FdA Creative Practices - UCY

MODULE HANDBOOK

CREATIVE CULTURES 1 - UA1AD8-20-1

LeveI: 1

UWE Credit Rating: 20

ModuIe Type: ESSAY / PRESENTATION

ModuIe Leader: KarI Rawstrone

ModuIe Staff: KarI Rawstrone

Owning UWE FacuIty: FACE

Assessment DeadIine: 4
th
May 2012 (9pm)


Creative CuItures 1

Introduction:

The central theme of the lectures is the range of different contexts within which creative
practice takes place and the different impact these contexts have on the production and
consumption of work within art, media and design. The emphasis will be on significant
developments during the C20th. The importance of having knowledge and understanding
of the contexts in which practice takes place and becomes meaningful will be emphasised
throughout all of the lectures, as well as in the research tasks that will be set throughout
the module. The module will address the historical, theoretical, industrial and cultural
contexts and debates which surround creative practices.

The main syllabus will be delivered in two-week blocks, each block covering a specific
area of debate. The first week will consist of a lecture. Each lecture will be accompanied
by a short piece of set reading, and followed by a discussion session allowing students to
raise issues with the lecturer, clarify some of the ideas presented and begin making links
with their specific practices; the second week will consist of short student-led group
presentations applying the concepts discussed in the previous week. Seminar discussion
will allow you to further investigate and clarify your ideas and approach.


Students will be requested to look carefully at the essay questions and gather together the
basic material necessary to signal how each could be approached. Material might include
a list of names (theorists, practitioners, movements, organisations, products), key ideas
and/or concepts, indicative book or article titles, relevant web addresses, appropriate
visual material, relationship to student's own work and concerns. A short account (100
words) of how and why the student chose which question to attempt should be submitted
along with supporting notes from lectures and developmental work for the essay and
presentation required for assessment.

Choosing from a list of set questions, students will be required to write a 1,500-word
essay, supported by advice and guidance through tutorials. Students will also be required
to make a presentation of their work to their peer group, describing the research process
that they have used to develop their written work and an overview of the argument
developed through the written assignment (supported by audio-visual resources as
appropriate). Students may use any appropriate format to present their work, but are not
being assessed on their proficiency in the use of presentation technologies. Presentation
notes should be submitted to the tutor at the end of the presentation.


You will be introduced to the library through a series of workshops that introduce the
facilities and research skills in using the library data base, finding and extracting visual and
textual information. These sessions relate closely to the skills required to successfully
complete research tasks.

Study skills lectures and workshops will also be provided accompanied by study skills
material designed to support research, essay preparation and writing-up final work.


Essay questions

You must choose one of the foIIowing essay questions to address. You shouId do
this by week 6 of Semester 2.

1. The meaning of a work of art, media or design is not fixed, whatever the intentions
of the maker. Choose a specific example and discuss:
Either how its meaning might change over time.
Or how its meaning might change depending on where it is seen
and by whom.


2. What you make is who you are. By reference to specific examples consider the
connection between the producer (maker), their work and their audience.

3. Creative practices represent values and ideas. Discuss in relation to specific
examples of your choice.
Reading Strategy

The following list indicates suitable sources covering the main themes covered in this
module and provides opportunities for extended reading.

n addition you will be provided with further reading as the programme progresses and
you will also need to carry out your own research in the development of your essay. Your
tutors will work with you to find suitable sources for your studies.

Introductions to VisuaI CuIture

These books offer a general introduction to how you might think and write about visual cultural practices.

%his first book is warmly recommended. You might like to buy it (it will be useful throughout
your three years of Visual Culture work).

STURKEN, Marita and CARTWRGHT,Lisa (2001) !ractices of Looking : an introduction to visual culture.
Oxford University Press.

