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Running order for your presentations

Unit 8 – Culture & Context – Level 2 Chelsea

Wednesday December 5th   

 All will be ready in the Upper Casket by 9.55am for a 10am prompt start.

The smaller room with the computers in the upper casket will be used as a ‘dressing room’ and the next two groups will be preparing quietly for their presentation while another is preforming. When the group performing has finished you will have 5mins to set up and be ready to present.

This is the running order, but you should all be prepared to go on next just in case of technological or costume malfunctions.

1. The Pheromones

2. LOCKA

3. JucyShaC 

4. KEEEEN

5. TshilliConSally

7. Se7en

 8.  NAME?

 9. VI

Mark Ingham | November 2012

PDF: Wednesday December 5th Running order for the presentations

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 “Did you ever observe to whom the accidents happen? Chance favours only the prepared mind.” – Louis Pasteur

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Brief: 1,000 word report (0r The Choice is Yours)

Unit 8 Culture and Context

Write a minimum of 1000 words on your understanding of what your group’s topic meant to you. You may use as many illustrations as you wish with this submission and put in one single PDF.

Please follow the structure given below.

Put your name and the name of your group at the top of the page and give your writing a title and not a boring one.

1. First of all introduce and discuss the idea your group selected to research and how you then went about researching this as a group. Explain clearly the different roles with in the group and how you worked together. Evaluate how the group operated and how your input helped the group come to a better understanding of the terms.

2. Write a short review of your presentation and descried what its aim was and evaluate whether you thought that it was successful or not. Indicate how you would improve this next time you have to perform a group presentation. Include images of the presentation and if you have made a film then give the link to Youtube/Vimeo as well.

3. Describe and analyse your own research you carried out for the group and say want you did and what you learnt from this experience. You should then go into more depth about the idea your group chose and see if you can connect them with changes in how Art and Design is produced and consumed today. This should reflect your thinking about the subject chosen and you should include references to the material you use to improve your understanding of the subject.

4. Include a full bibliography with this Report and a list of illustrations, which are also fully referenced. You will need to cite in the text any information that you got from any source whether you directly quote or paraphrase. It will look like this (Ingham 2012).

Before you do this please read thoroughly the UAL handbook on Harvard Referencing, which is the style we would like you to use throughout your academic career at Chelsea

See:http://www.arts.ac.uk/induction/sites/default/files/resource/2010/09/harvard-ual-zotero-lp-2012.pdf

Also before you start writing read carefully the article “Seven secrets of stylish academic writing” and put into practice what Helen Sword argues is a good way of writing academically.

See: http://theconversation.edu.au/seven-secrets-of-stylish-academic-writing-7025

Mark Ingham | November 2012 | m.ingham@arts.ac.uk

Brief- 1,000 word report (0r The Choice is Yours) PDF

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Seven secrets of stylish academic writing

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Academic writing doesn’t have to be old and dusty. Wyoming_Jackrabbit

Imagine that the editor of a widely-read magazine or, say, The Conversation has heard about your academic research and invited you to contribute an article. But you only know how to produce stodgy, impersonal papers for peer-reviewed disciplinary journals.

How do you undo years of scholarly training and learn to write like a human being?

It’s a dilemma many academics face when engaging with print or online media for the first time, so here are seven tips to turn your jargon into energetic prose that anyone can understand.

Start with the title

The titles of academic articles are typically abstract, technical, and utterly uninviting,such as:

“Social-Organizational Characteristics of Work and Publication Productivity among Academic Scientists in Doctoral-Granting Departments”

To send a more welcoming signal to potential readers, try phrasing your title as a question (“Why Are Some Scientists More Productive Than Others?”), a provocative statement (“Productivity Hurts”), a metaphor (“Productivity: Holy Grail or Poisoned Chalice?”) or other memorable phrase (“The Productivity Paradox”).

Wherever possible, opt for simple, concrete language.

“Snakes on a Plane” is an inviting title; “Aggressive Serpentine Behaviour in a Restrictive Aviation Environment” is not.

Follow with an opening hook

“Scientific work takes place in organisations that may either facilitate or inhibit performance and within a larger, social community of science that may limit, constrain, or stimulate the development of ideas and actions.”

Yawn – you’ve already lost us. Follow up your engaging title with an opening paragraph that contains a question, quotation, anecdote or description: a vivid scene, a surprising fact.

Toss your readers into the middle of a story that has already begun.

Tell a story

The stories we like best have real people in them. Consider making yourself the central character in a tale of academic challenge and discovery.

Alternatively, find another human face to focus on: the cancer patient helped by a new treatment, the student who confronted and overcame a conceptual roadblock, the artist who struggled to find an appropriate aesthetic form for conveying the horrors of war.

With practice, you can learn to craft an equally compelling story featuring non-human characters: seagulls, red blood cells, a theorem, a text.

Be human

Remember you are a human being writing for other human beings.

Whether or not you employ the personal pronoun “I”, cultivate an authoritative yet conversational voice that invokes confidence and trust.

