The workshop:

In this workshop, we continue to rotate in groups, and there are three activities:

EXERCISE 1 Roy Ascott Drawing Exercise – Debi

Process: 1/Draw a person/machine/ animal; 2/ Cut it into seven sections; 3/ Collect all the pieces in a pile and select 7 new pieces; 4/ Make a new creature/ being with those pieces; 5/ Stick it down; 6/ Draw a background/ environment.

I initially drew a machine that could communicate flavour perceptions online. I divided it into seven pieces and combined them with my partner’s pieces. After that, we were instructed to put the seven parts we had mixed together on a large sheet of paper with a drawn background. Finally, I completed my task with numerous “eyeballs,” but it was still a machine, signifying that “social media was watching you.”

EXERCISE 2 Treasure Hunt – Dan

Process: 1/ Each group to go out and try to find a list of things to photograph in 20 mins around the college; 2/ extra points for combining things; 3/ slide show at the end of the session.

During this part, our group chose to find the treasures on the ECA cafe, we collected all the pictures in our phones and then airdrop to Dan’s computer.

EXERCISE 3 Make a game – Neil

This part was my favorite part because I was a person who was crazy about playing games and even creating the rules of games. According to the handbook, these part based on John Baldessari Art Assignment: Make up an art game. Structure a set of rules with which to play. A physical game is not necessary; more important are the rules and their structure. Do we in life operate by rules? Does all art? Or art rules, like tenant rules or art violations.

I remixed two games from China, one of them was named “open and close”, the rule was when the speaker spoke or opened/closed his/hers arms, you just needed to pay attention to his/hers mouth. If the mouth was open, so the answer was “open”, weather was “close”. Does it simple? But sometimes, people always fall into a trap with the speaker’s arms.

Another game was named “color magic”, you could say you and someone else were ‘soulmate’. So the person would know the thing you pointed out even though he/she didn’t see. The magic point was, when you pointed to the specified COLOR of the ‘COLOR’ magic, the next item, regardless of color shape, was the one he/she needed to recognize.

Reflect:

From this process, I believe that art practice and art assignments in art education are aimed at cultivating learners’ creative thinking and practical skills, and that art education is inherently creative, and that such creativity is passed on in the process of practice.

We also practiced initial “construction” of practice content, crowd-sourcing, and creative feedback and critical reflection on the content of our peers in this process.

Three Learning Modules:

1/ Open Learning in Practice; 2/ Planning for Learners; 3/ Decoding the Discipines (DtD)

The aims of this course can be seen to be directly in line with those often associated with the educational turn, of widening access/broadening participation in art, aims that precede and exceed this ‘turn’ and relate and/or diverge with wider attempts historically and presently at widening participation in further and higher education globally through the expansion of open learning.

In the process of Open practice, we need to take into account the difference between cultural democracy and democratization of knowledge. Cultural democracy is more about cultural pluralism and tolerance, while democratization of knowledge involves whether the intake and learning of knowledge by different people is democratic and free. At the same time, we need to consider how to create a good open practice space to really further spread the ideas and methods of critical culture and social thinking. To think about who opens up online distance education, to whom and for what?

In my personal understanding, I see OEP as one of the components of open toolkit, expressed in the form of practice. The content comes from any creator of teachable practice, and the rule of designing practice content is to target the target group and draw a “portrait”, which means to design the process of practice for different characteristics, and to design the process with “education” in mind. In the process of design, the goal is to “educate” and eventually spread the ideas and methods among the public.

This is a process of decoding “tacit knowledge” into “explicit knowledge”. In addition to thinking about the content of the practice, the location, the characteristics of the people and the tools used, we also have to think about the process of “decoding The process of “decoding”. From identifying bottlenecks in learning. We then simulate these tasks, provide practice, feedback, and motivation to the students, assess their mastery, and finally share with each other what they have learned through the decoding process, completing the SECI social model cycle.

Week6_Inhabiting Practice#Record of The Artist’s Toolkit workshop / Jia Ding / Contemporary Art & Open Learning (2022-2023)[SEM1] by blogadmin is licensed under a Creative Commons Attribution CC BY 3.0