Search

and 2) the proficiency movement. The success of both these approaches to foreign language acquisition has served to mask their limitations and discourage critique.  More specifically, the direct method can be faulted for its reliance on mimicry and repetition as the fundamental means of learning. As a result, users of the direct method are discouraged from attaining a critical perspective on the material itself; in fact, analysis (even at the level of basic grammatical paradigms) is regarded as

how, the why. Through my personal explorations in my work I balance between what can draw on certain emotions, versus what can be used to express them more blatantly, as well as how a piece may interact in its created environment. How can I catch that brief flicker of something that may not be there in another moment? And how can it be shared? Outside of the six universal emotions, what are the techniques I can use to express even more of them? Where do art and emotion meet? Where do they differ