Context & Culture Homepage

Subject: CCE - Context & Culture - 2013

College of Arts, Victoria University

Teacher Name: Lisa Cianci - email: lisa.cianci@vu.edu.au
Course Coordinator & Education Manager: Alan Morgans - email: alan.morgans@vu.edu.au
College of Arts Office: City Flinders - Tel: 9919 1517

Class Website - http://multimedia.tafe.vu.edu.au/lisa/2013/CCE


Class 01 - Introduction to the Subject and Units of Competency

This subject will focus on aspects of histories of creativity and how this is related to contemporary creative practice, to examine what it means to be an artist today. As this is the last semester for many of you, we will also be focusing on activities that will assist you with the end of year exhibition, or in fact, preparing for any exhibition or professional presentation of your artwork.

 

Units of Competency

Each unit is broken down into elements and performance criteria.  The element is the topic for the unit and the performance criteria is content being delivered and assessed. The assessment of individual performance criteria is embedded in a number of holistic assessment instruments.

BSBCRT403A Explore the history and social impact of creativity

Element/Learning outcome

Performance Criteria

1. Investigate the history of creativity

1.1. Identify relevant sources of information on the history of creativity

1.2. Investigate and review different definitions of creativity and how these relate in an historical context

1.3. Assess the ways that individuals and collaborative groups have demonstrated creativity

1.4. Explore the relationship between creativity and different cultures and relate these to current contexts

2. Assess the impacts of creativity

2.1. Explore the impacts of creativity on the ways that people live and work

2.2. Explore the ways in which creativity has occurred in different fields of human endeavour

2.3. Determine and evaluate the factors that affect the presence or extent of creativity in a given situation

3. Evaluate the potential for enhancing creativity in own life

3.1. Extract key information and ideas from the history of creativity for possible relevance to own life and work

3.2. Discuss and explore ideas with others

3.3. Reflect on how creativity or creative thinking might be integrated into own life and work

3.4. Identify and access opportunities to build own creative thinking skills

 

Assessment Tasks

Task

Weighting (%)

1. Portfolio of 3 Writing Pieces 45% (15% per piece)

2. Content Management Project

35%

3. Blog Content Development

20%

 

Make sure you read the Subject / Unit Guide linked here for further detail on Units of Competency and Assessment.

 

Class Activities

Review of Academic Practice - research, critical thinking and different styles of writing

What is Research?

Research may be defined as the systematic investigation into and study of materials and sources in order to establish facts and reach new conclusions.

Creative practitioners need to understand their place in a continuum of creative practice to enable them to work from a position of knowledge - to become better practitioners.

This subject is designed to present you with a range of very interesting and engaging creative work as a starting point for your own journey in researching and developing your own creative practice. We learn about the history of creativity because it shows us not only themes and ways of working over recorded history of human endeavour, but also how and why these works were created in a socio-political context, at a certain place and time. Context is a crucial aspect in understanding creative practice, and often different meanings, different readings of an artwork can be made based upon the viewer's own knowledge and experience.

 

What is Creative Research?

"Creative Research" is a term that is being used a lot at the moment in academic circles. This includes the research we do to learn about other creative practitioners, and the creative practice itself - the works we create may form part of the research cycle. Methodologies employed in undertaking creative research are often described as Practice-Led or Practice-Based:

Practice-led research means that the research outcomes are not necessarily the works themselves, but new methods, new practices that have developed through research.

Practice-based research methodology is where research is carried out through a project. Practice-based Research is an original investigation undertaken in order to gain new knowledge partly by means of practice and the outcomes of that practice. This may be demonstrated through creative outcomes in the form of designs, artworks, music, digital media, performances and exhibitions.

 

How do we know if we are doing research?

How do we "research" and what is research and what isn't? Not all of what we do as artists is research - making an artwork is not necessarily research, but some aspects of it might be - so how can we tell the difference?

The research component of the practice-based research is, in most respects, similar to any definition of research, a key element of which is the transferability of the understandings reached as a result of the research process. (Candy 2006)

This essentially means that we need to be able to transfer the knowledge produced through our research somehow - this might manifest itself in different ways, such as the development of a technique that can be passed on, or the documentation of a performance work that demonstrates the development of a concept and its realisation, or the keeping of a visual journal that can show how a series of designs or artworks were created. Or in this case, through a written review of the creative works that are the focus of the research.

