TEACHING METHODOLOGY: PHILOSOPHY

Creativity is something I take for granted, in that I expect it of my students and myself on a regular basis. As a teacher of design, my most creative task is to invent the kind of problems that will in turn encourage my students to invent unique solutions. In a drawing class for example, I ask "What is 'good' composition?" The same still-life/set-up in the studio affords multiple points of view depending on a person's position in the room and choice of focus. In helping students to see, which is what drawing is largely about, I encourage them to believe in the uniqueness of their point of view and to be unafraid to share it. In order to share it they must make marks on paper for others to see.  How others in turn perceive these marks is another matter. The stages of this process, all of which are creative to some degree, are as follows: Concept / Commitment / Execution / Perception

Multi Media Performance is a four-dimensional design course that encourages creative thinking. There are no correct answers to problems, merely parameters within which a person may invent. One assignment, for example, requires using objects, light and sound as the primary focus to create a transformation between order and chaos. We discuss the qualities of transformation, order and chaos. Then it's up to the student to find examples of these that can be designed for a specific space and time.

An interesting thing comes out of the presentation of these ideas. Sometimes the idea is better than the execution, in which case group discussion (brainstorming) generates suggestions for improvement. Thus, one idea generates others in response to it. Even in the best of pieces, there's usually room for experimentation, or at least variation. That is to say the problem is never solved. In fact the process of discovery or PLAY, as I like to call it, is an element of creativity that I value as much as the product that it produces. The value of the creative process or play is more difficult for my students to accept, however, perhaps because it requires time, a rare commodity in their lives. They want to know the most direct path to the answer while I see that wrong turns in the road can lead to unexpected discoveries. Thus, the following: Concept / Commitment / Play / Execution / Perception

TEACHING METHODOLOGY: APPLICATION

Inventing
I invent all of the courses that I teach. Those, such as Multimedia Performance, Multimedia Space and University Seminar that were invented by others, were/are different than any other version of the same, both in content and delivery. Two courses of my own invention, Exploring Fairmount Park and Explorations in Acrylic Painting were developed in response to students’ needs.

Presenting
Objectives, guidelines and vocabulary are stated at the beginning of the term. Demonstrations in class set the tone for work outside of class. Some projects are presented as works in progress, allowing for a final version to be polished before critique. The value or merit of every student presentation is stressed, keeping in mind the parameters of the assignment. Students participate in critique and may disagree with my position. Some of my favorite phrases for opening up discussion are “What did you see? What did you like about this? How would you make it better? Did it succeed in answering the problem?” Of the presenter I might ask “Did it go as planned? Are you satisfied with the result?”  We discuss improving even the most successful presentations.

I establish an atmosphere of open-mindedness, fairness, hard work and respect for others. I emphasize the need to take the time to experiment or play. “Have fun with this one!” I collaborate with students on their projects, be it a series of paintings or a performance in response to a room at the Art Museum. This is a part of my teaching that I relish. I am willing to show vulnerability and admit failure in the process of working with students.  Additionally, I tend to learn a lot about them as individuals and as a consequence find myself mentoring them in areas outside of class.

In this non-hierarchical atmosphere, I lead the student into self-teaching and emphasize peer teaching (walking around the room to look over the shoulders of others during a drawing class). Emphasis is on participation and improvement. “Active Learning” is at the core of all course work.

Example #1: Multimedia Performance
Simple, individual designs lead to more complex, collaborative designs. ”Group Autobiography”, emphasizing design elements of patterning and texture, begins with sounds and movements inspired by individual students’ autobiographies. The final piece transcends any individual story but may actually enhance individual moments. Students comment that this particular assignment allows them to learn about their classmates and to enjoy performing (physical presentation of their designs) as a group. Subsequent assignments emphasize group work and increasingly sophisticated concepts of content and form, for example “Sound As Shape”. I work closely with each group during the planning or work-in-progress stage of projects. Each piece is presented and critiqued by the class. Work methods and forms of decision-making are also discussed during planning and presentation.

Example #2: Acrylic Painting
Assignment: “Using a subject of importance to you, propose a series of ten or more paintings. Written proposals should include scale, palette, impulse for subject, etc.” The student reviews their proposal with me after a few weeks in order to narrow or fine-tune their objectives. Often, the more specific they can be in defining parameters, the freer they are to experiment and express their ideas.  My objective is to allow the individual student maximum freedom to explore materials and ideas despite the limited time, space and budget available and to frame that exploration in the context of a project description of his/her own making, which may also evolve as the project progresses. Work is critiqued in class at various stages and I consult with each student weekly. Visual and text documentation supplements the body of work produced during the term.

Evaluating and Revising
At the start of each term, students participate in group discussions of their wide-ranging perceptions of the course, their reasons for taking it, their previous experience, their work/athletic schedules, etc. I reassure them that each of them is capable of succeeding in the course. At the end of term, students are individually interviewed as to their opinions of the pace, content, methods, etc. of the course. I reassure them that the information is for my benefit. Student evaluations and discussions influence the ongoing design of coursework.  A complaint about lack of time to finish a project might prompt an experiment to extend a deadline. I might revive a discarded exercise, seeing its value to a particular group of students.

Not all groups are the same and the chemistry of people in such an intimate setting can be a negative. I am always working with the “total is greater than the sum of its parts” theory, so individuals are acknowledged but community is stressed.  Collaboration is an integral part of all my courses. Students often comment that they appreciate getting to know their classmates. Part of the ongoing evaluation process is to “look out for” students who may be “lost in the shuffle”. I might deliberately combine people who would be disinclined to work together. The aim is to bring everyone along.

I have outreached to Applied Arts faculty for feedback as to the effectiveness of required courses, such as Multimedia Performance, by inviting them to attend presentations. I am asked to jury presentations and serve on committees in their areas as well. I value contact with other faculty in my college and welcome their comments. Whenever possible, I incorporate “major-specific” vocabulary and applied arts parallels into coursework. Changes in a course outline can take place weekly, depending on the demands of other courses. I may modify our schedule if the end result is better student work.