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Reflecting on Kwame Anthony Appiah: Reith Lecture 

Kwame Anthony Appiah’s lecture is an interesting and sometimes humorous lecture about ‘Creed’ in which he straddles multiple religions, topics, and themes. Opening with family stories and a sense of self or ‘matters of identity,’ he sets a warm and inclusive tone of voice. 

Creed ‘a set of fundamental beliefs’ he argues that this definition is misleading. ‘Practice, community, body of beliefs’ is an alternate definition. Respect, tolerance, and listening are clearly emphasised.  

Through my own limited experiences of the Church of England and mental health recovery the phrase ‘Sometimes slowly sometimes quickly’ which Appiah shares early on in his lecture, stood out for me. I extensively use this phrase in my teaching practice, as a means of verbal encouragement to help and support students who maybe struggling with work or personal matters. 

My experiences of ‘Fath’ within the teaching spaces at UAL are normally connected with those who are expressing faith through the garments that they wear or during ‘fasting’ periods. A positive development would be the acknowledgement of fasting within unit briefings, learning outcomes and submission extensions (ISA /EC). 

Referring back to Appiah’s opening statement where he reflects upon identity, family and a sense of self, these could be themes to explore with students as a way to introduce themselves to the student cohort at the beginning of an academic year or unit. I would like to try this during the cross course collaborative unit 6 at

I believe in a higher power. Through practice I discovered how to connect with my own higher power as part of a meditative experience that I use as a guiding principle in my life and work. It is a source of comfort, positive direction, and morality. 

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Reflecting on Higher Power: Religion, Faith, Spirituality & Belief

BBC News: How a Muslim’s suitcase became art.

Every time Faisal Hussain goes abroad, his suitcase is searched or he is second searched. Using these experiences, the pieces in his exhibition explore the intersectionality of religion, race, and faith. The clock and toy gun are a metaphor for the discriminatory experiences that he regularly experiences when travelling abroad. Inviting the public to see the contents of his of his suitcase within the context of the exhibition, looking at the contents in isolation, it would be difficult to place the owner of the suitcase. 

There are several interesting key questions that I would like to think about further and consider how they could be included within a unit delivery. A discussion with the academic support team could be helpful. These questions include:  

Does religion, faith, spirituality increase or decrease creativity?

In my experience students and people in general who follow religious or spiritual practices are more creative. They have a sense of peace within their daily structure and outlook. Acceptance is key to this, which is something which I discovered through meditation. Life sometimes has humps and bumps in the road, however these practices offer comfort, structure and within some contexts fellowship. The opportunity to. share is of great significance within self and with practice.

How can art education support students whose identity is shaped by religion? 

By creating opportunities for honest and open dialogues about these themes within inclusive safe spaces. And through project based learning and making. Lectures alone and information dumps can turn students off. I have previously delivered a project entitled ‘You,’ a project that encourages the student to explore their own interests and practice, with the aim for the student to write their own brief. It is a means of expressing who they are and what they do. This could be opened to include gender, race, and faith. Shifting the question from interests to identity.  

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Reflecting on Religion in Britain: Challenges for Higher Education

Multiculturism 

Inclusive and empathic teaching spaces offer the opportunity for multicultural discourse. Students tend to congregate in taught spaces within groups often identified by race, sometimes religion or country of birth. Collaborative experiences that start in conversation, the sharing of lived experiences and experimental workshops offer opportunities to break out of these bubbles. 

Two teaching activities that I have been involved with, that have attempted to address the multicultural makeup of the cohort and encourage the students to share and mix more are: 

• A workshop entitled ‘Beyond Modernism,’ to explore different countries and cultures beyond Western Europe and the Modernist canon of references and research. Working in small groups, the students are given a country to research e.g., India, Pakistan, Malayasia, Chile, South Africa, Ghana, Japan. Contexts such as politics, subcultures, people, art and design, historical moments of significance are to be explored within the groups designated country. Each group is required to present their findings as a keynote presentation to the cohort. 

• Inviting students to cook traditional food from their home country and bring it in to share with the cohort. All students can participate. This activity has always proved to be popular.  

‘Active support for cultural difference’ is stated in the Stimulus Paper is the aim through the activities stated above.  

For more coherence and visibility throughout a taught unit, activities like this should be the norm and not seen as isolated experiences. Widening participation through a richer and varied set of workshops that is integrated into a project will be of benefit to the student cohort. Clearly embedding tolerance and empathy into the learning outcomes would be a positive step forward.  

