Embed Size (px)
Citation preview
Thesis Preparation... Rules for EngagementWEEK 01
Week 01
Letters to the future
Thesis fictions
Having an experience
Thesis framework
Make a psuedo-structure (e.g., a framework)
Sample fiction
An experience
An experience
materials form purpose
An experience
materials form purpose
aesthetic experiences
intellectual experiences
practical experiences
An experience
materials form purpose
patterns among experiences
traits in every experience
An experience
materials form purpose
interest & purpose separate experiences
experiences that rise above the threshold of perception
An experience
materials form purpose
interest & purpose separate experiences
experiences that lift above the threshold of perception
patterns among experiences
traits in every experience
aesthetic experiences
intellectual experiences
practical experiences
3. Why p. 55
2. How p. 44
1. What p. 36
“Having an Experience,” John Dewey
An experience
materials form purpose
interest & purpose separate experiences
experiences that lift above the threshold of perception
patterns among experiences
traits in every experience
aesthetic experiences
intellectual experiences
practical experiences
3. Why p. 55
2. How p. 44
1. What p. 36
“Having an Experience,” John Dewey
Diagram drawn from Richard Buchanan, Carnegie Mellon University, 1998
Defining an ideaWhat is it?
Who is it for?
Why do it?
What/Where will its effect be?
How will you do it?
Who will be involved?
Criteria for a thesis ideaInnovation: New knowledge?
Meaningfulness: Relevant and meaningful?
Impact: Larger than class project? Program?
Groundedness: Able to produce work? Feasible?
Viability: =Demonstratable?
Story: Tell a compelling story?
Aesthetic quality: Well designed?
Thesis committee
Subject matter expert
Thesis faculty
Department chair
Technical advisor (shared)
Frameworks
CREA
TOR
CON
SUM
ER
CREA
TOR
CON
SUM
ER
CREA
TOR
CON
SUM
ER
We create frameworks that allow people to improvise.
FRAMEWORK
Unstated rules implicitly set by the character of some entity where the interaction occurs
IMPROVISATION
Creating in the moment in response to environment; results in invention of new patterns, practices, structures, behaviors
Attributes
Present
Detectable
Responsive
Additive
Involves the audience
Requires no pre-knowledge
Defines parameters
Accepts all offers
“pseudo-structure”
“yes, and...”
“OVERTHINKING”
1 Present: Involve the audience
STREET VENDORS
STREET VENDORS
2 Responsive: Define parameters
hello health
PROJECT H, LEARNING LANDSCAPE
3 Detectable: No pre-knowledge
LOCAL PROJECTS MEDIA DESIGN PROCESS 47
LOCAL PROJECTS, JETBLUE STORY
KICKSTARTER
4 Additive: Accepting all offers
POP-UP LUNCH
ZERO ENERGY MEDIA WALL
MAKE A PSEUDO-STRUCTURE (e.g., framework)
Create a pseudo-structure based on your color. (e.g., Write a song, create an alphabet, compose a painting.)
Image: Frank Chimero
Thesis fictions
Fictitious thesis fiction
1970s
NYC 1959
JOHN COLTRANE, MILES DAVIS, 1959
MILES DAVIS, 1959
MILES DAVIS, 1959
Classical notation:
Jazz notation:
GIANT STEPS
ClassicalLeaves no room for participation
Requires prior knowledge
Judged on “right way”
Evaluated as fixed in time
Viewed as sets of “original works”
Stability
MUSIC FRAMES
ClassicalLeaves no room for participation
Requires prior knowledge
Judged on “right way”
Evaluated as fixed in time
Viewed as sets of “original works”
Stability
MUSIC FRAMES
JazzBased on participatory methods
Requires little prior knowledge
Judged on deviation from original
Evaluated as interactive
Viewed as “interpreted works”
Creative instability
ClosedRequired specialized knowledge
Judged on “right way”
Left no room for participation
Evaluated as fixed in time
Viewed as original work
DESIGN FRAMES
ClosedRequired specialized knowledge
Judged on “right way”
Left no room for participation
Evaluated as fixed in time
Viewed as original work
DESIGN FRAMES
EmergentRequires no specialized knowledge
Judged on deviation from original
Based on participatory methods
Evaluated as interactive
Viewed as mediated content
Artifacts Behaviors
Closed Emergent
Predetermined Present
SHIFTS
Orality Literacy+
ORAL TRADITION
MILMAN PARRY
“modal jazz”
thank you.
next: week two
MAKE ANOTHER PSUEDO-STRUCTURE
Create a pseudo-structure (e.g., framework) that inspires action. At least one person must participate in it. Demonstrate structure and participation in some way.
Image: Frank Chimero
