Practicing Presence

FATE 2025 NEXT NOW Conference Practicing Presence Workshop

Table of contents Question 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Who are we?

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Question 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

What was the impetus for the Practicing Presence Workshop and this zine?

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Question 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 What do you want and need in a foundational arts education now in a post-pandemic world?

Question 4 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 What have your professors done in a course that you liked? What made this pedagogical practice so generative?

Question 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 How can professors create the ideal conditions to foster community in the classroom?

Question 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 What do you need less of?

Question 7 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 What do you need more of?

Question 8 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 What tools have supported you?

Question 9 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 What is the appropriate handling of AI technology in the classroom?

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Table of contents cont.

Question 10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 What challenges must we as contemporary art professors address?

Question 11 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Imagine you are talking to your most tone-deaf professor; what are your suggestions?

Question 12 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Part 1: What do you believe is the role of a foundational arts education? Part 2: What is it supposed to help you learn and do?

Question 13 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 What is the relationship of hope and the classroom? Do you see them having a relationship?

Question 14 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 Part 1: You attend school at a time in history when there is a lot of political unrest.

How do you want to be supported during this time? Part 2: Do you see the classroom as a space where you want/expect that support? Part 3: What would/could that look like?

Question 15 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 How do you feel about politics being talked about in the classroom?

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Question 1: Who are we?

Student introductions

Name: Marian Claros Barrientos Pronouns: She/her Age: 18 Major: Studio Art, minoring in Graphic Design Institution: George Mason University, School of Art A little backstory on me: Hi! I’m Marian. I’m a studio art student at GMU, and I’m incredibly thankful for the opportunity to participate in this workshop and connect with such a creative community. For this project, I designed the graphics for the zine and illustrated portraits of each member! I’m excited to hear your thoughts—and I hope you enjoy hearing from a student perspective, too.

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Name: Howard Eddie-Dufe Pronouns: He/ Him Age: 20 Major: Graphic Design Institution: George Mason University, School of Art A little backstory on me: Hello! I am a graphic design student, minoring in marketing at George Mason. I am grateful to have the privilege to meet all of you.

I love visual art and illustration in addition to designing magazines, websites, and UX design. I created this website for you to better acquaint yourself with the workshop. Along with spearheading the Cards for Humanity game and some of the digital personality games in class last semester, I have archived them on the website for your reference. Please use our Discord group to share resources and allow us students to answer any of your questions. We greatly appreciate your willingness to participate in the workshop and your support in contributing to the Discord chat. Thank you.

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Name: Travis Williams Pronouns: he/him Age: 19 Major: Graphic Design Institution: George Mason University, School of Art A little backstory on me: Hello! I am a graphic design student at GMU, and I am thankful to be given the opportunity to be a part of this. I love listening to music, drumming, and I have recently begun to learn the guitar. I created the Discord chat that will be used after this workshop, in order to keep a community with those of us attending. This Discord chat will be used to share resources and allow students (us) to answer any questions, if you would appreciate a student perspective!

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Faculty introduction

Name: Mallory Kimmel Pronouns: She/They Position: Faculty Institution: George Mason University, School of Art A little backstory on me: I am an art faculty member at George Mason University, where I teach predominantly sculpture courses. I became a professor to have a career as an artist and educator who acts as an advocate for my students in the learning process of becoming leading creative practitioners of their time. The focus of my teaching philosophy centers on educating students on how to use art and design to improve society.

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Question 2: What was the Impetus for the Practicing Presence Workshop and this Zine?

Mallory: This zine and workshop document some iterations of creative pedagogy and student-resourcing I employ to design educational resources for the classroom. I see the workshop and zine as a conversation starter for educators and students to come together in partnership.

Students at this time need more support in facilitating relationships to form friendships, cultivate social belonging, and develop opportunities for collaboration. The title of the workshop, Practicing Presence, is a space to share and swap ideas, tools, and pedagogical practices that support student connections and strengthen their durational attention span to those people and challenges that need their attention in the here and now.

In the classroom, I lead with care and equity to develop a classroom culture that is equally welcoming as it is rigorous. Much like I ask my students to design conditions for a better world, I design the classroom and curricula to create the conditions for creative vulnerability. To expect rigorous work requires the infrastructure for students to learn how to care for themselves and feel the support of their professor and peers to take risks, fail forward, and expect better from themselves.

When teaching foundational classes such as Sophomore Core, a course geared toward teaching second-year students what artist research is and delineating their creative practices, I ground the visiting artist guest lecture series into the course material. When I learned the series theme was war for Fall 2024, I built supportive pedagogy for discussing the gravity of war amidst current events to uphold my value of not harming with the intention to educate.

