Module 1: Task 3a - Current Networks

I consider networking to be part of my every day life. Even without intentionally doing so, I find myself networking. I am always thinking of my future self, and what it is I can do to ensure continual progression in my career. There are many different ways and tools that I use to engage in my professional network. 

For me, word of mouth is an important tool for networking. I always try to keep in touch with my friends within the industry because I know that they, more likely than not, will have been investing their own time in researching and networking, too. They sometimes provide me with information that I have not come across or even provide me with answers to questions that I have gathered. 

Auditions can present valuable opportunities to meet new people within my industry. Often, the people that I meet at the auditions come from many different parts of the World and are at many different stages in their career. On engaging in conversations, it is clear to see that almost everyone has a story to tell and I nearly always come away having learned something new or picked up some useful information. 

These day's, the Internet has been one of the most useful tools for networking. The growth of Web 2.0 now means that networking is possible from the comfort of your own home or anywhere in the World as long as you have a connection to the Internet. 

As per my previous post on this subject, there are many different Web 2.0 sites that I currently use. One of my favourites is Facebook. I find the site to be very useful because it presents me with the opportunity to connect to and interact with millions of different people all around the globe. Its powerful search engines make it very easy to identify someone with a specific area of interest or work. In this case, it would be my industry. 

Facebook offers numerous different services. I have access to user profile pages, on which I can easily post information and communicate using any form of digital media. I can also privately contact users, as Facebook has the capability to function similarly to E-mail, along with allowing the creation of social groups, pages, events and many other features with the ability to promote them.

One of the many groups that I am a member of on Facebook is often talked about, 'The Hustle!' It's members actively share advice and information regarding upcoming jobs and auditions, as well as offering to help with other opportunities and services. Since I last wrote about 'The Hustle!', it's membership has grown to 23,312. These are almost entirely made up of performing arts industry professionals, including vocalists, dancers, musicians, models, photographers and teachers, to name a few.

There are also online agencies and other casting websites that I use, such as 'Dancers Pro', 'Spotlight', 'Let it Cast' and even 'Star Now', to provide a few examples. They are beneficial because not only do they provide information on current castings, they can also provide a platform for employers to get in touch and communicate with the artist/performer. 

Although the E-mail technology has been around a long while now, it is still a perfectly acceptable means of contacting people. I always have my E-mail browsers open when using the laptop and I always leave my 'pop3 push messages' service working on my smartphone, so that I am always notified of an incoming message, one way or another. Best not forget that the conventional postal service is still an acceptable way for contacting people such as agents, who frequently require hard copies of photos, CVs and contracts.

With today's technological advancements in mobile services, I consider myself very lucky to be able to access nearly all of my networking tools from the smart-phone in my pocket. Not only can I receive incoming calls and messages, as long as I have access to the Internet, I can also access my E-mails, log in to most of my Web 2.0 sites, visit online casting agencies and other websites that I use. It is a quick and efficient tool, one perfectly geared up for networking. 

I am also a member of the Musicians Union. This is a trade union which focuses on the careers of musicians. Trade unions such as the Musicians Union and Equity provide support to those in the industry. Not only do they help to resolve issues and give career or legal advice, they also provide the opportunity for members to inter-connect and communicate with each other.

There are many different ways of networking in my industry that are used by established practitioners. I am a firm believer that if you wish to engage in specific social circles, you must first immerse yourself in the environment. Because the industry has changed so much in recent years, this could now be perceived by some as being outdated. Nevertheless, I still consider London to be the top social hub for people within the performing arts industry. Being at the right place at the right time has benefitted many people in the past with their careers. In London, I know that there are still a lot of places that I could benefit from if they were to be added to my social haunts. 

Although I use many technologies for social networking, there are still other Web 2.0. tools available that I could, but do not, use often enough for professional purposes. There are many industry professionals who are very successful at using Twitter and Instagram, for example, as other tools for professional networking purposes. These sites are also well suited for generating publicity, as posts can be made more open to the general public by the use of '#tags' or hashtags, which could definitely be used as a means of marketing oneself.

