Common Module - AY25.26 CTS B

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Introduction: Reflection is Key

To grow, one must garner the time and space of patience, reaching within their conscience for clearer paths forward. For prisoners in Indiana Women’s Prison, an ‘administrative segregation unit’ is made for inmates to reflect on their crimes and negative thoughts. For philosopher David K. Lewis, his was nested within long hour train rides, guiding Lewis to deep contemplation. For myself, in CTS B, I believe that creatives must go through the same act of reflection to reach growth, encompassing both realms of thinking and imagination in order to create visual sustenance (Csikszentmihalyi 123). This essay shall present my complete statement, whilst relating to design works and summarizing my learnings from the module.

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Restating my artist vision statement

When processing feedback from my classmates, I understand such disclosure requires reflections on creative visions, as well as balancing clarity and creativity. Consequently, between my initial vision statement, combining necessary ‘second-eye’ feedback from my peers, my official proposition includes a thorough evaluation of my journey.

I recognize that my strengths lie in illustration, storytelling, and conceptual thinking, aided by an open-minded approach. In five years, I aim to learn from my habit of adding more, to become a well-rounded designer capable of executing projects for visual identity, to consistently adapt to trends and gather knowledge, to initiate a home-based freelance illustration studio and expanding my reputation internationally via social media. Furthermore, I intend to harness efficient writing skills to support promotional copywriting. To achieve this, I plan to study motion graphics through After Effects and Figma, and actively participate in design competitions and internships to diversify my portfolio.

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A Love for Graphic Novels

Aligned with my pursuits in the field of illustration, many graphic novels, such as Richard McGuire’s “Here” have fancied my tastes. Yet none have quite succeeded in astounding me as much as Michael DeForge’s “Leaving Richard’s Valley” novel, entailing the adventures of banished animals of Richard’s valley – a secluded community – where they venture to the city and encounter the realities of a harsh world, a story about adapting to change and figuring out oneself, whilst DeForge brings to light the struggles we face using a light-hearted art style. Through engaging dialogues, eye-catching black and white visuals, and prolificity in his drawings, I felt transported into his world of tiny creatures, as if I were a part of the gang, a tiny blob navigating the peaks and troughs of life. In many ways, the animal’s assimilation to a world very different from their own resembles my willingness to being open-minded and adaptable to trends. DeForge’s message, that self-discovery requires hardship, openness, discomfort, and exploration, parallels my commitment to refining my graphic storytelling practice, and pursuing an socially-engaging creative career.

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Summarizing a Year of CTS B

In conclusion, from learning creative practice, discovering traditions and societal lineages in ties with graphic design, to immersing ourselves inside the walls of galleries and crafting artistic vision statements, I have learned, to examine the world beyond art and design through critical lens, moreover, to reengage my creative practice with everyday themes and experiences.  

Total word count: 495 words

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Works/Links cited and referenced:

'Administrative Segregation Unit' reference video: https://www.youtube.com/watch?v=Rkxi2oQQ8Sw&t=2428s

David K. Lewis's fascination with trains reference: https://www.princeton.edu/news/2001/10/16/philosophy-professor-david-lewis-dies

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Introduction: Transformed Hatred

Anything can grow to love their once greatest foes (Campbell 85). Seedlings would avoid sunlight to germinate, once sprouted, its fruits thirst for the sun to dance on their leaves. Children can hate routines, once wiser, they would develop an acquired taste for the ordinary. The metamorphosis requires time and experiences to reach a desired point of parity (Dewey 79), such as in the case of leaders and artists, having created their own set of rules, which is called a manifesto, namely Dieter Ram’s “Less is More” philosophy. This essay shall discuss their importance, reflecting on a group collaboration, and examining CTS B through the lens of our lessons.

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Defining Manifesto. Reflection of Collaborative Manifesto

Critically speaking, a manifesto is the learned accumulation of an individual, developed into a set of beliefs or declaration on their preferred subject. In art and design, these can be represented through an artist’s point of view of how their craft should be best produced, Munari stated, from the effectiveness of the product to the integrity of the designer (Munari 32). One prime example of a manifesto belongs to designer Bruce Mau, where his descriptive habit list of the creative process much appeals to us designers-to-be.

