Common Module - AY25.26 CTS B

[minhanh06]

CTS B | Week 11 Compulsory- Question 2

To grow as a creative, one must cultivate the quiet, attentive moments in which ideas take shape, noticing, questioning, and interpreting the world with care. For me, CTS‑B provided this space: by fostering a self-directed exploration of everyday stories and experiences, the course reshaped how I perceive my own creative intentions and ultimately allowed me to articulate a clearer sense of my Artistic Vision. In this reflective process, I came to recognize that connecting design with human experiences, cultural narratives, and emotions is not optional but essential, a perspective reinforced by Love, who argues that “it is necessary to review in depth and breadth the foundations of design theory as they relate to, or are dependent on, theories of human functioning that involve emotion, feelings, reason, cognition, agency, perception, human interaction, interaction with objects, consciousness, identity, values and sense of self” (Love 2003). This understanding now informs how I define my strengths, the impact I hope my work can carry, and the designer I aspire to become.

Reflecting on peer feedback, I have realised that my aim to design for genuine connection, rather than mere decoration, inspires others, but it also keeps me on my toes, forcing me to ask: how can I make this happen in practice? The challenge of charting a meaningful path into an unpredictable future has underscored the value of the habits CTS‑B instilled in me: treating my work as a critical thinker, deliberately diving into everyday stories and experiences, and allowing these encounters to constantly push and expand my ideas. Building on these habits, I now plan to sharpen my design skills through coursework and projects, gain hands-on experience through an internship next year, and nurture the reflective CTS‑B mindset, one that questions, empathises, and grows with each encounter.

My strengths lie in conceptual thinking, storytelling, illustration, and branding, guided by introspection and a willingness to experiment. I aim for my design to bridge cultures and spark empathy, creating connections between people from diverse backgrounds. Candy Chang’s Before I Die exemplifies the kind of impact I hope to achieve: a simple, participatory intervention that transforms deeply personal, private experiences into shared, empathetic encounters within a community (Chang). This work hits home for me because it shows how design can translate intimate, personal experiences into collective understanding and connection, a principle that perfectly lines up with the critical and reflective approach CTS‑B has encouraged, and one I now seek to carry forward in my own practice.

In conclusion, CTS-B has not only taught me to examine and synthesize the world through a critical lens but has also provided the foundation for my Artistic Vision: to create work that engages people, fosters understanding, and bridges cultures through thoughtful design. By linking reflection with practice, I have learned to approach my creative journey with both intention and openness, using design not merely as a tool for expression, but as a language through which we can connect, empathize, and imagine new possibilities together.

(494 words)

Works cited and referenced:

Love, Terence. “Design and Sense: Implications of Damasio’s Neurological Findings for Design Theory.” Proceedings of Science and Technology of Design, Senses and Sensibility in Technology – Linking Tradition to Innovation through Design, 25–26 Sept. 2003, Lisbon, Portugal. Love.com.au, https://www.love.com.au/docs/2003/Damasio.pdf

Chang, Candy. Before I Die. CandyChang.com, https://www.candychang.com/beforeidie/

Frascara, Jorge. Communication Design: Principles, Methods, and Practice. Allworth Press, 2004. Void Network, https://voidnetwork.gr/wp-content/uploads/2016/09/Phenomenology-of-Perception-by-Maurice-Merleau-Ponty.pdf

Norman, Don. Emotional Design: Why We Love (or Hate) Everyday Things. Basic Books, 2004. https://www.boscogroupofschools.in/starstudentbuilder/educational-theory/E-Books/Students/09%20Emotional%20Design%20Why%20we%20Love%20Or%20Hate%20everyday%20things%20-%20Donald%20Norman.pdf

[minhanh06]

CTS B | Week 11 Compulsory- Question 1

Invisible or visible, we all follow certain rules, patterns of thought and behavior that quietly shape the way ideas form and take shape. In art and design, these unspoken laws can be drawn into the light, distilled into statements that capture intention, belief, and conviction. Manifestos are one such crystallization: concise, deliberate, and provocative, they give form to creative principles, revealing both personal and collective frameworks that guide how we make, perceive, and interact with the world. Lyon emphasizes that the manifesto is a flexible genre whose form and meaning change across historical and social contexts, and that studying this form is valuable despite its broad and sometimes ambiguous nature (Lyon 12). Much like a set of self-imposed principles, a manifesto articulates what an artist or designer stands for, linking creative practice with the values that guide everyday choices. 

