"Creating the Conditions for Effective Learning"

Welcome to clg : sip + j


As a group we are interested in language, systems of discourse.

1. How artists make / describe art

JACKSON POLLOCK

2. How observers see / interpret art

CRITICS

VISITORS



PEERS

* ACTIVITY led by Sinta Tantra

1. Get into groups of 4.
2. Choose 2 people as artists, 2 people as critics
3. Artists: 3 mins to make art using art kits
Critics: 3 mins to record what you are seeing, understanding

* FILM CLIPS introduced by Iain Struth

* SUMMARY led by Sinta Tantra, Iain Struth, Jasmin.

CONCLUSION

"so i wanted to contribute something, is this relevent to the project. I HOPE SO. As I see it we are looking at different levels of learning, or understanding. I was looking at Batesons levels.He has broken down this process into 3 stages or levels.

1.confined learning eg, that, that is learned in a confined space ,where the circumstances of the learning are dictated by the surroudings ie,the confines of the classroom.

2.Comparative learning, whereby the student is able to compare both their subjective and objective analysis of the subject and formulates ideas accordingly.

3.Doubting validity of given material, so being able to evaluate or assess the various information and criticize this. where the learning becomes learning about learning itself.

Modes of Dialogue: Film Clips

Please switch off all mobiles phone devices and enjoy viewing.

"I understand how to read a map"

clg:sip interpretation on Bigg's SOLO taxonomy:


1) RECOGNISING INFORMATION

Understanding what can be learnt

2) GATHERING INFORMATION

Gathering information to be learnt

3) UNDERSTANDING INFORMATION

Dechiphering symbols to understand meaning

4) USING INFORMATION

Applying the knowledge learned

5) RELATING INFORMATION

Contextualising knowledge in relation to the world

SOLO Taxonomy

S tructured of
O bserved
L earning
O utcomes

Developed by Biggs and Collis (1982) describing the 5 stages and complexity of understanding.

http://www.learningandteaching.info/learning/solo.htm

1) Pre-structural: here students are simply acquiring bits of unconnected information, which have no organisation and make no sense.




2) Unistructural: simple and obvious connections are made, but their significance is not grasped.




3) Multistructural: a number of connections may be made, but the meta-connections between them are missed, as is their significance for the whole.




4) Relational level: the student is now able to appreciate the significance of the parts in relation to the whole.




5) At the extended abstract level: the student is making connections not only within the given subject area, but also beyond it, able to generalise and transfer the principles and ideas underlying the specific instance.

about

clg:sip is a collaborative learning group consisting of Sinta Tantra, Iain Struth and Pallas Citroen - students from the Postgraduate Teaching Course Centre, Learning and Teaching Art and Design, University of the Arts, Autumn 2008. Three practising artists dedicated in exploring new and innovative approaches in teaching and learning for higher education.


PALLAS CITROEN

Pallas is a sculptor and installation artist. Graduating from Central Saint Martins in 2004, she was invited to exhibit her graduate show 'The world is a beautiful place" at the London Institutes '' Future Map Exhibition". Represented by London galleries, Museum 52 and Hames and Levac. She has 4 solo shows and partisipated in many group shows in London, New York, Berlin, Madrid and Miami. Including the art fairs 'The Zoo' in Regents Park, London and 'Scope' Flatotel, New York. Her recent work work has been inspired by the dichotomy proposed between avarice and greed seeing this as a metaphor for our mass-commodified culture and she tries to represent this kind of moral ambiguity in her work. Her installation spaces can look quite glamorous or glossy but on closer inspection there is something not quite right about them. She also produced the performance piece "pallas's cocktail party" 2006 around this idea, that was re-enacted in several galleries. pallascitroen@blueyonder.co.uk


IAIN STRUTH's current work uses photographs and constructions to present a series of propositions which play between an immersion, nature, the artificial, and the utopia redoubt. It points at a growing split between the worlds of the made and born, whilst also showing the possibilities of overlap, balance and hope. Other work explores in further detail the characteristics of the ‘natural’ and ‘artificial’. Slight acts in natural/semi-natural spaces are instantly perceptible, showing an element of the system in disquieting divergence from the whole.
Having completed several secondary school placements Iain hopes to continue to develop his teaching practice at HE level. Art needs to be challenged; its preoccupation with the puerile must be consigned to the past, if it’s potential as an authentic conduit of change is to again be rekindled. iain.struth@zoom.co.uk




SINTA TANTRA works in a variety of media to manifest a playful and often seductive visuality. Passionate in exploring the realm of public art, Tantra’s work provokes the attention she seeks from audiences as both an artist, curator and art educator. Sinta Tantra’s acclaimed work in the public realm has included commissions for the Southbank Centre, Camden Council, Platform for Art and London Fashion Week. She has won numerous awards for her work, including the prestigious Deutsche Bank Pyramid Award, the Henry Moore Postgraduate Award and most recently Westminster’s City Council’s Civic Award for contribution to public arts. http://www.sintatantra.co.uk/


JASMINE TOPALUSIC (guest participant)



My work contains an obsessive need for identification with, or personification of, its surroundings. This led me to consider how the use of everyday objects might be employed as a system for exploring a discourse involving ideas of representation and embodiment that often leans towards hallucination. schizophrenic_immigrant@yahoo.co.uk