C &S ASSIGNMENTS

CONTEXTUAL STUDIES ASSIGNMENT FOUR: REFLECTIONS ON LEARNING OUTCOMES

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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 a wide and deep range of reading in my remaining chapter drafts.

Q: Have I built a theoretical framework for my creative practice?

I have advanced from the literature review and assignment 3 (Introduction and 1st chapter) to interrogating and interrelating academic arguments and evidencing against them, from more simply sharing them.

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 remaining chapters and I have used PEEL (Point, Example, Explain, Link) to do so as suggested by my Tutor in the last feedback.

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. I have included artist’s images and articulated using visual methodologies described in Chapter one how White expresses himself and what is connotated.

Q: Have I evidenced in writing my concept thoroughly and how broader concepts have fed into this?

Broad concepts run throughout these chapters as they do in my introduction and Chapter 1 previously submitted. 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 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 IT skills to present my work.

Q: Have I produced a good critique myself?  This technical aspect has achieved independently.

Reference:

Alexander, J. (2013) Contextual Studies. Barnsley: Open College of the Arts.

CONTEXTUAL STUDIES ASSIGNMENT FOUR: LEARNING LOG

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Following the submission of my CS assignment 3 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 one:

  • Before beginning the draft of the remaining chapters I reviewed all tutor feedback for CS and reread many articles.
  • I have submitted almost 3,00 words to my tutor for the remaining chapters of my dissertation.

I changed my dissertation title:

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.

Content

I have applied relevant research on visual methodologies to my dissertation by expanding on images added to the literature review of Minor White’s work, and articulated how semiotics and knowledge of context and symbolism can expose expression and affect in his images

Structure

I have added contents and illustrations tables pages as suggested in the coursebook.

Assignment 4 Remaining Chapters (Draft)

Submit the remaining draft manuscript for your extended written project, (chapter 2 onwards) observing the following submission guidelines:

● 2-3,000 words in length or equivalent alternative. This includes quotations, but excludes footnotes and bibliography. Please do not submit work that is above the allowed word limit as this will impact on the available time tutors have to spend reviewing work. Check with your tutor on appropriate word count, for example you might submit a fully developed 2,000 words, or 3,000 words that still needs some editing.

● Please note that your draft is not a ‘rough’ draft – the very first draft that you have done – but a completed first draft. Edit carefully to ensure that your draft meets the word count, and that you have answered your research question. It is helpful to break this longer assignment into 1 – 3 separate chapters of c.1,000 – 1,500 words each with a conclusion.

Reference: Alexander, J et al. (2020) Contextual Studies. Barnsley: Open College of the Arts

CONTEXTUAL STUDIES ASSIGNMENT THREE: REFLECTIONS ON FORMATIVE FEEDBACK

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This was by video and written.

Overall feedback: well organised, good introduction and summary of methodologies for finding meaning in images.

General advice given:

  • Use PEEL introduce terms to clearly define them remember it is written for a general reader:
  • Make your point
  • Give Example
  • Explain how it support the evidence
  • Link to essay topic
  • Write in 3rd person

Actions:

  • Review my draft into and chapter 1, checking the above and other suggestions made by my tutor
  • Read and review suggested further reading given by tutor, and take on board:
  • Killip, C. (s.d.) Life in Pictures: Chris Killip. At: https://www.frieze.com/article/life-pictures-chris-killip (Accessed 24/03/2023)
  • Barrett, T. (1986) ‘A Theoretical Construct for Interpreting Photographs’ In: Studies in Art Education 27 (2) pp.52–60.
  • Clarkson, G. (2014) ‘Photographic codes’ In: OCA (ed.) Photography 2: Documentary fact or fiction. Barnsley: Open College of the Arts. pp.81–85.
  • Brower, M. (2018) ‘Photography, Curation, Affect’ In: Journal of Visual Culture 17 (2) pp.177–197.
  •  

Comments on my evidence against learning outcomes:

LO1 undertaken research and study demonstrating comprehensive knowledge of your area of specialisation and built a theoretical framework for your creative practice

  • Make temporary subheadings to signpost my main themes

LO2 synthesised and articulated your critical, contextual, and conceptual knowledge and understanding into a coherent critique of advanced academic standard

  • A suggestion to look at Chris Killip’s note taking system.

LO3 applied your own criteria of judgement, reviewed, criticised and taken responsibility for your own work with minimum guidance

  • Remember that I don’t have to bring new knowledge but to show that I comprehend the ideas.

