Hi, good morning. My name is Prigo Kumar Sharma. I mean academician practitioners in the field of visual.

I directly do not come from this.

Thank you for sharing that, Professor. Can you describe a pivotal moment in your academic career that influenced your focus on visual technologies?

Understood. When you first began teaching visual technologies, did you find it more effective to introduce foundational concepts through hands-on projects or through theoretical lectures?

I found it interesting. That both days practice given and theory based. Modules come together. When we have to deal. With the foundational studies. And I did to use both these modules. When I started my career in visual communications.

You recently published a case study on social harmony through art, analyzing three Indian painters. What approach did you take to translate the research insights from that publication into your classroom instruction or curriculum design?

It's a very interesting question. Thank you for asking this.

Thank you for your response. When you brought those research insights into your curriculum, did you encounter any resistance or confusion from students, and if so, how did you address it in your teaching approach?

Contributions to. Gauche Casein. ATMs like. Traditional lab. So that was the beginning of the formal. Ratings of those paintings. But that also. Allowed them to. Investigate. That how we can use these formal elements. To construct our. The next point was. How did they reflect upon the? Socio Political. Consequences. Or reflections of these fugitive painting. Sudhir Pathvatam. Looked into the. Middle task. Urban population. In the suburbs of Mumbai. Whereas Neelamma Shaikh. For instance, she looked into. How?

Figurative studies or figurative readings form.

Interesting approach. When your students began analyzing the social and political themes in those painters' works, what strategies did you use to ensure they could connect those ideas to current issues in their own communities or contexts?

The politics. The nurse says. The medical history is. From the Kerala. Are being depicted over with.

Thank you for sharing those insights. Now, Professor, could you outline your three-year research roadmap if you were to join us, focusing on how your work could drive both academic impact and external funding opportunities at VIT University?

Thank you for elaborating on how you connect formal and socio-political analysis in your classroom. Looking ahead, Professor, could you outline your three-year research roadmap if you were to join us, focusing on how your work could drive both academic impact and external funding opportunities?

Individual. Stories. And fantasy.

You highlighted how classroom analysis of figurative art brought out personal and political narratives; looking ahead, Professor, could you outline your three-year research roadmap if you were to join us, focusing on how your work could drive both academic impact and external funding opportunities?

Again, I must say it's a very interesting question. I must reflect back. Or how do I see the road map? Three years from now.

But here at the onset, I must say. That I come from a practice driven research. My PhD. The thesis that I'm working also. He talks about. How practice driven? Or the word practice. Exist in a theory given. Academy, Yeah.

Thank you, Professor. As you develop this research roadmap, what specific strategies would you use to secure external grants or industry funding for your work in emerging technologies, and how would you align those efforts with our university's institutional priorities?

And less is for me. Where I see that? Subjective teaching.

You emphasized practice-driven research as central to your approach; could you give a concrete example of how you would use this methodology to attract external research funding or industry partners within your first year here?

You emphasized practice-driven research as central to your approach; could you give a concrete example of how you would use this methodology to attract external research funding or industry partners within the context of emerging technologies?

Practical Learnings. Hands on learnings. Uses of hands. Has tremendous effect. On how do we see the world around us?

You emphasized the impact of hands-on learning; in your experience, how do you measure the academic success of student projects in emerging technologies, especially when evaluating both creative process and final outcomes?

It also gives us an opportunity. To reinvestigate. How tools enhance. Go hand by hand.

You emphasized the effect of hands-on learning and tools; in your experience, how do you measure the academic success of student projects in emerging technologies, especially when evaluating both creative process and technical outcomes?

Would like to contribute.

Understood. When you mention serving through the same methodology, could you specify how you would align your practice-driven approach with VIT University's priorities for interdisciplinary collaboration or industry consultancy?

In the space of academia. Where in a technical driven world? How hands on learning. Can give a kind of alternative platform? Or an alternative ideology. For students. To nurture their. All skills.

In terms of external funding. Assume it is reflected. That I also work. As a curation. Or a curator in various public domains.

You emphasized hands-on, practice-driven learning as central to your research philosophy; within your three-year roadmap, what concrete steps would you take to build partnerships with industry or external organizations to fund or expand these experiential learning opportunities?

Apart from academia. I would like to extend that practice. And. Duration. In the domain where? We can collaborate with public agencies.

You mentioned your experience as a curator in public domains; can you specify how you would leverage those curatorial networks or platforms to generate grant funding or research collaborations for emerging technologies at VIT University?

You mentioned collaborating with public agencies through your curatorial work; can you provide a specific example of a public partnership you've facilitated and how it resulted in tangible funding or research output?

I have a portfolio of working with VR. Mall. And we worked with their CSR funding. To construct beautiful shows. Which are works done by the students. From the Academy, yeah.