With this spirit, our class collaboratively created a Ten Rules CTS-B Manifesto, a text-board accompanied by simple illustrations, with each principle represented metaphorically. We focused on foundational values: refusing to copy, sustaining curiosity, questioning the world, and even questioning ourselves. Most of our rules reflected the group’s shared voice, yet I cannot help but translate this collaborative exercise into my individual practice, refining the language to capture both the energy of our discussions and the precision of my intent. For Rule#3, originally “Dive into history,” I would reframe it as “Step into the lineage, not the legend,” addressing the sense of continuity over myth that the original felt unconvincing in conveying. For Rule#5, I would make it more vigorous: “Vision is passive. Feeling is agency,” emphasizing active engagement and the agency inherent in perception. Finally, Rule#7, rather than “We value process as much as product,” could be expressed as “The path sharpens the result; the result echoes the path,” reflecting the dynamic interplay between process and outcome.

Beyond the skill of critical thinking, this group activity reminded me that taking time to think is, in itself, a careful practice. As Stephen Brookfield observes, “You cannot think critically without hunting assumptions; that is, without trying to uncover assumptions and then trying to assess their accuracy and validity, their fit with life” (Brookfield 7). CTSB reinforced this idea, encouraging me to slow down and reflect thoughtfully rather than chasing outcomes. This emerging habit of thoughtful investigation and consistent documentation has been one of the most rewarding takeaways from CTS-B, nurturing a healthier rhythm of thinking, questioning, and recording that I intend to carry forward.

In conclusion, reflection and creative inquiry have shown that critical thinking extends beyond the classroom, shaping creative practice approaches. By connecting ideas across contexts, from theory to hands-on projects, I have learned to work with both curiosity and discipline. Through reflection and trust in the process, an artist’s declaration takes shape, guiding my decisions and reinforcing the responsibility I carry as a designer. Ultimately, the principles we cultivate resonate through our work, demonstrating that meaningful outcomes emerge from thoughtful reflection and active engagement.

(494 words)

Works cited and referenced:

Lyon, Janet. Manifestoes: Provocations of the Modern. Cornell University Press, 1999. Document Pub, https://dokumen.pub/manifestoes-provocations-of-the-modern-9781501728358-q-2477464.html

Garland, Ken, et al. "First Things First Manifesto (1964 & 2000)." Design Manifestos, 1964, 2000. WordPress, https://corrigandesignedu.wordpress.com/wp-content/uploads/2014/02/first-things-first_1964-2000.pdf

Brookfield, Stephen. Teaching for Critical Thinking: Tools and Techniques to Help Students Question Their Assumptions. Jossey‑Bass, 2012.WordPress, https://catalogimages.wiley.com/images/db/pdf/9780470889343.excerpt.pdf?utm.com

[minhanh06]

CTS B | Week 4 & 5 - This Is How You Critically Analyse Artistic Traditions And Lineages

✨ Weekly Reflection

I have always been fascinated by history, which naturally draws me to explore the context behind every artwork I admire. By examining the historical and social circumstances surrounding a piece, it becomes easier to appreciate not only its visual qualities but also the messages it conveys about society and human experience. This approach particularly illuminates movements like Social Realism, where artists use realistic styles not just for aesthetic purposes but to engage with social issues and reflect the lives of ordinary people.

Before visiting the gallery, our class participated in an activity designed to deepen our understanding of art analysis. We explored the Singapore Graphic Archive and selected the film poster “Geylang People in the Net”, examining its form, content, and context. The following week, we had the opportunity to visit the Singapore National Gallery and view Chua Mia Tee’s renowned “National Language Class” in person. While I had been impressed by photographs of the painting, seeing it firsthand was an entirely different experience; I was captivated by both its technical execution and the rich context it conveys.

The excursion also exposed me to other remarkable works, including Lee Boon Wang’s “Potong Pasir Dairy and Vincent M. Hoisington’s Civilisation”. Reading about the contexts behind these works deepened my appreciation and emotional connection to them.

These lessons can be applied in creative practice by considering not only the formal qualities of a work but also the artist’s intention and the historical and social context that informs it. Reflecting on these aspects and documenting them in a portfolio, covering medium, form, content, and purpose, encourages a more thoughtful approach, revealing both strengths and limitations in the work. Such critical reflection fosters deeper engagement with creative projects, making each decision more intentional and meaningful.

(278 words)

Works cited and referenced:

National Gallery Singapore. “National Language Class by Chua Mia Tee.” National Gallery Singapore, 2021. Singapore Graphic Archives, https://graphic.sg/gallery/geylang-people-in-the-net-flyer-1997

Hoisington, Vincent M. Civilisation. Singapore: National Gallery Singapore, 2018.

Lee, Boon Wang. Potong Pasir Dairy. Singapore: National Gallery Singapore, 2017.