Other usefuI generaI introductions:
Berger, John (1972) ays of Seeing Penguin
Rose, Gillian (2007) Visual Methodologies: an introduction to the interpretation of Visual Materials, Sage
Storey, John (ed) (1994) Cultural Theory and !opular Culture, a reader Harvester/Wheatsheaf
Strinati, Dominic, (1995) An Introduction to Theories of !opular Culture Routledge,.
Walker, John A. and Sarah Chaplin (1997) Visual Culture: an introduction Manchester University Press

ournaIs
ournal of Visual Culture, ournal of Visual Arts !ractice, Visual Culture in Britain

Fine Art

Archer, M (1997) Art since 1960 London: Thames and Hudson
Collings, M (2000) This is Modern Art London: Seven Dials
Goldberg, R (1998) !erformance: Live Art Since the 60's London: Thames and Hudson
Harrison Charles and Wood, Paul (1993) Modernity and Modernism Reconsidered, Yale University Press
Hauser, A (1962) Social History of Art London: Routledge and Kegan Paul
O'Doherty, B (2000) Inside the hite Cube: The Ideology of the Gallery Space University of California Press
de Oliveira, N & Oxley, N (1994) Installation Art. Washington: Smithsonian Press
Walker, John A. (1994) Art in the Age of Mass Media. Pluto.
Williams, R. (1988) Keywords, a vocabulary of culture and society. London: Fontana

ournaIs
Art Monthly, Frieze, a-n, Art Forum, !arkett, October, Contemporary, Untitled, Tate

FiIm Studies

Gledhill, Christine and Williams, Linda (eds) (2000) Reinventing Film Studies Arnold
Hollows, Hutchins and Janovich (eds) (2000) The Film Studies Reader Arnold.
Nelmes, Jill (1999) Introduction to Film Studies, Routledge.

Photograhy

A usefuI introductory text:
Wells Liz !hotography a critical introduction edited (1997) Routledge

Bright, Suzie 'Art and !hotography Now'
Burgin, Victor (Ed.), (1982) Thinking !hotography, London: MacMillan
Clarke Graham 'The !hotograph'
Scharf Aaron, Art and photography (1968) Allen Lane
Sontag, Susan 'On !hotography'
Trachtenberg, Alan (Ed.), (1980) Classic Essays on !hotography, New Haven: Leete's sland Books,

ournaIs
Afterimage, Aperture, British ournal of !hotography, History of !hotography, Katalog

Media Practice

Austin, T & Jong, W d 2008, Rethinking Documentary, Open University Press
Barthes, R 2009, Mythologies, Vintage Classics
Bolter, J.D and Grusin, R., Remediation: Understanding New Media, MT Press, 2000
Bordwell, David & Thompson, Kristin (1993): Film Art: An Introduction. McGraw-Hill.
Branston, Gill & Stafford, Roy (1996): The Media Student's Book. Routledge. London.
Bruzzi, S 2000, New documentary, Psychology Press
Gauntlett, D 2008, Media, gender and identity, Psychology Press
Hendy, David (2000): Radio in the Global Age. Polity Press. Cambridge
Herman, E S & Chomsky, N 2002, Manufacturing Consent: The !olitical Economy of the Mass Media,
Pantheon
Lessig, L 2002, The future of ideas, Vintage
Lessig, L 2005, Free culture, Penguin Group USA
Lister, M et al, (2003) New Media: a Critical Introduction Routledge
Manovich, L (2001) The Language of New Media MT press
McLuhan, M & Lapham, L H 1994, Understanding Media: The Extensions of Man, The MT Press
Monaco, J 2009, How to Read a Film: Movies, Media, and Beyond, Oxford University Press
Murch, Walter (2001): n the Blink of an Eye: A Perspective on Film Editing.
Negroponte, N 1995, Being digital, Alfred A. Knopf
Nichols, B 1991, Representing reality, ndiana Univ Pr
Postman, N 2006, Amusing ourselves to death, Penguin Group USA
Silman James. California. Sonnenschien, David (2001): Sound Design: The expressive power of music,
voice and sound effects in the cinema. Michael Wiese Productions. California.
Stam, Robert (2000): Film Theory: An ntroduction. Blackwell, London.
ournaIs
British ournal of !hotography , Computer Graphics orld, Creative Review, Digital Arts, Film Comment,
Film Quarterly, ournal of British Cinema and Television, ournal of Media !ractice, Moviescope, Screen,
Scriptwriter, Sight & Sound, Studies in European Cinema, ired.

