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robertogreco : via:jenksbyjenks   3

Field Experience
"Field Experience is an organization dedicated to the cultivation of curiosity and creativity through inquiry and the art of exploration."

"Field Experience was founded by Minneapolis-based designer and researcher Julka Almquist. She has 15 years of experience as an ethnographer and design researcher. While working at IDEO she found that people were profoundly impacted by the inspiration phase of research, and that exploring the world was far more transformational than sitting in an office giving presentations. Since then, she has grown passionate about the art of exploration and how it can heighten curiosity and creativity. She holds a PhD at the intersection of design and anthropology from the University of California, Irvine, and has taught at Art Center College of Design and the School of the Art Institute of Chicago.

Julka collaborates with an extraordinary team of experts to craft learning experiences. Explore with us:"

[See also:

"Reading List"

""Landscape: An Education Program"

"Throughout 2019, we are curating an experience-based learning program in Minneapolis/St. Paul called Landscape. We will be exploring creativity through a variety of events situated within our natural landscape. Project support provided by the Visual Arts Fund, administered by Midway Contemporary Art with generous funding from The Andy Warhol Foundation for the Visual Arts, New York.

We are partnering with local and international artists, designers, naturalists, and biologists to craft experiences for our community. The monthly programs will be free and open to the public. We have an events calendar with programming updates, and a reading list where we post articles, chapters and other forms of inspiration to accompany the programs.

Our programs are grounded in the following ideas:

Local Landscape
We have increasingly been asking questions about how our relationship to the natural world influences our creativity. We aim to expand creative practice through new ways of engaging with our local landscape, and in particular with plants. Our programming will be shaped in response to the changing seasons.

Place-Based Pedagogy
One of the fundamental goals of this program is to build community in the Minneapolis/St. Paul area and to foster a deeper connection to place through creative learning experiences. We acknowledge the history of place, and that we are working on Dakota and Ojibwe land.

Experiential and Sensorial Inquiry
The modes of inquiry for the program are embodied, experienced-based, and multi-sensory. We encourage everyone to get out of their offices, studios, and classrooms and into the world. In order to engage the senses, the workshops and events will primarily be outdoors, with the exception of the deep winter months when our extreme climate brings us indoors.

Creative Experimentation
Many of our programs will offer an opportunity for making. We want to encourage people to make things that may not be central to their practice and to push the boundaries of creative experimentation. We also hope that the experiences and discussions are transformational and inspire new possibilities for creative practice."]
lcproject  openstudioproject  local  place  experience  experientiallearning  learning  education  landscape  pedagogy  place-based  senses  via:jenksbyjenks  julkaalmquist  minnesota  minneapolis  ethnography  sensoryethnography  design  anthropology  place-basededucation  place-basedlearning  place-basedpedagogy 
may 2019 by robertogreco
No. 37: Big Wedding or Small? -
"In Mandy Len Catron’s Modern Love essay, “To Fall in Love With Anyone, Do This,”[ ] she refers to a study by the psychologist Arthur Aron (and others) that explores whether intimacy between two strangers can be accelerated by having them ask each other a specific series of personal questions. The 36 questions in the study are broken up into three sets, with each set intended to be more probing than the previous one.

The idea is that mutual vulnerability fosters closeness. To quote the study’s authors, “One key pattern associated with the development of a close relationship among peers is sustained, escalating, reciprocal, personal self-disclosure.” Allowing oneself to be vulnerable with another person can be exceedingly difficult, so this exercise forces the issue.

The final task Ms. Catron and her friend try — staring into each other’s eyes for four minutes — is less well documented, with the suggested duration ranging from two minutes to four. But Ms. Catron was unequivocal in her recommendation. “Two minutes is just enough to be terrified,” she told me. “Four really goes somewhere.”

Set I

1. Given the choice of anyone in the world, whom would you want as a dinner guest?

2. Would you like to be famous? In what way?

3. Before making a telephone call, do you ever rehearse what you are going to say? Why?

4. What would constitute a “perfect” day for you?

5. When did you last sing to yourself? To someone else?

6. If you were able to live to the age of 90 and retain either the mind or body of a 30-year-old for the last 60 years of your life, which would you want?

7. Do you have a secret hunch about how you will die?

8. Name three things you and your partner appear to have in common.

9. For what in your life do you feel most grateful?

10. If you could change anything about the way you were raised, what would it be?

11. Take four minutes and tell your partner your life story in as much detail as possible.

12. If you could wake up tomorrow having gained any one quality or ability, what would it be?

Set II

13. If a crystal ball could tell you the truth about yourself, your life, the future or anything else, what would you want to know?

