uni work

1. STRATEGIES 3

2. STRUCTURING YOUR PROPOSAL AND VISUAL PRESENTATION

3. 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 Pentik ain en University of the Industrial Arts Helsinki

4. 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

5. YOUR PROPOSAL SHOULD HAVE LIMITS - IT IS NOT A CATCH ALL DOCUMENT YOU ARE REQUIRED TO CAREFULLY DEFINE THOSE LIMITS

6. CAN YOU BE ARTICULATE ? THAT IS: FLUENT AND COHERENT

7. 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

8. EXAMPLE: COULD YOU ACCURATELY DEFINE YOUR PRACTICE WITHIN 45 - 60 SECONDS ?

9. 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)

10. THE STRUCTURE TITLE / DEFINES DIRECTION A CONCISE INTRODUCTION / ARTISTS STATEMENT THE BODY OR CONTENT / THE EVIDENCE CONCLUSION BIBLIOGRAPHY

11. 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

12. USING A TITLE TITLES ALLOW FOR AN IMMEDIATE POINT OF REFERENCE SUB-TITLES DEFINE THE REFERENCE

13. FRONT 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

14. TITLE PAGE BETWIXT WINDOW AND MIRROR SELF PORTRAITS AND THE FICTIONAL PERSON CINDY WOMAN BA(HONS) PHOTOGRAPHY / 2009 MODULE: INDIVIDUAL PROGRAMME ONE

15. 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

16. 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

17. 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

18. 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…’

21. PRESENTATION / TEXT UNJUSTIFIED

22. PRESENTATION / TEXT JUSTIFIED

23. PRESENTATION / IMAGES SEPARATE

24. PRESENTATION / IMAGES EMBEDDED

25. PRESENT AS A SPIRAL BOUND DOCUMENT

26. YOUR POWERPOINT PRESENTATION: CONTEXT & EVALUATION (Based on the Learning Outcomes) Load on laptop: TUESDAY 8 DECEMBER FROM 2.00 - 4.00 / H23

27. PHOTOGRAPH AS AN OPENING SLIDE WITH TITLE Get the audience interested

28. FRONT 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

29. SECTION THE PRESENTATION INTO THE ‘LEARNING OUTCOMES’ AND A CONCLUSION This structure will help you identify what you have produced / learnt

30. IMPORTANT Do not take the audience for granted, demonstrate your knowledge

31. 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

32. FRONT COVER CONCLUSION WHERE NOW FOR SEMESTER TWO ?