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Han, B.-C. and Hoban, W. (2022) The expulsion of the other: Society, Perception and Communication today. Cambridge, UK: Polity.

McKee, R. (2016) Dialogue: The art of verbal action for the page, stage, and Screen. New York: Twelve.

Morris, D. (2002) Peoplewatching. London: Vintage.

Nidhal Chamekh: De Quoi Rêvent Les Martyrs II (no date) OneArt. Available at: https://www.oneart.org/galleries/nidhal-chamekh-de-quoi-revent-les-martyrs-ii (Accessed: 14 November 2023).

Schön, D.A. (1983) The reflective practitioner: How professionals think in action. New York: Basic Books.

Sidnell, J. (2016) Conversation analysis, Oxford Research Encyclopedia of Linguistics. Available at: https://oxfordre.com/linguistics/display/10.1093/acrefore/9780199384655.001.0001/acrefore-9780199384655-e-40 (Accessed: 14 November 2023).

Tate (1967) ‘score’, Joseph Beuys, 1967, Tate. Available at: https://www.tate.org.uk/art/artworks/beuys-score-ar00678 (Accessed: 14 November 2023).

Tate (1973) ‘score for action with transmitter (felt) receiver in the mountains’, Joseph Beuys, 1973, Tate. Available at: https://www.tate.org.uk/art/artworks/beuys-score-for-action-with-transmitter-felt-receiver-in-the-mountains-ar00683 (Accessed: 14 November 2023).

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The class discussed the need to reflect on whether the teaching objectives can be achieved within a two-hour instructional task. In addition to this, the students in the classroom are also factors that need to be considered. One question that arose during class was, "Do you have to engage the participants/learners in attending the session?" This made me start thinking about how to determine the scope of students. The question of whether to determine the students first or the course content first became a concern for me.

Through reflection, I realized that the description of the target audience for my teaching was too abstract, and the age and characteristics of the participants would bring about differences in the teaching content. Furthermore, the teaching content was too extensive. When drafting the first version of the lesson plan, I focused on exposing and describing social phenomena, but I still wanted students to learn observational and creative methods. It must be acknowledged that a two-hour course cannot encompass so much knowledge.

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The Reflective Practitioner: How Professionals Think in Action

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The Reflective Practitioner: How Professionals Think in Action

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The section on education in "The Reflective Practitioner: How Professionals Think in Action" emphasizes how educational professionals can utilize the concept of reflective practice to enhance teaching quality and adapt to the constantly changing educational environment. Here is a brief overview of the educational aspects:

1. Application of Reflective Practice in Education: The book underscores how educators continually improve their teaching methods through reflective practice. This reflection involves not only contemplating curriculum and teaching strategies but also gaining a deeper understanding of student needs and the learning process.

2. Complexity of Pedagogical Knowledge: The author emphasizes the complexity of pedagogical knowledge, especially when dealing with real educational settings. Educators need to flexibly apply theoretical knowledge in dynamic environments and adjust based on practical experiences.

3. Professional Development of Educators: The book discusses the ongoing professional development of educators, including continuous learning and adapting to new educational philosophies in actual teaching. Reflective practice is a crucial tool for facilitating professional development.

4. Dialogue and Collaboration: The book explores dialogue and collaboration among educators, emphasizing the importance of engaging in conversations with colleagues, students, and practical teaching materials to promote shared learning and enhance educational quality.

5. Educational Reform: The author discusses applying the concept of reflective practice to educational system reforms. This involves contemplating and adjusting educational policies, teaching methods, and school organizational structures.

In summary, the section on education in the book highlights the significance of reflective practice for educators, contributing to improved teaching quality, adaptability to change, and fostering continual innovation in the field of education.

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Although the entire class proceeded smoothly, there are still some aspects worth reflecting on. The fluency of language requires continued practice and improvement throughout the teaching process.

Regarding the design of teaching questions, firstly, the design must be universal and abstract. It should not constrain students' thinking but rather expand the scope of their thought. Simultaneously, opening up the range of thought is a prerequisite for the start of the course. However, I did not address how students, when starting their creative process, should selectively express these thoughts, leading to feedback after the class where students mentioned being perplexed about how to incorporate so many details into the dialogue.