Having understood the idea, my group dove into contemplating our own variation. At its core, our manifesto is an outline of a disciplined yet ambitious approach to creation, balancing intuitive design with analytical aspects, while giving modern voices to traditional aspects. Although, were we to redo this, I would have us carry out a more relaxed tone, amateur-but-aspiring. For instance, in Rule #5, I would rewrite, “Question everything first, then make boldly”. Rule #6 would be rephrased as well, resembling Mau’s “Stand on someone’s shoulders”, where he explained how we could learn from achievements, I figured it is encouraging to “steal” and study from our masters, referencing and adapting their learnings to our own style, therefore, a new Rule #6 would entail, “Let influence be inspiration, not replication”.

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Setting a Rulebook

Considering this to my ongoing subjects, often having multiple projects concurrently drains my ambitiousness, negatively infecting my drive to be unique. To combat this, consistently drawing back to our manifesto is a pleasant reminder to trust the process. This habit of retracing the process has been reinforced by many, namely the 'Bauhaus Manifesto and Program' by Walter Gropius. Linking Rule #3 and #8 to my Studio project has nudged me into designing with intention to communicate, to hold myself from spiraling when meeting dead-ends. I have learned to habitually experiment on paper in Materiality, before diving into a concrete decision, which minimizes the possibility of backing out halfway. Though it is tempting to fall out the rails, the manifesto would be the failsafe to my accident.

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Summarizing a Designer's Responsibility

In conclusion, an artist’s declaration is honed through trial and error, in a lifetime of devoting oneself to art and design. This not only pushes me to the right direction, yet also prompts me to take responsibility as a designer, to create with purpose and thought.

Total word count: 495 words

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Works/Links cited and referenced:

Campbell, Joseph. The Hero with A Thousand Faces of Bollingen Series XVII. Princeton University Press. 2004.

Dewey, John. Experience and Education, part of the Lecture Delta Pi Lecture Series. MacMillan Publishing Co., Inc. 1963.

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Introduction: Our Defining Past

The Ghost Month may have passed peacefully, yet can anyone truly escape being haunted by the past? The past is defined through history, where it was recorded in text and, most mesmerizingly, in art (Hauser 19). In our opportunity to see such art by journeying to the National Gallery, I found that artifacts act as catalysts for understanding our lineages. This essay reflects on how to analyze artistic traditions through my experience.

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How to Analyze Art and A Visit to the Past

Critically analyzing artworks requires mitigating historical accuracy and tradition. Through trial and error, I learned how to identify something as simple as paint mediums, to stylistic choices to contemporary impact, and how such old artifacts withstand attention under the cruel passage of time.

On our trip, we looked for the “National Language Class” oil painting by Chua Mia Tee, depicting eager-to-learn students learning Malay under an equally attentive teacher. His brushstrokes were remarkable, rough yet detailed enough to capture expressions as the students learned. Contextually, it signifies the assimilation of the Malay language, marking an important hallmark in Singapore’s history. In contrast, Tay Kok Wee’s “Picking” paints a working-class scene of the 1950s. Initially, I mistook it for Chua’s, however, upon closer inspection, Tay’s is smoother, almost buttery, they bear stark contrast to the context, aimed to address the struggles citizens faced. Though created only four years apart, there were noticeable differences, from poverty to the dignity of education, they serve as reflections, as well as evidences that prove ever-evolving lineages and traditions.

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A Lesson Learned

In conclusion, applying such practice teaches us that design evolves through both honoring lineage and drawing from tradition with innovation (Walker 44), further confirming that design remains rooted and forward-looking.

Total word count: 275 words

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Works/Links cited and referenced:

Hauser, Arnold. The Philosophy of Art History 1st Edition. Routledge Revivals, 1958.

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Introduction: Art on Society

On the topic of society, Milton Glaser had successfully inspired communities, stating “If we realize we are all related and we need one another, that would be the best thing that could happen”. Further nodding to the fact that his dedication to graphic design produced works powerful enough to change a state’s prosperity, specifically his iconic “I (Heart) NY”, from which has repositioned designers as narrators and advocates. This essay shall discuss the importance of connecting practice to society, while reflecting on today’s lecture.

