SAHT9204 Essay Questions contemporary Creative 代写

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    • SAHT9204 Essay Questions contemporary  Creative  代写

    Essay Questions
    1. Consider the ways contemporary artists and/or designers challenge the ways that we define and
    categorise humans (gender, race, sexuality, science, etc.). Using three or four examples from the last
    20 years discuss new ways of understanding what a ‘human’ is.
    2. Discuss how rebellion is used in contemporary art and/or design to critique and rupture structures,
    identities and meanings. Using three or four examples from the last 20 years evaluate the success (or
    failure) of rebellion as a creative method.
    3. In postmodern and digital contexts, the new is constantly being ‘hacked’ out of the old. Borrowing,
    stealing, recycling, appropriating and collaging are dominant creative strategies in contemporary art
    and design. Using three or four examples from the last 20 years, critically analyse ‘remix culture.’
    4. In the response to events like the Global Financial Crisis, the “Age of Terror” and climate change,
    many artist and designers are producing works that attempt to (re)build and redefine communities.
    Focusing on three or four examples from the last 20 years discuss how creative practices can generate
    SAHT9204 Contemporary Creative Practices: Methods
    Created: 29 June 2017 5
    communities which resonate, critique and engage with global issues.
    5. Postmodern and contemporary art, design and theory critically examine the coercive aspects of
    desire production. How, who, what and when we desire is understood to be largely formed by external
    influences (education, media, language, medicine, politics). Using three or four examples from the last
    20 years demonstrate how and why one of these external influences is critiqued.

    Assessment Task 1
    Title: Visual Analysis
    Weighting: 30 %
    Assessment type: Extended Writing Task
    Word count: 800
    Requires group work: No
    Assessment summary
    This assessment is linked to the second assessment and is designed to develop skills in visual
    analysis. It will provide you with feedback that you can use for your main essay. Visual analysis
    comprises the majority of content in art and design essays and is used to support your claims. Visual
    analysis is also a vital tool for assessing and reflecting on your own practice.
    For this assessment you are to do the following:
    1. Choose an essay question from below (this is the question you will answer for assessment two).
    2. Select ONE of the examples associated with your chosen question (list of examples on Moodle).
    3. Write a visual analysis of your chosen example (600 words).
    4. Find two examples of your own choice and write a brief statement (100 words per example)
    detailing how each relates to the question.
    5. Produce a bibliography.
    Your visual analysis must contain formal analysis, critical analysis and an argument which relates to the
    question. Make sure that you can demonstrate how your argument is supported by your analysis.
    Research into the example is required to contextualize and deepen your analysis, but you can also
    speculate meaning based on your visual reading. In other words, you should use your research
    findings and observations to make your own evidenced claims about the work. Use Footnote /
    Bibliography or 'Oxford' referencing style (https://student.unsw.edu.au/footnote-bibliography-or-oxford-
    referencing-system)
    You can use this visual analysis as part of your main essay, however you should edit and refine it
    based on your assessor’s comments.
    Essay Questions
    1. Consider the ways contemporary artists and/or designers challenge the ways that we define and
    categorise humans (gender, race, sexuality, science, etc.). Using three or four examples from the last
    20 years discuss new ways of understanding what a ‘human’ is.
    2. Discuss how rebellion is used in contemporary art and/or design to critique and rupture structures,
    identities and meanings. Using three or four examples from the last 20 years evaluate the success (or
    failure) of rebellion as a creative method.
    3. In postmodern and digital contexts, the new is constantly being ‘hacked’ out of the old. Borrowing,
    stealing, recycling, appropriating and collaging are dominant creative strategies in contemporary art
    and design. Using three or four examples from the last 20 years, critically analyse ‘remix culture.’
    4. In the response to events like the Global Financial Crisis, the “Age of Terror” and climate change,
    many artist and designers are producing works that attempt to (re)build and redefine communities.
    Focusing on three or four examples from the last 20 years discuss how creative practices can generate
    SAHT9204 Contemporary Creative Practices: Methods
    Created: 29 June 2017 5
    communities which resonate, critique and engage with global issues.
    5. Postmodern and contemporary art, design and theory critically examine the coercive aspects of
    desire production. How, who, what and when we desire is understood to be largely formed by external
    influences (education, media, language, medicine, politics). Using three or four examples from the last
    20 years demonstrate how and why one of these external influences is critiqued.
    Submission details: 800 word visual analysis, submit via Moodle by 5pm on Friday 18th of August
    Due: Week 4
    Essay Questions with Suggested Resources
    These are some resources that might help you get started. It is not an exhaustive list, but an
    indication of the type of sources we would like to see you use.
    1. Consider the ways contemporary artists and/or designers challenge the ways that we define and
    categorise humans (gender, race, sexuality, science, etc.). Using three or four examples from the last
    20
    years discuss new ways of understanding what a ‘human’ is.
     