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To support my students, I developed responsive teaching practices, resulting in each student having a bin housing their Decision Coins, Get Unstuck Device Project, and Comfort Object in the classroom. I assigned a reading from the book, Feel Good Productivity by Ali Abdaal, where the excerpt describes how Nobel laureates (Richard Feynman, Donna Strickland, and Konstantin Novoselov) call their work play. The text details eight different play personality types named by Dr. Stuart Brown, a clinical professor and physiatrist at UC San Diego and founder of National Institute for Play. I had students build on this practice of framing work as being something joyful and experimental, like play, followed by having students identify their play personality type and design a game for their respective type.

Following the first lecture, students reset and connected through playing their games together. These activities have now been archived on a shared website and repackaged into a series of art books featured in the FATE 2025 Conference. With the help of my previous students, Howard, Marian, and Travis, they have written and made all the illustrations for this zine, designed and launched a corresponding website, created a community Discord chat for workshop attendees to join and continue sharing classroom resources. The intention is to collect resources to establish a community in the classroom where students can be fully present in the classroom with their peers to develop in a supportive community. Howard, Marian and Travis will lead the workshop and reflect on their experiences as students within this class. They will also share their wants and needs to help us educators design effective tools to support students in acquiring a foundational arts education in a post-pandemic world. I wrote the questions for the zine that each student responded to in the following pages. I believe their responses will help us educators learn from our students.

DISCORD CHAT QR CODE​

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WEBSITE QR Code 9

Question 3: What do you want and need in a foundational arts education now in a post-pandemic world?

Howard: I want Foundation Arts to embrace both digital and traditional mediums while fostering community engagement. As a graphic design concentration, my education should reflect the evolving landscape of design, integrating emerging tech such as AI assisted design, integrating emerging tech such as AI assisted design, UX/UI principles and motion graphics alongside composition, typography, and color theory.

Marian: Using: I think it’s important that foundational arts education embraces tools like AI as part of the creative process, especially in a post-pandemic world where digital tools are more integrated than ever. I’d love to see AI introduced in the classroom as a professional tool rather than something that’s automatically labeled as cheating. We’re the next generation of artists and designers, and the expectations and tools we’ll be working with are already changing. Learning how to use AI responsibly and ethically can help us see it as a creative partner, not a shortcut. When used well, AI can open up new ways to explore ideas, experiment, and collaborate in meaningful ways.

Travis: Creating a sense of community and a sense of friendship in the classroom is imperative to help support learning and engagement.

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Question 4: What have your professors done in a course that you liked? What made this pedagogical practice so generative?

Travis: Generally, when professors neatly and clearly lay out expectations, requirements, and deliverables for each assignment. Having more simple projects at the beginning of the semester to understand the professor’s grading style/expectations is more helpful.

Marian: One thing I’ve appreciated in my classes is when professors give a clear reminder or recap of what we did in the previous session—kind of like those little “last time on…” segments on Netflix. Since many of my classes only meet once a week, it’s super helpful to get a quick refresher and see how it connects to what we’re doing today. My English professor this semester does something I love—he posts a document that reminds us what the homework is, where to upload it, and where to find any resources we might need. It makes everything so much easier to keep track of and helps me stay focused and organized. That kind of structure is supportive, especially in creative classes where projects can get overwhelming.

Howard: Professor Mallory Kimmel helped me further emphasize real world application through projects such as the “Get Unstuck Device” Wheel of Options and the Cards For Humanity assignments. Thanks to her, I learned a bunch about printing and formatting. Clear expectations and freedom to make the project I wanted.

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Question 5: How can professors create the ideal conditions to foster community in the classroom?

Marian: One of the best ways professors can help build community is by starting with icebreaker activities at the beginning of the semester—especially if they expect students to do group work later on. Sometimes, it can feel awkward to get “little adults” to do things together, but those early moments of interaction matter. When students get to know each other, they start seeing each other as colleagues and collaborators, not just classmates. And when a real community forms inside the classroom, it often extends outside of it, too.

Teaching us how to communicate with students we don’t know is helping us develop important professional skills for the future.

Howard: I cannot stress enough open dialogues and peer-to-peer feedback.

Travis: Starting off strong with icebreakers, and the earlier the better. I liked that we were able to create something we were proud of in Professor Kimmel’s class (like the games) and share it with others and witness what others made and were proud of and share that together.

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Question 6: What do you need less of?

