Julie Barrett

December 10, 2009

I. "MY SYNTHESIS PRODUCT SHOWS THAT..."

a. My synthesis shows what I have struggled with in my painting (i.e. why I stopped painting) and personal creative development. I have learned and now better understand these challenges, including how creativity functions, how complicated and sensitive it can be, and the methods of creative problem solving that helped us find ways to e creative. For me, I was successfully able to begin painting again and recently even set up a new studio.

b. I think, if I am seriously invested, painting itself, and the motivation to do it, will always be a challenge. Very much like writing my final paper, managing time and focus is exceptionally difficult. When you have a job, a family, and other responsibilities, being an artist will rarely get the attention it requires. This leaves me very frustrated and I need to work on a balance between being driven and being patient. It helps though to understand that being an artist is an exceptionally difficult and time-consuming venture. Finding the right level of resources and commitment to make it work will likely remain the tightrope walk that will always demand my creativity, flexibility and attention.

A. I can convey who I want to influence/affect concerning what (Subject, Audience, Purpose).

a. I think my research can be helpful for anyone establishing goals or hoping to make progress and achievement in the field of their choice. It is writing for the young painters and artists who feel frustrated and confused, and the more advanced artists who is feeling stuck and unmotivated. What I wish to convey is that our productivity has direct connections to our environment and the conditions under which we work. Knowing this helps us see what changes we can make and look out for likely pitfalls.

b.I struggle particularly with being too hard on myself. I rarely feel that any work is good enough, done or what I wanted it to be. I do, on occasion, find myself more curious and amused with my painting and hope to work on letting those moments come more freely.

B. I know what others have done before, either in the form of writing or action, that informs and connects with my project, and I know what others are doing now.

a. I have successfully connected with my community of artists, in fact established a community of artists who are currently working and socially conscious. Part of my research demonstrated the need for strong role models and mentors, colleagues and a support system. I am constructing that in my own community and establishing ways for more, young people to join us.

b. The struggle is time resources and opportunity. Just to get a studio I could afford took 6 months. It will likely talk another six months to get workshops and art projects up and running smoothly in that space on a regular schedule. Patience, finances and determination will continue to be a challenge, but I believe the lessons I have learned in the CCT program and specifically in my synthesis research will be invaluable.

C. I have teased out my vision, so as to expand my view of issues associated with the project, expose possible new directions, clarify direction/scope within the larger set of issues, and decide the most important direction.

a. Yes, I have successfully found my direction after an extensive period of observation and research. I have determined what I believe to be the most important factors of a creative development over time and a need to make opportunities for young people to be exposed to creative paths early on. Quite simply I have found my reasons for engaging in painting, and hope to help others find the subjects they can be passionate about.

b. The challenges will be to find ways to do this. If I must keep my full time day job, and commit additional time to my own painting, what time can I commit to helping others experience creativity? My solution was to open my studio and invite kids from the Boston area to participate in various creative projects and expose them to possible creative endeavors. This motivates me by reminding me how lucky I am to be a painter and that it can be as simple as someone giving these kids the opportunity to play with a camera for them to get hooked on photography.

D. I have identified the premises and propositions that my project depends on, and can state counter-propositions. I have taken stock of the thinking and research I need to do to counter those counter-propositions or to revise my own propositions.

a. I have successfully, I believe, reviewed the ideas of many on the subject of painting, being a painter and how one maintains inspiration. I reject the proposition that creativity is a natural, or mysterious (divine) gift. It is a result of hard work and constant curiosity being pursued and translated into a specific medium. I have looked at the many painters I admire and know that each of them paints “about something”. There is a story in each work that can direct us to think about where it came from and what it is trying to say. Looking well is the trigger for good thinking, and good thinking is the trigger for good questions that lead to further research.

b. I struggle with the thought that being invested in my painting will likely mean I will be never satisfied. Being an artist may become easier technically because one learns (automates) many of the micro-decisions of applying and mixing paint but, it seems, the more you know of painting, there more there is to worry about and judge yourself against. I think I will always struggle, or actually be offended by the people who think being creative is easy, or comes naturally.

