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NORTHUMBRIA UNIVERSITYUNDERGRADUATE PROGRAMME SPECIFICATION

(see guidance notes for completion1)

Please note that from January 2005 Where a programme is delivered in more than one mode:

o a full Programme Specification is completed for what is deemed to be the main modeo details of other modes (part-time, franchise deliveries etc.) are entered onto a Delivery Supplement which is attached to the main documento one or more delivery supplements may be included at the time of validation, or added when an additional mode of delivery is subsequently

approved. Any changes made to an approved Programme Specification are indicated on a Log of Changes sheet, and appended.

Sections 1-10 below indicate all modes of delivery and attendance, with the main mode highlighted by the use of bold type; sections 11-20 refer to the main mode of delivery.

1. Programme Title and Award BA (Hons) Contemporary Photographic Practice

2. UCAS or other Admissions Code E640

3. Northumbria Programme Codeie SITS route code

21FFNA-N CPP1

4. Mode(s) of Delivery please indicate the main mode of delivery in bold

Classroom-based

Distance Learning Blended

5. Mode(s) of Attendance please indicate the main delivery in bold

Full-time Sandwich Part-time

Other please specify

6. Location(s) of Delivery if other than Northumbria

7. Collaborative Provision if applicable Franchised Validated Joint Dual

Partner Institution(s)

8. Date(s) of Approval/Review

9. QAA Subject Benchmark Group Art and Design

10. PSRB accreditation if applicable

1 The Programme Specification should be completed in accordance with the guidelines available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/progspecs/

http://Northumbria.ac.uk/sd/central/ar/lts/approval/progspecs/


Sections 11 – 20 relate to the main delivery as indicated in bold above.

11. Educational Aims of the Programme Specified in terms of the general intentions of the programme and its distinctive characteristics; these should be consistent with any relevant benchmark and with the Mission of the University.

The overarching aim of this programme is to produce graduates who are critical thinkers and reflective practitioners, who are well prepared to apply their acquired practical and theoretical skills in a range of potential career paths and who will make significant contributions in their chosen fields.

The philosophy of the Contemporary Photographic Practice Programme is to guide students towards establishing an independent contemporary art practice that is critically informed and technically proficient. This means developing high levels of self-motivation, intellectual curiosity, speculative enquiry, imagination and divergent thinking skills.

The distinctiveness of the Contemporary Photographic Practice subject at Northumbria lies in its provision of a dynamic and creative learning environment which is dedicated to supporting students in the achievement of their full creative potential. This distinctiveness pivots on the essential acknowledgement that each student is an individual, the learning and teaching therefore focusing on guiding the student through a process that is experiential and progressively self-determined. The student-centred curriculum is designed to stimulate the development of an enquiring, analytical and creative approach, and to encourage the acquisition of independent judgement and critical self-awareness. Students learn to recognise the interactive relationship between materials, media and processes, between ideas and issues, and between producer, mediator and audience. A rigorous mechanism of continuous formative feedback provides the essential support for individual achievement. Additionally, the provision of excellent studios and workshops offers a substantive learning environment in which a creative art practice can be tested, challenged and developed. The course is further distinguished by its purpose built gallery provision. Gallery North is a primary teaching and research resource that enriches the curriculum and complements other gallery provision in the region. The exhibition programme is diverse and exciting and showcases work by international artists, visual arts staff and student groups. The distinctiveness of the programme is also manifested in the success of its graduates, many of whom have moved on to make substantial contributions in a diversity of creative and cultural industries. Many graduates continue their practice as artists and achieve critical acclaim; they may support their practice through the sale of work, commissions, grants and residencies and/or other employment. Some graduates find an application for their learning through post-graduate study or teaching, or within the cultural sector that includes community arts work, curating, arts management and administration, web design, artists' assistants, gallery or exhibition organisation. The programme therefore distinctively equips students with a range of intellectual, practical and transferable skills that enable them to achieve their ambitions, and to become life-long learners. The Fine Art staff are committed to providing a teaching and learning experience that is excellent in all aspects of its delivery and that is relevant to the contemporary world. The programme is further enriched by its academic staff who are all practising artists with national and international exhibition profiles. The diverse research interests and specialist knowledge offered by staff ensures that the teaching is informed by a dynamic research culture that is connected to current practices, is regularly updated and that is delivered by highly motivated lecturers.

A unique feature of the programme is that students have the opportunity to work and to show their work at BALTIC 39, a professional studio environment in the heart of the city that is shared with professional artists and with BALTIC’s experimental gallery. BALTIC 39 is a product of Northumbria’s groundbreaking partnership with BALTIC (BXNU) and allows students an opportunity to mix with Postgraduate students, artists and curators.

The programme is designed to be responsive to different student needs and to provide a learning environment that is both challenging and supportive.

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The first year aims to build student confidence, develop foundational knowledge and embed essential skills and competences. The second year develops student knowledge and understanding of the discipline with a focus on connecting practice to a critical understanding of contemporary contexts. The third year encourages reflective and critical evaluation of diverse models of visual thinking that culminates in a public exhibition and formal examination.

Students produce a body of work that reveals skill aptitudes and that positions their art practice within a critical and contextual framework. A project essay underpins and compliments studio practice and theory. The production of a Personal Development Portfolio (PDP) is featured throughout the course. The PDP is embedded in a professional practice module at each level, therefore emphasising its strategic relationship to personal development, skills acquisition and employability from the very outset of the course.

The programme aims:

1. To support students to take ownership progressively of their creative practice through a curriculum that moves from an emphasis on example and direction to one based on independent experiential learning and decision-making.

2. To enable the students to situate the understanding of an independent photographic practice within an historical, comparative and contemporary context.

