THE MANUAL

How the surrounding

can shapes us
when we shape it
The publication is made as part of the Occupy learning
project: OCCUPYLEARNING.ORG

We wish to thank

Partner Organisation_CABUWAZI-Grenzkultur (Berlin)

Foundation ARTE EGO (Lodz)

The publication was co-funded by the EU programme Era-

smus+ YOUTH IN ACTION, under KA2- Strategic Partnership

“The European Commission support for the production of this

publication does not constitute an endorsement of the contents
which reflects the views only of the authors, and the Commission
cannot be held responsible for any use which may be made of
the information contained therein.”

Editorial Design and Illustrations: Roberta Aita

How the surrounding
can shapes us
when we shape it
CONTENTS

Preface, written by Dominika Kamińska

1. THE OCCUPY LEARNING PROJECT

1.1. Idea of research

1.2. Idea of the manual

2. RESEARCH

2.1. Data collection

2.2. Data Preparation
2.3. Data Analyses

2.4 Short overview of outcomes

2.4.1 What does learning mean?
2.4.2 What is public space and why is it
important?
2.4.3 How can actions be sustainable and where
can they be improved?

2.5 Conclusion
3. METHODOLOGY

3.1 Circus in public space

3.1.2 Phases of the circus

3.2 HopUp Learning through games – potential

of new version of Hopscotch
3.2.1 Introduction
3.2.2 Matrix of learning process
3.2.2.1 Science – Memory and properties
of them
3.2.2.2 The senses and process of
remembering
3.2.2.3 Impact of the environment on the
learning process
3.2.2.4 How we learn-dominant sense and
its role of them
3.2.2.5 Learning through game
3.2.2.6 Non-formal education – work
focused on the process

3.2.3 Transformation of the game „ hopscotch „

3.2.3.1 History
3.2.3.2 Vision of the future – HopUp
creative tool in learning process.

3.2.4 HopUp – Examples of new version of „

hopscotch „
3.2.4.1 SenseMe
3.2.4.2 DanceMe
3.2.4.3 CreateMe
3. METHODOLOGY

3.1 Circus in public space

3.1.2 Phases of the circus

3.2 HopUp Learning through games – potential

of new version of Hopscotch
3.2.1 Introduction
3.2.2 Matrix of learning process
3.2.2.1 Science – Memory and properties
of them
3.2.2.2 The senses and process of
remembering
3.2.2.3 Impact of the environment on the
learning process
3.2.2.4 How we learn-dominant sense and
its role of them
3.2.2.5 Learning through game
3.2.2.6 Non-formal education – work
focused on the process

3.2.3 Transformation of the game „ hopscotch „

3.2.3.1 History
3.2.3.2 Vision of the future – HopUp
creative tool in learning process.

3.2.4 HopUp – Examples of new version of „

hopscotch „
3.2.4.1 SenseMe
3.2.4.2 DanceMe
3.2.4.3 CreateMe
PREFACE
written by Dominika Kamińska
“
written by Dominika Kamińska

Science has
no homeland,
because human
knowledge covers
the whole world.
(Ludwik Pasteur)
We can really learn everywhere, because pe-
ople have learned in different situations from
ancient times. Space affects how we learn, we
often hear stories about scientists / inventors
who came up with ingenious ideas / solutions
not necessarily in laboratories or offices, but
somewhere nearby looking for a better clima-
te for work / thinking.
As claimed by Maria Montessori, an Italian
doctor and creator of the children’s upbrin-
ging system The Montessori method, empha-
sizing free development “(...) personality for-
mation is developed through interaction with the
environment.”
Therefore, we do not learn only in educational institutions or at home,
but in every space, also in public space. Point 6 Art. 2 in the Polish Act on
spatial planning and development, when we talk about the area of ​​public
space - it should be understood as an area of ​​particular importance to
meet the needs of residents, improve their quality of life and promote
social contacts due to its location and characteristics functional and
spatial, defined in the study of conditions and directions of spatial
development of the city.
Put simply, it is all commonly available places,
usually free of charge, in which any social unit
can be found. Thus, for example: squares, ro-
ads, buildings and structures that are public
property, various forms of natural landscape,
public utility buildings such as shopping malls,
cinema / station halls, market halls, car parks
or other places made available to the public
by the owner or manager in specific time.
All these spaces deliberately planned or activi-
ties in their area may not only stimulate crea-
tivity, thinking or education, but also educate
themselves. And how? Through: happening
events, educational paths, sightseeing tours,
street actions, workshops, artistic installa-
tions, exhibitions, celebrations / memorials,
festivals. And we think that public space (stre-
et, festival, market) can be a university of life,
which is why this year a new project called
Occupy learning was initiated which aimed
to bring the aspects of learning and develop-
ment in public space closer. We were looking
for answers to such questions as: What factors
stimulate learning? How can we improve initia-
tives in public spaces to better develop, inspire
and teach?
We believe that every impulse that stimulates
even the smallest change in behavior, attitude
or knowledge carries the educational dimen-
sion. Public space is one of the most acces-
sible environments. Therefore, we can reach
almost every target group.
THE REPORT
written by Katrin Jaschinski
INTRODUCTION
1.1 THE OCCUPY LEARNING
PROJECT
The Occupy Learning projects wants to discover how public space is
used and reclaimed, and turned into learning spaces for the people
around. At the same time it wants to see who is active and how people
use public space. Occupy Learning also aims to activate people to de-
sign the space surrounding them on daily basis.

For this, the Occupy Learning project combines three approaches, one
is the research, collecting information from activists and people enga-
ging in learning in public space. This research wants to explain what
public space and learning in it is for activists, and at the same time
share knowledge to support people who are inspired to be active in
public space but might need just a bit of information to get started
(check „Manual“ further down). During the project time, Occupy Lear-
ning offers and has offered actions and events, transforming public
space and inspire people.

The third central focus lay on networking. By bringing together people

already active and creative in public space, Occupy Learning worked to
strengthen this area of activism.

Occupy Learning could not have been possible with the support and
great work of people from Cabuwazi e.V., people in Berlin, Germany,
and Łódź, Poland, looking for activists, and conducting interviews, pe-
ople from those and other places contributing in creative and amazing
and inspiring events for Occupy Learning. Of course, the funding from
Erasmus+ helped greatly to be able to implement all the great plans.
1.1 IDEA OF RESEARCH

There is so much knowledge in the field already. And many initiatives

are working with learning and in public space. Yet, for many people,
these two topics still sound either too dusty (school days, academics...)
or too complex (what is even public space).

Often, people don’t even realize how many opportunities they lose to
design their surroundings and perceive it in a completely different way.

However, there are plenty of people who already are re-creating their
environment, actively participating in the space around them.
And this research sets out to closely observe people active in public
space, and in the fields of learning. But it is not meant merely as a col-
lection of what has already been done.

From the practical experience, we will develop the concept of public

space, land learning. Even more, we will receive important insights and
make them available to you, the next person actively designing the pu-
blic space around you and thereby maybe even inspiring more people
to do so.
1.2 IDEA OF THE MANUAL

This manual will share with you all the wisdom found when talking to
active people. We will show you how activism can look, how colorful
the forms and ideas can be and how easy and complicated projects
are.

When you look at the text, you will find names of initiatives beginning
with a “>”. This is not part of the name, but shows, that you will find
more information on this action or organisation in our overview. The-
se have been the ones our research team visited and interviewed, and
the findings will be combined in the topical areas in the “Manual”.
The idea of the manual is to support you in being active, or at least
to raise your interest in some areas of activism, learning and public
space.

This manual is made up of questions that seemed essential for beco-

ming active. Of course, we will not have covered every question, but
they might be good for a start for you. The findings of the interviews
will be complemented by further information, initiatives, that had been
active in the field, but were not interviewed, concepts that have been
part of academic discussions, other interesting websites, blog, even
events to complete your impression and inspire you.

After the manual you will find an overview and a short description of
the organisations and people that contributed their knowledge, vi-
sions, and experience.
RESEARCHING
PHASE
2. THE RESEARCH

It started out with an interest in how public space can be transformed

into learning space? Of course, such a wide question does not make
for easy answers. More detailled questions, as for example “How do
people, that are active, understand public space? What does it mean
for them?” or “What exactly do they do and how?” lay the foundation
for the design of the interviews and the coding for analyses. As main
questions were identified:

What is public space according to people active in it?

What is learning according to activists in public space?
How do they manage to keep up activities, to sustainably transform pu-
blic space?

Sub-questions of the research in Occupy Learning were asking for the

process of implementation, and the resources necessary. Interesting
was also the quest for benevolent factors, conditions supporting the
learning effect in public space. One of our endeavours was to tran-
sform our findings into applicable knowledge, ideally we can offer you
a manual containing educational methods to be used in public space.
So, this publication will more often than not contain practical advices
for you.

Learning in public space sounds intriguing, and even might have a hint
of innovation. But thinking a little more about it, one can’t but won-
der what exactly learning is. Or what is public space? Let’s start with
the concept of learning. Different theories of learning exist, concepts
differ in the sense of direction, or intention. For example, Qvortrup,
Wiberg, Christensen, and Hansbøl (2016) describe the tendency of fo-
cussing on learning outcomes in recent years. Qvortrup et al. (2016)
state that especially school education, influenced also by internatio-
nal large scale assessment studies transforms more to meet the re-
quirements of assessment or labour market competencies, focus on
processes and development of thought and ideas seems to slowly
vanish. Learning itself can be categorized into learning styles, obser-
ving techniques of acquiring and keeping information in a way that fits
own personal characteristics and preferences, with Kolb for example
distinguishing the learning styles of Accomodating, Assimilating, Con-
verging, and Diverging (cp. Kolb n.d., cited in Nuankaew, Nuankaew, &
Phanniphong 2017). The concept of learning
styles itself however is also disputed, with for
example Hood saying, that this concept does
nothing to improve learning for students1.
Further, there are educational concepts such
as Active Blended Learning, to fit individual
situations and interests2. Then of course we
have the understanding that learning does not
only happen in classrooms or university, but
in non- and informal ways. Life Long Learning
more or less has the approach that people
learn, well life-long, observing mainly adults,
and methods of education in non-formal and
formal adult learning, and Nuankaew et al.
(2017) describe a growing number of research
and publications on Life Long Learning. This
might already give an idea, how complicated
it is to find a definition of learning that we find
fitting, this only showing that it is an amazing
idea to work towards a definition and under-
standing, that is practice-based.
Now, let’s try again with the concept of public
space. Public space is often understood as
parks, playgrounds, other openly accessible
areas (cp. Chiesura 2004), for others, shop-
ping centers provide a sort of private public
space, even though connected to consump-
tion they are after all, accessible to most peo-
ple (cp. Özsoy 2010). For Occupy Learning, the
most interesting aspect of public space lies in
its relation to people and how people influen-
ce public space. And there is some research
on this, from different academic directions,
for example Ijla (2012) looks at the meaning
of public spaces for social capital3.
However, research rarely observes the indi-
vidual perspective on actively designing the
public space around oneself. One hint at the
practical observation of public space is given
by Bruno, Bruscaglioni, Cellini, and Maraviglia
1 For more, see a discussion of Jordan and Hood on the con-
cept of learning styles here: https://thepsychologist.bps.org.uk/volu-
me-30/june-2017/evidence-and-learning-styles ; retrieved 08. February
2018.
2 For more on Active Blended Learning, read: https://www.
northampton.ac.uk/wp-content/uploads/sites/2/2017/05/Student-En-
gagement-with-ABL-Interim-Report-May-2017-v2.pdf; retrieved 08.
February 2018.
3 The concept of social capital can roughly be imagined as a
network or relationships between individuals and/or groups, that lead
to successful movement in a society, and its functioning. Social capital
is one of the three capital sorts essential in Bourdieu’s work, but has
been used widely and in different definitions. For more read e.g. Bour-
dieu & Passeron: Reproduction in Education, Society and Culture.
(2016), who observed public spaces and the
practices, encounters, and changes of people
in them, but again, here we are, cherishing
the chance to uncover the deeper meaning of
public space for people being active, learning,
and living in it.
Given the not as successful as wished for se-
arch for fitting definitions of public space, and
learning, we concentrate on a research ap-
proach that derives information and concepts
from the data collected. By using qualitative
methods for data collection, data preparation
and data analyses, we will base our findings
mainly on what practitioners in the field share
with us. Of course, we will use insightful rese-
arch findings from other endeavours, acade-
mic texts when fitting, and also have a look at
initiatives working in inspiring ways. But the
focus of our research and the source of our
knowledge will be the information shared by
activists from “the field” (this is researchy-spe-
ak for wherever it is you get your information/
observation, but it is real-life, not literature),
and by this let them define what is learning,
and what is public space. Of course, to at least
start somewhere, we had to agree on some
working definition of learning and public spa-
ce. To identify activists or organisations we
wanted to observe, we agreed on public space
as being a mix of parks, playgrounds, all kinds
of openly accessible spaces, as well as private
public spaces, like cafés, movie theatres, but
also other kinds of buildings. The concept of
learning also followed a very broad under-
standing, leaving space for the active people
to define what learning is.
2.1 DATA COLLECTION

