WHY WRITE ?
We live surrounded and influenced by images, we
understand, explain, and analyze images using language.
We narrate in order to understand. It seems that analysis
and verbal discussion of images is more important than ever;
the language of thought is able to name emotions, give
definitions, develop concepts and formulate stories
Johanna Pentikainen University of the Industrial Arts Helsinki
THE VALUE OF WRITING IS THAT IT HELPS PUT YOUR OBJECTIVES INTO FOCUS
1. THE DOING / WHAT HAS BEEN DONE
2. WHAT YOU HAVE LEARNT / FUTURES
THEREFORE THE WRITING HAS ITS ROOTS IN THE WORK
YOUR PROPOSAL SHOULD HAVE LIMITS - IT IS NOT A CATCH ALL DOCUMENT
YOU ARE REQUIRED TO CAREFULLY DEFINE THOSE LIMITS
THEREFORE IT SHOULD NOT BE UNDERSTOOD AS
SOMETHING EXTRA OR SOMETHING DIFFERENT –
THE OBJECTIVE IS TO EXPLAIN YOUR WORK TO
YOURSELF AND TO AN AUDIENCE
THE OBJECTIVE OF A PROPOSAL IS:
FITNESS FOR PURPOSE
CONFIRMATION OF YOUR PRACTICE
TO IDENTIFY AND PROVIDE EVIDENCE OF KNOWLEDGE AND SKILLS FOR TUTORS AND
EXTERNAL EXAMINERS
(PROPOSAL IS SENT TO EXTERNAL)
THE STRUCTURE
TITLE / DEFINES DIRECTION
A CONCISE INTRODUCTION / ARTISTS STATEMENT
THE BODY OR CONTENT / THE EVIDENCE
CONCLUSION
BIBLIOGRAPHY
WHAT SHOULD A PROPOSAL
INCLUDE?
ILLUSTRATED WITH OWN WORK (CAPTIONED)
ILLUSTRATED WITH REFERENCES TO OTHER PRACTITIONERS / PRACTICES (CAPTIONED)
APPROXIMATE COSTINGS
TIMESCALE (DEGREE SHOW DATE / 21 APRIL 2010)
RISK ASSESSMENTS
FRONT COVERFRONT COVER
B E T W I X T W I N D O W A N
D M I R R O R
SELF PORTRAITS AND THE FICTIONAL PERSON
CINDY WOMAN
COVER
TITLE PAGE
BETWIXT WINDOW AND MIRROR SELF PORTRAITS AND THE FICTIONAL PERSON
CINDY WOMAN
BA(HONS) PHOTOGRAPHY / 2009
MODULE: INDIVIDUAL PROGRAMME ONE
TITLES
EXAMPLES:
PULP SURREALISM Insolent Popular Culture in Early Twentieth-Century Paris
CITY GORGED WITH DREAMS Surrealism and Documentary Photography in Interwar Paris
PHOTOGRAPHY & SURREALISM Sexuality, Colonialism and Social Dissent
KEY WORDS / KNOWLEDGE BASED USE
AVOID DICTIONARY DEFINITIONS THAT DO NOT
REFLECT ‘SPECIALISED’ USE OR
USE THE DICTIONARY DEFINITION AS A STARTING POINT WHICH
CAN THEN BE REFINED TO MAKE YOUR POINT BETTER
THE BODY
THIS SHOULD CLEARLY DEFINE BOTH THE CONTEXT AND
FUNCTION FOR THE WORK YOU ARE PRODUCING
CONTEXT = PLACEMENT OF WORK (Where)
FUNCTION = AIM OF WORK
With appropriate ‘critical’ references / confirming and/or contesting
THE BODY
MOST IMPORTANTLY
AVOID THE NAÏVE OR GENERALISED STATEMENT
‘My photographs are artistic and good to look at….’
‘His / Her photographs are like mine…’
AND LIKES OR DISLIKES
‘I really like these photographs, the colours are nice…’
JUDGEMENT
1. RELEVANCE OF MATERIAL TO PROPOSAL
2. EVIDENCE OF UNDERSTANDING
3. STRUCTURE AND ORGANISATION
4. EVIDENCE AND RELEVANCE OF BACKGROUND READING
5. MATERIAL REFERENCED
6. STYLE APPROPRIATE FOR PURPOSE
7. SPELLING AND GRAMMAR
8. PRESENTATION
PRESENTATION
1. KEEP THINGS SIMPLE (FIT FOR PURPOSE)
2. AVOID ORNATE FONTS (ACADEMIC DOCUMENT)
3. FONT SIZE (10PT - 12PT)
4. LINE SPACING (1.5 LINE SPACED)
5. MARGINS AS CATALOGUE
6. TEXT JUSTIFIED, QUOTES UNJUSTIFIED
7. ARE IMAGES EMBEDDED OR SEPARATE?
YOUR POWERPOINT PRESENTATION:
CONTEXT & EVALUATION (Based on the Learning Outcomes)
Load on laptop:
TUESDAY 8 DECEMBER FROM 2.00 - 4.00 / H23
FRONT COVERFRONT COVER
B E T W I X T W I N D O W A N D M I R R O R
SELF PORTRAITS AND THE FICTIONAL PERSON / CINDY PERSON
SECTION THE PRESENTATION INTO THE ‘LEARNING
OUTCOMES’ AND A CONCLUSION
This structure will help you identify what you have produced / learnt
LEARNING OUTCOME 1: E N Q U I R Y
Identify, access and use appropriate sources of information and carry out useful
experiments with image making processes and techniques, in the development of a
self-initiated photographic project