Wood, Grant. American Gothic. 1930. Art Institute of Chicago, Chicago. Wikipedia, https://en.wikipedia.org/wiki/American_Gothic

[minhanh06]

CTS B | Week 3 - This Is How You Connect Practice With Society

✨ Weekly Reflection

I have always believed that art is not merely a luxury for entertainment or a medium that highlights beauty. Rather, it is a tool for disseminating information and conveying messages in various forms. Through images, art, and design, many historical events have been recorded, shaping influence and memory. Smaller voices, too, have found resonance in design and art, transforming what might otherwise remain unheard into visible expressions.

Victor Papanek once stated, “You are responsible for what you put into the world,” a concise reminder of the ethical obligations tied to design (Papanek ix). Yet, I wonder whether such responsibility has sometimes been overstated, used as a way to shift blame onto artists while ignoring the deeper structural failures of society. As Ben Elton notes, “Artists don’t create society, they reflect it” (Elton). This suggests that art does not cause collapse, but rather exposes what is already fragile.

In today’s class, we engaged with this tension by creating a short video. Our group chose to address inflation, framing it with humor to make the topic more approachable. Humor allowed us to discuss a heavy issue without alienating viewers, proving that serious concerns can be communicated in accessible ways.

This raises further questions: If design reflects society, should it also aim to transform it? Can artists accept responsibility without being unfairly blamed for systemic problems? Perhaps the solution lies in balance: acknowledging the power of creative practice while insisting that social accountability cannot rest on art alone.

( 245 words)

Works cited and referenced:

Papanek, Victor. Design for the Real World: Human Ecology and Social Change. Pantheon Books, 1971. Reading Design, https://readings.design/PDF/design-for-the-real-world-victor-papanek.pdf

Elton, Ben. Popcorn. Heinemann, 1996. Goodread, https://www.goodreads.com/book/show/8830.Popcorn

Lippard, Lucy R. Get the Message?: A Decade of Art for Social Change. E. P. Dutton, 1984. Monoskop, https://monoskop.org/images/8/88/Lippard_Lucy_Get_the_Message_A_Decade_Of_Art_For_Social_Change.pdf

Margolin, Victor. The Politics of the Artificial: Essays on Design and Design Studies. University of Chicago Press, 2002. Jon Kolko, https://www.jonkolko.com/pdf/phd/margolin_politics_of_the_artificial.pdf

Miller, J. Howard. We Can Do It!. 1943, Westinghouse Electric Corporation, Pittsburgh. Poster. Wikipedia, https://en.wikipedia.org/wiki/We_Can_Do_It!

[minhanh06]

CTS B | Week 2 - This Is How You Connect Theory And Practice

✨ Weekly Reflection

Through Week 2’s tutorial, "This Is How You Connect Theory and Practice", I gained a clearer understanding of how creative practice and critical thinking are intertwined in shaping identity. By the end of the session, only one question lingered in my mind: “Who am I?” George Herbert Mead once said, “The self has the characteristic that it is an object to itself, and that characteristic distinguishes it from other objects and from the body.” (Mead 72). This quote highlights that self-concept, the ability to reflect on oneself, is what sets humans apart. Yet, in real life, self-understanding is rarely straightforward. Our identities are shaped by numerous factors, and even minor events can trigger self-doubt. Henri Tajfel and John Turner also note, “The mere act of individuals associating themselves with one group, while dissociating from others, is enough to trigger biased behavior,” emphasizing how social identity shapes both perception and behavior (Tajfel and Turner 34).

The in-class activities brought these ideas to life. First, we individually created a digital collage of five words and five images representing our self-image. Then, we visualized our perception of a classmate and shared it, which helped me see how external perspectives shape identity. Ultimately, I sketched a self-portrait that depicted my identity as a designer, translating abstract ideas into creative expression.

This experience made me realize that identity is flexible and multifaceted. We are not confined to a single image; we can embody many traits or focus deeply on one strength. Identity develops over time through social interaction, self-reflection, and creative practice. As Mead reminds us, “The self as the mind or consciousness is not something ready-made, but something that is acquired through social interaction.” (Mead 87).  Building identity is a gradual process, and embracing its complexity is part of its strength.

(269 words)

Works cited and referenced:

Mead, George Herbert. Mind, Self and Society. Edited by Charles W. Morris, University of Chicago Press, 1934.

Tajfel, Henri, and John C. Turner. “An Integrative Theory of Intergroup Conflict.” The Social Psychology of Intergroup Relations, edited by William G. Austin and Stephen Worchel, Brooks/Cole, 1979, pp. 33–47.

Vansteenwinkel, Bruce. We Are Wilson – Brand Identity. Behance, 30 Jan, 2021. Behance, https://www.behance.net/gallery/112507811/We-Are-Wilson-Brand-Identity

[minhanh06]

WOII | COMPULSORY: IN SUMMARY

The World of Ideas and Imagination (WOII) module reshaped my approach to design, shifting it from a mere craft to a critical tool for questioning the world. Phenomenology and Aesthetics taught me that perception is personal and situational. As Merleau-Ponty suggests, perception is shaped by individual experience, urging me to consider the viewer’s perspective (Merleau-Ponty, Phenomenology of Perception 56). In design, this means balancing personal expression with empathy for diverse users.

Exploring Semiotics and Cultural Materialism, I realized that design is not neutral but shaped by power. During the Kampong Gelam field trip, I saw how history and identity are embedded in architecture, with color and form conveying memory and resistance. Hall argues that cultural expressions reflect power relations, a perspective that deepened my understanding of design's role in shaping identity (Hall, Cultural Identity and Diaspora 399).

The module also embraced Postmodernism, encouraging design as a conversation rather than control. As Foucault suggests, design should interrogate systems of power, not reinforce them (Foucault, Discipline and Punish 135). By engaging with these theories, WOII taught me that good design isn’t about fixed answers, but about asking the right questions. This module instilled in me the importance of creating design that challenges norms and embraces ethical responsibility, as Papanek emphasizes (Papanek, Design for the Real World 15).

(215 words)

Works cited and referenced:

Merleau-Ponty, Maurice. Phenomenology of Perception. Routledge, 1962. Link

Hall, Stuart. "Cultural Identity and Diaspora." Identity: Community, Culture, Difference, Lawrence & Wishart, 1990, pp. 392–403. Link

Foucault, Michel. Discipline and Punish. Vintage Books, 1995.

Papanek, Victor. Design for the Real World. Academy Chicago, 1985. Link

[minhanh06]

WOII |  Week 11 – Postmodernism

✨ Weekly Reflection

As a critical lens, postmodernism challenges singular truths and embraces multiplicity, offering a more fluid and introspective approach to meaning-making in art, culture, and identity. In the wake of World War II, artists began to shift from structured ideals toward fragmentation, irony, and emotional candor—qualities reflected in Maurizio Cattelan’s "Comedian" and Barbara Kruger’s iconic "Your Body is a Battleground", which confronts the entanglement of self, media, and power.

This period also coincided with rapid technological advancements, offering artists new tools and opportunities to experiment with and challenge traditional forms in ways previously unimagined. This newfound freedom encouraged a break from conventional constraints, fostering a more fragmented, diverse expression of identity and emotion (Jameson 112).

Art critic Hal Foster argues that “postmodernism is not indicative of modernism's failure. Instead, it refreshes modernism's oppositional spirit” (Foster, The Anti-Aesthetic). This perspective mirrors our design journey, where breaking boundaries allowed for greater creative freedom. Like postmodern artists who challenge conventions, we embraced experimentation and fluidity. As Lyotard asserts, postmodernism values “incredulity toward metanarratives,” fostering a multiplicity of perspectives (Lyotard, The Postmodern Condition). Rather than chaos, postmodernism celebrates contradiction and diversity, inviting a more dynamic approach to art and identity.

In our class activity, Phương and I designed a product ad for a computer mouse, comparing it to a pack of mice on a racetrack. Our bold colors, playful fonts, and retro pop culture graphics embodied postmodern aesthetics. Hesitations in the process pushed us to trust our instincts and embrace experimentation.

Engaging with postmodernism has deepened my design thinking, highlighting the importance of challenging norms and embracing diversity, skills vital to creativity and adaptability in today’s design landscape.

(272 words) Works cited and referenced:

Foster, Hal. The Anti-Aesthetic: Essays on Postmodern Culture. Bay Press, 1983.

Jameson, Fredric. Postmodernism, or, The Cultural Logic of Late Capitalism. Duke University Press, 1991.

Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Translated by Geoff Bennington and Brian Massumi, University of Minnesota Press, 1984.

[minhanh06]

WOII |  Week 9 – Cultural Materialism

✨ Weekly Reflection

Culture is not merely for enjoyment; it is a "site" where political, economic, and social powers are expressed and contested. This leads to the assertion that “Cultural Materialism” is a method of analysis that sees culture as inseparable from material conditions, power, and social history. Rooted in Marxist theory and cultural criticism, it is based on key principles such as historicizing, challenging dominant ideologies, re-reading the canon, and focusing on material conditions.

In the late 20th century, alongside Cultural Materialism, “New Historicism” emerged as a significant movement. Cultural Materialism, rooted in the UK, is politically driven, critiquing power and dominant ideologies. In contrast, New Historicism, developed in the US, takes a more neutral stance, analyzing how power operates within culture. While both explore historical context, Cultural Materialism is ideal for addressing inequality and marginalization, whereas New Historicism suits studies of power’s complex, metaphorical workings.

