Would introducing meditation into the learning milieu be of perceived value to students ?

I am a Zen Buddhist and Digital Media Technology Technician at the London College of Communication (LCC). This project engages with these interdependent personal and professional activities through the radical intervention of meditation practice into curricula activity.

This intervention is the first iteration of an Action Research project submitted in part fulfilment of the requirements of the Postgraduate Certificate in Academic Practice in Art, Design and Communication. Action Research is a methodology used in educational research that involves cycles of planning, action and critical reflection while working with colleagues and participants (or sometimes ‘individually’) to achieve practical and research outcomes (Clandinin & Connelly, 2000; Dick, 2002; Swann, 2002).

With regard to this project meditation praxis provides the practical component and the following text articulates the initial planning phase which includes a contextual operational definition for meditation; the suggested pedagogic benefits; possible reasons why it is absent from curricula, a planned intervention to address this issue and data collection/evaluative methods.

What is meditation ? The term ‘meditation’ is an imprecise one used to mean different things in different contexts but is generally understood to refer to focused contemplative mental activity, which may or may not be attached to a religious practice. I use the term meditation throughout this project with specific reference to a style identified as “focused attention meditation” (Lutz et al., 2008). Below is a proposed functional characterisation and a 10 minute guided example of ‘counting the breath’ one of the oldest and most effective techniques : –

Functional characterisation of focused attention meditation :

  • Directing and sustaining attention on a selected object (e.g. breathing)
  • Detecting mind wandering and distractors (e.g. thoughts)
  • Disengagement of attention from distractors and shifting of attention back to the selected object
  • Cognitive reappraisal of distractor (e.g. ‘just a thought’, ‘it is okay to be distracted’)


(Lutz et al., 2008, p2)

Press ‘play’ to listen to an edited 10 minute guided ‘counting the breath’ meditation session (I recommend closing your eyes) :


(The Mindful Society/Salzberg, n.d., 9:54mins)

So what is meditation good for ? In response to this purposeful question, practitioners (with and without religious affiliations), clinicians and neuroscientists continue to provide compelling research evidence of meditations fundamental pedagogic significance, that is to say, meditation is a trainable skill that put simply improves focus, cognition and well-being (Lutz, Dunne & Davidson, 2007; Shapiro, Brown & Astin, 2008; Wallace, 2007). In the specific context of design and media education at LCC, students are expected to be responsive and creative in noisy and stimulating environments, and yet contemplation, quiet focused thought is usually a central part of most creative activity (Itten, 1970, p. 40). Anecdotal evidence suggests that a significant number of students simply ‘can’t concentrate’ in college studio contexts. This is not to suggest that studios should be quiet spaces, but that when appropriate, not only can meditation be used to set up an alternative learning environment but also help students cope far better in distracting spaces. Beyond a UAL[1] Chaplaincy initiative called Mind-Space[2], meditation practice at the LCC (and wider UAL) is somewhat nominal and most certainly an activity outside the Art, Design and Communication curricula — a situation I wish to begin addressing.

Why is meditation absent from LCCs curricula ? In the everyday, rather than religious context, meditation has tended to be viewed as an activity an interested individual pursues in their ‘free time’ and not as one that might be incorporated into an institutional context of study (or work). However in recent years various initiatives in the UK have developed that do just this, for similar reasons to those outlined above. A key example of relevance is Mind Space[3] (not to be confused with the UAL Chaplaincy Mind-Space) who have been promoting focused attention meditation sessions in universities and schools.

A second reason for the lack of interest in the incorporation of a ‘quiet practice’ into the art/design/media higher educational context may also be that contemporary pedagogy tends to pit the empowered student voice against the oppressive silence of an authoritarian learning environment (Freire, 1996). Lively discussion is rightly seen as a vital component in developing student confidence and engagement. Furthermore being able to communicate ones ideas is essential for those in the ‘creative industries’. However while developing voice is vital, surely in order for any voice to be really heard, engaged listening needs to be its counter-part. As Zembylas & Michaelides argue meditation, a practice of silence, facilitates “a readiness to listen and pay attention, to hear others as well as oneself, and [demonstrates] a positive valuing of being silent” (2004, p.205). With this in mind I make preparations for a meditation intervention …

A meditation intervention plan – speaking up for silence :

The meditation session will take place on November 4th 2011 during a design and technology symposium entitled the Futures Conference hosted at the Podium Lecture Theatre, LCC. This annual three day event is mandatory curricula activity for final year BA students studying Digital Media Design and Games Design. I will present a talk/demo on digital fabrication technology, that is to say, opening speaker on the final day (between 10:00–10:45).