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Design as the Integrity of Communities

Where society shifts, design follows, evidence of evolution is always visible in graphic design (Simon 88). Creatives have thoroughly used society as context, displayed in campaigns and statements. Not only because design serves as a method of communication, yet also how they are the reflection of values, which can enforce transformation (Manzini 47). On transformation, Glaser’s “I (Heart) NY”, illustrated in a taxi and remained for decades, appearing on media and becoming globally synonymous with NYC. This proves design is not mere graphics and talent, it is a social practice that shapes influence and impact (Buchanan 12).

Applying this notion, we were tasked to produce short films addressing social issues in Singapore for class. My group approached the inflated cost of living, culminating in a well-known reference from Netflix series “Squid Game”. In reflection, I realized that by framing a serious issue through a reference, the message became more accessible, how artists can relate their craft to social understanding, reinforcing the importance of connecting practice to the collective.

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Shaping Society with Design

In conclusion, with commitment and passion, the desire to impact society will surface. With each solution, we shape how people think and interact.

Total word count: 275 words

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Works/Links cited and referenced:

Simon, Herbert. The Sciences of the Artificial Third Edition. MIT Press, 1996.

Manzini, Ezio. Design, When Everybody Designs. Translated by Rachel Coad, MIT Press, 2015.

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Introduction: Art as Thought and Reflection

When most think of art, they imagine talent and the Mona Lisa. Yet to those who observe, art becomes a colorful thought process, where the artist becomes a thinker beyond their label (Frayling 1), where art is driven by the desire to act, yet thinking is the key to making it impressionable, lasting beyond shock value. This week’s lecture about creative practice and critical thinking has highlighted, not only their connection, but also their importance to creators.

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Defining Creative Practice and Critical Thinking, Class Reflection

In definition, to generate new ideas, experiment and create from exploration is creative practice, whereas critical thinking is more technical, involving careful considerations to reach an unbiased conclusion. Despite being inherently different, their combination produces purposeful outcomes. For example, in class, we were shown posters where data are illustrated through graphics, while the written-out version was more unfollowable and monotonous. This instance has presented that both practice and critical thinking are needed to display an attention-grabbing yet informative design.

As Schön notes, critical thinking reflects every step in making creative decisions (Schön 93). The designer automatically questions and rationally analyzes every move, shaping sharpened clarity (Sullivan 108). This duality applies to areas where creative thinking is required to provide versatile solutions, and improve further. Reflecting on my contribution story about social issues, I saw how it could improve by adding narrative and perspective, revealing the repeating cycle of creation and refinement.

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Creativity as a Continuous Process

In conclusion, creativity is not only deliberate but also a subconscious act we are programmed to do on a daily basis (Bono 17). As a designer, unlocking that title requires more than talent, demanding initiative and the ability to question even the best choices, ensuring continuous growth.

Total word count: 275 words

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Works/Links cited and referenced:

Frayling, Christopher. Research in Art and Design, Volume 1 Number 1. Royal College of Art Research Papers, 1993.

Schön, Donald. The Reflective Practitioner. Ashgate Publishing, 1991

Sullivan, Graeme. Art Practice as Research: Inquiry in the Visual Arts 2nd edition. SAGE Publications, Inc, 2010.

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At first glance, I thought the World of Ideas and Imaginations (WOII) module was a more in-depth version of CTS A – it was true – however, nothing could prepare me for the philosophies, of which we studied exclusively within art and design. Although intimidated, I was surprised at how much I enjoyed this module.

Firstly, I became more detailed in observing artworks and literary works, learning how to interpret not only visual elements but also their intentions, while relating them to non-connected themes, such as Andy Warhol’s soup cans to the environment. The unrestraint nature and ambiguity of art and design have captivated me, further catapulting the urge to explore my creativity and thinking.

In practice, participating in groupwork and learning to coherently articulate ideas in writing are valuable skillsets I also gained. Class activities aid my understanding, though I tend to reserve in verbal discussions, I execute well in finishing tasks. Furthermore, WOII reminded me of my limited sense of adventure in design, a truth I would improve on.  