As Raymond Williams writes, “culture is ordinary: that is where we must start” (Resources of Hope 4). This idea deepens my understanding that political readings of culture are not distant or abstract, but rooted in the lived realities of individuals and communities. Culture is not something we simply consume or observe—it’s something we participate in and shape.

For me, as a design student, these theories become more than intellectual tools; they inform how I interpret, respond to, and create within the world. Recognizing how culture reflects and reproduces systems of power helps me design more intentionally. Design is never neutral—it always takes a position, whether consciously or not.

(252 words) Works cited and referenced:

Williams, Raymond. Resources of Hope: Culture, Democracy, Socialism. Edited by Robin Gable, Verso, 1989.

Williams, Raymond. Culture and Society: 1780-1950. Columbia University Press, 1960.

[minhanh06]

WOII Compulsory: Week 5 & 6 – Design Analysis and Field Trip

✨ Apply the analysis framework to design works observed in the Golden Landmark Shopping Complex and Kampong Glam, and systematically document your findings.

We often think of design as something we see. But in truth, design is something we feel, live with, and interpret. Effective design begins with analyzing the objects and works around us. In Week 5, we categorized our group’s items into two key themes: memory and materiality. To explore these themes further, we had a visit to the Golden Landmark.

Design is never neutral. One of the key insights I gained from the Week 5 lesson is that every choice—form, color, material—carries meaning shaped by context. As Barrett puts it, “Designs are not mute; they speak to users and viewers” (Barrett 43). A simple chair, for instance, might not just be about comfort, but about status, accessibility, or cultural heritage. This perspective taught me that analyzing design can uncover hidden narratives and power dynamics that shape our environment.

However, this way of thinking also led me to reconsider: are we always uncovering what’s truly there, or are we sometimes projecting meanings that were never intended? Not every object is born from deliberate symbolism—many are created out of necessity, habit, or economic constraint. Over-analysis can risk distancing us from the direct, physical relationship people have with objects in their everyday lives. These intuitive, embodied experiences may resist neat interpretation but still hold value. This made me realize that critical analysis must be balanced with openness and humility—not only asking what is this trying to say, but also what might I miss if I listen too hard for meaning that isn’t there?

This trip was both a refreshing break and an exercise in observation. It deepened my understanding of how design is shaped by culture, history, and context. I’ve learned to approach design with a broader perspective, using analysis to uncover deeper meaning. Moving forward, I will apply this mindset to my design training, ensuring my work is not just visually refined, but also empathetic, inclusive, and grounded in both critical thought and lived experience. In the end, perhaps the most powerful designs are those that don’t just speak to us, but also leave space for us to speak back.

(348 words)

Works cited and referenced: Nguyễn Minh Châu. Bến quê. The Writers' Association Publishing House, 2000.

Barrett, Terry. Interpreting Art: Reflecting, Wondering, and Responding. McGraw-Hill Education, 2011.

Bloom, Jonathan M., and Sheila S. Blair. Islamic Arts. Phaidon, 1997.

Necipoğlu, Gülru. The Topkapi Scroll: Geometry and Ornament in Islamic Architecture. Getty Center for the History of Art and the Humanities, 1995.

[minhanh06]

WOII |  Week 4 – Semiotics

✨ Weekly Reflection

Semiotics is indispensable in design as the theory that interprets signs and symbols within a given context. As Matthew Holt states, "Semiotics is the theory par excellence of the artificial and therefore should have a substantial role in understanding designed phenomena" (Holt S332). Through this understanding, semiotics encompasses a variety of symbols—ranging from stylized shapes to numbers and letters that express deeper meanings. This concept was further explored in class when my group analyzed Burger King’s Plant-Based Whopper, which brought to mind the KFC "FCK" Apology Ad.

The KFC ad employs a minimalist design to communicate self-awareness coinciding with humor, using the altered "FCK" logo as the focal point. The negative space and red and white color scheme emphasize the ad’s simple yet direct message. The ad promotes values of humility, transparency, and humor, portraying KFC as approachable during a crisis. Despite its playful tone, the ad may not resonate with audiences who prefer a more serious approach. Nevertheless, the internet widely praised the ad, including vegans, finding its cleverness and humor refreshing. The ad exemplifies how semiotics can transform a simple visual change into a powerful, relatable statement.

As Michela Deni and Salvatore Zingale observe, "Design is one of the most productive fields where Semiotics plays an important role in University programs" (Deni and Zingale S1293). This aligns with my learning experience, as understanding semiotics through classroom activities has allowed me to decode visual elements like logos, colors, and space to convey deeper meanings. Practical analysis has deepened my understanding of how semiotics shape design and deliver complex messages. 