Howard: Art History and Aesthetics classes often lack detail and discussion, with a narrow-minded grading rubric. This lackluster approach in art and design requires individual discussion and brainstorming, rather than justifying opinions with a rubric. Instead, focus on discussing the material’s value and relevance to art and design, rather than traditional grading methods. It’s more effective to engage in an icebreaker discussion about the reading material than the alternative to better understand the subject matter. They are asking us to write and read, and brainstorm what we liked and didn't like about it, and while also …. They ask for your opinion but don't want to honor it by way of justifying that opinion with the rubric. You need less of that, and more of what? Icebreaker, get away from the rubric, talk about the reading and the material. We need to discuss the value and importance of what we are discussing and why/how it is applicable to art and design, more than being beholden to traditional forms of grading and assessing merit.

Marian: In the first two years of college, I think it makes sense to have stricter grading and more structure; you’re learning the basics and how to meet expectations. But in the last two years, I think students need more freedom to explore their own style and develop their personal art and design practice.

Early on, you’re focused on learning how to satisfy your professor. But later, the goal should shift toward learning how to satisfy yourself as an artist—and eventually, your clients. What I’d like to see less of in the later years is that strict “teacher-pleasing” mindset. At that stage, we should be encouraged to take creative risks, trust our instincts, and prepare for real-world collaboration.

Travis: I understand that professors teach a class that has a specific focus (e.g. publication design), however, what often happens is we are given nearly the same project over and over again in the course. We need less of redundant projects to stay interested and keep learning.

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Question 7: What do you need more of?

Travis: Something I can put in my portfolio. So it should be design-specific.

Brochures, advertisements and things we would actually be asked to design in a real-world/ job environment, logo design Howard: What I desperately need more of is the further creation of a safe, stress free and inclusive environment. Professors need to better engage with students throughout their lessons/ lectures and encourage discussions that value diverse perspectives. Simply breaking the ice in a casual manner is better than lecturing students on topics that they didn’t do well to explain their importance.

Marian: What I need more of is a professional perspective and less of a purely academic one.

For example, in my Principles of Design class, my professor gave us a great template for what you need in a logo and other components for graphic design work that would go into a professional portfolio. It was super practical and felt directly connected to the real world.

More classes like that, focused on how we present ourselves as artists and designers and how to prepare for actual clients or jobs, would support students as we get closer to entering the field.

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Question 8: What tools have supported you?

Howard: Clear and concise feedback on what I need to improve upon as a designer. I feel like it's a metaphorical question and not a physical one.

Marian: Using Outlook has supported me. It makes it easy to email professors and ask quick questions, even the small ones you might not think are worth bringing up in class. It’s super helpful when you need clarification outside of office hours, and it helps keep communication open and professional. This has made a big difference for me personally since I moved to the U.S. at the end of 2020, and using email for school was something new to me. Learning how to communicate with my teachers this way has been super convenient, and it’s helped me feel more confident reaching out when I need support.

Travis: Discord is a great tool for any need for communication between multiple people. Discussion boards as an ask forum where students can pose any question and peers can answer that question. Also, previous student examples for more important assignments/projects are spectacular

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Question 9: What do you think is the appropriate handling of AI technology in the classroom?

Howard: AI is a new technology. It should be better suited to be used professionally and sparingly by simplifying industry prospects, Its initial hype has lasted due to fear mongering.

Travis: I think that AI will/has become a tool for all artists, so professors should branch out into the world of AI and teach students the most current uses for it.

Marian: AI should be treated as a professional tool, not a shortcut. Professors shouldn't dismiss it just because they’re unfamiliar with it. Students should be taught to use AI ethically and creatively, the same way we learn other design tools. When used well, AI supports artistic growth and prepares us for its real-world use in creative fields.

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Question 10: What challenges do we as contemporary art professors need to address?

Marian: One challenge is acknowledging that college does not teach us everything we need for our careers. Students already know this. What we need is honesty and real insight from our professors. Share the struggles you faced as working artists. Talk about the sacrifices and the realities of building a career. We do not want perfection. We want to hear what it really took to get where you are today.

Hearing your experiences helps us understand what to expect after college and how to prepare ourselves for the professional world.

Travis: That jobs and income is not always easy to come by, so being truthful with students and giving them resources and help to ensure they set out on the right path after college.

Howard: Further emphasize the importance of focusing on the present moment instead of dwelling on past mistakes to achieve success in a desired industry.

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Question 11: Imagine you are talking to your most tone-deaf professor, what are your suggestions?

Travis: When giving feedback on something, try not to be personal. Giving reasons why something doesn’t work. Do not give opinions; justify your reasoning to the student. There is always a time and place for criticism. It is better for a final project to hear positive feedback and better to receive actionable constructive criticism after the fact. Taking critiques in college helps prepare us for the real world.

Marian: Give feedback that includes what went well, not just what went wrong.