Read a few paragraphs aloud to yourself or to a friend. Do your sentences sound as though they’ve been produced by a robot? Or can you hear a real person speaking?

Be concrete

Academics typically traffic in abstract language. Readers, however, grasp abstract concepts best when they are grounded in the physical world.

Martin Luther King Jr’s “I Have a Dream” speech vividly illustrates this principle:

“I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.”

King invokes a colourful landscape (the red hills of Georgia), stocks it with human characters (the sons of former slaves and the sons of former slave owners) and gives those people something to do (sit down together at the table).

Not until the end of the sentence does he deliver the abstract noun at its heart. Brotherhood, King shows us, is not just an empty ideal but a place, an action, a shared meal.

Vary your verbs

Verbs are the batteries that power your sentences. Flat, predictable verbs produce flat, predictable prose:

“The focus of archaeological research on technology as an adaptation has, according to some, removed technologies from the historical circumstances in which they came into existence.”

Active verbs, by contrast, supply vigour and verve:

“Insects suck, chew, parasitize, bore, store, and even cultivate their foods to a highly sophisticated degree of specialization.”

Verbs pack their strongest punch when they directly follow a noun and when both agent and action can be clearly identified.

Compare the subject-verb cores of the two sentences above: “The focus … has … removed” (what is this sentence really about?); “Insects suck, chew, parasitize, bore, store, cultivate” (you can practically see those ravenous insects swarming).

Sweat the details

Writing baggy, lazy prose is easy; writing clear, lively prose is hard. Stylish academic writers hone and polish their sentences until they gleam.

They are ruthless about eliminating clutter (“From an analysis of the resulting data it can be seen that …”) and meticulous about word choice, syntax and flow. They work hard on their writing so their readers won’t have to.

These “secrets”, of course, are not secrets at all; they are core principles of effective written and oral communication. Put them under your pillow and breathe them into your dreams.

Whatever your subject matter or audience, they will help you energise your lectures, sharpen your grant applications, and produce more consequential research.

Helen Sword’s new book, Stylish Academic Writing, is published by Harvard University Press. You can find out if your own writing is “flabby or fit”, by running a few samples of your work through the Writer’s Diet test.

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Shoot!


EXISTENTIAL PHOTOGRAPHY

http://thephotographersgallery.org.uk/shoot-existential-photography

Admission £5/£3 Concs
12 October 2012 – 6 January 2013
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©Kate Elliott

INFO
In the period following World War I, a curious attraction appeared at fairgrounds: the photographic shooting gallery. If the punter’s bullet hit the centre of the target, this triggered a camera. Instead of winning a balloon or toy, the participant would win a snapshot of him or herself in the act of shooting.

Shoot! Existential Photography traces the history of this fascinating side-show – from its popular use at fairgrounds to how it fascinated many artists and intellectuals in its heyday, including Simone de Beauvoir, Jean-Paul Sartre, Man Ray and Lee Miller. The artist Erik Kessels celebrates one shooter in particular – Ria van Dijk, who took portraits of herself in this way every year from 1936 – sixty of these images feature here.

Investigating numerous analogies between taking photographs and shooting, the exhibition includes works by many contemporary artists including Sylvia Ballhause, Agnès Geoffray, Jean-François Lecourt, Christian Marclay, Steven Pippin, Émilie Pitoiset, Niki de Saint Phalle, Rudolf Steiner and Patrick Zachmann.

To artist Rudolf Steiner the camera also serves as a target. In his series Pictures of me, shooting myself into a picture, the bullet hole serves as the aperture for a pinhole camera, creating an image upon impact. The video-sound installation Crossfire by Christian Marclay is a sampling from Hollywood films that edits together those moments in which the actors on the screen begin to take aim at the movie theatre audience. For eight minutes and twenty-seven seconds, the montage transports the viewer into a visual and acoustic crossfire from all sides.

At the end of the exhibition, visitors (18+ years) have the opportunity to take their own portraits in a photographic shooting gallery.

 

Exhibition curated by Clément Chéroux and co-produced by the Rencontres d’Arles and the Museum Für Photographie, Braunschweig

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Designed relations

Interdisciplinary instruments for possible relational aesthetics in communication.

From: http://www.participativedesign.com/research/designed-relations/

write@participativedesign.com
silviadots@gmail.com

http://bit.ly/RX0Hnb

participativedesign.com proposal is to collects writings and projects concerning collective design experiences. We are mapping this theme in different contexts: communication design, relational art, public installations, video production, exhibition design, webdesign, urbanism and much more, believing that citizen participation could be a key issue in design innovation.
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Courtesy of Hisham Akira Bharoocha.