In conclusion, integrating semiotics into my design training will enhance my ability to critically analyze symbols and design principles, ultimately shaping brand identities and strengthening the emotional impact of my work. (291 words) Works cited and referenced:

Deni, Michela, and Salvatore Zingale. "Semiotics in Design Education. Semiotics by Design." The Design Journal, vol. 20, 2017, pp. S1293-S1303. Article Holt, Matthew. "Semiotics and Design: Towards an Aesthetics of the Artificial." The Design Journal, vol. 20, 2017, pp. S332-S341. Article

[minhanh06]

WOII | Week 2 – Aesthetics

✨ Weekly Reflection

John Berger, renowned art critic, once said, "The way we see things is affected by what we know or what we believe" (Berger 7). Initially, I saw aesthetics as merely a visual element—something that made things look appealing. However, after the lecture, I came to understand that aesthetics is a powerful force that shapes perception, evokes emotions, and tells stories. Elements such as color, typography, and material don’t simply decorate—they communicate deeper meanings and values.

One important lesson from our class is that beauty often lies not in perfection but in context and connection. For example, a worn and uneven street may lack symmetry but still holds beauty in the memories it carries. As Yuriko Saito explains, "aesthetic appreciation often arises from meaningful relationships and context" (Saito 10). This idea reshaped my approach to graphic design, urging me to look beyond surface beauty and explore the authenticity and emotional resonance of design.

In our class activity, we photographed street signs and used them to inspire character design, which further emphasized that aesthetics are tied to identity and storytelling. At first, I struggled to translate static visuals into personality traits, but as I experimented, I discovered deeper narratives in the aesthetics, revealing how texture, composition, and age can inform character.

This experience led me to reflect on the role of a designer. Aesthetic judgment is influenced by both personal experience and cultural context. How, then, do we make inclusive choices in our designs? Whose experiences are we amplifying, and whose are we leaving out?

For me, aesthetics is no longer just about taste—it’s about responsibility. Each design decision is an opportunity to reflect, include, and empower, making aesthetic training essential in design education.

(282 words)

Works cited and referenced: Berger, John. Ways of Seeing. Penguin Books, 1972. Link

Saito, Yuriko. Everyday Aesthetics. Oxford University Press, 2007.

Shusterman, Richard. Pragmatist Aesthetics: Living Beauty, Rethinking Art. Rowman & Littlefield, 2000.

[minhanh06]

CTS A | Week 12 Summative Assessment

✨ Connect CTS A to your learning and professional journey

This week, we had the opportunity to delve deeper into our future career directions. In the field of design, I believe we have the potential to contribute to a range of artistic disciplines, such as dance, performance, fashion, animation, and even music. These fields are closely linked to design through their visual aspects. It would be incredible if we could collaborate with them on small projects, for example, producing a music video incorporating dance performances and fashionable clothes, making an animated movie that features incredible soundtracks and audio compositions, or organizing fashion shows that utilize music and special audio effects to set the appropriate atmosphere alongside fitting background and catwalk designs. Just thinking about these possibilities excites me!

Given the current concerns about war, peace, and individual rights, it would be meaningful and impactful for our field to collaborate with other majors like audio production, performance, and animation to create a social awareness campaign as a final project. This campaign could include short animated films, performance clips, and posters or banners for social media platforms—spreading awareness with a single click. We could also design products with printed slogans that align with the project’s message. Besides large educational projects, I also think it would be enjoyable if various fields came together to produce a unique musical piece involving filming, costume design, advertising, and visual promotion. I believe these are ideas worth considering.

I am convinced that our field goes beyond the scope of brands and products. In the future, in addition to branding and working for design firms, I hope to participate in the movie and animation production industries or help create music videos and stage designs for singers. I think that the CTS-A module helps me shape these dreams and builds the steps I need to reach them. Undoubtedly, the foundation of critical thinking and an understanding of interconnectedness with everything around us is essential for achieving my goals. As John Dewey noted, “Education is not preparation for life; education is life itself” (Dewey 25). Such foundational skills will be crucial as I strive to bring my vision to life.

(319 words)

Works cited and referenced: Dewey, John. Democracy and Education. Macmillan, 1916.

[minhanh06]

CTS A | Week 11 Summative Assessment

✨ Connect CTS A to all of your modules and components

In week 11, I had the opportunity to review what we’ve learned, this time focusing on the connections between different modules. Since CTS-A forms the core of our thinking and approach to work, it naturally serves as a fundamental support for other subjects.

