OBJECT BASED LEARNING WORKSHOP

BACKGROUND AND CONTEXT:

This OBL microteaching session was delivered digitally and as such I researched ways that OBL has been utilised in virtual and physical space, and in various contexts: Studies supporting positive learner experience and association to wellbeing (Kador, T, Chatterjee, H, (2020) at (UCL), the innovative teaching through OBL within the design context by Dr. Kirstie Hardie and the ideas behind ‘Emotional Response’ or extra-rational response, to OBL practised by Judy Willcocks college’s museum and study collection head at CSM, these sources influenced me greatly.

I will use this research to inform OBL within the context of my own teaching practise where Fashion Artefact and Footwear students are encouraged to consider material, form, and process throughout their master’s studies.  I draw on the ideas of John Dewey (Dewey 1980: 35). , and borrow the term ‘sense activity’ (Barret, E. (2007) for these experiential learning workshops. Through Mindul, Spiritual Pedagogy, inspired by James Moffett, with the on-going intention to build community (Belonging blog post) and inclusion between our cohort from diverse socio-economic and cultural background, some with differing learning needs.

The flow of experience that runs its course to closure or fulfilment through processes of adjustment to our environment and objects in the world. In artistic experience, as in everyday experience, ‘action, feeling and meaning are one’ (Dewey 1980: 35).

Dewey, John (1980), Art as Experience, New York: Perigee (First published 1934).

MICRO TEACHING BLOG POST:

SESSION: EMOTIONAL RESPONSE OBL WORKSHOP

This 20 minute digital session using OBL as teaching method aimed to evoke emotional response and ignite personal narrative, associative thought, and contemplation. Through the sharing of a found object, and insight into my own creative process (collecting found objects daily). Participants (5 total) were invited to engage through visual and verbal interaction. Response and participation while welcomed, was not mandatory. Participants had agency (cameras optional) over the level of their involvement. This workshop was attended by fellow tutors and academic observer from PG Cert, results and feedback are analysed to reflect this.

KEY CONSIDERATION: DETAILED RATIONALE

I use instict and lived experience to inspire my teaching practise. I specifically selected and analysed the object used, I see this as an authentic intention, as the action of finding, inspired workshop questions and visual content. Reflecting on why I choose to collect daily objects, I suspect it is a response to personal trauma and how through the action of collecting, connecting with nature and walking on the beach I am healing through my found objects. (Bat, M., Megides, O. 2016). I chose a mindful approach to this activity, and to share personal insight and vulnerability.

Point Clear Bay Essex coast – my daily walking spot.

TIME PLAN:  20 Minutes

Time plan meticiously considered to allow space for contemplation and interaction. I have attached below an explanation of how I considered the flow of this workshop. In practise the time was very challenging to manage.

SEE DETAILED TIME PLAN AND RATIONALE:  TIME PLAN DETAIL

• 1 Minute – Introduction – Set Scene
• 4 Minute – Visual Journey – Slide presentation
• 1 Minute – Contemplation – Quiet time
• 4 Minute – Enquiry – Ask 4 questions
• 2 Minute – Reflection – Ask Final question and invite deeper reflection
• 6 Minute – Share – Discussion/group interaction
• 2 Minute – Round-Up – Reflectiong on varied reactions and outcomes
• Final Thoughts – Big Thanks!

PRESENTATION WORKSHOP SLIDES:

Visual content was clean, and simple, with expance of white space. I showed the same object at different angles, and talked through each slide, using the written prompts. I explain in more depth my rationale (KEY CONSIDERATIONS) for the style and tone presentation. I used slow, gentle tone of voice, a space for reflection, and then asked question. This is a sample of my slides – full WORKSHOP SLIDES PDF above.

REFLECTION & ANALYSIS:

During the research of this workshop, I read about vulnerability in teaching – so despite feeling exposed delivering to PG Cert peers, I rationalized my vulnerability was a necessary discomfort for emotional exchange, and dialogue to evolve.

Following the slides, I posed questions and invited response, the time between ( Time Plan Detail), questions was difficult to control as participants were more eager to share insights between questions, this was not planned. Going forward I would reduce questions or add extra time for group interaction.