We will use the qualitative approach to acquire the material for our
outcomes. We will follow an approach that is a combination of an in-
ductive and deductive mindset (cp. Willms et al. 1990, cited in Russell
Bernard 2006; cp. Miles & Huberman 1994, cited in Russell Bernard
2006). This means, that we can rely on some of our experience in the
field of activism, or NGO work, and our knowledge of why active people
are active, using their time and energy to contribute to something. Like
this, we can formulate some expectations and ideas for the possible
directions our data collection can have. At the same time, we can leave
our outcomes completely open, and then later inductively develop the
concepts public space and learning from our new material.
This comfort, and the fact that for example observations of work of
our activists would take up a lot of time, and sometimes actions being
already over, led to the choice of interviews as a tool for retrieving the
information we were looking for. Preferably, the interviews would be
conducted as free as possible, with some kind of guideline to follow.
This semi-structured form of interviewing would assure staying close
to the research topics, but offer the possibility to the interviewed peo-
ple to speak freely.
In a kind of dependence, the development of the interview guideli-
ne would happen parallel to the choice of possible interviews. Relying
on combined knowledge, and following the approach of convenience
sampling, the research team set up a selection of organisations and
initiatives to fit the criteria. From there, research team members set
out to reveal the mysteries of learning in public space, using the se-
mi-structured interview guideline. Reaching out and getting in touch
with organisations and active people had proven the hardest part of
conducting interviews. This is not rare, and often the response rate
can be somewhat demotivating. Still, the research team kept up hope
and managed to come up with additional activists, when organisations
or individuals were impossible to grasp for an interview.
The interviews then were conducted using a semi-structured guideli-
ne. This semi-structure was meant to offer guidance through the pre-
ferably open talk. Conducted interviews were then transcribed, using
consistent transcription criteria with focus on word by word transcrip-
tion, and coded. In total, 38 interviews had been conducted in Berlin,
Germany, and Łódź, Poland.
2.2 DATA PREPARATION

Following the mixed approach of inductive and deductive research,

coding (the assigning of a “signal word” or kind of headline to part of
the interview) took place in three stages. First, for the beginning of the
process, there existed a list of codes, very close to the interview gui-
deline and what could be expected. First and second stage happened
parallel, second stage consisting of coding what seemed remarkable,
interesting and important to the people interviewed. Coding based on
the material led to a change of the code list, and a so-called re-coding
of the material. This happened to ensure that all material had been
observed following the new codes. Sometimes, during the coding pro-
cess, going through material opens one’s eyes to new aspects, that
might have been in prior material, but were not that prominent. Then
it makes sense to use the new codes, go back and code all the material
again, making sure no information is lost.
After the first and second stage of coding, data was clustered, obser-
ved in different possible relations, re-sorted, to see if patterns or hi-
ghlights emerged. The third stage involved discovering patterns, or
general questions, developing their frames, and based on this develop
new codes. This third round of coding offered the insights for many
of the chapters of the manual you will find below (cp. Russell Bernard
2006).
2.3 DATA ANALYSES

For sure, this research can only be the start of an endeavour into the
practical concept of learning and public space, and knowledge found
and conclusions drawn here can lead to a refinement of those concep-
ts in further works. Nevertheless, given our methodological choices,
we are still qualified to formulate some results and insights.

Analyses happened circular and repetitive, fitting the coding proces-

ses, too. Building concepts for public space and learning from the data
in the interviews meant that after a couple of interviews, the codes
were ready, being derived from the material itself. The guideline for
the interviews was re-checked after conduct and coding of five inter-
views, based on their initial coding. This measure was applied to en-
sure the fit of the prior questions, and/or re-adapt the code list (Rus-
sell 2006). Checking after a certain amount of interviews, whether the
coding was still correct, allowed to establish a relatively stable frame
of codes. Following an exploratory analyses approach, the framework
was constructed around the perception of public space for activists/
active people, their reason for action and what they aimed to achieve
in matters of participant or mutual learning.

Within this frame, findings showed deeper meanings of action for the
people interviewed. During implementation often different phenome-
na emerged, for example were people surprised about what they le-
arned in exchange, or how people got inspired through their actions,
or the personal urge to be active. These findings resulted in different,
let’s say smaller frameworks, evolving around topics such as the tran-
sformation of society, how to contribute socially with art, or how to
bring people closer to each other. Another prominent aspect was the
topic of sustainability, in different levels. Questions of involving peo-
ple and securing resources, or developing more permanent structures
showed to be very present concerns for most of the interviewed peo-
ple. Coded material was regrouped, clustered, compared and checked
for possible patterns. Categorisations followed and the application of
hierarchies. The collected and analysed material and outcomes will be
shown below.
OUTCOMES
2.4 SHORT OVERVIEW OF
OUTCOMES
Given our open research approach, we can derive from our data how
people “in the field” define public space, learning within it , and how
they plan to have sustainable effect on public space and people. The
following information will solely be based on the material from the
interviews.

2.4.1 WHAT DOES LEARNING

MEAN?
“I am a fan of life long learning. For me, learning must break down
barriers and limitations. When you study, you have to face what is wor-
rying you, which is stressful for you. You are in a situation where you
can destroy something, even identity elements. Acquiring knowledge
is not just learning.” >Łódź Art Center
Learning can be understood as lifelong, declaring every moment in life
a learning moment (>Mov(i)e Action). The concept of learning is quite
extensive, it covers “class-style”, even if self-organized, learning (>Film
Arche), taking over responsibility (>Baufachfrau), as well as changing
behaviour, for example how we interact with people we don’t know
at a party (>Lucid Dance). Learning, in the sense of experiencing new,
understanding and overcoming ones own boundaries naturally needs
to embrace making mistakes (>Streem). But learning happens in any
interaction (>Johnny Knüppel). When planning and implementing an
activity, learning is guaranteed for the people facilitating the action.
Mutual learning is one essential keyword, as it happened for >Quar-
tiersmanagement. Sharing information between every person being
and becoming active can lead to widespread competency, and this
again empowers people to start their own actions (>Mov(i)e Activism).
Learning itself can come in all kinds of colours and shapes. Collecti-
ve learning might work well for active groups, accumulating and sha-
ring knowledge, informal learning offers the chance of observing and
copying, without having to have lectures (>Prinzessinnengarten). Le-
arning can also happen through observation, for example when ob-
serving a good example (>The Piotrkowska Street Foundation). And
sometimes learning can happen in small scales, by for example me-
eting people cuddling in the S-Bahn, and hopefully observing that it
“
You can share and
everybody gets richer
somehow.
>Galuma
is not too complicated to get closer to people
(>Bahn Cuddle Party). Learning can happen
quite surprising, too. Such physical matters as
running can change the perception of which
space is accessible, when for example >Mid-
night Runners run by monuments during the
night.
“You can share and everybody gets richer so-
mehow” >Gaduma
Learning can be found in every action, that
exchanges information, in talks about books,
in listening to stories - sharing means lear-
ning (>House of literature). For others, lear-
ning means the exchange of visions, or bro-
adening your vision of the world by talking to
people with extensive experience and intere-
sting world views. This can refine your perso-
nal view of the world and help in sharpening
your vision, but for this, knowledge is neces-
sary (>Foundation for Visual Education). Part
of learning is communication, learning how
to interact with others and get to know their
perspectives (>Baumhaus). Also learning in-
creases the perception and appreciation of
difference, diversity, and novelty (>Abenteu-
er Ritter; >Film Arche; >Łódź Art Center). And
for this, learning needs to be understood also
as an attitude, trying to understand unknown
topics and people requires the will to under-
stand (>Gaduma). For this approach people
need curiosity, to transform it into actions (>Pi-
nocchio Theater). Adopting the perspective of
eye-level exchange when developing learning
occasions can extend your own perception of
people, too. And to opening up to build rela-
tionships with people, learning on “both sides”
(>Fait). For some people interviewed, it was
central to connect theory and practice for an
easily accessible learning experience, as well
as an action with aim and purpose (> House
of literature). Most of the activists interviewed
highlighted the importance of action. Direct-
ly and actively involving people seems to be
most valuable for everyone participating, for
learning, exchanging, experiencing (>The Pio-
trkowska Street Foundation). Experiencing
shared activity, idea development, discussion,
with a variety of people can in itself have a
huge learning impact (>Guerilla Architects).
“Learning to accept that freedom exists and it’s
not always easy, but it’s worth doing it. Lear-
ning to let go of perfectionism.” (>KinoBerlino)
Having the freedom to design how you learn
can be a new experience, and an intimidating
one, too. But designing your own learning
space and learning experience can change the
perception of life and society fundamentally
(>Film Arche; >KinoBerlino).
And for some, the essence of learning is to
overcome personal boundaries, and question
the status quo. Confronting personal weaknesses can result in new abi-
lities and relationships (>CHOREA Thetre). At the same time learning can
mean re-discovering what has been un-learned, for example when chil-
dren take on roles in a fantasy play, and act stories without having to
explain themselves (>Abenteuer Ritter). In some cases, for art for exam-
ple, un-learning what has been taught in school maybe, can be essential
for creative processes and actions (>Kornacki). The roles of learning and
teaching can be deconstructed by applying the approach of everyone
being a teacher. This might not work from the first project, but with time,
people might recognize that everyone can share knowledge, and it is not
necessary to be a trained teacher, have a degree or a certain age (>Die
Lernwerkstatt).

“...somebody in the garden knowing how to do things in the garden and

other people kind of standing next to them, watching how they do it and
then try themselves with their hands...” (>Prinzessinnengarten)

For informal learning, it is necessary to work with a relaxed time-fra-

me. When learning something new, people need to adapt to the chal-
lenge, engage, overcome frustration and finally arrive at a successful
stage, >Bikeygees observe this every time when supporting people to
learn bike-riding. Workshops are another form of sharing knowledge
and providing learning space. Their form can vary greatly, experts can be
invited, different methods, such as the Montessori approach, can be ap-
plied (>Łódź Art Center), or learning can be fostered through art (>Social-
ly Involved). Problem-solving is another approach quite valuable when
wanting to arouse someone’s interest (>Have Place). Workshops can also
provide a platform for further learning, they can be seen as entrance
into a field of experience and knowledge without using ex cathedra tea-
ching. Workshops can offer to get to know people and establish relations
as friends or for collaboration (>Guerilla Architects).
>Prinzessinengarten
When learning so-
mething new, peo-
ple need to adapt
to the challenge,
engage, overcome
frustration and fi-
nally arrive at a
successful stage.
>Bikeygees
3.2. WHAT IS PUBLIC SPACE AND
WHY IS IT IMPORTANT?
What is public space? Is it the street? Is is the supermarket? What is
it and how does it affect our lives? What can public space be? What
exactly do active people see as public space?
For >KinoBerlino, public space is streets, parks, lakes, all the water,
rivers, buildings that are ruins and you somehow have access to it (>Ki-
noBerlino). While for some, public space can also be a book shop, a
café, or a Kino (>Story For Food), for others, acting inside buildings is
not acting in public space (>Bike Container). Public space in its diffe-
rent shapes also influences people. Depending on the type of space,
people react differently. In some places, people just want to pass time,
some places are more connected to a purpose, for example spending
time with a friend when drinking coffee. This can affect whether pe-
ople want to engage or not (>Story For Food). For others, central to
public space is that one can move freely, and be creative in this spa-
ce (>Quartiersmanagement). The U-Bahn or public transportation can
be used as public space, for example to surprise people with some
extra portion of warmth in form of a cuddling party (>Bahn Cuddle
Party), and for some, public space is space to be cherished (>Socially
Involved). For >Streem, public space is where homeless people receive
positive feedback during their distribution of the street magazine, and
feel their self-worth grow.

