​Ruth Clare Poor

Pedagogical Approaches:

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Abolitionist (leading with student knowledge and interest, teacher as research assistant)

to nullify/generate -->

architecture/communion, 

surveillance/vigil,

willpower/curiosity

PNAP's academic approach:

https://p-nap.org/about-us/

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Cultural Humility (normalize sharing failure and struggle, becoming a 'student' of the student)

UC Berkley's Center for Humility: 

https://www.humilitycenter.org/portfolio-item/cultural-humility/

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Co-Creative Design (collaborative decision making in syllabus content and class expectations)

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Craft Scaffolding (derived from "institutional scaffolding" as defined by lawyer and activist Wayne Hsiung, understanding the importance of craft in the twilight stages of learning, following generative learning)

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Scientific Exploration (understanding form-- material properties-- through making/play and archiving process)

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Semiotics (developing shared language and practice, linguistic pluralism)

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Interpretive Translation Theory (Danica Seleskovitch's approach to language/knowledge transmission: comprehension, deverbalization, and reformulation)

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Pattern Recognition (a particular emphasis on data-driven processing, matter>form to connect interdisciplinary subjects)​

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Educational Practice:

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All classes have proportional, and sometimes comprehensive, novelty in their lifespan in order to reflect the interconnected and interdisciplinary investment in research/theory at a subject's popular and institutional levels. This is always changing-- so should shared subject matter.

 

Successful education requires the 'teacher' to center learning in their personal advancement, like continued education and research, and to practice ethical archival recollection.

 

Shared dialogue with students helps build trust and familiarity, particularly at the beginning, allowing for the creative adaptation of the communal 'structure' to collective class needs and desires.

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While theories and language can be complicated to comprehend and communicate, students are encouraged to participate as 'teacher' to share their pragmatic/colloquial interpretations, generational familiarity, etc., for peer enrichment.

 

All these facets become more mutable when art and creative practice are centered. The art of learning, teaching, generating, and crafting.

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The collection of subjects on this page are not bound to particular methods or forms. Many have been taught through various media and begin to blend into other areas of instruction.