Proposal, Presentation 09

STRATEGIES 3

STRUCTURING YOUR PROPOSAL

AND VISUAL PRESENTATION

WHY WRITE ?

We live surrounded and influenced by images, we

understand, explain, and analyze images using language.

We narrate in order to understand. It seems that analysis

and verbal discussion of images is more important than ever;

the language of thought is able to name emotions, give

definitions, develop concepts and formulate stories

Johanna Pentikainen University of the Industrial Arts Helsinki

THE VALUE OF WRITING IS THAT IT HELPS PUT YOUR OBJECTIVES INTO FOCUS

1. THE DOING / WHAT HAS BEEN DONE

2. WHAT YOU HAVE LEARNT / FUTURES

THEREFORE THE WRITING HAS ITS ROOTS IN THE WORK

YOUR PROPOSAL SHOULD HAVE LIMITS - IT IS NOT A CATCH ALL DOCUMENT

YOU ARE REQUIRED TO CAREFULLY DEFINE THOSE LIMITS

CAN YOU BE ARTICULATE ?

THAT IS: FLUENT AND COHERENT

THEREFORE IT SHOULD NOT BE UNDERSTOOD AS

SOMETHING EXTRA OR SOMETHING DIFFERENT –

THE OBJECTIVE IS TO EXPLAIN YOUR WORK TO

YOURSELF AND TO AN AUDIENCE

EXAMPLE:

COULD YOU ACCURATELY DEFINE YOUR PRACTICE WITHIN 45 - 60 SECONDS ?

THE OBJECTIVE OF A PROPOSAL IS:

FITNESS FOR PURPOSE

CONFIRMATION OF YOUR PRACTICE

TO IDENTIFY AND PROVIDE EVIDENCE OF KNOWLEDGE AND SKILLS FOR TUTORS AND

EXTERNAL EXAMINERS

(PROPOSAL IS SENT TO EXTERNAL)

THE STRUCTURE

TITLE / DEFINES DIRECTION

A CONCISE INTRODUCTION / ARTISTS STATEMENT

THE BODY OR CONTENT / THE EVIDENCE

CONCLUSION

BIBLIOGRAPHY

WHAT SHOULD A PROPOSAL

INCLUDE?

ILLUSTRATED WITH OWN WORK (CAPTIONED)

ILLUSTRATED WITH REFERENCES TO OTHER PRACTITIONERS / PRACTICES (CAPTIONED)

APPROXIMATE COSTINGS

TIMESCALE (DEGREE SHOW DATE / 21 APRIL 2010)

RISK ASSESSMENTS

USING A TITLE

TITLES ALLOW FOR AN IMMEDIATE POINT OF REFERENCE

SUB-TITLES DEFINE THE REFERENCE

FRONT COVERFRONT COVER

B E T W I X T W I N D O W A N

D M I R R O R

SELF PORTRAITS AND THE FICTIONAL PERSON

CINDY WOMAN

COVER

TITLE PAGE

BETWIXT WINDOW AND MIRROR SELF PORTRAITS AND THE FICTIONAL PERSON

CINDY WOMAN

BA(HONS) PHOTOGRAPHY / 2009

MODULE: INDIVIDUAL PROGRAMME ONE

TITLES

EXAMPLES:

PULP SURREALISM Insolent Popular Culture in Early Twentieth-Century Paris

CITY GORGED WITH DREAMS Surrealism and Documentary Photography in Interwar Paris

PHOTOGRAPHY & SURREALISM Sexuality, Colonialism and Social Dissent

KEY WORDS / KNOWLEDGE BASED USE

AVOID DICTIONARY DEFINITIONS THAT DO NOT

REFLECT ‘SPECIALISED’ USE OR

USE THE DICTIONARY DEFINITION AS A STARTING POINT WHICH

CAN THEN BE REFINED TO MAKE YOUR POINT BETTER

THE BODY

THIS SHOULD CLEARLY DEFINE BOTH THE CONTEXT AND

FUNCTION FOR THE WORK YOU ARE PRODUCING

CONTEXT = PLACEMENT OF WORK (Where)

FUNCTION = AIM OF WORK

With appropriate ‘critical’ references / confirming and/or contesting

THE BODY

MOST IMPORTANTLY

AVOID THE NAÏVE OR GENERALISED STATEMENT

‘My photographs are artistic and good to look at….’

‘His / Her photographs are like mine…’

AND LIKES OR DISLIKES

‘I really like these photographs, the colours are nice…’

JUDGEMENT

1. RELEVANCE OF MATERIAL TO PROPOSAL

2. EVIDENCE OF UNDERSTANDING

3. STRUCTURE AND ORGANISATION

4. EVIDENCE AND RELEVANCE OF BACKGROUND READING

5. MATERIAL REFERENCED

6. STYLE APPROPRIATE FOR PURPOSE

7. SPELLING AND GRAMMAR

8. PRESENTATION

PRESENTATION

1. KEEP THINGS SIMPLE (FIT FOR PURPOSE)

2. AVOID ORNATE FONTS (ACADEMIC DOCUMENT)

3. FONT SIZE (10PT - 12PT)

4. LINE SPACING (1.5 LINE SPACED)

5. MARGINS AS CATALOGUE

6. TEXT JUSTIFIED, QUOTES UNJUSTIFIED

7. ARE IMAGES EMBEDDED OR SEPARATE?

PRESENTATION / TEXT UNJUSTIFIED

PRESENTATION / TEXT JUSTIFIED

PRESENTATION / IMAGES SEPARATE

PRESENTATION / IMAGES EMBEDDED

PRESENT AS A SPIRAL BOUND DOCUMENT

YOUR POWERPOINT PRESENTATION:

CONTEXT & EVALUATION (Based on the Learning Outcomes)

Load on laptop:

TUESDAY 8 DECEMBER FROM 2.00 - 4.00 / H23

PHOTOGRAPH AS AN OPENING SLIDE WITH TITLE

Get the audience interested

FRONT COVERFRONT COVER

B E T W I X T W I N D O W A N D M I R R O R

SELF PORTRAITS AND THE FICTIONAL PERSON / CINDY PERSON

SECTION THE PRESENTATION INTO THE ‘LEARNING

OUTCOMES’ AND A CONCLUSION

This structure will help you identify what you have produced / learnt

IMPORTANT

Do not take the audience for granted, demonstrate your knowledge

LEARNING OUTCOME 1: E N Q U I R Y

Identify, access and use appropriate sources of information and carry out useful

experiments with image making processes and techniques, in the development of a

self-initiated photographic project

FRONT COVERFRONT COVER

CONCLUSION

WHERE NOW FOR SEMESTER TWO ?