IIIustration and DAA

You are encouraged to read widely on both art and design, so make use of all reading lists/journals,
depending on your specific interest.

Bachelard, G. (1969) The poetics of space. Beacon
Bell, Roanne 005 !ictures and words : new comic art and narrative illustration Laurence King
Berger, J (2005) Berger on Drawing. Occasional
Beuys, J (2004) hat is Art? Clairview
Harrison, J (2001) Synaesthesia; the strangest thing. Oxford: Oxford University Press
Heller Steven and Marshall Arisman (eds) 2000 The education of an illustrator Allworth Press/School of
Visual Arts
Hyland, Angus.2003 Hand to eye: contemporary illustration, Angus.2003

ournaIs:
www.illustration-mag.com
Crafts, Varoom, !rintmaking today, Art on !aper, Textile, the journal of cloth and culture, !rint, Artists
Newsletter, Art ournal.
Your coIIected evidence shouId take the form of:


O An essay response to the chosen question (1500 words).

O A research fiIe or bIog incIuding Iecture notes research and Iinks drafts
personaI refIections and other moduIe-reIated materiaIs.

O A brief expIanation of your essay choice with reference to key themes texts
artefacts peopIe and events. (100 words minimum)

O A presentation (10 minutes pIus Q&A) expIaining your research processes in
the deveIopment of your essay.

O An annotated bibIiography and references.

O Evidence of group research task.



Assessment:


Description of each eIement EIement weighting

A. Body of work 100%

At each assessment point you wiII be expected to hand in these aIong with any
finished pieced required for inspection by the assessing staff.

Remember to ensure that your work is originaI and does not breach the University reguIations
regarding pIagiarism.



Assessment feedback:

You wiII receive written feedback within FOUR WEEKS of the submission deadIine.
If you have agreed with your tutor this feedback wiII be emaiIed to the address you
have suppIied. AIternativeIy if you have suppIied an emaiI address but wouId
prefer your feedback NOT to be emaiIed you wiII be notified that your feedback is
avaiIabIe in printed form from the Administrators' Office at UCY. If you have not
suppIied your tutor with an emaiI address pIease check the course website for
information on picking up your feedback from the UCY Administrators' Office.

The percentage mark/grade on your feedback is not finaI untiI the University Award
Board has been conducted. Your finaI marks / grades wiII be avaiIabIe to you
through myUWE.
Learning Outcomes:

On completion of the module students will have demonstrated:


Knowledge and Understanding

i) nitial identification of some of the key theories and issues underlying ongoing
debates around creative practices;
ii) Aspects of the historical development of creative practices in art, media and
design;
iii) the contexts of production and consumption for art, media and design;
ntellectual Skills

iv) development of analytical skills;
v) development of critical skills

Subject/Practical Skills

vi) development of library skills and methods of research;
vii) observation, description and contextualisation;
viii) development of essay writing skills;

Transferable Skills

ix) ability to communicate and document research findings, through written work
and through the use of visual material;
x) ability to communicate information and articulate an argument to an audience in
a professional presentation format;
xi) ability to work to a deadline, in stages.




Scheme of work

Week AvaiIabIe
Contact
time
(hrs)
Content
Semester
1

1 2 Lecture & Seminar 1: ntroduction to visual culture.
Referencing, bibliographies and note-taking.
2 2 Presentations & Discussion 1
3 2 Lecture & Seminar 2: Negotiating meaning
4 2 Presentations & Discussion 2
5 Study week
6 2 Lecture & Seminar 3: Authorship
7 2 Presentations & Discussion 3
8 2 Lecture & Seminar 4: Hyperreality, Simulation and Simulcra
9 2 Presentations & Discussion 4
10 2 Lecture & Seminar 5: Culture and sub-culture values and
ideology
11 2 Presentations & Discussion 5
12 2 Essay choices discussion.
Winter Vacation
13 nitial research
14 nitial research
15 nitial research
Semester
2

