already know how to have. When we understand the disciplinary structures students are working within, our existing writing centre practices become even more effective.

I look forward to sharing what I know about STEM communication, hearing your experiences and knowledge, and continuing to build a shared understanding of STEM communication in the writing centre community.

References

Berdanier, C. G. P. (2019). Genre maps as a method to visualize engineering writing and argumentation patterns. Journal of Engineering Education, 108(3), 377–393. https://doi.org/10.1002/jee.20281

Bryan Malenke, L., Miller, L. K., Mabrey, P. E., & Featherstone, J. (2024). How genre-trained tutors affect student writing and perceptions of the writing center. The Writing Center Journal, 41(3). https://doi.org/10.7771/2832-9414.1336

Carter, M. (2007). Ways of Knowing, Doing, and Writing in the Disciplines. College Composition and Communication, 58(3), 385–418.

Dinitz, S., & Harrington, S. (2014). The role of disciplinary expertise in shaping writing tutorials. The Writing Center Journal, 33(2). https://doi.org/10.7771/2832-9414.1769

Gordon, L. M. P. (2014). Beyond generalist vs. Specialist: Making connections between genre theory and writing center pedagogy. Praxis: A Writing Center Journal, 11(2). https://doi.org/10.15781/T26970D7F

Hill, H. N. (2016). Tutoring for transfer: The benefits of teaching writing center tutors about transfer theory. The Writing Center Journal, 35(3). https://doi.org/10.7771/2832-9414.1842

Kiedaisch, J., & Dinitz, S. (1993). “Look back and say ‘So what’”:The limitations of the generalist tutor. The Writing Center Journal, 14(1). https://doi.org/10.7771/2832-9414.1286

Mackiewicz, J. (2004). The effects of tutor expertise in engineering writing: A linguistic analysis of writing tutors’ comments. IEEE Transactions on Professional Communication, 47(4), 316–328. https://doi.org/10.1109/TPC.2004.840485

Mensh, B., & Kording, K. (2017). Ten simple rules for structuring papers. PLoS Computational Biology, 13(9), e1005619. https://doi.org/10.1371/journal.pcbi.1005619

Moskovitz, C., Harmon, B., & Saha, S. (2024). The structure of scientific writing: An empirical analysis of recent research articles in STEM. Journal of Technical Writing and Communication, 54(3), 265–281. https://doi.org/10.1177/00472816231171851

Robinson, H. M., & Hall, J. (2013). Connecting WID and the writing center: Tools for collaboration. The WAC Journal, 24(1), 29–47. https://doi.org/10.37514/WAC-J.2013.24.1.02

Rollins, A., Lillvis, K., Diehl, S., Owens, S., & McComas, C. (2020). Improving students’ comprehension of STEM writing conventions. WLN: A Journal of Writing Center Scholarship, 45(1), 10–17. https://doi.org/10.37514/WLN-J.2020.45.1.03

Russell, D. R. (1997). Rethinking genre in school and society: An activity theory analysis. Written Communication, 14(4), 504–554. https://doi.org/10.1177/0741088397014004004

Shamoon, L. K., & Burns, D. H. (1995). A critique of pure tutoring. The Writing Center Journal, 15(2). https://doi.org/10.7771/2832-9414.1287

Soliday, M. (2005). General readers and classroom tutors across the curriculum. In C. Spigelman & L. Grobman (Eds.), On location: Theory and practice in classroom-based writing tutoring (pp. 31–44). Utah State University Press. https://doi.org/10.2307/j.ctt46nxr5

Summers, S. (2016). Building expertise: The toolkit in UCLA’s graduate writing center. The Writing Center Journal, 35(2). https://doi.org/10.7771/2832-9414.1804

Velez, M. (2022). Like speaking a blueprint: STEM writing tutors’ disciplinary and writing identities. Across the Disciplines, 19(1–2), 47–61. https://doi.org/10.37514/ATD-J.2022.19.1-2.04

Weissbach, R. S., & Pflueger, R. C. (2018). Collaborating with writing centers on interdisciplinary peer tutor training to improve writing support for engineering students. IEEE Transactions on Professional Communication, 61(2), 206–220. https://doi.org/10.1109/TPC.2017.2778949

Yeo, R. (2001). An integrative approach to the teaching of technical communication skills. Innovations in Education and Teaching International, 38(1), 93–100. https://doi.org/10.1080/147032901300002891

Zhu, W. (2004). Faculty views on the importance of writing, the nature of academic writing, and teaching and responding to writing in the disciplines. Journal of Second Language Writing, 13(1), 29–48. https://doi.org/10.1016/j.jslw.2004.04.004

Image credit: CSIRO lab notebook entry, via Wikimedia Commons, CC BY