wepod

unit guide photographic index 09

paula roush — Fri, 30 Jan 2009 02:48:40 +0000

AME-1-PIN:
Photographic Index

http://photographicindex.wordpress.com/

Department
of Arts, Media and English

Faculty of Arts and Human Sciences

2009 2^nd semester

camerawork
archive at lsbu and photo-panel from Visible Girls (1981) by
Anita Corbin (box GS)

become
what you want to be

Table
of Contents

1.
Unit Details 3

2.
Short Description 3

3.
Aims of the Unit 3

4.
Learning Outcomes 3

4.1
Knowledge and Understanding 4

• Understand the
validating context within which the project is to be assessed, as
demonstrated by your knowledge of the relationship between cultural
theory and photographic practices 4

4.2
Intellectual Skills 4

• Apply conceptual
skills as evidenced by your ability to evaluate and the use of
performance-based methodologies in the field of youth culture and
photography, 4

4.3
Practical Skills 4

• Develop practical
photographic skills as evidenced by your ability to apply a range of
resources to the development of your practical digital photography
project; 4

4.4
Transferable Skills 4

• Develop written
communication skills appropriate to academic study as evidenced by
your critical and analytical skills in writing assignments 4

5.
Assessment of the Unit 4

6.
Feedback 6

7.
Introduction to Studying the Unit
6

7.1
Overview of the Main Content 6

7.2
Overview of Types of Classes 7

7.3
Importance of Student Self-Managed Learning Time 7

7.4
Employability 7

8.
The Programme of Teaching, Learning and Assessment 7

9.
Learning Resources 8

9.1
Core Materials 8

9.2
Optional Materials 9

1.Unit
Details

Unit Title:	Photographic Index
Unit Level:	One
Unit Reference Number:	AME-1-PIN
Credit Value:	15
Student Study Hours:	120
Contact Hours:	36
Private Study Hours:	84
Pre-requisite Learning (If applicable):	Digital image fundamentals
Co-requisite Units (If applicable):	Developing the digital image
Course(s):	BA (Hons) Digital Photography
Year and Semester	Semester 2 2009
Unit Coordinator:	paula roush
UC Contact Details (Tel, Email, Room)	Email: roushp@lsbu.ac.uk Tel: 02078155418 Office: Caxton House 28a (2nd floor) Borough Road London SE1 0AA
Teaching Team & Contact Details	Cris Packham tel:6777, K-113
Subject Area:	Digital Photography
Summary of Assessment Method:	Practical Project (75%) Production Analysis (25%)

2.Short Description

Photographic
Index is a unit that examines the nature of the photographic image
through critical methodologies and practice-based research project.
It focus upon understanding the photographic representation of
contemporary youth culture both in terms of the representational
aspects of photographic imagery and as a cultural practice.

The
project started in 2006 taking as a departure point the camerawork
archive at lsbu, containing the box Girls Subcultures, and the work
Visible Girls (1981) by Anita Corbin, and it developed into a
study of the social functions that photography archiving performs in
terms of social representation of the other and everyday life.

3.Aims
of the Unit

By
the end of this unit you will be able to:

Demonstrate
an understanding of relationship between cultural theory and
photographic practices
Develop
intellectual skills in the use of performance-based methodologies
Demonstrate
through practical project an understanding of key issues on the
youth culture-photography debates
Produce
digital based photographic work for publication next semester (unit:
photographic cultures, level 2/ semester 1).

4.Learning
Outcomes

4.1Knowledge and Understanding

• Understand
the validating context within which the project is to be assessed,
as demonstrated by your knowledge of the relationship between
cultural theory and photographic practices

4.2Intellectual Skills

• Apply
conceptual skills as evidenced by your
ability to evaluate and the use of
performance-based methodologies in the field of
youth culture and photography,

4.3Practical Skills

• Develop
practical photographic skills as evidenced
by your ability to apply a range of resources to the development of
your practical digital photography project;

4.4Transferable Skills

•
Develop
written communication skills appropriate
to academic study as evidenced by your critical
and analytical skills in writing assignments

5.Assessment
of the Unit

ASSESSMENT
METHOD

The
coursework will examine both theoretical understanding and practical
skills in working with photography in a research-based project.