Since the beginning of the twentieth century, graphic design has created a language, has achieved professional authority, has ventured to overlap with other disciplines and allowed other disciplines to model its development. A special link between visual communication and visual art has always existed: if we look at visual art as a form of expression of society values, it is easy to understand its influence on the language the designer has to create to speak to the public at large, a revision of that of everyday life, that art tries to capture in its forms. The intrinsic link between the two disciplines is particularly evident in this period: many are the personalities whose work can be placed in an intermediate field between art and graphic design. The mistake often made is trying to give borders, to define the two subjects, forgetting the interest in the work content and its communicative and social power. After all, the raw material used by the artist and the designer is the same and also the role society gives them today is similar: director, producer, stage designer, composer, programmer and we could add also DJ, called to organize, remix, give new function to existing cultural forms in new contents.
Art in its development, started to move slowly, at first only in the spectator’s retina, then by means of small motors, sometimes only moved by wind gaining more and more speed until it left the galleries as in Daniel Buren’s white and green striped paintings, invaded towns as in Nouveau Realism’s experiments, until it created experiences involving all the spectator’s five senses. Gruppo T’s environments, GRAV’s experiments, Debord’s films but also Duchamp’s first ready made do not mean anything without the presence of the spectator. Today Marina Abramovic and Vanessa Beecroft’s performances, Rikrit Tiravanija’ dinners, Pierre Huyghe’s billboards, Sophie Calle’s projects do not live without the relationship with the spectator, but they also add something more: the relationship between the work and the space it takes and most of all the relations that will be established among the public. Relational art takes the last step towards the spectator. The spectator’s participation, theorized by happenings and performances, has become a constant of artistic practice: perhaps it is better to say that the relation between work and spectator is what makes an object a work of art, as Duchamp says ce sont les regardeurs qui font les tableaux.
Nicolas Bourriaud in his essay Estetique relationelle, is the first to define this new trend in contemporary art:
After its control over the relationships between humanity and divinity, and afterwards between humanity and the object, art concentrates on the sphere of interpersonal relationships, as the first works that have been produced since the early 1990s testify.1
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Continue reading at: http://bit.ly/RX0Hnb

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« […] people in the design world should begin to look deeper not only into the political scene, but also in the possibility of helping people to change. Participation may be one educational approach toward this. […] So I think that people who are experts should go to people who have lack of knowledge, and say “We can help you with our knowledge, but you can help us by the way you see things when your view is not clouded by all our knowledge of feasibility, of procedures, and so on.” In that way, you may receive an invaluable challenge to your abilities, which will force you to re-think all that you have been doing before.»Robert Junk in Cross, N. (Ed.) (1972) Design Participation: Proceedings of the Design Research Society’s Conference,
Academy Editions, London, UK.

Viral Utopias

The Virality part of this free event (see below) will now be a collaboration between Tim Vogt, Francesco Tacchini, Nik Vaughn and Tony D. Sampson. We will be responding to the idea(l) of a viral utopia using academic voice, VJing, bass guitar and turntable.

Viral Utopia: What kind of Ontology is This?

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RSVP ESSENTIAL

http://www.eventbrite.com/event/4688544563

Viral Utopias launch event on Friday November 16th

Viral Utopias Friday November 16th – 7PM til 1AM @ LimehouseTown Hall

Panics, plagues, and politics. Countless times the death of politics, utopia and neoliberalism has been proclaimed… and just as many times the lumbering remains of our conceptual apparatuses dust themselves and trundle on again… mutating their movements in unfolding recombinatory patterns.

Come join us to celebrate the release of several new publications exploring this overlap between the utopian and the viral, the networked and the not-worked: Virality: Contagion Theory in the Age of Networks by Tony Sampson; Contract & Contagion: From Biopolitics to Oikonomia by Angela Mitropoulos;

Open Utopia by Thomas More & Stephen Duncombe; and the current issue of Mute Magazine, ‘Becoming Impersonal’ Vol.3 #3.

DJS Agit Disco DJs http://www.metamute.org/shop/mute-books/agit-disco LIVE BANDS Traum – London-based chanson for lovers of neo-romantisch perverse pop http://snd.sc/PqsQb1 Hungry Hearts – whisky filled gruff folk punk: http://www.myspace.com/thehungryhearts

VENUE Limehouse Town Hall 646 Commercial Road London E14 7HA RSVP ESSENTIAL http://www.eventbrite.com/event/4688544563

ABOUT THE PUBLICATIONS Virality: Contagion Theory in the Age of Networks – Tony D Sampson with Tim Vogt, Francesco Tacchini and Nik Vaughn http://www.upress.umn.edu/book-division/books/virality Contract & Contagion: From Biopolitics to Oikonomia – Angela Mitropoulos http://www.akpress.org/contract-contagion.html Open Utopia – Thomas More & Steve Duncombe http://theopenutopia.org/ Mute, ‘Becoming Impersonal’, Vol.3 #3 http://linkme2.net/sx

About Virality Tony D. Sampson is a London-based academic and writer currently lecturing at the University of East London. A former musician, he studied computer technology and cultural theory before receiving a PhD in sociology from the University of Essex. His ongoing interest in contagion theory is reflected in his recent publications, including The Spam Book: On Viruses, Porn, and Other Anomalies from the Dark Side of Digital Culture (2009), which he coedited with Jussi Parikka. His new book, Virality: Contagion Theory in the Age of Networks is published by the University of Minnesota Press in August 2012

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