That also gives a platform for the students to. Implicate. That what will happen. If there's a real life scenario. So this is nice balance of. Classroom teaching. And and exposure. The real life scenario.

You mentioned working with VR Mall's CSR funding to showcase student work; can you walk me through how you structured that collaboration to secure funding, and what the measurable outcomes were for both the students and the institution?

Let's shift to pedagogy. Professor, if you were assigned a large introductory course in emerging technologies, how would you design an active learning experience—without relying on traditional slide-based lectures—to ensure meaningful student engagement and skill development?

Starting from the invention of printing pairs in the 5th, 14th, 15th century.

You’re drawing on the evolution of technology to frame hands-on learning—how would you translate that historical perspective into a specific in-class activity or assignment for students, ensuring it’s interactive and not just discussion-based?

Two computers we've always seen. That it has gone on hand by hand.

All these emerging technologies. All this development in the field of science. Have worked very closely in the domain of. Arts or visual arts or hands on learning?

Right, so your hands-on philosophy is clear. Can you share how you assess whether students in these active learning environments have truly internalized and applied the skills, especially in large classes?

So if I have to do. Introductory class with a large group of students. I would start with a very, very simple and fundamental exercise. Where I do not. Rely on the slide based. But it would be more of a hands on top. One of the exercises that is immediately coming to my mind. Based on my experience of teaching over the years. Is that? I would ask all the students.

You’re drawing on the evolution of technology to frame hands-on learning—how would you translate that historical perspective into a specific in-class activity or assignment for students, ensuring it’s interactive and not just discussion-based?

All the participants in the classroom. To take a piece of paper.

And a piece of drawing material. It could be charcoal or it could be a pencil.

You emphasized a hands-on, fundamental exercise for large groups—can you specify an example of such an activity you’ve actually run, and describe how it fostered collaboration or critical thinking among students?

You emphasized a hands-on, fundamental exercise for large groups—can you specify an example of such an activity you’ve actually run, and describe how it fostered collaboration or critical thinking among students?

Let's address institutional stewardship. Professor, suppose your department needs to improve its research output per faculty to meet an upcoming accreditation review. What systematic approach would you take to raise this metric, and how would you ensure faculty participation and sustained results?

Like in the classroom. I would like them to actively participate. In that space. And then based on subjective outcomes. I would like to engage with individual. Students or the participations in that group. I'm trying to understand what they had drawn.

Thank you, Professor. Earlier you mentioned collaborating with public agencies and leveraging CSR funding—can you describe a specific instance where you managed the administrative documentation required for such a partnership, and how you ensured alignment with both institutional and accreditation standards?

Or slides. Or images or. Lectures or areas where they could investigate more. Allowing them. To explore that area.

Thank you, Professor. You mentioned breaking initial hesitation in creative exercises—when assessing outcomes in such hands-on sessions, what specific criteria or evidence do you use to determine that a student has developed both technical skill and creative confidence?

It's a very, very interesting question.

As I said at the onset. If we take this. Exercise.

Understood. Earlier, you described collaborating with public agencies and utilizing CSR funding—can you walk me through how you handled the administrative documentation and reporting requirements for those partnerships?

The previous exercise is a kind of case study on an example.

Right. When you engage with students individually after these exercises, can you share an example of how you documented or tracked their progress over a semester to support institutional assessment or accreditation reporting?

Here. The first evaluation process. To understand if the participant or a student have enjoyed the process.

Interesting. When you engage with students individually after these exercises, can you share an example of how you documented or tracked their progress over a semester to support institutional assessment or accreditation requirements?

Is that would be. So that would be a. Study of the image he or she has created.

Right. When you engage with students individually after these exercises, can you share an example of how you documented or tracked their progress over a semester to support institutional assessment or accreditation processes?

Okay. When you review these images for institutional reporting or accreditation, what documentation process do you use to ensure that student progress and outcomes are systematically tracked and auditable?

The study of the image. Could directly give us evidence. That whether they're reflected upon their own nostalgia. Wishes. Admiration, Uh.

Cancel a word. Based on those criterias. We could see that. If they have tried to. Copy an existing image. Or if they have created something of their own. That would give me a kind of indication whether they're creative influxes. Are aligned with their expression.

You mentioned that the images students create can reflect nostalgia or personal wishes—can you give a concrete example of how you have documented and linked such subjective student outcomes to formal accreditation requirements or departmental metrics?

Here comes my part. To guide them technically. To see if their skills can be hard. And then used in a way. That advances them to do more. I'll introduce them with different mediums. For example. If they have used charcoal. I would say. Did you? Can you experience? They wash along with the charcoal. Amalgamating the technique of watercolor. With the washes. On the shades of charcoal.