Overall, one statement could solidify my experience in WOII: “The unity of a text is not in its origin but in its destination” (Barthes 54), showing how meaning is ultimately shaped by its viewer. WOII has helped me see beyond surface-level aesthetics, playing an instrumental role in shaping my artistic identity.

Total word count: 220 words

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Works/Links cited and referenced:

Topic: Reflection on today's session and class activities on 'Postmodernism'

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Novelty has a long streak of striking uncertainty in art. Although it is natural to find comfort in familiarity, art is a reflection of its time, always subject to change (Lyotard 77). This notion would go on to influence future movements, however, perhaps one of the most controversial is post-modernism, that had stirred the public then and today. This reflection discusses today’s topic and our class activity.

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Post-modernism diverges from modernist constraints, where artists redefined art as beyond functionality and embraced diversity. Where modernism prioritizes simplicity, post-modernism allows designers to play with bold elements and palettes, reinventing design as rule-breaking and expressive (Poynor 17). It has been criticized for deviating from traditional structure and beauty; however, Steven Heller celebrates it, “Post-Modern blends art history and new-technology with a decorative tendency to achieve a broad-based, commercially-acceptable look.” It would go on to encourage artists to challenge themselves, rooting their works in authentic storytelling, mixing past eras and valuing emotional impact over formality (Heller 221).

For class activity, Minh Anh and I created a product-advertisement of a computer mouse. We compared it to a pack of mice running on a track field, with the computer mouse in the lead. For visuals, we chose vibrant colors, funky fonts, and comic-styled bubble texts inspired by the neo-retro era. After this, we became aware of our limitations, particularly when we hesitated on certain steps, and it pushed us follow our design instincts.

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In summary, while post-modernism may spark debate, it urges designers to take risks and personalize their works. I realized firsthand how post-modernism is not merely a tool of expression, but also a movement that will remain forever relevant.

Total word count: 275 words

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Works/Links cited and referenced:

Lyotard, Jean-François. The Postmodern Condition. Translated by Geoffrey Bennington and Brian Massumi, Manchester University Press, 1984

Poynor, Rick. No More Rules: Graphic Design and Post-modernism. Laurence King, January 1st, 2003.

Topic: Reflection on today's session and class activities on 'Post Structuralism'

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In a society built on rigid constructs, there is little room for imagination. However, those who challenge this mindset have coined post-structuralism, a philosophical movement that embraces interpretations of constructs. This essay explores its core message and a reflection on an in-class activity.

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Post-structuralism inspires that fixed ideas are flexible and open to dissection; their definition can vary depending on one’s experiences. As written by Jacques Derrida, “There is nothing outside of text”, that meaning is dependent on one’s own language (Derrida 158). In design, post-structuralism is a gateway to ideas and meaning behind elements, such as typography or color, which can vary across cultures. Designers can explore the ambiguity of post-structuralism, play with design principles unconventionally, as well as challenge the perception of brand identities, allowing the audience to complete the meaning. This resembles Stuart Hall’s theory, “Meaning is not fixed or determined by the sender. The message is never transparent. The audience is not a passive recipient" (Hall 36)

Proceeding lecture, our class activity had us capture ‘images’ and ‘texts’ without knowing what the other was photographing. Later, we paired them based on perceived connections. From our photos, we related ‘got birds?’ to a puddle resembling an oil spill, a ‘weather-forecast umbrella’ to an ‘Emergency Intercom,’ and padlock opened with a push. This activity not only revealed how objects and spaces hold underlining values, but also reaffirmed that visual and textual interpretation is always open-ended.

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In conclusion, my experiences align with the message of how art can be just about anything. With this, I aim to step outside my comfort zone and challenge unfamiliar design choices, while implementing post-culturalism to widen my horizons.

Total word count: 275 words

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Works/Links cited and referenced:

Derrida, Jacques. Of Grammatology. Translated by Gayatri Chakravorty Spivak, Les Éditions de Minuit, 1967.

Topic: Apply the analysis framework to works of design that you observe in the Golden Landmark Shopping Complex and Kampong Gelam district and document your experience.

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Every dedicated graphic artist is constantly studying and perfecting the nitty-gritty of their techniques, designs. From such explorations, we are offered an opportunity to apply these frameworks in a real-world setting, which is what I did at Kampong Gelam district. This reflection will make a connection between my recent fieldtrip and my understanding of design analysis.

