Reflection
Through the class, we collaborate with our peers and learn together. But in fact, we don’t know where to start. So I try to practice this skill through three perspectives, First I study the importance of P2P learning, then about the reflection from the class, and finally, I show my concerns when practicing.
Our First Basho Work
Firstly, Collaborate and discussionare known to be important for learning art today. As Irit Rogoff (2010) mentioned, talking has become a mode of art-making, and a group discussion is a form of display, we can gain insight and support from our Basho as a learner. Collaborative learning is not only necessary for art study but in a wide area. Compare with listening to lectures and independent work, most learning experiences occur more or less accidentally during work or self-study, and support for learning from these experiences is limited (Savelsbergh et al., 2016). And the P2P study shows its obvious advantages. The prospect of capturing the learning from project-based work and making it available within and across projects and to the broader organization as “best practice” is particularly attractive (Kerzner, 2018). In an open situation, we are able to learn how to design and develop the parameters of group learning in formal and informal learning environments.
Followed by, I will talk about my perception of the course, which provide me some contributions. Attended the first Basho seminar, and discussing ideas made me find there are many ways of categorizing ideas, I was surprised by other people’s interpretations. In my perspective, the aim of Open Learning calls for more research on how learning can be better exploited in a collaborative environment. We try to gather each exciting point in the Make Gold workshop under an artistic and educational context. This learning module seems a new attempt, which trying to harness the exciting possibilities of art school, and as Kennedy(2011) raised, it gives participators a public form at the same time as they challenged some of the restrictive characteristics of traditional academic institutions. Through that, I realise that there are many ways of learning, and fewer limitations could bring unexpected possibilities.
At last, there are some problems in my study process. As a Chinese student, I was seldom exposed to collaborative learning before, most of the time I mainly responded to other people’s ideas, I hope I could have been braver in forming my own interpretations. And putting forward a unique viewpoint is possible as long as we have persuasive reasoning, the ones who convinced others most were those who linked their interpretations to specific parts of the text. Additionally, it’s fascinating to investigate the Chinese educational system and determine how else it benefits students. How can we acquire new skills without “abandoning” those that may have previously served us well? As scholar Gu’s studies(2018) show the diversification of educational forms in China’s higher education began rather late in comparison to many developed nations. Since the goal of our education is to better prepare us for the workforce, the shift to the modern western art school model is significant. Here, the art school has eloquently stated “you are an artist,”(Mulholland, 2019) and we try to inhabit open learning.
Reference
Irit, R.(2010) “Turning.” in Curating and the Educational Turn, Des. Paul ONeill and Mike Wilson, Amsterdam: de Appel Art Center and Open Editions, 45
Kerzner, H. (2018), Project Management Best Practices: Achieving Global Excellence, John Wiley &Sons, Hoboken.
Kennedy, J.(2011) “School in Contemporary Art and the Educational Turn.” C Magazine no. 109: 16-23. https://www.proquest.com/scholarly-journals/schools-contemporary-art-educational-turn/docview/1320424669/se-2.
Savelsbergh, C.M.J.H., Havermans, L.A. and Storm, P. (2016), “Development paths of project managers: what and how do project managers learn from their experiences?”, International Journal of Project Management, Vol. 34, pp. 559-569.
Gu, J. et al. (2018) Higher Education in China by Jianmin Gu, Xueping Li, Lihua Wang. 1st ed. 2018. [Online]. Singapore: Springer Singapore.
Mulholland, N. (2019) Re-imagining the Art School Paragogy and Artistic Learning / by Neil Mulholland. 1st ed. 2019. [Online]. Cham: Springer International Publishing.
9th October 2022 at 4:33 pm
Good Reflection here Misty. You draw on some helpful scholarly sources to support how you reflect back on your own experience. You are frank and open about your own experience, that is healthy and vital for learning. Yes, it’s true that Chinese education doesn’t have much collaborative learning, but, then again, neither does Scottish education (or at least not conventionally – I only had one instance of collaborative learning in my education…) It’s worth exploring why almost nobody has been exposed to collaborative learning before, what the implications of that might be, and how to respond to that situation (of all being new to this). Equally, it’s very interesting to explore the Chinese educational experience here, how else is it valueable me distinctive? How might you learn other ways of learning without “abandoning” what may well have worked well for you in the past?
23rd October 2022 at 5:51 pm
Looking at your reflection, I see that you have read and thought a lot about it. You cite a lot of literature in your reflection and at the end of your essay you list the literature you used, which makes your content more rigorous and professional, which is something I need to learn from you.
23rd October 2022 at 7:08 pm
I really like the author’s narrative style is not long and drawn out at all, and I can feel that the author is becoming more confident and expressive even apart from the article itself, which is something I need to learn. The first two weeks are still in a collaborative way to move forward and breakthrough, and I can feel that the author is a very thoughtful and practical person, and the article concisely summarizes the thinking of these two weeks.
5th December 2022 at 8:14 pm
its good you have used various references to learn about and justify how modes of collaboration and discussion are important to art and are necessary to keep art, and its learning potentialities, open. i like where you have addressed formal and informal environments where different approaches to collaboration may need to be discussed with group members. so interesting to read about your experience of this as a chinese student, from reading your blogposts you have nothing to worry about when forming own interpretations and relaying them in a clear and engaging way.