- My first draft for assignment 2
- My revised planner following feedback by assignment 3. This includes more detail for chapter 2 and the addition of the thoughts of O’Sullivan ( 2001) and Edwards (2012) on affect, as well as more detail for the conclusion.
- My final amended dissertation plan following my decision to restrict my artist study to Minor White and with my planning for Chapter 3 with an increased content on the impact of the audience on meaning, particularly for chapter 3 to link in with the Minor Case study. Chapter 3 has expanded as I realised the need to use his work to example how visual methodologies and knowledge of the context of an artist helps with understanding the expression and meaning in their work. The impact of the audience is circular here.
C &S ASSIGNMENTS
CONTEXTUAL STUDIES: DISSERTATION PROPOSAL
Redraft for assignment five:
CONTEXTUAL STUDIES: DISSERTATION PROPOSAL
Redraft for assignment 3:
CONTEXTUAL STUDIES: DISSERTATION PLANNER
First Draft for Literature review:
CONTEXTUAL STUDIES: CRITICAL REFLECTIVE SUMMARY OF DISSERTATION CHANGES
CRITICAL REFLECTIVE SUMMARY
Throughout draft assignment five I have refined my writing to:
- Make it less dense.
- Linked short paragraphs to increase the flow e.g., page 8 paragraph 2, page 9 Paragraph 2, and page 14 paragraph 2.
- Revised to read for a reader coming it cold.
- Ensured that critical terms are defined at least once for each one.
- I have used the academic phrasebook but could revisit.
- I have added description, denotation to most images, e.g. page 10 and page 13.
- Write in the third person.
- Added in suggested extra reading.
Where I have refined I have particularly concentrated on ‘reverse engineering’, which I think I took to quite well and to change it from more of a literature review style using quotes to support a point, rather than quoting and then explaining the quote. For example:
Page 7, 2nd and third paragraphs
Page 15, 2nd paragraph
Page 16, last paragraph
I have tried to increase my use of PEEL, Point, Evidence/Example, Explanation, Link, but more work may be needed on this.
I am unsure whether I have included sufficient on context as determinant of meaning.
Specifically, I have :
- Added Hall’s description of representation.
- Some modern examples e.g. Page 5 paragraph 1
- Referenced Benjamin’s reference to Brecht – p6.
- Added images to support my mention of Alfred Stieglitz’s equivalents – p7.
- Taken out the leading questions on page 11.
I have not found the place to dovetail some realist documentary ideas as a contrast to White, but I may return to this with a fresh eye. The same stands for including a reference to Shore’s categories. I refreshed my research on both but haven’t so far found where to use them.
I have reordered my writing in some places; the conclusion is probably the most revised in terms of ordering and rationalisation, and next chapter three.
CONTEXTUAL STUDIES:ASSIGNMENT FIVE
ADDITIONAL READING BEFORE FINAL SUBMISSION
THE PHOTOGRAPH AS METAPHOR- MINOR WHITE
Sadly, without a subscription to Artdoc I am unable to access the whole article, but the parts that I can access give a good overview of metaphor in the work of Minor White.
The author sets out that White considered Equivalence as ‘the backbone of photography as a medium of expression creation’ (Artdoc2023) and explains why. Taking the image below, they explain that it both abstract and concrete and as such a basic form of visual language.
Minor White | Portland, 1964 Gelatin silver print image, The Minor White Archive, Princeton University Art Museum, bequest of Minor White (x1980-4083). © Trustees of Princeton University
This is a contrast to the traditional idea that a photograph represents reality. However, it suggests that this may only be starting point, as they must start with something visual, but that this may develop into something more perceptual. Sying that a photograph like this can be a bridge between matter and mind, external and internal.
The article also describes how a photographer’s consciousness, social and culture background and attitude infuses what he presents. Art historian Gombrich apparently calls this ‘mental sets.
They explain that to understand what a photograph is about we need to understand the ‘concealed layers’, and this by way of the sign and the relationship between the signifier and the signified – they call this learning to read the language.