3. To provide students with knowledge and understanding of diverse theories of historical and contemporary photographic practice4. To offer students learning experiences which develop an awareness of cognitive, aesthetic and creative models of fine art practice.5. To provide a stimulating learning environment which can maximise the student’s potential and that promotes the capacity for independent, critical

and imaginative creative enquiry.6. To instruct students in practical, technical and formal skills relevant to the Fine Art subject area that enables the student to develop an independent

visual language that is self-directed, and that convincingly expresses their personal creative and conceptual ideas.7. To provide students with appropriate practical and intellectual skills that can be developed and transferred to a range of career opportunities.8. To provide students with appropriate skills for realising their creative ambitions and that meet professional standards of production.

Informed by the Art and Design Subject Benchmark Statement, the specific educational aims of the course :

1. Are encompassed within the core modules of the programme, which culminate in a public exhibition of artworks and the production of a professional practice file that is the consolidation of the student’s Professional Development Portfolio (PDP). Both the exhibition and the professional file are a testament to the students’ continuous creative, academic and professional development throughout the programme. It is not intended that students will cover the aims individually, but rather that they will be integral to the programme and will be developed throughout the period of study.

2. Are founded on the University’s mission to provide challenging and innovative learning and teaching that empowers the active learner, and the Faculty’s Learning and Teaching strategy, which supports this by means of the development of a stimulating learning environment that engages actively with creative research and scholarly activity. The underpinning philosophy is to engage in critical, analytical and creative study and to develop visual practical skills that meet professional standards. The programme’s core interests focus on contemporary photographic practice practice and theory, which are underpinned by, and take full cognizance of benchmarks for the Fine Art subject area.

3. Are consistent with the University Learning and Teaching Strategy for strengthening the economic, environmental and cultural life of the region



through opportunities in higher education, creating partnerships, integrating with communities and generating and disseminating valuable knowledge and providing opportunities for work-based learning, corporate learning and continuing professional development.

4. Are consistent with the strategic objectives of the Faculty and the Faculty’s Academic Development Plan, in relation to working with external agencies to provide opportunities for work-related opportunities and learning within the curriculum.

12. How Students are Supported in their Learning/Employability/Career Development eg curriculum design, personal development plans, placements, fieldwork, practical projects.

The Contemporary Photographic Practice curriculum has been established upon a continuous process of staff and student review in response to subject benchmark statements, course team discussions, external examiner comments, module reviews, annual programme reviews and student feedback and consultation. Students are able to contribute their opinions and experiences of the course through their student representatives at course committee meetings and staff student liaison meetings, and individually through Fine Art module feedback forms, university module questionnaires and university questionnaires. This feedback is used by staff to review, and where appropriate make changes to, the delivery of the curriculum or the programme resources. Course committee meetings and staff student liaison meetings together with the annual review and module review provide a robust mechanism to consider and support the student experience.

The Faculty of Arts, Design and Social Sciences has an established framework for student support which has been adopted for this course. The principal objectives of this framework are to assist students in gaining knowledge of what is expected of them on the course and to assist them in the planning, management and review of their own learning. A central principle of the Faculty’s policies on student support is to encourage student autonomy so that, on graduation, students can function independently in diverse fields of graduate employment. The development of such skills is an essential part of this course, and this is supported through the personal guidance tutors, the course team and module tutors.

The Fine Art team acknowledges that supporting student learning is crucial to the design and delivery of the course. Emphasis has been placed upon the development of autonomous learning and the acquisition of key / core skills, and these are constantly monitored by the constructive use of formative feedback. Regular formative feedback assists the students to plan, research, reflect and prepare the assessed academic elements of the course. To facilitate this, study skills and personal development more generally are integral to the curriculum design and content. To match this philosophy, transferable study skills and other aspects of student personal development are fully embedded into all levels and every module across the degree course.

This is further supported by the guidance tutoring system. The personal guidance tutor plays a key role in all courses across the Faculty. Year 1 Contemporary Photographic Practice students are allocated and introduced to their guidance tutor at induction. Personal guidance tutors can refer a student to other relevant sources of support. For example, in the case of personal problems/issues, students can be referred to the University Counseling Service or, in the case of financial difficulties, to the Student Union or Finance Section of the Students’ Union Advice Centre. In cases where skills need enhanced development above and beyond course provision, students can be referred to the Study Skills Centre and to the skills section on the e-learning portal. The personal guidance tutoring system is integral to student support, retention and individual attainment and provides a structure to monitor student academic achievement and personal development. It is recognised that a high proportion of art and design students are dyslexic and the Fine Art staff work closely with the University disability advisers to ensure that students with dyslexia are fully supported. All year 1 students are invited to take part in a short voluntary dyslexia test early in the course, which can help to identify individuals that are as yet undiagnosed and to direct them towards acquiring further support from Student Services and at course level. In line with the University’s equal opportunities



statement, all students that present with a disability are given every support to enable them to meet their full potential on the course.

An academic profiling and planning system contributes towards the achievement of personal goals, and the introduction of the PDP (Personal Development Portfolio) is designed to facilitate student reflection on and awareness of their progress, achievements and potential as a learner. The PDP also outlines skills that are essential for lifelong learning and which form an integral part of the student experience. By encouraging students to engage in self-reflection, development and profiling they will become more aware of their acquisition and progression of essential skills. From level four, with support from their personal guidance tutor, students are encouraged to engage in processes of self-review, assessment of progress and the identification of future ambitions. As such they will build up a personal profile via their PDP, which will identify academic strengths and weaknesses and delineate activities employed to develop the students’ academic and vocational profile.

An induction programme introduces new students to university life, the department and the programme. Meetings are scheduled in the early weeks of the course to introduce the student hand book, the Fine Art staff and the course structure, and information is followed up and reinforced at strategic points during the first semester to ensure that students are offered the necessary guidance and support to engage with the demands of undergraduate study. In the first 2 weeks of semester 1, all level four students work together in adjacent studios. This enables the students to get to know each other and facilitates the settling-in process. A programme of support including orientation inductions, guidance and mentoring is also offered to students who progress to level six from Fine Art Foundation Degree programmes.

