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some things to think about when writing your final reflection…

As part of your submission for task four you need to write a final reflection which is:

A substantial blog post which considers and reflects on what you’ve learnt throughout the semester. You should critically assesses your studio experience, your own performance and, the success of your final project in relation to the noticing process(es) you employed. This post should make connections between research, project and practice.

This reflection is substantial because you need to combine a reflection on your experience of the studio as a whole and your final task four project. So, really it should be at least double the length of the reflections you have written so far throughout the semester.

In today’s Wednesday workshop we will return to the questions we posed at the beginning of the semester about noticing to see how far we have come, and this might provide a starting point for you to start drafting your reflection on your experience throughout the semester. These questions were posed in response to the John Mason reading:

  1. How do you develop the skill of purposefully noticing?
  2. Is noticing a negative thing?
  3. Different people notice different things, so what influences people to be selective of different things?
  4. Can noticing be personal and circumstantial?

The first question should be something you can all answer now through your projects, where your final reflection will really be about articulating, and answering –

How do the ways of making media you have developed throughout the semester allow you to see the unseen?

A nice thing to come out of this studio and semester is a way of making media which allows you and those viewing your work to see the unseen. So, how well does your work allow this to happen?

Please remember that a reflection allows you to be critical of your work and if you know there are things not quite working it’s great to reflect on that – we rarely make perfect work. So, what does your work not do so well? Why? How could you improve it, or think about it differently?

In response to the studio’s aims you might want to ask yourself –

  • How well have I grasped noticing as an experimental approach to making nonfiction?
  • How well have I explored the creative possibilities of making media outside of traditional linear production methods?
  • How do the media artefacts I have made (particularly task four) come close to performing the complexity of the changing world around me?

And lastly in terms of reflecting on task four return to your “biggest thing” that you wanted to know or learn through doing this task. Has making this project allowed you to know what you wanted to know? How? What else did you learn through the process?

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week 11 – some thing that came out of today’s consultations

It was great to see where your task four projects are up to today, where I think you’re all doing some really excellent explorations in noticing. The main thing for you to do is keep writing and reflecting on moments of discovery and shifts in the progression of your project for your portfolio of blog posts that is part of the assessment for task four.

So, a quick reminder, from the task four submission guidelines that you must submit:

A portfolio of blog posts from weeks 9-13 which include documentation of your project, including, although not limited to; recipes, media, tests and sketches, and reflections on studio discussions, readings, and feedback received. The amount of blog posts will be decided by you in response to the feedback you received for Task One, Two and Three.

So, as we are two to three weeks into this task, there should be lots of thinking documented on your blog, where responding to feedback received today and in next Thursdays workshop should make up posts in your portfolio.

Some other things to reflect on that came out of today’s consultations are thinking about:

  • What does the work you’re creating allow you to notice?
  • Why does noticing these things matter?
  • How are you going to allow an audience to notice unseen things through the form your work takes?
  • How does the wide shot and the extreme closeup allow you to see unseen qualities?
  • How much are you controlling what is noticed through the technologies you are using?

Another thing that came up regarded thinking about the form your task four project will take as one of the assessment criteria points is:

How well you project creatively and technically responds to noticing as a media idea in form

A lot of you talked about doing different edits of your work which I would highly encourage, as it will allow you to see how different ways of ordering or positioning media influences what we notice. Please note that you can submit multiple final projects that allow you and your audience to notice unseen things.

 

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week 11: some questions to reflect on

In last week’s Thursday class I introduced some ideas from some theorists who think about the world as precarious, changing and indeterminate. What I would like you to think about as you draw closer to the end of task four is how your way of noticing might allow you to see some of the complexities of the world. This is the final aim of the studio so it’s important for you to reflect on this on your blogs.

Here are some questions which we’ll talk about in today’s class that might give you some direction:

How might your project evolve in concert with the dynamic environment around you? (Gibson, Changescapes)

What do you think “patchy landscapes,” “multiple temporalities” and “shifting assemblages of humans and nonhumans” might mean? (Tsing, Mushroom at the End of the World)

Does what you’re doing for task four allow you to look around rather than ahead? (Tsing, Mushroom at the End of the World)

Will your task four allow you notice neglected things? What do you think they might be? (Tsing, Mushroom at the End of the World)

If your task four, is about inhabiting a space or noticing in a particular environment, what are the particular qualities of that environment you come to be aware of through simply being there? (Stewart, Atmospheric Attunements)

What will you be tuning into through the making of your project? (Pickering, The Mangle of Practice)

If you tune into something unexpected does your project have the flexibility to adjust? (Pickering, The Mangle of Practice)

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questions for week 6’s open lecture…

In response to the week 5 Silke Panse reading…

  1. What constitutes pure and impure film?
  2. What are some other examples of structural cinema?
  3. What is the impact of eco-aesthetics to an audience?
  4. Why do we feel anxious about stillness in moving images?
  5. What does Panse mean when she says “the airplane in the plane of immanence offers no line of flight (what Deleuze calls a way out). Nothing is transcended” (52)?
  6. Why can’t humans and nonhuman animals be considered “collective forces of moving maters” while water, sky and wind can?

 

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