The Public Sphere 

‘There is no dominant religion, all religions are to some extent minorities’  Stimulus Paper 

This is an interesting provocation as Muslim and Christian faiths are prevalent within the teaching cohorts at UAL. Some students are faith less or private about their faith. Faith is a topic that is rarely discussed with the teaching spaces or amongst the teaching teams. 

Faith and religion are often seen in same context as race by students. The Stimulus Paper states that ‘Religious literacy,’ must not be understood in a narrow religious way but in a context of wider social divisions. Unpacking this with students could offer the opportunity to develop an interesting workshop involving language, communication, and collaboration. 

Reflecting on the articles in this report. Beyond respectful listening and tolerance, I have not experienced a lot of discourse involving faith and religion with students. In many respects I do not feel knowledgeable enough to lead discussions about these subjects. Students can be ambiguous, inclusive teaching spaces and respect are solid foundations in which students can feel confident that they can discuss faith and religion if they choose to do so. 

Undertaking this task, I feel compelled to reevaluate these questions and consider how I can acknowledge these themes more clearly within my teaching practice. This blogging task has been both enlightening and challenging. 

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References Kwame Anthony Appiah Lecture: www.bbc.co.uk/sounds/play/b07z43ds Shades of Noir www.shadesofnoir.org.uk/wp-content/uploads/2023/04/Higher-Power_DR.pdf BBC News: How a Muslim’s suitcase became art. www.bbc.co.uk/news/av/uk-england-birmingham-41391091/how-abirmingham-muslim-s-suitcase-became-art Religion in Britain www.tariqmodood.com/uploads/1/2/3/9/12392325/6379_lfhe_stimulus_paper_-_modood_calhoun_32pp.pdf

Reflecting on Christine Sun Kim  

This is an uplifting film about Christine, that reveals a wonderfully empowering story about a person who despite the challenges facing her, has found a way to communicate to people through her work and immersive ethereal creative practice. Stating ‘Feeling like her voice was being suffocated’ Christine’s explorations into sound and how she experiences it has given her the opportunity to communicate to others through her work. ‘Reclaim sound as her property’ is a positive and poignant statement that brings Christine ownership of something that she used to think was owned by those not impaired by a hearing disability. Christine reveals how through her work and experimentations that she is taking ownership of what she used to think was owned by others.  

The opening of the film shows Christine, collecting field recordings in a New York Street. My immediate assumption about this recording was based on my own experiences with sound and the capturing of it. The film shows otherwise, and how Christine has reinterpreted what sound is to her through her experimentations with the subject. A moment to reflect upon and remind myself to watch and / or experience before making a comment or informing a judgement. 

I teach on several Graphic Design and Graphic Design Communication courses at UAL. Working with themes such as communication to an audience or consumer, age demographic of the user, defining a target audience, tone of voice and appropriate use of visual language. Some of these themes Christine also reflects upon when discussing her ‘mission’ and ‘audience’.  

In unit planning at Chelsea where I lead units 5 and 6, over the past few years I have been working towards increasing the visibility of the language, disability, and academic teams into the teaching spaces. The aim is to help connect the cohort more clearly to these available services that are often overlooked unless in an absolute emergency. For the 23—24 academic year these teams will take part in workshops that will be delivered as part of the unit structure and delivery.

I would like to share this film with the student cohorts that I work with. A useful and valuable resource about a person living with a hidden disability that can be discussed and reflected upon by the students. 

Reading further on this subject listed on the Shades of Noir website, I am interested in the following provocations and how they can be included in unit delivery and presentations:

• What role does education play in the inclusivity of disabled people?

• How can we authentically highlight the experiences of disabled people of colour within mainstream disability culture?

• How can we better decolonise disability studies?

References Shades of Noir: www.shadesofnoir.org.uk/content/disabled-people-the-voice-of-many/ Shades of Noir: www.shadesofnoir.org.uk/journals/disabled-people-the-voice-of-the-many/ Nowness Film: www.vimeo.com/31083172

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Reflecting on UAL Disability Service Webpages 

On first entering the webpage (Disability and Dyslexia), clicking through the menu on the right on the top banner, I was struck by the amount of writing and information displayed within these pages. The rigour and structure of the UAL branding and typography could be softened by the addition of secondary colours and a more considered use of integrated illustrations, descriptive icons and most importantly a reduction of the text count. This would help improve the UX for those who will be accessing the available information or using the pages regularly. Humanising the visual and written assets in support of key information would help create a more inclusive digital environment. 