1.
Practical project (75%)

You
will work in response to the theme youth culture and photography
and the context provided by the box GS and the responses from the
photographic index 2007 and 2008 cohorts.

The
work develops from an initial stage of active research on
representations of contemporary youth culture in the media and
throughout history (week 01-06), performed and photographed by the
group and posted to flickr with a tag pin9 [or other we decide] for
comments.

This
is complemented by the use of the group’s blog
[http://photographicindex.wordpress.com]

for
archiving and sharing research and links to flickr images.

2.
Project statement 2 (25%)

You
will submit an artist’s statement, which reflects on the
process undertaken by yourself and the group. Your analysis will
demonstrate familiarity with the discourse of performance-based
learning and photography as social practice. (500 -1500w)

Overview
of process

Element	technique	Deadline
contribution to performative photograph 1 (10%, including blog/flickr contributions)	Invisible photograph (10%) After Invisible theater in a public space http://en.wikipedia.org/wiki/Invisible_Theatre	Week 02
2. contribution to performative photograph 2 (10%, including blog/flickr contributions)	Image photograph (10%) After Image Theatre http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed	Week 03
3. contribution to performative photograph 3 (10%, including blog/flickr contributions)	Newspaper Photograph (10%) After Newspaper Theatre http://tinyurl.com/ccbzfx	Week 04
4. contribution to performative photograph 4 (10%, including blog/flickr contributions)	Invisible photograph (10%) After Invisible theater in a virtual space (second life) http://en.wikipedia.org/wiki/Invisible_Theatre	Week 05
5. contribution to performative photograph 5 (10%, including blog/flickr contributions)	Image photograph After Image Theatre but in a video streaming platform such as oovoo or skype http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed	Week 06
	Project research week	Week 07
6. Project proposal	development of the most successful concept/images into the project’s final work	Week 08
	Project development	Weeks 08/11
7. Presentation of your project: final output (25%) and statement (25%)	Presentation of the process and final work with feedback	Week 12

Submission
procedure:

CD with artists statement, documentation of
contributions towards the research seminars, and final selection of
images week 12

Photo file formats:

1-tiff files at 300 dpi

2-Jpeg files at 72 dpi

• Texts file formats: word

• ALL SUBMITTED FILES MUST BE CLEARLY MARKED WITH YOUR NAME.

Generic
Assessment Criteria for Practical Work

Percentage

70%
- 100%

60%
- 69%

50%
- 59%

40%
- 49%

40% or below

Quality

Excellent

Very
good

Good

Weak

Poor

Classification

1^st

2:1

2:2

3^rd

Fail

	Project
1^st	Outstanding work: your conceptual framework has been effectively transported into a site-specific format, with originality and technical skill. Outstanding presentation – excellent photographic work, excellent online documentation of the process, critical texts- everything will demonstrate consistent attention to detail.
2:1	Well-presented, conscientious work, with a strong concept. While exploring an intellectually challenging idea, the project may be undermined by some minor technical problems; alternatively, while technically proficient, the project may be lacking conceptual rigour or originality. Nonetheless the work stands out as a strong project.
2:2	Well-presented project displaying a good research concept but somewhat unoriginal or not fully pursued in terms of intellectual coherence. Technically competent but may contain a number of significant errors or lack inspiration or ambition in the use of the medium. Alternatively it maybe be unrealistically ambitious and the research lack behind the proposal.
3^rd	This represents a poor project in all aspects: unoriginal or poorly developed concept and incomplete research. Overall it will demonstrate a lack of basic understanding of the brief and problems in developing the basic technical skills to fulfil it.
Fail	Project failed to address all or most of the aspects formulated in the brief. The concept may be weak and /or unoriginal; technically, little or no attempt has been made to achieve the required basic technical skills; presentation may also be poor.

6.Feedback

Feedback will be integral to the unit, taking the form
of tutor’s feedback and peers’ feedback.

- At the end of each research-seminar we will reflect
on the contributions

- Session 07 is for feedback of proposal

- Session 12 is for feedback of projects

Introduction
to Studying the Unit

7.1Overview of the Main Content

In
this project you will be working with the photographic archives of
Camerawork, a London-based photographer’s gallery that operated
from 1975 to 1998. Twenty boxes related to Camerawork’s touring
exhibitions programme are currently housed at lsbu. You will engage
with a particular section of this archive, the box titled Girls’
Subcultures. (GS box) containing the 1981 photographic series Visible
Girls by Anita Corbin. The aims are to rethink the content of this
box in the wider context of photographic archive and contemporary
youth culture.

The
unit has been organised as a practice-based research project in order
to help you explore the way photographers apply performance based
visual methodologies in response to visual culture.

7.2Overview of Types of Classes

Photographic
Index is taught over 12 weeks and is based around a weekly three-hour
taught session, which will include six research seminars, creative
workshops and tutorials, one gallery visit and a guest-lecturer. In
addition, you will be allocated a weekly two-hour period when you
have access to the Digital Media Labs in Keyworth Street for project
development.

7.3Importance of Student Self-Managed Learning Time

In
addition to the class seminars and research-production time, you need
to invest time doing research to fulfil the brief, as this requires
familiarity with the way contemporary youth culture is represented in
varied media. Finally you will have to spend some of your own time
planning and photographing your project. This will require from you
an investment of approximately 84 hours.

7.4Employability

Working
in a team and independently, research and presentation skills,
developing practice-based research.

8.The
Programme of Teaching, Learning and Assessment

The weekly
programme at a glance

Element	technique	Deadline
contribution to performative photograph 1	Invisible photograph (10%) After Invisible theater in a public space http://en.wikipedia.org/wiki/Invisible_Theatre	Week 02
2. contribution to performative photograph 2	Image photograph (10%) After Image Theatre http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed	Week 03
3. contribution to performative photograph 3	Newspaper Photograph (10%) After Newspaper Theatre http://tinyurl.com/ccbzfx	Week 04
4. contribution to performative photograph 4	Invisible photograph (10%) After Invisible theater in a virtual space (second life) http://en.wikipedia.org/wiki/Invisible_Theatre	Week 05
5. contribution to performative photograph 5	Image photograph (10%) After Image Theatre but in a video streaming platform such as oovoo or skype http://en.wikipedia.org/wiki/Theatre_of_the_Oppressed	Week 06
	Project research week	Week 07
6. Project proposal	development of the most successful concept/images into the project’s final work	Week 08
	Project development	Weeks 08/11
7. Presentation of your project: final output (25%) and statement (25%)	Contributions towards the group project contemporary youth culture –a mobile exhibition (35% + 25%)	Week 12

9.Learning
Resources

9.1Core Materials

Dewdney,
A & Lister, M (1988) Youth, culture and photography.
London: MacMillan Education (representing youth)

Cieslik,
M (2003) ‘Introduction: Contemporary Youth Research: Issues,
Controversies and Dilemmas’ in Andy Bennett, Mark Cieslik and
Steven Miles (Eds) Researching Youth, Hampshire and New York:
Palgrave MacMillan

Dewdney,
A, Grey, C, Minnion, A and the residents of the Rufford Street Hostel
(1994) Down but not out: Young people, photography and images of
homelessness Straffordshire: Trentham Books Limited

Gauntlett,
D. (2007) Creative explorations: new approaches to identities and
audiences Oxon: Routledge

Rybas,
N & Gajjala, R (2007) Developing Cyberethnographic Research
Methods for Understanding Digitally Mediated Identities, volume 8,
No. 3, Art. 35. (accessed 08.01.31)

http://www.qualitative-research.net/fqs-texte/3-07/07-3-35-e.htm

performance

Newspaper
Theatre: Applying performance-based learning to journalism education

http://live-wirez.gu.edu.au/jea.papers/boland%20and%20cameron.rtf.

Anything
on augusto boal from the perry library

http://lispac.lsbu.ac.uk/search~/a?searchtype=X&searcharg=boal&SORT=D&SUBMIT=GO!

Everything
on youth culture from the perry library

http://lispac.lsbu.ac.uk/search~S1/?searchtype=X&searcharg=youth+culture&searchscope=1&SORT=DZ&extended=0&SUBMIT=Search&searchlimits=&searchorigarg=Xboal%26SORT%3DD

http://photographicindex.wordpress.com/

9.2Optional Materials

Evans,
J. (1999) (Ed) The Camerawork essays: Context and meaning in
photography. London: Rivers Oram Press. Pp 9-10 and 11-(Preface by
Hunt, B.) and introduction-extracts by Evans,J.)

