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WRITING FOR THE ARTS DESIGNING ESSAYS • BRAINSTORMING • CREATIVE TEXT BARKER • MONDAY, SEPTEMBER 28 TH • G219 • NSCAD UNIVERSITY
18

FNDN 1800-1 Oct 20th Class Slides

Dec 25, 2014

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Becka Barker

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Page 1: FNDN 1800-1 Oct 20th Class Slides

WRITING FOR THE ARTSDESIGNING ESSAYS • BRAINSTORMING • CREATIVE TEXT

BARKER • MONDAY, SEPTEMBER 28 TH • G219 • NSCAD UNIVERSITY

Page 2: FNDN 1800-1 Oct 20th Class Slides

ESSAY-WRITING PROCESS

pre-writing

writing

post-writing

Page 3: FNDN 1800-1 Oct 20th Class Slides

ESSAY-WRITING PROCESS

your brain

your brain on essay-writing

Page 4: FNDN 1800-1 Oct 20th Class Slides

ESSAY-WRITING PROCESS

research drafting

redrafting

refining

Page 5: FNDN 1800-1 Oct 20th Class Slides

How do you brainstorm?

ESSAY-WRITING PROCESS

Page 6: FNDN 1800-1 Oct 20th Class Slides

How do you concretize your ideas?

ESSAY-WRITING PROCESS

Page 7: FNDN 1800-1 Oct 20th Class Slides

Three Methods (of many)

ESSAY-WRITING PROCESS

speech to text

free-writing

mind-mapping

Page 8: FNDN 1800-1 Oct 20th Class Slides

Speech to Text

ESSAY-WRITING PROCESS

Find a partner. Take turns asking/answering questions about your essay idea.

What is it about? Why are you interested in it?

When you listen to your partner’s explanation, do your best to take good notes on what they say.

Sometimes it’s easier to blurt things out informally than it is to start formally committing them to the page.

Page 9: FNDN 1800-1 Oct 20th Class Slides

Freewriting

ESSAY-WRITING PROCESS

Now that you’ve spent a few minutes talking about your essay idea and your research, do five minutes of free-writing on your essay topic.

The text you create here can be mined later on as you craft the essay draft.

Page 10: FNDN 1800-1 Oct 20th Class Slides

Mind-Mapping

ESSAY-WRITING PROCESS

Using the newsprint and markers provided, start mapping out how your ideas might relate to each other. You may colour-code bits of info based on themes or sources.

After drawing the map, imagine the path from one idea to the next. How can you put these bubbles of ideas in a linear timeline of text?

Page 11: FNDN 1800-1 Oct 20th Class Slides
Page 12: FNDN 1800-1 Oct 20th Class Slides

TEXT IN VISUAL ART

Visual poetry (also sometimes called concrete poetry) uses the visual and spatial properties of words and the spaces upon which they’re printed to create meaning visually. Thus, meaning is derived from both the words used and the means by which they are used.

http://visual-poetry.tumblr.com/

e.e. cummings (1934)

No Thanks

from his collection of published poems, No Thanks

Page 13: FNDN 1800-1 Oct 20th Class Slides

TEXT IN VISUAL ART

Visual poetry (also sometimes called concrete poetry) uses the visual and spatial properties of words and the spaces upon which they’re printed to create meaning visually. Thus, meaning is derived from both the words used and the means by which they are used.

http://visual-poetry.tumblr.com/

Anatol Knotek (2014)

Alone

from the book 2 4get her: A Drama in Four Acts

Page 14: FNDN 1800-1 Oct 20th Class Slides

TEXT IN VISUAL ART

“Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white phtographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns…implicates viewers by confounding any clear notion of who is speaking.”

(from The Art History Archive—Feminist Art)

Barbara Kruger (1981)

Untitled (Your Comfort is My Silence)

Page 15: FNDN 1800-1 Oct 20th Class Slides

TEXT IN VISUAL ART

“Sol Lewitt’s interest in the relationship between text and image is…an expression of his valuation of the idea over the object. The presence of the text in these location wall drawings imbues the physical wall drawing with a verbal, or less physical, quality that moves it into the realm of the conceptual rather than into the realm of the actualized.”

(from Sol LeWitt: A Wall Drawing Retrospective at MASS MoCA)

Sol LeWitt (1974)

Wall Drawing 238 (detail)

The location of a parallelogram

from LeWitt’s Wall Drawings series

Page 16: FNDN 1800-1 Oct 20th Class Slides

TEXT IN VISUAL ART

“As a user of the application composes a text, it is sent—not directly to the person they intend—but rather to a nearby stranger, assigned to verbally convey the note to the desired recipient. Participants partake in a sort of performance-art: the ‘stand-in’ is directed by actions and cues such as crying, giving a hug or holding the hands of the human receiver. ‘I see this as far-reaching public art project, inciting performance and conversation about the value of inefficiency and risk,’ July describes.”

(from DesignBoom, Aug 29, 2014)

Miranda July (2014)

Somebody App

https://www.youtube.com/watch?v=iz13HMsvb6o

Page 17: FNDN 1800-1 Oct 20th Class Slides

Think of three words that

delight,

confound, or

inflame

you. Pair up with a classmate and spend two minutes sharing your words with each

other. Be sure to keep a list of all the words you’ll hear from others as you go

from partner to partner.

TEXT IN VISUAL ART

Page 18: FNDN 1800-1 Oct 20th Class Slides