For example, there has been an increased use of art and design within hospitals, particularly within children’s wards. Using bold shapes and colours, designer Morag Mysercough was commissioned to design the children’s wards interiors at a hospital in Sheffield. The use of colour can have a profound effect on emotions and the human condition. A similar approach could help with the overall visual language of these web pages rather than sticking rigidly to the branding system. Or the branding system can be retro fitted to accommodate new suggestions whilst considering the needs of those with disabilities. 

At unit briefings I include an array of information and contact details for the support teams. On reflection I should sperate this information out to clearly define what the different areas of support are, such as disability, language, academic rather than grouping them together. The visibility of this information can be made clearer on Moodle and positioned at the top of the unit Moodle page. 

References UAL Web Pages: www.arts.ac.uk/students/student-services/disability-and-dyslexia Sheffield Hospital: www.moragmyerscough.com/commissions/sheffield-hospital-bedrooms

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Reflecting on Vilissa Thompson: Confronting the Whitewashing of Disability 

Vilissa shares her own lived experiences to benefit others and open a dialogue about being a black woman with a disability, something that has been grossly neglected within the mainstream media. Reading the article, I am thinking about how people of colour with disabilities are unrepresented within the press, or you could argue that there is no representation at all within the press. Her championing of an inclusive safe space in which to discuss her experiences with others like her is clearly explained on a human scale. 

Her use of the hashtag and social media is astute, using the platform to directly connect with others like her and to raise awareness. Calling for an increased intersectional understanding of disability and race, Vilissa has opened an overdue conversation, helping many who feel marginalised and alone. 

It makes me wonder, if this hashtag was launched today, how would it be received on the toxic present-day iteration of twitter. This article has been incredibly insightful and informing for me, I will consider this article when I next work on unit planning and how the disability service is presented to the student cohort. Disability like life is not just one colour.  

Based in Packham Levels, Trifle Studio’s output is created by artists and designers with learning disabilities. The first multidisciplinary design studio of its kind in the United Kingdom. Their intersectional team is raises much needed disability awareness and identification for other disabled creatives who would like to work within a design studio. The roster of designers on their website speaks for itself.

At UAL Chelsea, I am .6 Senior Lecturer on the Graphic Design Communication course, where I also organise and curate the professional practice talks. I will be inviting Trifle into Chelsea to give a talk in the Autumn term of the forthcoming academic year.

We value people first and foremost in their creative practice. We are ambitious and believe anything is possible. This reflects our commitment to equity and the ‘human rights and social models of disability’ which identify that people are disabled by barriers, attitudes and structures in society and have the same rights as everyone else.

www.triflestudio.com/how-we-work

References Huff Post: www.huffpost.com/entry/confronting-the-whitewash_b_10574994?guccounter=1 What does a truly accessible future look like? www.itsnicethat.com/features/forward-thinking-what-does-a-truly-accessible-future-look-like-creative-industry-040123 Trifle www.triflestudio.com

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After careful consideration and exploration of themes that include long-standing interests around the connection of design education to the possibilities and employability globally within the design industry, along with practitioners and studios working beyond Europe and North America. 

I have decided to develop a proposal for a website. The website will be a platform and a framework for highlighting the work and design practices in often underrepresented areas of the world including South and Central America, Africa, Carribean, Southeast Asia, and India. 

Increasingly the UAL (University of the Arts London) cohort consists of students from around the world who do not always want to or cannot stay in London after they have completed their studies here at UAL. In support of my teaching around employability, this website would be used as resource within workshops with students as they reflect upon and consider their own creative network and next steps beyond their studies at UAL. I regularly encourage students to make work when and where possible in relation to their own interests including cultures, countries, and locations. This resource would increase the visibility of opportunities around the world and show students that working in London and Europe are not the only options available. 

This resource would not only be a directory of design agencies and practitioners, it would also be a showcase of work and more importantly the people / teams who are making the work, a creative network, and a space to celebrate and share magnificent work from often overlooked areas of the design world. 

Next Steps: To utilise the resources and reading materials provided within this unit to help me structure and academically underpin this proposal. To clearly define this proposal and create a framework in which anyone can add to this directory anywhere around the world to avoid a singular curatorial lens. This is a proposal I believe in.

