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A muddy map of a journey

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A muddy map of a journey

Mud, Muddy, Muddier Still: Pedagogic Research in the Arts University

Mud_11Jan2023.pdf-2
PRES_Part-of-the-Furniture-UAL.pdf

Panopto recording

Reflection

  • Like a drawing, ideas come as you draw/map them
    I like the idea of the informality
    draw first, write later!
  • Interesting concept of lack of hierarchies
    She mentions Cal Arts, which is closely connected to Animation Renaissance:
  • The book is: Judith Adelrr – Artist in offices about the clash of cultures of the institutions versus the creative culture

    https://www.amazon.co.uk/Artists-Offices-Ethnography-Academic-Scene/dp/0765805073


  • (Rule: to the risk of being petty, I will choose only women writers and resources)
  • Uncertainty and insecurity
  • New materialism for theory in primary and secondary
  • Thinking beyond or around the human
  • I am lost after covid: before I believed in things and now I am no longer sure of anyhting.
  • theories over theories and theories, complicated words…. created progress: but what happiness?
  • it is a terrifying thought to even consider what these of my thoughts could create.

  • MARRY YOUR THEORY TO YOUR METHOD

Extract

  • Well, UNESCO’s the United Nations, and I think they’re all educators.1:29:56
  • And they launched a report last year about this that all educators have a duty to be using sustainable1:30:02
  • development principles as a guiding purpose and the organising principle for all curricula.1:30:10
  • So it doesn’t matter who you are, what you’re teaching or level your teaching or discipline your teaching.1:30:15
  • And they think that sustainable development should be at the core of all teaching in all.1:30:22
  • And and it’s our job as educators to work out interesting ways that we can wrap and fold in to whatever it is we’re supposed to be teaching.1:30:28
  • And one of my problems with this is just that then what happens to the discipline and also what does it mean for art school?1:30:36
  • Because art school creates generations of fashion designers. It creates generations of people who make films and use know resource heavy1:30:45
  • design as a kind of generic term as a quality featuring principal potentially.1:30:54
  • Not necessarily, obviously.1:31:00
  • And we have loads of colleagues in this very room who are doing everything they can, absolutely everything they can to change that.1:31:02
  • But at the same time, we do have to acknowledge the role that the creative disciplines in creative production play in terms of using resources.
  • if we’re not just you can’t always just shifting into a curriculum, you can’t always just shove more and more content into the curriculum.
  • I think it’s more than that. I think we all have to think about the ways in which we deliver our teaching and1:31:33
  • learning experiences and the ways that we work with each other and with our students.1:31:38
  • Because unless we think about modalities as well as content,1:31:43
  • then we won’t ever really be able to permeate everything and infuse everything with this kind of flavour of Yes, but what about planet?
  • I really feel like choosing a methodology is like betting on a horse.
  • And then creative ethnography is where you use observation as a kind of overarching method,1:35:05
  • and then you do observation in different ways and you take field notes in different ways.1:35:11
  • And unless loads are pretty interesting, James talks about ethnographic mapping as a dirty, interesting,1:35:17
  • different ways of doing ethnography now and the seem to harness what’s really good about art1:35:22
  • school practice and creative practice and would seem to be kind of appropriate to the context.
  • So in ethnography, the salience and salience effectively means what’s the most noteworthy, the most interesting, the most telling as well.1:38:23
  • Think, assess and and Kathleen Stuart, who’s an American anthropologist, what it’s about.1:38:31
  • First, I’ve been thinking about the force of things, the open question of what counts as an event and movement and impacts of reason to react.1:38:39
  • So she’s trying to get her head around decision making.1:38:48
  • So what do you decide to write about? What do you start to notice?1:38:53
  • What do you decide to observe? So I was the reason I was wanting to test the method was because I was thinking I’m going to go into a workshop.

The good drawing: what makes a good drawing

So if drawings are so good, why can’t we answer with drawings?

Padlet

https://padlet.com/chsmith46/nu91m5je4iskfnz4