E. I have clear objectives with respect to product, both written and practice, and process, including personal development as a reflective practitioner. I have arranged my work in a sequence (with realistic deadlines) to realize these objectives.

a. My goal for the immediate future is to paint without deadlines, and allow myself to engage in and expand my creativity absent of a set, pre-determined product or direct, specific impact on my practice. I plan to embrace the non-western concept of cyclical development and allow a sort of enlightenment to evolve as opposed to linear product development. I feel that in conducting my research I was horribly unable to establish time-frame and realistic deadlines, I know now that I need a significant break from that sort of aggressive, deadline driven work. My objective now is to allow my self to enjoy painting and keep any deadline or objective secondary to being engaged and invested. In order to develop and continue painting I need to enjoy it. Everything else is secondary.

b. I understand that clear objectives and prioritizing work is important for writing, editing and producing the final product, like a paper or thesis. I still (and will continue to) struggle with working in a structured goal (especially extrinsic goal) driven manner. Learning is a personal, unpredictable and ongoing process. While I understand that a set goal has to be structured and organized in some circumstances, I am acutely aware, after doing this paper, how much I prefer painting, and exploring my ideas in the abstract, independently and with no explicit, specific or restricted format. I think it was exceptionally hard for me to function in both realms. While it was a learning experience to have to define (and format) each individual idea, I strongly prefer the visual language that invites open and ongoing discussion of what something could be, what it could relate to, and allows the idea, in object form to be circles and studied endlessly and without sequence or deadline.

F. I have gained direct information, models, and experience not readily available from other sources.

a. I have gained many new means for evaluating a situation, approaching a problem and finding ways though my curiosities and challenges. These models, information and experiences were definitely not readily available and I am most grateful to my lessons in Cognitive Psychology that allowed me to apply set ideas to painting and the becoming of an artist. I know see learning and development in a much different and remarkably more dynamic way.

b. I wil struggle to continue to inform this new perspective, but it is a challenge I am excited to undertake.

G. I have clarified the overall progression or argument underlying my research and the written reports.

a. The argument was that if creativity is innate or comes naturally, why does it seem so hard. If it is a natural quality and it is a struggle for us, we assume we don’t have it, instead of realizing we can work toward it and cultivate a more creative practice. The more creative our practice, the easier it become sort employ our flexible thinking, and recognize opportunities for growth and change, and different ideas for how to solve and overcome the things that stunt us. As we become more creative, things literally become more available to us, but it is nothing remotely easy.

b. I am sure it will be a struggle to keep in mind that there are always ways to get through a problem, but at least for now, I feel like it is pretty set in my mind that any problem can be managed if not solved, as long as we have the resilience, stubbornness and resolve to stick to it. I suppose my struggle will be in deciding when this is a valid, worth while endeavor and when letting go is the more productive choice.

H. My writing and other products Grab the attention of the readers/audience, Orient them, move them along in Steps, so they appreciate the Position I've led them to.

a. I do hope so, but I also think my research was geared to a specific problem of appreciating the requirements for creative development and understanding how creativity is learned and harnessed. Not everyone agrees with that perspective or cares enough to investigate it. I wrote this paper to satisfy my own personal curiosities. I would be pleased if other find it useful but I am satisfied with arriving at a new perspective myself, but I can only hope that each reader would arrive at his or her own position not accept the position I arrived at. If that makes sense, the reader is encouraged to make up his or her own mind about creativity and how they might use any of the research or ideas I presented.

b. My position is likely to, and I think should continue to evolve, so yes the audience, including my self can appreciate the positions I explored, but we should also appreciate that our perspective and understanding of any subject is hopefully an ongoing, moldable impression.

I. I have facilitated new avenues of classroom, workplace, and public participation.

a. Yes, I have rented a new studio and agreed to be on the MassArt Committee for Civic Engagement. I am also a co-chair of the Communications Committee for Information Technology where we are using the principles of dialogue and investigative research and organizational change.

b. As communcation and learning is always a challenge, especially with a large group, I continue to review and refence my books, article and resources from the CCT program.

J. To feed into my future learning and other work, I have taken stock of what has been working well and what needs changing.

a. Yes, as outlined in my synthesis paper, I spent an extensive amount of time reviewing what works well in general, what has worked for the artists I admire and how I need to or can change my situation to work better for me.
b. Finding the resources and opportunities to make those changes happen will take effort and initiative, but it is important to work toward these things that I think are important.

II. DEVELOPING AS A REFLECTIVE PRACTITIONER, INCLUDING TAKING INITIATIVE IN AND THROUGH RELATIONSHIPS

1. I have integrated knowledge and perspectives from CCT and other courses into my own inquiry and engagement in social and/or educational change.

a. Yes, I am using these lessons to motivate me as I’ve found a new studio, am working on new committees at my work and building new friendships. Upon completion of my project I will be talking to our studio foundation department about building some of these principles into the freshman curriculum.

b. I am sure there will continue to be new ways and alternative applications for all I have learned through CCT, I hope I can remain open and actively searching for ways to use the information effectively.

2. I have also integrated into my own inquiry and engagement the processes, experiences, and struggles of previous courses.