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In a previous activity, we organized our belongings into two groups, ‘memory’ and ‘materiality’. With this in mind, we firstly explored Golden Landmark Shopping Center. Eventually, I stumbled upon a hidden gem to be categorized under ‘memory’, the ‘TWOWORLDS’ thrift shop on level 2.

The shop itself is an aesthetic blend between vintage and Y2k, with the logo a nostalgic; wavy font, resembling text out of a DVD. The clothes – arranged rhythmically – will become a precious keepsake, perhaps because it is reasonably priced. A polaroid wall collage, chaotically arranged, captures personal stories that someone is fond of. Once purchased, they become such cherished belonging that you cannot go without, an item tied to personal experiences.

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Afterwards, we explored Sultan Mosque to document more storefronts. I soon found a common theme that revolved around indulgence, to which I categorized under a new category, ‘consumption’.

Design-wise, their practical font and weathered signages reflect years of service, prioritizing quality and authentic goods.

Context-wise, each contributes to ‘consumption’ uniquely. Singapore Zam Zam serves a variety of Indian-Muslim delicacies, to which I thoroughly enjoyed. Aik Bee Textile Co. reminded me of fast fashion and the slow-paced approach of clothing production, using long-lasting fabrics for long-term usage. Jamal Azura Aromatics’ line-up of embellished perfume bottles appeals to luxury and indulgence, where self-identity is expressed through scents, regarding them as an experience rather than an accessory. Despite representing consumption in various ways, these places all provide for basic human needs.

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By analyzing, I learned that beyond visual appeal, they serve both practical and mindful roles in society, reinforcing the importance of thoughtful design to deepen connections between people and their experiences.

Topic: Reflection on today's session and class activities on 'Semiotics'

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Imagine yourself in New York City, surrounded by billboards and storefront logos. Every open space is for communicating their service; most of which is instantly recognizable. How is this possible? The answer to that is semiotics, the study of signs and symbols, without it, navigating the world would be far more challenging. To better understand semiotics, this reflection shall examine in a design context, followed by a critical analysis of NESCAFE’s “Fuel your day” campaign.

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Beyond its basic definition, semiotics includes structures of languages, code, gestures, and icons. While aesthetics decides the motif – the building – semiotics are the building blocks. For David Crow, designers can communicate intent through art and evoke emotions from consumers by using these elements (Crow 2.9b). Furthermore, semiotics builds culture and identity, opening doors for various interpretations. For example, hand-gesturing an ‘OK’, where the hand forms a circle with the tips of the thumb and index finger, means differently in Brazil, where locals consider it offensive rather than heartfelt.

With identity-building, a note-worthy instance of semiotics is the “Fuel your day” campaign by NESCAFE, featuring coffee pods in batteries. Aesthetically, the design is dominantly warm-toned, contrasting the dark coloring on the battery pack, creating a sense of vibrancy. Semiotically, batteries and coffee represent energy, therefore, combining them shows how similarly their coffee is to batteries powering electronics. As MacroHype explains on video, with eye-catching visuals, these batteries reenforces NESCAFE’s core message and effectively sells their energy-sufficient coffee products (MacroHype).

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In conclusion, semiotics enhances recognition of social cues and symbols. Through brilliant designs, semiotics proves to be an essential resource, curating messages that are not only visually effective, but also socially meaningful.

Total word count: 275 words

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Works/Links cited and referenced:

Topic: Reflection on today's session and class activities on 'Aesthetics'

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“To create, one must question everything”, stated architect Eileen Gray, known for her interior and product designs, she emphasized how aesthetics merge innovation and design thinking into practice, encompassing form and function, and creating designs that transcend trends. To achieve this, designers must balance prioritizing visual appearance and providing solutions to real-world problems. This reflection discusses aesthetics and how our class activity explored this.

