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Sensory Awareness Process Book SCAD Lacoste 2014

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    Project participants: Dionis Carter, Grant Flinn, Maggie Gregory,Mark Hemphill, Josh Logreen, Katy Murray, Monica Seggos,Natalie Tribble, Nicole Walsh

    Advisors: Regina Rowland (Proessor o Design Management),Ernst Kortschak (Scientist at the Design Table)

    Unless otherwise credited, all photographs copyrighted byauthors

    2014 Savannah College o Art and Design, Lacoste, France

    4

    IMPRESSUM

    5

    DEDICATION

    To Lacoste or sharing her wondrous treasures.

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    6 7

    ACKNOWLEDGMENT

    Thank you Nature or your generous bounty.

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    8 9

    TABLE OF CONTENTS

    INTRODUCTION 13

    SENSORY AWARENESS INTRODUCTION 14

    USING OUR SENSES 28

    PARTICIPANTS 65

    ABOUT THE TEAM 66

    GARDEN 11 1

    TENDING THE GARDEN 112

    VERNISSAGE 123

    ECO INSTALLATIONS 124

    APPENDIX 131

    ECOLOGICAL EXCURISONS 132

    NATURE MAGIC TALKS 148

    FILMS & BOOKS 156

    ACTIVITIES 174

    BIBLIOGRAPHY 212

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    INTRODUCTION

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    Generally speaking one might think o humans as having only ive senses. In this Sensory Awareness classwe learned about and experienced seven senses, which included synesthesia and intuition in addition to thecommonly reerenced visual, auditory, kinesthetic, olactory, and gustatory senses. The purpose o this class was tobring into ones consciousness a richer experience o the senses and discover potential applications.

    As designers, this new level o awareness will be an asset or understanding clients, audiences and the designprocess rom ideation to inal product and/or strategies.

    SENSORY AWARENESS

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    A sense by which light stimuli received by the eye are interpreted in the brain.

    VISUAL

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    The ability to perceive sound by detecting vibrations.

    AUDITORY

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    KINESTHESIA

    A muscular response stimulated by bodily sensation which include somatic sensations and emotions.

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    The sweet, sour, bitter, tangy, or salty quality o lavors that can be experienced when the taste buds are stimulatedon the tongue.

    The perception o odor or scent through stimuli affecting the olactory and/or gustatory nerves.

    *Taste and smell are paired because they are ofen intertwined into one experience. Many times a taste is partially deinedby its accompanying olactory input.

    TASTE & SMELL

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    A sensorial response experienced through simultaneous activation o multiple senses.

    SYNESTHESIA

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    An awareness and/or a way o knowing without rational evidence o its origin.

    INTUITION

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    USING OUR SENSES

    The ollowing descriptions are meant to serve as synopses o the sensory activities we participated in. What they

    do not convey is the mental and physical context we inhabited while having these experiences. As such, it is worthnoting that all activities are only effective when haste and worry are ar rom ones thoughts. Furthermore, while anexperienced leader is pivotal, nature is the ultimate acilitator; go outside and be in peace.

    (See appendix or activity guidelines or acilitators and participants.)

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    The purpose o this activity is or the participants to become mindul o the patterns inherent in nature.

    (See appendix p. 176 or activity instruction.)

    Pattern Observation

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    The purpose o this activity is or participants to become aware o their level o observation.

    (See appendix p. 178 or activity instruction.)

    Testing Observation Skills

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    The purpose o this activity is or participants to understand their deault reliance on a speciic hemisphere o the

    brain, which may correspond to a dominant mode o thinking and operating in the world.

    (See appendix p. 180 or activity instruction.)

    Lef Brain Right Brain

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    Sightless Homing

    The non-visual senses play a role in orienting and positioning ourselves. Removing the sense o sight helps

    participants recognize the roles o other senses, in particular the role o hearing.

    (See appendix p. 182 or activity instruction.)

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    The purpose o this activity is to understand the role that memory and non-visual senses play in orienteering along

    a known path.

    (See appendix p. 184 or activity instruction.)

    Sightless Orienteering

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    The purpose o this activity is to hone the sense o hearing in order to identiy individuals based on their acoustic

    signatures.

    (See appendix p. 186 or activity instruction.)

    Auditory Tracking

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    The purpose o this activity is to experientially demonstrate the concept o unctionally cooperative organisms,

    introduced in Biophilia, by Edward O. Wilson.

    (See appendix p. 188 or activity instruction.)

    Cooperative Orienteering

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    The purpose o this activity is to demonstrate the participants ability to identiy objects by the sound they make

    when handled by another person (being shaken/tossed/dropped).

    (See appendix p. 190 or activity instruction.)

    Auditory Object Identiication

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    The purpose o this activity is to reconnect with the sense o balance and the ability to complete compound

    movements.

    (See appendix p. 192 or activity instruction.)

    Balance and Cartwheels

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    The purpose o this activity is or participants to allow an emotion to move through their system without

    engagement or resistance on their part.

    (See appendix p. 194 or activity instruction.)

    Suring Your Emotions

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    The purpose o this leadership development activity is to deine and then verbalize who you are, who you are

    becoming and who you will become in the uture.

    (See appendix p. 198 or activity instruction.)

    I Am

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    The purpose o this activity is to visualize and re-examine a recent journey in order to bring closure to the

    experience.

    (See appendix p. 200 or activity instruction.)

    Journey Visualization

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    The purpose o this activity is to create a physical representation o a recent journey in our case, to [Paris].

    (See appendix p. 202 or activity instruction.)

    Journey Relection

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    The purpose o this activity is to notice the non-verbal and metalinguistic modes o communication employed by

    others while telling a story.

    (See appendix p. 204 or activity instruction.)

    Storytelling Observation

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    The purpose o this activity is or participants to use intuition or constructing their lie story, rich o events, people,

    and dreams.

    (See appendix p. 206 or activity instruction.)

    Personal History Timeline

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    The purpose o this activity is or participants to explore various ways o soliciting intuition. By guiding participants

    through internal journeys and orcing associations between se emingly irrelevant stimuli, intuition rises to thesurace.

    (See appendix p. 208 or activity instruction.)

    Intuition Potpourri

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    PARTICIPANTS

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    By design, each member o the class was led to have a unique experience. As such, the ollowing pages illustrate

    individuals through their own sketches, miniature eco installations, haiku and verbal relections.

    ABOUT THE TEAM

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    Fibers Major

    I eel that this class has helped me become more aware o my immediate environment and all that it holds. Moreimportantly I think it has made me more sel-aware physically, creatively, mentally and emotionally. It hasincreased my understanding o how I personally relate to other organisms, how I it into and affect the granderschemes o things and the lesser schemes o things. I think this new understanding will help me design inhumanly, humanely, and naturally effective ways. As a ibers major and ceramics minor I work with adaptablemediums. I can affect people through my designs visually, tactilely, auditorily, intuitively, and perhaps through smelland taste, as well as countless other sensory experiences. I can either reach my audience directly or indirectly andI want to learn how I can best use design to appeal to people and communicate with them. I would like to conveycompletely what I desire them to see, hear, eel, know and so on.

    Dionis Carter

    1 3 421

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    Reach out beore youStretch past your stability

    Your center holds you

    Waves break, echoes ormSound is cast shadow and lightSwelling resonance

    7. Auditory

    Flavors all aroundParts collect, are drawn to meForm into blossoms

    6. Smell

    Bursts o sweet, salt, sourTantalizing gradientTastes dance like a breeze

    5. Taste

    Guiding sense withinMy purest sel expressionWhy do I question

    4. Intuition

    One in anotherPerceptions that coalesceAn ininite sense

    3. Synesthesia

    Moving in whispersLies trickles are ofen missedRevealed by impact

    2. Visual

    1. Kinesthetic

    7

    6

    5

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    Industrial Design Major

    By taking the Sensory Awareness class here in Lacoste, France, I eel rejuvenated by nature. I got to understand hownature works in its environment and the human aspects o senses. I have learned all o the senses that humans haveand how organisms use those senses to lourish in their environment. Inspirations rom nature and all o the sensesthat I have learned about will help me urther my education in Industrial Design and inspire new creative unctiondesigns. Afer this class I will continue to go out in nature and use all o my senses to get inspired.

    Grant Flinn

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    Industrial Design Major

    I thought that this class was only going to ocus on senses that we use in order to accomplish mundane tasks, i.e.visual, auditory, gustatory, etc., and how we could apply them to inorm our users with our products. I was excitedto learn how to apply this knowledge and I was quite surprised by the direction that the class went. I was not at allmentally prepared or the amount o relection and introspective thought that was required o me and was takenaback at the irst class. I think that it mentally shocked my body to become attuned to notice smaller changes withinmysel and all o my senses. It is easier or me to now isolate those senses and understand what they are doing tome. The culminating point o the class or me was the very last exercise that we did at the top o the Chateau. Asiderom one other time in my lie that was the most spiritual experience I had ever had and it lef me mentally andemotionally elated. Going orward with what I have learned in this class is that in order to make a lasting impressionyou not only have to touch people with their immediate senses in more than one way, you also have to call upontheir nostalgia and intuition to make the product irreplaceable.