Sekula,
A. (1992) The body and the archive, in Bolton, R (Ed) The contest of
meaning: critical histories of photography, Cambridge: MIT Press.

Hebdige,
D. (1988), Hiding in the Light: On Images and Things. London:
Routledge. Pp 17-36 (chapt 1: youth surveillance and display)

Bennett,
A. (2000) Popular Music and Youth Culture: Music, identity and place,
London, Macmillan. (Chapt 1 sociology of youth culture pp 17-33)

Hall,
S. (1997), The spectacle of the other in Hall, S. (ed)
Representation-cultural representations and signifying practices.
London: The Open University.

Photographers
who work with archives of found photography and photo archives housed
in institutions (selection)

[all
accessed
22 January 2007]

Designing
Britain 1945 – 1975 > Student Response Bank

http://vads.ahds.ac.uk/learning/designingbritain/html/srb.html

Joachim
Schmid

http://schmid.wordpress.com/

Joachim
Schmid ARCHIV 1986-1995

http://sunsite.cs.msu.su/wwwart/archiv/

Stephen
Bull, JOACHIM SCHMID

http://www.cefvigo.com/ingles/galeria_joachim.htm

Thompson,
L. (1994) Turning Photo-Trash into Art Treasure, Found photographs
engage as artworks in Joachim Schmid’s Pictures from the Street.
[Online] Available from:

http://www.artic.edu/webspaces/fnews/2001-september/septreviews1.html

Camilla
Webster

http://www.ellingsen-webster-gallery.com/

Peter
Pillar

http://www.peterpiller.de/index1.htm

Aleksandra
Mir

http://www.aleksandramir.info/pdfs/pdf_index.html

reeenacting/recreating

Bayles,
J. (2003) Gillian Wearing Album. [Online]
Available from:

http://www.albrightknox.org/acquisitions/acq_2004/Wearing.html

Galassi,
P. (1998) Cindy Sherman Untitled Film Stills 1977-1982.
[Online] Available from:

http://www.moma.org/exhibitions/1997/sherman/index.html

Photographers
working with youth culture (selection)

Lauren
Greenfield

http://www.laurengreenfield.com/

Rineke
dijkstra

http://www.rinekedijkstra.net/

Wolfgang
tillmans

http://www.yvonneforceinc.com/yfinew/tillmans.htm

Larry
Clark

http://www.larryclarkofficialwebsite.com/

Nan
goldin

http://fototapeta.art.pl/2003/ngie.php

Template
version: 5

Lost in Photography by Waheeda Bjerkaas

paula roush — Tue, 28 Aug 2007 16:48:49 +0000

Lost in Photography by Waheeda Bjerkaas

In this book I am showing my collection of found photos. These photos are either found or bought at second hand shops, car boot sales or markets in London and Brighton. I collected them over a period of three months, intrigued by the condition I found them in. I was especially attracted to those photos which had hand-written text that sometimes tell a story about the picture. This led me to include both sides of the photos in the book. This is a very small collection of twenty-eight photographs but it still draws one in a world or a time where these people lived their lives. These photos are a proof of their existence and period where they lived in.

Printed: 72 pages, 6.14″ x 9.21″, perfect binding, full-colour interior ink
Publisher: Waheeda Bjerkaas

Waheeda Bjerkaas project’s blog

store page at lulu.com

Longanimity & decline by Jonny Cochrane

paula roush — Tue, 28 Aug 2007 15:36:54 +0000

Longanimity & decline by Jonny Cochrane

Printed: 32 pages, 6.14″ x 9.21″, saddle-stitch binding, full-colour interior ink
Publisher: Jonny Cochrane

Jonny Cochrane’s project blog

book store page at lulu.com

Shanghai Taxi by Heiki Aho

paula roush — Tue, 28 Aug 2007 15:31:36 +0000

Shanghai Taxi by Heiki Aho

The book contains series of photographs that have been taken in Shanghai in three weeks period and all the images have also been shot from a taxi.

Heiki Aho’s project blog

40th by Abagbodi Florence

paula roush — Tue, 28 Aug 2007 15:22:12 +0000

40th by Abagbodi Florence

My proposal for this book is to show how Nigerian birthday party is held in London through photography and text. This is done from the perspective of a guest that is a photographer and was innvited to my 40th party.