Let's address a scenario involving ethical diplomacy. Suppose you are confronted with an allegation from a student claiming grading bias, but at the same time, the institution is pressuring you to maintain a minimum pass percentage for the course. How would you resolve this conflict while upholding both academic integrity and institutional expectations?

That could be very liberating for a student. Or a participant. Who can be hesitant at the beginning?

You mentioned guiding students to blend charcoal with watercolor washes—can you describe a moment when introducing a new medium led to a breakthrough in a student's creative process, and how you supported that transition?

But a splash of water? Mixed with the charcoal drawing can give. Interesting result.

You mentioned guiding students through technical exploration, such as blending charcoal and watercolor—can you describe a moment when introducing a new medium led to a breakthrough in a student's creative process, and how you supported that transition?

Giving me an opportunity. To see. That if. I can introduce a different technique. Or worked.

You described guiding students from copying images to developing original expressions—can you share a specific instance where a student made that shift, and how you recognized or measured their progress in creative autonomy?

Or improvise their own skills.

You described how introducing new techniques like blending charcoal with water can be liberating—when documenting these creative breakthroughs for academic records or external review, what specific evidence or artifacts do you submit to demonstrate the student’s progression?

That would be my process of evaluation.

You mentioned that introducing a new technique can be liberating for hesitant students—when you observe this kind of breakthrough, how do you document and communicate that progress to stakeholders such as external reviewers or accreditation bodies?

Understood. When you encounter a situation where a student disputes their grade and alleges bias, but the university also expects you to maintain high pass rates, how do you resolve this conflict while preserving both academic integrity and institutional expectations?

Over my last.

Decade of experience I did. Have experienced many encounters like this.

You mentioned your process for evaluating creative expression—if an institutional committee challenges your grading decision on the grounds of pass-percentage targets, how do you defend your methodology and maintain fairness for the student involved?

Students, they come from various domains. And they have various experiences.

You mentioned having faced several such situations in your decade of experience—can you walk me through a specific case where you had to defend a grading decision against allegations of bias, and explain the steps you took to ensure fairness while meeting institutional targets?

In a classroom. Even though the integrity is. At the priority. But. My concerns are for the students.

You mentioned having faced several such situations in your decade of experience—can you walk me through a specific case where you had to defend a grading decision against allegations of bias, and explain how you communicated your rationale to both the student and administration?

I would also like to. Give an example here. I've experienced that. A student. Who hasn't slept well? At night. Or wasn't had his breakfast. In the morning. May not perform so well in the classroom.

Let's shift focus now. Professor, how would you leverage your professional network and industry contacts to create internship or employment pipelines for students in emerging technologies at our university?

That could result in multiple. Tangents and dimensions. In the peer group.

You mentioned that student well-being can affect classroom performance—when a student's personal struggles impact their academic results, what specific interventions or support mechanisms have you implemented to ensure fair evaluation without compromising standards?

So my inquiry would be very, very. Human. Personal. Subjective to understand. Why a particular student? Is doing so. If I can be of any help. If I have that experience. To guide. Him or her? I would like to say. That there I would handhold it.

You highlighted that student well-being can influence academic performance—can you share a concrete example of an intervention or support system you personally implemented to help a struggling student succeed?

That that doesn't also mean that that could be taken as a liberty.

You emphasized a very human and individualized approach to supporting students—can you describe a specific instance where you successfully helped a struggling student improve their academic performance, and what concrete steps you took to facilitate that change?

And it's very strong ethics. When it comes to classroom disciplines, integrity. And results? Academic results.

Thank you for sharing your perspective. Professor, can you describe your experience working on interdisciplinary projects or consultancy with an industry focus, and how you plan to bring those insights to VIT University's environment?

If a student is slow at the beginning. As I said. I will try to help. Himoha.

Thank you for outlining your approach to student support and academic integrity. Professor, can you share your experience guiding student research projects specifically in emerging technologies, and how you assess whether those projects achieve meaningful academic or industry impact?

But if it comes. With a very particular. Area of.

You emphasized maintaining strong ethics and discipline—can you share a concrete example of a time when you had to enforce academic integrity in the face of external pressure to adjust results?

Disinterested Learning? Or could be laziness. Or procrastination. These matters has to be resolved by the students. And there I may not be able to help them. That would definitely guide them. So that the classroom integrity. And the academic major? Remains strong.

Understood. Professor, could you share a specific example where your professional network directly helped a student secure an internship or employment opportunity in an industry relevant to emerging technologies?

Understood. Earlier, you mentioned guiding students to explore new techniques and mediums—can you share a specific example where your introduction of an unconventional method led to a student gaining recognition or a unique opportunity in their academic or professional journey?

Very well, I do have various accounts to talk about it.

Right. When you introduced that unconventional method, what measurable outcome did the student achieve—such as publication, competition award, or a notable industry placement—as a direct result?