    Josh Logreen

    21

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    Singular points rollingComing closer to the edgeSlowly, dont all off

    6. Kinesthetic

    Singular pointsEffecting the hum o earthLarge ripples o lie

    5. Audiotry

    Two senses in oneColor created rom soundCombined Sensation

    4. Synesthesia

    I know what I amKnow what you are doingBalancing on Earth

    3. Intuition

    Small and sweet morselsTantalizing me with your colorsPungent and resh, please

    2. Taste & Smell

    Towards the blue skyLike a grandiose golemI await my task

    1. Visual

    3 4 5

    6

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    Industrial Design Major

    Through the course o this class I elt like I was getting to know mysel bette r. Its the eeling o getting to know whatmakes me, me and to conirm or unveil knowledge about my inner workings. I thought that I was pretty sel awarebeore coming into this class, but now I see everything that I have been missing and I have noticed that I havebeen missing what is right in ront o me. I will continue looking at objects and experiences through the ilter o theexercises that we have been going through in class. I now know what to look or both internally in mysel, and toknow what people need.

    Katherine Murray

    1 2 3 4

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    You should know thyselI art thou, and thou art IAwake what can be

    7. Intuition

    Trying to blend inOnly to alsely mimicWe once again ail

    6. Visual

    Bursts in a dark worldLifing light orth rom blandnessFlavor ebbs and lows

    5. Taste

    Lie is all I seeAll colors in the mundaneMelded into lie

    4. Synesthesia

    Millions o stepsA leeting millenniaTime ever evolving

    3. Kinesthetic

    Aroma all aroundParsley sage rosemary thymeFuneral pyre

    2. Smell

    A sense o comortNeptune punishing the shoreRhythmic waves a lullaby

    1. Auditory

    5

    4 6

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    Industrial Design Major

    Sensory awareness has taught me to look at things rom a sensory perspective. I have deinitely gained a newappreciation or my senses because o this class. This class has also helped me grow as an individual. Sensoryawareness has taught me how I use my senses and how people, my environment, and work affect me. I believe thatI am closer to understanding what and how I eel because o this class. It has inspired me to open my senses up tothe world and to trust my body and mind.As an industrial designer, sensory awareness has given me insight on other people and how they might sensethings. It is important to understand the person you are designing or. I also eel like I became a better designerbecause I can evoke certain emotions through my designs.

    Margaret Gregory

    321

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    Natures music notesPlay songs or the lowersCarelessly hum

    7. Auditory

    I have a hunchThat is hard to describeThink not but listen

    6. Intuition

    Lively green bladesUnold in my shelterBright light in darkness

    5. Visual

    Rereshing sugarTaste as good as it looksFlavor dont leave me

    4. Taste

    There are colorsTurquoise, yellow, orange and whiteThey speak to me

    3. Synesthesia

    Sweet waf o lowersLingers or a secondCarried by the wind

    2. Smell

    Balancing actIt wiggles on thin linesNo, I will not all

    1. Kinesthetic

    5

    4

    6 7

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    Industrial Design Graduate Student

    The single most poignant thing I took away rom Sensory Awareness is the realization that I need to eel more.Beore this class, I dont believe I would have been able to admit that to mysel. Through the exercises in sensorymindulness, I came to understand that receiving input rom the world involves noticing, eeling and thinking, in thatorder. Ive always been a thinker and always will be, but moving orward, I hope I can eel the emotional weight othe everyday and the extraordinary in the same way that a true artist does.

    Taking this sentiment into my uture will entail respecting my own intuition and that o others. I intend to loosenmy grip on empiricism to the extent that eelings are a much quicker way to spot truth and sniff out negativity. Onlyafer gut eelings have been candidly expressed can the ull implications (humanistic, ecological and economic)o those hunches be pursued.

    Mark Hemphill

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    Geometric stageBlossoms, bubbling into airScented messengers

    Twinkling inklingsBelie bane beside beautyPrompting ponderment

    7. Intuition

    6. Smell

    Silent loud mutedLush pointed voluptuousSteady rigid ree

    5. Synesthesia

    Shapes propagatingSel-symmetrically curvedUniverse is just

    4. Visual

    Paradox o riskSeeds on wood on leaves on airPower stored as poise

    3. Kinesthetic

    Why so silent stoneI know you know o yoreShow me an echo

    2. Auditory

    Seed, water, earth, sunAppellation dOrigineTraduction o sticks

    1. Taste

    5

    4

    6 7

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    Design Management Graduate Student

    This class helped me to discover and ocus on the gifs that I have, and I learned that I can trust my senses100% I have a greater sensory awareness. This class has helped me to eel true happiness, the kind o happinessthat comes not rom any outward source, but rom deep inside my heart.

    For me, there are many ways I will apply this class to my lie and work, and I am already incorporating them in myday to day. The most important thing I learned was that being sensory aware allows me to be present and in themoment, which grounds me. Staying grounded and in the moment will allow everything to all into place withminimal effort on my part. I will enjoy my work, my relationships, my environment and everything else about my liemore now, and I know I will be happy wherever I am, regardless o what is going on around me. Yes, some days I willbe challenged, but I will always remember this class, our exercises, and all o you, and that will inspire me to be theperson that I always dreamed o being.

    Monica Seggos

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    It doesnt matterHow i know you know i knowI just know you know

    My heartstrings sing trueNoise alls silently to dirtReap beautiul love

    Paris St. GermainDoppler effect o buttermelts my mouth with waf

    Even ar awayYour voice enters my ingersThrough veins, to my heart

    Conscious unconsciousI moving you moving II ollow you, I

    Empty was your heartI saw the unseenI illed it or you

    Woody background bitelavor ireworks burst orth popangel wings sprout joy

    7. Intuition

    6. Auditory

    5. Smell

    4. Synesthesia

    3. Kinesthesia

    2. Visual

    1. Taste

    5

    4

    6 7

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    Fibers Major

    At irst, I was unsure o whether or not I would drop this class. I think that would have been a huge mistake. Fromday 1, I learned not only about the senses but also about mysel. I expected to learn about the senses in a moreanalytical way, but was pleasantly surprised in learning about my own responses to my environment as well as myclassmates in an experiential way. I especially learned how each sense inorms the other.

    As a designer, I think its extremely important to be able to be sensitive to communication styles and wayso conveying meaning. I will be able to use what Ive learned to make mysel more clear and be able to ollowthrough with more complex ideas because Ill be able to communicate them.

    Natalie Tribble

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    Spaces o petalsA eeling, just a eelingBut it is much more

    7. Intuition

    A path leading throughStrengthening and weakeningNotes tied together

    6. Smell

    Surprises unwindChoices rom other sensesA east or the tongue

    5. Taste

    Bliss and conusionSensory overlappingOne to another

    4. Synesthesia

    A point o ocusMoment o blissul ponderSingle purple splash

    3. Visual

    2. Kinesthetic

    Feeling o wholenessShock o cold and sense o slimeBeauty made tactile

    In vibrating outBoundary rippling to centerFlowing endlessly

    1. Auditory

    5

    6

    7

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    Design Management Graduate Student

    The class has been a great opportunity or me to dive into and understand my emotions, my senses, and my limitswithin the natural environment o Provence. I eel the dynamic o this class has been successul. As a acilitatorI have seen that I have to take a step back sometimes and analyze what it is I am going to say and give just the rightinormation. I am understanding the human senses, not just the ive we all know to have, and their importance onapplying them to how Im looking at design problems, processes and, solutions.

    As a design manager I want to be able to, intuitively, understand peoples needs and wants and communicate itefficiently over multiple platorms. I will do this by applying my sensory knowledge, by understanding its principles,and analyzing the data I have collected and ind opportunities.

    Nicole Walsh

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    A rif between usEnguled in this maze o painI arise rom light

    7. Kinesthesia

    Up in the mountainsCozy within a spring dreamI ind you sleeping

    6. Visual

    Look inside yourselDichotomy lives withinSeparating souls

    5. Intuition

    A sound in the windRound and round your music goesUp and then its gone

    4. Synesthesia

    A rose is a roseInusion o lie by nameWhat is in name

    3. Smell

    Into the chilled voidBreaking your glassy skinI crash, in your soul

    2. Auditory

    Ohana o tasteSeasoned rom the sweet landscapeCaress my palate

    1. Taste

    5

    4

    6 7

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    Proessor o Design Management

    The whole experience at Lacoste with these students and colleagues has been an extraordinary adventure 8 weeks o collective magic outside o space and time! I learned that living and playing together in close quartersover an extended period o time and collaborating on meaningul projects deepens relationships that makeanything possible.

    I saw again that structure drives behavior, and I know that the most important ingredients in this unorgettablespring are the beautiul people who participated in co-constructing this shared reality in our Sensory AwarenessCollaborative Learning Lab. Together, we got to know each other and ourselves in new ways, and we deeplyreconnected with nature, orever bonded through this experience.

    You touched my heart, and made me laugh to tears. You are my greatest joy, my greatest teachers, and yourpresence is etched into my soul orever. Thank you or sharing your brilliance, your enthusiasm, and your beauty inside and out.

    In gratitude, Your Gigi.

