In search of carrier bags for teaching kinetic sculpture
Firstly I am so grateful to my interviewees Zarina Muhammad, Roshni Baghotra and Shenece Oretha for the generosity in time and the thoughts that they shared with me. Moreover I would also like to thank Falcon Driscoll and Andrea Machico Francke for sharing their thoughts whilst I was working on this project.
I am really happy in retrospect for how everything played out during and the sequence in which I had the interviews. The meandering approach – really paid off so also thank you to John and Paul for your advice and writings. I also am acutely aware of how terrible I was at interviewing at the beginning and gradually began to improve at focussing the questions better.
Moreover, as soon as my questions came up to the reality of the people I was talking to, it became immediately clear to me that I would need to change my plan and approach to the ARP.
Nodal Mapping of Quallative research
I realised that in trying to fit into some kind of high minded overly broad idea in a relatively new form for me, I had over extended myself in an area that really requires a lot more thought and research. I also realised my own naivety on both the subjects of alternative education and the history and context of different blogging and social media platforms.
It reminded me of season 4 of the American version of the office:
I must resist the urge to ‘Dunder Mifflin Infinity’ my own work. This is in reference to the 3rd and 4th episodes of the 4th season of ‘The Office’ where Ryan the intern is promoted to corporate, and, after stealing someone else’s idea, tries to reinvent the paper company’s website into a social media platform, replete with all the righteous jargon of interconnectivity and streamlining..
Most importantly I had forgotten why I run the Kinetic workshop programs and what their purposes are actually for: To make mechanical, electrical and animatronic principles as accessible as possible to understand,engage with and afford.
Oretha S:
“making it tactile, making it embodied, making it real, making it resonant.”
To get people excited about, to nerd out about and to share the creative potential of moving sculpture….
It made me think of Falcon’s Sample Space at Chelsea and how important it had been for me as a student
Maybe it was possible to make something, physically Nomadic?
A manifesto for nomadic workshop teaching:
Immediately financially accessible – everything has to cost as little as possible
Immediately materially understandable – everything has to be clear in what it is made of
Sequentially clear in complexity – Each idea is broken down into chunks
Sequentially clear in process – Each process leads into and builds upon the next
Materially sensuality and engagement – everything has to be materially engaging
Visual accessibility and resonance – examples incorporate systems from recognisable objects, movements from the outside world
Create the library:
Laurillard (2012) argues that digital technologies are most effective when they enhance, rather than replace, face-to-face teaching.