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I have come to understand aesthetics as the collaboration of fundamental design principles that shape identity and appeal, a must-have in the creation of communication. These principles can be consistently applied across projects or adopted as personal preferences or cultural aesthetics Additionally, aesthetics includes form and purpose, both resulting in connection. This is because, while some argues that aesthetics is surface-level, Donald A. Norman counteracts that there is a connection between a design and its user, forming an emotional bond triggered by good design (Norman 10). His statement disproves the superficial viewpoint and that this connection is what strengthens user engagement and trust. Subsequently, it has become the designer’s mission to adhere to these demands, to produce both a practical and meaningful design for consumers, as stated by Terrence M. Curry, “A problem is posed, the designer works on it, a solution is had.” (Curry 119)

Following lecture, our activity involved observing a tech mall to create characters. We made Rhettro (a tech-savvy gremlin) and Abaddon DeVengeance (a mad scientist). They had further reinforced our understanding by designing characters with solid personality and function.

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In summary, aesthetics is essential to impactful designs, extending over appearance to evoke emotions and craft experiences, meeting both functional and human needs with aesthetically brilliant designs.

Total word count: 275 words

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Works/Links cited and referenced:

Curry, Michael Terrence. Form Follows Feeling: The Acquisition of Design Expertise and the function of Aesthesis in the Design Process. Architecture and the Built Environment. 2017

Q1: Connect CTS A to your learning and professional journey

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What kinds of collaborative projects would you like to do?

From Studio projects and our rotoscope assignments, I have discovered that CEN1B has a knack for animation. Despite varying art styles, we worked well together and created a short, yet beautiful GIF made in Week 5. I would like to collaborate with my classmates in creating a longer GIF, around 10 seconds, where we design creatures that continuously morph into another. This collaboration would channel our creativity into something personal and fun, while also improve our animating skills.

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What kind of final project would you like to do?

Studying at LASALLE has exposed me to new experiences and inspired me to discover different artists, leading me to becoming a regular visitor at art galleries. From that, I envision that by at the end of Year 3, I could be the host of my own art gallery, displaying the pieces I have created here. Alternatively, I would like to create a project where our course takes scrap ideas and create a symbolic painting representing graphic design, or to increase LASALLE’s visibility by designing and pasting posters throughout the streets of Singapore.

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Consider "Community Engagement and Professional Skills"

I’m passionate about the environment and drawing inspiration from nature’s beauty. With this, and my fierce love for design, I aim to contribute to environmental organizations in Singapore and Viet Nam, by enhancing their appearance, using my skills to further beautify their campaigns. Organizations like “Keep Vietnam Clean” and “Let’s Do It”, have great international potential and I believe freshening their graphic designs would attract more investors. Additionally, an organization called “Animals Lovers League” has captured my attention, and I would like to offer my artistic visions as well.  

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How might CTS A help you professionally?

CTS A is where I acquire the skills necessary in preparation for the professional world, where I can work as a graphic designer or a brand identity designer. With developing critical thinking, emotional intelligence and collaborative skills, I believe I can fully utilize them by helping me seize my dream job, navigate a healthy environment, establish good relationships with co-workers, and eventually make a name for myself in the industry.

Total word count: 330 words

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Works/Websites cited and referenced:

Q1: Connect CTS A to all of your modules and components

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Of all five subjects, I find CTS A thoroughly connects and heavily influences its counterparts. Not only does critical thinking widens our skillset and introduces professional practices, but simultaneously participates in creative fields where such abilities, namely emotional intelligence and growth mindset, are valued (Edward De Bono). Throughout the semester, I have used critical thinking to actively engage in my work, and with guidance from lecturers, my assignments turn out more satisfactory.

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With various Studio group projects, CTS A plays a crucial role in both class activities and CPJ assignments, supporting the development of analytical skills and mental wellness. In hands-on class projects, my collaborative skills are tested when interacting with classmates to successfully everything out. Whether it is in Research Frameworks, eating jellybeans in Typo-sensory, or arranging objects in Dataspace, clear communication as well as trust are vital to confidently complete projects. When it comes to personal projects and CPJ requirements, a determined growth mindset, maintaining good researching skills and consistent art documentation is equally necessary to complete weekly assignments. Not only does it call for my patience, resilience and an eagerness to learn, but it also needs the right information to piece everything together.