“By developing internally, we have an influence on what public space is

or show a will to change and create this reality somehow.” >Pinocchio
Theater
Also, public space can be created, in form of squatting places, setting
up urban gardens... this is a way to take action. And when no places
are found, people seem to have an urge to find places to meet and
connect with other human beings and this idea seems also to be con-
nected to the idea of activism (>Mov(i)eActivism; >Pinocchio Theater).
>Prinzessinnengarten grew out of the idea of transforming unused pu-
blic space into “gardens with the purpose to use them as educational
spaces and doing education in terms of sustainable rural relations”.
For >Midnight Runners, their activities in public space is strongly con-
nected to building a strong and engaged community, and they do so
by reclaiming the city, the very expensive monuments, mostly unvisi-
ted by night, by running exactly there, and taking the streets back a
bit. And coming with reclaiming public space is the attitude of being
just a little bit rebellious, and try to bend the
rules and play with them, when you want to
go somewhere or use public space for an acti-
vity. Reclaiming public space can also happen
by bike, which is supported by >Flicken, >Bike
Container, and >Bikeygees.
Depending on what kind of project you choo-
se, public space can be THE SPACE to find your
inspiration, especially when changing places.
>Story For Food describes it like this:
“...in reality you say the stories come to me
but when you are in public spaces and you
go around with the project, you go to find the
stories. So you go where the stories are so
that’s the power of the public space as well.
And all these encounters that you don’t know
what’s going to happen.” From the perspecti-
ve of performance, public space offers a stage
imbued with meaning and history, which can
and automatically is included in the action it-
self. By nature, public space always contains
unpredictable elements, since one never
knows how reactions are, and who will contri-
bute how (> CHOREA Thetre). Public space for
some to unfold its potential, needs to be open
and safe at the same time to give people the
chance to try new and experience unexpected
(>Gaduma). On the other hand, confrontation
with installations in public space can open di-
scourses, question the way we perceive public
space, and who has the right to design it, for
“...the city is like your playground...” >Midnight
Runners
Public space can and should be the space for
something special and unique, as for example
the tree library, part of a project of >Baufa-
chfrau. There, a specifically designed wooden
library, the product of cooperation of different
experts in the area, decorates a street corner
in [place]. Public space holds a special kind of
beauty, making it the perfect place to practice
yoga classes for >Yoga On The Move, regularly
meeting at Tempelhofer Feld.
Being active in public space makes it accessible
to people (>Yoga On The Move), and it offers
the opportunity to reach people that have ne-
ver been in contact with a topic before (>Mo-
v(i)eActivism). And not only does the project
have effect on public space, public space also
has an effect on the project. Public space helps
spreading the idea of the project (>Story For
Food). It also opens up communities that are
not yet within your reach, because people are
older than your friends, have different jobs,
hobbies, political opinions, backgrounds, and
interests (>Story For Food). Also, actions that
happen in public space do not need to be per-
manently installed somewhere, they rather
can go and “visit” different places and people
(>Quartiersmanagement; >Foundation for Vi-
sual Education).
“... gatherings were always taking place on the
squares (whether it was the ancient agora in
Athens or the recent gatherings of young pe-
ople in the squares in Spain and Italy). The-
se are simply places where life is happening.”
>Mov(i)eActivism
Public space also means attention and visibi-
lity. For >Mov(i)eActivism, the festival should
be more in the city centers, because “by get-
ting in public spaces much more attention
would be driven to our idea”. The idea of pu-
blic space here is that it is the space where
everything happens, where people go to meet other people (>bikeyge-
es), where people talk to each other and connect, already since “ancient
times” (>Socially Involved). The people from >Streem call public spaces
“the living room of the city”. Public space can be used to activate people
and involve the neighborhood, if planning is used as >Quartiersmanage-
ment does. Here, people living in the area meet to discuss what should
happen to their immediate environment, to develop ideas, plan long-
term (for example for the timeframe of two years), engage in creating
their public space and by identifying with it, making it their home. This is
done with varying focus, as art projects, to make educational spaces, or
to create meeting places for people of different age-groups. Also, >Die
Lernwerkstatt offers a public space inside walls. In the safe surrounding
of a flat-atmosphere, people can offer their knowledge in >Die Lernwer-
kstatt. Here, they find a space for sharing and learning, also unlearning
the everyday idea of what important knowledge is.
“
the city is
like your
playground.
>Midnight Runners
3.3. HOW CAN ACTIONS BE
SUSTAINABLE AND WHERE
CAN THEY BE IMPROVED?
“And maybe [as advice] for organisations or for people who are thinking
of starting an organisation: just go and start it.“ (>Die Lernwerkstatt)
First of all, yes, being sustainable is not easy, but you should become acti-
ve anyway (>Baufachfrau; >Yoga on the Move). Sustainability in Occupy
Learning has different levels. Of course, the question is how actions can
be repeated or initiatives can be kept alive. But of course, for everyone
it is of importance how to sustain oneself, our interviewees being no
exception. So, varying resources can be observed, time, interested and
active people, money, material, inspiration...

There is of course the possibility of using a company-style form, to su-

stain oneself. >Baumhaus tries to integrate their approach of combining
different talents and competencies in one project with at the same time
earning a living. Some forms of work that aim to sustain the people acti-
ve in it, bear risks and uncertainties. For example >Guerilla Architects
consider their specific collective form of work as unfitting for people
seeking security in their working conditions. There can be a mix, too, to
produce resources with one form of action, say a restaurant, and with
those support not-for-profit initiatives, such as workshops on beekee-
ping, or free role plays in the park (>Abenteuer Ritter; >Łódź Art Center;
>Prinzessinnengarten). And then, you might want to consider to ask for
contributions from the people that you work with (>Film Arche). And,
you can also try to work with as little resources as possible, to avoid
the stress of fund-raising (>Socially Involved). Some spaces need time
to evolve and develop their own structure, starting with mobile projects
and then later integrating them in buildings or rooms (>Baumhaus), un-
less of course, changing location is part of your concept (>Yoga on the
Move). This can be the start of applying for budgets for some, for exam-
ple with the European Union or umbrella organisations, while others
keep the mobile nature of their projects, thinking about how to offer
sustainability for the people being active in it, like artists, media desi-
gners, or to be able to purchase tools (>Bike Container; >KinoBerlino;
>Stories for Food). This of course strongly depends on what you need
and how many resources you want to have. But often, as the interviews
show, there can be a period of insecurity about the future of a project
(>Trial and Error). Most often voluntary work can not be kept up for a
long time, without taking into account that people need to sustain them-
selves. Then comes a point to choose a strate-
gy of how to get necessary resources. Part of
becoming sustainable might be to keep your
stuff together and think about a system to
use tools, but make sure they don’t wander
off (>Bike Container).
Certainly, some kind of structure might help if
you are more than three people or so. But this
can also grow in the process (>Johnny Knüpp-
el). Making sure you know where you are going
and your actions still match your initial ideas
more or less, helps to save energy and stay
focused. Different approaches can be useful
for this, in >Baumhaus, every work undergoes
some informal way of evaluation, observing
the impact it has and how it represents. Eva-
luation is especially worthwhile when working
regularly, and with a detailled plan. Evaluation
can also secure funding (>Quartiersmanage-
ment).
Greater visibility can ensure greater support,
making it easier to keep a project running.
For >Baumhaus, the support and recognition
from politicians had made a difference in per-
ception of their work. Of course, this is also
a question to ask yourself when you envision
where you want to go with your initiative. For
other actions, it is not necessary to become
more established, greater visibility, for exam-
ple being in public spaces in the city center,
would be enough (>Mov(i)eActivism). Networ-
king can be a way to stabilize a project. Sha-
ring knowledge, resources and solidarity can
be vital especially for newly created initiatives
(>Mov(i)eActivism).
“and then you realise what you love, and you
realise you’re surrounded by other passio-
nate, inspirational people, it has a complete
snowball effect on your perspective on what
you do. “ (>Midnight Runners)
Being open and inviting people to participate
and contribute their own ideas and activities
certainly is a way to keep alive (>Socially In-
volved). This however goes hand in hand with
transformation. Here it can be an ongoing ne-
gotiation of what is still the original concept
and which form actions and activities should
have (>Baumhaus). Transformation can also
be part of the nature of an action, for example
for >Story for Food to expand their exchange
forms, now also offering exchange for perfor-
mances, or offering stories in many different
languages.
Active and inspired people can keep a project
running, and one way to empower people
to do so is to share knowledge. Making sure
everyone involved knows what’s going on, is
kept inside the decision-making-structure and
can participate enables every single person to
become the driving energy behind this project
or a new one (>Mov(i)eActivism). Also, a welco-
ming and open place can offer a space where
people feel comfortable and connected. This
certainly is a factor adding to people engaging
in initiatives and staying with a project (>Ki-
noBerlino; >Prinzessinnengarten). One way
to activate people is to offer cyclical events,
workshops, initiatives and to slowly, slowly
include people in them (>Łódź Art Center).
Sharing positive experiences and memories
can strengthen the feeling of belonging. >Mi-
dnight Runners for example use the idea of “Member Stories”, where
runners share their experiences in the action, and share what else they
do in their life.

“So it’s all about the art in the open space, you need to be focused on the
few levels, because it’s not only two dimension stuff. It has a lot of di-
mension, so think about the dimension of your idea.” (>Stefan Kornacki)
Another aspect of keeping a project up and running is to stay with it,
even when it seems not to go anywhere. >Story for Food experience
days were no stories can be found. Instead, they focus on having met
many people they could inspire with their idea, making it a rewarding
day after all. Also, there can be complications expected as soon as offi-
cial institutions need to be involved. But regardless the complications,
positive feedback can give hope to continue (>Baufachfrau; >Johnny
Knüppel). Keep in mind that issues that already exist might also affect
you, such as gentrification, the lack of money in the location you want to
be active in. nevertheless, don’t loose hope and don’t be demoralized.
It definitely pays of to know your way around in matters of legal restri-
ctions (>Midnight Runners).
Whether or not your project can be sustainable is also up to the current
situation. It might be easier to stay for projects and initiatives that do
not disappear among numerous similar initiatives (while this might be
the perspective of uninformed people) and are somewhat remarkable
(>Johnny Knüppel). And of course, whether or not an initiative, project,
or performance should be sustainable is up to you, and the idea of the
action (>Gaduma). After all, one can find beauty in uniqueness.
>Baumhaus
4. CONCLUSIONS

As was to be expected, the research endeavour started out very enthu-

siastic, then experiencing difficulties with conducting the research. After
a tough period of trying to find activists with enough time, energy, and
interest to participate, the findings proved to be no less than amazing.

As for the definition of public space, more important than the actual
shape of it (parks, playgrounds, open areas), or whether they could be
called private or public, was what was the essence of public space.
Activists shared that public space has the potential to connect pe-
ople, also emotionally, makes them feel part of their surroundings,
lets them discover new or forgotten experiences, and in itself, all
the time, can be a learning place, when actively used. Learning here
was understood very differently, and no one definition could be found,
but it gave insight into the different areas and forms in which we learn
everyday, if we are open to it. Staying active with one project or activity
proved to be very hard for most people interviewed. Structural support
is not found very easily, and people being active on voluntary basis mi-
ght have a hard time trying to stay for a longer period. However, insights
show that it is definitely worthwhile to become active in public space
and share learning opportunities with others. And luckily, the informa-
tion given above shows that it can be possible in various ways.

As mentioned before, our findings can only be an outlook or start, and

different research can be imagined to take off from here. There is, for
example the concept of transforming society through learning activities
in public space. It might also prove very captivating to observe how pu-
blic space learning action can contribute to people feeling more warmth
in urban areas, especially when they do not have a very extensive social
network. Another interesting aspect, among so many more, could be
the effect, that implementation and participation in public spaces can
have on communities that practice it. And then there is of course the
opportunity to be active oneself. Feel encouraged and see, how your
idea will shape public space. And maybe it is not just for you to start im-
plementing it exactly the way you imagine it, but most probably there is
a way for you to design the public space around you.
>tentacles of creation
5. REFERENCES

Bruno, F., Bruscaglioni, L., Cellini, E., & Maraviglia, G. (2016). Spazi pub-
blici quotidiani: esperienze di ricerca visuale a confronto. SocietàMutam-
entoPolitica, 7(14), 293–314. https://doi.org/10.13128/SMP-19707

Chiesura, A., (2004). The role of Urban Parks for the Sustainable City.
Landscape and Urban Planning, 68, 129–138.

Ijla, A. M. (2012). Does public space create social capital? International Jour-
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IJSA11.084

Miles, M. B., & Huberman, A. M. (1994). Qualitative data analysis. Thou-

sand Oaks, Calif.: Sage.

Nuankaew, W., Nuankaew, P., & Phanniphong, K.. (2017). Lifelong Le-
arning Application: Mobile Application to Promote Lifelong Learning
and Introduce Educational Institutions. Advances in Science, Technology
and Engineering Systems Journal, 2 (3), 1556-1564. https://doaj.org/arti-
cle/070345a0552b432eb8afe67c8d42f978

Özsoy. (2010). User preferences on transformations of shopping cen-

ters into private urban public spaces: The case of Izmir, Turkey. African
Journal of Business Management, 4(10), 1990–2005.

Qvortrup, A. (2016). On the Definition of Learning. Odense: Syddansk Uni-

versitetsforlag.

Willms, D. G., Best, J. A., Taylor, D. W., Gilbert,J. R., Wilson, D.M.C., Lind-
say,E. A. & Singer, J.(1990). A systematic approach for using qualitative
methods in primary prevention research. Medical Anthropology Quarter-
ly, 4, 391–409.
>bookforest
6. INTERESTING MATERIAL

Learning, these authors say, is influenced by the way and forms

of learning material but also access and sharing of knowledge.
They see these platforms of exchange as public spaces. This research
observes the behaviour of people using open repositories for exchan-
ging knowledge and methods of learning.
Cohen, Anat, Sorel Reisman, and Barbra Bied Sperling. 2015. “Personal
Spaces in Public Repositories as a Facilitator for Open Educational Resour-
ce Usage.” The International Review of Research in Open and Distribu-
ted Learning 16 (4). https://doi.org/10.19173/irrodl.v16i4.2399. Acces-
sed July 25, 2018.

New teaching and learning methods have been collected in this

research report. Some of them already known, have not yet had the
chance to influence and unfold their true potential. Topics are social
media in learning, blockchaining learning: the transformation of lan-
guage.
Sharples, Mike, Roberto de Roock, Rebecca Ferguson, Mark Gaved,
Christothea Herodotou, Elizabeth Koh, Agnes Kukulska-Hulme, et al.
2016. Innovating Pedagogy 2016: Open University Innovation Report
5. Institute of Educational Technology, The Open University. https://
repository.nie.edu.sg/handle/10497/18319. Accessed July 25, 2018.