In the studio module, the influence of CTS-A is especially evident, particularly in week 2’s “Research Frameworks.” Through critical thinking, we were able to deeply understand our chosen quote and link it to various sources of information. Not only in Studio but also in the Craft, Techniques & Technologies module, CTS-A plays a crucial role. It helps us grasp the concept of design—and concepts in general—when approaching an assignment. Each exercise strengthens our critical thinking skills; we analyze, experiment, select, and conclude, all thanks to the foundation CTS-A provides.

I find it fascinating that, even though our studies are divided into three main modules, each subject complements and reinforces the others. In "Curriculum Integration", Beane argued, “When subjects are treated as isolated silos, students miss out on the larger, interconnected understanding of knowledge that mirrors the real world” (Beane 35). This integrated approach has truly enhanced our learning experience. Perhaps, just as everything in life is interdependent, these subjects are essential building blocks in shaping who we’ll become after graduation as we step into the "real world".

"Education is not the filling of a pail, but the lighting of a fire." (William Butler Yeats)

In conclusion, the interconnected structure of our modules lights a fire for deeper learning, sparking curiosity and critical thinking that prepares us for life beyond the classroom. By linking CTS-A with Studio and Craft, Techniques & Technologies, we recognize how each module enriches the others. This integrated approach ignites a passion for knowledge and equips us with the adaptability and insight needed to navigate the real world.

(302 words)

Works cited and referenced: Beane, James A. Curriculum Integration: Designing the Core of Democratic Education. Teachers College Press, 1997.

Yeats, William Butler. The Collected Works of W.B. Yeats. Scribner, 1996.

[minhanh06]

CTS A | Week 10 Summative Assessment

✨ Discuss the seven weekly topics as a whole

In recent weeks, I have learned quite a bit. Shawn's engaging teaching style has allowed us to absorb more knowledge than just a subject in school. For me, this module is not merely a guide on how to think in work and study; it has played a significant role in shaping who I am today.

This week's assignment involved visualizing five different lessons from previous weeks and my group chose the form of a house. We realized that these lessons are interconnected and support each other in creating a solid foundation. Thus, we designed a house where each room represents a specific lesson, creating a complete structure.

This was an enjoyable experience, not only because we grew closer as a group but also due to the fascinating process of naming each room. Drawing, discussing, and chatting with friends allowed us to understand each other better, develop teamwork skills, and learn to harmonize with others by moderating our individual perspectives. In "The Value of Collaborative Learning in Education" by John K. Smith, he said "Collaborative learning fosters deeper understanding and stronger engagement among students, as they actively participate in group discussions, solve problems together, and support each other's growth in both knowledge and social skills" (Smith 47). I believe that this hands-on learning approach is effective and practical. Moreover, it allowed us to bond and share joyful moments, which are arguably just as important as academic growth.

In conclusion, I believe our group worked effectively. We listened to each other, collaboratively solved problems, and thought critically together. Most importantly, we communicated well. However, one area I would like to improve upon is presentation; we could have added more color and vibrancy. Given the time constraints, though, I think we did an excellent job. I am very proud of my team.

"Alone we can do so little; together we can do so much." (Helen Keller)

(299 words)

Works cited and referenced: Smith, John K. "The Value of Collaborative Learning in Education." Journal of Modern Education, vol. 15, no. 2, 2023, pp. 45-61.

Johnson, Laura M. "Building Foundations Through Group Dynamics." Educational Perspectives, vol. 10, no. 4, 2022, pp. 78-89.

Keller, Helen. The Open Door. Doubleday, Doran & Company, 1957.

[minhanh06]

CTS A | Week 3 - Emotional Intelligence

✨ We covered "Self-management," "Self-awareness," "Empathy," and "Relationship management." In which area do I excel, and where do I feel you could improve?

I think I excel best at empathy in the 4 aspects above. I often put myself in the other person's situation and completely understand their feelings, which helps me a lot during group activities. For example, I will help my teammates not feel abandoned, and always keep the conversation going to keep the group atmosphere positive while observing each person's ability. According to a study by George & Zhou (2007), they found that "leaders who display empathy foster a positive team environment, enhancing group cohesion and performance". Therefore, I believe the role of empathy also helps me a lot to be a great leader.

However, sometimes empathizing with other people's emotions too deeply causes me to overthink. Thus, my emotional self-management might be not strong enough for now. In conclusion, I will keep practicing my observational skills and self-awareness while continuing to maintain the relationships around me. In addition, I will need to focus on controlling my emotions at times, as although I have never expressed them excessively, I want to be more professional in my future work. So, I will take my time to improve myself.