Upon reflecting on the make-up of my current networks, I am able to recognise some of the motives and the reasons why other professionals in the industry would want to do the same. The importance of engaging in networking is not to be understated. Amongst many, I think the often-heard saying "It's not what you know, it's who you know" is a good example of how people perceive the way of achieving success in the industry. I think many people appreciate the efficiency of using these networking tools, as it is neither time-consuming nor costly to engage or interact with others and do many of the things listed above. 

My ideal network could be compared with existing networks. It would be continually growing, constructed of reliable sources drawn from my areas of interest and well-established industry professionals. My network would allow me to engage with the other members across multiple platforms, and allow interaction through written, verbal and visual media. It would include a free pool of information to be verified by the very people who use the information, resulting in giving the information a high reliability score. 

In my view, it would be too costly and time-consuming to develop my ideal network myself. Understanding the way Web 2.0 works, the issue would not only be in developing the network but putting in the work to get the people I want involved. Realistically, what I could do is manipulate the networks that I already have, using and focusing them on functioning the same or as close as possible to my ideal network. 

Moving my residential address to London could prove to be beneficial. Immersing myself in the environment of my industry would most likely help focus my social groups in the areas I wish to engage with and make me more available for short-notice opportunities. When it comes to communicating with people verbally, I know that I may benefit from the practice, which may result in me speaking with more confidence and conviction. So, with the aim of developing my conversational skills, I would try to ensure that I networked more on a face-to-face basis. As for what I don't know, I am not in a position say... as I don't know what I don't know. This is the reason why I shall continue networking. 

Module 1: Task 2d - Inquiry

What in your daily practice gets you really enthusiastic to find out more about? Whom do you admire who also works with what makes you enthusiastic?

I am very enthusiastic about music. I enjoy searching for new music to listen, play, dance, choreograph and work out to. Not only do I use music for my own enjoyment, I use music to stimulate new ideas and to motivate me during exercise at the gym. I find that driving sounds within music motivate me to continue to perform the strenuous movements which I would normally find difficult to do without. There has been much research into to the psychology behind this,  research which provides evidence that listening to music during exercise can alter the way the brain interprets how we feel whilst exercising. This includes the way we interpret pain and fatigue, often elevating levels of arousal, mood and perceived effort. A leading psychology expert on exercise to music wrote in one of his publications that "[Music]... can be used as a legal stimulant or as a sedative prior to or during competition, it is known as pre-task music". Dr Costas Karageorghis (et al 2010). So, in other words, it is the equivalent of a legal, performance-enhancing drug. 

I am sure that there are many people, who are as equally enthusiastic about music as I am. 

Michael Grimm, my former guitar professor, is someone whom I admire, who also works with music. He, too, uses it for his own enjoyment and for stimulation purposes. Through music, he finds new ideas and many ways of motivating himself, developing creativity in his students and helping them to find an identity within their music. I consider him to be most fortunate that he is able to use music, something that he feels so passionate about, as a way of earning his living. After many years as my guitar professor, Michael has become one of my great friends whom I am able to discuss everything about music as an art form and as an industry. 

Possible ideas for further lines of enquiry:

How does music in our workplace environment affect the way we work and think? Is the use of music to control moods beneficial?

What is the relationship between enthusiasm and quality of work? Does a high level of enthusiasm always mean high quality work?

What gets you angry or makes you sad? Whom do you admire who shares your feelings or has found away to work around the sadness or anger?

Throughout our lives we find ourselves working with many different people from many different backgrounds. I love the variety that this brings and I love performing with them. However, I can not say that I am entirely in love with the industry. One thing that frustrates me is the common misconception or prejudice that those who work in the performing arts do not have a 'proper' job. After my performances, it is not uncommon to receive comments such as "when do you think you'll get a proper job, then?" or "do you ever think of getting a real job". Because this frustrates me, on every occasion I tell them that what I do is 'proper' and that it is how I earn my living. Unfortunately, the reply alone is not always sufficient to change their misconception.

Without sounding too rude, I often have to re-school them about the meaning of the very word 'profession'. I explain that a profession is any paid occupation and that it is very 'real' and that I do work hard for my living. Many forget that my fellow colleagues and I are, in fact, providing a service of entertainment and not giving up our own time for our own enjoyment.