Consider: what methods are you engaged in that might qualify as "practice-based research"? Or what parts of this subject can we consider to be research? Discuss...

 

How does this relate to the Learning Elements in the Unit of Competency for this subject?

This Subject / Unit has the following three learning elements:

1. Investigate the history of creativity

2. Assess the impacts of creativity

3. Evaluate the potential for enhancing creativity in own life

The assessment tasks created for this unit focus on these learning elements and you will find yourself working through these elements in each project. You should use the work we do in Context & Culture to ultimately develop and improve your own creative practice through research and critical thinking. To do this you need to be able to communicate (present/discuss/write) about what you have seen/read/done, and why it's relevant/important/necessary.

In your own time, look through all assessment tasks linked to the subject homepage. You will see in the assessment rubric how each task addresses the elements listed above and the detailed performance criteria for each element.

 

What is critical analysis?

Here is a handy definition taken from this URL:

http://www.deakin.edu.au/current-students/study-support/study-skills/handouts/critical-analysis.php

Critical analysis is a central process in all academic work. It involves thinking critically, which is applying rational and logical thinking while deconstructing the texts you read (and write) at university. (Deakin University 2013)

Browne and Keeley (2001, p. 2) define critical thinking as:

  1. an awareness of a set of interrelated critical questions
  2. the ability to ask and answer critical questions at appropriate times
  3. the desire to actively use the critical questions.
(Deakin University 2013)

 

How do we think critically?

When we think critically we are being active; we are not passively accepting everything we see, read and hear, but questioning, evaluating, making judgements, finding connections and categorising. It means being open to other points of view and not being blinded by our own biases.

Critical thinking is useful for most activities associated with tertiary study, such as forming judgements in lectures and tutorials, and when reading, writing essays and assignments, making decisions and developing arguments, and developing projects.

Critical thinking involves various processes in different disciplines. In the arts, it can include asking questions, identifying problems and solutions, relating theory to practice, stating an argument and supporting it with evidence, making comparisons and evaluating.

 

Practice:

How to write your review in the correct format

As the texts for Assessment Task 1 will be short (~800-1000 words each), you don't need to structure your texts formally as you would with longer essay-style pieces. You don't need a lengthy introduction and conclusion that repeat the body of your writing. Rather, you may plan a path through your review - it should be coherent and flow well from paragraph to paragraph. Think about writing an outline where each paragraph addresses a different part of the review.

Judy Radul's interpretation of how one might structure a review can be found at this URL:

Notes on Writing Reviews: http://www.sfu.ca/~jaradul/reviews.html

You might want to include for example (not necessarily in this order):

  • A brief overview of the works to be discussed - e.g. time, place, movement;

  • The main argument or theme of your review - eg: history of creativity in specific cultures;

  • Physical description of the work - e.g. mediums and materials used, size, genre (for example painting , sculpture, print, photography, drawing);

  • Information about the artist (that is relevant to the work) - e.g. name, aesthetic focus, artist associates, movement associated with;

  • Contextual information: how, where, when why was the work created - e.g. visual elements such as line, form, texture, space, movement, color, tone, meaning of the work;

  • Second-hand sources that have informed your review - e.g. articals, reviews, discussions;

  • Observations, anaylsis and critique of the genre/work, comparisons between the genres/works, links to other works/artists/genres that have infuenced the work.

To help you think about how you might interpret the works you have selected for these assessment tasks, I have referenced these principals as a starting point that you might wish to consider - you don't have to use them or agree with them all.

Barrett's Principles of Interpretation

1. Artworks have "aboutness" and demand interpretation.

2. Interpretations are persuasive arguments.

3. Some interpretations are better than others.

4. Good interpretations of art tell more about the artwork than they tell about the critic.

5. Feelings are guides to interpretations.

6. There can be different, competing, and contradictory interpretations of the same artwork.

7. Interpretations are often based on a worldview.

8. Interpretations are not so much absolutely right, but more or less reasonable, convincing, enlightening, and informative.

9. Interpretations can be judged by coherence, correspondence, and inclusiveness.

10. An artwork is not necessarily about what the artist wanted it to be about.

11. A critic ought not to be the spokesperson for the artist.

12. Interpretations ought to present the work in its best rather than its weakest light.

13. The objects of interpretation are artworks, not artists.

14. All art is in part about the world in which it emerged.

15. All art is in part about other art.

16. No single interpretation is exhaustive of the meaning of an artwork.

17. The meanings of an artwork may be different from its significance to the viewer. Interpretation is ultimately a communal endeavor, and the community is ultimately self-corrective.