This slot provides ideal conditions to introduce a large group of students (approx. 100) and staff to a form of focused attention meditation. I have invited the UAL Chaplain, Andrew Norwood, to initiate a 15 minute Mind-Space meditation session at the start of my talk/demo. Typically these open with verbal guidance on meditation technique, gradually leading to a period of ‘counting the breath’ meditation, then concluding gradually with further verbal guidance. Alternatively (and if necessary), I will initiate a similar session.

To minimise distractions I have also arranged for Michael Ampah (a Mind-Space participant and Facilities Assistant) to be doorkeeper, preventing late arrivals entering until the end of the session.

Measures to evaluate session :

  1. I will provide yes/no feedback paddles [pictured below] for the attendees to response to the question : Would you consider doing meditation again ? This in turn will be photographed for later analysis. The aim to gauge perceived relevance/interest — thus informing future interventions (if any) and suggest potential avenues of further enquiry.

  2. Because I will be participating in the activity, additional ‘eyes’ will be in place. Firstly, the conference will be streamed/recorded and this video should provided useful data. Secondly I have arranged for a tutor (James Wisdom) to do a teaching observation for additional opinion/comments/thoughts.
  3. Evidently, informal conversation will take place after the presentation, salient comments will be noted.

Endnotes :

[1] University of the Arts London

[2] UAL Mind-Space is a 20 minute/weekly/term-time only “community of [meditation] practice” (Wenger, 2006). The session is in the focused attention meditation style and available to both students and staff. For further details visit : http://www.arts.ac.uk/student/studentservices/healthwellbeing/chaplaincy/whatson/

[3] For further details about Mind Space visit : http://www.mindspace.org.uk/

References :

Clandinin D.J. & Connelly, F.M. (2000) Narrative Inquiry: experience and story in qualitative research. San Francisco: Jossey-Bass.

Dick, B. (2002) Action research: action and research. Action Research International. [Internet]. Available at: < http://www.scu.edu.au/schools/gcm/ar/arhome.html > [Accessed: 20 August 2011].

Freire, P. (1996) Pedagogy of the oppressed. London: Penguin Books.

Lutz, A., Dunne, J.D. and Davidson, R.J. (2007) Meditation and the neuroscience of consciousness: an introduction. In: Zelazo, P.D., Moscovitch, M. and Thompson, E. eds. (2007) The Cambridge handbook of consciousness. Cambridge: Cambridge University Press. Ch.19.

Itten, J. and Birren, F. ed. (1970) The elements of color; a treatise on the color system of Johannes Itten, based on his book The art of color. Translated from German by E. van Hagen. New York: Van Nostrand Reinhold Co.

Shapiro S.L., Brown, K.W. and Astin, J.A. (2008) Toward the integration of meditation into higher education: a review of research. [pdf] Available at: < http://www.contemplativemind.org/programs/academic/MedandHigherEd.pdf > [Assessed 31 August 2011].

Swann, C. (2002) Action research and the practice of design. Design Issues. vol.18, no.1, pp.49–61.

The Mindful Society/Salzberg, S. (n.d.) Calming the mind: counting the breath. [ audio]. Available at: < http://mindful.org/audio/calming-the-mind-counting-the-breath > [Accessed 03 November 2011]

Wallace, B.A. (2007) Contemplative science: where Buddhism and neuroscience converge. New York: Columbia University Press.

Wenger, E. (2006) Communities of practice: a brief introduction. [online] Available at: < http://www.ewenger.com/theory/index.htm >

Zembylas, M. and Michaelides, P. (2004) The sound of silence in pedagogy. Educational Theory. vol.56, no.2, pp.193–210.