    Regina Rowland

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    Scientist at the Design Table

    It was a great experience to apply learned patterns to a new environment as offered by the lovely surroundings oLacoste and the Provence. All the same it was quite interesting to see that general patterns still apply while manyothers need to undergo local adaptations. Every place and context is unique in some way and requires all o oursenses i we want to realize its opportunities and the true gif o being. I will always be grateul or and open to themany, many wonders o Creation.

    You, the students, were also unique. I enjoyed very much being with you and exploring the human senses with you.I am looking orward to reading about you in coming newspapers and periodicals on art.

    Ernst

    Ernst Kortschak

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    GARDEN

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    TENDING THE GARDEN

    The garden experience was meant to offer a deeper understanding o the processes in nature and the sensorystimuli offered by different plants. Beore designing our garden experiment we learned about the basic ingredients

    o plant growth such as nutrient cycles, clay minerals, nitrogen ixing bacteria, mycorrhiza and the auna and lorao the soil. Based on this inormation, the design we agreed upon involved three plots: one in which mycorrhizaassisted growth, another in which additional microbes were applied through compost tea, and inally, a plot withno special treatment at all (in order to compare the differences in growth). The plants that we chose or the gardenwere nasturtium, strawberry, basil, parsley, swiss chard, thyme, c hive, hens and chicks, star plant, and marigolds.

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    I eel as though I have a new sense o the value o growing plants and nurturing lie. I look orward to applying whatI learned rom the garden in order to reine technique in uture application or practical purposes and pleasure.

    Dionis Carter

    I enjoyed the eeling o being in charge o something living, but I also had very little idea what would have madeeach plant happier. Over time, most o the plants grew, but the equivalency o our three experimental groups lef mewith the same taste I had going into the experience: uncertainty. Mark Hemphill

    It was interesting going through the process on a smaller scale. It has similarities to large scale arming but is moreintimate. Josh Logreen

    It was a neat experience to go to the well everyday to retrieve water. I usually use hose water, so it was a newexperience to go to a well and throw a bucket in it to get water. Grant Flinn

    Garden Relections

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    Though we believed our experiment to be well thought out, nature ultimately proved that there were aspects thatwe either neglected or could not have known about. In other words, the differences between the plots were too

    insigniicant to notice. Although the mycorrhiza plot seemed to absorb water more readily than the other two plots,the mycorrhiza itsel may have ailed either due to the dry conditions or the high concentrations o carbonates in thesoil. The application o the compost tea may have ailed due to technical limitations in its production. Alternately,it is possible that the plants had sufficient nutrients stored internally prior to planting or simply that the period oobservation was too short. Nevertheless, the experiment yielded a east or our senses, offering ruits and petals totaste, different surace structures to touch, beautiul aromas to smell and pleasing arrangements or the eye.

    Results

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    VERNISSAGE

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    Our eco installations are artiacts that have been created in response to highly experiential learning activities. Theintent was to explore the various senses and participate in human meaning making. In this way, an artiact brings

    subjective experiences into orm through human craf.

    The artiacts presented in this exhibit are expressions o our internal stories that were stimulated by sensory input.This sensory stimulant activated memories rom personal inner landscapes that were, in turn, redeined throughthis meaning-making process. I perormed in partnership with nature, humans become aware o their participationin a greater lie narrative.

    ECO INSTALLATIONS

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    APPENDIX

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    In order to take advantage o our incredible surroundings, we took weekly excursions to various locationsthroughout Provence. These excursions afforded us the opportunity to urther attune our senses to nature,

    simultaneously stimulating our minds and bodies.

    ECOLOGICAL EXCURSIONS

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    Mont Ventoux is part o the Alps and is the largest mountain in the south o France. Its peak is composed o exposedlimestone, bare o any large vegetation. The etymology o its name reerences the extremely high winds the peak isoccasionally exposed to. On our way up to and atop the peak, our group made multiple stops in order to examineand discuss the environment. Ernst Kortschak, our scientist at the design table, spoke about the vegetation andwildlie and relayed how deorestation by the Romans ormed the landscape today. He discussed the natural cycles

    o orestation and the process lie goes through in order to reclaim barren land. With intermittent stops along thejourney, we were able to notice how our bodies were affected by changes in the environment (i.e. how our senseswere stimulated and affected in different ways with decreased air pressure and increased exposure). Climbing evena small portion o Mont Ventoux ultimately served as a reminder o how small we really are on the grand scale onature.

    Mont Ventoux

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    136 137

    Along our return trip rom Mont Ventoux, the excursion group stopped at Fontaine-de-Vaucluse, a spring set at thebase o the Vaucluse mountains and the source o the river Sorgue. Located in a valley, the spring is surrounded

    by vast steep limestone cliffs and other rock structures. There we learned about how the spring unctions and theway it shapes and was shaped by its surroundings. For example, certain rainall patterns in the adjacent watershedcause a massive geyser to occur roughly biannually, affectionately nicknamed the Champagne.

    Fountaine de Vaucluse

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    In order to learn about the Provenal coastline, we traveled to the town o Cassis as a jump-off point rom which toexplore the calanques de Marseille. We took a boat tour, which took us into and shed historical light on eight o the

    calanques in the area. Not only did we learn about the history and geology o these ormations, but our kinestheticability was put to the test on the water. In addition, we explored and experienced Cassis, during which we wereexposed to sights, sounds, tastes, and smells different rom those o landlocked locations.

    Calanques de Marseille

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    140 141

    In order to maximize our exposure to the Cte dAzur, the group hiked several shale covered hills outside oMarseille. From our perches, we had panoramic views o the surrounding landscape, Marseille, and the coastline.

    Following our hikes, we stopped at a small harbor beach to take in the sand, sea and setting sun. Here we relectedupon our experience o the day through sketching.

    Marseille Hill and Beach

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    Every quarter SCAD Lacoste students study in Paris or a week. This quarter the Sensory Awareness class steppedout onto the streets o the city o light and love to explore the senses o taste and smell. With our maps in hand, we

    set out to discover the best lavors and the best aromas Paris had to offer. From coffee to croissants and resh bakedbreads, to macaroons and exquisite pastries, it was a veritable east.

    Paris

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    144 145

    Chateau La Coste is a vineyard and outdoor art exhibit in Le Puy-Sainte-Rparade. It eatures renownedarchitectural and sculptural installations, most o which are interactive. Artists eatured included Andy Goldsworthy,

    Paul Matisse, Tunga, and Tadao Ando. Certain pieces were purely artistic while others had anthropocentricimplications and yet others espoused ecocentric concepts. Sight was invoked through each piece, while touch andsound played a pivotal role in select pieces.

    Chateau La Coste

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    146 147

    A site containing thirteenth-century medieval ruins sits on a mountain top next to Buoux (a small commune northo Luberon). As is characteristic o small Provenal towns, artiacts indicative o t he interaction between nature and

    human history were everywhere. We completed multiple sketching and relecting activities and again tested oursense o kinesthesia by approaching and contemplating various precipices.

    Buoux

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    149148

    We were ortunate to have an experienced ecologist, Ernst Kortschak, on hand throughout the class as our scientistat the design table. Alongside his anecdotal and in-class guidance, he conducted evening lec tures and acilitated

    subsequent discussions on various elements o nature.

    NATURE MAGIC TALKS

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    Science today seems a very powerul tool in explaining how this world and the lie upon it have come to be. A closerlook, however, reveals that it takes huge leaps o aith in order to accept even the most common theories. Theyall rely on the laws o nature and general assumptions that have been ormulated to create manageable modelscapable o explaining questions o interest. However, these assumptions have yet to be proven. Theories areaccepted until contradictory theories are proven. Many o them have become common knowledge. In the talk,

    students were inormed o the current state o the discourse surrounding selected aspects o climate change,ecology, geology, cosmology, and the evolution o man.

    Critical View o Science

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    152 153

    Ecology investigates the multiaceted relationships between different organisms (e.g. competition, cooperation orindifference) in a given area (ecosystem) as well as their relation to their abiotic environment. It was demonstratedthat ecosystems are open systems in dynamic equilibrium, constantly changing throughout time. Contrary tohumans, nature as a collective system has no preerence or any speciic state. For example, nature would nevertry to conserve a lake or wetland when they are about to run dry. In the absence o human intervention, most

    ecosystems on this planet would turn into orests in the long run.

    Ecology

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    Looking at nature with an open eye will leave us in awe o the genius behind each individual solution. Some othese solutions seem to reveal a purpose, while others simply raise more questions without providing a single clueto their answer. Questions addressed within this talk included: Why are camoulage and mimicry so widely spreadin nature? Why do animals make long migrations? Why and how did metamorphosis come to be? Why do so manyanimals produce their own light?

    Aspects o Lie

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    To ground our sensory investigations, we consulted both literature and documentaries ocused on nature. Thesesources brought resh perspectives (both academic and inspirational) to the class discourse.

    FILMS & BOOKS

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    Sensing the Past by Mark Smith illustrates the dynamic perceptions o each sense in various cultures throughouthistory. While vision has maintained disproportionate importance, especially in western society, touching has beenassociated with truth, aurality with learning, olaction with health, and tasting with indulgence. Senses have servedto signiy meaning, reinorce norms, and translate sentiments throughout the ages. They are inherently subjectiveilters through which we have always and will always understand the world.