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In terms of Craft Workshop, I use Mindfulness most frequently, as it helps me easily tap into my own headspace in order to focus on illustrating or coming up ideas for tasks, such as mark-making or abstraction. Additionally, emotional intelligence can aid in recognizing emotions and visualize abstract ideas, turning design concepts, like tension, into art.

Similarly, in Photography and Digital Skills, my dwellings in digital art documentation, as well as helpful doses of mindfulness always keep me on my toes while taking pictures with Jonathan, and getting accustomed to Adobe Illustrator or Premier Pro with a patient mindset.

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Overall, CTS A serves as a bridge between the four Term 1 modules, as these skills lay the foundations for every existing field. From communicating to sourcing, every ability is essential for success in academic and professional life.

Total word count: 330 words

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Works/Links cited and referenced:

Q1: Discuss the seven weekly topics as a whole

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Imagine a family of 7 searching for a home to meet their growing needs. After days of research, an unfurnished 2-storey home catches their attention. Despite difficulty, the once vacant property turns into a paradise of beautiful memories through their dedication. For our group, this metaphor represents CTS A as a sanctuary for growth, where each room is an acquired skillset, there to lay the foundations where our dreams can be nurtured.

Before, the Critical Thinking Skills module puzzled me as I thought critical thinking was the only focus, as it has turned out, I was mistaken. In each week, our lecturers open doors to more of the complexities in critical thinking, and how it could be used as a double-edged sword in the professional world (Daniel Kahneman). Overall, these lessons cover seven interconnected topics that broadens the module.

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To harness problem-solving and make informed decisions, being open-minded is necessary to evaluate and analyze information, which is a core quality of critical thinking. As practice, collaborative skills are introduced to expose various perspectives, allowing our developing critical thinking to be used in groupworks and navigate communication. Additionally, being emotionally intelligent fosters connections, as careful evaluation also pairs with self-awareness and empathy, producing a healthy work environment. However, assertiveness or conflict resolution skills are equally crucial, as resilience and mental strength are required to navigate different opinions (Marshall Rosenberg). With growth mindset and challenged boundaries, critical thinking will develop naturally.

These skills are invaluable for tasks such as distinguishing truth and digital art documentation. Where facts and reliable sources encourages well-sourced information for strong arguments, documenting art expects critical thinking to be implemented for better analysis of evolving art trends in the cyber world.

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Throughout the semester, I have learned that making mistakes is a part of the journey, not every failed project defines our abilities. Ultimately, the value of teamwork is in communication. With the seven topics, they are woven together to create a safe haven that is CTS A.

Total word count: 330 words

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Works cited and referenced:

Daniel Kahneman (2011). "Nothing in life is as important as you think it is while you are thinking about it” - in Part 2: Heuristics and Biases of "Thinking, Fast and Slow"

Q1: We talked about “Self-management”, “Self-awareness”, “Empathy” and “Relationship management”. Which aspect do you think you are strongest at, and which is you should try to improve? Discuss with reference to today’s activities, and even your Studio collaborations.

Different qualities come in various capacities. While some may lack self-awareness, they show a greater sense of self-management. Personally, the dominant aspect that I continuously display is empathy, while I struggle with self-management.

What limits my self-management is my emotional control, hindering self-management as it requires a firm grasp on emotions to enable thoughtful decisions whilst being level-headed (Daniel Goleman). I frequently let stress take control, which disrupts workflow and exhausts my energy. An example would be Research Frameworks group project, where we rushed into producing quote interpretations without fully understand the requirements. When lecturers intervened, I panicked upon realizing errors and stressing whether this would be graded. Self-management certainly needs improvement, but with better self-regulation and increased confidence, I believe I can do better in the future.

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Unlike self-management, empathy comes naturally to me. It is about feeling the emotions of another and create connections, producing great communication and healthier work environments (Dr. Brené Brown). In Week 3 of CTS A, tasked with acting out a scene, I saw that two of us were quite timid and another was sick. Rather than feeling anxious, I took lead, helping them understand by writing out ideas, while limiting workload for my ill teammate. Despite my stage-fright, I took up the active doctor role, and covered for Ningze and Yuna when they stumbled with speaking. Afterwards, I thanked them and especially to Sanketa, who had to lie on the table. While unsatisfied with the results, I felt happy supporting them.