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What is meditation good for ?

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December Activity : Communities of Practice

Communities of Practice in your discipline, i.e., Design practice :

1] Read one of the core references on Communities of Practice theory (Reading Lists > Resources by Topic > Communities of Practice).

Communities of Practice : A Brief Introduction by Etienne C. Wenger

2] Either: Write a short blog post describing the communities of practice you belong to as a practitioner in your discipline, or sketch out a visual representation of these communities, take a picture and upload the image to your blog post (see the screencast on adding media to your posts).

I belong to a community of practice (CoP) called Mind-Space – open to students and staff and [l]ed by [UAL] Chaplains, these lunchtime 20 minute sessions aim to provide some space and time to relax, to refocus the mind and refresh the spirit … Mindfulness (or Meditation) can improve your concentration, creativity and general well-being. You don’t need to be religious or commit yourself to regular attendance.”

An introductory note on the contextual relevance of meditation practice to Design Practice/Education – Johannes Itten, a master at the Bauhaus school, practiced meditation with his art and design students, he regarded meditation as a threshold concept, if you will. For him (and myself) [m]editation as practiced particularly in Chán, or Zen, Buddhism provides the foundation of [the craftpersons] training of mind and body.” (Itten, 2003, p.40)

3] Add to your post anything you can think of that you could do that would bring your students further into these communities of practice.

Through the TDP (Teaching Development Project), I have explored meditation interventions in the learning and teaching environment, these have helped raise student awareness of the Mind-Space CoP. Additionally, in collaboration with Mind-Space, I am producing a downloadable DIY/DIT (Do-It-Together) Meditation Manual for inclusion on the UAL Chaplaincy’s website. Andrew Norwood (a UAL Chaplain) and myself have identified logistical problems associated with timetabling Mind-Space. A DIY/DIT Meditation Manual could empower individuals and groups to participate in this community of practice.

References

Itten, J., 2003. The elements of color: a treatise on the color system of Johannes Itten based on his book The Art of Color. John Wiley & Sons, Inc.

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November Activity : Threshold Concepts

What are the threshold concepts in your discipline ?

Write a short blog post describing what you see as being a threshold concept in the subject you teach. Explain why you feel it is a threshold concept, and the strategies you currently use to address it with your students. Did reading the chapter help you to see any other strategies you might try?

The term ‘threshold concept’ refers to a fundamental concept that once understood, transforms perception of a given subject, in my case the subject is design craftsmanship.

An important ‘threshold concept’ that comes to mind as a ‘technical teacher’ of design is ‘the 10,000-hour rule’ (Gladwell, 2008). I use this phrase to illustrate the notion that becoming a skillful designer, to a large extent, simply requires sustained practice.

While this may seem obvious, spelling out that idiom ‘practice makes perfect’ helps encourage an important craftsperson’s ethos of competence and engagement in the teaching and learning environment.

I underpin this ethos by recommending the following contextual texts on craftsmanship :

Crawford, M.B. (2009) Shop class as soulcraft: an inquiry into the value of work. Penguin Press.

Gladwell, M. (2008) Outliers: the story of success. Allen Lane.

Sennett, R. (2008) The Craftsman. London: Allen Lane/Penguin Press.

Thinking Allowed: Craftwork and Skill (2008) [Radio programme] BBC, Radio 4, 11 February 2008 12.15.

If you have time, check out the other reading in the Threshold Concepts topic folder. Did this give you any more ideas?

Neck-deep for anymore Threshold Knowledge reading … nevertheless, saw Cahalen Morrison & Eli West the other day. I’m sure these Bluegrass virtuosi have clocked up a fair few hours … affirmation, I reckon, of the importance of that 10,000-hour rule 

References

Osmond, J., Turner, A., & Land, R. (2008) Threshold concepts and spatial awareness in Transport and Product Design. In R. Land, J. H. F. Meyer & J. Smith (Eds.), Threshold Concepts in the Disciplines (pp. 243-258). Rotterdam: Sense Publishers.