1 2 Essay planning and writing #1: Study Skills
2 2 Student-led lecture/seminars 1
3 2 Essay planning and writing #2: Study Skills
4 2 Student-led lecture/seminars 2
5 Study week First-Draft production
6 2 ******** First-Draft Essay presentations ********
7 2 Seminar / Discussion. Reflecting on the First-Draft essays
8 2 Essay development, tutorials and study skills.
9 2 Essay development, tutorials and study skills.
10 2 Essay development, tutorials and study skills.
11 2 Essay development, tutorials and study skills.
12 2 Essay development, tutorials and study skills.
13 2 Preparation for assessment
14 Assessment period
15 Assessment period


Undergraduate achievement threshoId statement

Creative CuItures 1 - UA1AD8-20-1
Assessment Criteria:
Students wiII be assessed according to
their fuIfiIIment of the Iearning
outcomes in respect of the foIIowing
criteria:
ThreshoId standard

(UG LeveI)
Clarity of objectives, understanding and
addressing the question;
The essay question being attempted is clearly
indicated and responded to in the work. There is
demonstrated some understanding of the
intention of the question and its relationship to
the module.
Structure and coherence of
discussion/argument;
The discussion is focused, clearly laid out and
demonstrates some ability in the formulation of a
basic argument.
Critical evaluation and/or analysis There is evidence of a basic level of analytical
ability and some competences in evaluating the
material presented.
Research (breadth, depth, relevance, use
of range of sources)
Research has been conducted at a satisfactory
level with relevant texts being used to support
the argument.
riting and presentation (articulation,
accuracy, referencing, bibliography)
The writing is grammaticaIIy correct and is
accurateIy speIt. The writing is cIear and of
academic standard. The presentation
demonstrates some understanding of the
appropriate form and essay makes use of
accepted conventions of citation and
bibIiography.

LeveIs of Achievement

80% and
above -
the student has produced a substantial body of work demonstrating an
exceptional level of critical and creative independence in the research, analysis,
recording and presentation of contextual material. The student has made an
outstanding contribution to the knowledge and understanding of their peers
through their active participation in seminars. The work exceptionally exceeds the
threshold profile in respect of all criteria.
70% - 79%
-
the student has produced a substantial body of work demonstrating a very high
level of innovation, critical and creative independence in the research, analysis,
recording and presentation of contextual material. The student has made a
considerable contribution to the knowledge and understanding of their peers
through their active participation in seminars. The work exceeds the threshold
profile in respect of all criteria.
60% - 69%
-
the student has produced a body of work demonstrating innovation, critical and
creative independence in the research, analysis, recording and presentation of
contextual material. The student has made a considerable contribution to the
knowledge and understanding of their peers through their active participation in
seminars. The work meets the threshold profile in respect of all criteria.
50% - 59%
-
the student has produced a body of work demonstrating critical independence
and creativity in the research, analysis, recording and presentation of contextual
material. The student has made a significant contribution to the knowledge and
understanding of their peers through their participation in seminars. The work
meets the threshold profile in respect of all criteria;
40% - 49%
-
the student has produced a body of work demonstrating engagement with the
programme of study. The student is competent in the researching, recording and
organization of contextual material. The student has participated in seminar
groups and contributed to the knowledge and understanding of the peer group.
The work substantially meets the threshold profile in respect of all criteria.
30% - 39% the body of work is incomplete and demonstrates a lack of engagement with
aspects of the programme of study. As a result the student lacks confidence in
the researching, recording and organization of contextual material. Contribution
to seminar groups has been erratic. The work substantially fails to meet the
threshold profile in respect of all criteria.
20% - 29%
-
the body of work is substantially incomplete and demonstrates very poor
engagement with the programme of study. The student has not acquired the core
skills introduced in the module and has made an inadequate contribution to
seminar groups. The work fails to meet the threshold profile in respect of all
criteria.
0% - 19%
-
very little evidence of engagement with the module. No evidence of progression.
The work fails to meet the threshold profile in respect of all criteria.
* for the purpose of assessment the level of achievement is measured against the overarching
profile given through the six threshold statements.