Students are supported in their learning through lectures, critiques, subject specific small groups, written and verbal tutoring sessions and assessment feedback, inductions into study skills and technical methods and guidance tutoring sessions. As a practical and studio-based subject, the Contemporary Photographic Practice programme offers continual individual and group tutoring session support. Subject-specific small groups form the core of the learning and teaching strategy and are allocated at regular and timely intervals. They provide frequent dialogue between staff and students and are recorded in writing by the student. The tutoring reports form the basis of the students PDP and, as well as monitoring academic development and understanding, they are a useful and constructive tool that can be used with the students’ Guidance Tutor to identify where support and advice is needed.

Transferable study skills and other aspects of student personal development are fully embedded into all levels and every module across the programme. Academic study skills are addressed as part of the induction process at level four within the art history module History and Theory of Fine Art 1. In collaboration with Student Wellbeing, support is given to students with learning disabilities such as dyslexia. From week 1, study skills seminars introduce students to the learning resources available in the library and demonstrate how to access and use data-bases and information available on-line. The online-line facility of Turnitin is used in formative and summative assessment to enable students to develop skills in writing and confidence in their ability to articulate their ideas. In seminars and written work, students are encouraged to develop skills of visual analysis supporting the student’s intellectual and practical development. At level five, students continue to develop their skills of research, the analysis and presentation of information and ideas in written form through directed and independent learning, and thus continue to enhance their proficiency in carrying out academic research. Level five students work in experimental groups and collaborate to show their work. At level six, workshops and individual tutoring address study skills specific to the research and production of a dissertation that supports and directs the students in the research and presentation of a written assignment appropriate to this level.

Study skills related to practice are embedded in the curriculum at each level. At level four, this is particularly focused in one 40 credit module, Introduction to Art School Culture: Skills and Materials, which introduces research methods and establishes the studio environment as the primary



location for study, reflection, the practice and testing of skills and personal development. The two forty credit studio-based modules at level five specifically address research study skills and their interdependence upon creative development. Level six modules continue this process of enhancing study skills that support students towards becoming skilled autonomous learners and flexible and capable practitioners.

The programme is designed to develop the student’s practical, intellectual and transferable skills base and to equip them to access a wide range of employment opportunities, as well as continued practice as creative artists. The nature of the Contemporary Photographic Practice course means that the progression of skills is continually addressed within the programme and across all modules, but professional practice and employability skills are specifically delivered within a year-long twenty credit module at each level (Professional and Personal Skills and Development 1, 2 and 3). These modules progressively introduce skills appropriate to personal development and career aspirations and are closely linked to the PDP throughout the programme. The presence of a professional practice module in each year of study develops a steady and staged awareness of professional considerations and its correlation to practice, enabling students to make expedient connections to practice and potential career choices as they progress through the programme. Students from all three years attend fortnightly professional practice lectures. Visiting Lecturers, with a variety of expertise in the field, are invited to discuss their own professional experiences and thereby provide students with an insight into the potential of working and practicing in the creative industries. These lectures may be delivered by high profile practising artists, recent graduates, Arts Council representatives and gallery directors and curators and offer first hand, authentic information that is relevant and current. Exposure to a wide range of possibilities and alternatives for practice nurtures ambition and understanding, and is significant in enabling the student to establish an independent and confident sense of their own artistic identity progressively.

At level four, students are introduced to a broad understanding of professional practice through participating in the preparation of the degree show and building on their knowledge and understanding of the aesthetic and practical considerations that relate to exhibiting artworks in the public arena. At level five, the professional practice module focuses on the enhancement of practical and transferable skills that address individual needs. A Learning Contract is agreed with the tutor to establish a programme of learning and technical training. At level six, the professional practice module aims to help the student plan for employment, further study or independent practice. Activities undertaken may range from additional technical training to enhance skills, to undertaking specific external projects or placements in, for instance, schools or galleries. The programme has established links with local schools and with high profile galleries in the area, such as BALTIC, BALTIC 39 and Vane, which often extend opportunities to students to work directly with artists and school and community groups. These projects enable students to gain valuable and authentic external experience in putting skills and knowledge into practice outside the institution. Professional practice seminars and workshops at level six support students in preparing to present themselves professionally to potential employers, grant agencies or for postgraduate study. Writing a CV and artist’s statement, photographic documentation of work, making applications for grants and residencies and accessing the University Careers Service are among the topics covered.

13. Learning Outcomes of Programme Specified in terms of performance capabilities to be shown on completion of the programme/pathway. Please identify numerically to correspond to the map of learning outcomes in section 18.

a) Knowledge and Understanding

1. A coherent knowledge and understanding of key historical and contemporary Fine Art/Photography practices and theories, some of which are at the forefront of the discipline.



2. The ability to consolidate, extend and apply their knowledge and understanding in the production and initiation of artworks, and the ability to employ this knowledge to make discriminating decisions in their own practice.

3. The potential to apply subject specific knowledge and understanding to a range of professional contexts.4. A critical understanding of an individual Contemporary Photographic practice that is articulated in a written statement and an end of year public

exhibition of visual work.5. An understanding of the interconnectivity between creative and intellectual research strategies that support the establishment of a professional

artistic practice.6. Knowledge and understanding of the requirements of preparing for and presenting a public exhibition, and an awareness of appropriate

presentation methods, audience reception, communication with professionals in the field, and health and safety issues.

b) Intellectual Skills

1. Synthesise and critically analyse visual and theoretical information, some of which may reference ideas and techniques that are at the forefront of the Photography discipline.