This is how a photograph can be a metaphor, representing something that is visually absent, an individual concept of reality, that has been filtered by a photographer’s consciousness. It also connects the reality we know mentally with that we understand emotionally also.
These ideas resonate with the ideas that I have explored in my dissertation and expressed in my Body of Work photography.
Reference:
Artdoc (2023) The Photograph as Metaphor Minor White. At: https://www.artdoc.photo/articles/the-photograph-as-metaphor (Accessed 19/09/2023).
ART THEORY: LAUREL MCLEOD
Mcleod writes that the art world ‘dedicates’ itself to capturing emotions and feelings. I hadn’t realised That affect originates from the Latin ”affectus” meaning disposition, which she suggests that individuals are often unaware of themselves, unlike emotion which comes later in affect theory.
She emphasises that for affect to occur there must be an object of attention, something that a viewer engages with. She describes affect as part of an unintentional conversation that arises by just being with an artwork.
She returns to that which I’ve discussed elsewhere that affect as a ‘thing of the senses’ is beyond comprehension as its beyond rational thought.
Reference:
Mcleod, L. (2020) Art Theory: Affect. At: https://www.artshelp.com/art-theory-affect/ (Accessed 16/06/2023).
REPRESENTATION & THE MEDIA – STUART HALL
Representation is one of the central concepts of media studies. Hall talks of the notion of representation and that visual representation especially is complex. He subverts the idea of representation suggesting that something that is depicted and something that stands in for something else are both contained in the term. In media he says that representation is about giving meaning to depicted objects – this could lead to work on measuring the gap between a true meaning and how it is presented.
Hall suggests representation as constitutive. Saying that meaning doesn’t exist until it has been represented, this representation can take different forms and therefore the meaning can change. Consequently, representation doesn’t occur until after an event and is constitutive of an event, the representation is part of an event.
Hall says that conceptual maps in our heads, that help us to understand the world are a system of representation. These concepts let us store and refer to objects that are no longer in our sight. These concept images are not mirror images, as they are constructed in our minds. We may have shared conceptual maps or not, so communication and language complete the circle of representation. When Hall talks of varieties of language, such as spoken, musical, gestures; anything that that can be a language. Hall asserts that we need a shared language for the circle of representation to be closed, that discourse is essential for meaning to be exchanged.
Hall also considers signification saying meaning is produced when a symbolic or signifying process has been involved, though he suggests this is often linked with having the power to assert this. Hall looks at how if meanings of representation are subjective how meaning might be fixed, but determines this can only be when power intervenes, and this power to fix a meaning may not be permanent. He concludes that it is important that subjectivity of meaning is never foreclosed by systems of power, that being able to contest meaning is vital.
This interview leads me towards further research on representation.
Reference:
Hall, S. & Jhally, S (Dir.,) (1997). Stuart Hall: Representation & the Media [Video file].
Media Education Foundation. and the transcript of this is in the references.
https://www.mediaed.org/transcripts/Stuart-Hall-Representation-and-the-Media-Transcript.pdf (accessed 12..8.23).
DOCUMENTARY FICTIONS? IAN WALKER
My Tutor suggested I read this article, as an example of how the author uses his own voice to describe theories and terms. It was a very useful exemplar of useful for this.
Reference:
Ian Walker (2023) At: https://ianwalkerphoto.com/documentary/documentary-fictions/ (Accessed 19/09/2023).
CONTEXTUAL STUDIES: DRAFT ASSIGNMENT FIVE
REFLECTIONS AGAINST LEARNING OUTCOMES
Nicola South Student number: 51456 PH6CTS-5
LO1 undertaken research and study demonstrating comprehensive knowledge of your area of specialisation and built a theoretical framework for your creative practice.
Q: Have I researched and studied my specialisation and demonstrated a comprehensive knowledge?
I have evidenced as before a wide and deep range of reading in my dissertation draft, which I added to following tutor feedback from assignment 4.
Q: Have I built a theoretical framework for my creative practice?
I have advanced from the literature review and subsequent assignments to interrogating and interrelating academic arguments and evidencing and presenting them, and as advised by my tutor not forming any new arguments. This I have put into practical use in my creative work but I have also used in a practical way in my dissertation so that the theories I have presented are better articulated for my readers.