Printed: 82 pages, 6.14″ x 9.21″, perfect binding, full-colour interior ink
Publisher: Abagbodi Florence

Abagbodi Florence’s project blog

store page at lulu.com

Lomosexual by Francois Boutemy

paula roush — Tue, 28 Aug 2007 15:16:08 +0000

Lomosexual A Tribute to L.O.M.O. Cameras by Francois Boutemy

A close up look at the revolutionary Russian camera and its bag of tricks. A collaboration of several photographers featuring a gallery of images, interviews and modification tips; with contributions from Jon Wyatt, Ricardo Ventura, Jeansman Lee and Francois Boutemy.

Francois Boutemy’s project blog

Francois Boutemy’s web site

Another Socket in the Wall by Martin Drogosz

paula roush — Tue, 28 Aug 2007 15:07:10 +0000

Another Socket in the Wall by Martin Drogosz

Printed: 28 pages, 8.5″ x 11″, saddle-stitch binding, full-colour interior ink
Publisher: lens_blur

store page at lulu.com

Martin Drogosz’s project blog

Catalysts and Movement by Gary Lewzey

paula roush — Tue, 28 Aug 2007 14:54:07 +0000

Catalysts and Movement by gary lewzey

The simple addition of people to an urban environment can introduce and give life to an otherwise regulated and mundane recipe of concrete and steel. The most vibrant and colourful catalysts of people to be mixed within a city’s grey architecture are skateboarders. Their vision is as different as their priorities in comparison to the conventional visitors inside the business district. The general public sees practicality where skateboarders see opportunity and leisure. Movement, risk, freedom and experimentation are added to the drone of routine making real, physical use of an architect’s set of stairs and minimalist set of ledges. Using varied photographic styles and layouts to portray different methods of looking at skateboarders you will hopefully see what they see and obtain new understanding of their motives, which are in principle, to reclaim areas of by-laws and regulations, which belong to all of us. We all pay for this city so lets take it back.
Product Details:

Printed: 42 pages, 6.14″ x 9.21″, saddle-stitch binding, full-colour interior ink
Publisher: gary lewzey

store page at lulu.com

gary lewzey’s project blog

nine twelve fifty six by chris charalambous

paula roush — Tue, 28 Aug 2007 14:42:53 +0000

nine twelve fifty six by chris charalambous

chris charalambous’ blog

The Fashion Journey by Mary Germanou

paula roush — Tue, 28 Aug 2007 14:28:35 +0000

The Fashion Journey by Mary Germanou

Printed: 154 pages, 6.14″ x 9.21″, perfect binding, full-colour interior ink
Publisher: Mary Germanou

The Fashion Journey is a pictorial biography about one grandparents journey from one country to a new location adapting to new cultures, new surroundings and new fashions. The journey commences with the grandparents and then extends to the next generation. The Fashion Journey looks at ninety years of fashion, interior deco, and technology such as the original eight track cassette music prior to small cassettes from 1917 to 2007.

store page at lulu.com

mary germanou’s bog

wepod

unit guide photographic index 09

1.Unit Details

2.Short Description

3.Aims of the Unit

4.Learning Outcomes

4.1Knowledge and Understanding

4.2Intellectual Skills

4.3Practical Skills

4.4Transferable Skills

5.Assessment of the Unit

6.Feedback

Introduction to Studying the Unit

7.1Overview of the Main Content

7.2Overview of Types of Classes

7.3Importance of Student Self-Managed Learning Time

7.4Employability

8.The Programme of Teaching, Learning and Assessment

9.Learning Resources

9.1Core Materials

9.2Optional Materials

Lost in Photography by Waheeda Bjerkaas

Longanimity & decline by Jonny Cochrane

Shanghai Taxi by Heiki Aho

40th by Abagbodi Florence

Lomosexual by Francois Boutemy

Another Socket in the Wall by Martin Drogosz

Catalysts and Movement by Gary Lewzey

nine twelve fifty six by chris charalambous

The Fashion Journey by Mary Germanou

1.Unit
Details

3.Aims
of the Unit

4.Learning
Outcomes

5.Assessment
of the Unit

Introduction
to Studying the Unit

8.The
Programme of Teaching, Learning and Assessment

9.Learning
Resources