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P.S. Constructive Alignment …

Like Ronseals advertising slogan “It does exactly what it says on the tin”Constructive Alignment aims to “do exactly what it says in the Learning Contract” helping establish trust between student and teacher.

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October Activity : Constructive Alignment

Making Sense of Constructive Alignment

Read Chapter_4.pdf (Biggs & Tang 2007).

Write a short blog post explaining your understanding of Constructive Alignment. Aim to explain it in a way that a child would understand, and use illustrative examples from your own teaching context.

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“It took me four years to paint like Raphael, but a lifetime to paint like a child.” (Pablo Picasso)

Considering this quote … I don’t have the time or skills to write like a child, so here are my words for an adult audience …

Constructive Alignment is the de facto requirement for Higher Education programme specification in which declared learning objectives correspond directly with learning activities and assessment.

Within this transparent framework learners are seen through a constructivist lens, i.e., learners construct internalized knowledge and meaning from their experiences.

Notably, perfect alignment is unattainable, therefore, learning objectives, learning activities and assessment need to be modifiable – stressing the importance of the reflective practitioner.

In context : I (Design Technician, LCC) predominantly operate within the sphere of learning activities to support learners achievement of learning objectives, i.e., learning to build a website.

Having said that, in practice my operating sphere (like everyones) connects to a wider ‘material-semiotic’ network, i.e., a network between things (material) and between concepts (semiotic) [see ANT] – within and outwith (beyond) the UAL.

Acknowledgement and study of these wider networks and how they can (and do) enrich/support/inform the existing Constructive Alignment framework is my primary pedagogical interest. Two notable examples that belong to these wider networks (outwith programme specification) include FABLCC and Mind-Space.

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Check out one of the other readings in the Constructive Alignment topic folder. Did it deepen, or conflict with, your prior understanding?

I read : Biggs, J. (1999). What the student does: Teaching for enhanced learning. Higher Education Research and Development, 18(1), 57-75. Download This text provide an affirmation of my prior understanding [above].

I also found this succinct article (notwithstanding the bilious Figure 2) very useful : Houghton, W., 2004. Engineering Subject Centre Guide: Learning and Teaching Theory for Engineering Academics. Loughborough: HEA Engineering Subject Centre. Constructive Alignment – and why it is important to the learning process. [Accessed 07 October 2011 ].

References

Biggs, J. & Tang, C., 2007. Teaching for quality learning at university: what the student does (3rd ed.). Maidenhead: Society for Research into Higher Education and Open University Press.

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Reading Task Response

Q1. Three key points (Amulya, J. (2004) What is Reflective Practice?)

  1. Reflective Practice is “to examine [...] experience rather than just living it.” (p.1)
  2. “Reflection can be practiced at different frequencies: every day, at long intervals of months or years, and everything in between.” (p.2)
  3. “The most powerful ‘technologies’ for examining experience are stories and dialogue.” (p.3) [see Q2. response below]

Q2. Amulya’s view partially corresponds with my understanding of teaching practice, nevertheless it feels like an articulation of ‘constant noise’ with no room for quietude and meditation. Notably the foundations of Zen Buddhist pedagogy are : koans (stories), sanzen (dialogue) and zazen (sitting meditation) which seems to provide a more complete ‘toolkit’ for teaching practice.

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Writing Task

How do I view my teaching practice ?

Prior to this reflective task : I saw my teaching practice (like my design practice (Fransen, 2009, pp.10 & 11)) as cycles of planning, making and reflection while working with colleagues and students (or sometimes ‘individually’) to achieve negotiated practical outcomes. However I now notice an important missing aspect from this iterative description, namely, quietude/meditation.

What do I hope to gain from undertaking the PG Cert ?

I hope to have the opportunity to further explore the practice of zazen ((sitting meditation) of which I am a student) and explore its benefits and integration into my teaching practice to enhance education of the ‘whole person.’

[ Resources to facilitate this enquiry : The Buddhist Society, UAL Chaplaincy, Journal Articles ]

 

References

Fransen, T., 2009. Mapping the ride: a reflective diary on designing motorcycle travel literature. MA, University of the Arts London

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Procrastination …

… a little story about getting my PGCert stuff done …

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