It could be. It's a quantitative measure. From the last academic. Session.

Right. When you introduced that unconventional method, what measurable outcome did the student achieve—such as publication, competition award, or a notable industry placement—as a direct result?

She got this prestigious award called Index. Award which is a very prestigious award in our field of visual lab. However, it's very complicated where many students would apply.

Thank you for highlighting Likita Jain's achievement; what specific mentoring approach or industry connection did you utilize to help her navigate the application process for the Index Award?

Looking at at the beginning. Was very traditional at our approach. She used to draw human portraits. And watercolors. Pencil. And our orientation was to merely copy. A photographic image.

If we look at the portfolio. Through which? Nikita Jain is professionally accepted and has been recognized in the last year where she was invited for the Kochi. Binale also.

You described Likita Jain's transition from traditional methods to winning the Index Award; what specific guidance or feedback did you provide during her shift to more experimental approaches that you believe made the critical difference in her success?

We see that there's a drastic change in the current portfolio.

Thank you for sharing Likita Jain’s story; could you elaborate on how you leveraged your own professional network or industry relationships to support her participation in the Kochi Biennale or other external opportunities?

Thank you for sharing that shift in her portfolio; can you describe one specific unconventional technique or tool you introduced to Likita that directly contributed to her transformation and subsequent recognition?

I asked it to retain that. Necessity of heart. To talk about human. Relationship. Portraits. But what I did? And I used the same paper.

In which she would draw. And introduced her a new medium called paper mashing. Deepamashiya was very, very new to her.

Right. Since you emphasized keeping the core of her interest but changed the medium—can you specify how you assessed her academic growth throughout this process, and what criteria you used to determine her readiness for external recognition like the Kochi Biennale?

I asked her to tear all the papers. Soak it in a bucket of water. For few days. And get. Pump extract.

Interesting choice introducing paper mache as a new medium. How did you evaluate whether Likita's shift to this experimental approach led to improved learning outcomes or readiness for industry opportunities?

She used a bulb extract to make her own paper. Now here what I did. I I extended our practice. Initially it was very easy for her to go to the shop. That would have nearby art material shop and just to buy a paper.

You introduced paper mache as a new technique to help Likita evolve her portfolio—how did you measure whether adopting this unconventional medium actually increased her employability or industry prospects?

But here what I introduced the ancient technique of papermaking.

Interesting progression. As you guided Likita Jain through this experimental process, did you actively connect her with any industry professionals or organizations to further support her exposure and career opportunities?

It's clear you foster both tradition and innovation in your mentorship. When introducing this ancient papermaking technique, what criteria did you set to evaluate whether Likita’s adaptation to the new medium genuinely enhanced her academic performance or conceptual depth?

And her relationship to. Drastically changed. She realized the value. That how a paper is made. So the paper. Became. She started to make. Diplomacy.

She started to draw with more intentions and clarity. And more sensitivity. Because that was her paper that she had made.

You described how introducing papermaking transformed Likita’s approach—can you walk me through how you leveraged your professional connections or industry network to help her secure opportunities or showcase this new work beyond the academic setting?

It also resulted her to explore. Paper measure since it is a kind of pulpy medium which can be molded into 3 dimensional.

That’s a thoughtful intervention. As you observed Likita’s evolving sense of ownership over her materials and process, how did you quantify or document the impact this had on her academic performance or creative confidence?

That’s a compelling evolution in her practice. Given your experience guiding students like Likita, what concrete steps do you take to leverage your professional network to create internship or employment pipelines for students working in emerging technologies?

From a very traditional approach in the. Undergraduate. Till she completed her post graduated. Now we could say a array of disciplines. From drawing. Sculptures. Paintings. And her extended was well appreciated. In both these domains of. Uh, but I said that she was recognized to get. In Lex Award. Prestigious index or what? And she was also invited for the. Binale, which talks about her professional Excellency and acceptance. The real.

Thank you for that detailed example. Professor, based on your experience guiding students like Likita to achieve such distinctions, what specific actions do you take to help translate these academic achievements into concrete industry placements or consultancy opportunities for your students?

Here I'd also like to mention. The contributions that are. Made by the team of other faculties. I'm nurturing a students into. Getting.

Acknowledged. Earlier you referenced the collaborative efforts of your faculty team in nurturing students—can you give a concrete example of how you and your colleagues have collectively engaged with industry partners to create consultancy or placement opportunities for students in emerging technology fields?

Professional acceptance or achievements. Is I do not. Believe can be only handled by 1 mentor.

Understood. Can you share a specific instance where collaboration with your faculty team directly led to a student securing a consultancy or industry partnership, and what your individual contribution was to that outcome?

We as a team. We all have different. Exposes different resources.

And that's what we all did.

Right, and when your team collaborates to leverage these different resources, can you describe a specific example where this collective faculty effort directly led to a student securing a consultancy or industry partnership?