Definition according to the Oxford English Dictionary:
"profession"

A paid occupation, especially one that involves prolonged training and a formal qualification:his chosen profession of teachinga barrister by profession

The name of any individual doesn't come to mind. Nevertheless, I have held many conversations with other people in my area of work who think the same as I do regarding this. I admire anyone working in the industry who holds the same or similar opinions and who attempt to rectify the common misconception.

Here are links to a couple of articles regarding a controversial incident where the Passport Office rejected a photo counterpart signing because the Passport Office staff did not consider 'acting' to be a proper job.

http://www.telegraph.co.uk/news/newstopics/howaboutthat/9116749/Acting-not-a-proper-job-says-Passport-Office.html

https://www.thestage.co.uk/news/2012/exclusive-outrage-as-passport-office-says-acting-is-not-a-proper-job/

Possible ideas for further lines of enquiry:

How does criticism affect the way that we work and react? Where does constructive observation end and unwelcome criticism start? 

Why can't the arts be accepted as a socially-credible profession? Who takes this decision?

What do you love about what you do? Who do you admire who also seems to love this or is an example of what you love?

There are many different things that I consider help to define what I love about what I do. These have matured and developed over the many years I have dedicated to training and even more dramatically so during my time working in the industry. Today, what I love the most is the enjoyment of working alongside other talented people. I enjoy interacting with other cast members, sharing the same enjoyment and having fun. (Sometimes hidden from the audience.)

An example of this can be seen in a video of the Australian tap group, 'Tap Dogs'. Where you can clearly see them interacting and having fun on stage (especially towards the end of the video). Should the embedding of the video not work, you can visit https://youtu.be/YDlkqJGCx-w .

Possible ideas for further lines of enquiry:

Does enjoyment of what you do enhance the perceived quality of your work? If not, what effect does it have?

Whilst in the process of creativity, how does working with others compare to working alone? How can we profit from mutual inspiration?

What do you feel you don’t understand? Whom do you admire who does seem to understand it or who has found a way of making not understanding it interesting or beautiful, or has asked the same questions as you? 

I do not understand why some people in my industry think so little of themselves that they agree to underprice themselves or even work for free. I understand that it can be difficult, initially, to obtain credentials to put on a CV. However, I am of the opinion that nobody should ever work for free unless for charity or by amicable agreement. Working for free affects those who use performing arts as their main source of income. It lowers the value of the work, thereby making it increasingly difficult to find financially-feasible employment. It is becoming a growing problem. I agree with the claim that "action is needed before working for free becomes so endemic that artists are forced out of the profession." Equity (2014). From the point of view of the employers, I do not blame them for trying to get artists to work for them for as little as possible as it would be better financially for them, however, I do not understand why performers succumb to this, even though it appears to be in their better interests to do so. I admire the members of the group 'The Hustle!' who banded together to help raise awareness of the implications of this practice.

Possible ideas for further lines of enquiry:

Can 'experience' be used as a substitute for salary? Is there any evidence that working for free ever results in meaningful employment?

How do you decide the appropriate ethical response in a given situation? To what extent are disciplinary responses different to that you might expect more generally in society? 

In the performing arts industry, working in physical contact with another professional is considered the norm. As a male dancer, performing sophisticated lifts with a partner is not an uncommon practice. On occasion, in order to execute some of the lifts, I have to place my holds on various different parts of the partners body, some of which can appear to be quite intimate. However there is always a mutual, professional understanding that what is being done is necessary in order to successfully achieve the end result for the benefit of the choreography and eventually the audience. Placing your hold in an intimate location, in a general environment, quite understandably, would not be deemed appropriate and would not be acceptable without prior consent.

Here is an example of a lift that demonstrates a situation discussed above:

Possible ideas for further lines of enquiry:

Do we, as artists/performers, sacrifice ethics for the benefit of creativity? If the audience isn't bothered, do we need to be?