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In summary, all four aspects are essential for collaboration. Though it is true that some may surpass the other, striving to improve each aspect is worth it.

Total word count: 275 words

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Works cited and referenced:

Daniel Goleman (1995). "Self-regulation frees us from being prisoners of our feelings." - "Emotional Intelligence: Why It Can Matter More Than IQ"

Q1: Describe your strengths and weaknesses as a collaborator. What did you do well, what are some areas to improve? Discuss with reference to today’s activities.

I believe that in a group, where decisions are made to reach common ground and preferences are compromised, we then develop skills and discover our strengths (Patrick Lencioni). With this, I know what I do best and my shortcomings. One thing I am most proud of is my confidence at being the initiator. For our monument-crafting project, I started with small talk, moved on to the topic, spoke about our goals, and got everyone to contribute. With this, I keep the conversation alive and awkward silence to a minimum. Furthermore, I made sure to ask for validation with each step, ensuring comfortability. However, I still lack in emotional intelligence and would miss body language signals. Especially when rushed, I would ignore them to prioritize work. This is evident in one of my teammate’s confusions went undetected, which could cause problems when they are reporting this. In future exercises, I will pay closer attention to my teammates and ensure their complete understanding for maximum efficiency.

164 words

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Q2: If you had more time and an unlimited budget, how would you design the monument differently? Include pictures of the group work, and your personal re-design.

“Bill Gates” made a cake showcasing capitalism and consumerism, wrapped in a crown plastered with newspaper and luxury brands, while situated atop a trash-ridden ground. If it were a real-life statue, I would make changes for a more formal setting. The cake would be eight-feet tall and made out of pink marble. Its form would remain unchanged – with an addition of frosting and strawberries – however, it will be divided into eight pieces, each spaced out for walking room. The slices will display a prediction of the future, as explanatory visuals and texts will be carved onto the walls, revealing a dystopian and heavily industrialized world unless we change for the better.

111 words

Total word count: 275 words

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Works cited and referenced:

Q1: Describe your understanding of critical thinking that you had before the class, and reflect on what you may have learned.

As complex a process critical thinking is, I have always thought it can only be utilized during debates. Often during discussions, I miscalculate my points by not giving it enough attention, whilst being biased towards my opinions. After class, however, did I realize that critical thinking is very much a part of our everyday lives, from deciding on what to do to conceptualizing and analyzing information in depth (Robert Ennis & Edward M. Glaser). Class has taught me to be more open-minded and careful with my words, integrate it to harness a deeper understanding of ourselves, and practice evaluating to master deep thinking. I am able to reflect on my tactics and will include critical thinking in my studies at LASALLE and future opportunities.

124 words

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Q2: What have you learned about Mindfulness? How might you integrate this into your learning environment?

When mindfulness is introduced, I immediately saw it quite an unfamiliar territory. Because, in contrast to my fast-paced lifestyle, its practice requires being in tune and aware with oneself, thus it is new for me in execution. After trial, I learned that it works wonders in reducing stress, and helping us gain a kinder, more focused perspective on life (Jon Kabat-Zinn). While it will take some getting used to, as a student and an aspiring designer, I will use mindfulness to keep my mental health in check by meditating.

89 words

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Q3: Describe an eventful moment you have experienced in this class.

I would love to relive the moment we talked with our lecturer, Shawn Soh. Not only did we discuss about mindfulness, but we also touched on failure as an attribute to success. Before, I find it difficult dealing with mishaps, however, after listening to Shawn’s experiences, I know to be more forgiving towards mistakes, and have since redefined my definition of success.

62 words

Total word count: 275 words

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Works cited and referenced:

Robert Ennis (1987). "Critical thinking is reasonable reflective thinking that is focused on deciding what to believe or do." - A taxonomy of critical thinking dispositions and abilities. In Baron and Sternberg (Eds.) Teaching thinking skills: Theory and practice. NY: W.H. Freeman, pp. 9-26.

Edward M. Glaser (1941). " “The ability to think critically, as conceived in this volume, involves three things: an attitude of being disposed to consider in a thoughtful way the problems and subjects that come within the range of one's experiences..." - An Experiment in the Development of Critical Thinking, Teacher’s College, Columbia University