    Suggested Resources:
    Wolfe, Cary.
    ​
    What is posthumanism?
    ​
    . Vol. 8. U of Minnesota Press, 2010.
    Preciado, Paul (Beatrice).
    ​
    “The Contra­sexual Manifesto”
    ​
    ,
    ​
    Total Art Journal,
    ​
    Vol. 1, No. 1, 2011.
    Colebrook, Claire.
    ​
    The Death of the Posthuman: Essays on Extinction, Vol. 1.
    ​
    ​
    Open Humanities
    Press, 2014.
    Colebrook, Claire.
    ​
    Sex After Life: Essays on Extinction, Vol. 2
    ​
    .
    ​
    Open Humanities Press, 2014.
    Puar, Jasbir.
    ​
    “‘I Would Rather Be A Cyborg Than a Goddess’: Becoming­Intersectional of
    Assemblage Theory”
    ​
    , philoSOPHIA, Vol 2, 2012.
    Hayles, N. Katherine.
    ​
    How We Became Posthuman: Virtual Bodies in Cybernetics, Literature,
    and Informatics.
    ​
    University of Chicago Press, 1999.
    Donna Haraway: "From Cyborgs to Companion Species"
    https://www.youtube.com/watch?v=Q9gis7­Jads 
    Paul Virillio, ‘From Superhuman to hyperactive man’, The Art of the Motor, University of
    Minesota Press, 1995
    Environmental Humanities Journal
    ​
    (all issues), open access journal available at:
    https://www.dukeupress.edu/environmental­humanities 
    Erin Manning, ‘What Can the Body Do?’, podcast,
    ​
    Archipeligo
    ​
     magazine, 2014.
    http://the­archipelago.net/2014/01/20/erin­manning­what­can­the­body­do/ 
     
    2. Discuss how rebellion is used in contemporary art and/or design to critique and rupture structures,
    identities and meanings. Using three or four examples from the last 20 years evaluate the success (or
    failure) of rebellion as a creative method.
     
    Suggested Resources:
    Bey, Hakim,
    ​
    The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism
    ​
    ,
    Autonomedia, Brooklyn, NY, 1985. http://hermetic.com/bey/taz_cont.html
    Bishop, Claire. "Antagonism and relational aesthetics." 2006.
    Raunig, Gerald.
    ​
    Art and Revolution: Transversal Activism in the Long Twentieth Century.
    Semiotext(e), 2007. 
    Jaramillo, Ne.
    ​
    The art of youth rebellion
    ​
    , Curriculum Inquiry, 2015 Jan, Vol.45(1), pp.93­108 
    Thompson, N., Noordeman, A., & Massachusetts Museum of Contemporary Art. (2004). 
    Interventionists: Users' manual for the creative disruption of everyday life
    ​
    . North Adams,
    Mass.: MASS MoCA. Debord, G., & Nicholson­Smith, D. (1994).
    ​
    The society of the spectacle
    ​
    .
    New York: Zone Books.
    Monroe, A. (2005).
    ​
    Interrogation machine: Laibach and NSK
    ​
     (Short circuits). Cambridge, Mass.:
    MIT Press.
    Doherty, C. (2009).
    ​
    Situation
     (Documents of contemporary art series). London: Cambridge,
    MA: Whitechapel Gallery; MIT Press.
    ​
    https://mitpress.mit.edu/books/situation
    Brunton, Finn, and Helen Nissenbaum.  ​Obfuscation: A User's Guide for Privacy and Protest
    ​
    . Mit
    Press, 2015. 
     3. In postmodern and digital contexts, the new is constantly being ‘hacked’ out of the old. Borrowing,
    stealing, recycling, appropriating and collaging are dominant creative strategies in contemporary art
    and design. Using three or four examples from the last 20 years, critically analyse ‘remix culture.’
     
    Suggested Resources:
    McKenzie Wark,
    ​
    A Hacker Manifesto,
    Harvard University Press: 2004.
    Kelly, Caleb.
    ​
    Cracked Media: The Sound of Malfunction
    ​
    .  Cambridge, Mass.: MIT Press, 2009.
    Collins, N. (2009).
    ​
    Handmade electronic music: The art of hardware hacking
    ​
     (2nd ed.). New
    York; London: Routledge.
    Contant, Heather. “A Brief Introduction to Gremlins as Aesthetic Devices.”
    ​
    Leonardo Music
    Journal
     24. 2014.  http://www.mitpressjournals.org/doi/pdf/10.1162/LMJ_a_00204
    John C. Welchman Ebooks Corporation,
    ​
    Art after appropriation essays on art in the 1990s
    ​
    ,
    2001.
    Miller, Paul D.,
    ​
    Sound Unbound: Sampling Digital Music and Culture
     (Cambridge, Mass.: MIT
    Press, 2008).
    Jameson, F. (1991).
    ​
    Postmodernism, or, The cultural logic of late capitalism
    (Post­contemporary interventions). Durham: Duke University Press.
    Carter, E., Donald, J., & Squires, J. (1995).
    ​
    Cultural remix: Theories of politics and the popular
    ​
    .
    London: Lawrence & Wishart.
    Plunderphonics:
    http://www.plunderphonics.com/xhtml/xplunder.html
    Negativland. "Two Relationships to a Cultural Public Domain."
    ​
    Law and Contemporary
    Problems
    66, no. 1/2 (2003): 239­62.
    ​
    http://www.jstor.org/stable/20059178
    Eduardo Navas ­
    ​
    Remix theory: the aesthetics of sampling
    .
    http://opac.library.usyd.edu.au/search/i?SEARCH=3990434993
    Lev Manovich ­
    ​
    What Come After Remix?
    http://remixtheory.net/?p=169
      
    4. In the response to events like the Global Financial Crisis, the “Age of Terror” and climate change,
    many artist and designers are producing works that attempt to (re)build and redefine communities.
    Focusing on three or four examples from the last 20 years discuss how creative practices can generate
    communities which resonate, critique and engage with global issues.
     