    Sensing the Past

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    160 161

    To Life!, by Linda Weintraub is the deinitive source or eco art. In addition to deining what eco art is, the authormakes an exhaustive list o the issues addressed, approaches adopted, art genres employed, and art strategiesactivated by eco artists. Also included is a historical synopsis o eco artists rom the 1960s to the present. For urtherexploration on the topic, Weintraub also maintains an accompanying website with extensive inormation andresources: lindaweintraub.com/tolie

    To Life!

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    In Biophilia, naturalist and biologist, Edward O. Wilson, explores the reasons or and results o biophilic theory,which he deines as the innate tendency to ocus on lie and lie-like processes. Through this theoretical lens, thepast, present, and potential uture relationship between humanity and the world is discussed. Through anecdotes,narratives and relection, Wilson compares and contrasts the essences o science and art, uniying them via thehuman element. In sharing his personal experiences with the reader, Wilson is able to show that this attraction

    to nature, while having been reined through scientiic and cultural understanding, is theoretically the result obiological evolution, thereby posing the question o how it will continue to evolve.

    Biophilia

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    InThe Elements of Tasteauthors Kunz (our-star che) and Kaminsky (author and New York Times ood writer) have

    collaborated on a cookbook with a unique approach. Contrary to standard protocol, this book works backwards,breaking down the underlying lavors, textures and tastes o different types o ood. Kunz and Kaminsky start byidentiying ourteen basic tastes: salty, sweet, picante, tangy, vinted, bulby, spiced aromatic, loral herbal, garden,unky, meaty, oceanic, and starchy. These tastes are then grouped into our categories: taste platorms and tastes

    that push, pull or punctuate. The authors continue by creating recipes using these elements, which each include asummary, preparation steps and taste notes. In the taste notes section, they explain how tastes are layered andbalanced. The authors describe this section as a culinary guide to the experience o the ood you are about to eat.Their book is ull o delicious, imaginative recipes, and gorgeous photographs o the sophisticated presentations.

    The Elements of Taste

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    InWhat a Plant KnowsDaniel Chamovitz explores sensory responses in plants. Each chapter investigates a newsense: sight, eeling, hearing, proprioception, memory and smell. Historical experiments and research in plantbiology are reerenced throughout each section to bolster the narrative. Chamovitz also compares human senses toplant senses; he bridges the gap between plants and animals by explaining their similar genetic makeup. Plants aretruly amazing organisms. Chamotviz proves that plants have evolved complex sensory and regulatory systems that

    allow them to modulate their growth in response to ever y changing condition (Chamovitz, 2012). Plants withstandand adapt to luxing weather and pests using their senses. More importantly, they do so without the ability to move.Ultimately, knowing how plants sense is o value both intrinsically and pragmatically as human lie is inherently tiedto plant lie.

    What a Plant Knows

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    Rivers and Tides

    Rivers and Tidesis a documentary which ollows Andy Goldsworthy as he creates eco installations both orcommissioned works abroad and in his native Scotland. Throughout his process o creation, Goldsworthy slowlyreveals acets o his personal philosophy as it relates to or stems rom his art.

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    Homeconsisted o taking an aerial perspective o humans destruction o nature. Stark visual contrasts were drawnbetween sweeping natural landscapes and hubristic man-made tracts, with particular emphasis made on the needto change our habits o consumption.

    Home

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    Wings of Lifetells a visually captivating story o pollination, both rom the perspective o plants and rom the lyingcreatures that acilitate this process. Butterlies, bats, hummingbirds, bees and lowers were all eatured in intricateand symbiotic natural systems presented in high deinition.

    Wings of Life

    ACTIVITIES

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    ACTIVITIES

    Pattern Observation 176

    Testing Observation Skills 178

    Lef Brain Right Brain 180

    Sightless Homing 182

    Sightless Orienteering 184

    Auditory Tracking 186

    Cooperative Orienteering 188

    Auditory Object Identiication 190

    Balance and Cartwheels 192

    Suring Emotions 194

    I Am 198

    Journey Visualization 200

    Journey Relection 202

    Storytelling Observation 204

    Personal History Timeline 206

    Intuition Potpourri 208

    VAKOGSI

    Method:

    Pattern Observation

    Instructions orWorkshop Leaders Instructions orWorkshop Participants

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    Method:

    Step 1:Askparticipants tosit orlay down, remaining silentthroughout theduration othe meditation period.

    Step 2:Prepareparticipants orthe experiencebyguiding themthrough a 15-minuteimaginative journey, progressing throughvisualizations otheirown energyields (aura layers)extending oneinch rom theirbodies uptothe entireuniverseand subsequentlybackagain (stepbystepso its easyto ollow). Notethat themeditation helps peopleto quiet andbecome moreaware otheirenvironment.

    Step 3:Aferthe meditation askparticipants toobserve patterns in awide-open landscape. Usepotential prompts such as: What doyousee/notice? What doyou indpleasing? Lookorshapes, light andshadows, textures, similarities andcontrast, space, depth, distanceandgeological ormations/hills. Instruct them tonotice particularlypatterns that repeat at least threeeto ivetimes. Allow 20minutesorthis observation period.

    Step 4:Askthe groupto reconveneand sketch whicheverpattern(s)theywere most drawn to. Allow 15minutes orcompletion.

    Step 5: Instruct participants tomakea three-dimensional artiactwith oundobjectsin naturethat relects theirexperience.

    Step 6: Inviteparticipants toshare theirartisticinterpretation oachosen natural pattern with a partner. Tell participants to listen andrerain rom offering eedback. Allow 10 minutes oreach partnertosharehis orherpiece.

    Step 7: Askparticipants torecorda personal relection owhattheylearnedrom theactivity in theirsketchbooks.

    Step 8: Conduct a groupcalloutin which participants areinvitedtosharetheir experiencewith theentire group.

    Instructions orWorkshop Leaders

    Purpose:Thepurpose othis activityis orthe participants tobecome mindulothe patterns inherent in nature.

    Context:Theprocess o sensitizing andtranslating sensoryperceptions ointernal andexternal landscapes intotwo- andthree-dimensionalartiacts provides an introduction todesigning rom nature.

    Suitability:

    This activityrequires that thetimeallocatedor each stepbestrictlycontrolled. Ideally, participants must beamenabletomeditation andextendedsilent observation.

    Numbero people:2+

    Time: 90min.

    Equipment Needed: Sketchbook, Writing utensil, Timer

    Associated worksheet orhandout title, iany:None

    Space: Outdoors, ideallywith an aerial perspectiveo anexpansivelandscape.

    Set-up:None

    Instructions orWorkshop Participants

    Step 1:Sit orlie down in an open natural area. Remain silentthroughout theguidedmeditation period.

    Step 2: Closeyour eyes andallow yourmind tojourney.

    Step 3:Observepatterns in naturerom an overlooking vantagepoint.

    Step 4:Afer20 minutes oobservation, sketch thepatterns romnature.

    Step 5:Afer15 minutes osketching, collect natural objects andcreatea three dimensional artiact representing yourobservationalexperience. This will takesometime. Follow your acilitatorsinstructions.

    Step 6: Finda partnerand shareyour artisticinterpretation oyourchosen natural pattern. Listen toyour partners storyandrerain romoffering eedback.

    Step 7: Engagein relection, journal.

    Step 8: Reconveneas a groupand sharethe highlight oyourexperiencewith this activity.

    Debrie: During thedebrieask participants toshare theirentireexperience. Noticing how theythemselves respondandwhat othersaresharing will helpthem becomemoreaware othe plentiulpatterns appearing in landscapes, but also helps them noticethepatterns theyrespondto internally.

    Possiblevariations:The mental preparation process priortoobservation othe landscapecouldbe conductedin different ways:quiet timealone, yoga, etc. in placeoguidedmeditation.

    Resources:n/a

    Credit:Regina Rowland

    Experienced on:March 31, 2014

    Prepared by:MarkHemphill, Monica Seggos andNicoleWalsh

    What worked well: All participants engagedin the activityandcreateddiverseinterpretations othe samelandscape.

    What did not workso well: Theactivitywent overthe allocatedtime. This was theirst experienceor this groupocreating a minieco-installation. Furtherdeinition oan eco-artiactwouldhaveprovidedmoreclarity about thetask ocreating.

    Suggestion orimprovement:Givemore speciicinstructionregarding threedimensional artiact creation.

    V VisualA AuditoryK KinesthesiaO OlactoryG GustatoryS SynesthesiaI Intuition

    VAKOGSITesting Observation Skills

    Method:Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie:Theworkshopleadercan draw attention tothe varietyo

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    Step 1:Allow theparticipants in thegroup10 minutes tointroducethemselves. This will allow timeor passiveobservation. During thistime, donot inorm theparticipants that theywill be askedto recalltheirvisual impressions rom this introductoryperiod.

    Step 2:Aferintroductions, announcethat therewill bean activityinwhich participants will be blindolded.

    Step 3: Handout bandanas andask participants toblindoldthemselves.

    Step 4:Posegeneral questions about the workshopleaders clothingandvarious objects in the room. Prompt participants to point towardsspeciicshapes, colors, andobjects in theroom.