Resources

• Flock Together: www.flocktogether.world/about 
• Flock Together www.itsnicethat.com/articles/nicer-tuesdays-november-2022-flock-together-301122 
• Futurimpose: www.futurimpose.global/report/refocus 
• The Asian Creators Index: www.itsnicethat.com/news/asian-creators-index-anak-creative-industry-090522 
• The Outside Directory: www.outside.directory
• The Outside Directory www.creativeboom.com/news/outside-directory/ 

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Nina O’Reilly — Peer Feedback (28 June): A few comments from me, first, have you spoken with UAL’s alumni team about the idea? As a disclaimer I embarrassingly know nothing of what they do, but I imagine they would have good feedback for you on the idea. Similarly, have you spoken with students about the idea and how it might work for them? Last comment is the format of the website, perhaps to make it a living breathing and community run resource a wiki could be a good option? This would allow alumni to input directly and keep the directory up to date.

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Shani-Louise Osei — Tutor Feedback: This student presented a design directory website. This is an interesting proposition because the website intends to be a platform and a framework for highlighting the work and design practices in often underrepresented areas of the world including South and Central America, Africa, the Caribbean, Southeast Asia, and India, that also considers the needs of UALs multicultural student body.

However you may wish to consider how you can connect with existing platforms that are already highlighting the work of underrepresented groups such as GUAP, Burnt Roti, Aether and formerly gal-dem. 

Additionally, you may choose to research global contemporaries of these platforms to understand the difference in tone and intention from a range of locations and communities.

Finally please find some further questions as provocations to support your evolution on this unit, with what we hope to be supporting resources:

• What are the areas of diversity and or inclusion that you are concerned with for this artefact and what could be the challenges based on your positionality? – Reflexivity, Positionality and Participatory Ethics: Negotiating Fieldwork Dilemmas in International Research
• How will you manage power dynamics within the co-created aspects that feed into this artefact? – Ethics: Preserving Voices Vulnerable to Erasure
• How will you measure success? – An Invitation to Support Diverse Students Through Teacher Education
• How do you intend to manage the power you have as author of the directory? – Ethics: Preserving Voices Vulnerable to Erasure

Peter Chadwick is an Art Director, Graphic Designer and Design Educator. He was born and raised in a working-class family in Middlesbrough in the Northeast of England. His family descended from Norway and Wales. Moving to London in the late 1980s to study Graphic Design, he has now lived and worked in London for thirty-five years. He is married, and lives with his wife and daughter who is bi-racial. 

In the 1990s, his parents moved to West Africa, where they lived and worked for five years.  During this time, Chadwick made many visits to Nigeria which proved to be formative learning experiences that have shaped his principled outlook on life and in turn within teaching, learning, and working with diverse student cohorts. 

Chadwick is a Senior Lecturer at UAL Chelsea College of Arts and an Associate Lecturer at UAL London College of Communication and London Metropolitan University. His teaching practice encompasses his many years of experience working within the design industry which he regularly shares within the teaching space, connecting the student experience to industry and developing their awareness of skills required within the design studio, inclusivity with the studio environment and empowering the student on a human scale to help them develop their own autonomous working practices. Underpinning these areas of interest is an empathic approach to teaching to a diverse student cohort across multiple universities and courses. 

Chadwick has authored two published books that explore his interest in postwar architecture, communities, and the built environment. Self-generating work and developing projects into meaningful outcomes is a constant within Chadwick’s design practice.  

Knowledge exchange, sharing insights and the understanding of soft skills are fundamental to his teaching practice. 

• Depending on who I am taking to, and where I am (North or South) some would describe me as being middle class. This is not something I am comfortable with or identify with. I prefer to be seen as having accomplished things and achieved goals whilst framed within the working class.  

Assessment and feedback follow a similar pattern and structure across the units that I teach on at UAL. My experience of the assessment and feedback loop is often an onerous one as these important responsibilities tend to happen alongside the delivery of other projects and units presenting a challenging balancing act to fulfil commitments and meet deadlines.  

Further to this, I am currently teaching on three courses at different universities which presents its own unique set of challenges as the timetables do not always align. Assessment for ALs and fractional positions is not a straightforward task, which I feel is not recognised by those who are employed within full time roles at this institution. 

Feedback both written and verbal is an important aid to support the student learning journey. It is evident that ongoing holistic verbal feedback is not always fully understood by the student. Formative assessment points should be used more clearly within a project structure, that could be reinforced as a recorded registration point which always helps student attendance. This could also be a useful way to record and capture those students earlier who need more help and guidance.  

