Assignment 5b - Developing my Audience

My Current Network Connections:

• Arts Matrix

• Staff from Plymouth College of Art

• Fellow Students at Plymouth College of Art

• FotoNow

• Personal connections

• Links to Axe Valley Community College

• Peer network of fellow photographers

• Previous clients

• Modelling Connections

Networks I need to build:

• Relationships with Curators

• Connect with Outside Art Businesses

• Improve relationship with local and national galleries

• Expand my personal connections

• Branch out with new business connections

• Expand my Client base.

• Develop more of a relationship with venues, such as for weddings and events.

I will be able to make these new connections by being proactive and attending more lectures outside of university, by visiting more galleries and generally by getting to know more people in a professional sense. I will also maintain my relationships with previous clients in the hope that they will require me again, or recommend me to a friend.

In five years time, I will be almost 27, by this time I really desire to be in a role within the art community that is secure. I would like to either work for an art/creative based business or become an art teacher/lecturer. I would like to move to a bigger city, but would ideally like to avoid working in London. Overall I will be looking for a way that I can live comfortably while still expressing myself through creative practices.

Network - Updated

Past Client base - Prefer not to disclose contact details.

Rise art - www.riseart.com

Collaborators-

          Joan Haywood - www.emmajoanphotography.co.uk

          Steve Champion - http://www.championtattoos.com

                                - tel 01460 68263

                                - Champion tattoos, Stringfellow Gallery, Holyrood St, Chard,Somerset, TA20 2AH

                              - Social Networking and Online connections (553 people)

Arts Matrix -  http://artsmatrix.plymouthart.ac.uk

Tribe Magazine - http://www.tribemagazine.org/index.html

Local Art Galleries-

Mid Cornwall Galleries

St. Blazey Gate, Par, Cornwall PL24 2EG

01726 812131 ‎ · midcornwallgalleries.co.uk

Fowey River Gallery

38 Fore Street, Fowey PL23 1AQ

01726 833828 ‎ · foweyrivergallery.co.uk

Toe In The Water

10 Lostwithiel Street, Fowey, PL23 1BD

01726 832582 ‎ · toeinthewatergallery.co.uk

Cry Of The Gulls

2 Webb Street, Fowey PL23 1AP

01726 833838 ‎ · cryofthegulls.co.uk

Assignment 5a - Project Proposal

I would like to propose a research project based on the idea of studying what is ‘cuteness’ in terms of an aesthetic taste/style. I want to examine the trending of “cute (kawaii)” based art in western popular culture. I hope to explore why there is this increase in popularity and if this has any affect on sales of artworks. I’d like to discover whether the west has embraced a new sense of aesthetic by taking inspiration from the “kawaii” movement, and how western traditions and ideologies affected the east, with relation to art movements and cultural styling.

Have you ever found yourself smiling when presented with a cute character in a website or video game? Maybe you have noticed that a virtual character displays a personality of youth or excitement, or a friendly demeanour. Designers often purposefully enhance such characteristics to impart positive feelings and to help establish a micro-relationship between the user and the character. For instance, in Japanese culture, the “cute” aesthetic known as “kawaii” is used by many organizations for many purposes, including mascots for the police and warning signs for dangerous areas as well as for video game characters. (Cheok, 2008)

I feel that this research is needed because it is clearly a current trend. I believe that research has not yet fully bridged this gap of knowledge as to why the movement has become so popular and the affects of it on the wider society. I also think it’s important to know the consequences of introducing foreign aesthetics into a culture. The affects it may have might stem from the issue of globalization and the suggestion the world is becoming more like a global village, where thoughts and arts are expressed openly and unmediated mainly using technical elements such as the internet. I feel its important that we can understand the cultural significances to maintain our own cultural heritage, and develop an open understanding of international blended art styles and cultures. I feel it is necessary to look more closely at the affect we have on each other and our understanding of certain terms, such as “cute”. Has western aesthetics been influences by “kawaii” culture, is an issue I feel is a big concern to traditionalists which is why I would like to branch my project in this direction.