Finally, the clarity of tasks. During the lesson planning, when testing the entire teaching process, I did not consider that the task design might be too broad. For example, I should have clarified that writing dialogue could involve selecting a few seconds of footage from the video for primary conjecture. In the actual class, I conveyed this requirement with a single sentence, "till now what exactly are they is no important anymore this is about you understanding of the character." Since there was no additional explanation, students did not understand, leading to confusion about the task. They were perplexed about whether imagination or the content of the video was more important, and whether they should adhere to the video content or imagine something different.

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Firstly, the students were very cooperative, and the completion of all four tasks was high. The final outcome also reflected the students' uniqueness and comprehensiveness. Secondly, the time management was well executed. Within the planned two hours, the teaching process from observation to creation, sharing, and reflection was successfully completed. Relatively speaking, it was a comprehensive class. Finally, it received very positive feedback from the students.

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Degree of similarity between lines and text

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On one hand, I wanted to organize my method into a tool that students can easily reference in the future. On the other hand, my approach to dialogue writing is enjoyable and effortless for me, and I hope to convey this relaxed atmosphere to the students. Therefore, in my choice of words, I also present a gentle and guiding tone.

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Teaching Target: Students interested in storytelling, those aspiring to make their dialogues vivid, and students seeking methods for writing dialogue.

Teaching Objectives: Expand methods for writing dialogue and explore important factors in dialogue composition.

Teaching Tasks:

1. Watch a three-and-a-half-minute dialogue video. Record aspects such as changes in body language, gestures, facial expressions, distance between individuals during the conversation, duration of speech, fluency of dialogue, frequency of responses, etc. Clearly identify observation focal points.

2. Share the most intriguing body language details noticed during the observation. Through this task, students will understand the uniqueness of observation and find a good starting point for imagination in the next step.

3. Formulate assumptions regarding emotional changes and character relationships between the two individuals in the video based on observed body language.

4. Use environmental descriptions to weave factors such as character relationships and personalities into a story background, laying the groundwork for subsequent dialogue writing.

5. Through answering questions, further contemplate the direction of the story after the dialogue, facilitating dialogue composition.

6. Exchange and share the written dialogues.

7. Summarize the visual language employed in writing dialogues, examining how emotions and relationships are expressed through words.

Teaching Venue: Camberwell Gallery, ground floor.

please bring: your usual art kit/pencil case to include drawing or image making material of your choice

Resources: electronic devices, drawing materials including pencil,pen and paper for writing or painting

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Therefore, when I defined the teaching objective as dialogue writing, I also needed to determine the classroom focus for this particular dialogue teaching session. Upon reviewing my process of composing dialogues, I realized that I often infer emotional changes in dialogue through observing body language. Hence, I seized "emotional perception in dialogue" as my primary teaching objective. Consequently, my course primarily involves observing body language and translating it into an understanding and description of character relationships and emotions. While there are many aspects to consider in actual dialogue composition, I hope to provide students with a creative pathway by starting with a focus on emotions and interpersonal relationships.

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When I read this book as a learner, I focused on its content related to the definition, purpose of dialogue, and strategies for writing dialogue. However, when I read it again as an educator specializing in dialogue writing, this time my attention shifted to the logical structure of the book.

The author starts by discussing the purpose of dialogue and provides methods for using dialogue to drive the development of the story. In addition, he offers techniques for expressing dialogue through language. Finally, he provides methods for constructing dialogue, including understanding the desires of the main characters, establishing the story background, and controlling the pace of the narrative. Therefore, teaching dialogue writing also involves instructing on story development, language expression skills, and the ability to empathetically imagine.

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Before drafting the final lesson plan, I started by sharing my own approach with the students. Because I am passionate about observing and imagining dialogues, I believe this is how I write dialogue. Perhaps I can impart my way of writing dialogue to the students. One challenging aspect for me is that my creative process is integrated into my daily life; it has become a habit. However, I need to break down this habit into practical steps and abstractly summarize it into a method. Since dialogue writing is a broad teaching subject, I also sought guidance from professional books.

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In this workshop, participants will learn how to create engaging dialogues solely through observation.

This involves observing conversations and imagining their content. Ultimately, we will combine silent video and unexpected ambient sounds to craft a collection of intriguing dialogues and attempt to visualize them.

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This time, I have expanded the teaching objective to encompass factors influencing dialogue writing, which is actually a good start. At least, I am beginning to abstract the course objectives into a more general category. Simultaneously, I have repositioned my students. This time, I have positioned them as individuals seeking methods for dialogue creation and aiming to make their dialogues more vivid.

