1. Ethics are the core of design education, if not of everything we know as humans. Our behaviors, actions, interactions and beliefs are our ethics, and thus inseparable from our education. Our individual ethics and ideological system and structures allows us to maneuver other’s ethics and ideological systems and structures including the academy(s). In these systems we find structure and learning processes. The classroom is designed for such processes with reform and flexibility to allow progressive evolution.
2. Design education is a conduit for progress and transformation, because it creates infinite ripples of knowledge. Students are teachers and teachers are students. All are performers, sharing and evolving. Performance embodies ethics and education as post-disciplinary concepts.
3. Learning and teaching are creative practices that can be shaped by students and teachers as they perform their education with guidance and support from and for one another. Performance is a process of information and knowledge exchanged via collaboration of performers in conversation.
4. Design education and an education through a creative processes, is a practice of learning how one learns through the infinite possibilities of creation. Practiced-based-education helps a learner envision themselves in the world. The Instructor is a resource, a compass for guidance. With a compass, one learns how to navigate.
5. The classroom exists wherever information is shared or created. The design classroom is not separate from nor indifferent to the world, rather it is a living performance of theory, practice and praxis. Lessons outside of the classroom comprise a large part of learning and the importance of these experiences manifest through collaborative and self-discovered strategies in the classroom. Every individual brings a great deal to the whole of the classroom through these experiences. Knowledge is shared and performed by all parties beyond the curriculum, preparing students beyond the institution from the diversity that is a collaborative classroom.
6. Expression and play make space for students to try, to discover and to “fail,” while the existing structure and curriculum is finessed in the moment with all parties of the classroom. Self-expression is key to a progressive future. If students are permitted to express freely, it supports them in finding their place in the larger architecture of life by allowing them to see themselves as well as see and construct their community.
7. To conjure self-expression the guide (teacher) must lead by example. Leaders must be open, honest, present and accessible to be recognized contextually, with critical holdings from students, peers and self alike. Self-expression and leading creates a vulnerability. Vulnerability, and the labeling therein can both target and protect (through concepts of responsibilization, and equality) individuals. This precarity demonstrates community, allowing manifestation beyond the institution.
8. Equality cannot be forced, but also demonstrated. Through balance in the malleable structure/curriculum, an equilibrium is conceived, as the teacher is a peer in much the same light as a conductor. Each member of the classroom has their own place in the composition.
9. Responsibility is organic and not to be enforced, but convened, and illustrated. People learn and rise to expectations from and for themselves with those in their composition or community. Comfort-zones must be acknowledged and challenged in work and person as part of the structure.
10. In my classroom students will work with prompts. A prompt is a nudge, a spark, as simple as a word, as dense as a film. Prompts promote questions, and answers may not be found. This nurtures further growth and search. The design classroom is based in plurality. With dyslexia, I learn in idiosyncrasies, and am sensitive to needs and formulas outside of traditional learning models, i.e. creating one’s own model. Multiple mediums and media are used to foster understanding amongst vast learning styles in the post-disciplinarity in which we live: writing, reading, watching, conversing, making, theorizing, editing, performing, designing, and discovering by prompt.
11. Ambiguity is a haven of learning through play and experimentation. Art and design education are imaginative and fantastical in themselves, thus should be open for interpretation. Art and design is fertile ground for questioning, exploring and researching the self, externalities and simultaneities. Students have and will create their own questions, while growing to articulate these questions and inquiries. Intervention (prompts) from the teacher in the form of questions, resources and inspiration is prepared in the structure (for the whole of the class) and improvised (for the individual) on a need to need basis.
12. Finally, the critique is performed empirically as a summary of the classroom as well as student work and shared materials of knowledge. A Critique can be formed by students proposing questions—literal or figurative. The critique embodies the practice of teaching and learning in a critical dialog, as ethics, transformation, collaboration, self-expression, and pedagogy incorporating lessons from in and out of the classroom are enacted. The critique imbues equality, responsibility, leadership and vulnerability in the performance. The critique (and classroom) is adjusted and evolved in the moment for learning and progress of individual and classroom, producing and generating knowledge to/for all parties.