editing disabled

Concept Visualized

A research concept randomly selected from a research article that was reviewed in class discussion was re-interpreted in a visual way to try to capture meaning that made sense on an individual level and could be effectively communicated to others.

"PRE-TEST"


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"Pre-test," according to the unofficial survey I conducted after receiving this assignment, is an incredibly boring word. So after I got over the disappointment of how bored I would be making an art project to represent this very boring idea, I allowed my imagination to entertain me. I thought about the circumstances one might be in when conducting a pre-test. To my mind, it was about establishing a baseline before conducting a test or an experiment. When I thought about establishing a baseline, even though that too is as boring as can be, what might come afterwards is not boring, because it involves observing or manipulating a situation to take stock of the results, and maybe finding out something very juicy. I thought a baseline might be, for example, the first few questions one might be asked during a lie-detector test. (I've never seen or taken one in real life, so of course my associations are pretty dramatic because they are from movies and TV shows). One is asked their name, their address, and how many cats they have before the investigator gets down to brass tacks and asks if they happened to plunge a knife into Mr. So-and-so on the evening of the 12th. Etc. So I decided to make an old-fashioned, steam-punk, circus-looking lie-detector test, to represent the baseline, or "pre-test," that gets established before the fit hits the shan, but in a style that would convey the very fact that when one is conducting a pre-test, it ain't a normal scenario anymore, because something weird or different is about to happen (or, boringly, "be measured.")

Visual Bibliographic Analysis


This task involves designing a structure that identifies the theorists, philosophers, practitioners, and any other sources that inform a student’s emerging research identity. The source of the idea is found in thinking about how a bibliography can be visualized as a system of theories and practices that are indexed according to areas of content, ideas, and interests. In other words, the task was to create a referencing circle/network/community, that is content-based (rather than alphabetical). The bibliographic structure is to be presented as a self-contained entity.

Bibliography: organized alphabetically:

Armstrong, J. (2000). Move closer: An intimate philosophy of art. New York: Farrar, Straus and Giroux.

Burnham, R. (1994). If you don’t stop, you don’t see anything. Teachers College Record (95), 4. New York: Teachers College, Columbia University.

Clark, T. J. (2006). The sight of death. New Haven: Yale University Press.

Csikzentmihalyi, M. and R. Robinson. (1990). The art of seeing: An interpretation of the aesthetic encounter. Malibu, California: J.P. Getty Museum and Getty Center for Education in the Arts.

Dewey, J. (1934). Art as Experience. In Ross, S.D. (Ed.). (1987). Art and its significance: An anthology of aesthetic theory. (pp. 207-221) Albany, New York: State University of New York Press.

Duchamp, M. The writings of marcel duchamp. M. Sanouillet and E. Peterson (Eds.) (1973). New York: Oxford University Press.

Greene, M. (1995). Releasing the imagination: Essays on education, the arts and social change. San Francisco: Jossey-Bass Publishers.

Hubard, O. (2006). 'We've already done that one': Adolescents' repeated encounters with the same artwork. JADE (2006), 25.2. Blackwell Publishing Ltd.

Johns, J. Jasper johns: Writings, sketchbook notes, interviews. K. Varnedoe (Ed.) (1996). New York: Harry N. Abrams Inc.

Kimmelman, M. At Louvre, many stop to snap but few stay to focus. New York Times, August 3, 2009.

Merleau-Ponty, M. (1962). Phenomenology of perception. London: Routledge.

Sullivan, G. (2005). Art practice as research. California: Sage Publications.

Bibliography: organized by content:

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*I categorized Rika Burnham as a practitioner above, but she should be labeled "educator" as well. The lines are a little blurry, as her intention is to "co-create meaning" with the groups she works with. This could be construed as an artistic endeavor as well, so, as with other resources I listed, the categories are difficult to define.

Bibliography: Visual representation:

Bibliographic Flip-Book.
I wanted to come up with a format that would demonstrate how the different categories of "artists-writers/practitioners", "art historians/critics," "educators," and "philosophers" start to blend when considering a new idea. Concepts from different sources feed and illuminate each other. As one considers a work of art or a new idea, all resources and origins of knowledge contribute to new questions and insights. It's the endless combination of these pieces of information that create a holistic understanding of a new idea or object:

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