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Aim: The environment is a factor influencing dialogue writing.

Task: By replacing the ambient sound in a silent film, instruct students to write different dialogue content based on the various environmental sounds.

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There is an issue of inconsistency between the teaching task and the teaching objective. In other words, through participating in my teaching activity, it is difficult to perceive the conclusion that "there is inconsistency between the characters' speech and behavior in the dialogue." Additionally, this conclusion is a minor detail when writing dialogues, and it may not be applicable to every instance of dialogue writing and story creation. Finally, I did not provide students with a clear orientation, and I did not consider how students who are not naturally adept at writing dialogue would complete these two tasks.

I believe what I should be teaching is not my observational conclusions but rather my observational approach.

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Reflection after the V&A course has led to a change in teaching tasks. I have returned to the major project itself, rethinking from a personal perspective.

Aim: To demonstrate one of the ways in which interpersonal relationships change and to understand the inconsistency between visual language and behavior.

Task: Play a silent video of a conversation for dialogue speculation. Then play the audio of the same video for dialogue speculation. Compare the two dialogues and draw conclusions about the inconsistency between speech and behavior.

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I once again reflected on my teaching plans. I questioned whether I had truly considered taking students out. The uncertainty among students made me abandon the plan to take them to the park. Upon further reflection on my own workshop, I realized that I also aimed for students to learn a particular method. Therefore, why not let students become the leaders of the course, allowing them to spontaneously summarize and deduce methods on their own?

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Activity design and explanation for field trips are crucial. Students can easily get immersed in exploring a new environment, delaying the completion of educational tasks. However, in my opinion, the design of this V&A field trip was very reasonable. What did I learn? First is the arrangement of the course content, always prioritizing students' autonomous exploration. This includes the selection of objects and materials. Second is the role of the teacher. In my view, the teacher is more like someone outlining the boundaries, allowing students to explore more possibilities in their creations through questions and practice. Lastly, reflection is essential. When I, as an educator, re-engaged in this class, I realized that acquiring abstract creative methods requires students to summarize on their own, with teachers using various questions to guide students in reflection. Another clever design aspect is that the course primarily focuses on exploring the possibilities of observing objects, starting with observation, then repeating observation to reflect on why one makes certain choices, finding the connection between oneself and the object. This connection is given a reason through reflection, and finally, there is the connection between objects. The entire course achieves a process from exploration to summarization and then to application. The discussion process can stimulate students to view objects from new perspectives and explore various uses of the same painting materials.

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Do I really need to lead students in the process of eavesdropping during an outdoor experience? Once in the park, could there be students unwilling to participate in the eavesdropping task? Will students truly engage in the tracking task? Would it be more convenient to switch to indoor video footage instead?

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When I, as an educator, revisit previous courses, I pay particular attention to how the course objectives are achieved through the guidance of individual tasks. From my understanding, I find that the positioning of students is very clear before the course is set up. The overall design of the instructional tasks aims to provide students with an opportunity to summarize creative methods.

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Task 1

OBSERVATION DRAWING

through recording videos or observing, focus on document the distance, hands moving, expressions... image how to descibe the atmosphere

Task 2

STALK TWO PEOPLE

listen to their dialogues content, focus on their tune and the frequency of shifting conversation, volume, topic change, start and end

Task 3

DOCUMENT

combine abstrast symbol with serial figure movement with the sentences

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knowledge from major project process10.5

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knowledge from major project process10.5

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-method of recording
-storytelling
-life drawing skills -figures body languages
-book bilnding
-entanglemant
-poetry writing
-recording -spy

-collecting dialogues
-visualize atmosphere
-how eavesdropping push the story(storytelling and eavesdropping)
FILM: Coda

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By analysing the experiences of your students in being educated, I realised the diversity of the teaching tasks that can be assigned without changing the purpose of education. As well as the teacher, as a complete individual, can appropriately show his/her vulnerable in front of the students, reflecting UNEXPECTED EDUCATION, which is conducive to a better understanding of the students' knowledge. Finally teachers need to recognise the diversity of the individual student, and the diversity of teaching and learning activities can give students access to ways of exploring knowledge that they are good at.

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Why do most paintings use black, white and grey

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Why do most paintings use black, white and grey

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Perhaps because black and white and grey make up an image with much less unwanted exaggeration and embellishment. It appears more pure and objective.