2. Apply reflective, visual and intellectual thinking processes to their own knowledge and practice.3. Conceptually and practically identify connections between intention, process, context, outcome and display, within their own practice and the work

of others.4. Critically evaluate, compare and interpret historical and contemporary models of Fine Art/Photography practice.5. Analyse and articulate, with appropriate use of specialist terminology, intellectual rationales and research methods connected to the subject.6. Reflectively evaluate individual creativity, methods of expression and technical competence.

c) Practical Skills

1. The ability to apply and connect methods of practice with appropriate creative and cognitive skills.2. The ability to employ materials, techniques, methods, technologies and tools associated with the discipline with skill and imagination.3. The ability to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences (in verbal, visual and written

form).4. The ability to utilise specialised practical and conceptual skills that address individual outcomes and ambition and contribute to the production of

publicly exhibited and resolved visual artefacts.5. The ability to research, gather and review information from a range of sources.6. The ability to establish a self-motivated studio practice and a professional studio working ethos.

d) Transferable/Key Skills

1. Exercise initiative and personal responsibility in the self management of goals and tasks, this will include meeting deadlines, setting priorities, working independently, and time management.



2. Reflect in and on their own knowledge, practice and skills and use processes of review, planning and evaluation in relation to personal and professional development planning.

3. Demonstrate the ability to present themselves professionally, including good image documentation; preparing a CV; preparing a personal statement; archiving material and exhibiting artworks in a gallery or site specific context.

4. Demonstrate practically and intellectually the potential to undertake appropriate further training or professional employment. This could take the form of postgraduate study, as a practising artist, as an arts manager or in other forms of personal and career development.

5. Demonstrate competent use of relevant technical and workshop facilities including IT, machinery and lens based equipment, with full regard and observance of appropriate health and safety issues.

6. Communicate ideas and information fluently in visual, oral and written forms.7. Apply intellect, analysis, reflection and creativity to a range of contexts.

14. Learning, Teaching and Assessment Strategy Specified to enable learners to achieve and demonstrate the above learning outcomes.

In accordance with HEFCE guidelines and the subject benchmarking statements, the BA (Hons) Contemporary Photographic Practice Programme has been designed to incorporate fully the principle aims of the University's Learning and Teaching and Assessment Strategy, which has been implemented by the Faculty of Arts, Design and Social Sciences. The objectives of the learning and teaching strategy are therefore to support all students on the course to develop the key subject specific, cognitive and creative skills essential to becoming successful, self-motivated and autonomous learners. Additionally, the course aims to ensure that all students gain the essential professional, personal and transferable skills required to provide them with the best opportunities to succeed in their studies and their chosen careers.

The Contemporary Photographic Practice learning and teaching strategy is designed to empower students as independent learners. The increasing degree of specialisation and self-direction as the student progresses ensures a level of expertise in the subject that builds confidence and critical awareness. By the end of their programme of study, students should feel secure in their knowledge, understanding and skills, enabling them to approach the world of employment, continued practice or further training, with self-assurance and a realistic sense of their own ability. The teaching offers a diversity of learning opportunities through an appropriate balance of individual tutoring, group critiques, lectures, workshops, staff and student led seminars, guest lecturers, technical inductions, and directed and independent learning.

The “individual studio space” forms a critical part of the learning experience. It is where creative skills and subject knowledge can be tested and reflected upon, and where progress can be effectively discussed with staff and student peers. Students choose, or are allocated, spaces at the commencement of each academic year and this location is where their work is developed and discussed throughout the year. It is essential that students identify with their individual studio as a site of experimentation, learning and personal discovery and this is established from year 1 in the Locating Practice year long module, which focuses the student towards locating their explorations within their designated studio space. Taught sessions support the student’s participation in, and understanding of, the value of the studio as the primary learning environment. This, and the diversity of teaching methods, provides a supportive infrastructure in which students' knowledge, confidence, basic analytical and creative skills can grow.

Individual tutoring and small group critiques are important and distinguishing characteristics of the Contemporary Photographic Practice learning and teaching strategy, and they occur at regular intervals throughout the course. Since the programmes philosophy, aims and outcomes focus upon the



student’s ability to establish an art practice that is self-directed, it is essential that students are exposed to frequent dialogue that critically engages with the specific practical and contextual concerns of the individual student. Subject specific small groups provide the means in which the development of intellectual maturity, curiosity, personal innovation, risk-taking, independent enquiry and effective self-management can be properly supported and monitored. One to one tutoring sessions and group critiques address common and individual concerns and support the students' engagement with creative and speculative enquiry. Additionally, regular discussion of work in progress enables the students to engage with a reflective and active learning process, and to participate in an interactive critical discourse between the tutor and the student and the student with his or her peer group. Subject-specific small groups, with different core staff and visiting artists, provide alternative perspectives on work that support the student’s acquisition of critical and reflective skills. Individual tutoring sessions take place in the studios and engage directly with work in progress, thereby encouraging new practical and theoretical strategies to be directed and planned as work is developed. Tutoring sessions provide continuous and timely feedback, enabling the student to reflect upon their learning and progress and to respond to advice given. The role of the tutoring session and group critique is to encourage the student to reflect, review, discuss, make decisions, undertake research, or test out creative or intellectual propositions. Where possible, group critiques take place in specified generic spaces that are pre-booked and that create an objective and professional approach to presentation and interpretation. Group critiques provide students at each level with a supportive structure for peer and individual evaluation, as well as a platform for practical and theoretical comparison of learning and practice.

Lectures may examine broad historical or contemporary themes or explore the specific research interests of a particular artist. Lectures, therefore, support the students’ acquisition of fundamental knowledge and understanding of their chosen discipline and provide key material that can be followed up in the studio and in library-based research. Lectures also provide a forum for subject specific language and terminology to be introduced and discussed. Practising artists, with national and international reputations, make valuable contributions as visiting tutors and facilitate important links to professional and creative practice. Lectures by visiting artists are open to students at all levels and provide valuable connections to the wider potentials and alternatives for Contemporary Photographic Practice practice and offer knowledge and experience that is current and relevant.