In support of the OAT grades bespoke feedback is extremely important as an aid to inform and help the student understand how their work can be improved, where work has been successful and points of reference to move forward with. This written feedback whilst important takes a large chunk of time to deliver on up to 30 students within a larger cohort. 

There is normally a minimum of three tutor assessing at a summative submission point that will also include benchmarking and the moderation process which can be challenging with increased student numbers being assessed within a same three week turn around for this process. 

More recently content from unit briefs is being included in easy-to-use handbooks created by the GDC team to help students navigate the challenging nature of academic language. It also contains all the key dates and supporting information. This information is also available on moodle, however as we know not all students regularly check their moodle page despite being encouraged to do so. 

Tomris Tangaz (BA Interiors Course Leader at Chelsea) has effectively implemented the use padlet for the students to use on a weekly basis for projects, developing, content delivery, schedules, mapping and such like. Perhaps within this context, it can be used as part of the formative assessment process. Students can refer back to this and use a tool to map their development and progress in advance of assessment submission points.

Recommendations — At the project briefing, assessment and feedback is discussed however it could be broken down more clearly and rigorously. — Using padlet as a tool for formative assessment. This platform can also be used by the cohort for peer assessment. With students having access to this padlet throughout the duration of the project. — A consideration for embedded support for those students who have an EC or ISA in the days after the submission date. — A better understanding OAT prompts for grades. For example, an A is excellent and a B very good. I often struggle to explain in an obvious way what this means to a student within the context of what is required for submission. — Increased transparency around summative assessment and how written feedback is generated. This could be addressed within a short workshop at the beginning of a project. 

Despite talking through the finer points of the unit brief including the learning outcomes and assessment criteria it would be benefit student welfare if it were signposted more clearly from the outset of a project. 

In this session I started to experience what teaching colleagues have regularly shared with me about the academic value of studying for a PG Cert. I have been told on several occasions that a PG Cert will reveal and help me underpin what I am already delivering, that in I will learn how to clearly frame academically my teaching and professional practice which will benefit the delivery of projects, units, feedback and the overall teaching and learning experience. Throughout this session I engaged with topics and case studies that helped me reflect upon what I do, how I do it and what it means. I have included some notes and points that proved to be useful. informative and insightful, some of which I will no doubt be able to use within my practice.

Transformation of self through teaching, a copy line that captured my attention. It would be interesting to explore this statement further in order to unlock possibilities and potential with the ambitions of students and tutor in mind.

‘The reflection game: enacting the penitent self’ by Macfarlane & Gourlay was interestingly framed as a game show with contestants, giving the text an open, accessible and inclusive feel which helps break through any issues with hard to understand academic language. The contestant tips containing recalling reflections are especially good: Tip 1: eat humble pie / Tip 2: revelation brings conversion / Tip 3: toe the line — or else! 

On reflection my case studies require more structured sections with captions in reference to the supplied template. Moodle access issues limited my access to the support texts and literature during this unit. Theoretical processes and references should be referenced more regularly in order to academically frame my industry experience and practice. 

‘Teachers of design should help a student to find their own voice. In other words, not be a templated version of the teacher, but rather to help them (the students) unfold what they already know and can bring to the table.’ April Greiman (Designer) 

When I first started working within the academic environment it was possible to teach and support students much more directly, informal corridor chats, regular in person drop-in sessions and social activities all helped to activate and connect a sense of togetherness within the cohort in support of the curriculum. As student numbers increase year on year these opportunities as stated above do not happen as much as previously, with time and space issues being attributed to this amongst other things.  

More recently there has been an increase in demand for pastoral care and academic support. This should not be confused with project support. Whilst I make every effort to be empathetic and supportive, I have had to develop a greater sense of my own boundaries and what I am / or not able to accommodate within my fractional position at Chelsea.  

The supporting structures around the academic delivery of a programme of learning have never been so important as they are now. These are positive developments in developing a more connected and visible support system for the students to call up when required.  

Embedded language and academic support within project briefings and throughout the duration of a project have been essential and welcome developments made by the teaching staff at GDC Chelsea. 

Other structures have been put in place such as the personal tutor system, unit leaders rather than year leaders which enables the cohort to connect with a wider range of teaching practices across all year groups. 