The process of cultural globalisation does not always imply cultural homogenisation. Rather, it can be seen as a process of cultural ‘glocalisation’ and hybridisation where cultures continuously interact with and interpret each other to engender a hybrid cultural form. (Monden, 2009)

I feel I have a strong external rational to continue with this research led project. I feel it is a needed study and will benefit the academic society. I will continue to research into this subject matter and expand my knowledge on the subject.

References

Cheok, A, 2008. Designing cute interactive media. innovation magazine, [Online]. 8, 2. Available at: http://www.innovationmagazine.com/volumes/v8n3/preserved-docs/08_09.pdf [Accessed 21 November 2011].

Monden, M, 2009. Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion. [Online]. 2, 21. Available at: http://www.jpf.org.au/newvoices/2/chapter2.pdf [Accessed 21 November 2011]. 
---------------------------------------------------------------------------------------------------------

Contextual Survey and Review

Cheok, A, 2008. Designing cute interactive media. innovation magazine, [Online]. 8, 2. Available at: http://www.innovationmagazine.com/volumes/v8n3/preserved-docs/08_09.pdf [Accessed 21 November 2011].

With this source it helps to form a basic understanding of what ‘cuteness’ might be and offers an insight into what the Japanese aesthetic of Kawaii. They also look into how the principles of cuteness and Kawaii can be applied in a practical sense, to help sell products. Within this source there is also information from primary research that they have undertaken, examining what is perceived as cute, such as ratio of head size to body, which colour hues are considered to be the cutest, and what type of shapes conform to the cute ideal. This has helped me to form a basic understanding on the concepts of cuteness and how it can be applied to real life situations. I feel however I need to research deeper to find a source that offers me more of an explanation of why cuteness is popular, and how I can apply this.

Kwon, M, 2009. Commodifying Identity: Takashi Murakami 1989-2008. Modern art Asia, [Online]. 1, 1-23. Available at: http://modernartasia.com/Takashi%20Murakami.pdf [Accessed 21 November 2011].

This source I did not use within my text, but feel it explores an element of Asian culture that I wished to learn more about in order to make my writing more informed. It examines the identity of an apparently well-known Asian artist Murakami and how his work relates to both eastern and western art principles. It looks at how artists can branch between the cultures and how mega brands, such as Hello Kitty are able to pass through cultural barriers and become internationally popular. I feel that this source is going in the right direction but it lacks information on the idea of the cute aesthetic in any detail.

Monden, M, 2009. Transcultural Flow of Demure Aesthetics: Examining Cultural Globalisation through Gothic & Lolita Fashion. [Online]. 2, 21. Available at: http://www.jpf.org.au/newvoices/2/chapter2.pdf [Accessed 21 November 2011].

This source looks at the issues such as globalisation and the affects on all cultures. It suggests a view point that I had not considered that each society is mutually implicative of each other. I feel that it is very important for me to continue reading sources like this that examine the cultural implications of my proposed project. As with this information it will help me to make a well informed project.  I feel I need to be aware of transcultural works, but need to find a more specific example that is not looking at fashion aspects. I also had the theory of the male gaze and sexualisation forced upon me while reading this source, suggesting that cuteness and its origins are stemmed from sexuality, such as a child like existence, and with that being perverted.

Mapping

Plymouth Rowing Club - Charity Calendar

I was asked to shoot for Plymouth University Rowing Club, for images for their charity fund-raising calendar for Water Aid. Here are a few sneek peaks, but you'll have to all go out and buy the calendar when its ready.

The group were great, and I think we succeeded in creating the tongue-in-cheek slightly humorous images that they wanted. They wanted each month to have a theme, such as green for St Patrick's day in March, Drinking for freshers week in September etc. I would like to thank my lovely assistant Joan Haywood, for helping me to deal with all these naked rowers!

Assignment 4 - Mind Map

Assignment 3 - What is the Harvard method of referencing? How is it different from other referencing methods?

The Harvard method of referencing is the preferred method now adopted by academics, it is sometimes referred to as parenthetical referencing. This just means that the referenced item is included within the text, so it can be seen by the reader in its shorthand form within the text, and not included as a numbered/lettered reference point to later be looked up in a footnote. This footnote style was previously popular but the Harvard style seems to have more regard in contemporary referencing.