A. Yes, I feel the knowledge I have gained is simply a new layer of understanding that seeps into and re-informs pre-existing knowledge. The combination of personal experience and new learning in so many dynamic areas is what has made CCT so interesting for me and my classmates to learn together.
B. The struggle with so much new learning is that I will not know, and may never know how many decisions it will influence and the impact such learning has on every facet of my thinking. From the questions I ask to the ways I engaged in or approach a subject, (or decide not to engage in a subject because it might distract me from other more important endeavors) will likely not be anything I could ever measure.

3. I have developed efficient ways to organize my time, research materials, computer access, bibliographies, etc.

I believe I learned the exceptionally hard way that these things are incredibly important.While I have accomplished my goal, I believe managing these resources will always be a great challenge for me.

4. I have experimented with new tools and experiences, even if not every one became part of my toolkit as a learner, teacher/facilitator of others, and reflective practitioner.

I am certainly painting differently and using various media, including multi-media layered in new ways; a physical experimentation based on the layering of thinking nad understanding I have gained from CCT.

5. I have paid attention to the emotional dimensions of undertaking my own project but have found ways to clear away distractions from other sources (present & past) and not get blocked, turning apparent obstacles into opportunities to move into unfamiliar or uncomfortable territory.

I believe learning to do this was essentially the learning goal of my project. I have a profound understanding of the important of focus, priority and avoiding distraction in my painting and other work now.

6. I have developed peer and other horizontal relationships. I have sought support and advice from peers, and have given support and advice to them when asked for.

Yes, through informal friendships and through my Jade plant Project have both gained support from fellow artists and arranged for them to meet each other, and show in an exhibition together so that we can all enjoy each other’s art work.

7. I have taken the lead, not dragged my feet, in dialogue with my advisor and other readers. I didn't wait for the them to tell me how to solve an expository problem, what must be read and covered in a literature review, or what was meant by some comment I didn't understand. I didn't put off giving my writing to my advisor and other readers or avoid talking to them because I thought that they didn't see things the same way as I do.

This one I really struggled with, but do think I have learned a lot. I had an exceptionally difficult time producing my synthesis. While I am proud that I have finally finished, and indebted to my advisors, I definitely wish I had not undertaken such a large project. Personally, at many points I wish I had done a painting exhibition and a shorter reflective paper or done something else entirely but I have learned so much from the project I did undertake, and it was what I felt like I really wanted and needed to understand that I don’t know how any other project could have been as rewarding. I think this way I have solidified learning and a more anchored sense of why I felt so compelled to stick to it, even when I was exceptionally past deadline. I definitely put off giving my writing to my advisor at certain periods. I was at times angry with myself, furious, sad, or dejected. Now, I am proud and grateful. Writing this synthesis has been exceptionally more difficult than I ever anticipated. We definitely did not see things the same way at every point but I am so very grateful my advisors were willing to work with me and unbelievably patient with me as I worked through the process of producing this paper. I think being in the world of art and painting had a set mindset of never telling your audience what they “should” think, especially as an abstract painter meaning is supposed to be subjective and allowed to relate to various areas of one’s personal perspective. It was really difficult to shift into a place for my writing that nailed down certain ideas about creativity without limiting how the advice of experts might be used. In any case, the CCT professors have been amazingly supportive as I have struggled to accomplish my goals with their kind mentoring and assistance.

8. I have revised seriously, which involved responding to the comments of others. I came to see this not as bowing down to the views of others, but taking them in and working them into my own reflective inquiry until I could convey more powerfully to others what I'm about (which may have changed as a result of the reflective inquiry).

I have revised extensively and my advisors have been generous and invested in thinking and considering my project. We have worked together to shape the final draft.

9. I have inquired and negotiated about formal standards, but gone on to develop and internalize my own criteria for doing work—criteria other than jumping through hoops set by the professor so I get a good grade.

Yes, this learning for me had nothing to do with formats or structure. I was only hoping to figure things out for myself, but in learning to do that, my advisors helped me formalize the learning and document it in a way I can return to in the future and others may find useful.

10. I have approached the CCT synthesis course and the CCT program as works-in-progress, which means that, instead of harboring criticisms to submit after the fact, I have found opportunities to affirm what is working well and to suggest directions for further development.

Yes, I have discussed the benefit of having an art professor on staff or assigning students with art related projects to an art department advisor with my faculty. Particularly as we learn about domain knowledge and domain-specific creativity, I think this would be exceptionally helpful. I happened to work with Carol Smith of the Psychology Department and Arthur Millman of the Philosophy Department who each provided solid, interesting and insightful advice based on thinking and norms from their own areas in addition to Critical and Creative Thinking directly, so I was lucky and happy to have their support (even so long after my deadlines.) I just think it would have been nice to have someone in arts to go over my ideas with, but I understand now Luanne Witkowski has been doing some teaching and this thought has already been heard and addressed. I think at different times the program has had musicians and dancers, etc. involved and likely I was simply there at a time when the group had a different make up.