UN-Habitat has been working on the importance and meaning of

public space, especially in cities. To improve public spaces and living
areas, they apply the concept of ‘place-making’ - to strengthen the so-
cial fabric of communities, foster local economy, and create meanin-
gful public spaces.
“Ten Strategies for Transforming Cities and Public Spaces through Placema-
king.” https://www.pps.org/article/ten-strategies-for-transforming-ci-
ties-through-placemaking-public-spaces. Accessed July 25, 2018.
See also their report here: https://unhabitat.org/wp-content/uplo-
ads/2015/10/Global%20Public%20Space%20Toolkit.pdf. Accessed July
25, 2018.
This texts highlights the potential of specific public spaces to rea-
ch and support certain communities. It shows, how easily changing
a public or openly accessible space can influence discourse and beha-
viour.
Golinkoff, Kathy Hirsh-Pasek and Roberta Michnick. 2016. “Transforming
Cities into Learning Landscapes.” Brookings. November 2, 2016. https://
www.brookings.edu/blog/education-plus-development/2016/11/02/
transforming-cities-into-learning-landscapes/. Accessed July 25, 2018.

How does just any place become a meaningful place? Through peo-
ple using it and inscribing meaning and importance to it. Shortt (2014)
examines this effect in work places, offering to transfer the findings
into the re-definition of public spaces.
Shortt, Harriet. 2015. “Liminality, Space and the Importance of ‘Transitory
Dwelling Places’ at Work, Liminality, Space and the Importance of ‘Transi-
tory Dwelling Places’ at Work.” Human Relations 68 (4): 633–58. https://
doi.org/10.1177/0018726714536938. Accessed July 25, 2018.

Open access, self-organized urban gardens can have an effect on

community and neighborhood. Not necessarily new, but still intere-
sting, the research on three of Berlin’s (Germany) public-access com-
munity gardens.
Bendt, Pim, Stephan Barthel, and Johan Colding. 2013. “Civic Gree-
ning and Environmental Learning in Public-Access Community Gardens
in Berlin.” Landscape and Urban Planning, Special Issue: Urban Ecosy-
stem Services, 109 (1): 18–30. Accessed July 25, 2018. https://doi.or-
g/10.1016/j.landurbplan.2012.10.003.

How can apparently different worlds be merged, for example pu-

blic spaces, community knowledge, relations to one’s own nei-
ghborhood, and the often very formal content of regular school
days? This article at the same time suggests and explores possibilities
for fifth graders.
Bouillion, Lisa M., and Louis M. Gomez. n.d. “Connecting School and
Community with Science Learning: Real World Problems and School–Com-
munity Partnerships as Contextual Scaffolds*.” Journal of Research in
Science Teaching 38 (8): 878–98. Accessed July 25, 2018. https://doi.
org/10.1002/tea.1037.
From the “other side” people are transmitting topics as inclusion
and exclusion through art into public space and thereby mainstre-
am discourse.
Beinart, Rebecca. n.d. We Are Primary | Art, Public and The Commons.
Accessed July 25, 2018. http://www.weareprimary.org/2017/08/art-pu-
blic-and-the-commons/.

Festivals take up the inspirations and work of people re-defining

public spaces through art, re-inviting activists/artists into public spa-
ce. In a very practical way, these persons leave their imprint.
The festival Metropolis in Copenhagen, Denmark, presented at INSI-
TU website: http://www.in-situ.info/en/places-in-europe/en/metropo-
lis-performance-and-art-in-urban-space-copenhagen-denmark-7. Ac-
cessed July 25, 2018.

See also this report on street artists in Europe: http://www.fitzcarral-

do.it/ricerca/pdf/street_arts.pdf; retrieved 26th July 2018
METHODOLOGY
 CIRCUS
IN PUBLIC
SPACE
1.1 INTRODUCTION

The Method of doing interactive circus activities in public space refers

to the idea of a playful interaction and inspiring space transformation
on the ground of an invitation to the Circus world.

BACKGROUND
Since its beginning, circus has been an experience whereby the pu-
blic space has been used as a context to invite people to witness and/
or interact with a creative experience. The circus coming to town has
always been a special occasion, where the community comes together
to see the circus art as an inspiration to grow and feel the energy of a
shared social experience. In the words of Ernest Hemingway, “the cir-
cus is an ‘ageless delight. Young or old, rich or poor, east or west, north
or south, Circus reaches all of us.”

CONTEXT
Circus in public spaces can be adapted for various environments: par-
ks, metros, squares, backyards, etc. The interactive character of the
action in public space is important, so we don’t limit ourselves to a
performance in public space, but actively involve the public in the acti-
vities. People experience a creative environment that invites them to
also be artists. They can join in a playful dialogue of artistic creation
and can learn concrete circus techniques, which give them the possibi-
lity to express themselves in a new way.
• PREPARATION
of the “magical” environment: with music, decoration, bubbles, a visual
identity (costumes, face painting), a way of movement and communi-
cation of the hosting activists all help to create a magical atmosphere.
The public entering this environment feels that the usual public setting
has been transformed into something extraordinary. This wakes up the
curiosity and openness to explore further - it stimulates our inner child’s
wish to play together.

• INVITATION
to join the playful circus creation: the public is invited to try out different
circus technics: they get access to the learning dimension, get personal
guidance from the activists and the feeling of gratitude and specialness
to be able to step inside this circus world.

• INTEGRATION
of the public in the group of performers can be supported by changing
the appearance of the people (body painting, giving costume pieces)
who have joined the action, so they feel integrated as part of the circus
group hosting and can feel empowered to share their new-born passion
with others.
• CELEBRATION
of the common creation brings the feeling of belonging to a shared cre-
ative flow of an authentic emotional uplift, thereby through the con-
nection with the circus activists, the public becomes part of a communi-
ty, exchanging in the expressive language of the circus. This impact can
be a huge inspiration to recognize a common cultural ground, where we
share an identity and language far beyond any borders.

• CONTINUATION
is an important aspect to allow the public that has joined to be part of
the ongoing circus family we are creating together. It can be a flyer for
the open training, a contact to make the next action together or an invi-
tation to meet for a reflection of the experience afterwards.
1.1 CONCLUSIONS

Circus is more than a place; it is a state

of mind, a round one, where we all meet
on an equal ground. It doesn’t matter
what language you speak, how much you
earn, if you are old or young – meeting in
the circus reality offers an invitation to
explore together the freedom of a playful
creation in a community. In this experi-
mental metaphor of life as such, through
circus we can feel, recognize and share it
together.
 HOP UP
LEARNING
THROUGH GAMES

potential of new version

of Hopscotch
Tomasz Kowalski
3.2.1 INTRODUCTION
What is science and human development? Do you think that learning pro-
cess is such a strong part of life, which leads to better understand yourself
and your capabilities? Science often is associated with extreme experien-
ces from school benches. Which don’t let to spontaneously reactions in
the reality in which we live. Therefore, people all over the world, trying al-
ternative methods to change the perspective on how an essential element
of life, learning and development is.

These trials we can share it via the environment is taking place. One of
them is a quiet corner of the home or library, in which we rely on ourselves
and our sources.
The second world, is a public space in which it is often people, or environ-
ment stimulates learning process. The second area we take care in this
publication.

In the first chapter, I would like to discuss, what is science and how it af-
fects. How to realize the learning mechanisms of human kind? I mention
also, what is the non-formal education and its important role.
In the second chapter is described history of “hopscotch”, as a source of
inspiration for the creation of an innovative method of learning through
play, which was founded by transformations, games, from a thousand ye-
ars ago.
Third chapter of the work present developed an alternative method Ho-
pUp. It is described with detailed instructions and important values which
brings. Showing as well big need of this kind of alternative methods, which
gives different perspective and interesting way.
The last chapter is a summary, which is a response to a question about if le-
arning is a significant element of life it is worth to get to know one another.

Innovation, a fresh look, creativity and a variety of other elements ac-

companied me while creating this method. I believe that the creation
of a safe environment in which the opening to the second man and the
curiosity of the world, declined to look at themselves and each other. I
believe that the creation of this method will bring to the world, a tool to
wake up human potential and strengthen the inner power that waking
consciousness will change the way of living for many people.
This awoke Me, changed, gives awareness. Now if you want, that’s can
happen also for You. I invite you to a journey in which through play, you
wake up your potential.
3.2.2 MATRIX OF LEARNING

“
Education is
learning what you
didn’t even know
you didn’t know.

Daniel J. Boorstin
3.2.2.1 SCIENCE-MEMORY AND ITS
PROPERTIES

Science and its definition is a very broad term. One of the ways to define
it is to develop and expand your knowledge on a specific topic. The ele-
ment that is most important, and allows for continuous development
is our memory. Functioning of the memory can be briefly described as
the ability to remember, to collect and use information that occurs in
various forms. The process of remembering is at levels of the subcon-
scious mind, consciousness and the unconscious. Our everyday use of
aware memory is the most important.
At the beginning of the process we distinguish following mnemonic way:

1-REGISTRATION, CODING

2-STORAGE

3-PLAY OR THE REMINDER

It is worth taking a look at what is conducive to that process and what

is not.
• Active Monitoring
The differences between seeing and observation. Seeing is an automa-
tic process, one can see something and not know what it is.
• Mere looking does not engage attention that is necessary for so-
mething to remember.
• Watching contains three phases: object selection, focus, the analysis
and comparison of the object.
Therefore it is important to pay attention to it on a conscious level.

• Active listening
The differences in hearing and listening.
• Listening requires concentration or attention.
• Hearing is a passive reception, i.e. active listening!
• People stop to listen, because we talk at the speed of 150-200 words
per minute and we think at the speed of 800 words per minute! There-
fore, instead of focusing on the words of the speaker, our brains use
“free passes” and begins to ponder, evaluate, analyze.

• Repeatability, the cyclicality of

• Repeating material comprehension.
• When we learn more and acquire material in smaller portions we
remember it better.
• Persisting through the regularity and the right amount of repetitions.
• Belief in one’s own abilities -we remember better when we tell our-
selves that we can.
• We recall information more easily analogically under the same condi-
tions to those in which we learned (reintegration).

• Aware focus
•It activates the processes of remembering, through conscious atten-
tion.
• Remember that all information can reach our brain, but not everything
that is noticed is remembered.
• Please note that active focus appears only when there is an aware
intention to memorize.
What promotes the mind
• The involvement of all the senses.
• Interest - attracts attention, awakens emotions and curiosity.
• Personality – openness and optimism are conducive to awareness.
• Pleasure - causes an increase in attention and willingness to take the
initiative.
• Motivation - internal goal and aspiration give a perspective for achie-
ving a goal.
• Staying alert - a state of calmness, yet active readiness.
• Focus - eliminates dispersion, increasing efficiency.
• Environment – when friendly, it increases attention and allows you to
focus.

What is not conducive to mind

• Fatigue, stress, illness, anxiety, unhealthy lifestyle.
• Weak interest in the topic and the environment.
• Lack of commitment.
• Lack of plans, dreams, curiosity of the world.
• Schemes (e.g. closing the door - the same type of response to argu-
ments).
3.3.2.2 SENSES AND REMEMBERING
There are various ways for repetition of information. Some people need
to only scan notes, others need reading a chapter in a book over and over
again. However, what Prof. Chi (Turek, 2005) stresses, reading is one of
the least effective channels for storing information (see. Figure 1).

And this way, i.e. repeated reading of the same texts, can be called
“passive replay”. Studies have shown that repeated reading increases
understanding of only about 7%, with just 1% at the third reading. And
so, the time for the next reading is disproportionate in relation to the
expected results (Dudley, 1994, p. 184).

In this way, knowledge devoid of deeper understanding quickly “eva-

porates” from our mind. Independent work is very important, becau-
se it is the best way to store in memory things made ourselves. We
should work e.g. independently or as a group taska, searching for an-
swers to the questions, attempting to explain the concept. This allows
to actively comprehend, independently select information, separate
things important from less important. One of the ways of the most
efficient remembering information is learning from others. To share
the acquired knowledge, the natural course of things is that one must
understand themselves very well first. For this reason, one must expe-
rience by oneself what previously understood, this creates the next
repetition of the collected information.
3.2.2.3 ENVIRONMENTAL IMPACT ON
THE LEARNING PROCESS

Learning lessons is a little like reaching maturity. You’re

not suddenly more happy, wealthy, or powerful, but you
understand the world around you better, and you’re at peace
with yourself. Learning life’s lessons is not about making our
life perfect, but about seeing life as it was meant to be.
Elisabeth Kubler-Ross[1]

What is an environment for development? Public space is nothing like a

jungle for a monkey. Living in the urban space, it is easy to forget that we
are part of nature which we create. Hence the question arises, whether
the environment affects us directly? In my opinion, yes. The air, people,
sounds, colours, water, trees, etc.
This is our jungle, which we modify to live better. I also believe, that fish
at some point forgets that it is surrounded by water. Water in our case
is a few meters around our physical body.
Therefore, it is useful to remind yourself where my body is, what sur-
rounds me and how it impacts on me. One of the features of HopUp is
to recall what our environment and how it impacts on us. One of its pro-
perties is to allow communication that happens between man and the
environment. Is it done by our senses, which in the form of incentives
reach our body.

3.2.2.4 HOW WE LEARN – A

DOMINANT SENSE AND ITS
ROLE IN SCIENCE
Active sensory channels
Which sensory channel do we receive our surrounding best?
Whether you are: A visual learner, learner by hearing, or kinesthetic. It
is important to realize the dominant channel. You can develop it then
and watch how you see reality. The awareness of the dominant channel
allows you to learn more effectively and, above all, to teach in a way that
is engaging the dominant channel.
When we analyze the channels stimulated in school, it is a common pro-
blem that only one channel is used because it is dominant in class.
That’s why only some part of students is are interested and the rest
dispersed in doodling or crooning their favorite song?
And worst of all, 90% of the information taught in schools is passed
by only two channels: Auditory and Visual. That’s why schools can be
compared to an office environment. This rises a question: is it impor-
tant to use all the channels? The answer is: yes, definitely. According
to the relevant research and the experience of many people, using all
channels allows effective learning and engages the entire body and
mind. Therefore, for many experts of education in the world, reflecting
upon the curriculum, what is missing is the sense of touch and move-
ment, like: sports, dance, singing, creative activities and artistic works
which stimulate a kinesthetic channel. [2]

Intelligences
This theory outlines the diversity among people in the context of scien-
ce. Each person sees the problem through the prism of their own do-
minant talents, for example. When we spot someone and ask for his
assessment – a person gifted musically be kept focusing on whether
the music is in his taste, person of linguists will be sensitive to the
verbal message, and a student gifted artistically will pay attention on
graphic elements. The following theory of multiple intelligence diver-
sity, enables possible abilities and differences in perception and per-
ception of the world associated with them. Awareness of these diffe-
rences, gives you the possibility to prepare the activities taking into
account the multiple abilities. Gardner proposed a theory of multiple
intelligence, which postulated the existence of multiple, distinct capa-
bilities:

Language
It is responsible for the ability to use a language, patterns, symbols,
smooth speech and good understanding of the text. A person with a
well-developed language intelligence:
• learns by listening, writing, reading, discussing
• gives the meaning for a spoken or written word in the course of per-
suasion, fun, communication of information, creating concepts
• follows the linguistic features of others
• develops their own applications and ways of understanding the lan-
guage
• uses a spoken and written word more carefully, listens to others better
Mathematical and logical
It is based on a proper implementation of the calculations, as well as
operations on the abstract symbols. Along with language skills it con-
sists of what usually is called the intelligence of “academic”, i.e. it helps
people to succeed in the process of formal education. A person with a
well-developed mathematical-logical intelligence will:
• be able to understand and manipulate abstract symbols, describing
the importance and function of specific concepts and objects
• should use in the early stages of their development concepts of time,
place, quantity, number of and see the cause and effect relationships
• be excellent in solving logical puzzles and consistent operation
• perceive internal structure of different complexity
• show mathematical talents, the formulation of proposals on the basis
of fragmentary information, evidence, estimating the size of the crea-
tion of models, form hypotheses, to seek harmony and order in your
surroundings

Visual (spatial)
The ability to facilitate orientation in space, as well as to perform mental
operations on imagination. Thanks to this ability, we can “think of ima-
ges”, and not only words and abstract symbols. A person with spatial
intelligence will:
• be good in the performance and control of movements of the body in
space
• imagine easily desirable stage
• show the ability to construct, build, and invent 3D objects
• know the relation of ratios, leverage, drive wheels and their impact on
other items
• learn through observation and memory mapping
• predict the movement of items such as a ball
• have a talent for interpreting and charting, mapping, visual aids

Kinesthetic (motor)
The ability to solve problems related to movement and posture of the
body. It is characterized by dancers, choreographers and athletes, as
well as, to a lesser extent, average people. Highly developed kinesthetic
intelligence is manifested by:
• receiving sensations through touch, movement, physical contact
• learning in the course of practical activities
• demonstrate good coordination, sense of time, balance, dexterity and
grace
• attention to physical development, continuous exercises
• demonstrate creativity through expression and physical movement,
staying in constant motion

Music
The ability to produce and understand the content, which medium is
sound. Person who has this music intelligence will:
• recognize sets sounds and take pleasure in experimenting with them
• differentiate notes individual sounds and be able to extract the play
of individual instruments
• change their mood according to changes in music
• be happy to improvise and play music, using all sorts of sounds,
show interest in and ability to play an instrument
• have a sense of rhythm
• be interest in music, seek their own form and preferences

Intrapersonal intelligence
It is the understanding of one’s self, and especially distinguishing own
feelings and moods. It allows you to achieve a high degree of self-
knowledge and wisdom. Individuals with well-developed intrapersonal
intelligence will:
• be aware of their thoughts, feelings and emotions, have the ability to
explain it
• attempt to answer philosophical questions
• have an accurate picture of yourself
• live in accordance with their own rules and beliefs
• appreciate the development of the internal
• have high self motivation
• enjoy the pleasure of time spent for reflection
• be happy to read magazines and journals

Social or interpersonal
It is the ability to understand human relationships, as well as other
people’s feelings, intentions, mental states. Interpersonal intelligence
is expressed through the following abilities:
• perception of the world from different points of view
• establishing, shaping and maintaining diverse contacts with other
people
• knowing and understanding thoughts, feelings, attitudes and beha-
viors of other people
• working in a team and having positive influence on its dynamics
• effective verbal and non-verbal communication
• listening, learning and responding to the views of other people,
affecting other people

Practical/Creative
It is the ability to enable oneself to creative activity not only of artistic
nature. It is a set of skills and characteristics of congenital thinking in an
innovative way. Creative intelligence is expressed through:
• quick and easy dealing with new situations, often not taking care of the
details
• frequent unusual solutions, and ideas (innovation)
• the use of intuition and creating a new concept (not always practical)
• generating new concepts or their unexpected connections
• representation of things in the way that they are clear to others (some-
times even contrary to logic)

Digression
Note that the dominance of the channels varies with life.
Therefore, there is no rest on our laurels, just be careful
what senses are there for me at this point, the active life.
3.2.2.5 LEARN THROUGH PLAY

Tell me and I forget. Teach me and I remember. Involve me

and I learn.
Benjamin Franklin [3]

Can fun contribute to a better learning and pleasant atmosphere?

Does an emoiona state of affect effective learning? With no doubt
educators are constantly searching to find new techniques to motivate
and engage people to foster a greater desire for school and learning
(Annetta, 2008) People think they are merely playing, but they are si-
multaneously learning. Anytime learning is presented and people are
unaware they are learning, it is an unexpected benefit. According to
Prensky (2007), young students primarily learn through play, games,
and gaming activities that blend real world situations with traditional
learning environments, for example, learning to take risks and make
choices. Research indicates that games can encourage authentic lear-
ning situations.
The benefits of gaming in the classroom include increased memory,
class performance, social benefits, and improving the transfer of lear-
ning (Salies, 2002)
Humans need to have the material learned in a variety of contexts in
order to practice it, which is not the norm in a traditional classroom
setting; In contrast, this becomes feasible in a game environment whe-
re participants are encouraged to take risks and learn from them.
Created with the collaborative and cooperative learning built into the
overall experience, the games offer an engaging environment for in-
formation assimilation (Clegg, 1991; Salies, 2002)[4]
3.2.2.6 NON-FORMAL EDUCATION –
FOCUS ON THE PROCESS
Non formal education deals with the previously mentioned alternati-
ve approach to development and learning. One of its aspects, is work
focused on the process, which effectively supports the development.
Formal education, or so-called public as the opposite, often shows
work focused on the result. The evaluation of which is made by rating.
This element is used by many institutions, yet this results in putting
all under one notch. Each person is unique and one of a kind. Hence,
rating all according to the same criteria is definitely limiting potential
that lies within every human being.

To confront it, non formal education focused on the process, in whi-

ch what counts is the way and experience, and not the outcome or
effects. This gets rid of assessment for yourself and others, but be-
comes a motivator to experience more. Here fun begins, as the com-
mon element in non formal education. Evaluation of this type of work
does not happen at the end of the workshop or project, but instead
there happens showing the process of the work, by showing photos,
for example, in a circle in which you speak about what happened. The
advantage of this type of evaluation is the repetition of material with
no sense of pressure, slowly embedded in memory.

At first glance you cannot see the results, they appear after some time.
Thus, it is important in non formal education to undertake long term
projects in order to see the development of its participants.
 3.2.3 TRANSFORMATION
OF THE “HOPSCOTCH”

3.2.3.1 HISTORY
The origins of the game “Hop Scotch” is actually unknown to us, but it is
known that it was performed by children already in ancient Rome. The
first notes were discovered in the late 17th century under the name
of “Scotch-hop” or “scotch-hopper (s)” that then developing into what
could fairly in the name of “Hop Scotch”
This game has many names, each country have unique. For example,
in Norway, “Paradis” or paradise. Italian people called “campana” me-
aning Bell. In Bosnia and Croatia “školica” which means a small school.
In Poland, the “Class” mean literally class
The size, shape and number of fields drawn is different of those coun-
tries. Many, however, the principles were consistent in every country.
[5] Rule of the game is to draw any number of fields (generally from
7 to 9) and of any shape, which then numbered relative to the start
point. The game start when the person stands in start point, and try to
through the ball to field, starting from 1, ending with the last field, then
jump in the field on one leg and return to the start box. When player
don’t match the field, gives ball to other player. The game ends when
the first person to pass all the fields. [6]
3.2.3.2 A JUMP TO THE FUTURE

We need to become in our lives,

What we experience in our world.
Greg Braden

Many modern methods move development environment to the next

level. With alternative approaches in which the human being is so im-
portant as a unit. Be aware of the needs, well known game “Hopscotch,
through her transformation creates the possibility to grow in many
ways. Imagination and creativity allowed us to create environment
where you can put many topics that become the purpose of learning
for this amazing game.

Next chapter, described a few of them.

Jump to the future? So. This structure allows you to place any topic,
giving the opportunity to the atmosphere of fun and music artistry, the
intended development. Therefore, through password HopUp, you mi-
ght want to keep track of all sorts of interpretations that arise through
a variety of organizations and people.
3.2.4 HOPUP-EXAMPLES OF NEW
VIEWS OF “HOPSCOTCH “

HopUp is transformation of well-known game hopscotch. Simple game

from childhood that give so much fun, when You can jump from one
field to another. Draw the fields, create questions with people around.
Through the ball is at least 5 fields, answer, and be part of HopUp play.
Inspired by hopscotch this game, gives the chance to learn about oursel-
ves. Through fun, to movement in the safe environment, you can realize
how important is your unique way of learning process.

The game gives the chance, to know the answer in non-verbal and ver-
bal way to some questions:

Movement give me motivation and can raise my energy, to

make steps in my life?

How important is the relation to environment and public

space?

Which sense and use mostly for learning process?

It’s important to balance my senses?

What makes me happy?

Though the ball and let’s learn something through fun in public space.

The main purpose and theme method is learning through play. It is pro-
ven that the curiosity of human kind strongly affects learning, which, in
the case of games and activities, its level is extremely high. Many diffe-
rent variations of “Hopscotch “will allow anyone to find interesting items
to expand and cognition.
This method allows you to get to know each other better, which direct-
ly translates into a better and more effective learning, which we take
in every moment of our life. The diversity of the incentives allows by
playing on a more efficient and more enjoyable.
Method and recalls:
• Multiple profile the intelligence with which we are able to cross
many challenges, showing the diversity and uniqueness of each indi-
vidual.
• Curiosity - which significantly affects the learning process.
• Creativity-that explores new opportunities for accomplish the
same task in another. different way by adding freshness for everyday
and extraordinary steps.
• Imagination/visualization-her awareness and development al-
lows you to exceed your comfort zone, giving a huge motivation to
create ideas, dreams, projects, goals and aspirations.

Through their own experience of the research team and in the

urban space, have been created – options HopUp, taking each
in a journey into yourself and your capabilities.
3.2.4.1 SENSEME

One of the important elements of self-discovery, is your domi-

nant sense that unit use for learning process. Ewa Zaremba
says: “ Are You a visual, sounds or kinesthetic learner.”

Knowledge of the subject allows you to run a channel where

you receive the surrounding reality and you use it in the lear-
ning process. The following method described allows for disco-
very of the main channel and to receive feedback on how it can
contribute to education and everyday life.

The method teaches:

• Mindfulness
• Awareness of your own senses and picked t
hose that are responsible for education
• Listening carefully
• Concentration

PRACTICAL INFORMATION

Place
• Any public space with the ground on which you can draw with chalk
• Your audience is not specified, it is therefore recommended to place
where every age and social group has a chance to hit.
Time
• The recommended time in which it is the largest movement in the gi-
ven space
• Location Park, square, square - 10:00-14:00
• The recommended time in which the light of day allows you to play
Materials
• Chalk ( number of scale dependent HopUp )
• Prepared questions appearing on the games, or printed (laminated
tour) if the questions will be laminated tour, the envelopes are unneces-
sary
• Prepared the story which tells at the beginning of the game

Manual – Know How

The game begins with drawing the start point in a circle, then from this
point you must designate three areas: left, middle, right, by drawing
the boundaries of the game – the examples above. These areas are
best to draw separate colors so as to be able to have an idea. Then in
the middle of these areas we draw any fields from which you will be
able to jump from field to field. On the fields of those put the enve-
lope with the task, or laminated task. In the case of laminated tasks,
should be put face down. Participants set to start turning in & out of
the playing field. When leading the game, will start a story people close
their eyes-if someone feels not comfortably, eyes can be open. In the
story there are moments in which the participants must throw in the
desired direction. Then the participant goes in place of the throw and
performs the selected task. Then goes back to the start point. End of
the game occurs when the time runs out. At the end of the following
loose interview with questions from the evaluation.

EXAMPLE OF TASKS

Hearing:
• Close your eyes for 10 seconds
• Describe three things around You.
• Replace the five words you heard yesterday
• Remember when you last talked to someone about traveling
which country was mentioned by this person.
• If the sound of air was to be a word, what would be the word.
• Did you get the last song in your head? Try to hum it yourself, aloud
or in yourself.
• Close your eyes, turn around twice on your own axis, and then return
to the start with the sound of music
• You have heard a foreign word recently that you remember, say it
aloud.
• Tap a rhythm using your body eg clapping or hitting your foot against
the ground.
• Find two and more, creative different uses of the guitar
Eyesight:
Describe three elements of the environment
• Close your ears for 30 seconds
• Replace the 5 items that you saw yesterday
• Replace 5 colors that surround you
• Remind yourself of the photo you have taken in the last week - what
fascinated you most about it?
• If you would like to color the field you are in, what color it would be
• Try to catch eye contact with any participant or passing person
• Remind yourself what you have recently drawn
• Think about some night dream during last week, what did you see -
there were
landscapes / colors?
• Find the cloud or the sky element that you like the most
• If You have recently been interested in a poster / postcard - what was
on it?
• Find another creative use of binoculars – out of box - a minimum
of two examples.

Movement / Touch:
• Describe three elements of the environment that are moving
• Try to move each part of the body - you have 15 seconds for it
• Replace 5 moving items that you saw yesterday
• Choose the word you write with your body

• Name three things you touched yesterday

• If you had to choose a shape of a field that You step in,
what shape it would be
• Find two things that move quickly and that move slowly
around You or general
• Remember when you last danced - feel it in your body.
• Find creative different use of the stick - a minimum of two examples
A DESCRIPTION OF THE ASSESSMENT
METHOD

Park, at 12:00 at noon. Begins the drawing classes by designating three

areas representing the three main channels. Three areas in three dif-
ferent colors to make it easier to tell them apart. Then any invention,
creativity filled all the 3 designated fields. At this stage, what we were
doing was curious passers-by who asked what is going on here. After
explaining the rules of the game two young girls joined the draw fields
and questions in the fields. When we have to draw the playing field
HopUp agreement is terminated the policy or the person that perfor-
ms the 5 tasks with the whole area of the game WINS. Several times,
managed to throw onto the field, but it was not easy to throw to a
field in which it has not yet hit. She won by answer to the 5 tasks, but
two other participants not surrendered and continued to earn 5 jobs.
Finally, we thanked the common time and involved in the HopUp re-
quested comment of what you have learned and what was for them
the most interesting in this event.

Version of the above described was an attempt, so the final game gent-
ly deviates from this, carried out in the Park

The evaluation conducted classes from two perspectives: the learner

and educator

The learner’s perspective:

The following feature of education outside the formal and focus on the
process. At the end of the game are asked three questions:
• What’s most curious you in this game and why?
• If you can take any memory of this game what would it be?
• What you learned during the game?
Important part was to create safe environment, where participants can
create their questions. How to make it. Slow and clear instructions that
motivate participants. Voice should be enough volume and important
is to talk directly, not just to the air.

Educator’s perspective:
A very important element is the feedback loop. Mindfulness of educa-
tor / facilitator let to see the participants and their reactions. Because of
that appear some questions:
• What else can I add to the game to open up to diversity?
• What did not work, what to eliminate from the game?
• Whether in the selected space all questions/options are needed?
• Whether the participant actually learned something?

Recommendations for future educators developing this method

The type of this class can be freely developed. The fundamental theme
of the dominant sensory channel you can freely transform. An impor-
tant aspect is to build a secure space in which a participant may close
your eyes. Many times anxiety behavior is observed when the closure
of the eyes in the urban space so you have to be very careful on the re-
actions of the participants.
3.2.4.2 CREATEME

One of the most important parts of this game are the needs of
the participants. Because they generate a field which on they
create questions that everyone can play. The aim therefore
becomes creating the best structure, to which every passerby
can join together with some ideas. The aim is also to make it
worthwhile to express themselves and their needs, even in a
public space. The role of grassroots self-regulation allows the
participant to complete the engagement.

The method teaches

• Creativity
• Sense of belonging
• Body awareness
• Awareness of the emotions
• Cooperation

PRACTICAL INFORMATION

Place
• Any public space with the ground on which you can draw with chalk
• Your audience is not specified, it is therefore recommended to place
where every age and social group has a chance to hit.
Time
• The recommended time in which it is the largest movement in the
given space
• Location Park, square, square-10:00-14:00
• The recommended time in which the light of day allows you to play
Materials
• Chalk (number of scale dependent classes)
• Pebble/stick/ball/or totem to cast
• Prepared tasks-at the time in which there would be no ideas, it’s best
to have then some sample tasks in store
Manual – Know How

Top-down rule is to perform the 5 tasks by quitting Ward on 5 different

golf games. The structure of the game field is dependent on the first
participant who will want to get involved in the initiative. At the begin-
ning you should assign by chalk field boundaries of the games that as
a colorful element of attention and is an invitation to the game. When
do not appear in people who want to take the initiative to begin to draw
any shapes of fields where at the end of the draw will feature a task to
complete. Fields must be capable of jumping between them. So to get
to the table field. Number of fields and the size of the game depends on
the participants. It is interesting to note that each field must bear the
task, hence too much fields may result in the withdrawal of participants
due to the lack of ideas on the task. Followed by a brainstorming and
fields. Important to each field has the task and is best if the task is not
repeated. When tasks are typed using the chalk in the fields, followed by
the start of the game.
Any number of participants becomes on-the-spot start with your se-
lected element. The person turns to the playing field back and throw
the ball. After the roll turns, looks where fell totem. Then person should
read the task from a given field, execute it and go back to the place
of the START using fields of the game. When a totem goes outside the
playing field or hit already done field, through the playing field need to
go to catch totem and go back to the Start. Wins first person that will
finish 5 task from the fields.

DESCRIPTION OF THE CLASS CARRIED

OUT

Time 15:00 the urban pavement, in front of the place of residence. Using
the chalk drawing is selected the field structure of the game. The spiral,
the so-called snail. Start with the box is drawn which starts the game.
The Division for individual fields, single and double. After the finished
drawing followed by brainstorming and writing sample tasks. Among
other things:
• Close your eyes for 10 seconds.
• Scream with all strength
• Plug the ears for 10 seconds.
• Dance on the 4 fields in front of you
• Make eye contact with any passenger
• Express your anger standing in the field
• Thank to yourself or to someone

Passing people look curious about the game, but do not take an active
part.

EVALUATION OF THE TRIALS FROM BOTH

PERSPECTIVES: THE LEARNER AND EDU-
CATOR.

The learner’s perspective:

The following feature of education outside the formal and focus on the
process. At the end of the game are asked three questions:
• What’s most curious you in this game and why?
• If you can take any memory of this game what would it be?
• What you learned during the game?

Educator’s perspective:
A very important element is the feedback loop. Mindfulness of educa-
tor / facilitator let to see the participants and their reactions. Because
of that appear some questions:
• What else can I add to the game to open up to diversity?
• What did not work, what to eliminate from the game?
• Whether in the selected space all questions/options are needed?
• Whether the participant actually learned something?
Recommendations for further developments.
One of the HopUp principles is to create a safe environment, that anyo-
ne who passes the playing field could join, and those who are already
in the game feel freely. This allows for free expression and a better in-
volvement of the participants. Important to various invented ‘ shapes of
fields or tasks do not judge. If it turns out that the tasks or field does not
support the whole game, you might want to try anyway to redirect idea.
The free space in the city where anyone can draw can run a lot of emo-
tions and memories. It is worth as a facilitator of the game, help people
to invent the content of the game.

tor / facilitator let to see the participants and their reactions. Because of
that appear some questions:
• What else can I add to the game to open up to diversity?
• What did not work, what to eliminate from the game?
• Whether in the selected space all questions/options are needed?
• Whether the participant actually learned something?

Recommendations for future educators developing this method

The type of this class can be freely developed. The fundamental theme
of the dominant sensory channel you can freely transform. An impor-
tant aspect is to build a secure space in which a participant may close
your eyes. Many times anxiety behavior is observed when the closure
of the eyes in the urban space so you have to be very careful on the re-
actions of the participants.
3.2.4.3 DANCE ME

People in the 21st century being in everyday life often forget

about the movement, which is one of the many fundamen-
tal natural human characteristics. This version of the HopUp
have aim to create new creative movements, that involve peo-
ple to move more in their life. This is done by launch the kine-
sthetic sense through various tasks. From a simple structure
to difficult. Allows you to check your own coordination and
muscle memory.

LEARNING OBJECTIVES
• Coordination
• Creativity
• Body balance
• Body awareness
• Cooperation
• Physical memory
• Verbal and nonverbal communication

PRACTICAL INFORMATION
Place
• Any public space with the ground on which you can draw with chalk
• Your audience is not specified, it is therefore recommended to place
where every age and social group has a chance to be.

Time
• The recommended time in which it is the largest movement in the
given space
• Location Park, square
• The recommended time in which the light of day allows you to play

Materials
• Chalk (number of scale dependent classes – best of 5 different colors)
• Pebble/stick/ball/or totem ( number of things to throw, set maximum
number of players)
• The speaker, along with the music
Number of players
• 2-10 (number of participants depends on the drawn structure)
• The recommended time in which it is the largest movement in the gi-
ven space
• Location Park, square
• The recommended time in which the light of day allows you to play

THE OBJECTIVE
• Implementation of a common minimum dance for 1 minute
The front of the game and the position of the projection of the tepees
• START Point becomes the front of the game, the field at the same time,
becomes the scene for the audience.
• Shot must be making it back to the playing field

MANUAL – KNOW HOW

The game begins when participants throw the balls to any field, making
it back to the stage. Each by each player throw the ball. First without
jumping there. All the participant should have individual spot after a
while. Then the players jump or dance into the field as much as to be
played in the hopscotch. After facilitator crate or show the possible dan-
ce couples by:
Fields with the same color
When the drawing is symmetrical and You point people on the sides
The same shape of the field and more.
Amount of player let facilitator to make groups with 2,3 maybe 4 people.
Each person when step into individual spot create simple movement (8
moves / shapes)
Each movement have to be 2 sec.
When each person from couple is ready, show movement to the partner
and teach partner. In the end they try to connect both together.
Now facilitator choice order of couples that will show the dance. To re-
member better, it’s good to repeat 2-3 times depends of how fast players
catch each other movement.
After practice each player invent other 8 movements and add to
previous.
In the end everyone each person creates one movement with 2 secs
that will teach the whole group.
VARIATIONS

The Add-In-Symmetry
This add-in is to develop intelligence and perceptiveness.
The playing field is divided in half by the middle. One player from cou-
ple learn movement of other but in complete symmetry. That is, if one
side someone claimed his right hand up, this means that the other
person from couple on the other side of the Board have to repeat the
movement, so need to rise left hand.

Support
This option is designed to develop creativity and cooperation.
The principle that you cannot stand on the line in direction to start
point stops functioning. Along with this partner does not repeat mo-
vement but invents such a move to support the person in front of, in
relation to the front of the game.

Theme
This option is intended to develop imagination and activate the senses
of sight.
In the designated fields placed picture that become the inspiration for
a movement that is to be created.

DESCRIPTION OF THE CLASS CARRIED

OUT
Classes have been carried out in the public space at the German-Polish
reconciliation. Tape the paper have been designated field, the shape
of the honeycomb. Then have been designated fields ending in a game
that became a quiet assessment of the game.

In which they were written, 3 questions: What do You love in the le-
arning process? What is Your gift to the world? What do You wish to
learn? Then prepared the ball lie before the start point of the line. Ver-
sion, which we played is a simplified version. People lined up before
the line start back to the fields of game. Then there was a throw. Was
not easy to throw to space. When day finally find the spots. Facilitator
make the two couples outside and trio outside. 7 people attended in-
clude dancing facilitator.
When a place has been designated each of the groups began to create
movements.
After creations of the moves, come moment to repeat. When we repeat
two times our choreography, each of person threw a ball to the evalua-
tion fields, which was not an easy task, because of the distance. There
has been a quiet evaluation and end of the game.

THE EVALUATION CONDUCTED CLASSES

FROM TWO PERSPECTIVES: THE LEARNER
AND EDUCATOR

A person who participates in the HopUp have so much fun. For the lear-
ner is good to make simple movement repeatable. Simplicity on the be-
ginning seems stupid but together with the group look really beautiful.
For the educator is good to gives some inspirations by showing some
simple movement. This moment can bring inspirations and strong moti-
vation to their beautiful movements.