Harvard is an example of referencing; its format is within the text, with the authors name and date in brackets. Depending on the source that is being cited then different elements will be included in the reference list/bibliography, for example with an internet website source, there will be ‘date accessed’ included. When citing material found on a website, you should identify the authorship of the website. This may be a corporate author, an organisation or a company; a guide to this can be found by looking at the URL or web address. To find the date of publication, reference to this might be found at the bottom of a web page relating to copyright, or from a date headline. This can then be referenced like, (Guardian, 2011) with in the text, after the quote or reference. Then a longer note will be made in the reference list/bibliography that explains the exacts in a predetermined order. (This can be found here)

There are some positive points about Harvard referencing, Firstly, It allows the reader to recognise works from an author while reading the text, and as they are short additions to the main body of text, it might be possible for the reader to make links between authors that have been quoted multiple times during the same piece of text. This will allow the reader to make a connection that they may not have realised if the footnote method had been used.  Secondly, with the name, date system it can allow readers to decide for themselves if the work is new enough to be considered useful to them, for example if they are only looking for sources dated post 2000. Another positive point about using the Harvard system would be to the academic creating the text, If the order of quotes is reordered, then the end note section, where the footnote referencing number points are, will not need to be re-ordered. This is because the bibliography that is included with the Harvard style is alphabetically ordered by author’s surname.

Unfortunately as with any system, there are some disadvantages, the main downside is that the references take up space in the main body of the text, they can be distracting to the reader. In many cases the date is not important to the work, so it just takes up space. Also some referencing points are missing, such as not knowing the date. In such cases the reference is (name, n.d) Which I’m assuming stands for no date. 


or for a quick cheat click here.
- Lisa Birch

Assignment 2 - Learning Styles

Learning Style Test 

Looking at my results from this little test, I can see that it is partly true. I have always known that I’m the sort of person who likes to get on with things, Like to make a start, but while considering certain constraints that makes me more of an Activist, and less of a Pragmatist.  I can see the points that are made about activists are true about me; I do like to brainstorm and just generally make a start. I certainly have  a ‘I’ll try anything once’ approach, even when it doesn’t work out for the best, but I feel it is better to regret something you tried, than regret not trying it. 

I also enjoy reflecting on events that have happened, so this test result is true also; I feel that by looking at the past it can help me to make a decision in the present that will eventually help me in the future.  I feel that others have a valid input and deserve to be listened to, I’m happy to listen and to raise my points in discussions when I feel it is valued. I agree that I’m not much of a theorist, I don’t mind if things don’t slot nicely into little theories, and I understand that something can be involved in two or more theories, which all have very different techniques and principles. I would however like to work on my theorising and hopefully this practice has helped me to realise that this is an area I would like to improve.

 

Review of Learning Styles (Mumford 1997) 

Activists:

Activists like to be involved in new experiences and are enthusiastic about new ideas. They enjoy doing things and tend to act first and consider the implications afterwards. They are unlikely to prepare for the learning experience or review their learning afterwards.

Activists learn best when:

• involved in new experiences
• problems and opportunities
• working with others in team tasks or role-playing
• being thrown in the deep end with a difficult task
• chairing meetings, leading discussions

Activists learn less when:

• listening to lectures or long explanations
• reading, writing or thinking on their own
• absorbing and understanding data
• following precise instruction to the letter

Reflectors:

Reflectors like to view the situation from different perspectives. They like to collect data, review and think carefully before coming to any conclusions. They enjoy observing others and will listen to their views before offering their own.

Reflectors learn best when:

• observing individuals or groups at work
• reviewing what has happened and thinking about what they have learned
• producing analyses and reports doing tasks without tight deadlines

Reflectors learn less when:

• acting as leader or role-playing in front of others
• doing things with no time to prepare
• being thrown in at the deep end
• being rushed or worried by deadlines

Theorists

Theorists like to adapt and integrate observations into complex and logically sound theories. They think problems through step- by-step. They tend to be perfectionists who like to fit things into a rational scheme.

