237.230 Creative Cultures in Context
POWHIRI FRAMEWORK: WHAKATUIA TANGATA
Whakatuia tangata includes initiating group engagement, agreement in principle to collaborate, coming together in the same space, identification of shared perspectives, initiating connections, affirming individual commitment, establishing trust, identifying barriers to progress, and establishing authenticity.. In order to address ideas or groups you may be encountering for the first time, understandings need to be established.
This paper is delivered through short lectures; medium to small group discussion; and study group activity in and outside the classroom. There will be a combination of lecturer instruction, student/lecturer discussion, student/student discussion and student presentations.
There are two modules of six-weeks each. This gives students an appreciation of the wider art and design contexts within which they position their own practice.
Please note: The final submission, while informed through collaborative study and shared resources, must be the result of individual effort.
This paper aims for you to develop a critical appreciation of change and context within visual, material and spatial cultures of art and design. It comprises a series of theme-based modules that explore the integrated histories of society, technology, culture and the economy, and the histories of art and design.
The paper continues the study-group model to consolidate established, or create new, collaborative relationships. It also aims to build on the comprehension, critical thinking, writing processes and citation protocols you learned in Year One. Please note that the citation style has changed from APA to MLA. You can find instructions for this athttp://owll.massey.ac.nz/referencing/mla-style.php
Artists and designers can either react to social and cultural change, altering style to suit contemporary fashion or political, social and economic ends, or they can be part of the process as agents of change.
In this degree, you will learn about technology, form, production techniques and style, and this will make you good practitioners. But, to work effectively as artists and designers within contemporary society, you must understand art and design’s cultural significance. Just as societies and cultures change, so art and design changes to meet the needs and reflect the ideas of – and at times drive – these shifts. It is also important that artists and designer understand that continuity is as critical as change in the understanding of the world within which practice occurs.
Art and design operates within contexts and for societies – local, national and global – and practitioners in the twenty-first century need more than an understanding of how to do things. Historical perspectives on art and design and how they interact with other cultural practices such as music, literature, science and politics, as well as within the many manifestations of their own creative endeavours, will provide artists or designers with a more considered appreciation of what they do, an awareness of why they do it, and a deeper understanding of how that has and could contribute to society.
This paper introduces you to the histories and ideas that have gone before you and the practices that you will build on. It will challenge you to position yourself as the next generation in this continuum of art and design practice.
237.230 Creative Cultures in Contexts I: SPACE | TIME | EVENT
Assessment 1: Reading Summaries and Essay
Change and context: a case study
ASSESSMENT 1 POWHIRI FRAMEWORK
Whakamārama relates to knowing or understanding and refers to the clarity or illumination of light, sound or ideas. Mārama refers to the light of the moon which means what is illuminated is still partially veiled or concealed in half-light. This differs from the Western concept of “Enlightenment” which privileges what can be clearly seen or observed in relation to knowledge. Whakamārama is then a process which includes the acknowledgement that someone can never have complete knowledge of something, or someone else’s position.
Weeks 1 – 3
1. Component One: Reading summaries Summaries/responses (150-200 words each) for three set texts.
In this first module you will develop close reading skills of texts, spaces and images. The first part of Assignment 1 will be concise summaries/responses for three set readings. These summaries will be workshopped during tutorial sessions in weeks 2-4 and it is essential that you therefore engage with the readings and bring your written summaries to class.
Weeks 4 - 6
2. Component Two: Essay
Using an appropriate case study and one or more relevant set texts, plus at least two that you have sourced yourself, write a 1000-1200 word essay that responds to your module’s specific essay question/task. You should pay close attention to what you are being asked you to do.
You will submit Components One and Two as a single document with the Essay first, followed by the Works Cited list and then the Reading summaries at the back as appendices.
We live our lives as a series of experiences, or events, in waatea: space-time. Spatio-temporal creative practices are “as much about the events that take place in spaces as about the spaces themselves… the movement of bodies, … activities, … aspirations” (Tschumi, 1994, p.13). This module aims to provide you with tools for applying an understanding of spatiality,temporality, and the evental, to your own practice and that of others. Starting with an understanding of spatio- temporal practice as always already interdisciplinary, we will explore various historical spaces and events from both Aotearoa and beyond, and perform critical readings of these case studies that identify aspects of sensory/bodily experience within social, cultural and political contexts. Central to our explorations will be the consideration of how environments are imagined, formed and constructed as events in space and time, and how these environments both shape and are shaped by our individual and collective identities.
Discuss two different perspectives/worldviews on a selected
place/event in relation to its context and historical precedents/successors in order to demonstrate its contemporary significance as an agent/facilitator of social/cultural/historical change.
• Perspectives/worldviews: ways of framing relationships between space/time, experience, people/culture, world/nature
• Place/event: selected from given case studies, or agreed with your lecturers • Context: the wider spatio-temporal (geographical/historical), and
experiential (social/cultural) context within which it happened
• Precedents/successors: other places/events that came before or after it
and are relevant to the particular story you are telling
• Contemporary significance: why this matters now, to you and/or our
• Agent/facilitator: how the place/event actively produces or helps to produce a change or shift in the way we do, perceive or understand things
Peter Zumthor, 2007 Bruder Klaus Field Chapel
School of Art / Whiti o Rehua BFA and BFA (Hons)
School of Design / Ngā Pae Māhutonga BDes and BDes (Hons)
Credits: 15; Hours of learning: 150 Class hours: 2.5 hours x 6 weeks Independent study: 7.5 hours per week
Assessment 1:
Change and context: a case study (6 weeks)
Due: 5.00 pm 22 April 2016
Late handin: A penalty of 10 points per day will apply to unapproved late submissions – up to a maximum of 50 points deducted after 5 days of lateness. The penalty will apply at the same time (on each successive day) that the assessment was originally due, i.e. 5.00pm.
Te Reo Maori submission: Students with the necessary competency are welcome to submit assessments in Te Reo Maori. They should consult initially with their lecturer in the first week of semester.
A summary is ‘a concise account of the main ideas of a subject or argument, omitting explanatory details and examples’ Please refer to OWLL on the Massey University website (http://owll.massey.ac.nz/academic-writing/command- words.php).
One pdf document that includes a cover page, your essay, correctly captioned images if your module task requires them, a ‘works cited’ list and your three reading summaries.
Your submission must include in-text citations and a Works Cited list formatted according to the MLA reference system. You will find the MLA protocols athttp://owll.massey.ac.nz/referencing/mla-style.php
Submission: to be uploaded to STREAM Assessment 1 Drop Box Title your document:
LAST NAME_student id_A1_2016
e.g. FANTASTIC_1234567_A1_2016
LEARNING OUTCOMES/ASSESSMENT CRITERIA:
1. Develop and apply critical awareness of a variety of different cultural world-views in historical and contemporary contexts (Graduate profile: Understanding - Matauranga A1)
Summaries demonstrate an understanding of concepts in context.
Essay demonstrates an awareness of the implications of cultural world- views in relation to your case study and issue.
2. Identify and discuss key social, political and cultural precedents of contemporary art and design through investigation of case studies (Graduate profile: Understanding - Matauranga A2)
Essay clearly identifies historical context by discussing cultural precedents relevant to your case study and issue.
3. Show an understanding of mechanisms of change and their implications for creative practices—western and non-western (Graduate profile: Connectedness - Whanaungatanga A3)
Essay demonstrates an understanding of mechanisms of change through appropriate terms and examples.
4. Develop and apply skills in criticism, interpretative analysis and writing (Graduate profile: Understanding - Matauranga C2)
Essay demonstrates clarity of analysis through writing.
5. Appropriately identify, source and use relevant literature, applying up-to- date practices in internet and library information skills (Graduate profile: Understanding - Matauranga E4)
Essay utilises appropriate range of sources and demonstrates correct referencing and bibliographical requirements
kaledo-art
yousharknotpass
2087
areudirty
dededos
germansingergirl
titsay