The Art History component of the course is delivered by specialist Art History staff through weekly lectures and seminars at level four and five. Study skills are incorporated into the programme at all three levels enabling students to develop transferable skills of writing and visual analysis, encouraging and supporting them in the articulation and expression of their ideas in oral and written form. The content of year 1 and year 2 Art History modules (History and Theory of Fine Art 1 & 2) aims to broaden the student’s knowledge and understanding of the history, context and theory of art and visual culture in ways that inform and illuminate the student’s studio practice. At level four, lectures and seminars provide an overview of some of the principal movements in 20th century painting and sculpture and introduce theoretical concepts that have been historically influential in the study of art practice and criticism. While lectures provide a structure which gives the student knowledge and understanding of the factors influencing the development and reception of art, seminars are more closely aligned with the Contemporary Photographic Practice syllabus and are supportive of practice based modules at key points. For example, at this level, the delivery of lectures on colour, the body, landscape and the environment is correlated with related activities in the Locating Practice and Methods and Materials modules. At level five, the syllabus encourages analytical reflection through the exploration of theoretical and historical approaches to Modernism and Post-Modernism, focusing on issues of recent and contemporary relevance such as gender and ethnic identity, consumption and the relationship between high art and contemporary mass culture. Art History lectures and seminars complement practice-based modules (Professional Practice, Studio Practice and Research into Practice), all of which enable students to acquire contextual knowledge and understanding and to situate their own practice. At level four and five, students submit two essays per year; one at the end of each semester. Of these one is formative and the other is summative. At all three levels, use is made of the University's IT learning facilities, including Turnitin, so that students are supported in their directed and independent learning and the development of skills of research and communication. At level six, students present a dissertation of 4,000 words in length that reflects on an historical, contextual and theoretical aspect of fine art practice in a



way that enables them to situate and reflect upon their own practice and to demonstrate skills of written communication and critical and visual analysis. This enables the student to consolidate and synthesise their acquired art historical knowledge and understanding with the specifics of their independent studio concerns.

Seminars act as a forum for the discussion of ideas and methods relating to fine art photographic practice. The intention is to introduce theoretical ideas for wider group discussion, to challenge opinions and to clarify concepts.

Workshops and technical inductions provide opportunities to introduce new skills, to expose students to the full potential of the subject, and to discover previously unrecognised strengths.

Directed learning is offered in tutoring sessions, critiques and group workshops and will indicate research to be undertaken, methods that may be tried, as well as direction given in groups such as life classes. At level four, direction is more prescriptive than at subsequent levels. At level five, direction will be focused on supporting the student in contextualising their work but will include a significant proportion of practical and technical guidance. At level six, with its emphasis on independent practice, directed learning will offer suggestions for creative development and research, which encourages a reflective and questioning response.

The regional galleries such as BALTIC, BALTIC 39, Vane, NGCA and Gallery North provide a supplementary but integral learning resource to students. Through formal visits, or directed and independent visits, students are able to access a wide range of contemporary exhibitions that enhance their knowledge and understanding of the Fine Art subject and frequently inform individual studio practice.

The principles of 'assessment for learning' underpin the assessment strategy of the Contemporary Photographic Practice Programme. This means that assessment is not simply a measure of student progress but is used as the means of enhancing and enabling student achievement. The range of assessment tasks is designed to provide a varied and coherent assessment programme that compliments the experiential nature of the learning process, which therefore reflects the progressive attainment of knowledge, skills and critical reflection. Assessment is closely linked to module learning outcomes and the relevant levels of achievement at each stage of study. Marking criteria are issued to students both with the module guide and within the assessment guidelines. The range of assessment strategies employed includes student self-assessment, peer assessment, formative feedback from staff and summative assessment at key points in the academic year. The majority of both formative and summative assessment tasks are centred on the production of artworks, but also include essays, individual and group presentations, reports, research files etc.

Formative Assessment is a continuous process. The tutoring session report is the mechanism by which formative assessment and feedback and student self-evaluation is recorded. At the conclusion of a tutoring session, a report form is given to the student. Students write a response that is self-evaluative and that identifies the key points of the discussion, so they may therefore need to consider advice given in terms of (i) practical and creative development; (ii) research/artists/exhibitions/reading; (iii) ideas or philosophy. The form is then returned to the tutor. This is then signed with comments added by the tutor and a copy is kept by both parties. One copy is also kept on the student academic file. By giving the student the initial responsibility for recording the tutoring session discussion, the student is encouraged to become actively and directly engaged with their own learning and assessment.

Tutoring session feedback reports form the basis of the Professional Development Portfolio (PDP) and provide a continuous and authentic record of the student's ability to evaluate their individual progress across modules and from level to level. The PDP is also used within the Guidance Tutoring



session system as a constructive tool to review individual academic achievement and skills development.

Responses to tutoring sessions at level four are expected to be largely descriptive in nature, concerned with basic evaluation and recognition of the learning process. As the course progresses, students are supported and encouraged to begin to reflect more upon the tutoring session discussion, to begin to make more discriminating decisions and to begin to develop a more critically aware approach in preparation for level five studies. At level five, students are encouraged to conceptualise and critically assess their learning in the light of tutoring session discussion and to demonstrate and understanding of emerging contexts for their work. As students progress through levels five and six, the ability to reflect in (while they are doing something) and reflect on (after they have done something) becomes increasingly important and more complex. They will gradually take more responsibility for the direction their practice takes, both creatively and theoretically, and be able to assess and articulate their creative and intellectual understanding and development formally in the tutoring session report. At level six, students take a greater responsibility in setting and evaluating objectives within their practice, together with the ability to synthesis and independently assess information, and to demonstrate independent thought. At level five and six, a formative assessment at the end of semester 1 is integral to the overall assessment strategy of the programme and provides a robust and structured mechanism to support learning. These formative assessment points are designed to encourage students to take risks and to speculate on creative possibilities, without unduly penalising them for experimenting and testing new ideas that, in the short term, might “fail”. After staff have reviewed their display of artwork, students attend a formative assessment tutoring session, which provides personalised verbal and written feedback. Students, therefore, are given the opportunity to reflect on their experience so far critically, to identify areas for improvement and to be more aware of their strengths. This mechanism enables students to review progress realistically and critically, to act upon advice, and to take responsibility for their learning before the body of work is summatively assessed.

