This document provides guidance on keeping a reflective journal for creative practice. It discusses the format and content of a reflective journal, including using it to record thoughts, ideas, observations, reflect to gain understanding, and analyze to further learning. It emphasizes writing freely without hesitation, asking questions, and reflecting both during and after creative work or activities. Examples of reflective questions and prompts are given. The document also lists Richard Serra's "Verb List Compilation: Actions to Relate to Oneself" as an example of materials and processes for reflective analysis.

1. reflective
practice
17 - 10 - 17

3. connections
art history
music
dance
writing
general history
geography/place
contemporary practice
science

6. reflective journal

7. what is a journal?

8. format
A4, 5, 6, 7, 8
pocket
phone
i pad
blog

9. a journal is a place for...
Recording
thoughts, ideas, observations, things
Reflecting
to gain understanding
Analyzing
to further your learning
Concluding
setting out what you have thought
about

10. what’s in it - actual?
written notes
diagrams
drawings
sketches

11. what’s in it - ideas?
personal insight
observations
questions
speculation
the work of others

12. content
raw
un-thought-out observations
recorded close to the action
think police note book
reflection
stuff you have thought about
connections
notes on the unexpected

13. questions
what happened?
why did it happen?
what do I think about this?
what should I do as a result of this?
how do I do this?

14. how to use it
write often
note down dates and times
write freely - without hesitation
write down - even if its not relevant

15. stop

17. reflection
in action - (while doing
something)

18. reflection
on action (after you have done it)

19. ask yourself questions
lots and continuously

20. what do you do?

21. materials and process’s
understand what you work with
become an expert

22. Richard Serra, "Verb List Compilation: Actions to Relate to Oneself"
[1967-1968]

23. TO ROLL
TO CREASE
TO FOLD
TO STORE
TO BEND
TO SHORTEN
TO TWIST
TO TWINE
TO DAPPLE
TO CRUMPLE
TO SHAVE
TO TEAR
TO CHIP
TO SPLIT
TO CUT
TO SEVER
TO DROP
TO REMOVE
TO SIMPLIFY
TO DIFFER
TO DISARRANGE
TO SHAVE
TO OPEN
TO MIX
TO SPLASH
TO KNOT
TO SPILL
TO DROOP
TO FLOW
TO SWIRL
TO ROTATE
TO SMEAR
TO FLOOD
TO FIRE
TO IMPRESS
TO INLAY
TO LIFT
TO CURVE
TO SUPPORT
TO HOOK
TO SUSPEND
TO SPREAD
TO HANG
OF TENSION
OF GRAVITY
OF ENTROPY
OF NATURE
OF GROUPING
OF LAYERING
OF FELTING
TO COLLECT
TO GRASP
TO TIGHTEN
TO BUNDLE
TO HEAP
TO GATHER
TO ARRANGE
TO REPAIR
TO DISCARD
TO PAIR
TO DISTRIBUTE
TO SURFEIT
TO SCATTER
TO COMPLEMENT
TO ENCLOSE
TO SURROUND
TO ENCIRCLE
TO HIDE
TO COVER
TO WRAP
TO DIG
TO TIE
TO BIND
TO WEAVE
TO JOIN
TO MATCH
TO LAMINATE
TO BOND
TO HINGE
TO MARK
TO EXPAND
TO DILUTE
TO LIGHT
TO REVISE
TO MODULATE
TO DISTRILL
OF WAVES
OF ELECTROMAGNETIC
OF INERTIA
OF IONIZATION
OF POLARIZATION
OF REFRACTION
OF SIMULTANEITY
OF TIDES
OF REFLECTION
OF EQUILIBRIUM
OF SYMMETRY
OF FRICTION
TO STRETCH
TO BOUNCE
TO ERASE
TO SPRAY
TO SYSTEMATIZE
TO REFER
TO FORCE
OF MAPPING
OF LOCATION
OF CONTEXT
OF TIME
TO TALK
OF PHOTOSYNTHESIS
OF CARBONIZATION
67-68
TO CONTINUE

24. why do you make work?

25. what’s it for?

26. what do you want from your work?

27. what is your work about?

28. who is your audience?

29. where does the work go?

30. WHY - MAP

33. an example of practice

34. observe and collect

40. http://lesbicknell@blogspot.com