    Step 5:Askparticipants todescribewhat theperson totheirright iswearing.

    Step 6: Turn upthe heat byasking moreand morespeciicquestions.

    Step 7: Askparticipants toremoveblindolds andrelect on theaccuracyo individual responses.

    p

    Purpose:

    Thepurpose othis activityis orparticipants tobecome awareotheirlevel oobservation.

    Context:

    This activityprompts theparticipants toobserve theirimmediateenvironment moreclosely bybecoming awareoall thethingshadthey missed.

    Suitability:This activityacilitates a connection between participants whowill beworking togetherandare just getting toknow each other.It is easyto useand helps toadd levitywhilechallenging theparticipants observational skills.

    Numbero people:Groups oabout 10are ideal (encouragesteam building, too).

    Time:30+min.

    Equipment Needed: Blindolds

    Associated worksheet orhandout title, iany:None

    Space:A quiet location, indoors oroutdoors, with orwithouturniture. It is helpul tosit in a circle.

    Set-up:Participants will beseated, and theactivitycan commenceaferat least ten minutes ointroductions andpassive observationtime.

    p p

    Step 1: Introduceyourselves tothe group.

    Step 2:At thebeginning otheactivity, placeprovidedblindoldoveryoureyes perthe workshopleaders instructions.

    Step 3: Respondto questions posedby theworkshopleader.

    Step 4:Onceprompted, removeandreturn blindolds tothegroupleader.

    Step 5:What happened?

    p yparticipants natural observational tendencies.

    Possiblevariations:Questions about participants surroundingscouldconcern strategicallyplacedobjects insteadoclothing. Itimeis a constraint, thetotal numbero questions couldbereduced.

    Resources:n/a

    Credit:Unknown

    Experienced on:March 31, 2014

    Prepared by:Monica Seggos, MarkHemphill andNicoleWalsh

    What worked well: Peoplewereopen, engagedand curious.

    What did not workso well:n/a

    Suggestion orimprovement:None

    VAKOGSI

    Method:

    Lef Brain Right Brain

    Instructions orWorkshop Leaders Debrie: Inorm theparticipants totake noteo theirdominant Instructions orWorkshop Participants

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    Step 1:Askparticipants tosketch an outlineo theirbodywithextendedarms.

    Step 2:Instruct participants tomove outsideand choosea ixedlocation in thedistanceupon which to concentrate.

    Step 3:Askparticipants toorm a diamondshapedviewinderwithboth hands in theoverlapo theirindex andmiddleingers (twocrisscrossedpeacesigns), and ocus on a chosen location through thisviewinderwith both eyes open.

    Step 4:Askparticipants tokeep theirhand andhead steadywhileclosing oneeyeat a time. Prompt them tonoticei andhow thelocation otheirixed point changes within theirviewinder.Whichevereyekept the ocal point stationarywithin theirviewinderthen indicates theirdominant eye. This dominant eyecorrespondstothe mirroroppositeside othe brain (i.e. right eyedominanceindicates lefbrain dominancewhen seeingandvice-versa). Markthis on theiguredrawing (making a cross on the dominant eye).

    Step 5: Askparticipants tonow pairup, acetheirpartner, andtaketurns speaking in a progressivelysofer voice. Thelistenershouldnoticewhich eartheybegin toavor when straining tohear thespeaker. As beore, lefeardominance indicates right braindominanceandvice versa. Markthis on theiguredrawing.

    Step 6: Participants shouldnow present a pen with both hands (i.e.along thecenter lineo theirbody)to theirpartner. Whicheverhandthereceivernaturally grabs topickthe pen is dominant. Markit on theiguredrawing.

    Step 7: Askparticipants toinitiatea steponto thebench (orstool,etc.). Havethem notewhich oot theyare inclinedto useto indtheirdominant leg. Markit on theiguredrawing.

    Step 8: Review thesketch toseewhat can be learnedrom it aboutlef-right dominance.

    Purpose:Thepurpose othis activityis orparticipants tounderstandtheirdeault relianceon a speciichemisphere othe brain, which maycorrespondtoa dominant modeo thinking andoperating in theworld.

    Context:

    Consciouslyrecognizing perceptual inclinations is the irst steptolearning how toswitch between different modes ooperating (lef/right brain preerences).

    Suitability:

    This activityis easy, interactive, quick, andentirelyscalableor anynumbero participants.

    Numbero people:4+

    Time: 20min.

    Equipment Needed:Paperanda writing utensil oreachparticipant, a bench, stool, ora sturdyobject o a similarheight

    Associated worksheet orhandout title, iany:None

    Space:Outdoors, with a scenicview

    Set-up:None

    p pmodeo operating, as well as theuniversal capacityor balanceandtransitions between dichotomous modes othought. Also, conveythat innatetendencies, current context, andculturallyacquiredlearning can inluencetheir inclinations. Additionally, certain physicalactions can helpus regain perceptual balance(e.g. verticallyrubbingyourpalms together, ortouching something on thenon-dominantsideo yourbody). Designers must beableto straddleboth right andlefbrain thinking.

    Possiblevariations:Otherexercises, such as olding ones armsacross yourchest, can alsoilluminate lefvs. right brain dominance.

    Resources:Jill Bolte TaylorsAStoke of InsightDaniel PinksAWhole New Mind

    Credit:NLP Marin, Carl Buchheit

    Experienced on: April 2, 2014

    Prepared by:MarkHemphill, Monica Seggos andNicoleWalsh

    What worked well: Theauditory, andespeciallythe visual,subsections othe exerciseproducedan apparentlyairevaluationolateral dominance.

    What did not workso well:Thedominanceo a speciichandandleg seemedtohave moreo a physiological component than therelativelysymmetricvisual and aural examples. Discussionsexpanding thelef-right dominanceconversation todailyscenarioswerenot always valid.

    Suggestion orimprovement:Considerreplacing thehand andlegexercises with something moreneutral. Also, rerain rom revealingthesigniicanceo lefor right dominanceo speciicbodypartsuntil theend othe activity.

    Step 1: Sketch an outlineoyour bodywith extendedarms.

    Step 2: Moveoutsideand choosea ixedlocation in thedistanceuponwhich toconcentrate.

    Step 3:Form a diamondshapedviewinderwith both hands in theoverlapo yourindex andmiddleingers (twocrisscrossedpeacesigns). Then, lookbackat this ixed location through yourviewinderwith both eyes open.

    Step 4:Alternatelycloseeach eyeandnotice iand how thelocationothe ixedpoint changes within yourviewinder.

    Step 5:Now, pairup, aceyour partner, andtaketurns speaking toeach otherin a progressivelysofervoice. Whilelistening, noticewhichearyou begin toavor when straining tohear yourpartner speaking.

    Step 6:In pairs, taketurns presenting a pen with both hands (i.e.along thecenter lineo yourbody) toyour partner. Noticewhicheverhandyou naturallygrabthe pen with.

    Step 7:Now, stepontoa bench (orstool). Notewhich oot youareinclinedto use.

    Step 8: Markthe lateral dominanceo each bodypart on yourbodyoutlinesketch.

    VAKOGSI

    Method:

    Sightless Homing

    Instructions orWorkshop Leaders Debrie:Askthe participants torelect upon theirmental states Instructions orWorkshop Participants

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    Step 1:Askparticipants tostaggerthemselves in a linein one areaothe ieldand position themselves about 5meters apart.

    Step 2:Instruct participants toblindoldthemselves, and tousetheirnon-visual sensoryinputs towalk towards theacilitator,stopping when theybelieve theyare near. Makesure toinormthem that this is a silent exercise.

    Step 3: Onceeveryone has chosentheir endpoint, askthem toremovetheirblindolds andnotice wherethey endedup.

    Step 4:Conduct thesame exercise(participants start rom acrosstheield andattempt tosilently walktowards theacilitatorblindolded). This time, haveeveryonelink arms andproceedasa group.

    Step 5:Askeveryone toidentiythe strategytheyemployedandexperiencetheyelt whilenon-visually orienting themselves.Furthermore, prompt them toconsiderwhetheror not theyemploythesame strategyin liegenerally. Finally, prompt them toconsideralternativeoptions.

    Step 6: Again, repeat theexercise. Forthis variation, havetheacilitatorusea noisemaking deviceto periodicallysignal theirstationaryposition acoustically[Theywill dobetterthis time.]

    Step 7:Gathertheparticipants in a circleor thenext activity, andaskortwo volunteers: a hunterand a rabbit.

    Step 8: Thehunter andrabbit areboth blindoldedand given noise-making devices. In ordertocapturethe rabbit, thehunterthen clicksthenoise-making device, at which point the rabbit must respondbyclicking theirdevicein turn (until caught). The observing participantsensuresaetyand helpboth thehunter andrabbit remain within thecircle.

    Step 9:Allow otherparticipants totakethe roles orabbit andhunter.

    Purpose:Thenon-visual senses playa role in orienting andpositioningourselves. Removing thesenseo sight helps participants recognizetheroles oothersenses, in particulartherole ohearing.

    Context:Quieting theinput rom ourprimary senseo sight inherentlyreocuses ourattention on non-dominant sensory inputs. In usingsound, touch andintuition, wediscover how awarewe areo ourlocation. Recognizing thestrength othese ancillarysensesthen engenders conidenceand allows theparticipants toullyincorporatethem as validinputs in ourperceptions oa givencontext.

