Professional Platforms Art and Communication - TMA1433

Assessment 1: Project work

Presentation of an approach to professional platforms and personal experimentation mid-way through the module for formative feedback.

Project work

Assessment 1: Portfolio

Portfolio

Assessment 2: Presentation

Presentation (Fifteen-minute illustrated presentation).
Oral Presentation with images: in relation to the progression of thematic, conceptual, critical and contextual development for selected audience and context.

Presentation

This practice-based studio module will advance the professional orientation of your creative practice.  
You will produce a body of practical work supported by specialist and inter-disciplinary workshops that will explore the hybrid and expanded nature of your discipline that arises out of contemporary global cultures. Technologies influence change at the level of aesthetics and style as well as producing new philosophies and modes of working, production and collaboration. Today’s contemporary fine artists, graphic designers, animators, illustrators and photographers, share digital media platforms and exhibition and publishing opportunities. Increasingly they engage with new forms of technology and emerging kinds of workflow, embracing novel forms of communication and organisation. This module embraces traditional practices alongside more contemporary developments which inform audience engagement and interaction. You will be encouraged to clarify the direction of your project through processes of risk taking, problematisation and creative critical thinking in the context of the global professional and in doing so you will develop a deeper understanding of:
<ul><li>Professional Directions</li><li>Audience and Context</li><li>Creative Platforms</li></ul>

School of Arts and Humanities

<a href="http://library.hud.ac.uk/my/TMA1433">http://library.hud.ac.uk/my/TMA1433</a>
Antonelli, P. (2011). Talk to me: design and the communication between people and objects. New York: Museum of Modern Art.
Antonelli, P. (2008). Design and the Elastic Mind. New York: Museum of Modern Art.
Baudrillard, J. (1994). Simulacra and simulation. Mich: University of Michigan Press.
Bennett, A., &amp; Heller, S. (2006). Design studies: theory and research in graphic design (1st ed.). New York: Princeton Architectural Press.
Bierut, M., Drenttel, W., &amp; Heller, S. (2002). Looking closer 4: critical writings on graphic design. New York: Allworth Press.
Blazwick, I., (2001). Art and Culture in the Modern Metropolis. London: Tate
Calle, S. (2007). Take Care of Yourself. Dis Voir: Actes
Calvino, S., (1997). Invisible Cities. London: Vintage
Castells, M. (2015). Networks of outrage and hope: social movements in the Internet age. Malden, MA: Polity Press.
Coles, A. (2007). Design and art. London: Whitechapel.
Cox, G., &amp; McLean, A. (2013). Speaking code: coding as aesthetic and political expression. Cambridge, Mass: The MIT Press.
Dunne, A., &amp; Raby, F. (2013). Speculative everything: design, ﬁction, and social dreaming. Cambridge, Massachusetts: The MIT Press.
Huhtamo, E., &amp; Parikka, J. (2011). Media archaeology: approaches, applications, and implications. Berkeley, Calif: University of California Press Berkeley, Calif.
Klanten, R. (2010). Data ﬂow 2: visualizing information in graphic design. Berlin: Gestalten.
Kukkonen, K. (2013). Studying comics and graphic novels. Chichester: Wiley-Blackwell.
Lupton, E., (2017) Design is Storytelling. Cooper Hewitt, Smithsonian Design Museum.
Lupton, E., &amp; Miller, J. A. (1999). Design writing research: writing on graphic design. London: Phaidon.
Mannoni, L., Nekes, W., &amp; Warner, M. (2004). Eyes, lies and illusions: the art of deception. London : Aldershot: Hayward Gallery.
Massumi, B. (2002). Parables for the virtual: movement, affect, sensation. London: Duke University Press.
McLuhan, M. (2001). Understanding media: the extensions of man. London: Routledge Classics.
Norman, D.A., (2014). The Design of Everyday Things, Revised and Expanded Edition. Mass: MIT
Rall, H. (2017). Animation from Concept to Production. CRC Press.
Reas, C., &amp; McWilliams, C. (2010). Form+code in design, art, and architecture. New York: Princeton Architectural.
Roberts, L., &amp; Wright, R. (2010). Design diaries: creative process in graphic design. London: Laurence King.
Schwabsky, B., (2015). Vitamin P2: new perspectives in painting. London: Phaidon Press Limited.
Storr, R., (2007) .52nd International Art Exhibition: Think with the senses, feel with the mind -- art in the present tense. Venice: Marsilio
Twemlow, A. (2006). What is graphic design for? Hove: RotoVision.
Wells, L. (2018). The photography reader: History and Theory(2nd ed.). London: Routledge.
Wells, L. (2019). The Photography Cultures Reader Representation, Agency and Identity London: Routledge.

Multimedia

TMA1433 - Professional Platforms Art and Communication

Professional Platforms Art and Communication

have the ability to apply rigour in conceptual and aesthetic approaches to platform and process development. 

be able to critically analyse, communicate, appraise and present the links between different platforms and processes for intended audiences and contexts.

be able to demonstrate a critical understanding of discipline specific and inter-, cross and transdisciplinary processes and their relevance for your research. 

be able to evaluate appropriateness of methodological and creative frameworks to inform and extend research.

be able to recognise and assess the appropriateness of your research for intended audiences and global contexts.

be able to explore, test and advance specialised and innovative approaches to creative and technical platforms. 