RECOMMENDATIONS FOR FUTURE EDUCA-

TORS DEVELOPING THIS METHOD
Options that I propose show that this environment can bring strong to-
pics and ideas. From activist questions to local issues and more. Impor-
tant thing is the clear structure that is in the beginning. Our image of this
game sometimes don’t let us think out of the box.
3.2.5 SUMMARY

After the carried out trials method showed the need for the
realization of creativity that each age group and social has
in our society. The creation of a safe environment to develop
and get to know each other, bring results for example joy.
Learning from it gives plenty of incentives to further work on
it. Work in the group brings the elements of non-verbal com-
munication, which so little in the urban space. The objective
of transforming urban space in space by occupy learning has
been achieved.

HopUp shows that you can stop for a moment being a ma-
rathon to work, school or while on a walk in the park. Learn
something about yourself in a pleasant atmosphere full of co-
lors, sounds and movement, through which we come closer to
the inner truth. That is the creativity, freedom, diversity, ac-
ceptance, curiosity and a variety of other things, where some
dormant, has woken up, and other awakened actively increa-
sing their level of experience, what flows from the fun HopUp.
3.2.6 STORY
The mother had three sons. Once they walk through the park and
mother said to them. I have a surprise for you. It is time for you to face
different challenges. I have prepared a few tasks for you that are wai-
ting for you in various places in this park. Here in the box, I have a few
things that can be useful to You, to do the tasks.

The mother opened the box and three colored backpacks appeared -
blue, yellow and green.

There was a blue backpack on left and it contained a camera, bino-

culars, brushes and paper. In the middle lay a backpack with yellow
color and in it: jumping rubber, sports shoes, stick, gloves. The green
backpack on the right had: a drum, headphones, a small guitar and a
loudspeaker. Which backpack do you choose?

!!! 1 !!! A moment of silence for someone to decide and throu-

gh totem!!!

You will go into the unknown, and when you all do the tasks, I will de-
cide which of you will receive the reward. Remember, that you always
have to stay together.

START
One of the brothers grabbed a yellow backpack and danced to the star-
ting point. Moments after the next brother grabbed a blue backpack
and going to the start carefully looked around for possible paths that
they can go. The third brother, when he took the green backpack, went
slowly, taking care of the instruments that they would not get off, while
humming the rhythm of the song that recently caught his ear.

The first point is a fountain where further instructions await you. You
have 30 minutes to complete all tasks. I will accompany you.

A brother with a blue backpack already looked around what surrounds

them, but he could not see any fountains, so he take the binoculars
from backpack and started looking for a possible way. A brother with
a green backpack, he accidentally heard passers-by who were just
talking about a beautiful selfy at the fountain they had just made. A
brother in a yellow backpack responded quickly to where the people
were coming from, encouraging brothers to run towards where these
people came from.
Moments after, together they found themselves on the main alley and at
the far end there was a huge fountain that a brother in a blue backpack
could see.
The first on the spot was a brother in a yellow backpack immediately
touching the water in the fountain. Moments after brother in a blue
backpack joined and began searching for hidden instructions. The
brother with green backpack in a calm state was still thinking about the
tasks that will await them. Suddenly, the brother in blue suggested to his
brother in a yellow backpack. Maybe some instructures are under wa-
ter, you can not see anything? No, said the brother in a yellow backpack.
The brother in the green reacted and said: the water surface is like a
sound wave, you have to not move for half a minute, the water will calm
down and then you will see what is on the bottom. After a while, the ti-
ghtly sealed foil in which the envelope was already waiting for them was
in their hands.

!!! 2 !!! Moments of reflection and throw !!!

Instructions for the first task appeared to them in front of their eyes.
Find any element in space and create a small theater scene with main
theme „ school”. Time was chasing them so my brother in a blue backpack
suggested. Let everyone find one element, think what You can make
with and we will meet here in 5 minutes. The rest confirm and went to
looking for element.
A brother with yellow backpack, happy with the subject, in a dance-step,
went to the largest bush that was around, densely covered bushes tou-
ched his body. Suddenly, he came up with the idea that he would beco-
me a tree himself and move to explain how he obtained energy to make
the tree live. Perfect he said to himself
The brother in the green backpack closed his eyes and tried to find some
sound that would catch his attention. After a while he caught his atten-
tion, a sound in the distance resembling a school bell. When he opened
his eyes in front of him appeared a pigeon who plucked something in
the garbage causing a characteristic sound. Yes, it will be my element,
he said.
A brother in a blue backpack saw a bench that triggered his memory
from school. Seeing him sitting down with a group of other students.
He closed his eyes and visualized a scene that he and the brothers
would play together.
Moments after, the three of them stand to the side of fountain with a
smile on their faces. Each of them talked about their element and set
themselves up to play the biology lesson scene. A brother in a green
backpack, quickly hitting the trash, called a bell for classes. The brother
in the yellow backpack opened the imaginary door and pointed to the
entrance to the classroom and the bench on, where they can sit. A
brother in a blue backpack, like an actor, asked his brother why do
you have branches lined up between clothes? A brother in a yellow
backpack, responding, spoke in the teacher’s voice. Today, at a biology
lesson, we will learn how a tree feeds. When the brothers sat down,
the teacher moved as he translated the sun’s rays through the leaves
to the trunk of the tree, and the roots deep in the ground serve to
collect water from the soil. Brother in blue added that the leaves have
special way to grow, so that the greatest amount of sunlight could hit
the leaf, in the imagination way he saw the image that once he drew
in the biology lesson. A brother in with green backpack, he added that
once his grandfather told me that trees cause vibrations to communi-
cate with each other, that is similar to sound waves. The brother in the
yellow nodded to the students and announced the end of the lesson.
Moments after, happy brothers get a high five together.

!!! 3 !!! A moment to choose a color and throw ... !!!

Suddenly, no one knew where the paper plane came from. One of the
brothers jumped in joy.This must be the next instruction he said. The
brother read in a blue backpack.
The next task awaits you on the largest playground. Without reading
further, a brother in a blue backpack hid a paper plane into his pocket
and they all ran together to the middle of the park where there was a
huge playground.
One of the brothers asked, but where is the task?
They began to look around but did not find anything after a short whi-
le. Maybe on this piece of paper there is some tip asked a brother in
a yellow backpack. they pulled out a creased plane from their pockets
and began to turn around when they suddenly saw that the instruction
was waiting for them on the back. The task is:
Using your skills and two selected things in your backpack, find a com-
pletely different application of them, show your creativity and ingenuity.
A brother with a blue backpack took out a camera, binoculars, brushes
and paper.
Imagination began to work and many images appeared in front of him.
I already know the fencing fight, but with brushes that create a colorful
spot with each hit. Fencers fighters have a white outfit, it fits the concept
perfectly.
By creating images in his head, he also got a vision for using binoculars
differently. A big wind blows, big waves hit the side of a boat, and a
brother in a blue backpack holds a pair of binoculars that becomes his
rudder in the great boat, if he want binoculars again, he just turn to bi-
noculars position and look far far in front of him. His visualizations cre-
ated beautiful pictures in his head, which was visible through the smile
that was painted on his face.
At the same time, a brother in a yellow backpack, put on gloves that
were in the backpack, sports shoes, touched and watched the stick from
many sides thinking what he could do with these things. There was also
a jumping rubber for this.
Yes I know, brother with yellow backpack said, I will start with the fact
that the gum will be snaking on the ground like a snake, and then I will
start dancing with it, inspired by the movements of this animal. As he
thought, he did. In crazy leaps and dances he moved around the rubber.
When he finished, his whole body pulsed from the movement he made.
After a previous vision, I will rest a little, so I will take a glove on a stick
and I will make it a balloon with which I walk around the playground.
Satisfied with the task, he watched his brother with a green backpack.
A brother with a green backpack pulled out, a drum, headphones a small
guitar and a loudspeaker. It is not a simple task, but I will definitely do
it. He closed his eyes and listened to what his intuition was telling. No
obvious use of a small guitar hmm ... I know! How would you take old
non-playing guitars and attach them to a tree, would serve as a nest for
birds, I think I will do so in front of my house, then there will be more
birds which I will be able to listen and be grateful to bird singing while
eating breakfast or relaxing at any time of the day.
When he was with thougs still at home, he came up with a great idea.
AAaaa is so simple. I’ll put small drum near the front door and it will ser-
ve as a home ringtone.
Moments after, happy brothers when they gather, they give a high five
to each other again. We did it!

A mother appeared from behind the slide of playground. Do you alrea-

dy have a different application for things that I threw into my backpack?
Of course. The brothers answered together in one voice. I invite you
here on the bench, tell me about them. The mother and her sons sat
there for 20 minutes and they talked each of them about ideas came
to their minds.
And then, Mother said to them: this is the last task that finish today’s
surprise. Congratulations, you were really brave. But it’s hard for me
to judge which of you was the bravest, the best, had the most original
idea. Therefore, together you will receive an award. I will take you all
to the largest amusement park.
Are you happy ?
Yeah, brothers scream with one voice, and together with their mother,
they went home.

!!! 4 !!! A moment to choose a color and throw ...

Bibliography

Literature of the subject

• Alone, r. (1996), Mindful spontaneity, California: North Atlantic Books
and Somatic Resources
• Unexpected Learning Opportunities Through Games-Laura A. Sharp
Media sources
• Ruedi Gerber (2010), Breath Made Visible, DVD and Film AG

Internet sources
• https://www.brainyquote.com/quotes/benjamin_franklin_383997 (on
16.03.2018)
• https://www.ted.com/talks/ken_robinson_says_schools_kill_creativity
(on 16.03.2018)
• https://en.wikipedia.org/wiki/Hopscotch (on 16.03.2018)
• http://zabawy.zrodla.org/gra_chlopek/ (on 16.03.2018)

________________________________________
[1] https://www.brainyquote.com/
[2] https://www.ted.com/talks/ken_robinson_says_schools_kill_creativi-
ty
[3] https://www.brainyquote.com/quotes/benjamin_franklin_383997
[4] Unexpected Learning Opportunities Through Games-Laura A. Sharp
[5] https://en.wikipedia.org/wiki/Hopscotch
[6] http://zabawy.zrodla.org/gra_chlopek/
 VISUAL
CHAT
visual expression
as language

Dagna Gmitrowicz
3.2.2.5 THE STORY BEGINS...

„Once I was sitting next to a river in a centre of Berlin, instead

of sketching on a paper I used my skirt as a „canvas”. In this
moment approached me young person with curiosity expres-
sed on his face. We started a conversation. Instead of talking
we continued drawing. After 1 hour of co-drawing using pain-
ts and markers for textiles, the young man went away in a
carefully decorated jeans. One year later I’ve received an
e-mail from him with expression of regards, full of thankful-
ness - after this spontaneous „visual chat” he decided to pur-
sue own dreams and to continue education in a direction of
own choice.”
This was an impulse to begin my journey as a street coach.
Tom analyze the power of expressive arts in educational con-
text. And to collect hints, know how and guidance to share
further on the findings and inspire the youth workers and
educators.
1. INTRODUCTION
2. COMPONENTS OF VISUAL
CHAT
3. DIFFERENT SETTINGS FOR
VISUAL CHAT
4. HOW TO TALK VISUALLY?
3.2.6 INTRODUCTION
In the streets of Berlin in a cold winter and in the warm spring afterno-
ons, random people could join visual conversations.

Street requires speed. So these conversations were lasting not too

long, they transformed naturally into form of visual chats.

Sitting comfortably by little outdoor table, or relaxing on a blanket in

one of the parks youngsters, young adults and adults were surfing vi-
sually on different surfaces (blackboards, laminated drawings or big
whiteboards) using as a medium a chalk, paints and markers.

People could talk visually with a coach or they could make a visual chat
together with a friend.

„Let’s chat visually” - some people started to use this as a signal for
conversation which goes beyond conventional understanding.
3.2.6 AND WHY?
I came cross the concept of life bringing conversations and simmathesy
(a mutual learning in a context). I found these concepts extremely in-
teresting and relevant to phenomenon which visual chat stimulates.

WHY LEARNING?
Life is a learning. There is an innovative thesis described recently by
Nora Bateson in Small Arcs of Larger Circles: Framing Through Other
Patterns. She asked in her research two simple questions:

What is a difference between living and learning?

When is something living and not learning?

In the result of her research made in cooperation with International

Bateson Institute: learning is a living, and everything what is alive is
learning - and all of this happens in a context of interelation.
She underlines the need to distinguish two different types of systems:
system which consists of nonliving elements and system that is cre-
ated by living organisms. This second one develops by interrelation,
and interdependency, and can’t be still, its nature is to be dynamic and
organic. She underlines that development happens ONLY in a relation
and one of the aspect of interrelation is a mutual learning. Thats why
she came with a new term: SIMMATHESY „The term „symmathesy” is
to describe the contextual mutual learning through interaction that
takes place in living entities at larger or smaller scales.”