    Suitability:

    This activityis necessarilydisorienting andthereorerequiresa certain level otrust and commitment rom participants.It is thereoremost appropriateas an exercisesubsequent tosomething simpler.

    Numbero people:4+

    Time: Min:Upto60min.

    Equipment Needed:Blindolds, twonoise-making devices

    Associated worksheet orhandout title, iany:None

    Space: Outdoors, with access toan open ield

    Set-up:None

    whileoccupying different roles (wanderer, hunter, rabbit, sightedobserver). Elicit theirstrategies. Prompt correlations to otherareasolie.

    Possiblevariations: Iconstrainedor time, removeor shortensomeo theactivities.

    Resources:n/a

    Credit: Unknown

    Experienced on:April 7, 2014

    Prepared by:MarkHemphill andMonica Seggos

    What worked well: Theparticipants wereall willing toopenlyengagein the exercise. Also, asking participants toconsidertheirstrategies as a metaphororhow they conduct theirlives provokedunexpected, interesting andcandidresponses.

    What did not workso well:n/a

    Suggestion orimprovement:None

    Step 1: Staggeryourselamong theother participants in a linein onearea oa ieldandobserve wherethe groupleaderpositions hersel(~50meters away).

    Step 2:Put on theblindoldprovided, anduse yournon-visualsensoryinputs to walktowards theacilitator, stopping when youbelieveyou arenear. Remain silent during this process.

    Step 3:Onceyou havechosen yourendpoint, removeyour blindoldandnoticewhereyouendedup.

    Step 4:Return tothestarting position, andconduct thesameexercise, with thecaveat that youmust linkarms with your neighborsandproceedtowards theacilitatoras a group.

    Step 5: Respondtothe acilitators questions andshare yourexperience.

    Step 6:Repeat theexercise(blindlymoving towardthe acilitatoracross theield), this timeollowing thesound sheproduces.

    Step 7:Gatherin a circleor thenext activityandollow theinstructions given.

    Step 8:In this exercise, thehunter andrabbitare both blindoldedandgiven noisemaking devices. In orderto capturethe rabbit, thehunterclicks thenoise-making device, andthe rabbit must respondbyclicking his/herdevicein turn (until caught). Theobserving activityparticipants in thecircle ensuresaetyand keepboth, thehunterandrabbit, within thecircle.

    Step 9: Taketurns.

    VAKOGSI

    Method:

    Sightless Orienteering

    Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie: Elicit rom participants theirstrategies and experience.

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    Step 1:Introducetheparticipants topath along which theywillhaveto orient themselves. Prompt them tonoticethe textureo theground, location ospeciicobstacles, andanything elsethat wouldhelpthem movethrough thespace without theuse osight.

    Step 2:Walkthe path with theparticipants once(without blindolds)in orderorthem toorm a mental mapo thespace anda strategyormoving through it.

    Step 3:Return tothe beginning othe path andhaveparticipantschoosea partner.

    Step 4:Askone person rom each pairtoblindoldthemselvesandbegin thesightless orienteering exercise. Makesure tostaggerparticipants sothat they dont run intoothers along theway.

    Step 5: Allow each team toreach theendo theintendedpath,making surethat partners onlyintererein caseo potential injury.

    Step 6: Haveparticipants switch roles.

    Purpose:Thepurpose othis activityis tounderstandtherole that memoryandnon-visual senses playin orienteering along a knownpath.

    Context:Bychoosing a topographicallycomplex path tonavigate,participants areorced totrust theirown intuition andvisualmemory, as well as thesupport otheirpartnerin the exercise.

    Suitability:

    This activityis inappropriateas an introductorysensory awarenessexercise. Participants must havea high level o trust in theactivityandthe saetynetprovidedby theirpartner.

    Numbero people:410

    Time: Depending on participants, upto60 min.

    Equipment Needed: Blindolds

    Associated worksheet orhandout title, iany:None

    Space:Outdoors, with challenging terrain

    Set-up:None

    Step 1:Listen totheactivity acilitatoras s/heintroduces a pathalong which youwill haveto orient yoursel. Noticethe textureo theground, location ospeciicobstacles, andanything elsethat wouldhelpyou movethrough thespace without theuse osight.

    Step 2:Walkthepath once (without a blindold)in ordertoorm amental mapo thespace anda strategyormoving through it.

    Step 3: Return tothe beginning othepath andchoose a partner.

    Step 4:Blindoldyourseland begin thesightless orienteeringexercise(with yourpartner ollowing alongsideto makesure youdont hurt yoursel). Staggeryour start times with thoseahead oyou, sothat youdont run intoanyone else.

    Step 5: Attempt toreach theend othe intendedpath without visualinput orassistancerom yourpartner.

    Step 6:Switch roles with yourpartner.

    Possiblevariations:Thelandscapein which this activityisconductedcouldvary. Forinstance, we moveduphill through a rockygully, but it couldhavebeen done in a orest orthrough a stream.

    Resources:n/a

    Credit:Unknown

    Experienced on:April 7, 2014

    Prepared by: MarkHemphill, NicoleWalsh andMonica Seggos

    What worked well:Participants trustedthe process andtheirpartners (both as supervisors andas capablenavigators).Additionally, different strategies orblindlocomotion wereemployed.

    What did not workso well:n/a

    Suggestion orimprovement:Allocateslightlymore timesothat a thorough debrieing periodcouldbe conducted.

    VAKOGSI

    Method:

    Auditory Tracking

    Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie: Prompt theparticipants torelect upon theirexperience.Didthe identi peoplebasedon speciiccharacteristicsothe

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    Step 1:Askparticipants tosplit intogroups oouror ive.

    Step 2: Haveone membero each groupblindoldthemselves andsiton thechair.

    Step 3: Instruct thenon-blindoldedparticipants toencircletheirsightless groupmember, alternatelytapping the markers togetherandannouncing theirown name(to calibratethe sightlessparticipant totheirpersonal characteristics onoisemaking).

    Step 4:Onceeach noise-making participant has announcedthemselves several times, askthem to continuetaking turns(randomly)tapping themarkers togetherwithout announcingtheirname. This time, the sightless participant shouldattempt toguess whois making each noisein turn. Instruct the noise-makinggroupmembers toannounce theiridentities onlyi theblindoldedparticipant guesses incorrectly. Note that noisemakers shouldcontinueto walkaround theblind-oldedperson as totap romdifferent locations andthus not disclosewho theyare bylocation.

    Step 5: Afertwo tothree minutes othis, asktheparticipants toswitch roles (blindoldedvs. sighted noisemakers). Repeat until allparticipants havehad a chanceto acousticallyidentiytheirellowgroupmembers.

    Purpose:

    Thepurpose othis activityis tohone thesense ohearing in ordertoidentiyindividuals basedon theiracousticsignatures.

    Context:

    Byremaining seatedand blindolded, theparticipants aremorecapableo ocusing on auditoryinput. Participants can associateindividuals with theunique acousticpatterns theyproduce(tappingtwomarkers together)by taking noteo thecadence, pitch,amplitudeanddistance osound generated.

    Suitability:

    This activityis inherentlysimple, can bedonequickly, andisindependent osetting (indoorvs. outdoor).

    Numbero people:4+

    Time: 15+min.

    Equipment Needed: Blindold, a chair, twoo thevery samemarkers perparticipant (markers needto becompletelyidentical)

    Associated worksheet orhandout title, iany:None

    Space:Indoors oroutdoors, with sufficient spaceto walkaround acentrallylocatedchair

    Set-up:None

    Step 1: Split yourselves intogroups oouror ive. Takeablindoldandsets omarkers providedby theactivityacilitator.

    Step 2: Onemember oeach groupshouldblindoldthemselvesandsit on thechair providedbythe activityacilitator.

    Step 3: All non-blindoldedparticipants shouldencircle thesightlessgroupmember, alternatelytapping themarkers togetherandannouncing theirnames (tocalibratethe sightless participant toindividual methods o noisemaking).

    Step 4:Onceeach noise-making participant has announcedthemselves several times, continuetaking turns (randomly)tappingthemarkers togetherwhilewalking in circles aroundthe blindoldedmember. This time, thesightless participant shouldattempt toguesswhois making each noisein turn. Onlyannounceyour identityitheblindoldedparticipant guesses incorrectly.

    Step 5: Afertwo tothree minutes, switch roles. Repeat this until allmembers in yourgroup havehad a chanceto acousticallyidentiytheothers.

    Didthey identiypeoplebasedon speciiccharacteristics othesound? Didthey visualizethe location andappearanceo individualsas theymadenoise? Werethey intellectual orintuitivein theiracousticassessments?

    Possiblevariations:Different simplenoise-making devices couldbeused, as long as theyarethe sametools oreach tapperandlendthemselves tobeing useddifferentlyby each individual.

    Resources:Marin NLP

    Credit:Carl Buchheit

    Experienced on:April 9, 2014

    Prepared by:MarkHemphill, Monica Seggos andNicoleWalsh

    What worked well:Theparticipants employeddiversestrategiesandnoticed different acousticcharacteristics otheirgroupmembers. Most wereable toaccuratelyidentiy individuals basedon thecharacteristicnoises theyproduced.