Somebody guided her philosophically. Somebody guided her theoretically. Somebody taught her. Helped her to write those academic writings. Into proposal writings. And many of us introduced her to the various opportunities that are out there in real life.

Acknowledged. Professor, when you reference your faculty team's collective engagement, can you identify a specific moment where your combined efforts led to a student’s direct placement or consultancy with industry, and describe your individual role in that process?

We are asked to apply. And this is the same methodology that. I use. For my students.

Understood. Earlier you mentioned faculty guidance on proposal writing and exposure to real-world opportunities—can you describe how you personally help students bridge the gap between academic proposals and industry-standard consultancy deliverables?

Right. Given your emphasis on collaborative faculty mentorship, how do you measure whether a student's transition from academic research to industry engagement—such as internships or consultancy—is truly successful?

From the classroom studies. I would give them a constant awareness. Where to apply?

More to look forward Where are the opportunities? How their careers can be shaped. Into various. Dimensions. They could be practitioners, they could go to Academy. They could be part of.

Thank you for clarifying your collaborative approach. Can you walk me through a recent situation where your direct intervention—such as connecting a student with an external partner or facilitating an industry-sponsored project—led to a tangible employment or consultancy outcome?

Right, Professor. When you guide students to look for real-world opportunities, how do you track or evaluate whether their internships or industry collaborations lead to meaningful skill growth and professional advancement?

Their aspirations. I guide them with the help of other resources. Where to apply? How to apply?

And do the best. Within themselves.

Understood. When you guide students with these resources and application strategies, how do you measure whether their subsequent placements or industry collaborations truly reflect the skills and values you aim to instill as an educator?

Thank you, Professor. Can you share a concrete example where your guidance directly resulted in a student's placement or consultancy engagement, and describe how you measured the impact of that outcome?

Very well.

In our domain.

Now, I need to verify a few key qualifications directly. Can you describe your hands-on experience with at least one emerging technology area, such as Data Science, Artificial Intelligence, Internet of Things, or Cyber Security?

The first. Opportunity a student might get. Here is Kochi Binale in India.

You mentioned leveraging collaborative faculty efforts to expand student opportunities—can you walk me through a case where a student chose a less conventional career path, like social reform, and explain how you tailored your mentorship to support that direction?

I invited Kochi Binales. Students Curator. I wrote to them. Then please do visit our campus. And these are the portfolios. I've sent them some PDFs.

You mentioned Kochi Binale as a significant first opportunity—can you describe how you specifically prepare your students to stand out in such competitive selections, perhaps referencing a recent student's journey?

These are the portfolios. If you like it.

Interesting. When you sent those portfolios to the Kochi Binale curator, what specific criteria or feedback did you use to determine which students were ready for that level of exposure?

Please make sure. That to schedule a visit to our gap. That resulted, uh. That communication was. We'll take it. They were very happy to look at the work. And they came here.

Got it. When you invite external curators or industry experts to evaluate student portfolios, how do you prepare your students to present their work professionally and respond to critical feedback in those sessions?

In my last institute where I was working at V Narmad Salbuja University. I invited. Ecochi Virales students. Curtail workshop. Where it was. Aligned with. How music.

When the Kochi Binale curators visited and reviewed your students’ portfolios, what kind of feedback did they give, and how did you use that feedback to adjust your approach with the next cohort of students?

How the domain of music? In a more technical way. It was done by professor. Israel. I have a professor. Sorry I'm getting forgotten his name. He was from Israel. He came and conducted. Four days workshop.

Understood. When you organized the Kochi Binale curatorial workshop at V Narmad South Gujarat University, what steps did you take to ensure students' project proposals met the standards expected by external curators?

The outcome of these. Interactions. Allow the curators for the Kochi Binale to identify some of the best practices from the student. And those students were invited to participate.

When you organized the four-day workshop with the visiting professor from Israel, how did you evaluate whether students effectively integrated the technical aspects of music into their final projects?

Thank you. For students who were selected to participate after the Kochi Binale curators' visit, how did you track their progress or continue supporting them during the event itself?

Now somebody like Lakshmi Bhargav who was. A student here. Two, 2023.

He got the same opportunity. He was invited to showcase his painting.

Understood. For a student like Lakshmi Bhargav, once she was selected to participate, what specific support or feedback did you provide to help her maximize the value of that experience?

Thank you for sharing that, Professor. Could you describe how you assess whether students have gained the professional skills needed to engage confidently in such high-profile events, beyond just the quality of their artistic work?

At Kochi Vidales student. Uh, section.

Thank you. Regarding your guidance for proposal writing, what methods do you use to help students develop clarity and structure in their academic proposals, especially for those who struggle with organizing their ideas?