LO4 selected and applied information management skills and used appropriate technology in the production of an accomplished critique with minimal supervision

CONTEXTUAL STUDIES ASSIGNMENT 3: REFLECTIONS AGAINST LEARNING OUTCOMES

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CONTEXTUAL STUDIES ASSIGNMENT 3: REFLECTIONS AGAINST LEARNING OUTCOMES

Since the last time I reflected against learning objectives I have taken each learning objective and created questions from it to help myself reflect.

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 believe I have shown a comprehensive knowledge of the areas covered so far.

Q: Have I built a theoretical framework for my creative practice? By sharing academic arguments, I have begun to build a theoretical framework for my work.

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 draft introduction and chapter one.

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.

Q: Have I evidenced in writing my concept thoroughly and how broader concepts have fed into this? My introduction in particular synthesises some of the broader ideas that have led to my work. I have shown throughout critical knowledge and understanding and formed some judgements with evidence. 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 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 IT skills to present my work.

Q: Have I produced a good critique myself?  This technical aspect has achieved independently.

Alexander, J. (2013) Contextual Studies. Barnsley: Open College of the Arts.

Next post: https://nkssite6.photo.blog/category/contextual-studies/cs-submissions/contextual-studies-assignment-3-submission/

CONTEXTUAL STUDIES ASSIGNMENT 3: LEARNING LOG

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In August I began a conversation with my Tutor having reflected on his feedback on my CS assignment 2, which I worked through and then amended my draft literature review and dissertation proposal. I followed through the actions that were identified:

  • Redrafted my dissertation planner, including the effect of the audience on interpretation and where I will integrate and relate the practice of my chosen photographers to the methodologies.
  • Added to my literature review some case studies and images
  • Added to literature review some additions from Tutors suggested reading (Edwards and O’Sullivan)

After immersing myself in my BOW I returned to CS again in October 2022

I probed my tutor further about my title, asking his opinion of the following:

My suggested title: 

How can photography be used for both sharing reality (effect) and expressing what is in an artist’s mind (affect). Discuss with reference to the landscape photography of Minor White and John Blakemore.

or if I should I extend to?

How can photography be used for both sharing reality  and expressing what is in an artist’s mind – Effect and Affect? What codes and conventions can be used in photography so that viewers can see the artist’s intended meaning, inner state, and emotional responses? Discuss with reference to the landscape photography of Minor White and John Blakemore.

My tutor’s response was that I should leave it at Affect and Effect in the landscape photography of Minor White and John Blakemore. Suggesting that using the above title I can then define in my introduction affect (artistic expression/form) and effect (a more discursive interpretation of meaning in a sort of documentary mode). Setting these out for my reader here.

I was concerned as even in the coursebook it is suggested that “Generally speaking, your extended written project will be more interesting – both to write and from the assessor’s perspective – if you base it around some sort of research question or hypothesis”.  I raised this question also at a Level 3 Study group led by Ariadne Xenou, and she and my peers agreed that I should keep it simple and expand in the essay. So I have my title: Affect and Effect in the landscape photography of Minor White and John Blakemore

Useful points from the coursebook:

  • Unlike your literature review, your extended written project should reach conclusions of some sort, but these must be based upon a rational and coherent synthesis of the ideas of other writers, not uninformed assertions. For example, if you say ‘It is my view that….’, you have to justify why you take that view, not simply assert it. You might, for example, evaluate several opinions from published authors and, in the light of that you then come to your own view, or conclusions (Alexander,2020:50)
  • Footnotes: Biographical information, and for that matter any other kind of description, should be as spare as possible and should always have relevance to the topic of discussion. It may be a good idea to use a footnote to direct your reader to where they might find a more comprehensive account of a photographer’s life or a particular theory (Alexander, 2020:52)
  • Persuasive writing: Your literature review should be limited in terms of your individual point of view, instead focusing on the views of others, but it will be persuasive insofar as you are articulating the relevance and significance of your subject area and explaining why you feel it is necessary to devote a whole extended written project around it (Alexander, 2020:52)
  • Critical writing: involves descriptive, analytical and persuasive prose, but it includes the points of view of other writers and sources, properly referenced. Critical writing may have only limited original assertions made by the author and extensive analysis of the views of others, but it should make some sense of the various perspectives on a given subject…you’ll show an awareness of the different practitioners and thinkers within your specific field, enabling you to potentially contribute meaningfully to the discourse.

