CS SUBMISSIONS

CONTEXTUAL STUDIES: SUBMISSION

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Reflections and actions on Formative feedback for final submission

This was written feedback form my tutor followed by some email exchanges for clarification on points from myself

My reflections:

Reviewing the whole document and considered reordering and amalgamating, gave me the extra insight I needed to cut down repetition, preamble and see where I needed to get to the point quicker.

This is the first feedback where my Tutor hasn’t reminded me generally about using ‘PEEL’ using quotes to support points rather than vice versa (just in one place), I am now understanding and putting it into practice. He has also noted that my use of the ‘reverse engineering’ has worked well.

Conversely it is a balance and there are still one or two areas where I should expand a little to explain complex arguments.

Further reading carried out: https://nkssite6.photo.blog/category/contextual-studies/cs-assignment-5/cs-a5-pre-submission-additional-reading/

Covering note: Rename ‘Critical Reflective Summary’- this will be good for showing response to feedback.

Abstract:  Rework to:

  • Integrate to introduce the theme instead of introduce theories I’m talking about. Overview of research question to tease but not give topic away.

  • Reduce the number of words, although the allowance is 500, my tutor suggests that less is more.

Essay: Comments given:

  • Flows much better,
  • Good studentship incorporating feedback points successfully.
  • Suggestions for linking learning points
  • Reverse engineering has worked well
  • Good studentship
  • Answers question well, which my Tutor suggests is: Does a photograph show reality, or a photographer’s emotions

    General:

  • Use my ‘voice’ sometimes instead of academic phrases
  • Have mostly explained philosophical terms to general audience but check again
  • Be careful I’ve not got too much preamble before making a point (ref reverse engineering)
  • Don’t try to pack too many ideas in one paragraph
  • Expand out writing in some areas and maybe cut some less relevant sections
  • Filter in realism comments as I go along.
  • Try to get below the 5,000 word count (currently 5080)

Intro:

  • Make less dense
  • Check critical terms are defined mostly in the intro paragraphs
  • Expand out some points in key paragraphs.
  • Show my knowledge of the theme, representation of reality.
  • Stylistic codes need to be less densely packed,

Main body:

  • Check that I’ve explained White’s relationship to Stieglitz equivalents clearly.
  • Similarly reread my content on representation and ensure that it clear – expand.

Conclusion:

  • Take out subheadings – reviewing it I don’t know why I left them in!
  • Cut down some dense text references, don’t need as much as only summing up from earlier
  • Review the last paragraph which reads a little bit awkward

Actions completed since feedback:

  • Abstract: reworked and reduced the word count
  • Covering note – renamed critical review
  • Dissertation: Reviewed, expanded some parts, reduced others (reduced preambles) , reduced word count, checked that critical terms are in the introduction.

CONTEXTUAL STUDIES ASSIGNMENT 4: REFLECTIONS ON FORMATIVE FEEDBACK

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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

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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.

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 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 1: REFLECTIONS ON FORMATIVE FEEDBACK

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This was by video and later written.

The overall feedback was that I’d tried to do too much too soon. The advice I was given below was really useful.

General advice given:

  • Write in the third person.
  • Only use italics for emphasis not quotations
  • Avoid redundant speculation/personal opinion
  • I should have explored a range of visual methodologies to begin with such as compositional analysis moving onto semiotics and discourse.
  • Use visual methods initially and then allow the context to make points and give evidence.
  • Weigh up the work being analysed, then use a visual method (poss semiotics) analysis and contextualise with different commentators.
  • Good semiotic analysis of my own work
  • I discussed my BOW images for the assignment as suggested but wont be discussing going forward, except possibly as my Tutor suggests I could do as preface to my essay

Actions from the feedback:

Look at the annotations and summarise the key points that I want to review in the contextual literature. Send to Tutor and he will review and revise/suggest others

1.Find a key premise or theme: Minor White expand on. Minor White and Szarkowski as a possible. enquiry. Realism representation or expression? Note: It’s the process of representation that that allows interpretation by the viewer.

2. Find a visual methodology to analyse, without going off on a tangent.

From part 2, for Lit review:

  • Use leading authors in the field as key resources to research and develop.
  • Summarise, demonstrate purpose and relevance of text to my rationale.
  • Critically compare and the approaches and conclusions of others
  • Indicate what I plan to explore further on my dissertation proposal

Other comments 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

  • Keep writes up “tight”, no waffle!
  • Define terms for general readers. Use sites like the Tate to define key terms.

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

  • Think about outlining some of Minor White’s work with reference to Szarkowski – a possible focus for the essay?
  • In assignment 2 I could consider other visual methodologies that I might use to analyse work. Composition might be a useful methodology at the end of a work but it’s not very detailed.

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

  • Realism is a complex topic – could be interesting to explore representation- representing – revealing -expressing. There is a conflict between representation and expression.
  • Expand more on the notion of equivalents. The Rose quote on the expressive qualities of photographs? could form the central thrust of Lit review effect/affect– which part? P4?

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

Could have begun by defining as a genre – Alexander, Bate, Clarke good for this.

Next post: https://nkssite6.photo.blog/2022/06/05/contextual-studies-assignment-one-submission/