Monthly Archives: November 2012

The Running order for your Presentations.

 Unit 4 – Creativity & Context – Level 1 Chelsea

 Wednesday December 5th 2012

 You will all be ready in the Upper Casket by 12.55pm for a 1pm prompt start. The Level 2 students will be presenting in the morning and you are very welcome to come and watch form 10am onwards.

 The smaller room with the computers in the upper casket will be used as a ‘dressing room’ and the next two groups will be preparing quietly for their presentation while another is preforming. When the group performing has finished you will have 5mins to set up and be ready to present.

 This is the running order (if you have said you want to go at a particular time then that is fine and let me know), but you should all be prepared to go on next just in case of technological or costume malfunctions.


1a.  Bureaucracy. & Universalism

 2b.  Disenchantment of the world–& Homogenisation

3c.  Rationalisation–& Reductionism

4d.   Secularisation & Objectivism

 5e.  Alienation & Democratisation

6f.   Commodification & Industrial society

7g.  Decontexutalisation. & Mass society

8h.   Individualism & Subjectivism

9i.    Nationalism & Totalitarianism

10j.  Urbanisation & Mechanisation



PDF: Wednesday December 5th Running order for the presentations


Until then practice as much as you can so it goes as smoothly as possible on the day

‘…who loves practice without theory is like the sailor who boards ship without a rudder and compass and never knows where he may cast.’  Leonardo da Vinci



Brief: Modernity Précis (or When Worlds Changed Forever)

Unit 4 Creativity and Context

Write a minimum of 700 words on your understanding of what Modernity means to you. You may use as many illustrations as you wish. Include your group timeline and information graphic with this submission in one single PDF. Please follow the structure given below.

 Put your Name at the top of the page and give your writing a title and not a boring one.

1. First of all discuss what terms your group where given and how you then went about researching them as a group. Explain clearly the different roles with in the group and how you worked together.  Evaluate how the group operated and how your input helped the group come to a better understanding of the terms.

2. Write a short review of your presentation and descried what its aim was and evaluate whether you thought that it was successful or not. Indicate how you would improve this next time you have to perform a group presentation. Include images of the presentation and if you have made a film then give the link to Youtube/Vimeo as well.

3. Describe and analyse your own research you carried out for the group and say want you did and what you learnt from this experience. You should then go into more depth about the two terms you were given and see if you can connect them with changes in how Art and Design was produced and consumed during this period.

4. Include your group timeline and information graphic with this submission. You can put this anywhere you like and you can integrate it with the text if you like, or just have them separately at the end.

5. Include a full bibliography with this Precis and a list of illustrations, which are also fully referenced. You will need to cite in the text any information that you got from any source whether you directly quote or paraphrase. It will look like this (Ingham 2012).

Before you do this please read thoroughly the UAL handbook on Harvard Referencing, which is the style we would like you to use throughout your academic career at Chelsea


Also before you start writing read carefully the article  “Seven secrets of stylish academic writing” and put into practice what Helen Sword argues is a good way of writing academically.


 Mark Ingham | November 2012 |

Brief- Modernity Précis (or When Worlds Changed Forever) PDF


Seven secrets of stylish academic writing

Academic writing doesn’t have to be old and dusty. Wyoming_Jackrabbit

Imagine that the editor of a widely-read magazine or, say, The Conversation has heard about your academic research and invited you to contribute an article. But you only know how to produce stodgy, impersonal papers for peer-reviewed disciplinary journals.

How do you undo years of scholarly training and learn to write like a human being?

It’s a dilemma many academics face when engaging with print or online media for the first time, so here are seven tips to turn your jargon into energetic prose that anyone can understand.

Start with the title

The titles of academic articles are typically abstract, technical, and utterly uninviting,such as:

“Social-Organizational Characteristics of Work and Publication Productivity among Academic Scientists in Doctoral-Granting Departments”

To send a more welcoming signal to potential readers, try phrasing your title as a question (“Why Are Some Scientists More Productive Than Others?”), a provocative statement (“Productivity Hurts”), a metaphor (“Productivity: Holy Grail or Poisoned Chalice?”) or other memorable phrase (“The Productivity Paradox”).

Wherever possible, opt for simple, concrete language.

“Snakes on a Plane” is an inviting title; “Aggressive Serpentine Behaviour in a Restrictive Aviation Environment” is not.

Follow with an opening hook

“Scientific work takes place in organisations that may either facilitate or inhibit performance and within a larger, social community of science that may limit, constrain, or stimulate the development of ideas and actions.”

