Archive

Modernity

Who Do You Think You Are?/Don’t You Know Who I Am?

HAND IN DATE: Wednesday 24 April 2013 by 4pm.

Please read carefully…

You need to be as creative as you can with the way this essay is presented. You do not have to stick to the conventional A4 layout. You could make it double sided/double spread. You could male it A1/2/3/5 if you wish. It could look like magazine. Be creative in the way you lay out the images. Think about their relationships to the text. Use all your design intelligence to create a publication design that reflects its contents.

19_003

Emigre 19 
Starting From Zero (1991)

http://www.emigre.com/EMag.php?issue=19

You will hand in a hard copy to the Student Office in E-Block

AND email me a single PDF file to m.ingham@arts.ac.uk

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Here is a reminder of the brief…

For this written text you will become the interviewer/storyteller/narrator of a fictional event. You will create a scenario where the person from the 19th/early 20th centuries that you have already been assigned to research/become will meet a “post-modernist” designer/artist/thinker and if you so wish one or two other characters of your own choice.

You will be assigned a producer or critic of post-modern culture to begin with. You will then be able to choose another person from a list of people from the later modernist period and/or someone of your own choosing, who you may already know something about or are a fan of theirs and their work. They could be a; musician, fashion designer, artist, filmmaker, poet, etc.

This brief is about being able to ask the right questions when writing a text. These questions will have to be based on extensive research of your characters and the worlds they inhabit(ed). Without high quality research your questions will lack the depth for you to elicit quality answers. (You will of course be answering your questions on the behave of your characters.)

The first thing you will need to decide if you are going to stick with a three way correspondence/conversation or go for the more complicated but possibly more rewarding four or five way debate.

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So the options are:

1. You + Your Person from Modernity + Your Given Post-modernist.

= 3 people in the conversation.

2. You + Your Person from Modernity + Your Given Post-modernist + A Modernist from the given list OR and person of your choice.

= 4 people in the conversation.

3. You + Your Person from Modernity + Your Given Post-modernist + A Modernist from the given list AND and person of your choice.

= 5 people in the conversation.

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Once you have decided on which option you want to pursue, you then have to think about a scenario where they might all might meet up or correspond with each other. This will be a fictional event or process and it is much more than likely that they never met in real life. Will you invent a machine that sends you back in time and collect all your characters for a Radio/TV special on their lives? Will it be a ‘This is Your Life’ type event? You may wish to have them casually bump into each other in a coffee shop/bar/swimming pool and start up a conversation. You may want to do all the correspondence between your characters by post-card/letter/e-mail/twitter/SMS. You could create a fictitious play where they all appear in. You can be as creative as you wish with this element and take them to Mars if you fancy….

You will be the person you initiates the first questions to your characters and you will have to introduce them to each other. From then onwards you will be the narrator/interviewer and they will also want to speak to each other. This might then start a debate about the merits of modernism/post-modernism or any other issue the may have a bee in their bonnet or issue with.

You must start investigating and researching into your characters straight away, as this will be what you will base your questions on and will help you create and exciting and dynamic story. It is a flight of fantasy and is not real but will be based of the facts, works and words of your characters lives. You will create an extensive bibliography, which will be attached to this written text, as you WILL look for as many books/websites/films/journals articles about your characters and their lives and the worlds they lived in.

You MUST include in text referencing in this work. So you would say: (YOU) Dear Marcel Duchamp many thanks for being here today in is a great honour and pleasure. My first question is that, according to your friend and writer, Pierre Cabanne (1987) in his fascinating book Dialogues With Marcel Duchamp he asks you what your greatest regret was? Can you remember what you said” (MD) Yes of course I can remember as if it was yesterday day, I said, ‘I don’t have any. I’ve missed nothing.’ (Cabanne 1987 p15)

You must find a way of incorporating as many images of your characters work as possible into your chosen scenario and therefore the written text. If you are sending postcards for instance, send them images of your own work and they will then send you and each other images of their work. If in a café/bar they may have their portfolio/smart phone with them and they can introduce themselves through their work. They and you can then critique this work and a heated debate might arise. These images also must be referenced in full in a list, which can go wherever you like in this text. Your scenario might end up in an argument and one of your characters flouncing out in a huff.