Street chats is empowering SIMMATHESY in a more intentional and

structural way. Is bringing the hidden process of mutual learning in
a context to the surface of consciousness and inviting people to con-
scious and self-directed growth. So street chat is a developmental con-
text stimulating peer learning in relation with another person.
WHY DIALOGUE AND NOT
INDIVIDUAL REFLECTION?
By analyzing many online platforms, one thing is extremely visible: pe-
ople desperately are searching for a dialogue. The loneliness of indivi-
duals becomes a typical phenomenon of nowadays time. The bedroom
culture of youngsters is not supporting the face to face meetings. Pe-
ople are searching for physical spaces to be together. And even then,
they close themselves in tasks still being far from interaction with each
another.
The quote from one of online discussions on a social platform clarify it
: „Has anyone found a co-working space where people actually talk on
occasion? I’ve found so many spaces (and worked in a couple) where it’s
just a deadzone for 95% of the day. I realize we all need to focus but it
would be nice to have more of a reason to leave the house.”

Thats why with street chat we focus on a dialogue, not individual

reflection.

Tom Atlee is describing a concept of „Life bringing conversations”, whi-

ch most probably came as a result from a long term experiment which
Tom Atlee did with small group of his colleagues. He writes in his article
in „Tom Atlee’s Co-Intelligence Journal” : „We learned that a group - un-
der the right conditions - can open up more of reality or different dimen-
sions of reality - even “internal” reality - than personal introspection and
focused awareness.”
3.2.6 WHY USING LANGUAGE OF
VISUAL EXPRESSION?
The visual expression allows us to talk beyond the projections and em-
powers new understanding which could bring the change in here and
now. Symbols, drawings, simple line are metaphors, which our mind
treats as a message interpreted in a more open and less defined way.
Every human is different, and every person reads the metaphor throu-
gh a context of own life experience. There is no danger, that metaphor
would lead to destructive behaviors, opposite, our minds read me-
taphors in a way that we could deal with the findings in a constructive
way.

A pictorial, or visual, metaphor is more powerful when one visual ele-

ment is compared to another visual element which belongs to a diffe-
rent category or frame of meaning, and one of those two elements is
familiar to receiver of a metaphor.
Thats why in the visual chat two people are drawing almost simulta-
neously on a same surface, every person use own, familiar metaphor,
which in relation to another, unfamiliar visual representation made by
an another person can provoke a new idea, understanding or broade-
ning ones perspective.
„The main advantage that these devices have for visual thinking is that
they allow you to link the new with the familiar. They help you to brid-
ge the gap by piecing together a canvas of new concepts and ideas and
presenting them in a way that others understand and connect with.”

The Visual thinking is well described by Rudolf Arnheim in a book: „Art

and visual perception”.
Two simple geometrical figures drawn on a paper may provoke in a re-
ceiver not only feelings, but also sense of movement, sense of dishar-
mony, or harmony, sense of time, tension, irritation, sense of stability
or chaos, sense of easiness and complexity, etc.
„Every painting or sculpture carries meaning. Whether representatio-
nal or “abstract,” it is “about something”; it is a statement about the
nature of our existence” Rudolf Arnheim [page 62, shape].

We don’t need to be an artist to draw a punk or a square, and those

two element drawn in a different relations to each another are absolu-
tely enough to stimulate our learning process and creativity.

Moreover, according to Carl Rogers, we bring our psychological pro-

cesses and life experience into awareness by symbolization (in words,pi-
ctures, music, stories, etc.).

Thats why visual chat is based on visual expression, being by itself an

alternative to worlds focused tendencies and methods.

WHY ACTIONS IN A PUBLIC

SPACE NOT IN A CLOSE,
SAFE ENVIRONMENT?
The change will come with strengthening self-awareness in a society.
The public space is the most accessible and open space for everyone.
There is no scheduled time, preparation, framework.
Public space has one strong advantage - is self directed, people decide
by themselves if they want and can take part in some activity or not. The
public space has also disadvantage: whenever you work on personal
issues, you make it in public, which could mean the person would not
go deep in self reflection and self discovery, but rather would stay on a
surface of inspiration and „planting the seed” for the next steps.
But what is most important, would take part in a dialogue with another
person using as a medium something totally new. And that experience
would stay for a long time.
3.2.6 COMPONENTS

COMMUNICATION
Instead of written and spoken words in a visual chat we are drawing
lines, geometrical figures and symbols. We talk using visual trace as a
world, sentence, meaning, which could be answered by second person
with another shape or form. In some way visual language is similar
to a verbal one. Languages are grounded in place of origin, they are
grouped into families, for example in Europe the major are Indo-Euro-
pean branches: Slavic, Romance, Germanic, Hellenic (Greek), Baltic,
Albanian, Celtic.
The same goes with visual language. The way in which we express
ourselves via symbols depends on our previous experience and cultu-
ral heritage. I worked many years as an art-therapist in a clinic, and I
would be far from tendency of general diagnoses narrowing the visual
expression to one definite meaning. Nevertheless, „the thoughts need
shapes” [Rudolf Arnheim, Visual Thinking”], and visual forms may be
organized in a very easy way, with simplicity of geometrical figures.
These visual forms could be read both in two dimensional way as well
as in three dimensional, what gives the brain the new mental impul-
ses and models. Rudolf Arnheim explains more, that creative solutions
in science are also based on reorganizing perceptual situations. So it
seems logic, to use visual expression as a way to stimulate personal
development by new, unconventional ideas, answers, suggestions.
As it was mentioned before, visual abstract forms could be treated
as metaphors. Following the concept of Milton Erickson, the uncon-
sciousness would always take those elements of metaphor which are
serving the personal development and healing.
Nevertheless, at the end, having a complete understanding, the spoken
words are also necessary. Words specify more the meaning, organi-
zing floating images into categories and labels.
So it often happens that visual chat would be complemented simple by
verbal a conversation.
FROM THE EXPERIENCE
Winter. I have prepared a table with a big white board, and small lami-
nated white cards, with whiteboard markers. At the Christmas market
in Berlin {Weinahtmarkt}, approached our „visual chat table” the group
of refugees guided by a social worker. We (me and two boys from Syria)
haven’t had a common verbal language. What we had it was a visual
medium - markers and white cards. We slowly started drawing. I was
surprised how quick these boys used the opportunity to communicate
something that was important to them. By exchanging several geome-
trical forms came religious symbols. The next stage was the expression
of visual anger expressed by exploding objects and planes. The context
of Christmas, hot wine and celebrating families was far beyond the con-
text of these boys. In this case the intercultural integration appeared
to be a grotesque. The social worker was observing the whole process
attentively, and immediately got a point. The group left the market hea-
ding other parts of Berlin.

Movie from this action:

https://www.facebook.com/occupylearning/videos/148783982432345/
UzpfSTEwMDAwNDU5OTIxMjE0Mzo5MTA4NDkxNTkwNzgzODM
 SET A
PLASTIC AND MARKERS.

1. Whiteboard
not smaller than 50x60 cm

2. Min 10 whiteboard markers in 3 different colors (different co-

lors allow more comprehensive visual discussions, the drawings can easily
overlap, and still remain visible)

3. Sponge to wipe the drawing

(the size of a hand)

4. Min. 20 laminated white cards (size of a big postcard)

FROM THE EXPERIENCE

I am using this set especially where is a limited space for action or when are
challenging weather conditions. It is much lighter, and less absorbing. I used
this set also in a closed public spaces during the festivals.
 SET B
BLACKBOARD AND CHALK

1. White and colorful chalk, 20 chalks per action

(the thin one, so the drawings could me more detailed)

2. Sponge to wipe the drawing (the size of a hand) and a cup of wa-
ter.

3. 1 blackboard not smaller than 50x60 cm

4. Min. 20 small blackboards (size of a big postcard) - cut cardboard

painted with blackboard paint (while painting remember to plan a time

FROM THE EXPERIENCE:

This set allows discussions not only on blackboards but also could be exten-
ded to drawings on walls and pavements. Chalk is tolerated and accepted as
a visual intervention in a public space, due to its temporary nature.
3.3 VEHICLE AND SPACE FOR
A CHAT:
You need to arrange the space to run a successful visual chat.
The space should be as comfortable and accessible as possible.

I had two different sets:

- Park set: a blanket and pillows.
- Street set: fold-out table and 2 chairs, with warm pillows (good
for a winter time)

The challenge was how to transport all this equipment. Some places
are not accessible by car.
I came up with an idea of a bike-transporter. I used a big metal shop-
ping trolley, and a base from bicycle trailer for children. Additional ele-
ments were: an information flag about visual chat and a backboard
with an invitation to join.

Rubber stretch cords with hooks and rainproof tarpaulin would be

also necessary.

While traveling across the city it was already visible, that something
was going on:)
 3. DIFFERENT SETTINGS FOR
VISUAL CHAT
- POP UP ACTIONS ON THE
STREETS
You choose the public space in a city, where people naturally are spen-
ding their time, taking a moment to rest. It could be also a place where
people are waiting for something.
Coming with a table and chairs would make people curious. Its good
when you have an information board, describing whats going on, what
is a chat about. After first person join the visual chat, the others would
become interested and join it later on.

WHAT TO REMEMBER?
Try to avoid the place where people are quickly passing by, be careful with
your table not disturb other people.
 OUTDOOR ACTIONS WITH OR-
GANIZED GROUPS
You make a call to action. Via making the event on Facebook Group or
MEETUP you can a priori collect group of participants. I advise to use
MEETUP platform (https://www.meetup.com/), because it gives more
visibility, and the action can reach a new public.
You may ask participants to take own papers and pens, if needed.

Try to come earlier than was planned and prepare the space (with
chairs or blankets).
Be equipped with drawing materials.

After a short introduction to visual chat, invite people to sit in pairs and
start chatting visually.
Sometimes it is good to make one visual chat as demonstration. So
people clearly understand the process.

WHAT TO REMEMBER?
remember to be strong enough to hold ambiguity, unclarity and treat the
chat seriously. That helps participants to enter the process. Drawing itself is
a process that recalls children games, very often people at the beginning are
shy and not sure how to behave. Your sureness would help them.
 CONFERENCES, FESTIVALS
When you enter with visual chat the structured space, like conference
or festival, you need to use this structure as supporting medium. Ask
organizers to introduce your stand, describe in the program, distribute
leaflets.
Make your stand visible and inviting:)

WHAT TO REMEMBER?
After such introduction, be prepared that the people who would approach
you would come with a clearer intention, and maybe with a complex que-
stion. From my experience, the chats I did in these settings were much dee-
per and more result oriented. Also they lasted much longer, till 30 min.
I guess this is a result of task oriented and self-centered culture in such pla-
ces.
INTERACTIVE PERFORMANCE
We did, as Los-insomnes art group also a performance based on visual
chat.
The space for a visual chat was a big paper 4m x 10 m.
The people from the public would sit on a chair in the middle of this
paper, and two artists would resonate with this figure, having together
a visual chat.

Movie: https://www.youtube.com/watch?v=_4cIVg03ua4

This performance made a great impact on participants. After perfor-

mance people were analyzing which symbol appeared on a paper in
the moment of they presence.

The additional background with music would be a necessary ingre-

dient.
HOW TO TALK VISUALLY?
1. WARMING UP:
the visual talk is not so common activity. People are not used to com-
municate via simple visual, abstract shapes. So it needs a sort of war-
ming up. It could be done by: visual examples on a boards (its good to
make them on a spot, not before), by „initiator” (from my experience,
after first visual talk observed by a random crowd, the people were
eager to join the conversation).

2. CHOICE: HOW TO START A CHAT

WITH PARTICULAR PERSON?
Sometimes white page is scary, sometimes white page is inspiring. So
let the person to choose the medium of conversation. And give a space
to ask a question or topic for a chat.

3. INTIMATE ATMOSPHERE:
pay attention to details. Prepare you visual chat space as esthetic and
comfortable as possible. Divide the space with chairs, or hide a bit
behind a bike or info board.

4. TALK:
accept this what comes and honestly react to visual representation
expressed by participant. Be sure that this medium is your language.
You have to be natural.

5. ENDING:
it comes naturally after 10/20 min. When topic is over, when there is
not enough resources or is too cold:) Offer the person the possibility
to make a photo of drawings using a smartphone, and together clean
board, to live empty space for next people.

6. SPONTANOUSITY
be open for unknown.
PLEASE WATCH THE MOVIE
ABOUT VISUAL CHAT WHICH
IS ACCESSIBLE ON A WEB-
SITE WWW. OCCUPY LEAR-
NING.EU AND ON YOUTUBE-
CHANNEL.
FOR FURTHER QUESTION
DONT HESITATE TO WRITE
TO ME:
DAGNA GMITROWICZ
D.GMITROWICZ@GMAIL.COM
WWW.DAGNA.SPACE
CREDITS
SPECIAL THANKS GOES TO
EVERYONE SUPPORTING THE
IMPLEMENTATION OF THE
OCCUPY LEARNING PROJECT:
THE PROJECT TEAM: (IN
ALPHABETIC ORDER)
Roberta Aita
Benji
Shauna Blackmoon
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Alen Dilja
Luke Davis
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Dagna Gmitrowicz
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Iwona
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Tomek Lubotzki
Billy Mason-Wood
Ana Marija Marinov
Thaisa Mezavilla
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Anahis Sanchez Teran
Lorena Terzi
Paulina Trelowska
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Project 8 Kantina
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