18. Good interpretations invite us to see for ourselves and to continue on our own.

(Barrett 1994)

 

Referencing and Copyright

Writing at university involves researching the ideas of other people, which you can combine with your own ideas and conclusions.

In all of your written work at VU, you are expected to maintain certain standards relating to how you give credit to the work of others, respecting intellectual property and copy rights.

Learning to acknowledge other people’s work through in-text citing and referencing will help differentiate between their ideas and your own.

This is central to the idea of academic honesty in Western academic institutions.

http://www.vu.edu.au/library/referencing-copyright

The VU Library site has some very useful information that you will need to refer to in writing your review (see the link above). Despit the review not taking a formal essay format, we still expect you to use in-text citing and referencing for any content that is not your own intellectual property.

As we are asking you to research and find text relating to the artworks you have selected for this assessment task, you may want to quote short excerpts of others' texts in your text. This demonstrates that you have taken the opinions of "experts in the field" into account when forming your own analysis.

The next section on VU Harvard Style will show you how to quote texts from various sources, and how to reference content that is not yours and create a bibliography at the end of your review. You may have noted that I have references in these classnotes and have placds a bibliography at the end of the web page. You are expected to do likewise.

We recommend Harvard Style as it allows for differentiation between in-text citation and endnotes/footnotes which you may want to add with your own additional commentary. We will look at the differences...

 

VU Harvard Style Guide: http://guides.library.vu.edu.au/harvard

You can download the PDF for the Harvard Style Guide and keep it handy for all written tasks.

Here are some examples that you can refer to for Assessment Task 1:

 

1. how to quote someone else's text (in-text citation)

This is an example of a chunk of text from my PhD thesis:

The above creative projects and texts do, I believe support my theory: that remix can be a method of preservation. While the works of those outlined above do this quite explicitly I am arguing further that remix is what artists do, whether explicitly or implicitly in their practices and processes.

As artist and theorist Eduardo Navas states:

The contemporary artwork, as well as any media product, is a conceptual and formal collage of previous ideologies, critical philosophies, and formal artistic investigations extended to new media. (Navas 2010)

Recognising this may be the best way to engage artists to adopt preservation strategies into our work.

Navas hosts a website “Remix Theory” (Navas 2012), which is a portal for accessing his remix artworks, research and texts, and provides links to other related artists and theorists. Navas’ definition of the types of remix (Navas 2011a) are based upon his own artwork and research that begins with a history of remix in music of the late twentieth century, and continues with the inclusion of art and digital media practices in popular culture and academia.

(Cianci 2012)

 

Note how a large chunk of text quoted is indented and in italics without "quotation marks", whereas a short piece of text within the paragraph text is placed within "quotation marks". This just makes it easier to read. Can you tell why one of the references has the date as 2011a?

Refer to the VU Harvard Style Guide to see how to use in-text citation for more than one author.

 

2. how to use footnotes or endnotes

A footnote is a numbered notation at the bottom of a page with a number corresponding to a section of the text. An endnote is the same thing, but placed at the end of a chapter or at the end of a document.

Some style guides such as Oxford use footnotes or endnotes for referencing, but we will not be using that method as we are using Harvard in-text citation.

If you have additional information that does not belong in the body of your text, you may use an endnote. Here is an example:

 

In Australia, in the early 1970s, artists Mike Parr, Tim Johnson and Peter Kennedy established "Inhibodress", a gallery space and artists' cooperative that produced conceptual art, performance art and video. Inhibodress was similar to Fluxus in some ways. Event and performance were a means of engaging and sometimes shocking the audience.[3]

----------------------------

Endnote at the end of the chapter:

[3] Mike Parr’s performance work often involved self mutilation: winding a fuse up his leg and setting light to it; or simulated self-mutilation as with the now infamous performance where Parr, (who only has a partial left arm), takes an axe and proceeds to chop up his prosthetic arm - the audience unaware that the arm is prosthetic and filled with meat and blood.

 

3. how to annotate images (figures) in your review

Here is an example of placing an image that is not your own in your text (called a Figure, it can be used for images, diagrams, tables and other graphical content):

 

stelarc

Figure 1.25 Stelarc, Multiple Hand, c1998 (Stelarc 2012)
(image with permission from Stelarc)

 

4. how to create a bibliography of your references - books, journal articles, websites, etc...