One example of supporting student learning is that I have developed within the briefs that I write is to break down the meanings within academic language, which I know from experience can be problematic for some students. See the learning outcomes breakdown below for your reference: 

Enquiry Develop the ability to comprehend the requirements and context of the professional brief and to develop relevant practices, concepts, and ideas in order to answer them. > show that your work is the outcome of visual and theoretical research and experimentation. 

Knowledge Utilise conceptual thinking informed by relevant histories, practices and technical knowledge in order to operate within a professional design context > show that you are able to combine theory and practice in your work in order to clearly show your thinking. 

Process Develop design processes which are flexible in response to the creative and practical restrictions of the design brief showing an awareness of the characteristics of the media and mediums* employed.  > show evidence of the appropriate methods, processes and technical skills. 

Communication Demonstrate the ability to develop and test relevant design solutions with an understanding of the needs of an audience and communicate them clearly and effectively.  > show awareness of your possible audiences and appropriate age demographic as stated in the brief. 

Realisation Manage the effective deployment of concepts, methods and technical skills in the realisation of outcomes appropriate for public and professional use > show that you can evaluate and adapt your outcomes in order for your concept to communicate. 

These are just some of positive small steps that we have recently implemented whilst aspiring to continue to develop and innovate on unit delivery, student learning and curriculum.  

Strategy & Creative Practice This is a project and unit that I lead in year 2 on the BA Hons Graphic Design Communication course at Chelsea. Working closely with my industry network, I develop and co-write industry focused briefs to give the student cohort the opportunity to connect to industry. Previous agency partners have included Ogilvy, Grey, DN&Co Koto and Accept & Proceed. 

The brief is an introduction to strategy and creative practice, with branding placed within the context of graphic design. The challenge to the students is to develop strategic and creative thinking skills, as well as the practical skills of the branding process. This will be informed by theory focused within practice allied to an understanding and awareness of social, cultural, and political contexts. Students are tasked with self-selecting groups of 5 members based on skills that include organisational, art direction, digital, motion, team leading and graphic design. These roles and responsibilities reflect agency culture and structure. Students are encouraged not to construct these groups based on friendships. Time and project management are also key considerations. Throughout the 5-week project there are lectures, workshops, and tasks. Students receive lecturers related to this discipline and workshops for ideas generation. Regular feedback sessions and peer group sharing give the students opportunities to reflect upon and engage with project development. Upon submission, the student cohort can present their project outcomes to the design agencies. See photographs of these agency presentations on my blog. 

Indicative Content — Introduction to current concepts on brand creation. — The process and development of a brand strategy. — The process and development of a brand verbal and visual identity in accordance with the brand strategy. — Understanding the needs of an audience – identifying who I am communicating with? — Being challenged to make creative responses to fulfil the needs of the professional brief. — Understanding of working within creative, time and material constraints. — Understanding the range of roles and areas of professional practice. — Awareness of mediums and media. — Presentation and debating skills. 

Recommendations — To underpin and embed more clearly what the collaborative process means. Collaboration is regularly discussed with students but rarely reflected upon in a meaningful way. Activities and mini workshops could be introduced within the first week. — Industry lead workshops and midpoint formative feedback. A fantastic opportunity for the students to receive feedback on work in progress with a view to improving possibilities with the outcome. — Making space within this project to consider more clearly the iterative process and the ability to try things in out multiple ways and directions. 

I believe that a project like this sits very well with the year 2 curriculum. A project that exposes the students to industry culture, insights and working practices. Valuable active learning experiences that also helps them with 1) sharing work with industry 2) building a digital profile 3) considering the importance of a creative network 4) communicating ideas 5) consideration of audience. 

Developing an outward facing practice beyond the academic environment will help inform and underpin the development and direction of a creative practice.  

Tuesday 14 March 12—2pm at UAL High Holborn. 20 minute ‘microteaching’ session: Objects & Artefacts 

Size Of Group: 3 students + PG Cert Tutor: Lindsay Jordan > Emil Collins — Lecturer: Fashion Journalism / Content Creation (Broadcast) / Joanne McVey — Associate Lecture / Peter Chadwick — Senior Lecturer: Graphic Design Communication / Graphic Media Design 

The object that I chose for this task was a clock. The Dieter Rams designed clock was not chosen because of its timeless design and aesthetics, instead I wanted to use this object as a provocation to start a conversation about ‘time.’ I provided worksheets for the participants to use as they reflected upon what time means to them within their working practice, time management and how time may impact the student learning journey. I am interested in developing areas of my teaching practice in the spaces between the brief and the submission of a project, a space where time and project management are hugely important. 