14. Is there something that you’ve dreamed of doing for a long time? Why haven’t you done it?

15. What is the greatest accomplishment of your life?

16. What do you value most in a friendship?

17. What is your most treasured memory?

18. What is your most terrible memory?

19. If you knew that in one year you would die suddenly, would you change anything about the way you are now living? Why?

20. What does friendship mean to you?

21. What roles do love and affection play in your life?

22. Alternate sharing something you consider a positive characteristic of your partner. Share a total of five items.

23. How close and warm is your family? Do you feel your childhood was happier than most other people’s?

24. How do you feel about your relationship with your mother?


25. Make three true “we” statements each. For instance, “We are both in this room feeling … “

26. Complete this sentence: “I wish I had someone with whom I could share … “

27. If you were going to become a close friend with your partner, please share what would be important for him or her to know.

28. Tell your partner what you like about them; be very honest this time, saying things that you might not say to someone you’ve just met.

29. Share with your partner an embarrassing moment in your life.

30. When did you last cry in front of another person? By yourself?

31. Tell your partner something that you like about them already.

32. What, if anything, is too serious to be joked about?

33. If you were to die this evening with no opportunity to communicate with anyone, what would you most regret not having told someone? Why haven’t you told them yet?

34. Your house, containing everything you own, catches fire. After saving your loved ones and pets, you have time to safely make a final dash to save any one item. What would it be? Why?

35. Of all the people in your family, whose death would you find most disturbing? Why?

36. Share a personal problem and ask your partner’s advice on how he or she might handle it. Also, ask your partner to reflect back to you how you seem to be feeling about the problem you have chosen."

[Also available here: includes

"... and a few variations:

If you could choose the sex and physical appearance of your soon-to-be-born child, would you do it?
Would you be willing to have horrible nightmares for a year if you would be rewarded with extraordinary wealth?
While on a trip to another city, your spouse/lover meets and spends a night with an exciting stranger. Given that they will never meet again, and could never otherwise learn of the incident, would you want your partner to tell you about it?"]
intinmacy  classideas  via:jenksbyjenks  2015  relationships  arthuraron  mandylencatron  vulnerability  disclosure  morningmeeting 
january 2015 by robertogreco
Resources to teach strategy game design - Home
"I have chosen to share these resources that I have developed over the last four or five years, rather than publish them in some stagnant lesson plan book, in the hopes that others can and will use them.

I've always loved board games, and I started looking into finding additional strategy games for my classroom than Risk, Stratego, Mastermind, and such. Those are good games, of course, but once I started really looking into specialty strategy games, I came across terms like designer games and euro games, I realized that there is a whole amazing world of board games out there that I had no idea existed! I started to really get into board gaming as a personal hobby. I joined a local board game Meetup group in St. Louis, MO, a place not as violent as one might be led to believe, and got to know many amazing gamers and designers(!) who lived in my midst. I began to think about how my gifted students, who devoured any new game I brought into my classroom (currently 200ish), were so creative and analytical and clever and loved fun and weren't those key abilities of a good game designer? So, quite fumblingly (that's probably a word) at first, I began teaching kids to design board games. I've improved and refined my methods, and now I'm happy to share them with others who are interested in doing the same. I don't think they are perfect, which is why the book idea stalled for so long, because I am a perfectionist and couldn't stomach the idea of putting out less than really amazing stuff. But with others using them and providing input (see below), I think we can help students learn how to develop a substantial, meaningful, complete game. In the process, students must problem solve, communicate, demonstrate independence and collaborate, listen to others and respond to feedback, improve upon their ideas, and so much more. Yes, they create a board game, but tell me how those skills aren't the skills we need to nurture for these students to survive in the 21st century. BOOM.

My only request is this: If you use any of these materials, please share with me what you used and how you used it. If you share back with me any changes that you've made, that would amazing and I'll post them too. The only thing you can't do is take these materials and publish them yourself. So not cool. Technology is a great liberator, and in this era of online collaborating and crowd sourcing, I want to provide to teachers, who may not have access to challenging materials for gifted middle and high school students, all my stuff for free. Any one can use it, really. Home schoolers, hobbyists, video game designers (the process is similar, just different outputs)...just give credit where credit is due. You don't want to make Ragnor up there angry.

One last thing, if any student (or teacher, or random other person finding and using this information for their own purposes) publishes a game, let me know, and put me in the credits. I get to have a little bit of an ego, after all."
kathleenmercury  gamedesign  games  curriculum  via:jenksbyjenks  classideas  teaching  education  projectideas  srg  edg  glvo 
march 2014 by robertogreco

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