All modules are summatively assessed at strategic points in the academic year. This summation of achievement provides the opportunity to assess different skills and to reflect more fully on the module learning outcomes. Summative assessment gives a clear indication of how the student has applied knowledge and integrated learning, and where a number of modules are assessed at the same time, offers an overview of progress that is holistic and coherent, from which future strategies can be usefully planned. Summative assessment plays a key role in providing feedback in terms of the student’s personal development, and in informing staff of progress and the extent that the learning outcomes have been achieved. Students receive prompt written and verbal feedback from staff following each major assessment point. The feedback tutoring session is used to clarify issues and to discuss problems, strengths and future directions. A copy of the assessment feedback form is kept by the student and is included in the PDP file.

At level four the learning experience is focused on the acquisition of fundamental techniques and processes, combined with an introduction to essential aesthetic and philosophic perspectives that inform artistic practice. Students are encouraged to test out methods and techniques, to experiment with new methods of visual enquiry and to engage with a process that progressively extends their practical and intellectual understanding. At this level, the proportion of directed learning is necessarily greater than at subsequent levels of the course.

A structure of two 40 credit year-long modules and two 20 credit year-long modules provides a broad and inter-related programme of research and creative experimentation that leads to more individual strategies of exploration. This diet of modules provides an integrated programme that enables the learning process to unfold experientially and promotes the acquisition of cognitive, formal and practical skills that will support and inform work at subsequent levels. The year one programme is designed to increase the students' skills portfolio, to encourage the application of new subject knowledge and understanding to their studio practice, and to identify strengths that may lead to further specialisation at level 5.



In Introduction to Arts School Culture: Studio Practice, students begin the process of engaging in an art school environment and locating their practice within a broad cultural framework. Students will investigate process and potential subject matter that can inform and support the development of an individual artistic practice. A body of practical work and supporting research will be developed through a continuous process of visual exploration. With tutorial support, students will manage a line of personal enquiry in terms of content, materials and method and will be encouraged to experiment with new ways of thinking and working. Lectures will discuss a wide range of formal and conceptual approaches that will provide reference points for further study. Introduction to Art School Culture: Skills and Material focuses on equipping students with the basic skills that will enable them to identify further the techniques relevant to their specialist area. It is also designed to introduce students to research methodologies that are rooted in the act of observation and the interrogation of both subject matter and material. Through a programme of workshops, students will develop skills in speculative enquiry that engage both the senses and the mind and to use drawing and lens-based media to record their findings. Academic and technical staff lead an intensive programme of technical workshop and students are introduced to University Risk Assessment Policies and Health and Safety Procedures.

At the end of level four, students will have progressed skills associated with the technical, creative and intellectual production works. They will have begun to establish areas of independent concern and to engage with basic levels of reflective and critical visual enquiry. Additionally, students will have developed transferable skills associated with time-management, professional practice, listening and contributing, writing essays, oral and written communication, library and research based activities, directed and independent learning, planning, doing, looking and reviewing.

The role of assessment at level four is formative and diagnostic. The overall grade at the end of the first year of study does not count towards the final degree classification. Coursework receives a mark but feedback focuses on a diagnosis of problems and an identification of strengths. The use of Personal Development Portfolios underpins the formative function of level four assessment, providing students with the opportunity to discuss their overall performance with Guidance Tutors.

Students at level 5 build on the knowledge and experience gained in level four. They are encouraged to continue to experiment with new methods and concepts, whilst also being aware of, and making connections with, earlier stages of learning. The two-year long studio-based modules, Studio Practice and Research into Practice help the student to contextualise their developing practice and to make informed connections with their practical development and a broader cultural and theoretical framework. Students are introduced to more advanced research study skills and culturally significant theory that supports their developing knowledge and understanding of the subject, and of themselves, in becoming increasingly independent practitioners. This understanding has to be based around the experiential activities within the studio and takes time and reflection for it to unfold for the student in a meaningful way. Students are encouraged to use their deepening theoretical knowledge to illuminate their speculative visual enquiry in the studio and to enhance their imaginative and creative endeavours. The forty credit weighting of the two year long studio modules allow students time and space to progress their practice realistically. The Professional and Personal Skills and Development 2 module aims to identify technical needs that will enhance the student’s developing studio practice and will enable the student to increase their subject-related transferable skills in a way that also addresses individual professional goals and requirements.

Assessment criteria at this stage focus on the student’s ability to assimilate theory with practice and to identify research that consequently underpins and elucidates their studio work. A formative assessment tutoring session at the end of semester one provides the student with the opportunity to reflect on their experience so far critically and to evaluate strengths and weaknesses that can be addressed in semester 2. This is important in that it enables a structured and focused review of progress without unduly penalising the students need to explore visual ideas and methods creatively, and to be able to see “mistakes” as an integral part of the learning process that enhance technical proficiency and that are just as valuable as successes. This process fosters a deep and authentic learning experience that is student-centred. External Examiners sample module submissions for moderation at



the semester 1 and 2 assessment points.

Through the Socrates Art Exchange Scheme, second-year students are offered the opportunity to undertake a period of study at a European university. The Contemporary Photographic Practice programme has a number of well-established links with institutions in Europe, including Holland, Finland and Spain. Exchanges are usually for a period of 12 weeks and can be taken in either semester 1 or 2.

At level six, students develop and build on the acquired learning of level four and five. On entering level six, students begin the process of consolidating and refining an independent programme of theory and studio practice, leading towards a more finalised resolution and a public exhibition. The two forty credit year-long studio-based modules; Studio Outcomes and Synthesis encourage the student to make independent and discriminating choices, to engage with speculative enquiry and with a process of trial and error that will collectively contribute to a deep and meaningful learning experience.