Following the questions, time was allocated to discuss insights and responses.  At this point, the session started to unfold into more analytical and associative thought, and towards emotional response of the activity rather than the object, (reflected in the feedback).  This was unexpected, but I view this as a positive result and take note this object ‘sparked’ associative thought for one person, a happy place and memory for another, and a clearing of worrying thoughts for another. The discussion could have expanded, all participants had meaningful contributions, time again was an issue.  I view these high levels of engagement due to these participants, going forward I will observe how my students respond, to analysis and refine.

Using the feedback received from participants and tutor, I will develop this mode of teaching, as I recognise the power of objects to forge connection, explore personal narrative, and association through ‘extra rationale’ response. Perhaps a workshop resulting in a physical outcome. The digital space allows privacy and control, and while this may facilitate expressive freedom, I see great potential as ‘in person’, to include haptic immersive experience, (as researched by Dr. Kistin Hardie) and introduce drawing as a tool of expression (following the feedback received from Emma). If I deliver this workshop on-line, the idea of showing the object in hand, using verbal description only, (suggested by my tutor), could ignite imagination with deeper discussion, and interaction. There are challenges asking students to share openly or connect emotionally, (consideration to cultural and language fluency) but most especially within restricted time.

The other micro teaching session were very rewarding, offering diverse approaches to teaching using OBL. There are aspects of each I valued: being challenged to speculate and problem solve playfully, by Emma, I see this as beneficial to my students, to connect to a personal object, as initial inspiation by James as this could be aligned to personal artefacts, and the technical learning through an object by Fflur, I see as very relevant in my teaching. I can see how OBL is a flexible tool, and could be adopted to engage learners to conceptualise ideas, solve problems and discuss complex issues, safely

REFERENCES:

Barrett, E. (2007) ‘Experiential Learning in Practice as Research: Context, Method, Knowledge’, Journal of Visual Art Practice, Vol 6, No 2, pp. 115-124, Intellect, Bristol, UK

Bat Or, M., Megides, O. (2016) ‘Found Object/Readymade Art in the Treatment of Trauma and Loss’, Journal of Clinical Art Therapy, 3^rd Edition.(Issue 1), Volume3,

Belonging Through Compassion: UAL Resources Available at: https://belongingthroughcompassion.myblog-staging.arts.ac.uk/(Accessed 20th January 2024).

Boler, M, (1999) Feeling Power: Emotions and Education. London: Taylor and Francis.

Hardie, K. (2015) ‘Innovative pedagogies: Wow’: The power of objects in object-based learning and teaching; Higher Education Academy

hooks, bell, Powell, (2015) ‘Belonging Through Connection’ ,Othering and Belonging Conference Available at: https://www.youtube.com/watch?v=0sX7fqIU4gQ (Accessed 20th January 2024).

hooks, b. Speaking Freeley:  The Freedom Forum Available at: https://www.youtube.com/watch?v=g2bmnwehlpA (Accessed 20th January 2024).

Kador, T, Chatterjee, H, (2020), ‘Object Based Learning and Well-Being, Exploring Material Connection’ , (Chap 2 ,Pedagogic Prescription, Art and design teaching practise and object led well-being): Routledge

Kador, T, Hannan, L, Nyhan, J, Terras, M, Chatterjee, H & Carnall, M. (2018), ‘Object-based learning and research-based education’: Case studies from the UCL curricula. in J Davies & N Pachler (eds), Teaching and Learning in Higher Education: Perspectives from UCL. UCL IoE Press, London, pp. 157-177 Available at:https://www.pure.ed.ac.uk/ws/portalfiles/portal/75690605/MT_Objectbasedlearning_lastgoodcopy.pdf (Accessed 20th January 2024).

Marine, J., Rogers,P., Blau,S.,Kelly,K. (2023) ‘Toward a Re-Emergence of James Moffett’s Mindful, Spiritual, and Student-Centered Pedagogy’: 21 (Studies in Composition and Rhetoric): Peter Lang

Prown, J.D, (1982) ‘Mind in Matter, An Introduction to Material Culture Theory and Methods’: The University of Chicago Press Available at: https://www.jstor.org/stable/1180761 (accessed 20th January 2024).

Willcocks, J. Central Saint Martin’s, Museum & Study Collection, ‘Object-based learning and the modern art school curriculum’ Available at: https://www.youtube.com/watch?v=M3O7MM5WuFo (Accessed 20th February 2024).

EXTRA PERSONAL REFLECTION: