Where do we start with telling a story? At the highlight to spark interest and come in with a BANG?
Or as I learned from The Sound Of Music 'let's start at the very be-gin-ning, it's a very good place to start'? (insert Julie Andrews voice).
Perhaps at the very end where you finish the mission, off to the new adventure and share the journey through reflections and flack backs?
Shaping my presentation makes me realise I have so much I want to share, and zero clue what is the 'best' one. So I decided to just start somewhere and see if I can keep juggling until it feels like the puzzle pieces of my journey through this course 'fit'.
How do you make these decisions? Intuition? Rationale? Would love to hear!
Cannot wait to share it with you on Tuesday!
Sunday, July 21, 2019
Tuesday, July 16, 2019
Internal vs external flaws
When I first looked at characters I tried to organise their flaws by internal and external flaws. If a flaw wasn't explained in the film, was not a direct cause of something I labelled it as an internal flaw. For example. In the film Black Swan you see the central character Nina steal things from the ex-principal dancer, probably because she wanted literally to have everything she had, in order to embody the principal dancer experience. Internal experience.
Or is it?
Was this flawed behaviour not the product of the highly competitive and (sometimes) destructive environment of being in a professional ballet company? Of the principal ballerina that might have ignored her many times? Of the company director that pressured her to be more like the principal? All very probable options of external factors.
But we don't see these in the film.
So I thought they came from an internal source.
But a film is a moment in time. We can't see all the external influences that cause flaws. And aren't we all a product of our environment?
Would love to hear your thoughts on this!
Or is it?
Was this flawed behaviour not the product of the highly competitive and (sometimes) destructive environment of being in a professional ballet company? Of the principal ballerina that might have ignored her many times? Of the company director that pressured her to be more like the principal? All very probable options of external factors.
But we don't see these in the film.
So I thought they came from an internal source.
But a film is a moment in time. We can't see all the external influences that cause flaws. And aren't we all a product of our environment?
Would love to hear your thoughts on this!
Monday, July 1, 2019
Thoughts on core text book 'Transforming Qualitative data' - Harry F. Wolcott
As I am working through the book 'Transforming Qualitative data' by Harry F. Wolcott I would like to share a few key things from this book that are really helping me at the moment and my thoughts on it. It's a massive book so hopefully these little 'nuggets of wisdom' are useful. Would love to share idea's and thoughts on them!
Page 10
Wolcott discusses the three major ways to 'do something' with descriptive data:
1. Stay close to the data as originally recorded. This may result in long excepts from fieldnotes, or reapeat informants' words so that informants themselves seem to tell their stories. --> Underlying assumption is that the data 'speak for themselves'.
2. 'Expand and extend beyond a purely descriptive account with an analysis that proceeds in some careful, systematic way to identify key factors and relationship among them'
3. Calling for interpretation. --> It does not claim to be as convincingly or compulsively 'scientific' as the 2nd. The goal is to make sense of what goes on, to reach out for understanding or explanation beyond the limits of what can be explained with the degree of certainty usually associated with analysis. --> can be starting point and culmination.
Page 44
On ways to approach interpretation;
Connect with personal experience;
-reference to I-witnessing from Geertz, 1988 pp. 73-101. --> two interpretations
1. personalize: 'this is what I make of it all'
2. 'this is how the research experience affected me'
For me this distinction was very interesting. I started to reflect on how this degree and my research is influencing my work as a filmmaker and how I am shaping my personal opinion on the research subject as I gather more data.
On analysing the interpretive process:
What seems to be holding you back? What piece of the puzzle are you still missing? 'Be aware how your analysis may reflect fashionable point of view rather than important underlying issues.'
These questions are very interesting as I move into my last interviews. What keeps me from asking certain questions? How can I change that? What do I really want to address in my next interview? How do I keep an open eye to the research at hand when my own stance becomes clearer and clearer?
Page 48:
A quote from Barbara Frankel (1987) that got mentioned and was really food for thought for me:
'While it has been trendy for some years to take sides ''for'' or ''against'' interpretive social science, no one has yet paused in the game long enough to explain how one would go about doing non-interpretive science of any sort. (p170)
Page 65:
Descriptive data need to be studied, not merely skimmed.
A good reminder to keep going over the recordings and to keep referring back to the original artefacts. My first interpretation of it might not be the only/right one. There is no right one.
Page 67:
'Overburdening readers with data seems an academic cop-out on the part of a researcher holding too tightly to the belief that data speak for themselves.'
Everyone's interpretation of data is different; this research is a way to share my interpretation through critical analysis. It's not up to the reader to analyse my data.
Page 113:
On generalisation of a case study:
'There must be a capacity for generalisation; otherwise there would be no point to giving such careful attention to the single case. The art of descriptive research, I believe, is in portraying the case at hand so well that readers themselves make the generalisations for us.'
For me a particular film is a case study. I want to keep the analysis to the film I am reviewing. Not generalise to every film. At the same time my analysis must be so careful and through that the reader (hopefully) find their own examples of other films that my analysis might apply to.
Page 407:
About preparing for qualitative data, these questions are helpful:
-If I want to shed light on this topic, I will need such-and-such data?
-What kind of data would I have to get?
This made me review my preparations and tailor some of the questions to be more specific. And others to widen the point of view to allow a variety of answers/data to shine through.
Page 10
Wolcott discusses the three major ways to 'do something' with descriptive data:
1. Stay close to the data as originally recorded. This may result in long excepts from fieldnotes, or reapeat informants' words so that informants themselves seem to tell their stories. --> Underlying assumption is that the data 'speak for themselves'.
2. 'Expand and extend beyond a purely descriptive account with an analysis that proceeds in some careful, systematic way to identify key factors and relationship among them'
3. Calling for interpretation. --> It does not claim to be as convincingly or compulsively 'scientific' as the 2nd. The goal is to make sense of what goes on, to reach out for understanding or explanation beyond the limits of what can be explained with the degree of certainty usually associated with analysis. --> can be starting point and culmination.
Page 44
On ways to approach interpretation;
Connect with personal experience;
-reference to I-witnessing from Geertz, 1988 pp. 73-101. --> two interpretations
1. personalize: 'this is what I make of it all'
2. 'this is how the research experience affected me'
For me this distinction was very interesting. I started to reflect on how this degree and my research is influencing my work as a filmmaker and how I am shaping my personal opinion on the research subject as I gather more data.
On analysing the interpretive process:
What seems to be holding you back? What piece of the puzzle are you still missing? 'Be aware how your analysis may reflect fashionable point of view rather than important underlying issues.'
These questions are very interesting as I move into my last interviews. What keeps me from asking certain questions? How can I change that? What do I really want to address in my next interview? How do I keep an open eye to the research at hand when my own stance becomes clearer and clearer?
Page 48:
A quote from Barbara Frankel (1987) that got mentioned and was really food for thought for me:
'While it has been trendy for some years to take sides ''for'' or ''against'' interpretive social science, no one has yet paused in the game long enough to explain how one would go about doing non-interpretive science of any sort. (p170)
Page 65:
Descriptive data need to be studied, not merely skimmed.
A good reminder to keep going over the recordings and to keep referring back to the original artefacts. My first interpretation of it might not be the only/right one. There is no right one.
Page 67:
'Overburdening readers with data seems an academic cop-out on the part of a researcher holding too tightly to the belief that data speak for themselves.'
Everyone's interpretation of data is different; this research is a way to share my interpretation through critical analysis. It's not up to the reader to analyse my data.
Page 113:
On generalisation of a case study:
'There must be a capacity for generalisation; otherwise there would be no point to giving such careful attention to the single case. The art of descriptive research, I believe, is in portraying the case at hand so well that readers themselves make the generalisations for us.'
For me a particular film is a case study. I want to keep the analysis to the film I am reviewing. Not generalise to every film. At the same time my analysis must be so careful and through that the reader (hopefully) find their own examples of other films that my analysis might apply to.
Page 407:
About preparing for qualitative data, these questions are helpful:
-If I want to shed light on this topic, I will need such-and-such data?
-What kind of data would I have to get?
This made me review my preparations and tailor some of the questions to be more specific. And others to widen the point of view to allow a variety of answers/data to shine through.
Wednesday, June 26, 2019
Keep questioning
I met with a colleague this week and we discussed my research about the complexities and perspectives on flawed female characters in Western 21st Century film. He asked me why.. Why do I do this study? What has it given me so far? Why research female characters? Why now? Why is this important? For who is this important? What would I love to come out of this study? What would I hate to come out of this study?
I found myself going around in circles with these questions in the days after our conversation, in the same way we went around in circles for the research inquiry. Every time you ask the same questions you go further, deeper, as you gain more knowledge and self awareness. It brought me a lot of clarity.
I also found myself arguing with myself, especially about the questions regarding the outcome. I am a firm believer as a qualitative researcher that if I want to discover something within my research I will be able to find ways to support my statement and hypothesis. Therefore I will probably not perhaps discover new idea's on insights but instead gather more proof for my view on things. But to find a sense of direction without a strong statement feels like floating on open sea, no clue where you will land. I decided to really sharpen my opinion on my matter in my reflective journal. So instead of trying to be as objective as possible, I will know very clearly where I stand and what my views are on female characters in film. Then I will use this as just one of the views, next to the feminist film theorists like Mulvey and Silverman, and filmmakers like W. Allen and Q. Tarentino.
What are the questions that help you further in your research? Do you ask them once or do you keep coming back to them, every time with a slightly more refined (or completely different) answer?
I found myself going around in circles with these questions in the days after our conversation, in the same way we went around in circles for the research inquiry. Every time you ask the same questions you go further, deeper, as you gain more knowledge and self awareness. It brought me a lot of clarity.
I also found myself arguing with myself, especially about the questions regarding the outcome. I am a firm believer as a qualitative researcher that if I want to discover something within my research I will be able to find ways to support my statement and hypothesis. Therefore I will probably not perhaps discover new idea's on insights but instead gather more proof for my view on things. But to find a sense of direction without a strong statement feels like floating on open sea, no clue where you will land. I decided to really sharpen my opinion on my matter in my reflective journal. So instead of trying to be as objective as possible, I will know very clearly where I stand and what my views are on female characters in film. Then I will use this as just one of the views, next to the feminist film theorists like Mulvey and Silverman, and filmmakers like W. Allen and Q. Tarentino.
What are the questions that help you further in your research? Do you ask them once or do you keep coming back to them, every time with a slightly more refined (or completely different) answer?
Monday, April 1, 2019
What are flaws?
As I went to see Emilia at the Vaudeville theatre in London as artefact for my literary review I realised that I haven't defined 'flaws' as clearly for myself and I need to have a serious look at it. I want to write and portray female flawed characters, but what is a flaw? It is so subjective to the social, cultural, political and historical context of the piece.
Because, as I saw it, I found Emilia a heroine, she did everything right and to the best of her ability. The people around her were highly flawed and some even thus far that they became caricatures. However, in the time period that it was written (around 1600) Emilia was highly flawed, she was a women who cheated, wrote, taught, and shared poems that were seen as highly rebellious.
So would I classify her as a flawed character? She has good intentions and is generally good to others around her. But is generally good enough? In the play she hurts William Shakespeare, the same as Lord Henry Carey, but not in a vicious way or intentional. It's the kind of hurt that you can't avoid in romance and love (or not love). Would Emilia be staged not in 1609 but 400 year later in 2019 she would probably not be seen generally as flawed, but merely as a women surviving by the means she has. Especially in the way she has been created in this production. She is strong and in inspiration for those around her (and for me)..
I would love to hear your thoughts, what roles of (flawed) women come to mind? And what do you think are character flaws within film and theatre? Have you seen Emilia?
sources:
https://www.whatsonstage.com/london-theatre/news/emilia-west-end-cast-drama_48304.html
https://www.londontheatredirect.com/news/full-casting-announced-for-west-end-transfer-of-emilia-at-the-vaudeville
https://www.shakespearesglobe.com/discovery-space/previous-productions/emilia
Because, as I saw it, I found Emilia a heroine, she did everything right and to the best of her ability. The people around her were highly flawed and some even thus far that they became caricatures. However, in the time period that it was written (around 1600) Emilia was highly flawed, she was a women who cheated, wrote, taught, and shared poems that were seen as highly rebellious.
So would I classify her as a flawed character? She has good intentions and is generally good to others around her. But is generally good enough? In the play she hurts William Shakespeare, the same as Lord Henry Carey, but not in a vicious way or intentional. It's the kind of hurt that you can't avoid in romance and love (or not love). Would Emilia be staged not in 1609 but 400 year later in 2019 she would probably not be seen generally as flawed, but merely as a women surviving by the means she has. Especially in the way she has been created in this production. She is strong and in inspiration for those around her (and for me)..
I would love to hear your thoughts, what roles of (flawed) women come to mind? And what do you think are character flaws within film and theatre? Have you seen Emilia?
sources:
https://www.whatsonstage.com/london-theatre/news/emilia-west-end-cast-drama_48304.html
https://www.londontheatredirect.com/news/full-casting-announced-for-west-end-transfer-of-emilia-at-the-vaudeville
https://www.shakespearesglobe.com/discovery-space/previous-productions/emilia
Friday, February 15, 2019
Female characters vs Male characters in Theatre
Yesterday I attended a playread at Monobox where we read Annie Bakers' play Aliens.
Here are some facts about the play:
Here are some facts about the play:
The Aliens premiered Off-Broadway in 2010,
The play premiered in London at the Bush Theatre in September 2010
The writer of an article in the Boston Globe noted: "At least one-third of her play 'The Aliens' should be silent, uncomfortably so, a note in the text says
Baker won the Obie Award for Best New American Play (with a check for $1,000), for The Aliens, jointly with Baker's Circle Mirror Transformation. The play also won the Obie Award for Directing (Sam Gold) and Performance (Dane DeHaan).
The Aliens was a finalist for the Susan Smith Blackburn Prize for 2009-2010.
After the read we had a discussion and the subject came up; How would this play and especially the characters be perceived if they were female?
You see, the characters are two males in their 30s and one younger male who is 17 years old. The older ones are lost, have no direction and hang outside at the back of a place where the youngster works.
Often, when women in their 30s are portrayed as being lost, there is often a cause of it that has to deal with men. They have been abused, abandoned, and as a result are lonely, desperate, and often alone hiding in their home or prostitutes.
We started discussing why this could be. Someone brought up that a lot of women don't have the luxury of time to figure their lives out. That there is a lot more pressure for women to either be married, have children or have a successful career in their 30s. This results in that the women who do not feel like they have accomplished one or all of these things often are ashamed. They won't sit outside all day and 'show' that they have nowhere to go or nothing to do.
In my opinion, it would be very interesting to see a production about 'lost' or 'unaccomplished' women (according to Western Society norms), being open and unapologetic about it. Where the cause of their wondering is not caused by men or being influenced by it.
I would love to hear thoughts on this. Do you know a production where they show this or something similar? Or another one with men?
Thursday, February 7, 2019
Thoughts on Skype session 02/02/2019 research as mapping to build understanding
Very useful Skype discussion today with Adesola, below are some ideas and things that got mentioned that really stuck with me:
Avoid trying to want to change something or convince someone/something
About inquiry:
Avoid trying to want to change something or convince someone/something
About inquiry:
- Don't assume you know your topic
- Practise based inquiry is by nature something you haven't looked into yet
- What different people have written/done research about your inquiry? Parents, age, genders etc?
About mapping:
- By mapping we mean understanding the context of the field I'm interested in
- Know the context of what you're researching
- What are the main theories, ethical considerations, discourses around the inquiry, different conversations people have around it. Then look at the side roads of different theories, talking to people in the field about that topic, getting more specific. You're able to after this tell someone about it.
About research:
- How do people in your practise do research? the thing that only you can do within your professional practice, it's different than others.
- Focus on different research methods - how do you really observe? can you draw, write poetry, taking part, how do you document that?
- Push boundaries of what you think research is, esp. practise based, more than just writing
Monday, February 4, 2019
Can you imagine?
Another thing that was mentioned at the Womens Centrestage Symposium was:
Can you imagine a world without misogyny?
Is your imagination strong enough to believe patriarchy can end?
What will that look like?
I would love to explore this 'utopia'. And go on a journey of imagination, how would I deal with the internal misogyny? As we are a product of our environment, and I have been living for 28 years in patriarchy and a society that benefits from women feeling the need to do something to be enough. (simple example is women have 8 products to shower with and men have 4 in 1 shampoo) It would be very interesting to explore what blocks I walk against myself in a society where there wasn't any sexism, racism, homophobia. How would I deal when my privilege has disappeared? (When the bus won't stop for me when I'm running after it in my heels?) How would others react on me? How would the world take shape? This is a big wonder but I would love to find a little wonder within this and go on a Alice In Wonderland type of adventure and explore this new world. Perhaps a one-woman-play can come out of it at the end of my studies?
Let the imagination roll free, can I? Can you?
Can you imagine a world without misogyny?
Is your imagination strong enough to believe patriarchy can end?
What will that look like?
I would love to explore this 'utopia'. And go on a journey of imagination, how would I deal with the internal misogyny? As we are a product of our environment, and I have been living for 28 years in patriarchy and a society that benefits from women feeling the need to do something to be enough. (simple example is women have 8 products to shower with and men have 4 in 1 shampoo) It would be very interesting to explore what blocks I walk against myself in a society where there wasn't any sexism, racism, homophobia. How would I deal when my privilege has disappeared? (When the bus won't stop for me when I'm running after it in my heels?) How would others react on me? How would the world take shape? This is a big wonder but I would love to find a little wonder within this and go on a Alice In Wonderland type of adventure and explore this new world. Perhaps a one-woman-play can come out of it at the end of my studies?
Let the imagination roll free, can I? Can you?
Sunday, February 3, 2019
The portrayal of women in storytelling
Something that really stuck with me at the Womens Centre Stage Symposium was something Timberlake Wertenbaker brought up. She said that people get really uncomfortable when actresses play powerful women who are not nice, who are not obeying.
This is because we are not used to seeing these characters. We are used to men in such positions, for example Richard III, but most female leads are missing a tragic flaw. Either they are 'nice' or they are a 'witch', a character with only flaws and fundamentally evil.
I will watch the following films and research the following characters from which I heard they (the main characters) are 'not nice', I am very curious to see how 'flawed' they are, how complex and detailed their characterisation is.
Monster - Charlize Theron
Destroyer - Nicole Kidman
Medea - Greek Mythology
Mary Stuart - Almeida Theatre
From Medea I know she is so full of pain because of a man. I am curious if the explanation for the others' flaw also lies with a man or have another explanation, if they even have one. I wonder if many 'flawed' male characters 'owe' their flaw to the pain from a women..
This is because we are not used to seeing these characters. We are used to men in such positions, for example Richard III, but most female leads are missing a tragic flaw. Either they are 'nice' or they are a 'witch', a character with only flaws and fundamentally evil.
I will watch the following films and research the following characters from which I heard they (the main characters) are 'not nice', I am very curious to see how 'flawed' they are, how complex and detailed their characterisation is.
Monster - Charlize Theron
Destroyer - Nicole Kidman
Medea - Greek Mythology
Mary Stuart - Almeida Theatre
From Medea I know she is so full of pain because of a man. I am curious if the explanation for the others' flaw also lies with a man or have another explanation, if they even have one. I wonder if many 'flawed' male characters 'owe' their flaw to the pain from a women..
Womens Centre Stage Symposium
Having just come from the Womens Centrestage Symposium in Hampstead theatre, I am very enthusiastic and motivated to order my thoughts. Hopefully it will bring more clarity as to what I want to focus on the rest of my study.
I am going to bring up questions that were asked with my own ideas as answers and answers from some of the speakers that were there today, but mostly just question after question after question, who knows what it will result in?
What is the most useful thing I can do?
There is nothing more powerful than the story --> What do we tell ourselves and others? Stories have the power to produce shame of the right kind.
Do I have enough imagination to believe that it will be different? Can I imagine the end of patriarchy?
Jude Kelly (Artistic Director of the Southbank Centre for 12 years, created WOW, Women of the World Festival, theatre and opera director and recipient of two Olivier awards and has founded METAL):
-How do I deal with internal misogyny (dislike of, contempt for, or ingrained prejudice against women)
--> Learn from the stories around us, from other women
-How do I deal with the things that are so ingrained that I don't even realise it's there?
On storytelling:
-Women are often not a protagonist but a decorative extra
On collaboration:
-You're not speaking about what you are in order to not get suspicion of a double agenda.
(For example; don't appear to feminine if you're speaking about women's issues, if you're more 'one of the boys' they take it on easier, how do you deal with and become aware of this?
Toni Racklin (Head of Theatre and Dance at the Barbican Centre since 2010, launched BITE, the yearly programme of dance, drama and music theatre from around the world. In 2018 the Barbican presented the Art of Change season exploring how artists respond to, reflect and can potentially effect change int he social and political landscape):
-If people believe and trust in you, you rise to that challenge
-Smaller theatre of The Barbican used to support New Voices.
Winsome Pinnock (award winning playwright; Leave Taking, The Wind of Change, Picture Palace):
-The world is going to change, so you better be prepared. You, we will be leading it so know what you're doing.
- Theatre is about change
- Reference Womens Playhouse Trust Jules Wright (1948 - 2015)
http://www.bristol.ac.uk/theatre-collection/explore/theatre/womens-playhouse-trust-archive/
Recommended reading: 50 shades of feminism
I am going to bring up questions that were asked with my own ideas as answers and answers from some of the speakers that were there today, but mostly just question after question after question, who knows what it will result in?
What is the most useful thing I can do?
There is nothing more powerful than the story --> What do we tell ourselves and others? Stories have the power to produce shame of the right kind.
Do I have enough imagination to believe that it will be different? Can I imagine the end of patriarchy?
Jude Kelly (Artistic Director of the Southbank Centre for 12 years, created WOW, Women of the World Festival, theatre and opera director and recipient of two Olivier awards and has founded METAL):
-How do I deal with internal misogyny (dislike of, contempt for, or ingrained prejudice against women)
--> Learn from the stories around us, from other women
-How do I deal with the things that are so ingrained that I don't even realise it's there?
On storytelling:
-Women are often not a protagonist but a decorative extra
On collaboration:
-You're not speaking about what you are in order to not get suspicion of a double agenda.
(For example; don't appear to feminine if you're speaking about women's issues, if you're more 'one of the boys' they take it on easier, how do you deal with and become aware of this?
Toni Racklin (Head of Theatre and Dance at the Barbican Centre since 2010, launched BITE, the yearly programme of dance, drama and music theatre from around the world. In 2018 the Barbican presented the Art of Change season exploring how artists respond to, reflect and can potentially effect change int he social and political landscape):
-If people believe and trust in you, you rise to that challenge
-Smaller theatre of The Barbican used to support New Voices.
Winsome Pinnock (award winning playwright; Leave Taking, The Wind of Change, Picture Palace):
-The world is going to change, so you better be prepared. You, we will be leading it so know what you're doing.
- Theatre is about change
- Reference Womens Playhouse Trust Jules Wright (1948 - 2015)
http://www.bristol.ac.uk/theatre-collection/explore/theatre/womens-playhouse-trust-archive/
Recommended reading: 50 shades of feminism
Saturday, February 2, 2019
Wonders
Big Wonders, little wonders, isn't all life a wonder?
I find it very difficult to choose what my wonder will be for Module 2. Therefore I am just going to list all the possibilities and perhaps slowly eliminate them to come to the one that is suitable for me in this moment.
Big Wonders:
Film making
Feminism
Theatre
Writing
Little Wonders:
Typecasting
Feminist Storytelling
Accents in acting
Writing one woman show
Writing short film
Producing short film
Performing (acting/dancing)
Combining acting+dancing
Filmlandscape (current)
Theatre landschape (current)
Independent Cinema
I would love to hear how others choose and what factors they take in consideration to make their choice!
I find it very difficult to choose what my wonder will be for Module 2. Therefore I am just going to list all the possibilities and perhaps slowly eliminate them to come to the one that is suitable for me in this moment.
Big Wonders:
Film making
Feminism
Theatre
Writing
Little Wonders:
Typecasting
Feminist Storytelling
Accents in acting
Writing one woman show
Writing short film
Producing short film
Performing (acting/dancing)
Combining acting+dancing
Filmlandscape (current)
Theatre landschape (current)
Independent Cinema
I would love to hear how others choose and what factors they take in consideration to make their choice!
Tuesday, November 6, 2018
Ethics - BAFTA new diversity requirements film awards
I went over the handbook section of ethics again this morning and I couldn't get the new BAFTA guidelines out of my head.
Here is the article I am talking about:
http://www.bafta.org/media-centre/press-releases/new-diversity-requirement-film-awards
In short, taken from the article:
From 2019, entries for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer will be accepted if they can demonstrate their film has addressed and improved inclusion and representation in at least two of these areas.
The areas of under-representation the Standards address are all the protected characteristics from the Equality Act 2010, as they pertain to the act. These are gender, gender identity, age, carers (including working parents), pregnancy/maternity, disability, race/ethnicity, religion or belief, sexual orientation and marriage/civil partnerships. The Standards also seek to address under-representation of people from lower socio-economic groups and ensure wide regional participation.
At first I was absolutely delighted with this announcement. It is a big step, as far as I know BAFTA has not taken diversity as a requirement for any of their entries.
After I went to BFI London Film Festival and saw a film together with an upcoming filmmaker we talked about how well the film was made but it raised many questions for us. I found it very odd that an indie film that was very realistic in many areas did only have white people in it. If you look at the ethnicity landscape of the city in which the story took place this is highly unlikely. It raised questions of the filmmakers choices, of her own experiences, the climate she grew up in and how she was 'taught' or conditioned how to tell stories. The film did address a foreigner living in the UK, she was white- European. As a European myself I loved seeing this character represented in an UK film, as most British films do not recognise all the European emigrants living and working in the UK and take that as a given, rather than making that the focus or 'problem' of the film.
So this film in which I, as a white, European, emigrant living in the U.K. I found myself being represented a bit in this one character. On the other hand, she had a completely different experience in the U.K in terms of diverse landscape as the people in my life are a lot from under-represented areas. And that aspect made the film leave a bitter taste. I mentioned the new requirements for BAFTA to my colleague and she said that the rules only were enforced for the upcoming season, and that this film could still qualify. I went over the article again and more questions came up: Why does this only apply to two categories? Why only two out of the four areas? (these are the areas: A: On-screen representation, themes & narratives
B: Project leadership & creative practitioners
C: Industry access & opportunities
D: Opportunities for diversity in audience development)
It was a reminder for me as a filmmaker that awareness for all under-represented people is important. I am focusing myself a lot on sexism and racism in my film making journey but why not look at disability and gender identity?
It would be great to hear your thoughts on representation in art and on the new submission requirements for BAFTA.
Here is the article I am talking about:
http://www.bafta.org/media-centre/press-releases/new-diversity-requirement-film-awards
In short, taken from the article:
From 2019, entries for Outstanding British Film and Outstanding Debut by a British Writer, Director or Producer will be accepted if they can demonstrate their film has addressed and improved inclusion and representation in at least two of these areas.
The areas of under-representation the Standards address are all the protected characteristics from the Equality Act 2010, as they pertain to the act. These are gender, gender identity, age, carers (including working parents), pregnancy/maternity, disability, race/ethnicity, religion or belief, sexual orientation and marriage/civil partnerships. The Standards also seek to address under-representation of people from lower socio-economic groups and ensure wide regional participation.
At first I was absolutely delighted with this announcement. It is a big step, as far as I know BAFTA has not taken diversity as a requirement for any of their entries.
After I went to BFI London Film Festival and saw a film together with an upcoming filmmaker we talked about how well the film was made but it raised many questions for us. I found it very odd that an indie film that was very realistic in many areas did only have white people in it. If you look at the ethnicity landscape of the city in which the story took place this is highly unlikely. It raised questions of the filmmakers choices, of her own experiences, the climate she grew up in and how she was 'taught' or conditioned how to tell stories. The film did address a foreigner living in the UK, she was white- European. As a European myself I loved seeing this character represented in an UK film, as most British films do not recognise all the European emigrants living and working in the UK and take that as a given, rather than making that the focus or 'problem' of the film.
So this film in which I, as a white, European, emigrant living in the U.K. I found myself being represented a bit in this one character. On the other hand, she had a completely different experience in the U.K in terms of diverse landscape as the people in my life are a lot from under-represented areas. And that aspect made the film leave a bitter taste. I mentioned the new requirements for BAFTA to my colleague and she said that the rules only were enforced for the upcoming season, and that this film could still qualify. I went over the article again and more questions came up: Why does this only apply to two categories? Why only two out of the four areas? (these are the areas: A: On-screen representation, themes & narratives
B: Project leadership & creative practitioners
C: Industry access & opportunities
D: Opportunities for diversity in audience development)
It was a reminder for me as a filmmaker that awareness for all under-represented people is important. I am focusing myself a lot on sexism and racism in my film making journey but why not look at disability and gender identity?
It would be great to hear your thoughts on representation in art and on the new submission requirements for BAFTA.
Monday, October 29, 2018
Thoughts on: A Handbook Of Refelctive And Experiental Learning - J. A. Moon
If you want to read the book but have not got your hands on it yet, this is a summary of my thoughts and collection of knowledge on it so far.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
-All learning is based on experience --> All learning is therefore 'experiental learning', the book is more about consious learning.
-Want to explore the use of Reflective Writing for my own essay/artifact (maybe interviews)
Human minds 1992 - Margaret Donaldson --> inspiration
Marton and booth 1997
Baxter Magolda 1992
Quotes:
-To deal properly with a topic requires focus and boundaries or the discussion will be woolly.
It is not always easy to see ideas are missing if the words are not present. We relay on words and ideas as tools of investigation and if we do not have them, the investigation process is distorted.
-It is not possible to assume that, when confronted with any particular methods of instruction, all learners react by learning in the same manner.
-Process of learning is not about the accumulation of material of learning, but about the process of changing conceptions. Given that learning usually implies that a person becomes progressively wiser and better at learning and understanding, a better phrase might be 'transforming conceptions'.
-Meaningfulness is a judgement to be made by the learner in the context of the sense of her cognitive structure. --> many different interpretations but it is an individual judgement.
-With each change may come new learning that, in turn, will have an impact on the state of the cognitive structure, perhaps challending again the initial major change.
-We do not build meanings alone, but in conjuction with the collected experiences of others who may be teachers or scholars, or peers, past or present and all embedded in a culture of learning that is also socially agreed. p20
We're missing words in the vocab of learning; How do you define the material you're learning? And the material you're teaching? These things are not always the same.
Difference between skill and knowledge:
'To learn something can mean to come to know or to have knowledge or it can mean that a person is able to do something. Sometimes this is clarified as 'knowing that' and 'knowing how'. Skill is a form of the representation of learning and it is the ability to do something that has been learnt. '
Different types of skills:
-cognitive
-presentation
-physical/practical
-study
Ways learning is affected by its social context:
-The manner in which understandings have been contructed in past social situations.
-The toold used in order to develop those understandings (e.g. language)
-The conventions associated with the knowledge
-The manner in which learning is expressed
-The manner in which there is learning from the representation of learning
Understandings of learnings: p38
Absolutist - knowledge is certain or absolute
Transitional stage - there is partial certainty and partial uncertainty
Independent knowing - learning is uncertain, everyoine has her own beliefs
contextual knowing - knowledge is contructed and any judgement must be made on the basis of the evidence in that context.
External experience: the material of learning when we are learning about something outside of ourselves. it is the object, idea, the concept, the image -whatever it is that the leraner wants to assimilate.
The internal experience: the experience that the learner brings to the learning situation from her current cognitive structure. It is the sum of prior experiences of the object. It is what she sees as related ideas with the effects other understanding of the nature of knowledge, relevant emotional influence and the influence of how she sees the learning task.
Appresentation: the manner in which a part of something that is percieved as an external experience can stimulate a much more complete or richer internal experience of the 'whole' of that thing to be conjured up.
epistemological:relating to the theory of knowledge, especially with regard to its methods, validity, and scope, and the distinction between justified belief and opinion.
Ill-structured broblems: have no right or wrong ansqwer, but require resoning and personal judgement. Ethical issues provide a good example.
How to stay logged in and be able to comment
Hello!
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
I think I finally worked out why I could not comment. It had to do with staying logged in and third party cookies to be allowed.
Adjust the setting on your browser and not your laptop. These sources helped me:
https://www.youtube.com/watch?v=_4a1IsoU41o
https://blogging.nitecruzr.net/2010/10/testing-for-problem-with-cookies.html
https://blogging.nitecruzr.net/2009/06/why-need-for-third-party-cookies-in.html
https://blogging.nitecruzr.net/2011/06/iframes-layered-security-and-following.html
I went to content settings in my Google Chrome and switch off "keep local files only until closing the browser" from the cookies section. I also allowed 'third party cookies'.
If there are any problems please let me know and hopefully I can help you out. I will be attending the campus session tomorrow also if anyone wants to ask me about it.
Best wishes
Saturday, October 20, 2018
Inspiration and reflection BFI London Film Festival 2018
My week at the BFI London Film Festival has ended. What an abundance of input. I feel like all emotions have been pulled out of me and I'm left empty, but fulfilled and confused in the best sense of the word. Confused of what my opinion is of every film. It is THE conversation starter during every networking event; 'What is your favourite film? What did you think of....?' Like films and art can be rated so black and white and on a list. Some films touched me more than others, but is a film deemed only good when it touches you? I feel like some films will stay with for a while and will take time to sink in and for me to make sense of them. They might become meaningful to me over time, or not. Some films felt healing, like 'Beautiful Boy', as it really hit home for me. While others felt like they ripped open a wound ('A Private War') and now I have all this blood gushing out of it and I don't know what to do with it. If I should try and put the bandage on again (will it still stick?), or let it open and hope that over time it will heal, not leaving any scars?
'Soni' made me feel so powerful and strong while 'Roma' and 'A Private War' (I've seen it this morning so it's on my mind still a lot) left me feeling absolutely hopeless.. wanting to make a change but not knowing how or where to start. It makes me talk about it with anyone I meet, directing the conversation from just the film to what is happening in this world around us and what influence we have on it.
'Only You' inspired me as an actor and made me scared at the same time, Laia Costa is just so good. Her freedom, grounded use of her voice and accessible emotions are what I strive towards in my acting. I can't wait to use the end 'breakup' scene in my own class to see how I can explore this text. She is a big improvisor as seen in her wonderful film 'Victoria', and after during the Q&A I asked the Director Harry Wootliff how much of the dialogue came together on set and how much was scripted. She said 95% was scripted, but that indeed Laia had a urge to improvise a lot.
I loved seeing 'The Kindergarten Teacher' as it explores for me the difference between intention and action. Does it matter if you do bad things with a good intention? Do we have a responsibility towards art or towards humans? And what makes someone a 'good' or 'bad' person? I was lucky enough to be at the Screentalk with Maggy Gyllenhaal who stars and produced the film, a direction I hope to focus on with this degree. It was great to hear how she reflected on the past roles in her life.
I look forward to reading the books 'Educating the reflective practitioner' and 'A handbook of reflective and experiential learning: theory and practice' and reflect further on this film festival.
'Soni' made me feel so powerful and strong while 'Roma' and 'A Private War' (I've seen it this morning so it's on my mind still a lot) left me feeling absolutely hopeless.. wanting to make a change but not knowing how or where to start. It makes me talk about it with anyone I meet, directing the conversation from just the film to what is happening in this world around us and what influence we have on it.
'Only You' inspired me as an actor and made me scared at the same time, Laia Costa is just so good. Her freedom, grounded use of her voice and accessible emotions are what I strive towards in my acting. I can't wait to use the end 'breakup' scene in my own class to see how I can explore this text. She is a big improvisor as seen in her wonderful film 'Victoria', and after during the Q&A I asked the Director Harry Wootliff how much of the dialogue came together on set and how much was scripted. She said 95% was scripted, but that indeed Laia had a urge to improvise a lot.
I loved seeing 'The Kindergarten Teacher' as it explores for me the difference between intention and action. Does it matter if you do bad things with a good intention? Do we have a responsibility towards art or towards humans? And what makes someone a 'good' or 'bad' person? I was lucky enough to be at the Screentalk with Maggy Gyllenhaal who stars and produced the film, a direction I hope to focus on with this degree. It was great to hear how she reflected on the past roles in her life.
I look forward to reading the books 'Educating the reflective practitioner' and 'A handbook of reflective and experiential learning: theory and practice' and reflect further on this film festival.
Friday, October 12, 2018
Thoughts after Campus session 12 Aug 2018 -question and answers
Great to meet the lecturers and fellow students today at the campus session.
Many interesting things got said, I'll start sharing a few of them and my own thoughts on them.
We are conditioned to think that every question requires an answer, that this is the natural circle of communication and discovery. And that in order to find an answer one must start with asking the right question. But what if a question leads to something else? To connection with someone (with the same question), to another question, or to a discovery that doesn't answer the initial question?
I also find this very interesting in terms of script writing, when writing a dialogue and someone asks a question it is not uncommon that it doesn't get answered in order to create conflict. The person is not listening, not interested, does not want to answer the question, or asks another question in return. Why do we do this and how does it serve us in a dialogue?
When making an introduction statement to a new contact, sending of a CV, or writing a bio, we often list what we have done in our lives. A listing of our 'achievements', commitments and engagements over the years. This statement made me think that it perhaps is more a list of choices we have made. We choose to do these things instead of other things that aren't on the list. I am often so focused on getting things done, and achieving, that I forget to look at the things that I end up not doing. It is not always a deliberate choice. Sometimes it serves me as it keeps me very focused but I think sometimes I would be very useful to be aware of why I chose certain things. Is is because it's common to do? Expected? Because it looks cool? I enjoy it? Automatic Pilot? I will experiment this week with thinking about the things that I don't do, and if I want to change perhaps my way and habits or not (yet)?
Many interesting things got said, I'll start sharing a few of them and my own thoughts on them.
Progression from question is an
answer à not necessarily
We are conditioned to think that every question requires an answer, that this is the natural circle of communication and discovery. And that in order to find an answer one must start with asking the right question. But what if a question leads to something else? To connection with someone (with the same question), to another question, or to a discovery that doesn't answer the initial question?
I also find this very interesting in terms of script writing, when writing a dialogue and someone asks a question it is not uncommon that it doesn't get answered in order to create conflict. The person is not listening, not interested, does not want to answer the question, or asks another question in return. Why do we do this and how does it serve us in a dialogue?
We are defined by what we do and
what we don’t do.
When making an introduction statement to a new contact, sending of a CV, or writing a bio, we often list what we have done in our lives. A listing of our 'achievements', commitments and engagements over the years. This statement made me think that it perhaps is more a list of choices we have made. We choose to do these things instead of other things that aren't on the list. I am often so focused on getting things done, and achieving, that I forget to look at the things that I end up not doing. It is not always a deliberate choice. Sometimes it serves me as it keeps me very focused but I think sometimes I would be very useful to be aware of why I chose certain things. Is is because it's common to do? Expected? Because it looks cool? I enjoy it? Automatic Pilot? I will experiment this week with thinking about the things that I don't do, and if I want to change perhaps my way and habits or not (yet)?
Thursday, October 4, 2018
Reflections on Module One focus session questions raised I
Following up on reading Adesola's blog and other on this session I write all my thoughts down in this post. I have tried to comment, but my comments are not saved/posts so I decided to combine all my comments in one post rather than spending hours frustrated trying to find out why this does not work (yet!).
All the questions Adesola asked really speak to me;
-what you have had to do because xyz, what other people have told you are rather than what you see your direction as, the restrictions of work or organizations?
Coming from a musical theatre/dance background where I wasn't allowed in the tap class without red lipstick on, I am now extra interested in what happens when you peel away the layers of 'show' and appearance.
After working at the premiere of 'A Star Is Born' and reading this article:
https://www.vox.com/the-goods/2018/10/2/17929616/lady-gaga-a-star-is-born-no-makeup
I started asking the question on my Instagram account (@lizavandersmissen) :
Do you think authenticity goes hand in hand with wearing no makeup?
43% said yes (mostly men interestingly enough!) and 57% said no (all women)
My thoughts on this are:
-Make up can be used as a way to (literally) wear a mask
-Some people are more authentic when they express themselves through the make-up they wear
-People who don't wear make up can be also inauthentic;
-Authenticity in a person extents beyond make up, and is being expressed by how you show up as an artist, in your day-to-day life and how you honour your truth
-Wearing make up is not linked with being an authentic person
We talked about how we are seeing your practice as fluid... changing as you find yourself in different situations, over time etc. We said practice is not just the title of the job you do, it is deeper including what you value..
I read about this in many other blogs of fellow students. That our professional practise extends our job title. As an artist and creator I think no job title would do your practise justice. As it extends beyond 'a job that is being done'. Your professional practise is how you see the world, show up in the work, and how it occupies your mind. I think that Emma Gannon touches on it beautifully in her book: The Mult-Huyphen Method. It is more focused on having multiple businesses, but it challenges the status-quo of having an identity linked to just one job.
Having trained all my life as a professional dancer, to then leave the professional dance world behind to focus on acting, and since the beginning of 2018 also am producing films (that I co-write!) I find it difficult to describe in one job title what I do or who I am. I see myself as a creator, a creator of film, of characters and of text, and sometimes also of movement. Dance will always be a big part of me and my creative process, whether I do it professionally or not.
All the questions Adesola asked really speak to me;
-what you have had to do because xyz, what other people have told you are rather than what you see your direction as, the restrictions of work or organizations?
Coming from a musical theatre/dance background where I wasn't allowed in the tap class without red lipstick on, I am now extra interested in what happens when you peel away the layers of 'show' and appearance.
After working at the premiere of 'A Star Is Born' and reading this article:
https://www.vox.com/the-goods/2018/10/2/17929616/lady-gaga-a-star-is-born-no-makeup
I started asking the question on my Instagram account (@lizavandersmissen) :
Do you think authenticity goes hand in hand with wearing no makeup?
43% said yes (mostly men interestingly enough!) and 57% said no (all women)
My thoughts on this are:
-Make up can be used as a way to (literally) wear a mask
-Some people are more authentic when they express themselves through the make-up they wear
-People who don't wear make up can be also inauthentic;
-Authenticity in a person extents beyond make up, and is being expressed by how you show up as an artist, in your day-to-day life and how you honour your truth
-Wearing make up is not linked with being an authentic person
We talked about how we are seeing your practice as fluid... changing as you find yourself in different situations, over time etc. We said practice is not just the title of the job you do, it is deeper including what you value..
I read about this in many other blogs of fellow students. That our professional practise extends our job title. As an artist and creator I think no job title would do your practise justice. As it extends beyond 'a job that is being done'. Your professional practise is how you see the world, show up in the work, and how it occupies your mind. I think that Emma Gannon touches on it beautifully in her book: The Mult-Huyphen Method. It is more focused on having multiple businesses, but it challenges the status-quo of having an identity linked to just one job.
Having trained all my life as a professional dancer, to then leave the professional dance world behind to focus on acting, and since the beginning of 2018 also am producing films (that I co-write!) I find it difficult to describe in one job title what I do or who I am. I see myself as a creator, a creator of film, of characters and of text, and sometimes also of movement. Dance will always be a big part of me and my creative process, whether I do it professionally or not.
The Beginning
Hello!
My first blogpost for the full time BA Professional Practice, Arts and Creative Industries (specialisation). I am very excited to start! I could only fully dive in this week as I have been working towards producing and acting in my own film which all came together last week. Now that the filming part is over, I look forward to the next step and to reflect on everything I have learned from it.
But first I wanted to write up a little what I got from the very first Skype introduction call. I joined inbetween session at Bafta Guru Live so my information is not complete but these are my main focuspoints that I got from it:
-Use and discus my study plan in my 1-1 with my supervisor
-With every submission draft I send in I need to send a feedback exchange form with it
-If I want to find books or need help with articles I need to contact Michelle. In the handbook I saw some very interesting reads that I look forward to reading! On top of my list are:
Cameron, J. 1992. The artist's way: a spiritual path to higher creativity, London, Souvenir Press, 1994
Robson, C. 2012. Writing for change: research as public pedagogy and arts-based activism, New York, P. Lang.
Robinson, K. 2001. Out of our minds: learning to be creative, Oxford, Capstone
MacIntyre, A. 1967 (2nd ed.) A Short History Of Ethics. London: Routledge
Tharp, T. and Reiter, M. (2006) The creative habit: learn it and use it for life : a practical guide, 1st Simon & Schuster pbk. ed., New York: Simon & Schuster
I adore reading so if anyone has other useful tips please share!
I loved The Artist Way from Stephen Pressfield.
-I need to sign up in the kortext for a personal email for books and everything else that involves Middlesex University
-The BLOGS and SKYPE discussions serve as a platform to ask questions and to discuss idea's, to challenge each other and grow in the process. It should be a resource for learning. They shouldn't be too long but rather regular and short, focused on stimulating conversations.
-Use the labels to find other resources with the same focus.
My first blogpost for the full time BA Professional Practice, Arts and Creative Industries (specialisation). I am very excited to start! I could only fully dive in this week as I have been working towards producing and acting in my own film which all came together last week. Now that the filming part is over, I look forward to the next step and to reflect on everything I have learned from it.
But first I wanted to write up a little what I got from the very first Skype introduction call. I joined inbetween session at Bafta Guru Live so my information is not complete but these are my main focuspoints that I got from it:
-Use and discus my study plan in my 1-1 with my supervisor
-With every submission draft I send in I need to send a feedback exchange form with it
-If I want to find books or need help with articles I need to contact Michelle. In the handbook I saw some very interesting reads that I look forward to reading! On top of my list are:
Cameron, J. 1992. The artist's way: a spiritual path to higher creativity, London, Souvenir Press, 1994
Robson, C. 2012. Writing for change: research as public pedagogy and arts-based activism, New York, P. Lang.
Robinson, K. 2001. Out of our minds: learning to be creative, Oxford, Capstone
MacIntyre, A. 1967 (2nd ed.) A Short History Of Ethics. London: Routledge
Tharp, T. and Reiter, M. (2006) The creative habit: learn it and use it for life : a practical guide, 1st Simon & Schuster pbk. ed., New York: Simon & Schuster
I adore reading so if anyone has other useful tips please share!
I loved The Artist Way from Stephen Pressfield.
-I need to sign up in the kortext for a personal email for books and everything else that involves Middlesex University
-The BLOGS and SKYPE discussions serve as a platform to ask questions and to discuss idea's, to challenge each other and grow in the process. It should be a resource for learning. They shouldn't be too long but rather regular and short, focused on stimulating conversations.
-Use the labels to find other resources with the same focus.
Subscribe to:
Posts (Atom)