Useful points from previous Tutor feedback:

  • To add some case studies and images to my historical accounts of semiotics to which I can apply these research methods. I have added some images of White and Blakemore’s to my redraft of my Literature review that I will add further to in my dissertation. These show how to use the visual methodologies that I have researched to unpick meaning in images.
  • Emphasis what I have already written, the caveat that Saussurian linguistic semiotics needs further development for a proper understanding of the nature of visual signification.
  • Include Pierce’s triangular model (see feedback report)
  • Include Clarkson (2019), Hoopes (1991) chapter on Pierce.
  • Consider the additional Tutor reading suggestions: Edwards (2012), Bennett (2002), O’Sullivan (2001). These also gave me further inroads into researching affect. I am not publishing my complete notes here so that I don’t self plagiarise in my dissertation however see below my summary of each.

O Sullivan:

This paper explores art in the field of affect theory, asking what makes up experience and subjectivity. O’Sullivan questions how our materialist connection to the world by  a review of representation and art historical narratives. He covers the opposition between idealism and materialism within philosophy, as he believes that aesthetics affects how we experience art. By asserting the value of experiencing art O’Sullivan says we can experience art differently as a portal for our subconscious sensations, which he thinks is essential to understand art and the world around it.

A very useful paper with sources on affect – will lead me to much further exploration on affect in Art.

Edwards: This paper is mostly about placing, materiality and context of photographic images, particularly the importance of cultural and social analysis. It discusses the placing, materiality and “haptic” effects of images. I will return to analyse this paper further.

General:

  • Don’t waffle, be analytical and concise
  • Define terms for general readers

References:

Alexander, J et al.(2020) Contextual Studies. Barneley: Open College of the Arts

Clarkson, G. (2019) Documentary evidence and artistic expression. At: https://www.oca.ac.uk/weareoca/education/documentary-evidence-and-artistic-expression/?cn-reloaded=1 (Accessed 04/04/2022).

Edwards, E. (2012) ‘Objects of Affect: Photography Beyond the Image’ In: Annual review of anthropology 41 (1) pp.221–234.

Hoopes, J. (1991) Peirce on Signs: Writings on Semiotics by Charles Sanders Peirce. United States: North Carolina Press.

O’Sullivan, S. (2001) ‘THE AESTHETICS OF AFFECT: Thinking art beyond representation’ In: Angelaki : journal of theoretical humanities 6 (3) pp.125–135.

Useful points from OCA Hangouts, see:

My process for assignment 3 draft

  • I reread my revised literature review and dissertation proposal.
  • Writing the introduction when you’ve not written all chapters is difficult, however it did make me embrace some further reading and I have based the introduction mainly on this rather than writing it as simply an introduction to what is to come in the following chapters.
  • I took forward comments from assignment 2 feedback that relates to the parts of the dissertation I was writing such as: emphasis the caveat that I mentioned in my literature review that Saussurian linguistic semiotics needs further development for a complete understanding of visual signification.
  • I wrote-read-revised.

Assignment Three: Introduction and Chapter One (Draft)

Submit a draft introduction (500-750 words) and first chapter (1,250 words). Include any revisions to your topic, plan and proposed chapter headings as a bullet point overview. You should also include details of when you intend to write each section and set a realistic deadline for the first draft of your remaining chapters (Assignment Four).

When you submit your assignment let your tutor know where you feel more or less confident and request specific guidance where you think you need it. Your total word count for assignment three should be (2,000 words). Please do not submit work that is above the allowed word limit as this will impact on the available time tutors have to spend reviewing work. (Alexander, 2020:55)

Reference:

Alexander et al (2020) Contextual Studies. Directed by Alexander. Barnsley: Open College of the Arts.

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CONTEXTUAL STUDIES ASSIGNMENT 2: REFLECTIONS ON FORMATIVE FEEDBACK

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This was written feedback.

The overall feedback was that my title/research question needs firming up to ensure that it’s not too broad; but that it was useful work and generally reads well.

General advice given:

  • Write as if to a general reader, be analytical and concise, and get to the point fast.

Actions:

For Literature review and dissertation

  • Label files:PH6CTS -2 Literature review and include name (I think he means in the file name)
  • Redraft my dissertation planner in the light of Tutors comments
  • Add some examples of case studies and images to my historical account of semiotics
  • Integrate the practice of chosen photographers to my examples of semiotics and discourse analysis.
  • Tackle the effect of audience in the conclusion when bringing other strands together.
  • Emphasis the caveat that Saussurian linguistic semiotics needs further development for a proper understanding of the nature of visual signification
  • Include Pierce’s triangular model.
  • Read additional suggestions from Tutor.

