‘The planet does not need more ‘successful people’. The planet desperately needs more peacemakers, healers, restorers, storytellers and lovers of all kinds. It needs people to live well in their places. It needs people with moral courage willing to join the struggle to make the world habitable and humane and these qualities have little to do with success as our culture is the set.’
David Orr, Ecological Literacy: Educating Our Children for a Sustainable World.
The first prefix is ‘Co’ which is to go about things in that way that is joint; mutual, common, together. It’s to cultivate a practice that sits within the community and in relation to community, in collaboration with others and in a way that’s open to continual change. Adding ‘co’ is essentially adding a layer of uncertainty.
Codetermination / Co-design / Collaboration / Community / Coeducation /Coauthor / Coexist / Cooperate / Cohost / Coordinate
The second prefix is ‘Re’ to go about things once more, afresh, anew. Re can be about returning to a previous state or doing something in return or opposition. Re is about what comes behind or after. ‘Re’ will be used as a method to capture what might have been missed or forgotten in the moment. Moments of particular significance such as supervision meetings, post milestone discussions are of particular importance because processing what is said in the moment can be difficult. The act of returning to these moments provides the opportunity to relisten, transcribe, read, pause and critique what I or others said. Some instances will require me to delve even deeper such as transcribing audio and then summarising the conversation. By way of checking my understanding for accuracy the text would be shared back in a form that could be altered. This means collectively we decide when to temporarily fix the record.
Revisiting what is fixed
Revisit Record / Relisten / Rewatch / Replay / Retest / Reshape / Reshare Recalibrate / Return / Review / Refine / Reactivate / Reaccustom / Revert / Restore / Reacquaint / Remain / Reexamine / Reenter / Reenact / Recover Reduce / Reuse / Repair
The third prefix is ‘Un’ which is to denote the absence of a quality or state or the reverse of something.
Visiting the future
Uncertainty / Undisciplined / Unknown / Unlearn / Unacademic / Unselfish / Unrepeatable / Unfocussed
The final is the preposition of ‘In’ which expresses the situation of something that is or appears to be enclosed, or surrounded by something else or an expression of a period of time during which an event, or happens or expressing the length of time before a future event is expected to happen.
Innovate / Include / Inclusive / Inbetween / Insitu / InVitro / InVivo / Ingredients Instructions / Interface / Intelligence
I imagine the page as a piece of music and the graphic elements as notes that create the tune. I know very little about music but conceptualising the page as sound brings the static to life.
When a layout isn’t working, I use this metaphor because it requires me to reconsider how the design principles and elements are used. I transfer this technique to other forms of design such as publication, interaction, exhibition and spatial design. Flow, rhythm and pace are fundamental to these areas of design, but they seem equally relevant in a learning context.
Experimenting with pace, intensity and styles of learning are fundamental to my teaching practice. However, I am curious to learn more about how these variables influence learning.
The visual representation of audio from a WonderLab playdate. I don’t expect much to emerge from looking at just one instance; however, I am curious to see if patterns, relationships, correlations emerge over time. I wonder….
When are we loud and when are we quiet?
When do we go slow and when do we speed up?
Where is the contrast?
What is the hierarchy?
What is the relationship between white space and silence?
What if a lesson plan was visual?
Illustrating the ongoing conversation between practice and theory.
Designing multi-modal learning experiences
Through visualisation, what can we learn about multi-modal communication in pedagogy?
The research looks to build an understanding of multi-modal communication in practice by developing an accessible visual language that can replace or supplement speech and writing in teaching practice. The language will create a visual record of one’s current pedagogical practice, helping to provide perspective on the delivery modes. The documented visual scenarios provide one with the possibility to objectively review and reshape their practice through making. The formal visual language will be future-thinking and use digital technology to move beyond the static nature of current ideographic languages.
The study seeks to deliberately adopt alternative ways of conducting, publishing and valuing research by moving beyond the text-centric approach common to academia. It appeals to my interest in subordinate ways of knowing by focusing on non-discursive processing. Additionally, the study seeks to develop inclusive learning experiences that speak to varied personalities and learning style preferences.
I hope a design research lens will reveal blind spots in practice and help develop facilitator/learner competency in multi-modal communication. Insights from the research should help facilitators integrate different modes of communication more meaningfully into the curricular and their practice. Additionally, the knowledge gained reinforces the urgency to form multi-literacy collaborative partnerships that can communicate across a spectrum of channels.
The research will be practice-led and multi-method. Data will be expressed non-numerically and represented in forms other than words — this may include ideographic writing systems, data visualisation, animations, digital interactions and live action etc. (B. Haseman, 2006). The practice-led process will use design thinking methods and visual communication to disseminate research that is both accessible and engaging for communities beyond and within academia (Conquergood, 2002).
The investigation will be rooted in design pedagogy; however, the knowledge generated will be transferrable to other disciplines and professional practice.
What might I notice if I were to visually track the moves I make as a participant and facilitator in a collaborative process? Would a pattern emerge? How might this visual representation help me to better understand my practice and the practice of others?
How do we come together and break apart to form collaborative teams? Is it the role of the facilitator or the participants to decide on the number of participants a team? Or, should/do these decisions emerge through conversation and negotiation between participants and facilitators?
Two research topics run in tandem, and I see value in playing with both.
It is fraught with uncertainty and runs against the grain.
Immerse yourself in unknown, and trust something will emerge.
Let me stay with the murky, and avoid the lure of clarity.
The Blind Spot presentation I prepared for Research Methods 1 demonstrates a version of my practice. I didn’t have an object or a thing to discuss, but I was interested in blinds spots within one’s practice, life and research. It made sense to show the hypnotic motion piece called Blind Spot by Roland Schimmel, while talking about how we explore, learn and experience the unknown. The project drew upon memories, conversations, associations, experiences, but ultimately the story materialised through journaling. Reading the journal entry aloud as though it were a script was not something I had previously done. However, adopting different methods and strategies is part of my everyday practice.
The Blind Spot presentation didn’t start when the task was set, as related ideas were being discussed and experienced well before. The work didn’t finish once it was delivered as the ideas it captured continue to grow and form a base for further exploration. This approach makes for a messy process and question why I continue to muddy the waters when clarity is what I pursue.
Thinking about this predicament through James Turrell’s work Backside of the Moon helps me to understand as the artwork wouldn’t exist if the lights were switched on — the work requires you to settle into the darkness and only as time passes things begin to appear. If you look at anything closely over the course of time the story is bound to change — this is the message I take from experiencing the James Turrell piece Backside of the Moon.
Having no clear approach to generating solutions does leave you feeling vulnerable and means accepting uncertainty seems a vital component of the design process. Society is not comfortable with uncertainty and frankly, neither am I. We crave clarity, feel safe with clear labels, and seek explicit knowledge, despite the fact much doesn’t conform.
I’m not claiming anything about the Blind Spot presentation was of great importance; I am merely looking at what is already there. I will continue to reflect on what has already past — constantly changing the way in which I view it — trying to adjust my proximately and the lens I view it through. I hope this process will deepen my understanding of my practice and help me better understand how we can work with uncertainty.