Theorists learn best when:

• put in complex situations where they have to use their skills and knowledge
• they are in structured situations with clear purpose
• they are offered interesting ideas or concepts even though they are not immediately relevant
• they have the chance to question and probe ideas

Theorists learn less when:

• they have to participate in situations which emphasise emotion and feelings
• the activity is unstructured or briefing is poor
• they have to do things without knowing the principles or concepts involved
• they feel they're out of tune with the other participants, for example people with different learning styles

Pragmatists

Pragmatists are eager to try things out. They like concepts that can be applied to their job. They tend to be impatient with lengthy discussions and are practical and down to earth.

Pragmatists learn best when:

• there is a link between the topic and job
• they have the chance to try out techniques
• they are shown techniques with obvious advantages such as saving time
• they are shown a model they can copy

Pragmatists learn less when:

• there is no obvious or immediate benefit that they can recognise
• there is no practice or guidelines on how to do it
• there is no apparent benefit to the learning
• the event or learning is 'all theory'

Referenced Material

1. HONEY, P. and MUMFORD, A. (2001) The learning styles questionnaire. London: Peter Honey Publications
2. MUMFORD, A. ( 1997 ) How to manage your learning environment. London: Peter Honey Publications.
3. KOLB, D.A. (1984)Experiential learning: experience as the source of learning and development. Englewood Cliffs, New Jersey: Prentice-Hall.

Page Reference

The reference for this page is:

• MACKENZIE, B. (2006) Learning Style [WWW] Available from: http://www.brianmac.co.uk/learnstyle.htm [Accessed 12/11/2011]

The link between creative practice and research.

Haruki Murakami – Dance Dance Dance (1988)

Chapter 4.

I booked a taxi for two days, and the photographer and I raced around Hakodate in the snow checking out eateries in the city.

I'm good at researching, very systematic, very efficient. The most important thing about this sort of job is to do your homework and set up a schedule. That's the key. When it comes to gathering materials beforehand, you can't beat organizations that compile information for people in the field. Become a member and pay your dues; they'll look up almost anything for you. So if by chance you're researching eating places in Hakodate, they can dig up quite a bit. They use mainframe computer retrieval, arrange the facts in file format, print out hard copy, even deliver to your doorstep. Granted, it's not cheap, but plenty worth the time it buys.

In addition to that, I do a little walking for information myself. There are reading rooms specializing in travel mate­rials, libraries that collect local newspapers and regional publications. From all of these sources, I pick out the prom­ising spots, then call them up to check their business hours. This much done, I've saved a lot of trouble on site. Then I draw lines in a notebook and plan out each day's itinerary. I look at maps and mark in the routes we'll travel. Trying to reduce uncertainties to a minimum.

Once we arrive in Hakodate, the photographer and I go around to the restaurants in order. There are about thirty. We take a couple of bites—just enough to get the taste—then casually leave the rest of the meal uneaten. Refinements in consumption. We're still undercover at this stage, so no pic­ture taking. Only after leaving the premises do the photogra­pher and I discuss the food and evaluate it on a scale of one to ten. If it passes, it stays on the list; if not, it's out. We gen­erally figure on dropping at least half. Taking a parallel tack, we also check the local papers for listings of places we've missed, selecting maybe five. We go to these too, and weed out the not-so-good. Then we've got our finalists. I call them up, give the name of the magazine, tell them we'd like to do a feature on them—text with photos. All that in two days. Nights, I stay in my hotel room, laying down the basic copy.

The next day, while the photographer does quick shots of the food and table settings, I talk to the restaurant owners. Saves on time. So we can call it a wrap in three days. True, there are those in our league who take even less time. But they don't do any research. They do a handful of the more well-known spots, cruise through without eating a thing, write brief comments. It's their business, not mine. If I may be perfectly frank, I doubt that many writers take as many pains as I do at this level of reportage. It's the kind of work that can break you if you're too serious about it, or you can kick back and do almost nothing. The worst of it is, whether you're earnest or you loaf, the difference will hardly show in the finished piece. On the surface. Only in the finer points can you find any hint of the distinction.

I'm not explaining this out of pride or anything.

I just wanted you to have a rough idea of the job, the sort of expendables I deal with.

On the third night, I finish writing.

The fourth day is left free, just in case.