For this microteaching session, the challenge of object-based learning is not something I have experienced before. The nearest would be within a student group feedback session or a crit. An environment in which I would observe, take part, comment on, and make suggestions. I was particularly interested to experience and observe the other participants 20-minute sessions to gain insights into inspiring methods, different modes of delivery, critical analysis, and communication skills.  

Constructive feedback from Lindsay and Joanna included how the physical item of the clock became side lined, regaining focus on the item, how could the worksheets be adapted for students and the use of focus tools as aids within this area of enquiry. 

Both Joanna’s and Emil’s session were fun, insightful, and engaging. I liked the postcards Joanna used within her session. Like a Lego workshop experience the use of postcards offers the participants multiple choices. Emil delivered a digital learning workshop that went beyond the outline of the brief for this session. Despite this, his enthusiasm, knowledge, and insights made for an enjoyable 20-minute learning experience. 

This session was part insight, part teaching with a lot of deep and meaningful conversation about what was experienced within the 20-minute time slots. These sessions gave me valuable insights into the importance of engaging with others within a group activity. Opportunities like this will help students gain numerous soft skills that will empower them within group crits, tutorials, and presentations. 

The experience of this session was incredibly positive for me. It was an opportunity to share my proposal, gain valuable feedback and listen to different insights. The opportunity for participants / students to engage with an activity like this within a larger project structure could help unlock a wider range of possibilities within a project. An activity that promotes discussion within groups away from screens will be of benefit for those taking part. 

This statement really underpins the experience and aim of this session ‘Interaction with artefacts deepens students’ learning.’ (Schultz 2012, p.185). 

Ob2 Peer Observation Report Session To Be Observed: MA Illustration / Camberwell College of Arts — Size Of Student Group: 40 Students — Type Of Activity: Project 5, Printing & Making Workshop — Observer: Peter Chadwick  — Observee: Dan Freeman 

COMMENTS: I arranged to meet Dan on the morning of Tuesday March 7 in advance of the workshop starting at 10am. Dan talked me through what the students would be able to participate in during this 5-hour workshop. The aim of the workshop was to offer the students the opportunity to explore 4 activities including: making an object, textiles, moving image and publications with a view to informing and situating their interests and practice in advance of the final major project. These exciting activities occupied two teaching spaces in which materials, technical equipment, and resources were readily available for the students to use.  

After a slightly delayed start due to some of the students arriving later than anticipated, they were welcomed into a warm and friendly space by the four tutors running the workshop. Five large round tables were arranged to encourage the students to sit together within groups rather than sitting in smaller groups or alone. The latecomers were asked to wait and listen towards the side of teaching space near to the entrance, so they did not disturb the presentation.  

Sinead Evans, the MA course leader introduced the day in a 15-minute verbal presentation. Dan supported Sinead by constantly adding comments and insights about the making and learning opportunities available throughout the day. At this point Dan took the opportunity to introduce me to the student cohort.  

Sinead and Dan suggested that the students should not worry too much about the outcome, encouraging them to instinctively to respond to making and process whilst recording and note taking throughout the day. Dan added that the students should record the day through note taking and photography for their process journals. Going onto add about working with ‘a good energy’ throughout the day and to see what could be achieved. 

The day’s activities were based in the MA illustration studio and the adjacent Maker Space. It was interesting to see how the students responded to the available activities, I noted that the analogue based activities were more popular than the more technically demanding motion / animation activity. Some more information and insight may have helped the students understand the methods and making possibilities. It can be challenging when encouraging students to explore digital skills that they may not have experienced before or are comfortable with. I hope that the student engagement within this area was increased later in the session. 

Throughout the observation, Dan was helpful and encouraging with the students. Sharing his knowledge and experience in relation to the workshop activities available. It was impressive to see him show the students how to use the sewing machine.  

I really enjoyed this opportunity to observe this workshop for 90 minutes, giving me further insights and evidence of the importance of forward lesson planning, having appropriate materials and equipment ready for the students to use. Co-teaching also offers the student cohort multiple points of view, skill sets and insights in response to this thinking through making experience. Across all areas of this experience, it gave me the opportunity to step back to observe and consider this teaching and learning environment whilst reflecting upon similar teaching experiences within my own practice.  

*Unfortunately I did not take any photographs on the morning of this workshop observation.