Excerpt from the Bibliography for the example from my PhD as used above...

Cianci, Lisa 2012, "The Blackaeonium Project: Workspace/Keeping-Place - An Archival Continuum of Creative Practice", PhD Thesis, RMIT University, published on Blackaeonium.net, Lisa Cianci, viewed 15/02/2013, <http://exegesis.blackaeonium.net>

Navas, Eduardo 2010, “Regressive and Reflexive Mashups in Sampling Culture” (2010 Revision), Remix Theory, Eduardo Navas, viewed 13/04/2011, <http://remixtheory.net/?p=444>

Navas, Eduardo 2011, "Radiohead Lotus Flower YouTube Remixes", Remix Theory, viewed 12/06/2012, <http://remixtheory.net/remixImages/lotusAnalaytics/LotusOrig_YZ.jpg>(Navas, 2011d)

Navas, Eduardo 2012, Remix Theory, Eduardo Navas, viewed 10/10/2010, <http://remixtheory.net>

Stelarc 2012, Stelarc.org, Stelarc, viewed 26/04/2012, <http://stelarc.org/>

 

Use the online Harvard Style Guide to see which parts of the reference are necessary and how to reference different types of source such as books, movies, DVDs, websites, emails, twitter feeds etc.

 

Videos and gallery visits throughout the semester

Throughout the semester we will watch a variety of experimental art videos, and documentaries and have a few gallery visits. You will be given at least a week's notification of when excursions will occur.

I will be selecting a diverse range of videos to show you in class, but I will also be relying on you to select videos that we can all watch in class time.

Today's video is The New Shock of the New - Art Documentary - Robert Hughes

http://www.youtube.com/watch?v=iXSSTkDNwcE

 

I would like everyone to select a video no longer than about 15 minutes and each week we will watch two or three of your own selections. I will ask you to respond to these videos on your blog - you can embed the code for your video selection if it is a video from Youtube or Vimeo, other videos may be linked with a text URL. You can include your written impressions of this work and any other relevant content.

Your selection must be art-related, and please watch it yourself first to make sure it is suitable to show in class - we can't show anything too risque that may offend students or may breach university policies. I would prefer that it is something easliy accessible on the web so that students can also watch these videos outside of class time if anyone misses a class or if we run out of time in class to watch them all.

I will draw up a schedule of which students will present a video at which classes. I need to know beforehand what your selection will be so I can watch the video myself and write some questions for you to consider.

 

Class Exercise

Class Exercise: Write a short statement about what you think it means to be a creative person and a contemporary artist (to be reviewed at the end of semester), present this to the class.

 

Homework / Readings

Your homework will be to read the following before Class 02:

Making a Mark - 6 great ways to find subjects to blog about

 

References

Barrett, Terry 1994, Criticizing Art: Understanding the Contemporary. Mountain View, California: Mayfield Publishing Company.

Borgdorff, Henk 2010, “The Production of Knowledge in Artistic Research” in The Routledge Companion to Research in the Arts, Routledge

Browne, M & Keeley, S 2001, Asking the right questions: a guide to critical thinking, 6th edn, Prentice-Hall, Upper Saddle River, N.J.

Candy, Linda 2006, Practice Based Research: A Guide, Creativity & Cognition Studios, http://www.creativityandcognition.com University of Technology, Sydney, CCS Report: 2006-V1.0 November, viewed 22/11/2010 <http://www.creativityandcognition.com/wp-content/uploads/2011/04/PBR-Guide-1.1-2006.pdf >

Deakin University 2013, Critical Analysis, Deaking University, <http://www.deakin.edu.au/current-students/study-support/study-skills/handouts/critical-analysis.php>

Fortnum, Rebecca 2009, "On Not Knowing; how artists think – Symposium Introduction", Symposium: On not knowing: how artists think, Kettle's Yard, Cambridge, <http://www.kettlesyard.co.uk/exhibitions/mi/papers/onn_fortnum.pdf >

Smith, Hazel & Dean, Roger T. (Editors) 2010, Practice-led Research, Research-led Practice in the Creative Arts, Edinburgh University Press

Windschuttle, K & Elliot, E 1999, Writing, researching, communicating: communication skills for the information age, 3rd edn, McGraw-Hill, Sydney.