•  What have you already made and why have you made it in this way?

•  What else do you intend on making? What materials do you need to realise this idea? How else can this idea be realised? What workshops will you need to access?

•  A proposal for how you could display your work? Consider alternative ways that the work could be exhibited? Provide at least 3 different ways of displaying the project?

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.

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

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.

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.

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.

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

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.

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

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

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.

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.

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

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.

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.

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).