There he got an opportunity where a lot of. Curators and. Saw his work first. And a gallery called Sumuka in Bangalore.

Made a contract with him. Sponsoring. His further studies in the Slade. In UK.

That’s a strong example. What changes, if any, did you make to your student mentoring approach after seeing the results from Lakshmi Bhargav’s participation at Kochi Binale?

Here the gallery is sponsored. 75,00,000. Out of. 1,00,00,000 fees that was there for the. Two years PG program. In the slain school of design. In UK.

Understood. Beyond facilitating these external opportunities, how do you ensure that students who are not selected or who face setbacks still remain motivated and continue to develop their skills effectively?

So right now I could think of these immediate examples. There are many more. I would like to explain. You've given a chance.

Thank you for detailing that process. In cases where a student secures such a significant sponsorship, what role do you play in advising them on how to balance academic ambitions with professional exhibition opportunities during their studies abroad?

That’s a compelling trajectory for your student. For others who might not secure such prominent opportunities, what structured mechanisms do you have in place to track their progress and ensure continuous skill development throughout their studies?

Yes, there are many students. Well, no, not so fortunate as Laksh or Nikita.

Who have got placements or career opportunities?

There are some students who are slow. They need some more time.

Right. When you notice a student is losing motivation or falling behind, how do you intervene to get them re-engaged and back on track academically?

Right. When you have students who don’t secure placements, what specific follow-up actions or interventions do you personally take to help them navigate alternative career paths or upskill further?

Even they have postgraduated. They would need some. More years of practice.

You mentioned some students need more time—can you describe a concrete example where you adjusted your teaching or mentoring style to support a slower learner and what the outcome was?

In that kind of scenario, the student fails. Absolutely lost out of the Academy. And the inside. And the inertia to continue their practice is? Been doubted.

Understood. When you support those graduates who need additional years of practice, what specific resources or networks do you connect them with after they leave your institution?

There I moved out of my academic sphere. And make sure that I am in touch with these students. Asking them regularly to send their portfolios. The development. And keep me an update.

Thank you for sharing that perspective. When you recognize a graduate struggling with inertia or uncertainty post-academia, what concrete steps do you personally take to reconnect them with professional opportunities or artistic networks?

That simple question.

Understood. When you collect updates on your former students’ portfolios and development, can you give a concrete example of how feedback from you directly influenced the next step in a student’s professional journey?

Understood. When you ask former students to update you on their portfolio development, how do you assess whether their progress aligns with current industry or academic standards, and what actions do you take if you find significant gaps?

US these targets. Are translated into studio discussions we allow them we. Asked him to 1st initiate a studio behavior. A studio. Practice a collaborative studio space outside the Academy. Once they graduate.

This has resulted to many studios that has come up. Where a group of students.

Understood. When you encourage graduates to initiate studio practices or collaborative spaces outside the academy, what role do you play in facilitating those environments or connecting them with relevant professional networks?

Would come together and continue their practice.

Interesting approach. When your former students set up these collaborative studios after graduation, how do you evaluate whether their collective practice is fostering innovation and relevant skill growth, rather than simply replicating old patterns?

Thank you for outlining your approach. Could you give a specific example of a student-led studio or collaborative space that emerged after graduation, and describe your involvement in its early development?

After being graduated, postgraduated.

Thank you for describing your ongoing engagement with graduates. When your former students form these collaborative studios after graduation, what strategies do you use to help them maintain relevance with evolving industry trends in emerging technologies?

So we. I work as a kind of. Mediator. Where I know somebody is looking for. Young fresh student. Who is talented? And if I get to know. I would like to direct them. And say no. And please visit. That space that. Student. It might be interesting for you.

You described acting as a mediator by connecting young graduates with practitioners and opportunities—can you share a specific instance where this networking directly resulted in a substantial career advancement for one of your students?

It's a student called Jamie Jariwala.

What was your specific role in helping Jamie Jariwala secure that opportunity, and what follow-up, if any, did you provide after the initial introduction?

She was.

What was your specific role in helping Jamie Jariwala secure that opportunity, and what follow-up, if any, did you provide after the initial introduction?

Trying to continue her practice. There were economic. Pressures. There were financial pressures. To sustain independently.

She was in very, very bad shape. Where there was a constant pressure from the family. Asking her to. Prove our worthiness.

You mentioned Jamie faced significant financial pressures after graduation—what concrete steps did you take to help her overcome those challenges and continue her practice?

That believed that she can continue to practice.

You highlighted the financial and familial pressures Jamie faced—what specific resources or professional connections did you leverage to support her transition into a sustainable practice at that time?

So it was a space where she was. Financially in a wet space.

You mentioned Jamie was under pressure to prove her worthiness—what was the turning point where she was able to secure her first significant opportunity, and how did you facilitate that moment?