REFERENCES:

Inside Sport Psychology - Costas Karageorghis, Peter Terry 2010

Funny Video TAP DOGS.mov - Youtube.com
ACE must tackle 'working for free' culture Equity says - Equity Feb 2010
Oxford English Dictionary

Module 1: Task 2c - Reflective Practice

'Critical Reflection' on 'Reflective Practice'

Before commencing the task of reflective writing, I have had some experience in using critical reflection in my journals during my training at Leicester College of Performing Arts. After reading through 'Reader 2' and other works, it became clear that I had not fully understood it, nor had I felt as much appreciation of critical reflection and reflective practice as I do now. Naturally, as a human being, I often looked back to reflect on my actions and think upon what I could have done differently to achieve a better outcome. However, I don't think that I recognised that I often learned through my critical reflections, or as scholars could more fittingly put it, "Turning experience into learning" (Boud et al 1985). I think this is an example of knowing something without realising what it means to you. 

One of the things that helped me to identify reflective practice within my profession was the work of educationist and philosopher John Dewey and his definition of the educational process. He describes the process as a "continual reorganisation, reconstruction and transformation of experience" (Dewey 1916). An instance in my profession that can best be associated with this theory and where I have been aware of reflective practices is when performing in front of a mirror in the studios. Whilst doing so, I have been and am still, constantly observing and reflecting on myself and my performance there and then, ensuring that I am hitting all the correct lines or positions, and ensuring that the stylisation is to the choreographer's or director's liking. Using the mirrors enables me to assess myself in 'real time' and apply immediate corrections where necessary.

Another scenario in which I was able to identify and make sense of reflective practice is where a dance captain sits back and watches the technical rehearsal of a performance, making notes for correction/direction purposes to be used at the end of the run. The dance captain will analyse and assess what needs to be done from afar, from the point of view of the audience. He/she reflect upon it and decide upon the best way forward on behalf of the cast members and announce which actions should be taken to improve on our work. This example here can also be associated with David Kolb's learning cycle. (See Fig. 1).

Harvard graduate, David Kolb, is an educational theorist who is known for his work and publications on experimental learning and learning style theories. He has always claimed that "learning is the process whereby knowledge is created by the transformation of knowledge" (1984). Inspired by the work of John Dewey and Kurt Lewin, his experimental learning theory is based on a cycle of reflective learning, involving four different styles of learning as depicted below. It is plausibly one of the most useful and acknowledged models of the experimental learning process.

Fig. 1 - David Kolb's Learning Cycle (1984)

IMG: www.simplypsychology.org

According to Kolb, in order to identify your learning style, you must first locate your entry point into the learning cycle, which derives from the moment you begin to learn and become aware. Based on this theory alone, I can not easily identify my learning style, as I do not believe that I hold preference to any one learning style at all.

Nevertheless, we can refer back to the 'dance captain' scenario to help convey the significance of Kolb's learning cycle to my profession. We can take the dance captain watching the performance as the concrete experience, taking notes for correction/direction as reflective observation, deciding the better methods to apply the directions as abstract conceptualisation and, lastly, practising applying the corrections/directions as active experimentation, before performing on stage later for another concrete experience.

It was Donald Alan Schön's views on the process of reflection and his coinage of the terms "reflection-in-action" and "reflection-on-action" (1987) that really made it clear enough for me to comprehend and to be able to identify some of the practices for reflection in my profession. This was also aided by Robert Kottcamp's acknowledgement of Schön's thesis, in support of his view that reflection-in-action is harder to achieve.   

"[Reflection-in-action]... is more difficult to achieve, but the more powerful for the improvement of practice because it results in 'on-line' experiments to adjust and improve one's professional actions. It is more difficult to achieve because the actor must simultaneously attend to performing the action and observe and analyse his or her action, as if from an external perspective." (Kottcamp 1990.) 

This theory, I can relate to. Not only do I refer back to performing in front of a mirror and the dance captains annotations in support of this, as a performer on stage along with the rest of the cast, I am constantly aware and thinking of what it is that I'm doing and continuously adapting to different situations within the constantly changing environment. One example would be when assessing my own levels of fatigue, reflecting-in-action to decide on how I should pace myself to successfully complete the performance to a high standard.