At the end of the year, students produce a body of self-directed work that sustains a critical dialogue and that reveals skills aptitudes and incorporates a convincing personal standpoint for their practice. Most importantly students will have developed their knowledge and understanding, so that, by the time they graduate, they “own their own practice”. They will be able to communicate their ideas both in written, oral and visual form and they will be able to synthesise and evaluate advanced and diverse models of visual thinking in the discovery of new concepts and methods of production. The emphasis of the students learning at this level is towards sustaining a programme of self-managed study that equips them to prepare for critical examination and continued practice in their chosen career. At this level, directed learning enhances independent learning through tutoring session dialogue that is both supportive and challenging.

A formative assessment tutoring session at the end of semester 1 acts as a review of progress so far and supports students in identifying and planning strategies for the consolidation of their individual creative practice that can be presented in the context of a professional exhibition format in semester 2. The invention and development of an artistic practise is a continuous process, but presentation of the results needs to be undertaken regularly. The formative assessment acts as a rehearsal for the major presentation at the end of the year in a way that promotes learning and does not unduly penalise the student’s final level of achievement. This tutoring session enables the student to reflect upon the intellectual and practical complexities of their practice realistically and to continue to ask questions and take risks to enable them to achieve their full potential at the end of the year. Reaching this potential is contingent on the student feeling they have space to continue to speculate, to test out and refine visual propositions throughout the year.

The module Dissertation: History and Theory of Fine Art, requires students to present a 4,000 word dissertation that encourages reflection on the historical and theoretical context of their studio practice. Dyslexic students, who may find the conventions of academic essay writing problematic, may, on agreement with their tutor, submit an essay of reduced length.

The Personal and Professional Skills and Development 3 module at level six is geared towards helping the student plan for employment or further study. The learning opportunities may range from a workshop on the preparation of a CV, to the acquisition of specific technical skills to work experience placements in schools or galleries. In semester 1, students prepare a presentation that articulates their ideas and understanding of their practice. This acts as a rehearsal for the preparation of an “artist’s statement” that is displayed with practical work in the degree show exhibition. At the final assessment point, students prepare a Professional Practice File that reflects the student’s ability to present themselves and their achievements in a professional context. This file also represents a consolidation of the students PDP.



At the final stage of assessment in semester 2, students prepare a display of the major practice-based modules which are assessed in exhibition format. External Examiners review work at this and the semester 1 submission point. This procedure confirms parity of marking across the subject and ensures that internal marking mechanisms are robust and commensurate with national standards for Honours Degree classification.

The cumulative impact of learning at levels four and five usually results in students reaching higher levels of attainment at level six. Degree classifications are, therefore, usually judged on the basis of level six marks only. In certain cases, a forty/sixty percent aggregate of year two and three marks may be used to calculate the final classification. The full procedure for awarding degree classifications is detailed in ARNA.

15. Programme Structure This section should be completed with reference to the Modular Framework for Northumbria Awards.2. Diagrams can also be used to demonstrate the structure.

Programme Structure Refer if necessary to appended diagrams

Level 4 VA0412 History and Theory of Visual Arts 1 – 20 credits – year-longVA0410 Professional Practice 1 – 20 credits – year-longVA0421 Establishing Studio Practice – 40 credits – year-longVA0422 Developing Methods and Enquiry – 40 credits – year-long

Level 5 VA0517 History and Theory of Visual Arts 2 – 20 credits – year-longVA0518 Professional Practice 2 – 20 credits – year-longVA0519 Studio Practice – 40 credits – year-longVA0520 Research into Practice – 40 credits – year-long

Level 6 VA0620 Dissertation – 20 credits – year-longVA0621 Professional Practice 3 – 20 credits – year-longVA0622 Studio Outcomes – 40 credits – year-longVA0623 Synthesis – 40 credits – year-long

2 The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/


http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/


16. Lower Level Awards Credit Structure and Programme Learning Outcomes for Lower Level Awards.

Please delete or add rows as appropriate, with reference to the Assessment Regulations for Northumbria Awards3 Learning outcomes should be specified for each lower level award in accordance with the QAA Framework for Higher Education Qualifications4 which also provides generic qualification descriptors for each level. The standard credit structure for each award is given below. The ModularFramework for Northumbria Awards2 indicates permitted variations and allows programmes to be validated with some lower or higher level credit (e.g. the Certificate of Higher Education (120 credits at Level 4) can be validated with up to 30 Level 3 credits).

Award Programme Learning Outcomes may be completed with reference to section 13.

Certificate of Higher Education

120 credits at Level 4

At level 4 students will demonstrate an understanding of fundamental visual techniques and processes combined with appropriate intellectual skills in relation to the stated programme learning outcomes.

Diploma of Higher Education

240 credits:120 credits at Level 4;120 credits at Level 5.

At this level students will demonstrate evaluative skills that connect theory to practice in relation to the stated programme learning outcomes.

32 The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/3 The Assessment Regulations for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/44 There is a link to the QAA Framework for Higher Education Qualifications at http://Northumbria.ac.uk/sd/central/ar/lts/approval/2


http://Northumbria.ac.uk/sd/central/ar/lts/approval/


http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/


17. Variation from Assessment Regulations or the Modular Framework Provide details of any approved variations from the Assessment Regulations for Northumbria Awards (ARNA)3 or the Modular Framework for Northumbria Awards2.

None

18. Mapping of Learning Outcomes

This section shows how the individual modules (with module learning outcomes as written in the module descriptor) together contribute to programme learning outcomes. It should be presented as a matrix of programme learning outcomes (as identified numerically in section 13), against modules. Where a module contributes to a programme learning outcome it should be flagged. Standard practice will be for a single symbol to indicate a learning outcome addressed in the module. See guidance notes for discussion of alternative practices.

The following matrix is for a programme structure with 6 learning outcomes in each of the categories of section 13, with rows for 6 modules in each of levels 4 and 5, and 9 modules including some options in level 6. See guidance notes for a discussion of the treatment of option modules. The matrix should be extended as required. The matrix will show how some learning outcomes are developed at particular stages in the programme, while others may be developed through the three levels.