LO2 synthesised and articulated your critical, contextual and conceptual knowledge and understanding into a coherent critique of advanced academic standard.
Q: Have I pulled together research and written using evidence?
This is evidenced in my dissertation draft, having applied tutor feedback from assignment 4. Generally throughout I have:
- improved the flow of the narrative
- decreased the density
- checked it is accessible to a general reader
- PEEL (Pain, Evidence, Explain, Link), and reverse engineered to use quotes to support my points, not the other way around.
- Added descript on denotation in images
Q: Have I referred to my BOW contextualising practise and theory?
I haven’t directly referred as I don’t believe this is necessary, however my BOW practice directly relates to my essay topic, stimulates my CS research and broadens my understanding. Should I?
Q: Have I evidenced in writing my concept thoroughly and how broader concepts have fed into this? Broad concept run throughout these chapters.
I have reviewed my work as a whole to ensure that these concepts are consistently referred to throughout the work. It is to the required academic standard.
LO3 applied your own criteria of judgement, reviewed, criticised and taken responsibility for your own work with minimum guidance.
Q: Have I reviewed, judged, and critiqued myself?
I have reflected throughout as I have worked and have done so here also.
LO4 selected and applied information management skills and used appropriate technology in the production of an accomplished critique with minimal supervision.
Q: Have I used information management skills and technology?
I have used some online sources and referencing mechanisms as well as reference data bases such as paperpile. I have used a variety of IT skills to present my work.
Q: Have I produced a good critique myself?
I have been supported by suggestions from my tutor, but I have adopted these with increasing effect to the point now where I use them independently. For instance in my comments against LO 1 above on forming a theoretical framework for my creative practice, and in LO 2 where I note the writing techniques that I have adopted in my writing.
Reference:
Alexander, J. (2013) Contextual Studies. Barnsley: Open College of the Arts.
CONTEXTUAL STUDIES: ASSIGNMENT 5
PH6CTS-5 NICOLA SOUTH 514516
FINAL DRAFT FULL DISSERTATION
The following has been submitted to my Tutor
- a final draft of your extended written project (5,000 words or agreed alternative) to my tutor, implementing any changes or taking on board any advice given in their feedback on my draft manuscript.
- a covering note identifying the parts of my extended written project that have been most substantially revised or developed. That way my tutor can focus on my revisions rather than re-reading the whole extended written project.
- an abstract for my extended written project (maximum 500 words) summarising the subject areas discussed in my extended written project and its key findings or conclusions. This will be used to archive my extended written project at OCA, and to identify appropriate assessors with related subject knowledge to formally assess my submission.
CONTEXTUAL STUDIES ASSIGNMENT 4: REFLECTIONS ON FORMATIVE FEEDBACK
This was written feedback
I was given lots of positive feedback, notably my decision to concentrate on Minor White as the artist for the case study, and my decision to drop John Blakemore.
See the constructive feedback given which needs action:
I noted in my A4 Learning log that I now included in my Chapter 3, images of White’s work to articulate how he uses affect in his work; this I have done to help my readers to synthesise both the information on visual methodologies I present in my dissertation and how it can be applied to interpreting meaning in images. I have used a semiotic toolkit and knowledge of symbols White uses to pick apart some of his images – In my dissertation I am applying methods I researched in my literature review. I have described some of what is denoted and connotated in the images, however I note that my tutor suggests that I add further description on what is denoted in them, to enable viewers to give readers space to ask questions.
REFLECTIVE LEARNING LOG : Show what I’ve learnt- not a description of process
DISSERTATION
General advice:
Use PEEL: Paint/Explain/Link back to research question. I’m obviously I’m still not getting there – intro to all terms with clear definitions supported not lead by references and theories.
USE REFERENCES TO UNDERPIN OWN POINTS and to clarify research methods or difficult themes – So do some “reverse engineering”
Also:
- Ensure writing makes sense to a reader coming to it cold
- Some places are quite dense.