There was Precious from the family. And that resulted her. In the degrees of interest.

You highlighted the financial and familial pressures Jamie faced—what specific resources or professional connections did you leverage to support her transition into a sustainable practice at that time?

In that kind of situation.

You mentioned Jamie's decreased interest due to family pressures—what specific strategies did you use to help her rebuild confidence and motivation during that difficult period?

I happen to speak to her. We she consulted me. And I felt it is my moral responsibility. I kept that in my hand. Head and.

You described Jamie being in a difficult financial and motivational situation—at that point, what specific steps did you take as her mentor to help her regain her footing and continue her creative practice?

Right, you mentioned feeling a moral responsibility—what was the first concrete action you took to support Jamie in that situation, and how did you decide what would be most helpful for her at the time?

I introduced her.

Roxanne visited her space.

After you introduced Jamie to Rukshan Art, what role did you play in helping her navigate that new professional environment and establish herself within the gallery community?

And I introduce her. To the alternative platform. Of Instagram. Before, she was using an Instagram. To pick, put her. Personal pictures and personal stories. I said that could be a curated space. Now people don't travel so much. But people do. Look into Instagram. And look for serious practitioners.

After Jamie was introduced to Rukshan Art and Roxanne visited her space, what specific outcomes followed from that meeting—did it lead to an exhibition, a collaboration, or another concrete opportunity for Jamie?

That advice change your life.

You advised Jamie to use Instagram as a curated space for her professional work—how did you help her develop an effective online presence, and what impact did that shift have on her engagement with galleries or collectors?

She started to curate her. Instagram page. In a very, very professional way. Updating. A lot of. Working progress. The completed progress. And now I must say that. Jarivala is in a very good space. Where she's constantly showing with important galleries exhibiting at various. And a financial space is well resolved. And now she is a serious practitioner. Continuing her practice. In Surat.

You mentioned that your advice to use Instagram as a curated professional platform changed Jamie's life—can you share a concrete example of a direct outcome or opportunity she gained specifically because of this shift in her online presence?

Thanks for sharing that journey. Reflecting on your broader teaching experience, how do you ensure students who may not seek you out—those who are struggling silently—also receive the kind of mentorship and opportunity you gave to Jamie?

It's a very, very, very interesting question. I'm happy that.

You're asking me this question because that's allowing me to reflect on so much of experience that has.

I'm glad you found the question engaging. What early warning signs do you look for in your classroom or mentoring environment that indicate a student might be struggling but hasn’t reached out?

Seek into in the last. Uh, over the decade of teaching. There are many, numerous.

I appreciate your reflection. What early warning signs do you look for in your classroom or mentoring environment that indicate a student might be struggling but hasn’t reached out?

Incidents where I do feel the same. That not. All are vocal, not all would approach. There are many silent students.

Right, you mentioned reflecting on your decade of teaching. Can you share a concrete example where you successfully identified a silent struggler and how you intervened to support them academically or personally?

Who may need some extra time?

That’s a thoughtful perspective. When you notice a student withdrawing or their participation dropping, what specific steps do you take to re-engage them or understand what’s going on beneath the surface?

Right, recognizing that some students need extra time, can you describe a specific strategy or classroom practice you use to help bring these quieter students into active participation without putting them on the spot?

That also gives. Uh, different perspective because I. Do have students? Who doesn't have? Who comes from the? Aerial Spectrum. They are differently abled.

And for them, the journey is a little more tough.

Okay, given your experience working with differently abled students, can you describe a time when you adapted your teaching approach or materials to ensure they had equal access to learning in your classroom?

I have a student who has difficulty to communicate.

You mentioned having students from the "aerial spectrum" and those who are differently abled; can you give a specific example of how you adapted your teaching methods to accommodate a particular student's needs in your classroom?

I also had a student.

Thank you for sharing that. When working with a student who has communication difficulties, what specific adjustments have you made in your assessment methods to fairly evaluate their understanding and progress?

I appreciate the detail you're sharing. Earlier, you mentioned adapting your approach for a student with communication difficulties—can you describe a specific adjustment you made to your assessment process to ensure fairness and accuracy in evaluating their understanding?

Her responses were.

Very, very non articulative.

You mentioned having a student whose responses were different—can you describe how you adjusted your feedback or communication style to ensure she still felt supported and motivated in your class?

Over the years of. Teaching what I've learned. Is how to communicate with them. In various. Capacities.

Thank you for explaining the challenges some students face with articulation; could you share a concrete example of how you provided alternative ways for that student to demonstrate understanding—perhaps through visual work, portfolios, or another method?

It has increased. A tremendous level of patience within me.

You mentioned learning to communicate with students in various capacities—can you describe a specific strategy or tool you've used to bridge the gap with those who are non-articulative?

As a mentor, I should be very, very patient.