    Suggested Resources:
    Bennett, J. (2012).  ​Practical aesthetics: Events, affect and art after 9/11
    . IB Tauris.
    Benjamin, Walter. “Author as Producer.”
    ​
    The Work of Art in the Age of Its Technological
    Reproducibility, and Other Writings on Media
    . Edited by Michael W. Jennings, Brigid Doherty,
    Thomas Y. Levin. 2008. 79­95.
    Demos, T. J. (ed) (2013).
    ​
    Third Text Special Issue: Contemporary Art and the Politics of Ecology
    ,
    iss. 1, vol 27. ( online access via UNSW library)
    Sinclair, Cameron, and Kate Stohr, eds.
    ​
    Design Like You Give a Damn: Architectural Responses
    to Humanitarian Crisis
    . Thames & Hudson, 2006.
    Kwon, M., & EBSCOhost. (2002).
    ​
    One place after another site­specific art and locational
    identity
    . Cambridge, Mass.: MIT Press.
    When Faith Moves Mountains­ Francis Alys
    https://www.youtube.com/watch?v=4eNuqLnFaYA 
    Representing, Performing and Mitigating Climate Change in Contemporary Art Practice
    Gabriella Giannachi, Leonardo
    ​
    ​
    2012
    ​
    ​
    45
    ​
    :
    ​
    2
    ​
    ,
    ​
    124­131.
    Bishop, C. (2006).
    ​
    Participation
     (Documents of contemporary art series). Cambridge, Mass.:
    MIT Press.
    5. Postmodern and contemporary art, design and theory critically examine the coercive aspects of
    desire production. How, who, what and when we desire is understood to be largely formed by
    external
    influences (education, media, language, medicine, politics). Using three or four examples from the last
    20 years demonstrate how and why one of these external influences is critiqued.
     
    Suggested Resources:
    Slavoj Zizek,
    ​
    The Pervert's Guide to Ideology,
    2012
    Deleuze and Guattari: An introduction to the politics of desire
    http://cameraobscura.dukejournals.org/content/4/3_12/89.full.pdf 
    McQuilten, G. (2011).
    ​
    Art in consumer culture: Mis­design
    . Farnham, Surrey, England ;
    Burlington, VT: Ashgate Pub.
    Linstead, S., & Pullen, A. (2006). Gender as multiplicity: Desire, displacement, difference and
    dispersion.
    ​
     Human Relations,59
    (9), 1287­1310. 
    Retrieved from http://search.proquest.com/docview/231497084?accountid=12763
    http://search.proquest.com/docview/231497084?OpenUrlRefId=info:xri/sid:primo&accountid
    =12763
    Massumi, B. (1992).
    ​SAHT9204 Essay Questions contemporary  Creative  代写
    A user's guide to capitalism and schizophrenia: Deviations from Deleuze
    and Guattari
     (A Swerve ed.). Cambridge, Mass.: MIT Press.
    Pater, R. (2016) The Politics of Design A (Not So) Global Manual for Visual Communication, BIS
    Essay Questions
    1. Consider the ways contemporary artists and/or designers challenge the ways that we define and
    categorise humans (gender, race, sexuality, science, etc.). Using three or four examples from the last
    20 years discuss new ways of understanding what a ‘human’ is.
    2. Discuss how rebellion is used in contemporary art and/or design to critique and rupture structures,
    identities and meanings. Using three or four examples from the last 20 years evaluate the success (or
    failure) of rebellion as a creative method.
    3. In postmodern and digital contexts, the new is constantly being ‘hacked’ out of the old. Borrowing,
    stealing, recycling, appropriating and collaging are dominant creative strategies in contemporary art
    and design. Using three or four examples from the last 20 years, critically analyse ‘remix culture.’
    4. In the response to events like the Global Financial Crisis, the “Age of Terror” and climate change,
    many artist and designers are producing works that attempt to (re)build and redefine communities.
    Focusing on three or four examples from the last 20 years discuss how creative practices can generate
    SAHT9204 Contemporary Creative Practices: Methods
    Created: 29 June 2017 5
    communities which resonate, critique and engage with global issues.
    5. Postmodern and contemporary art, design and theory critically examine the coercive aspects of
    desire production. How, who, what and when we desire is understood to be largely formed by external
    influences (education, media, language, medicine, politics). Using three or four examples from the last
    20 years demonstrate how and why one of these external influences is critiqued.
    SAHT9204 Essay Questions contemporary  Creative  代写