Donald Schön's theories were not left uncriticised. Professor Michael Eraut raised the issue of 'when time is extremely short, decisions have to be rapid and the scope for reflection is extremely limited' (1994). I can whole-heartedly second Eraut's claim here. And I can most certainly relate it to my profession. For example, a situation may develop spontaneously in the middle of executing a lift with a partner. It is possible that it may not go according to plan, and that almost as quickly as an involuntary action, an undertaking of action occurs. As you can imagine, if one were to reflect-in-action in a situation like this, one would have to assess the situation, decide on the plan of action for rectification or solution, think of cause for safety, ensure that the actions taken remain acceptable from an external (audience's) perspective. Not forgetting that you not only have to think for yourself but for your partner, too, as you are in control of his/her bodily safety. This is an example where Schön's reflecting-in-action would come under critical scrutiny. Neither reflecting-in-action or reflecting-on-action would be the optimal choice here. Having said that, it would be a good idea to do so afterwards. Jennifer A. Moon, author of Reflection in Learning and Professional Development: Theory and Practice (2000), suggests that it isn't necessary to put it into writing but, in my opinion, thinking about the experience, critically reflecting on it, deciding on a plan of action in order to prevent a similar situation from happening again, and recording this in a journal is essential.  

In my profession, there are several tools for and practices of reflection, these being used more often then I first presumed. Now that I am able to more readily understand the definition of reflective practice, I am aware that reflective practices take place on a daily basis. However, until now, I have never thought of it in identifiable terms. I merely accepted what was to be done as a means of serving a purpose. I had never previously sat down and thought in-depth about what else it could be or even how it related to the different ways we learn. Now, I am of the opinion that it is not just the actions and the time that we put in to our work that allows us to learn and improve but, in fact, the many ways of reflecting on our experiences. In the words of philosopher and educationalist John Dewey stated, "we do not learn from experience, we learn from reflecting on experience".

References

'BAPP Arts Module 1 Reader 2' - Middlesex University (2014)
IMG: www.simplypsychology.org
'Kolb - Learning Styles' - Saul McLeod (2010, 2013) 
www.simplypsychology.org 
'Learning and Teaching; Experimental Learning' - Atherton J S (2013) 
http://www.learningandteaching.info/learning/experience.htm
'Kolb learning styles' - www.businessballs.com 
'Democracy and Education: An Introduction to the Philosophy of Education, Facsimile Edition'
- John Dewey (1916) Charleston: Nebu
'Art as an Experience' 1958 re-print - John Dewey (1934) New York: Putnam
'Experimental Learning'  - Kolb, D A (1984)  Englewood NJ : Prentice Hall
'Developing Professional Knowledge and Competence' - M Eraut (1994) London: Falmer Press
'Donald Schon: learning, reflection and change' The encyclopaedia of informal education - Smith M.K. (2001, 2011)

'Turning experience into learning'  - Boud, D, Keough, R & Walker, D. (1985) London: Kogan 
Page.

Module 1: Task 2b - Reflective Writing

I've spent several days trying out the different methods of journal writing. For most of the methods, at the end of each day, just before I settled down for bed, I would try one of them out. It was interesting to see how apt some of the methods were, depending on what had occurred that day, and to note that some worked better than others. Many of the methods I tried out, I had never used before. So, I'm very pleased to have carried out this task, as I now have added a few more ways of writing my journal that I had never thought about using before.

I've listed the different journal writing methods below and written a short brief of my opinions and experiences of using each of them. I wonder if any of you share the same opinions or have had similar experiences.

Description

The description method is one I'm very accustomed to. I still find this very useful to document my day. I find that I am aware of having to be liberally descriptive in what I write down as I know that I won't have any other aids to help me recall the events of the day in the future. I'm also not limited to what information I can include in comparison to methods which make use of graphs and charts. I enjoy using this method a lot. I think combining images and diagrams with this method would have to be one of my favourite methods of documenting my day in a journal.

