Photographs I am exhibiting in the half year review show:
Tuesday, 21 December 2010
Northern Landscapes
I have been photographing my home in Cliviger and the Ribble Valley. This is very rural, with lots of nature and countryside. The opposite to this is my home in Manchester, which is a very built up and industrial city. I consider the two both my home but I wanted to portray them both in one image. To see what they would look like layered on top of each other. I achieved this by taking photographs of the two areas and double exposing them on top of each other.
I am pleased with the photographs, especially the ones were it looks as though the foliage from the countryside is taking over the city. This reminds me of films such as 'I Am Legend' and '28 Days Later' where the city has been abandoned and foliage has began growing on the buildings and streets of the city.
Image from the film 'I am Legend'
I am pleased with the photographs, especially the ones were it looks as though the foliage from the countryside is taking over the city. This reminds me of films such as 'I Am Legend' and '28 Days Later' where the city has been abandoned and foliage has began growing on the buildings and streets of the city.
Image from the film 'I am Legend'
Preparation for the PGCE Interview
Presentation
I feel a current educational issue facing teachers today is the lack of creativity in education.
What is creativity?
My interpretation of creativity is an idea that is original and of value. It requires lateral thinking and the confidence to take risks. Many people associate creativity primarily with the arts, however this is not the case. Creativity can be promoted across the whole curriculum.
Children are afraid of expressing their ideas in case of failure and being judged if they get a question wrong. The use of tests and exams to measure children's academic ability has increased greatly over the years, and the publication of school league tables has led to rigid and restrictive teaching methods. Individual talents and creative abilities are being stifled.
How can creativity be encouraged in schools?
Creativity, Culture and Education Scheme argues that bringing creative agents such as visual artists, writers and poets can help to encourage creativity with the children and inspire teachers to work in new ways. When the teacher's creative ability is engaged, the behaviour will then be modelled by the children. The surroundings of the school are also important to encourage children's creative abilities; materials on display, seating arrangements and that the room is not cluttered. The social environment is also essential. Treating the children with respect and as individuals encourages children's self esteem and will make them feel confident to engage and express their creative abilities.
Why is it important to encourage creativity in education?
To improve children's motivation, confidence, initiative and achievement and to prepare them for life and future careers. Creativity is a 'buzz' word, it is contagious. In order for schools to produce students who are well equipped to adapt to the ever changing world, creativity is a vital ingredient of the education system.
Handwritten Task
'The Teacher I Want To Be...'
I have always had a strong passion for teaching, through my work experience in schools I have an understanding of the teacher I want to be, hopefully fulfilling this in the future.
On numerous work placements I learnt many key skills needed for teaching. Sharing the learning objectives and success criteria is important. Appreciating that children are individuals, different learning styles and differentiation in the classroom is necessary.
While taking part in the Student Associate Scheme, I understood that confidence and enthusiasm are significant qualities to have. Presence is also an important factor. Engaging the children is not always easy, therefore having an assertive nature and being able to adapt quickly to situations is essential.
Building up an empathetic rapport and having respect for one another is important for the children to develop academic and social skills. Being, fun, fair and firm can help create a safe learning environment where children are not afraid to take risks.
During my degree I have regular presentations and group work, helping me to develop my listening and teamwork skills. Teaching can occasionally present behaviour and learning challenges, however, I believe with my strengths I am prepared for this.
I feel a current educational issue facing teachers today is the lack of creativity in education.
What is creativity?
My interpretation of creativity is an idea that is original and of value. It requires lateral thinking and the confidence to take risks. Many people associate creativity primarily with the arts, however this is not the case. Creativity can be promoted across the whole curriculum.
Children are afraid of expressing their ideas in case of failure and being judged if they get a question wrong. The use of tests and exams to measure children's academic ability has increased greatly over the years, and the publication of school league tables has led to rigid and restrictive teaching methods. Individual talents and creative abilities are being stifled.
How can creativity be encouraged in schools?
Creativity, Culture and Education Scheme argues that bringing creative agents such as visual artists, writers and poets can help to encourage creativity with the children and inspire teachers to work in new ways. When the teacher's creative ability is engaged, the behaviour will then be modelled by the children. The surroundings of the school are also important to encourage children's creative abilities; materials on display, seating arrangements and that the room is not cluttered. The social environment is also essential. Treating the children with respect and as individuals encourages children's self esteem and will make them feel confident to engage and express their creative abilities.
Why is it important to encourage creativity in education?
To improve children's motivation, confidence, initiative and achievement and to prepare them for life and future careers. Creativity is a 'buzz' word, it is contagious. In order for schools to produce students who are well equipped to adapt to the ever changing world, creativity is a vital ingredient of the education system.
Handwritten Task
'The Teacher I Want To Be...'
I have always had a strong passion for teaching, through my work experience in schools I have an understanding of the teacher I want to be, hopefully fulfilling this in the future.
On numerous work placements I learnt many key skills needed for teaching. Sharing the learning objectives and success criteria is important. Appreciating that children are individuals, different learning styles and differentiation in the classroom is necessary.
While taking part in the Student Associate Scheme, I understood that confidence and enthusiasm are significant qualities to have. Presence is also an important factor. Engaging the children is not always easy, therefore having an assertive nature and being able to adapt quickly to situations is essential.
Building up an empathetic rapport and having respect for one another is important for the children to develop academic and social skills. Being, fun, fair and firm can help create a safe learning environment where children are not afraid to take risks.
During my degree I have regular presentations and group work, helping me to develop my listening and teamwork skills. Teaching can occasionally present behaviour and learning challenges, however, I believe with my strengths I am prepared for this.
Sunday, 19 December 2010
Moving on from my colour double exposure Photographs I wanted to learn how to process and develop my own photographs. I had a photography induction in the first year of university however did not use the photograph workshops to my full advantage. I had another induction to refresh my memory and got straight into it. The first film I processed was not a great success however with patience and determination I continued to practise. I feel I have really improved and have learnt how to process and develop my own film. In the wet darkroom I have developed my film, using the enlarger to print the image on the photographic paper then soaking it in the developer and the fixer, with a stop bath in between to ensure the effects of the developer can be neutralised. I like using the wet darkroom because you can choose how the length of time the photograph is soaked in the solutions depending on the result you want. It requires a lot of precision and patience but I feel I have a greater control over the final image. I love watching the image appear on what was once a blank sheet of paper.
After a few weeks in the wet darkroom and I felt confident with the equipment I progressed into the machine darkroom, which can develop black and White and colour photographs. The machine darkroom is a lot quicker process because instead of soaking the photograph in the developer and fixer solutions myself, a machine does it. Therefore while I am waiting for it to finish I am able to produce more. However, it is a lot more tedious and requires patience but the final result is definitely worth the wait! It is very exciting knowing you have processed and developed your own photographs. I feel a real sense of achievement an satisfaction.
Continuing with the double exposure work I lay two films on top of each other in the enlarger and experimented with the exposure time, focusing the image and changing the aperture stops. This took some time to master but enjoyed experimenting and seeing the result of each photograph.
After a few weeks in the wet darkroom and I felt confident with the equipment I progressed into the machine darkroom, which can develop black and White and colour photographs. The machine darkroom is a lot quicker process because instead of soaking the photograph in the developer and fixer solutions myself, a machine does it. Therefore while I am waiting for it to finish I am able to produce more. However, it is a lot more tedious and requires patience but the final result is definitely worth the wait! It is very exciting knowing you have processed and developed your own photographs. I feel a real sense of achievement an satisfaction.
Continuing with the double exposure work I lay two films on top of each other in the enlarger and experimented with the exposure time, focusing the image and changing the aperture stops. This took some time to master but enjoyed experimenting and seeing the result of each photograph.
Monday, 13 December 2010
PGCE application
Invitation for an interview to discuss my application:
http://co104w.col104.mail.live.com/default.aspx?wa=wsignin1.0
Dear Applicant,
Further to your application for a place on the above course, I am writing to invite you to attend an interview at the Didsbury campus on Wednesday 5th January 2011 at 12.30 pm so that we may discuss your application.
To confirm whether or not you will be attending the interview or to re-schedule your interview date please reply to this e-mail making sure you list the date of your interview and course as the subject of your e-mail. It is essential that you contact us ahead of the interview to confirm your attendance.
(continued in the link)
Preparation for the interview. There are three stages to the interview:
English handwritten task
2 minute individual presentation followed by a group discussion
5 minute individual interview
The Presentation
The presentation should begin, 'I feel a current educational issue facing teachers today is...' Two minutes to present my ideas, do not read from a pre-prepared script but a few notes can be helpful.
Group Discussion
Working in groups of 3-5, the discussion will follow on questions and issues prompted by the individual presentations.
Individual Interview
Opportunity for interviewers to clarify points of detail regarding your application. Why do I want to be a teacher?
Handwritten Task
Asked to write one page of A4 only on the topic of 'The Teacher I Want To Be'
http://co104w.col104.mail.live.com/default.aspx?wa=wsignin1.0
Dear Applicant,
Further to your application for a place on the above course, I am writing to invite you to attend an interview at the Didsbury campus on Wednesday 5th January 2011 at 12.30 pm so that we may discuss your application.
To confirm whether or not you will be attending the interview or to re-schedule your interview date please reply to this e-mail making sure you list the date of your interview and course as the subject of your e-mail. It is essential that you contact us ahead of the interview to confirm your attendance.
(continued in the link)
Preparation for the interview. There are three stages to the interview:
English handwritten task
2 minute individual presentation followed by a group discussion
5 minute individual interview
The Presentation
The presentation should begin, 'I feel a current educational issue facing teachers today is...' Two minutes to present my ideas, do not read from a pre-prepared script but a few notes can be helpful.
Group Discussion
Working in groups of 3-5, the discussion will follow on questions and issues prompted by the individual presentations.
Individual Interview
Opportunity for interviewers to clarify points of detail regarding your application. Why do I want to be a teacher?
Handwritten Task
Asked to write one page of A4 only on the topic of 'The Teacher I Want To Be'
Sunday, 12 December 2010
Friday, 10 December 2010
The Wayuu Taya Foundation
Local plastic artists visited Tepichi Talashi School for an afternoon of art with the children in the community. Local artists with over 25 Tepichi Talashi children intervened wooden pieces known as 'taparas' and other creations such as collars, vases, and other containers made from clay. The children hand painted all of the pieces with their own designs, decorating them with traditional Wayuu figures.
I am interested in this blog as it is artists helping and working with children that live in a country that a less fortunate, giving them the opportunity to learn about art and develop new skills. The Wayuu Taya Foundation is a non governmental, non profit organistion founded in 2002 to help improve the lives of Latin-American indigenous communities while maintaining their culture, traditions and beliefs.
I have been researching into doing volunteer work abroad after my degree to help teach children in Africa.
Tuesday, 30 November 2010
Workshop
Today I held a workshop working with a group of children in an art project. For my dissertation I am writing about creativity in education. I have been researching into the involvement of children in art work. Children all have creative abilities and should be encouraged to express their own ideas. I wanted them to draw and colour in their own designs and images on to white pumps. I used white pumps as I thought it was original and more exciting to work on rather than using paper. I coloured in some pumps to use as models.
I feel the workshop was a major success and the pumps were very colourful and expressive. The images drawn on the pumps indicate the children's different characteristics and interests. I thoroughly enjoyed the workshop and working with the children.
I took some photographs of the finished pumps from the workshop.
I feel the workshop was a major success and the pumps were very colourful and expressive. The images drawn on the pumps indicate the children's different characteristics and interests. I thoroughly enjoyed the workshop and working with the children.
I took some photographs of the finished pumps from the workshop.
Sunday, 21 November 2010
Photography Induction
Processing a film
- Check the temperature of the baths are at 20 celsius, if it is not that temperature then check on the chart for the timings needed for the film in each bath.
- Set the timer to the allocated timing from the chart for example five minutes.
- Turn on the red switch outside indicating the room is being used and turn off the light
- Take the film out of the case by clipping off the top lid and pushing the film out
- Cut the end of the film to make a straight edge
- Roll the film onto the white disk, wait until you can feel the breaks and roll all of the film on
- Put the white disk with the film on into the metal container and in the developer bath, agitating every 20 seconds. The chemical developer turns the exposed silver-halide particles into black metal (silver).
- The film then needs to go into a stop bath for 30 seconds, agitating every ten seconds. This is to neutralise the effect of the developer.
- The film the needs to be made permenant by soaking it in the fixer and agitating every 20 seconds.
- The final bath is to put it in water for 30 minutes, this is to remove all the traces of chemical.
- After washing the film needs to dry, either naturally or on the heated drying racks
Friday, 19 November 2010
Manchester Art Gallery
Rafael Lozano Hemmer
Recorders Exhibition
"In Recorders, artworks hear, see and feel the public, they exhibit awareness and record and replay memories entirely obtained during the show The pieces either depend on participation to exist or predatorily gather information on the public through survelliance biometric technologies." (Rafael Lozano Hemmer)
Hemmer is an electronic artist, known for creating theatrical interactive installations in public spaces across Europe, Asia and America. The artworks in recorders see, hear and feel the actions of people around them, using technology to create a playful yet ominous experience. The work depends on the participation of visitors to exist and develop. I really enjoyed the exhibition and have been back several times. I like how I can interact with the work, giving in my input.
Pulse Room
2010Incandescent light bulbs, digital voltage controllers, heart rate sensors, computer and metal stand
Made up of 100 light bulbs, which are activated by a sensor to flash at the exact rhythm of the participants heart rate. As the participant holds the metal sculpture, sensors record the pulse, immediately setting off the lightbulb that is the closest, flashing to the exact rhythm of the participant's hear.
Pulse Index
2010
Digital microscope, pulsimeter, plasma display, computer, custom-made software
Pulse Index records participants fingerprints at the same time as it detects their heart rates. The participant inserting their finger into the sensor, the system displays their fingerprint pulsating to the rhythm of their heartbeat, together with the recordings of the last 508 participants.
2010
Conveyor belt, projectors, camera, computers, custom-made software
An installation that consists of a conveyor belt with a computerised scanner that records and accumulates everything that passes under it. The public can place any small item on the conveyor belt, gor example, keys, wallet, phones, coins. Once they pass through the scanner, the objects reappear on the other side of the conveyor belt beside projected images drawn from the memory of the installation. As the real item is removed from the belt it leaves behind a projected image of itself.
Microphones
2008
Modified vintage microphones, electronics, computers, loud speakers
Microphones features ten modified microphones, each one contained a small loudspeaker and a circuit board in the head, which are connected to a network of hidden control computers. When the participant speaks into the microphone, it records their voice and immediately plays back the voice of a previous participant, as an echo from the past. Half the time the microphones play back the voice that was just recorded, however, they also can reproduce a recording at random from up to 600,000 previous recordings. The participant is able to understand the interaction but, on the other hand, an experience is created that is out of their control.
People on people
2010
Computerised tracking systems, projectors, custom software with face tracking, live compositing and rotoscoping
Photographs of my friend and I projected on the wall at the exhibition:
Hemmer often uses shadow play to engage the public and encourage interaction on a personal and a communal level, usually as large scale outdoor installations in public spaces.
Tuesday, 16 November 2010
Manifestos-Italian word meaning 'conspicuous'
Created in the Cubism and Futurism period, manifestos were used before film and television. It is a public declaration of principles and intentions. Today it is used to stream ideas and as a way of working, making your ideas visible. They are meant to be read out loud, public speaking.
Manifestos-'contagious speak acts'. Like a virus, spreading ideas. They are used to galvanise a movement. Create a discussion, arguement or revolt.
Positioning ideas within a public field. It is your own personal view, when it is published, you are putting your own authority on it.
Manifestos use repetition and slogans. For example, 'us' 'you' ' we'. The audience are forced to take sides.
What can a manifesto do for my practise?
Bauhaus Manifesto
Starts off with a summary, explaining the past and what is happening now. Walter Gropius begins the manifesto with a slogan, 'The ultimate aim of all creative activity is a building!'
The second paragraph, Walter explains his ideas and intentions. He argues that art can be taught. Speaking to artists in the third paragraph, he uses slogans to encourage artists to support his view, for example, 'Architects, painters, sculptors, we must all return to crafts!' He creates unity between artists by proposing that, 'there is no essential difference between the artist and the craftsman.'
In the final paragraph, Walter is speaking to everyone, using powerful words to persuade the public, 'Let us desire, concieve, and create the new building of the future together.' He strongly believes he what he is stating. The manifesto is ending by talking about the future and what he believes should happen, 'will one day rise towards the heavens...'
Walter Gropius is proposing that everyone should learn together. Specialist groups under the same roof, working together to make things useful and simple. Uniting craftsmen and artists. He is rebelling against the old art schools. Similar to Interactive Arts, people with different practises all working together on the same course. The Bauhaus Manifesto has been linked to the introduction of Art foundations.
Our Manifesto-Interative Arts
Keep different specialist subjetcs like Art Foundation
Introduce workshops, inductions, space for everybody, no time limits (24 hour studio time)
All art subjects will be integrated
All teachers and students working together
Specialist teachers for each practise
More trip to exhibitions
Interactive Arts is the only art and design subject
Wednesday, 10 November 2010
Blank, white canvas. Creativity, colour, personality.
Draw images, patterns, doodles on white objects to make them come to life.
Do not just work on paper, make it more fun using different objects to work on. Working with a group of children, distribute the different objects and let them draw and colour them in. Their personality will be exposured on the object.
Draw images, patterns, doodles on white objects to make them come to life.
Do not just work on paper, make it more fun using different objects to work on. Working with a group of children, distribute the different objects and let them draw and colour them in. Their personality will be exposured on the object.
- White t-shirts
- white teatowels
- plates
- cups
- Pumps
- Wallpaper
Saturday, 6 November 2010
Creativity in Education
For part of the Interactive Arts course we are writing an extended essay on a topic of our choice. I have chosen to do my essay on creativity in education. This is because I am interested in this subject and feel it will benefit me in my future teaching vocation.
I have been researching into creativity in education and how it is stifled in schools. A public speaker that I find interesting is Ken Robinson. He argues that schools kill creativity and challenges the way we are educating children.
Here is a link to Ken Robinson's talks:
http://www.ted.com/talks/lang/eng/ken_robinson_says_schools_kill_creativity.html
I have found several newspaper articles that talk about creativity in education. Links on these are:
'Fertile minds need feeding' http://www.guardian.co.uk/education/2009/feb/10/teaching-sats
'Creative projects in schools are threatened by funding cuts'
http://www.guardian.co.uk/education/2010/sep/14/creative-partnerships-schools-funding
'School test mania 'killing creativity' pupils'
http://www.independent.co.uk/news/school-test-mania-killing-creativity-pupils-1106482.html
'Students stifled by lack of creativity in schools'
http://www.gailkonopbaker.com/pdf/stifling.pdf
Other information I have found that I will be using in my essay are:
'Valedictorian speaks out against schooling in graduation speech'
http://www.youtube.com/watch?v=9M4tdMsg3ts
BBC News 'Bringing creativity to the classroom'
http://news.bbc.co.uk/1/hi/education/3717310.stm
National Curriculum-Creativity
http://curriculum.qcda.gov.uk/
TES magazine-Creativity
http://www.tes.co.uk/article.aspx?storycode=391296
Public speaker David Peat on creativity and education
http://www.fdavidpeat.com/bibliography/essays/dempsey.htm
Newsweek-The creativity Crisis
http://www.newsweek.com/2010/07/10/the-creativity-crisis.html
Books I have been reading on creativity:
Anna Craft, Creativity in Schools: Tensions and Dilemmas
Anna Craft, Creativity in Education
A Cropley, Creativity in Education and Learning
Ken Robinson, Out of Our Minds: Learning to be creativity
Reports written on creativity in education:
Creativity, Culture and Education 'The Cost and Benefits of Creative Partnerships'
National Advisory Committee on Creative and Cultural Education 'All Our Futures: Creativity, Culture and Education'
I have been researching into creativity in education and how it is stifled in schools. A public speaker that I find interesting is Ken Robinson. He argues that schools kill creativity and challenges the way we are educating children.
Here is a link to Ken Robinson's talks:
http://www.ted.com/talks/lang/eng/ken_robinson_says_schools_kill_creativity.html
I have found several newspaper articles that talk about creativity in education. Links on these are:
'Fertile minds need feeding' http://www.guardian.co.uk/education/2009/feb/10/teaching-sats
'Creative projects in schools are threatened by funding cuts'
http://www.guardian.co.uk/education/2010/sep/14/creative-partnerships-schools-funding
'School test mania 'killing creativity' pupils'
http://www.independent.co.uk/news/school-test-mania-killing-creativity-pupils-1106482.html
'Students stifled by lack of creativity in schools'
http://www.gailkonopbaker.com/pdf/stifling.pdf
Other information I have found that I will be using in my essay are:
'Valedictorian speaks out against schooling in graduation speech'
http://www.youtube.com/watch?v=9M4tdMsg3ts
BBC News 'Bringing creativity to the classroom'
http://news.bbc.co.uk/1/hi/education/3717310.stm
National Curriculum-Creativity
http://curriculum.qcda.gov.uk/
TES magazine-Creativity
http://www.tes.co.uk/article.aspx?storycode=391296
Public speaker David Peat on creativity and education
http://www.fdavidpeat.com/bibliography/essays/dempsey.htm
Newsweek-The creativity Crisis
http://www.newsweek.com/2010/07/10/the-creativity-crisis.html
Books I have been reading on creativity:
Anna Craft, Creativity in Schools: Tensions and Dilemmas
Anna Craft, Creativity in Education
A Cropley, Creativity in Education and Learning
Ken Robinson, Out of Our Minds: Learning to be creativity
Reports written on creativity in education:
Creativity, Culture and Education 'The Cost and Benefits of Creative Partnerships'
National Advisory Committee on Creative and Cultural Education 'All Our Futures: Creativity, Culture and Education'
Tuesday, 2 November 2010
Ross Eccles
I recently visited the Art Decor Gallery in Whalley and there was a wonderful exhibition on displaying the works of the artist Ross Eccles. He was born in Blackburn, England in 1937 and worked as an architect. In 1991 he retired and dedicated himself to his art. Finding great inspiration in new surroundings, believing that changing environments can open the mind to new influences, he was a keen traveller and has travelled Europe and the world. His paintings are very vibrant and colourful, mirroring his eccentric personality.
He was never educated as an artist himself and believes that 'prescribed schooling moulds people into similar patterns and suppresses natural individuality'. I had the pleasure of personally speaking with Ross at the exhibition and I was very interested in his thoughts and opinions. His paintings are a reflection of his travels, similar to a photo album, portraying where he has visited. I love his paintings for the quirky style he uses and bright colours. As we grew up in the same town and attended the same school, I am also able to associate myself with the subject of the paintings. For example, the painting of Clitheroe Castle or, more recently for me, the paintings of Manchester.
Ross likes to work in different techniques and styles. He uses fine detailed pen and watercolours in his work but more recently, he has used large paintbrushes and a palette knife. Some of his works, for example, 'City Confusion' reminds me of the work of Jackson Pollock, very abstract and various drips and splashes on the canvas from the paint.
At the moment, I am writing my dissertation on 'Creativity in Education' and the lack of creativity in schools. As this is a subject that Ross feels strongly about, we vaguely discussed it at the exhibition and have since been in contact with him through email on the topic. He kindly has emailed me his thoughts and ideas on creativity in education. I shall be including this in my essay, creativity in education from an artist's perspective.
2010, Acrylic on Canvas
30in x 24in
Osyter Bar, Exchange Square, Manchester
2008, Acrylic on Canvas
20in x 30in
Clitheroe Castle
2010, Acrylic on Canvas
20in x 16in
Paris Montage1995,
Pen and Watercolour
Memorial Arch, St Stephen's Green
Acrylic on Board
44cm x 60cm
Planning Chaos
2008, Acylic and pen on paper
33in x 23in
Monday, 1 November 2010
PGCE Application
My Personal Statement
I have always had a passion to teach and my experiences in schools have increased this desire. I have an emphatic interaction with children and I believe I have the commitment and qualities to develop into an effective teacher.
During my numerous work placements through observation and direct involvement, I have learnt many of the key skills necessary to motivate children and to facilitate their learning by engaging them in a variety of learning experiences. I understand the necessity of sharing the learning objectives and success criteria with the pupils and I have appreciated that children are individuals who learn in different ways and that differentiation in the classroom is essential.
Taking part in the Student Associate Scheme was a fulfilling and fantastic experience for me. I thoroughly enjoyed the three weeks I spent with the children. I not only learnt about the teaching process but also learnt a lot about myself. During this placement I was given the responsibility of teaching small groups. This enabled me to use my initiative and to utilise a variety of techniques to engage the children in a safe learning environment, carrying out any rewards or sanctions.
Both my parents are teachers and living with them and this placement has given me the insight of the dictation required to become a successful teacher. During my work placement in a Special Needs School I appreciated that having enthusiasm and presence were essential qualities. Engaging children is not always easy. An assertive nature and the ability to adapt and use a variety of learning techniques is vital.
I was a Sunday School teacher for a number of years. I prepared tasks, including worksheets to engage the children, as well as being informative I made the learning experience fun. I joined the community service scheme while I was at college and visited a primary school every Wednesday afternoon. I assisted the teachers and experienced a variety of tasks including helping preparing the lessons, marking pupils work, putting up displays and working with children on a one to one basis, helping them to develop their literacy and numeracy skills. I thoroughly enjoyed the rapport I had with the children and I appreciated that they believed that fairness in the classroom is very important to them.
Recently I have worked as I volunteer in Manchester Children Hospital. Working with children with illnesses has made me realise that a positive attitude is essential no matter what the difficultly is. Art can be an invaluable form of therapy for children with physical and mental health issues.
Whilst studying for my degree I have also experienced the skills appropriate for a teaching vocation. Working in groups has made me appreciate the value of teamwork and listening skills. Delivering presentations on a regular basis has enabled me to develop my leadership skills. For my dissertation, I chose to write about creativity in education. Through this, I have learnt the importance of allowing children to express their own ideas and that they should be encouraged to take risks in the classroom. I have recently taken part in voluntary work at Manchester Art Gallery. This involves helping children during family activity days. I am really looking forward to continuing my work with children. I am excited about enrolling on a PGCE course and making my long held goal to become a successful and handworking teacher a reality.
I have always had a passion to teach and my experiences in schools have increased this desire. I have an emphatic interaction with children and I believe I have the commitment and qualities to develop into an effective teacher.
During my numerous work placements through observation and direct involvement, I have learnt many of the key skills necessary to motivate children and to facilitate their learning by engaging them in a variety of learning experiences. I understand the necessity of sharing the learning objectives and success criteria with the pupils and I have appreciated that children are individuals who learn in different ways and that differentiation in the classroom is essential.
Taking part in the Student Associate Scheme was a fulfilling and fantastic experience for me. I thoroughly enjoyed the three weeks I spent with the children. I not only learnt about the teaching process but also learnt a lot about myself. During this placement I was given the responsibility of teaching small groups. This enabled me to use my initiative and to utilise a variety of techniques to engage the children in a safe learning environment, carrying out any rewards or sanctions.
Both my parents are teachers and living with them and this placement has given me the insight of the dictation required to become a successful teacher. During my work placement in a Special Needs School I appreciated that having enthusiasm and presence were essential qualities. Engaging children is not always easy. An assertive nature and the ability to adapt and use a variety of learning techniques is vital.
I was a Sunday School teacher for a number of years. I prepared tasks, including worksheets to engage the children, as well as being informative I made the learning experience fun. I joined the community service scheme while I was at college and visited a primary school every Wednesday afternoon. I assisted the teachers and experienced a variety of tasks including helping preparing the lessons, marking pupils work, putting up displays and working with children on a one to one basis, helping them to develop their literacy and numeracy skills. I thoroughly enjoyed the rapport I had with the children and I appreciated that they believed that fairness in the classroom is very important to them.
Recently I have worked as I volunteer in Manchester Children Hospital. Working with children with illnesses has made me realise that a positive attitude is essential no matter what the difficultly is. Art can be an invaluable form of therapy for children with physical and mental health issues.
Whilst studying for my degree I have also experienced the skills appropriate for a teaching vocation. Working in groups has made me appreciate the value of teamwork and listening skills. Delivering presentations on a regular basis has enabled me to develop my leadership skills. For my dissertation, I chose to write about creativity in education. Through this, I have learnt the importance of allowing children to express their own ideas and that they should be encouraged to take risks in the classroom. I have recently taken part in voluntary work at Manchester Art Gallery. This involves helping children during family activity days. I am really looking forward to continuing my work with children. I am excited about enrolling on a PGCE course and making my long held goal to become a successful and handworking teacher a reality.
Sunday, 31 October 2010
Group Tutorial
Scan in the negatives and print them out larger, in the university or externally?
Digital Lab
Superchrome
Encourporate artists work with children, ideas, interpretations, likes/dislikes
Select areas of the photograph-abstract?
Darkroom photography, make my own prints. Can create different contrasts in exposures
Thursday, 28 October 2010
PGCE Application
Helpful advice for applying for a PGCE in primary school teaching from prospects.ac.uk.
Applying for a PGCE
Entry requirements
Trainee teachers must meet a set of professional standards determined by the
government, before they can be awarded qualified teacher status (QTS). They do this by completing a period of initial teacher training (ITT) followed by an induction year in employment as a teacher. For an overview of the different routes into teaching, see teacher training. Universities offering the PGCE (Postgraduate Certificate in Education) or PGDE(Professional Graduate Diploma in Education) use nationally agreed professional standards to determine their minimum entry requirements and may also employ additional criteria. The standards and requirements listed below apply to England. For variations in the other countries of the UK, see teaching in Scotland, teaching in Wales, and teaching in Northern Ireland. Full details are available from the Training and Development Agency for
Schools (TDA) (http://www.tda.gov.uk)
Minimum requirements are:
UK degree or equivalent qualification
Secondary courses:
Your degree subject should be directly relevant to the subject you hope to teach. If it is not, you should contact the institution you want to apply to and ask if they will consider you on the basis of your current qualifications. You might consider studying some higher education modules in the subject you hope to teach. This can be done on a part-time or distance learning basis.
Primary courses:
Some ITT providers prefer that you have a degree in a national curriculum subject. If you don’t, it is very important to stress in your personal statement the relevance of your education to the curriculum you will be teaching. You may want to highlight specific modules that relate to English, mathematics or science, or mention your A-levels if they are in national curriculum subjects.
Degree equivalency:
The final decision on whether your qualification is equivalent to a required degree rests with the ITT provider. The UK National Recognition Information Centre (NARIC)
(http://www.naric.org.uk) can provide advice on comparability of overseas and UK
qualifications. There is a charge for this.
Grade C or above in GCSE English and Mathematics, and for Primary,
also GCSE Science
If you don't have the GCSEs required, check whether the ITT provider will view your
qualifications as equivalent. Some may offer equivalency tests. Alternatively, study and take the GCSE examination. Further education (FE) colleges/adult education centres and distance learning institutions usually run one-year GCSE evening or day classes.
Fitness to teach
All candidates must, by law, satisfy fitness to teach requirements before acceptance onto a course. The ultimate decision about a person's fitness rests with admissions tutors, but they will be influenced by recommendations from the college medical adviser (often a local GP). Medical fitness is assessed initially via a lengthy questionnaire completed by all students but, in exceptional cases or if doubts are raised about their ability to teach, students may subsequently be required to have a formal medical examination. Many disabled people are medically fit to teach, and employers make reasonable adjustments to allow disabled people to carry out their duties effectively. SKILL (National Bureau for Students with Disabilities) (http://www.skill.org.uk) produces a useful booklet called Into Teaching. Advice from a relevant medical specialist or non-medical specialist (e.g. the Royal National Institute of Blind People (RNIB) (http://www.rnib.org.uk/)) could
help you to prepare a case for admission.
Work experience
Relevant work experience can greatly enhance your chances of making a successful
application. Most ITT providers expect you to have substantial work experience, and many require it. You should aim to build up experience working with children of a relevant age, including some time spent in school. Find information about how to get relevant work experience under teacher training.
Applying for a PGCE
Entry requirements
Trainee teachers must meet a set of professional standards determined by the
government, before they can be awarded qualified teacher status (QTS). They do this by completing a period of initial teacher training (ITT) followed by an induction year in employment as a teacher. For an overview of the different routes into teaching, see teacher training. Universities offering the PGCE (Postgraduate Certificate in Education) or PGDE(Professional Graduate Diploma in Education) use nationally agreed professional standards to determine their minimum entry requirements and may also employ additional criteria. The standards and requirements listed below apply to England. For variations in the other countries of the UK, see teaching in Scotland, teaching in Wales, and teaching in Northern Ireland. Full details are available from the Training and Development Agency for
Schools (TDA) (http://www.tda.gov.uk)
Minimum requirements are:
UK degree or equivalent qualification
Secondary courses:
Your degree subject should be directly relevant to the subject you hope to teach. If it is not, you should contact the institution you want to apply to and ask if they will consider you on the basis of your current qualifications. You might consider studying some higher education modules in the subject you hope to teach. This can be done on a part-time or distance learning basis.
Primary courses:
Some ITT providers prefer that you have a degree in a national curriculum subject. If you don’t, it is very important to stress in your personal statement the relevance of your education to the curriculum you will be teaching. You may want to highlight specific modules that relate to English, mathematics or science, or mention your A-levels if they are in national curriculum subjects.
Degree equivalency:
The final decision on whether your qualification is equivalent to a required degree rests with the ITT provider. The UK National Recognition Information Centre (NARIC)
(http://www.naric.org.uk) can provide advice on comparability of overseas and UK
qualifications. There is a charge for this.
Grade C or above in GCSE English and Mathematics, and for Primary,
also GCSE Science
If you don't have the GCSEs required, check whether the ITT provider will view your
qualifications as equivalent. Some may offer equivalency tests. Alternatively, study and take the GCSE examination. Further education (FE) colleges/adult education centres and distance learning institutions usually run one-year GCSE evening or day classes.
Fitness to teach
All candidates must, by law, satisfy fitness to teach requirements before acceptance onto a course. The ultimate decision about a person's fitness rests with admissions tutors, but they will be influenced by recommendations from the college medical adviser (often a local GP). Medical fitness is assessed initially via a lengthy questionnaire completed by all students but, in exceptional cases or if doubts are raised about their ability to teach, students may subsequently be required to have a formal medical examination. Many disabled people are medically fit to teach, and employers make reasonable adjustments to allow disabled people to carry out their duties effectively. SKILL (National Bureau for Students with Disabilities) (http://www.skill.org.uk) produces a useful booklet called Into Teaching. Advice from a relevant medical specialist or non-medical specialist (e.g. the Royal National Institute of Blind People (RNIB) (http://www.rnib.org.uk/)) could
help you to prepare a case for admission.
Work experience
Relevant work experience can greatly enhance your chances of making a successful
application. Most ITT providers expect you to have substantial work experience, and many require it. You should aim to build up experience working with children of a relevant age, including some time spent in school. Find information about how to get relevant work experience under teacher training.
Sunday, 24 October 2010
Manchester Art Gallery
Volunteering
I have started volunteering at Manchester Art Gallery. As I want to be a primary school teacher, it is useful to help build up my experience and I want to see how children interact with the artwork in the gallery. The 'Family Activity Day', that I am volunteering with, likes to encourage parents/carers and their children to play together, promoting that being creative is not just for children, adults should join in too and engage with the artwork. When the children see the adults creating pieces of artwork, the children will model this behaviour.
In the first session I volunteered in, using different fabrics and materials, they were encouraged to dress up or make an object/person that was in the paintings in the gallery. Many of them liked to dress up together and pose in the style of the painting for a photograph, one woman and her child made a textile wall hanging, a group of children made animals from the paintings using the different materials and another group created a large imstallation on the floor, looking at the different textures in the paintings.
The adults and children all interacted together, working in groups and taking photographs of the session. I liked seeing that the parents/carers were having as much fun as the children and they were able to engage in their creative abilities. I enjoyed the volunteering and will be taking part in more sessions throughout the year.
Friday, 15 October 2010
The Cornerhouse Manchester
Unspooling Exhibition
Harald Smykla
Pictographic shorthand notations of a film, created in real time while Smykla watched it, drawing a kind of reverse storyboard. Sequences of swift line drawings chase one another like words written on a page. It is the capturing of a film, in this case, Nick Roeg' film Insignificance, through live drawing. The work is also a live performance. Smykla uses an overhead projector, showing his personal and physical interpretation of the film in visual language. Towards the end of the film, signs of exhaustion, stress and relief are significant in the notations as the performance lasts the length of the film.
I really like Smykla's work, similar to Wearing's photographs, the viewer is able to connect to the artist as the notations show his personal thoughts and interpretations of the film. What can the viewer understand from the notations? Did Smykla enjoy the film? What was his analysis of it? I also like how it is a live performance. The usual passive process of watching a film becomes an active one. The notations reminds me of hieroglyphic style drawings.
Elizabeth McAlpine McAlpine has taken single film frames of actors with their eyes closed in an iconic Frank Stella painting. The artist is showing the repetitions and gestures that are inherent in popular media.
Elizabeth McAlpine
Hyena Stomp
2006
C-print on plexiglass, 180 x 180 cm
Harald Smykla
Movie Protocol
2010
Pen on Acetate
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