For Dissertation proposal:

  • Reframe the title/questions
  • Redraft the planner including the effect of the audience on interpretation in the conclusion.
  • Omit the bibliography from the proposal document; it is only needed for the Literature review.

Comments on my evidence against learning outcomes:

LO1 undertaken research and study demonstrating comprehensive knowledge of your area of specialisation and built a theoretical framework for your creative practice

  • Here I should evidence my research methodologies, semiotics leading to discourse analysis and case studies (Practise research) on artists.

LO2 synthesised and articulated your critical, contextual, and conceptual knowledge and understanding into a coherent critique of advanced academic standard

  • I’m getting there but needs firming up

LO3 applied your own criteria of judgement, reviewed, criticised and taken responsibility for your own work with minimum guidance

  • Good that I identified that Saussurian semiotics needs further development for a good understanding of visual signification.

LO4 selected and applied information management skills and used appropriate technology in the production of an accomplished critique with minimal supervision

  • Tutor gave some suggestions for further reading on affect/effect.

Next post: https://nkssite6.photo.blog/category/body-of-work/coursework-body-of-work/part-two-chance/

CONTEXTUAL STUDIES ASSIGNMENT 2: REFLECTIONS AGAINST LEARNING OUTCOMES

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Though it seems to have taken me a long time, to complete the literature review in particular, I now have a more through understanding of the frameworks that I propose to use and a good understanding of my sources.

Here is my reflection against learning outcomes:

LO1 undertaken research and study demonstrating comprehensive knowledge of your area of specialisation and built a theoretical framework for your creative practice

  • I have researched widely, there was much that I researched that wasn’t written in my literature review, but it helped me to articulate in my work.
  • Taking on feedback from assignment 1 I hope that I have kept my writing tighter this time and defined terms for the general reader as advised.
  • I am unsure whether I should have been more critical of the stances/theories of my sources, but I have demonstrated how they have developed and been criticised by others.

LO2 synthesised and articulated your critical, contextual, and conceptual knowledge and understanding into a coherent critique of advanced academic standard

  • I have concentrated my literature review around objects of enquiry or sources in two areas. Firstly, methods of finding meaning in photography, largely concentrating on Semiology. Secondly around affect and effect in photography. In my dissertation I plan to apply these opinions to the landscape photography of two photographers, Minor White, and Peter Blakemore, but I hoped I judged correctly that this only needs a light touch in the literature review.
  • I created this mind map to help me to to frame my dissertation title/question:
  • I believe I have contextualised my sources and their place in my enquiry.
  • I hope I have demonstrated the relevance of my texts to the focus of my enquiry and made links between most of them.

LO3 applied your own criteria of judgement, reviewed, criticised, and taken responsibility for your own work with minimum guidance

  • I have evaluated sources as I’ve read them and returned and reread them until I have understood them.
  • I had initial guidance from my tutor, but this may have been confused by guidance from another CS tutor running our CS monthly Study group – I have tried to take on guidance from both though this may have confused my path. It will be good to have depth feedback from my tutor now before I begin writing my dissertation.
  • I have indicated in my dissertation proposal, where I feel I need to expand my research, namely with more contextual reference from the landscape work of Minor White and John Blakemore. I have also queried whether I should expand my dissertation to include the effect of audience on interpretation of meaning in landscape images, but I suspect that this will widen my research when I should be narrowing and deepening my area of enquiry. I welcome further input from my tutor on this.

LO4 selected and applied information management skills and used appropriate technology in the production of an accomplished critique with minimal supervision

  • I have interwoven primary and secondary sources, which are a mixture of Books, Journals, essays, reviews, and interviews from both physical and virtual sources. I have not been particularly successful with using the UCA library, except with Jstor.org, and need to get further guidance on this to make the best of it – I seem to be purchasing many books myself. Going forward I may need to take out a paid subscription to academia.edu and Google Scholar. I have no problem ascertaining research to read, but sometimes I am thwarted sourcing it.
  • I use Paperpile for my referencing and am compiling various reference/research lists
  • I can still build on my information management skills.
  • I have used mind maps at every stage to organise my thoughts and next steps.

Next post: https://nkssite6.photo.blog/2022/08/21/contextual-studies-assignment-2-submission/