Yawn – you’ve already lost us. Follow up your engaging title with an opening paragraph that contains a question, quotation, anecdote or description: a vivid scene, a surprising fact.

Toss your readers into the middle of a story that has already begun.

Tell a story

The stories we like best have real people in them. Consider making yourself the central character in a tale of academic challenge and discovery.

Alternatively, find another human face to focus on: the cancer patient helped by a new treatment, the student who confronted and overcame a conceptual roadblock, the artist who struggled to find an appropriate aesthetic form for conveying the horrors of war.

With practice, you can learn to craft an equally compelling story featuring non-human characters: seagulls, red blood cells, a theorem, a text.

Be human

Remember you are a human being writing for other human beings.

Whether or not you employ the personal pronoun “I”, cultivate an authoritative yet conversational voice that invokes confidence and trust.

Read a few paragraphs aloud to yourself or to a friend. Do your sentences sound as though they’ve been produced by a robot? Or can you hear a real person speaking?

Be concrete

Academics typically traffic in abstract language. Readers, however, grasp abstract concepts best when they are grounded in the physical world.

Martin Luther King Jr’s “I Have a Dream” speech vividly illustrates this principle:

“I have a dream that one day on the red hills of Georgia, the sons of former slaves and the sons of former slave owners will be able to sit down together at the table of brotherhood.”

King invokes a colourful landscape (the red hills of Georgia), stocks it with human characters (the sons of former slaves and the sons of former slave owners) and gives those people something to do (sit down together at the table).

Not until the end of the sentence does he deliver the abstract noun at its heart. Brotherhood, King shows us, is not just an empty ideal but a place, an action, a shared meal.

Vary your verbs

Verbs are the batteries that power your sentences. Flat, predictable verbs produce flat, predictable prose:

“The focus of archaeological research on technology as an adaptation has, according to some, removed technologies from the historical circumstances in which they came into existence.”

Active verbs, by contrast, supply vigour and verve:

“Insects suck, chew, parasitize, bore, store, and even cultivate their foods to a highly sophisticated degree of specialization.”

Verbs pack their strongest punch when they directly follow a noun and when both agent and action can be clearly identified.

Compare the subject-verb cores of the two sentences above: “The focus … has … removed” (what is this sentence really about?); “Insects suck, chew, parasitize, bore, store, cultivate” (you can practically see those ravenous insects swarming).

Sweat the details

Writing baggy, lazy prose is easy; writing clear, lively prose is hard. Stylish academic writers hone and polish their sentences until they gleam.

They are ruthless about eliminating clutter (“From an analysis of the resulting data it can be seen that …”) and meticulous about word choice, syntax and flow. They work hard on their writing so their readers won’t have to.

These “secrets”, of course, are not secrets at all; they are core principles of effective written and oral communication. Put them under your pillow and breathe them into your dreams.

Whatever your subject matter or audience, they will help you energise your lectures, sharpen your grant applications, and produce more consequential research.

Helen Sword’s new book, Stylish Academic Writing, is published by Harvard University Press. You can find out if your own writing is “flabby or fit”, by running a few samples of your work through the Writer’s Diet test.




Admission £5/£3 Concs

12 October 2012 – 6 January 2013

©Kate Elliott

In the period following World War I, a curious attraction appeared at fairgrounds: the photographic shooting gallery. If the punter’s bullet hit the centre of the target, this triggered a camera. Instead of winning a balloon or toy, the participant would win a snapshot of him or herself in the act of shooting.

Shoot! Existential Photography traces the history of this fascinating side-show – from its popular use at fairgrounds to how it fascinated many artists and intellectuals in its heyday, including Simone de Beauvoir, Jean-Paul Sartre, Man Ray and Lee Miller. The artist Erik Kessels celebrates one shooter in particular – Ria van Dijk, who took portraits of herself in this way every year from 1936 – sixty of these images feature here.

Investigating numerous analogies between taking photographs and shooting, the exhibition includes works by many contemporary artists including Sylvia Ballhause, Agnès Geoffray, Jean-François Lecourt, Christian Marclay, Steven Pippin, Émilie Pitoiset, Niki de Saint Phalle, Rudolf Steiner and Patrick Zachmann.

To artist Rudolf Steiner the camera also serves as a target. In his series Pictures of me, shooting myself into a picture, the bullet hole serves as the aperture for a pinhole camera, creating an image upon impact. The video-sound installation Crossfire by Christian Marclay is a sampling from Hollywood films that edits together those moments in which the actors on the screen begin to take aim at the movie theatre audience. For eight minutes and twenty-seven seconds, the montage transports the viewer into a visual and acoustic crossfire from all sides.