When you point out something successful, it helps us know what to repeat and build on. Also, be mindful of how you speak to students. Harsh or dismissive comments can shut us down. Critique should challenge us, not discourage us.

Respect goes a long way in helping us grow as artists.

Howard: Reduce aggressive attendance and teaching methods, such as using graphic design typography in brochures to promote a more balanced and effective learning environment.

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Question 12: Part 1: What do you believe is the role of a foundational arts education? Part 2: What is it supposed to help you learn and do?

Howard: Part 1: The integration of traditional and digital art forms in the classroom offers strategies for enhancing your major’s context and staying updated with industry changes.

Part 2: I seek to become a professional in the chosen industry or acquire tangential skills for future career opportunities, aiming for flexibility and equipping abilities.

Marian: Part 1: Foundational arts education is more than learning techniques. It is about learning alongside people who are at the same level as you: your friends, classmates, and future colleagues. It is often your first real art community. Having an instructor who is a practicing professional gives you direct access to someone working in the field. Being surrounded by students with their own goals and dreams creates an environment that inspires growth. You are not doing this alone, and you are free to explore your creativity without limits. Professors have a responsibility to help build that sense of community. The foundation of arts education should include creating and supporting relationships that help artists and designers thrive.

Part 2:Foundational arts education should help you build meaningful relationships. These connections support your learning now and continue to shape your future in the creative world.

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Travis: Part 1: Keeping up with trends allows you to have professional experience for the workforce, like learning Adobe Creative Suite and the necessary methodologies to prepare design products. It is useful to have educators lead you on the journey rather than being self-taught.

Part 2: You get experience learning how to make social media posts and how to make designs for society through the lens of a professor/a professional artist and designer.

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Question 13: What is the relationship of hope and the classroom? Do you see them having a relationship?

Marian: Yes, I think hope and the classroom go together. Hope creates an environment where students feel like their growth is possible and their goals are within reach. It is necessary, especially if you want strong communication between professors and students. When there is hope in the classroom, students feel safe to take risks, ask questions, and be honest about their struggles.

Howard: The intrinsic idea of hope should serve as motivation. Students should actively engage in their courses rather than passively passing them.

Travis: I think if the professor wants it to be, they can create the conditions for students to have hope, laugh and be happy. I think this is helpful and although not necessary in the job description of being a professor, I believe it makes a generative classroom environment for students to want to learn and engage. I think that starts with having community and friendship in the classroom.

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Question 14: Part 1: You attend school in a time in history where there is a lot of political unrest, how do you want to be supported during this time? Part 2: Do you see the classroom as a space where you want/expect that support? Part 3: What would/could that look like?

Marian: I don’t expect to be supported emotionally during times of political unrest. What I expect is to be respected. I don’t necessarily see the classroom as the place where I need personal support, but I do believe it should be a space where my voice and opinions are treated with respect, even when they’re different from others. I want to be able to share my thoughts without being yelled at or made to feel like I’m wrong just because someone disagrees. What matters is having respectful conversations where disagreement is allowed as long as it is thoughtful and grounded in reason. The classroom should be a place where we practice how to have those kinds of respectful disagreements. That is the kind of environment that helps us grow—not just as artists or students but as people.

Travis: The support can be given indirectly, potentially only discussing politics if everyone agrees they are comfortable doing that. Also, I think it would help to create a classroom environment that is independent from political unrest.

Howard: I feel if I were to be attending, I wish to learn about the political issue rather than being coddled by my peers, parents, or instructors, or forced to take a side. I don’t want any support in any political topic in terms of whether it is biased. I don’t want it unless I ask for it. More open-ended opinions in the classroom. I want people to share their political opinions/perspectives unemotionally, so that we can talk about them and understand them more easily.

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Question 15: How do you feel about politics being talked about in the classroom?

Marian: I believe politics can be talked about in the classroom, as long as there is space for everyone to share their opinions respectfully and explain their reasoning.

I moved from Bolivia because of political unrest, so I understand how complicated and personal these conversations can be. I remember one time in school, there were only three or four of us in class because the rest of the students couldn’t make it due to the country beginning to go into lockdown. During that class, our Spanish teacher said, “Let’s not talk about politics.” That moment stuck with me. It felt like we were being told to ignore something real that was directly affecting our lives.

We don’t all have to agree, but we should be able to have meaningful conversations about what’s happening in the world around us. The classroom should be a place where we can listen to each other, express different views, and learn how to have respectful dialogue.

Howard: Classrooms should foster open discussion, encourage criticism, and promote understanding, rather than causing unrest as seen in social media and politics, where everyone wants to be right.

Travis: I think it should be addressed if everyone in the classroom wants to talk about it. If it is not unanimous, then it should not be talked about.

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