 The elements of this text will be:

1. A title. It should be a hook and make the reader want to read your story.

2. An Introduction by yourself to the scenario you have imaginatively chosen for you people to come together and converse and a short introduction to these people and their lives.

3. The main text written as a continuous narrated dialogue between you are your characters and between each other, whether in the form of a script, letters, novel dialogue. As the narrator you are the questioner/interviewer/referee and the person who describes what is happening.

4. A conclusion where you sum up what happened and your thoughts on the events that have just ensued. A good ending is always important.

5. A list of illustrations which tells the reader exactly who took/made the image the date it was made where you got it from and when you accessed it, if in was from and on-line source.

6. A bibliography, which has FULL references for each source of information, you have used or looked at during your research. You MUST not just include an URL, there should be an author, date, title, site, URL, when access information included.

If in doubt look at: Guide to the Harvard System of Referencing http://bit.ly/12eP1Wt

You will be graded using the Undergraduate Marking Criteria Matrix: http://bit.ly/Z9L58o

HAND IN DATE: Wednesday 24 April 2013 by 12.05pm.

You will hand in a hard copy to the Student Office in E-Block AND email me a single PDF file to m.ingham@arts.ac.uk

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Happiness Machines.

Part one documents the story of the relationship between Sigmund Freud and his American nephew, Edward Bernays who invented Public Relations in the 1920s, being the first person to take Freud’s ideas to manipulate the masses.

This series is about how those in power have used Freud’s theories to try and control the dangerous crowd in an age of mass democracy. Sigmund Freud, the founder of psychoanalysis, changed the perception of the human mind and its workings profoundly.

His influence on the 20th century is widely regarded as massive. The documentary describes the impact of Freud’s theories on the perception of the human mind, and the ways public relations agencies and politicians have used this during the last 100 years for their engineering of consent. Among the main characters are Freud himself and his nephew Edward Bernays, who was the first to use psychological techniques in advertising. He is often seen as the father of the public relations industry.

Freud’s daughter Anna Freud, a pioneer of child psychology, is mentioned in the second part, as well as Wilhelm Reich, one of the main opponents of Freud’s theories. Along these general themes, The Century of the Self asks deeper questions about the roots and methods of modern consumerism, representative democracy and its implications. It also questions the modern way we see ourselves, the attitude to fashion and superficiality.

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The Century Of The Self 1 of 4 | One: Happiness Machines

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The Century of The Self Part 2 of 4

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The Century of The Self Part 3 of 4

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The Century of The Self Part 4 of 4.

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The Century Of  Self (FULL: Episodes 1-4)

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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

 

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PDF: Wednesday December 5th Running order for the presentations

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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

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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

See:http://www.arts.ac.uk/induction/sites/default/files/resource/2010/09/harvard-ual-zotero-lp-2012.pdf

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.

See: http://theconversation.edu.au/seven-secrets-of-stylish-academic-writing-7025

 Mark Ingham | November 2012 | m.ingham@arts.ac.uk

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

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MoMA Presents “Shaping Modernity: Design 1880–1980”

http://designtaxi.com/news/30045/MoMA-Presents-Shaping-Modernity-Design-1880-1980/ 

23 December 2009 – July 2010

Paolo Lomazzi, Donato D'Urbino, and Jonathan De Pas. Blow Inflatable Armchair. 1967. PVC plastic. Manufactured by Zanotta S.p.A., Italy. The Museum of Modern Art, New York. Gift of the manufacturer

Paolo Lomazzi, Donato D’Urbino, and Jonathan De Pas. Blow Inflatable Armchair. 1967. PVC plastic. Manufactured by Zanotta S.p.A., Italy. The Museum of Modern Art, New York. Gift of the manufacturer.

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