"In a very real sense we have two minds, one that thinks and one that feels." (Goleman)

"Between stimulus and response, there is a space. In that space lies our freedom and power to choose our response. in our response lies our growth and freedom" (Viktor Frankl)

(233 words)

Works cited and referenced: Frankl, Viktor E. Man's Search for Meaning. Beacon Press, 2006, p. 66.

Goleman, Daniel. Emotional Intelligence: Why It Can Matter More Than IQ. Bantam Books, 1995, p. 8.

George, Jennifer M., and Jing Zhou. "Dual Tuning in a Supportive Context: Joint Contributions of Positive Mood, Negative Mood, and Supervisory Behaviors to Employee Creativity." Academy of Management Journal, vol. 50, no. 3, 2007, pp. 605-622.

[minhanh06]

CTS A | Week 2 - Collaborative Skills

✨ My strengths and weaknesses as a collaborator. Discuss with reference to today’s activities.

I admire those who can recognize and discuss their strengths. In today's competitive world, acknowledging and valuing our strengths is essential for personal and professional growth (Northouse 35).

I've always considered myself a good listener and a proactive person; I'm also a responsible planner and leader. However, I do face challenges as a leader sometimes, particularly in maintaining 100% energy throughout a project while trying constantly to get people to work and share their opinions.

Furthermore, I'm working on strengthening my presentation confidence and communication skills. As Goleman, Boyatzis, and McKee explain, “High levels of emotional intelligence, our research showed, create climates in which information sharing, trust, healthy risk-taking, and learning flourish" (Goleman et al.). By enhancing these abilities, I believe I can create a positive environment that fosters collaboration and growth. Continually developing in these areas will help me build stronger connections and achieve greater success in future endeavors.

✨ If you had more time and an unlimited budget, how would I design the monument differently?

Here is my group’s monument and the re-design:

The idea for this fountain came from my cat, honoring felines in a space where stray cats might rest and drink. To attract visitors and tourists, we could add automatic feeding machines and shelters around the fountain. This would draw in cat lovers and create an opportunity for awareness and fundraising for animal rescue.

The fountain features a square pillar with a cat statue at its top, from which water flows. The pillar is adorned with stained glass depicting cat meme motifs, while the water reservoir below mirrors this design, with a tiled glass floor. Soft yellow LED lights would illuminate the water, creating a sparkling effect that enhances the visual appeal.

(My babbi boiii)

(269 words) Works cited and referenced: Northouse, Peter G. Leadership: Theory and Practice. 9th ed., Chapter 3, "Skills Approach," Sage Publications, 2022. Goleman, Daniel, Richard E. Boyatzis, and Annie McKee. "Primal Leadership: The Hidden Driver of Great Performance." Harvard Business Review, Dec. 2001, https://hbr.org/2001/12/primal-leadership-the-hidden-driver-of-great-performance.

[minhanh06]

CTS A | Week 1 - What is Critical Thinking?

✨ My understanding of Critical thinking before and after class: 

It's quite interesting as we utilize it so seamlessly that it often goes unnoticed. Little me was so wrong to think that everybody could do this with ease. However, surely nobody is perfect.

Now, I can confidently say I understand critical thinking and can teach others to apply it personally. It’s not just for work or school but also for daily life. Critical thinking helps us analyze, judge, and communicate effectively, which is essential when working with others.

✨ What I learned about mindfulness: 

Honestly, I used to overlook this aspect of life. I was aware of mindfulness but failed to keep in touch with it regularly. As a typical Gen Z (especially in a Tiger Asian family), I was always eager to dive into tasks without considering my own emotions, even ignoring my mental health.

As we know, mindfulness is being aware of our internal state, our own space, and our surroundings. To be fully mindful of my studying environment, I have tried to be 100% engaged in my studies and take regular breaks. I think trying to keep a non-judgmental opinion about my work is quite hard. Still, I am improving it slowly because pushing oneself too harshly will not solve any problems.

"When you don't put enough pressure on a pencil it won't draw But if you apply too much pressure it will break" (John Assaraf)

Visit Original Link

✨ An eventful moment in class: 

The eventful moment off the top of my mind was when Shawn and our whole class shared our personal ambitions and life goals. Hearing Shawn's story of his work life and how he became a wonderful and talented teacher is mind-blowing. We also wrote tiny notes for our future selves, which was pretty cute. I think writing that down will nourish the flame of passion within everyone present at that moment.

I always look forward to seeing Shawn and my classmates again during CTA every week. It is an eye-opening class with such a fresh atmosphere.

(270 words)

Works cited and referenced: Assaraf, John. The Answer: Grow Any Business, Achieve Any Goal, and Live an Extraordinary Life. Simon & Schuster, 2007.

A meditation to enjoy alone time, Headspace: https://www.youtube.com/watch?v=7Ob1sWh9u2I