3

22 The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/3 The Assessment Regulations for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/



http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/


MODULE CODE

Core/ option

a) Knowledge & Understanding

b) Intellectual Skills c) Practical Skills d) Transferable Key Skills

C/0 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6 1 2 3 4 5 6

Level 4

VA0412 C x x x x x x x x x x x x x xVA0410 C x x x x x x x x x x x x x x x x x x xVA0421 C x x x x x x x x x x x x x x xVA0422 C x x x x x x x x x x x x x x x x x x x x x

Level 5

VA0517 C x x x x x x x x x x x x x x xVA0518 C x x x x x x x x x x x x x x x x x x x xVA0519 C x x x x x x x x x x x x x x x x x x xVA0520 C x x x x x x x x x x x x x x x x x x

Level 6

VA0620 C x x x x x x x x x x x x x x x x xVA0621 C x x x x x x x x x x x x x x x x x x x xVA0622 C x x x x x x x x x x x x x x x x x x xVA0623 C x x x x x x x x x x x x x x x x x x x x



19. Admission Requirements including approved arrangements for admission with advanced standing, where appropriate.

The ability to benefit from Northumbria University programmes is assessed on a combination of academic and personal qualities which can be demonstrated in a number of ways. Successful completion of a GCE or VCE Advanced level course of study (or some other equivalent qualification) is just one way. Students who can in other ways demonstrate their ability to benefit from a Northumbria University programme, in particular mature students without formal qualifications, will always be considered and are invited to contact the admissions tutor to discuss their application.

Applicants should use the personal statement on their application to illustrate their abilities, aptitudes, skills, qualifications and experiences which might be taken into account as well as or instead of any of the formal qualifications listed below. It is University policy to recognise a wide variety of evidence, and potential applicants may wish to discuss this aspect of their application with the admission tutor.

The following standard entry requirements are shown for guidance. A student’s particular combination of qualifications (including key skills) will always be taken into account in making an offer.Please amend as appropriate (and delete this instruction).GCSE grade C or above in Mathematics and English Language, plus one of the following:GCE and VCE Advanced Level 300 UCAS tariff points, with (subject) at A2 minimum grade C.Scottish Highers BCCCIrish Highers CCCCCHEFC Access One credit and two meritsOther EB 64%; IB 24 points.InterviewsInterviews will be held where

the suitability of a candidate is in doubt and further evidence is sought candidates present an unusual set of qualifications taken or pending, and an appropriate conditional offer needs to be determined candidates may need advice on the appropriateness of a programme, or on the appropriateness of a proposed preparatory course of study

Applicants invited for an interview will always be told its purpose.

20. Application Procedure Amend as appropriate

Applications are processed by the Universities and Colleges Admissions Service (UCAS).



Appendix 1: BA (Hons) Contemporary Photographic Practice

21FFNA-NFNA1

Yr 1 SEMESTER 1 Yr 1 SEMESTER 2VA0412 History and Theory of Visual Arts 1 - 20 credits

VA0410 Professional Practice 1 - 20 credits

VA0421 Establishing Studio Practice 40 credits

VA0422 Developing Methods & Enquiry 40 Credits

Yr 2 SEMESTER 1 Yr 2 SEMESTER 2VA0517 History and Theory of Visual Arts 2 - 20 credits

VA0518 Professional Practice 2 - 20 credits

VA0519 Studio Practice – 40 credits

VA0520 Research into Practice – 40 credits

Yr 3 SEMESTER 1 Yr 3 SEMESTER 2VA0620 Dissertation – 20 credits

VA0621 Professional Practice 3 – 20 credits

VA0622 Studio Outcomes – 40 credits

VA0623 Synthesis – 40 credits



Appendix 2: Assessment Matrix

Assessment Matrix: BA (Hons) Contemporary Photographic PracticeFormative assessment occurs throughout all modules. Key formative and summative assessment points are detailed below.

Year 1 – Level 4

Module Module code Assessment type

History and Theory of Visual Arts 1 VA0412Semester 1 – Summative Essay, 1000-1500 words, 25%Semester 2 – Summative Essay, 2000 words, 75%

Professional Practice 1 VA0410Semester 1 – Formative Portfolio/PDPSemester 2 – Summative PDP, 60%Semester 2 – Summative Documentation/Diary, 40%

Establishing Studio Practice VA0421Semester 1 – Formative/Summative Presentation of Practical Work, 25%Semester 2 – Summative Presentation on Visual Artworks, 75%

Developing Methods & Enquiry VA0422Semester 1 – Formative/Summative Presentation of Practical Work, 25%Semester 2 – Summative Presentation of Body of Work inc Documentation, 75%

Year 2– Level 5


History and Theory of Visual Arts 2 VA0517Semester 1 – Summative Essay, 1500 wordsSemester 2 – Summative Essay, 1500 wordsAbove Combined into Portfolio 100%

Professional Practice 2 VA0518Semester 1 – Formative Reflective Record of ActivitiesSemester 2 – Summative Personal Development Portfolio (PDP), 100%

Studio Practice VA0519Semester 1 – Formative Ongoing Process Through Group Taught SessionsSemester 2 – Formative Ongoing Process Through Group Taught SessionsSemester 2 – Summative Exhibition, 100%

Research into Practice VA0520Semester 1 – Formative Artist StatementSemester 2 – Summative Assessment Presentation of Visual Work, 100%

Year 3 – Level 6


Dissertation VA0620Semester 1 – Formative Essay Submitted to TurnitinSemester 2 – Summative Extended Essay, 4000 words, 100%

Professional Practice 3 VA0621 Semester 1 – Formative Seminar Presentation and Statement on Own Work



Semester 2 – Summative PDP and Placement Learning Contract, 50%Semester 2 – Summative Professional Portfolio, 50%

Studio Outcomes VA0622Semester 1 – Formative Display of ArtworkSemester 2 – Summative Major Exhibition, 100%

Synthesis VA0623Semester 1 – Formative Display of ArtworkSemester 2 – Summative Major Exhibition, 100%


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