That patience you mentioned is crucial. When you have a student who is non-articulative, what specific strategy have you found most effective for encouraging them to participate or express their understanding in class?

Patience is indeed vital. When supporting students who are differently abled or communicate differently, can you share a specific instance where your approach helped a student achieve a breakthrough or show significant progress in their learning?

And also. Give them guidance. Through alternative mediums.

So one of the examples that I could give. If I get a kind of. Opportunity. If I've known that there's an opportunity there, if there's a scholarship, there's a proposal for exhibition. There's an award that somebody can apply.

Right. For students who are less vocal and may not engage in traditional class participation, what specific alternative medium or method have you found most successful in helping them demonstrate their understanding of the material?

And make sure that these group of students. Are still in communication with me. That I do. In in a way. This is very tongue, tongue and cheek solution. Maybe it it is like through WhatsApp groups.

Understood. When you identify an opportunity like a scholarship or exhibition that fits a quieter or differently abled student, how do you approach encouraging them to apply—do you adapt your communication or provide extra support in that process?

So various. Academic batches.

That’s practical. When you use WhatsApp groups or similar channels to keep these students in the loop, how do you tailor your messages or outreach so quieter or less confident students feel encouraged to respond or pursue those opportunities?

Have been communicated through WhatsApp groups.

Interesting. Since you've managed multiple academic batches and diverse student needs, what structured approach or tool have you found most effective for tracking individual student progress—especially for those less likely to self-advocate?

And then? And communicate those opportunities. Through those mediums.

That sounds like a proactive approach. Could you share a specific example where your use of WhatsApp groups or similar digital channels led to a noticeable positive outcome for a quieter or differently abled student?

Does those who cannot. Verbally communicate to me. They do text. Do they they do write emails and respond to them. With silent and a patient. Manner.

Acknowledged. You mentioned guiding students toward opportunities like scholarships and exhibitions—can you walk me through how you mentor a student through the process of preparing a research proposal, especially if they're new to academic writing?

Thank you for sharing those strategies. Professor, drawing on your experience mentoring differently abled or less vocal students, how do you evaluate their understanding and progress in technology-focused courses where traditional exams or presentations may not suit their communication style?

Raven.

When it comes to evaluation. I do believe that I have various tools to assess them.

Understood. When you need to assess the technical skills of a student who communicates primarily in writing rather than verbally, what specific alternative assessment methods have you found most effective in ensuring fairness and accuracy?

For example. I have students. Who suffer from dyslexia.

Right, you mentioned having various tools for assessment—can you give a specific example of a non-traditional evaluation method you've used for a student who struggles with verbal communication, and how you ensured it accurately reflected their mastery of technical content?

And they have.

Right, for students with dyslexia, could you describe a specific technology-based assessment—perhaps a project or interactive task—you’ve used to evaluate their practical skills, and how you ensured fairness in grading?

Problems while writing the exam. Theoretical examples.

Understood. When assessing students with dyslexia, what is one concrete adjustment you’ve made to a technology course’s evaluation process to ensure they can demonstrate their knowledge fairly?

Okay. Could you share a specific instance where you used a technology tool or platform to help a student with dyslexia demonstrate their understanding, and explain how you measured their success?

I won't give an example. I don't have an example of a dyslexia student, but I have a example, the very direct example with a student who has learning as. Listening and. Speaking difficulties? To communicate to him I was before using writing tools. On his notepad. But very recently I had used software. I do not remember the name of the software, but that is a software. I could speak. And that is translated into a writing. My speech is converted into. Worked and he could read that word. And then he could. Also explained. Me by writing back. This is 1 measurable account that I have, but I'm sorry that I do not remember the name of the software right now.

Thank you for clarifying. When you used that speech-to-text software for two-way communication, how did you evaluate whether the student actually grasped the technical content, beyond just being able to respond?

Yeah, it's a very beautiful question that was very difficult at the beginning to understand whether he's getting the concepts very clear. But that also asked me to. Go very, very slow. So that particular student or those group of student wouldn't require extra time. So giving them extra time in that classroom had helped them. Help me to understand if they're translated. And that. If to to assess. To evaluate whether they've understood my. Concepts that is reflected through her, their artwork and their journal writing.

Thank you, Professor. Earlier you mentioned evaluating students' understanding through their artwork and journal writing; could you describe a time when a student's project or journal revealed a misconception about a technology topic, and how you addressed it with them?

Thank you.

Thank you.

Got it, Professor. Earlier you mentioned evaluating students' understanding through their artwork and journal writing; could you describe a time when a student's project or journal revealed a misconception about a technological concept, and how you addressed it?

Thank you for sharing that. Professor, can you provide an example of how you structured a group project in an emerging technology course to ensure all students—including those with diverse learning needs—could contribute meaningfully and demonstrate their individual strengths?