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What is my outcome telling?

This is a zine that reflects on what I focus on when observing conversations, after being an observer for a long time. Therefore, I revisited my mid-term exhibition observation experiences and summarized them in this zine. Unlike the mid-term exhibition, which broadly presented the process of my observational experiences, this time I designed the zine in two parts.

One part focuses on the content of my observations when observing their conversation, mainly centering on the changes in distance between the two individuals. To vividly illustrate the process of this change, I wrote a metaphorical poem, depicting why the distance between the two people is constantly changing.

The other part elaborates on the inner activities and emotional changes that characters may undergo behind their actions by magnifying the details of this observation and combining it with my imagination. Through three pages of combined text and images, I express a lighthearted, ironic, and unexpected speculation about the conversation. This is done to showcase the connection I perceive between body language and dialogue, conveying to the audience that inconsistencies between body language and behavior can arise in conversation.

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Once hoped to develop in another direction

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Once hoped to develop in another direction

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The connection between the sounds of interpersonal relationships and the external world. This is my personal insight into interpersonal relationships, but it has been shelved.

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Starting from the exploration of interpersonal relationships, it evolves into an exploration of dialogue. I explore the changes in my emotions in dialogue from my perspective, becoming an observer to examine the dialogue itself. I observe dialogue in two ways: by observing body language and by eavesdropping on others' conversations. As an investigator exploring dialogue, I reflect on and investigate the factors influencing conversation.

When observing dialogue, I am accustomed to paying attention to body language, particularly changes in body language. In my observational habits, I focus on changes in the distance between people. Due to personal experiences, I care deeply about the boundaries of distance between individuals. Therefore, this is the focal point of my observations. In my view, perceiving emotions in dialogue must be based on the observation of human behavior, which changes with different personal experiences.

I aim to depict the inner activities and emotional changes that characters may undergo behind their actions by focusing on a specific change in body language, amplifying it through exaggeration, and combining it with my own imagination. Through a lighthearted, ironic, and unexpected dialogue speculation, I seek to illustrate the connection I perceive between body language and dialogue, conveying to the audience that inconsistencies between body language and behavior can arise in conversation. Thus, I convey that observing behavior and imagining emotions are two factors that influence dialogue creation.

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This time, I have defined the teaching objectives as expanding observational methods and applying them to the depiction of abstract emotions. In this version of the lesson plan, I have incorporated an explanation of the current state of human cognition, hoping to make students aware of the necessity of broadening their cognition through storytelling.

In the design of the outdoor activity task, I chose to have them explore how to use multiple senses to create a zine in the park. Upon reflection, although, in comparison to the first version of the lesson plan, I have defined the students and the main goal of teaching – utilizing multiple senses to express abstract emotions – I need to first elaborate on what multisensory experience is, how to engage in it, and why participants need it before achieving this teaching goal. The burden of such extensive explanation tasks may obscure the teaching objective. I found myself caught between wanting to share research content and encouraging students to create. At that time, I hoped to encompass all knowledge, forgetting to consider students' receptivity and the constraint of time. The inconsistency between teaching tasks and objectives has been a persistent issue for me.

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Learning aim: to expand your visual approaches to illustrating sound.

Learning activity: we will go to the park. We will do three tasks that require you to listen and feel and record using drawing. In the tasks you will use your ful sensory experience being on site in the park to inform how you interpret sound into drawing.

Outcome: at the end of the tasks you will have a set of illustrations of your experience in the park

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After the exhibition, I wasn't entirely satisfied. The main reason was that during the setup, I realized the limited number of my artworks and the perception that they were disconnected. All I could do was continually adjust the arrangement of these papers, but the changes were minimal and barely noticeable.

Issues:
1. Most of the works were paper-based, and paper color greatly influenced the display's effectiveness.
2. The exhibition didn't consider the connections between the works, resulting in a scattered presentation.
3. The exhibition lacked clear communication, lacking a distinct theme for the audience.