- There are some short paragraphs that would be better linked to create flow paragraphs that need linking
- Try using an academic phrasebook
- Check that it all makes sense to another reader.
- Expand where critical terms need explain to a general reader
- Ensure I reference practitioners I mention.
Content:
- Expand on ‘Context as determinant of meaning’
- Reread Clarkson on codes and Bate (2009) p 34 on codes and rhetoric
- Add more on objective photographers eg. Blossfeldt, Evans, Rineke Dijkstra
- On sequencing images add Colborg reading
- Describe images – Denotation into connotationsee Barrett formulansubject+medium+form+context (what’s it about)
Reference:
Bate, D. (2009) Photography: The Key Concepts. New York: Berg publishers.
Colberg, J. (February 26 2018) Towards a Photobook Taxonomy. At: https://cphmag.com/photobook-taxonomy/ (Accessed 31/10/2021).
CONTEXTUAL STUDIES ASSIGNMENT 4: REVISED LEARNING LOG ENTRY
NICOLA SOUTH PH6CTS-4
Student number:514516
Following the submission of my CS assignment 4 to my tutor, I worked on the feedback given which I tried to take all into account:
- I tried to use PEEL as advised by tutor but I still need to develop this.
- I’ve added temporary working subtitles for paragraphs
I added some further reading, including:
Barrett, T. (1986) ‘A Theoretical Construct for Interpreting Photographs’ In: Studies in Art Education 27 (2) pp.52–60.
Bunnell, P. (1991) ‘Minor White’s photographic sequence rural cathedrals. Areading’ In: Proceedings of the American Philosophical Society Published By: American Philosophical Society 135 (4) pp.557–568.
Brower, M. (2018) ‘Photography, Curation, Affect’ In: Journal of Visual Culture 17 (2) pp.177–197.
Clarkson, G. (2014) ‘Photographic codes’ In: OCA (ed.) Photography 2: Documentary fact or fiction. Barnsley: Open College of the Arts. pp.81–85.
Killip, C. (2023) Life in Pictures: Chris Killip. At: https://www.frieze.com/article/life-pictures-chris-killip (Accessed 24/03/2023).
Oring, S. (2023) Minor White Some Excerpts From Minor White’s Memorable Fancies. At: https://archive.org/details/minor-white-some-excerpts-from-minor-whites-memorable-fancies/page/n1/mode/2up (Accessed 09/04/2023).
Portland Art Museum (2018) LECTURE: Todd Cronan, PH.D. – From Expression to Creation: Minor White’s Theater. At: https://www.youtube.com/watch?v=pBwJG1-XHug (Accessed 06/04/2023).
The only reading that I didn’t find directly useful was the Killip article, though I enjoyed it having visited an exhibition of his work at the photographer’s gallery.
I then revised my assignment 3 drafts of the introduction and Chapter 1.
- Before beginning the draft of the remaining chapters I reviewed all tutor feedback for CS and reread many articles.
- I have submitted almost 3,000 words to my tutor for the remaining chapters of my dissertation.
I changed my dissertation title described in my learning log at: https://nkssite6.photo.blog/category/contextual-studies/c-s-assignments/cs-ass4-learning-log/
After reading and preparing evidence for chapter three – Affect and effect in the work of Minor White and John Blakemore, I decided to restrict my dissertation to the work of Minor White. This partly because I had plenty to evidence my theme in the work of Minor White alone. But more so as after deeper research on both I felt Blakemore’s work didn’t exemplify my theme in such a rich manner.
Blakemore’s work does often explore a theme over time, returning to one subject over a period. He does use some work as a metaphor for his own emotions, such as Wounds of trees (1971) after his marriage break up, and he does include some symbolism, and talks of layers of meaning. Though he does use sequencing to underline meaning, this is not as much as White did.
Overall I felt the main thrust of his work is a contemplation of nature and his relationship with it, but less so about the “something else”, an equivalence to a feeling that a subject evokes that White works into. And it is the affect in the something else, that is in Whites work that interest me and exemplifies my research more fully.
Structure
I have added contents and illustrations tables pages as suggested in the coursebook.
NIKI SOUTH 