    What did not workso well:n/a

    Suggestion orimprovement:None

    Inst

    VAKOGSICooperative Orienteering

    Method:Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie: Theactivityleaders shouldcontextualizethe activitybyreerringtothe conceptointerspeciescooperationintroduced

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    Step 1: Groups othree

    Step 2:Demonstratetheactivity with theirst group. Speciically,twogroup members shouldbe blindoldedandcarry a backpacktoa speciieddestination across a difficult terrain, andanotherwillnonverballyleadthem along thepath.

    Step 3: Asktwo othe members toblindoldthemselves, indicatingthat thereis nodiscussion allowed. Oneothe blindoldedgroupmembers shouldhold thebackpackin ront othem.

    Step 4:Instruct thenon-blindoldedmemberto leadthe grouptothedestination. Theleadercan choosewhichevernonverbalmethodo communication theybelieve will bemost successul.

    Step 5:Continuethis process with each group, making sure tostaggerthem sothat participants donot run intothe other.

    Step 6:Onceeach groupdelivers theirbackpackto theintendeddestination, askthem toreturn tothe activitystarting point todebrie.

    Purpose:Thepurpose othis activityis toexperientiallydemonstratetheconcept ounctionallycooperativeorganisms, introducedinBiophilia, byEdwardO. Wilson.

    Context:This activityexplores various modes o cooperation betweenindividuals andhow that experiencecan move thegroup orward.Freewill is inherent, as each participant decides whetheror nottheywant tomoveorward with thegroup.

    Suitability:This activityis veryeasy todo with a groupthat has alreadybeenworking together, whereas beginners might strugglewith issues otrust.

    Numbero people:3 15

    Time: 15min. or activity, additional timeordebrie

    Equipment Needed:Blindolds, a backpack(or similarobject orcarrying)

    Associated worksheet orhandout title, iany:None

    Space:Outdoors, with a path that is not easily navigable, especiallyblindolded

    Set-up:None

    Step 1: Breakup intogroups othree.

    Step 2: Twogroupmembers shouldbeblindolded, andthe thirdshouldcommunicatenonverballyto leadthe groupalong thepathspeciiedbythe activityacilitator. A backpackis tobe deliveredtothat destination.

    Step 3:Oneo theblindoldedgroupmembers shouldhold thebackpack(orsimilar object)in ront othem. All groupmembersshouldrerain rom speaking until theactivityis over.

    Step 4: Thenon-blindoldedmembershould leadthe grouptothe destination indicatedbythe activityacilitator. Theoneleading theother twocan choosewhichevernonverbal methodocommunication theybelievewill bemost successul ortheirgroup.

    Step 5:Makesureto staggeryourselves sothat youdont run into

    previous groups.

    Step 6: Onceyou havedeliveredyour backpacktothe intendeddestination, return tothe activitystarting point todebrie.

    reerring tothe concept ointerspecies cooperation introducedbyE.O Wilson in his bookBiophilia.

    Possiblevariations:Alternatetasks toinduceexperientialcooperation amongst groupmembers couldbeemployed, butthis solution was effectiveand straightorward.

    Resources:Biophilia, EdwardO. Wilson

    Credit: Josh Logreen andDionis Carter

    Experienced on: April 9, 2014

    Prepared by:Monica Seggos

    What worked well:

    Thelow was smooth andthere was a lot otrust exhibited,especiallysincethis was a student-createdand a student-led

    activity. Therewas an extra level ocuriositydemonstratedas well,sincethe participants didnot explain at thebeginning whywe wereparticipating in this activity.

    What did not workso well:n/a

    Suggestion orimprovement:Theactivity leaders couldincludeadditional content andquestionsin the debrieing period. Speciically, theycould prompt participantstoconsider how theactivitystructure(experiential in this case)affectstheway theylearn orimpacts how theydo liein general.

    VAKOGSI

    Method:

    Auditory Object Identiication

    Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie:Askparticipants toelucidatetheir personal listening andmemoryprocess andtheir overall experiencewith this exercise

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    Step 1:Askparticipants todivideintogroups oabout 5 people.

    Step 2:Askthem topick a person tostart with.Step 3:Havethat person sit in thechairand then blindoldhersel.

    Step 4: Instruct theblindoldedparticipants toverballyidentiytheobject as soon as theyrecognizethesound.

    Step 5: Takeout an object andelicit a soundrom it byshaking,hitting, tapping, throwing it, etc.

    Step 6:Whoeversaidthe correct answerreceives onepoint towardstheirteams score.

    Step 7:Repeat stepive with a different object.

    Step 8:Repeat steps three, ourandive with therest otheparticipants in each team until everyonehas partaken in theexercise.

    Step 9:Tallyupthe scores andproclaim thewinning earteam!

    Purpose:

    Thepurpose othis activityis todemonstratetheparticipantsabilityto identiyobjects bythe soundthey makewhenhandledby anotherperson (being shaken/tossed/dropped).

    Context:Theparticipants couldnot seetheobjects used, sotheyreliedsolelyon theirauditorysense toassociate what theywere hearingtoan object.

    Suitability: This activityis an appropriateexercise orrelying onthesense ohearing andmemory toassociate soundwith object.It can bedonewith almost any object, andis scalablein time.

    Numbero people: Small groupwork (5-7per group)

    Time: 20+min

    Equipment Needed: Blindolds, preselecteddifferent objects thatmakeunique anddistinctivesounds, a box orbag in ordertohidetheobjects rom the participants eyesight.

    Associated worksheet orhandout title, iany:None

    Space: Indoors toavoidpotential sounddistractions

    Set-up:Twochairs sideby side

    Step 1: Divideintotwo teams.

    Step 2:Picka person to start rom both teams.

    Step 3: Sit in theavailablechairs and then blindoldyoursel.

    Step 4: Listen closelyto thesound theobject is making.

    Step 5:Iyou know theanswer, sayit out loud.

    Step 6:Repeat.

    Step 7:Taketurns amongst yourteam until everyonehas hadachanceto participate.

    memoryprocess andtheir overall experiencewith this exercise.

    Possiblevariations:Insteado raming theactivityas a competition,acilitatetheexercise individuallybyincreasing thetime andgivingeach participant moreobjects to guess. Alternatively, all participantscouldbe blindoldedandwhoeverguesses it right theirst time, getsthepoint.

    Resources:n/a

    Credit:NicoleWalsh

    Experienced on: April 9, 2014

    Prepared by: NicoleWalsh

    What worked well: Thegroup enjoyedlistening andguessing thedifferent objects.

    What did not workso well:What didnt workwell was using objectsthat wereusedout ocontext orin an unamiliarway(e.g. ricecakethat was crunchedwith hands instead ochewing it). Participants hada hardtime guessing what theobject was.

    Suggestion orimprovement: Addmorediverseobjects andallocatemoretime.

    VAKOGSI

    Method:

    Balance and Cartwheels

    Instructions orWorkshop Leaders Instructions orWorkshop ParticipantsDebrie:Solicit eedbackrom participants. Speciically, askthemwhat sensations theynoticedduring theblindoldone-leg balancing

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    Step 1: Askthe participants tostand in a circle.

    Step 2:Instruct theparticipants tovisuallyixateon a single point(anywhererom oneto ten meters away). Focusing on this point, askthem tostandon one leg andremain in that position ora minimumothirty seconds. Askthem tomaintain theone-leg standas long theycan.

    Step 3: Next, askthe participants toblindoldthemselves andconduct thesamesingle leg-standing exercise. Focus shouldshifrom visual conirmation otheirbodys orientation toan internalunderstanding obalance.

    Step 4:Afercompleting thesingle-leg balanceportion othe activity,introducethebasic mechanics oa cartwheel. Demonstrateandoutlineproperorm beoreasking participants totrya cartwheel.

    Step 5:Allow participants tokeeptrying cartwheels. Rotatebetweenindividuals, providing eedbackon opportunities orimprovement inorm.

    Purpose:Thepurpose othis activityis toreconnect with thesense obalanceandthe abilitytocomplete compoundmovements.

    Context:Byremoving theassistancesight provides in oursenseobalance, wecan attuneourselves totheinput rom ourmusclesandinner ears. Furthermore, a cartwheel is a movement peopleareculturallyexposedto, but unamiliarwith when it comes toproperexecution.

    Suitability:

    This activityis onlyappropriateor peoplecapableo alling ontograss without actual injury.

    Numbero people:Upto20

    Time: 30+min.

    Equipment Needed: Blindolds

    Associated worksheet orhandout title, iany:None

    Space: This activityshould beconductedoutside, on relativelylevelandsof ground. A grassyclearing at least ivemeters across is ideal.

    Set-up:None

    Step 1: Standin a circlewith theother participants.

    Step 2:Visuallyixateon a singlepoint (anywhererom oneto tenmeters away). Focusing on this point, standon one leg andremain inthat position ora minimum othirty seconds. Maintain theone-legstandas long as possible.

    Step 3: Upon prompting bythe activityleader, put on theprovidedblindoldandconduct thesame single-leg standing exercise. Focus onyourinternal awareness obalance.

