1. Mimicry is a reflective language with vast articulations, personalizing information in its mirroring abilities. Learning starts with mimicry and evolves to synthesization. Mimicry is a delicate balance on many planes and is used and researched in the classroom in accordance with ethics.
2. Ethics are the core of art and 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 systems inform us how to maneuver other’s ethics and ideological systems including the academy(s). Located in these systems are learning processes and information.
3. Art and design education is the conduit of progress and transformation, because it creates infinite ripples of knowledge and exists as no one body of knowledge. Students are teachers and teachers are students, all are performers, sharing and evolving. Performance embodies ethics and education as post-disciplinary concepts.
4. Art and Design education 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 and peers are resources, compasses for guidance. With a compass, one learns how to navigate.
5. The classroom exists wherever information is shared or created. The art and design classroom is not separate from nor indifferent to the world, rather it is a living performance of theory 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 created 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 to then visualize and construct their community(s).
7. To conjure self-expression the guide (teacher) must lead by example. Leaders are open, honest, present and accessible for recognition 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 is enacted as a Gestalt theory. The instructor is a collaborator in the same light as a conductor and an orchestra. Each member of the classroom has their unique place in the composition and together they become the whole of the work and the body of knowledge.
9. Responsibility is assembled organically, illustrated and contagious. Learning is growth and expectations develop from and for thyself with those in the composition or community constructing the foundation of the whole. Comfort-zones must be acknowledged and challenged in work and person as part of the structure.
10. In the classroom students work with prompts. A prompt is a nudge, a spark, a question—and answers may not be found. This nurtures growth and inquiry beyond the work done in class. The art and design classroom is based in plurality. 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/filming, performing, making, and discovering by questioning.
11. Ambiguity is a haven of learning through play, experimentation and speculation. Art and design education are imaginative and fantastical in themselves, thus open for interpretation. Art and design is fertile ground for questioning, exploring and researching the self, externalities and simultaneities. Students have and create their own questions and grow to articulate them through the work and process. Intervention from the instructor and peers in the form of questions and critique build suggestions and further research.
12. Finally, the critique is performed empirically as a summary of the classroom as well as work and shared materials of knowledge—aggregate data. A Critique is formed by students proposing questions—literal or figurative. The critique embodies the practice of teaching and learning. This practice enacts a critical dialog as ethics, transformation, collaboration, self-expression and pedagogical lessons form. The critique imbues equality (shared knowledge), responsibility (a deadline), leadership (roles and positions) and vulnerability (bodily performance with and/or of the work). The critique (and classroom) is adjusted and evolves in the moment for learning and progress of individual and class, producing knowledge for all parties and their communities.

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