At the end of the exhibition, visitors (18+ years) have the opportunity to take their own portraits in a photographic shooting gallery.

Exhibition curated by Clément Chéroux and co-produced by the Rencontres d’Arles and the Museum Für Photographie, Braunschweig


Good design can improve leadership by making big data accessible.

By Stacey Higginbotham

Nov. 5, 2012, 12:56pm PT

As the computer revolution has morphed into today’s web, design has a more important seat at the table. Not only is the web visual, but the data generated and the loss of hierarchy enabled by the web has created leadership challenges that good design can solve.


After a lesson in typography and an explanation of his lifelong passion in bringing technology and design together, John Maeda, president of the Rhode Island School of Design, laid out his view of the future challenge facing leaders now that social media and technology have overturned the traditional company hierarchy.



Video at:


Fortunately, the solution to that challenge appears to be a applying good design to a lot of data.
The crux of the leadership problem as Maeda sees it is that the hierarchical format with CEOs at the top and layers of management below them has been upended. “That hierarchy has been hurt indefinitely because anyone can talk to anyone else,” he said at the GigaOM RoadMap conference Monday in San Francisco. “You can’t control the flow of information between people anymore. There is a heterarchy and the CEO has been pulled into the middle of that.”

He implied that this opens up opportunities for creative people to become leaders, but he directly stated that creative people could help make any leader in this new heterarchical structure more effective. The secret to effectiveness in this brave new management world is making all of the data a leader has at their fingertips easily understandable, and to use design to connect concepts and relationships amid a mess of information.

So for Maeda, the question is both how do you lead in this new age of the heterarchy as well as how you can use design to support the leader. But in the 15 minutes before he got to that point, he led a fun intro into the importance of typography as an example of how design puts form to content, classified the difference between startup culture and larger company culture (he calls those “end ups” as opposed to startups,) and offered a book recommendation. As as one would expect, his slides were awesome. So check out the video for an entertaining talk and for startups out there thinking about data visualizations, check out his last few minutes to understand visually how design and data can aid leaders. Any company who can build those links will make a mint.


Viral Utopias

The Virality part of this free event (see below) will now be a collaboration between Tim Vogt, Francesco Tacchini, Nik Vaughn and Tony D. Sampson. We will be responding to the idea(l) of a viral utopia using academic voice, VJing, bass guitar and turntable.

Viral Utopia: What kind of Ontology is This?



Viral Utopias launch event on Friday November 16th

Viral Utopias Friday November 16th – 7PM til 1AM @ Limehouse Town Hall

Panics, plagues, and politics. Countless times the death of politics, utopia and neoliberalism has been proclaimed… and just as many times the lumbering remains of our conceptual apparatuses dust themselves and trundle on again… mutating their movements in unfolding recombinatory patterns.

Come join us to celebrate the release of several new publications exploring this overlap between the utopian and the viral, the networked and the not-worked: Virality: Contagion Theory in the Age of Networks by Tony Sampson; Contract & Contagion: From Biopolitics to Oikonomia by Angela Mitropoulos;

Open Utopia by Thomas More & Stephen Duncombe; and the current issue of Mute Magazine, ‘Becoming Impersonal’ Vol.3 #3.

DJS Agit Disco DJs LIVE BANDS Traum – London-based chanson for lovers of neo-romantisch perverse pop Hungry Hearts – whisky filled gruff folk punk:

ABOUT THE PUBLICATIONS Virality: Contagion Theory in the Age of Networks – Tony D Sampson with Tim Vogt, Francesco Tacchini and Nik Vaughn Contract & Contagion: From Biopolitics to Oikonomia – Angela Mitropoulos Open Utopia – Thomas More & Steve Duncombe Mute, ‘Becoming Impersonal’, Vol.3 #3

About Virality Tony D. Sampson is a London-based academic and writer currently lecturing at the University of East London. A former musician, he studied computer technology and cultural theory before receiving a PhD in sociology from the University of Essex. His ongoing interest in contagion theory is reflected in his recent publications, including The Spam Book: On Viruses, Porn, and Other Anomalies from the Dark Side of Digital Culture (2009), which he coedited with Jussi Parikka. His new book, Virality: Contagion Theory in the Age of Networks is published by the University of Minnesota Press in August 2012


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