    Step 4: Observeand listen totheactivityleaders physical andverbaldemonstration oa cartwheel.

    Step 5: Trya ew cartwheels, keeping theelements oorm in mind.

    what sensations theynoticedduring theblindoldone leg balancingexercise. Additionally, prompt them toidentiysomethingnoteworthythat theytookaway rom theexperienceas a whole.

    Possiblevariations: Formore kinestheticallyadvanced participants,one-leg balancing can bereplacedwith balance boardwork, andaroundoff, hand-standorback handspring can besubstitutedorthecartwheel.

    Resources:Introto Gymnastics: Finishing thePerect Cartwheel https://www.youtube.com/watch?v=_cIaHsLNqdc

    Credit: MarkHemphill

    Experienced on:April 14, 2014

    Prepared by:MarkHemphill

    What worked well:Participants wereenthusiasticabout breakingdown thecartwheel intocomponent motions. Theyseemedto leavetheactivity with an attitudeochildish physical precociousness.

    What did not workso well:n/a

    Suggestion orimprovement:Allow ordeeperexperience, reduceinstruction.

    VAKOGSISuring Emotions

    Method:Instructions orWorkshop Leaders Debrie:Payattention tothe emotion but let it go. Youcan usethisactivityanytime, anywherewhen yourealizeyoure holding yoursel

    Step 6: Seei youcan sustain this gentle, inquisitivemode oratleast a minute. Iyourattention wanders ormindchatter begins to

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    Step 1:Askthe participants toind a comortableposition.

    Step 2:Askthe participants toplace theirattention on theirbody.

    Step 3:Tell participants toNotice anysensation that stands out.Doyou eel something particularin yourbelly, chest, limbs, orhead?Let whateveryourattention lands on irst betheocus orthisexercise. Keepyourattention on that sensation ora ew moments.

    This maybehelpul, Youresimplyexercising yourbodilyawarenessandremaining attentivetowhat your awareness locates. Themuscleat workis theexact onenecessaryor emotional connection. Iyouturn yourattention toyourbody andnotice nosensation whatsoever,still stayrelaxed. Theres noerroror problem. It just means that at thismoment nothing is strong enough tocall yourattention orthatperhaps yourea littlenumb. In eithercase, just keepgentlyscanning yourbodyrom headto toeuntil something shows up. It

    maybe as simpleas an itch on theknee, ortherise andall oyourbreath. Whateverdraws yourattention eventually(andsomethingalways will), staywith that as youcontinuetheexercise.

    Step 4:Watching closelyto seewhat happens, avoidthetemptation toinluenceit in any way. As youcontinue tomonitorthis sensation, remembertoslow down andget microscopic.

    Step 5: Askparticipants theollowing questions, Does thesensation moveorstay ixed? Does it changea littleor a lot? Does itlessen orintensiy? Or, perhaps, does it seem toremain exactlythesame?

    Purpose:Thepurpose othis activityis orparticipants toallow an emotiontomove through theirsystem without engagement orresistanceontheirpart.

    Context:Bybeing in a position orest one can noticethesensation oanemotion moving through thebody. Thepoint is not toigure outwhat theemotion is all about, but tosimplyallow it tohappen.Iallowance is granted, theemotion will, most likely, ebbwithoutleaving a trace.

    Suitability:This activityis inherentlysimpleand independent osetting (indoorvs. outdoor).

    Numbero people:Upto15peracilitator

    Time: 30+min.

    Equipment Needed: Sketchbookcloseby

    Associated worksheet orhandout title, iany:None

    Space:Indoors oroutdoors, with sufficient spacetospread out andbecomortable(sitting, standing, laying down)

    Set-up:None

    y y y y y g yback.This practiceis basedupon thebeliethat whenever peoplearent living theirdreams its becausetheyrenot yet willing andabletoeel speciicemotions relatedto thosedreams. Oncewe access andunderstandtheseemotions, ourdreams can andwill cometrue.Mereemotional intelligenceis not enough. Formaximum beneitwemust directlyand consistentlyconnect with ouremotions. Inparticular, weneed toconnect with theemotions weroutinelyavoid, resist, orattempt to dismiss. Its theseemotions that possessthekey toour greatest goals. Andlearning toconnect with them is ararelytaught but essential skill. Raphael Cushnirquotes.Inviteparticipants toshare theirexperiencewith thewhole(or, itootender)in pairs orsmall groups.

    Possiblevariations: n/a

    Resources:Raphael Cushnir The One Thing Holding YouBack

    KindleEdition, pp. 37 38

    Experienced on:April 14, 2014

    Prepared by:MarkHemphill, Monica Seggos andNicoleWalsh

    What worked well:Theparticipants engagedwell. Theyall sharedtheirexperienceand elt it helpedthem connect moretothemselves.

    What did not workso well:n/a

    Suggestion orimprovement:None

    y gtakeover, just acknowledgewhats happening andreturn toyoursensation onceagain.

    Step 7:At theend othe minute, iyouhavent already, noticewhetherthe sensation has an emotional quality. Iyoudontexperienceanydiscernibleemotion, just noteyour overall mood.Perhaps yourecalm, energized, curious, pensive, orsel-conscious.Afernoting yourmood, bring this irst pass otheexerciseto aclose, iyou donotice a discernibleemotional qualityto yourexperience, extendthe exerciseoranother minute.

    Step 8:Tell participants Ratherthan trying tounderstandit, let theemotion reveal itselto you. Ia nameor theemotion arises, set itasidemomentarilyso youcan keepocusing on theactualexperienceat hand. Ithoughts orrealizations about theemotionarise, orabout thesituation theypertain to, set thoseaside as well.

    Step 9:Continuesuring theexperiencewith your attention untilthebulk oits intensityhas diminished, oruntil it has evolvedintoadifferent emotional, ormerelyphysical, sensation.

    Step 10:At theend othe activityaskparticipants toshare theirexperience, ithey want to, andto talkabout thesensations oremotions that theynoticedin theirbodies.

    Step 11:Afersharing theirexperiences, askparticipants totake10minutes torelect upon andsketch theirexperienceothiskinesthetic-emotional activity.

    Instructions orWorkshop Participants

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    Step 1:Finda comortableposition.

    Step 2:Placeyou attention on yourbody.

    Step 3:Follow the instructors suggestions andquestions.

    Step 4:Payclose attention andollow whereit takes you.

    Step 5: Iyouwould like, shareyour experienceduring thedebrieing.

    Step 6:Aferdebrieing, take10minutes to relect andsketch yourexperienceothis kinesthetic-emotional activity.

    VAKOGSI

    Method:

    k h h l

    Instructions orWorkshop Leaders

    I Am

    Instructions orWorkshop Participants

    St 1 T k t i dd th l

    Debrie:This activityleads todeep sel-awareness about personalstrengths, goals, andlimitations.

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    Step 1: Asktheparticipants tocreate threecolumns.

    Step 2: Start on thelefcolumn. Askthem towriteon thetop IAM.

    Step 3:In this column askparticipants towritedown wordsthat describethemselves in this verymoment, listing acts, such asIam a mother, I am a biomimicryspecialist, etc.

    Step 4:Aferseveral minutes, askthem totitlethe secondcolumnwith thewords IAM BECOMING.

    Step 5:Giveparticipants several minutes tocompletethis action.

    Step 6:Askparticipants totitle thethird column with IWILLBECOME.

    Step 7:Askparticipants tocircletwo words rom each column.

    Step 8:Afercompleting this part otheactivity askor a volunteerandrole model theactivity.

    Step 9: Explain tothe volunteerthat theacilitatorwill beplacingtheirhandon thecenterotheirchest.

    Step 10:Askthe volunteerto sayaloud thetwo chosen words romeach column, in theorder oI am...I am becoming...Iwill become.

    Step 11:Aferwatching the demonstration, askparticipants tosplitintoteams otwo.

    Step 12: Askparticipants dotosteps 7 through 10. Notethat somepeoplemay besensitiveduring this exercise.

    Step 13:Onceall six words havebeen saidbyone othe participantsin theteam, allow or a transition andswitch roles.

    Purpose:

    Thepurpose othis leadershipdevelopment activityis todeineandthen verbalizewhoyou are, whoyou arebecomingand whoyouwill becomein theuture.

    Context:Bydoing this activity participants will understandthe relationshipbetween kinesthetic-emotional andkinesthetic-somaticresponses.

    Suitability:This activityis inherentlysimpleand independent othe setting(indoorvs. outdoor).

    Numbero people:Upto20peracilitatorin theroom

    Time: 45+min

    Equipment Needed: Paperand pen

    Associated worksheet orhandout title, iany:None

    Space:Indoors oroutdoors, in a privatearea.

    Set-up:None

    Step 1:Takeout a pieceo paperanddraw threecolumns.

    Step 2:Starting on thelef column. Writeon thetop IAM.

    Step 3: Listen toexamples rom activityleader. Writedown acts thatdescribeyourcurrent state(I am a mother.)

    Step 4: Titlethe secondcolumn with IAM BECOMINGandwritedown desiredoutcomes that youareworking on.

    Step 5:Takeseveral minutes tocompletethis action.

    Step 6:Titleth