Initial Reflection

I obviously could not try this method out by waiting until the end of the day. At work, I always have my notebook to hand so I can quickly jot down my initial observations and opinions. I thought that this method was similar to using the description method of journal writing, however not as detailed. Because whilst working, I don't have the opportunity to stop and log every detail in my journal. I found it very useful for capturing fresh thoughts and opinions however somewhat limited to how much I could write down at any one time. In an ideal situation, I would use this method and then expand on my records later on using the 'description' method described above.

List

I found writing lists to be all right. It was simply a case of writing down the titles of events that happened in bullet/numerical form without any great detail.

e.g.

I. Drove to the Airport
II. Checked in/ Boarded the Plane
III. Journey
IV. Landed in Valencia.
V. Took Taxi to Hotel.  and so on...

You can see that the lists are great for logging the essentials of key events. However, although it is quick to write some information down in list format, the list does not show much detail. I found that I had to spend more time trying to recall details of the events than I would use with other suggested journal writing methods. If I were to try this method again, perhaps I should consider including a little more detail in the lists to help me to remember what occurred throughout the day more accurately and efficiently.

Evaluation

Evaluating my day's actions/performance was something that I'd never considered doing before. It was interesting to look back at my actions on any given day and to write down how effective or productive I had been. I tried using the evaluation method two different ways. The first, was similar to a list where I marked myself out of 5.

e.g.

Rehearsals RFX - 12/04/2015

Performance - 4/5
Attitude - 4/5
Mood - 3/5
Focus - 4/5
Stamina - 5/5
Collaboration - 4/5

The second way I used the evaluation method was considerably more descriptive than the above (list) evaluation method. It included information containing my thoughts and opinions on what I could have done better for next time, reasonings for my evaluations and a lot more information in general. I think this method is great and I shall more than likely be using this method of journal writing again.

e.g.

Performance - "In the morning, I was somewhat tired. It took me a while to gain concentration and to become motivated. I shall, in future, have to ensure that I have enough sleep the night before and that I am fully awake, ready to work as my colleagues would expect."

Graphs, Charts and Diagrams

I initially thought that using graphs and charts would have been very useful. However, I found that it wasn't as straight forward to decide on what to base the charts/graphs on. (x,y axis: my fatigue levels, concentration levels, my mood throughout the day).  I tried a few charts and graphs, but I found them to limit the information that I wanted to present. The diagrams, however, were useful. Again, they don't always depict all the information but they definitely helped me to remember the key events and my emotions and moods of the day. I won't dismiss the graphs and charts yet as a journal writing tool, as I may find them to be more useful with further practice.

What if?

I found that the 'What if?' method can be naturally appended to the evaluation method making it a lot more useful and specific. When writing in my journal, I would have to think about and assess the events and actions throughout the day and write down different 'what if?' scenarios or suggestions. After trying this method out, I wouldn't recommend this for documenting information. However, I would recommend it for use when drafting and implementing action plans, both in terms of production/performance and even health & safety. Using this technique can add a different, more meaningful dimension to your journal.

Another View

This method was completely new to me. I decided to write from the point of view from my notebook which I use to annotate the choreography and other notes for my work. I have to say that I found personifying my notebook rather time-consuming and somewhat difficult. (Expressing it's thoughts and opinions). Although an interesting method and amusing to read back, This is not the most effective way of writing a professional journal for me. Nevertheless, I still hold the opinion that including another individual's (not an object's) view in a journal could be very useful. This I would be willing to try again.

Summary

Conducting this task has proven to be very interesting. I've learned several new things and learned to look at the methods I knew already from a different viewpoint. I am aware that I have preferences, as stated, but I don't intend to exclude any of the above from my future work as some have proven to be more than useful for the reasons given in this post.

Module 1: Task 2a - Reflective Practice

Commencing a journal

I have never been one to keep journals for long. However when I have done, I have found them to be very useful.