Reflection and Improvement:
1. In the early stages of the exhibition, it's okay to be clueless or not know what to create. Try thinking through making, and after creating, consistently contemplate the connections between works, providing direction for the next creative steps or exhibition setup.
2. Consider the uniformity of paper during exhibition preparation. If this can't be achieved, consider diversifying the presentation by distinguishing papers. Also, given the use of paper originals, think about secure methods for mounting. In this instance, I used blue tack, but it's apparent that this material isn't suitable for long-term display and can damage the artworks.
3. While setting up, clarify the purpose and meaning of the exhibition. Determine which aspect of your work you want to show to the audience. The exhibition must have a strong identity – which was evidently lacking in this one. Next time, I need to rethink my relationship with the audience and what I want to convey to them. If I had the chance to make changes, I would make this exhibition specific, such as "Eavesdropping on Two Women's Conversations Near Regents Park Fountain." I want to convey my experience as an eavesdropper or observer. I might need to emphasize the connection between two sets of works. Additionally, during my reflection, I realized I employed a change in perspective in crafting the same story, which I find intriguing. Perhaps, if I have another opportunity to exhibit, this could be a highlight of my work.

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Apart from etching, I delved into observational painting. Trying to break free from the monotony of realistic painting, I adopted a narrative approach similar to etching in my creative process.

I continued to depict the conversation of two women I observed and overheard. This time, I incorporated myself into the story. The artwork illustrates how I, as an observer, furtively spied on them, feeling flustered. When I felt awkward staring or recording video for extended periods, I hastily shifted the camera and gaze toward a nearby fountain, pretending nonchalance. As my gaze shifted, the sound of their conversation entered my ears. This is the essence of the entire story.

Upon reflection, I realized that during the preparation for the mid-term exhibition, I didn't think through making. As a result, I couldn't establish a clear theme for the exhibition or find connections between my various artworks.

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Etching printing requires simple arrangement of lines. Through repetition, these simple lines can create different visual effects. I believe that using the simplest lines can better highlight the content or feelings I want to express. Cleanliness is how I define etching, and it is also how I define dialogue. Secondly, the process of etching is complex, with a longer production cycle. This is similar to getting to know someone through dialogue – slow and unknown. The last reason is that etching is highly uncertain. The final result can be influenced by factors such as the intensity of carving and the duration of corrosion. This uncertainty is similar to the unpredictable nature of dialogue.

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I divided a single zinc plate into ten pieces. The scene is a conversation between two people. One is excitedly talking, while the other seems calm but is actually lost in thought.
As I was preparing for the exhibition, I initially wasn't sure about my exhibition theme. Even after completing the draft, I questioned if my work truly embodied the identity of an "observer."

A purely objective perspective can be dull. Unwilling to stick to just observational art, I decided to infuse my own fantasies into the characters. This time, with etching, I didn't employ any special techniques. Using only simple lines, it seemed like I wasn't highlighting the distinctiveness of etching. This made me ponder the relationship between printmaking, printing, and the artwork.

As I repeatedly tried to arrange the ten plates on paper, I discovered the connection between layout and storytelling. Coupled with the uncertainty of etching, including the pressure during carving, uniformity of coloring, and the wetness of the ink, I realized that the printing process, after the carving, was an exploration of the possibilities of form.

The initial creative process should consider the presentation form and theme, and the absence of this part left me in doubt after completing the work.

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-who are you engaging
Undergraduate students with a foundation in drawing and sketching. They may wish to expand their observational skills and explore ways to express abstract emotions.

-what is the learning aim of the session
Students will explore multisensory observation methods and apply them to their creative work. They will understand the remnants of using linguistic symbols to abstract emotions and dialectically think about the composition of the material world. Students will attempt to explore unique ways of expressing emotions and provide an alternative thought process for observation and emotion-based creative work.

-what is the task or activity
Indoor Activities: To expand observation beyond the limitations imposed by linguistic systems and homogenized information, students must first recognize the inherent patterns in their current observation methods. By broadening their knowledge framework, students will be stimulated to innovate their approach to visually abstracting emotions like "happiness" and reevaluate existing observation methods. This will be elucidated through two areas: "Conscious Realism" by Donald D. Hoffman and "to be is to be perceived" by Berkeley. Using Berkeley's theory that "all our ideas are derived through sense, reflection, and imagination," a methodological reference will be provided.

Outdoor Activities: A trip to Burgess Park where various sensory experiences will be utilized to materialize the sensation of happiness through methods such as video drawing and sketching.

Indoor Activities: Demonstration of the steps to create a zine, and students will attempt to create their own "happiness-themed" zine.

-what is the outcome

A "happiness-themed" zine unique to each student.

-where will this take place
2nd floor teaching space

-what resources are needed
Drawing materials: various coloured pens, paper suitable for zines (with a certain thickness), scissors, glue