One example is the journal that I keep to record my time spent at the gym. Although I am not a bodybuilder or a gym monkey, I am very keen on the science behind the sport, along with the fact that keeping fit and in good physical form is something I consider important for my profession. I read a lot of material to increase my knowledge with a view to improving my training. The reason I keep a record results from advice given in an encyclopaedia written by Arnold Schwarzenegger. (The New Encyclopedia of Modern Bodybuilding, pub. 1985)

The reason for doing this is that we almost never feel the same every day. Somedays we feel energetic and active, whilst on other days we feel the contrary. On a typical day, when I feel active and motivated, I record every exercise that I do. (Which exercise, how heavy, how many repetitions, any notes i.e pains etc). I continue to record this information throughout my time in the gym. Occasionally, the day arrives when I feel lethargic, tired and unmotivated to exercise. I know that if it was left to my own free will, I would not work anywhere near as hard as I normally would and should. This is where my journal comes into play. 

To ensure progression in my training regime, the journal's job is to make sure I continue to work hard no matter how I am feeling. I refer back to my journal and see  what I did on the previous occasion. I may have been lifting 90kg, for example, instead of the reduced weight I would be tempted to use, I ensure that on today, even though it's a 'bad' day, I still lift the 90kg. This forces my body to continue to work hard when lacking the mental drive or motivation. 

I can also keep track on my progression and see which exercises work well and which do not, allowing me to modify my workouts to optimise my time spent training. I can also keep an eye on any injuries or weaknesses. Once I reach the physical form and aesthetics that I am content with, I then have a record of the level of work required to regain the form should I encounter a period of inactivity. 

Here's an excerpt from my gym diary from Jan 2015. You can see it that it is very basic but informative.

There are one or two annotations where I have pointed out some issues.

You may notice the tick boxes. This is a method I use to combine both a 'to-do' list and a diary.  

*

I can understand how keeping a journal of my own thoughts on the current part of the module will equally well have it's benefits for reference later on in the course. I will commence the task of keeping the journal with a simple approach by setting aside a time every day where I can quickly type down my thoughts and recordings just as I would with my 'gym diary'. I prefer to have text to refer back to instead of images, audio or video (although I may use them to compliment my text). I find that I am aware of having to be more descriptive in what I write down in comparison to when I record audio dictations or videos. I'm looking forward to seeing how my thoughts and opinions change throughout the course. I am also very much intrigued to see how using different methods of journal writing will improve and develop my process of learning.

Module 1: Task 1d - 2D Images

Flickr

Here is the link to my 'Flickr' photostream:

https://www.flickr.com/photos/131575170@N08/

I've included a few but varied set of photos of some work that I have done since graduating.

My aim, using the selection of images, was to try and demonstrate a spread of different work experience that I have in the performing arts industry. 

The Importance of Images

Images today, play an important part in relation to our industry. As performers we often use a headshot, perhaps along with a portfolio of images to compliment our CV for use as a reference to you and the casting director/employer. It is common knowledge that looks play a key part in the casting process. 

More often then not, the method of applying for jobs/online casting is becoming evermore popular. It is now very common to apply for jobs and be cast through online websites. This is one of the reasons why the use of online image banks through social media and online casting agencies has become more popular in our industry. The use of images is a good way to provide evidence to what is written on your CV and to be able to demonstrate a little more of your own character and personality to whoever views them.

Posting images and other media,  to social media websites also enables us to engage rapidly to millions of people in different networks in comparison to the inefficiency and difficulty of trying to do so sending hard copies and engaging to people in person. 

Publishing photos online can be a great way of promoting yourself as a professional, however there are also lots of implications to consider. (Please see my other post on ethical considerations using web 2.0. (Task 1b)  for more information).

Other Examples of Image Banks

500px, Instagram, DeviantArt, Fotki, Fotolog, GifBoom, Imgur, Ipernity, jAlbum, Lafango, Panoramio, Phanfare, Photobucket, Pinterest, Pixabay, Shutterfly, SmugMug, Snapfish, TinyPic, Vhoto.

Module 1: Task 1c - Audio Visual

I've never posted a video of myself speaking online before so this was something new to me. Hearing the sound of my own voice is something I'll never get used to.

Filming the video was rather straight forward, using my laptop I was able to do this in the comfort of my room. I had to splice two 'takes' if you like, towards the end of the video after having a noise disturbance from the the other room! (such is life).
I was rather thankful that uploading this video to YouTube didn't take as long as I've known it to take in the past.