"In the social sciences, though, often we write about our research as if theories and arguments are buildings. Theories have frameworks and foundations and they need support. Arguments can be constructed, shored up by facts and buttressed with a solid line of reasoning. Sometimes they can be shaky and even fall down. But as well as communicating what we mean, metaphors structure our thinking. Or, at least, the metaphors we choose when we write can reveal a great deal about underlying assumptions. The theories-as-buildings metaphor always makes me imagine an enormous wall made of rectangular bricks, orderly and straight, progressing upwards and onwards. The researcher's job is to climb the scaffolding, find a gap near the top and make a brick to fill it, or to knock a few crumbling bricks out and replace them with others, strong and freshly fired. Or rarely, to grab a spade and start digging a new foundation, because this metaphor doesn't work like Minecraft: bricks can't float, unsupported.
Why does this way of thinking about knowledge hold such sway over us? For one thing, it offers a comforting sense of progress and control. Buildings have blueprints; their construction appears to proceed in a predictable fashion; engineers can calculate precisely where the load bearing walls and lintels need to be; construction workers know how to mix the mortar so it won't crumble. Making buildings is also something that happens in the public sphere; even with houses, the insides only become private when the work is finished and people move in. And though we all know full well that knowledge creation doesn't actually happen in the controlled and predictable way the metaphor implies, this is the structure that it imposes on our writing: an activity that is orderly, involves rationality over emotion and inhabits the public sphere not the private."
(Katie Collins, 27 May 2016)
"A portfolio is a collection of your work, which shows how your skills and ideas have developed over a period of time. It demonstrates your creativity, personality, abilities and commitment, and helps us to evaluate your potential."
(University of the Arts London, 2013)
Videos include: What is a portfolio; Preparing a digital Portfolio; Preparing a portfolio; Why is a portfolio important; What should be in a portfolio; Applying to MA; Applying to BA; Applying to foundation.
"Photoshop has completely revolutionized our visual culture. Artists now use Photoshop to create complex imagery that would have been impossible 20 years ago. It has also profoundly changed the art of photo retouching, turning a labor intensive process into an artful and often controversial digital workflow. But possibly the most current and expressive influence can be seen in meme culture online. With the ability to alter any image in the media landscape, everyday people now have the means to critically comment on culture and spread their ideas virally, leveling the playing field between traditional media creators and consumers. Photoshop has changed the way we communicate, the way we express ourselves, and the way we view the world and each other."
"Isadora is the award winning, interactive media presentation tool that allows you to follow your artistic impulse. Whether you are an artist, designer, performer, or VJ, you can quickly and easily harness the limitless potential of digital media and real–time interactivity with Isadora. ...
Created by composer and media–artist, Mark Coniglio, Isadora was initially developed to realize the performances of Troika Ranch, the pioneering media intensive dance company he co–founded. Isadora reflects over 20 years of practical experience with real–time live performance and media interactivity."
Thursday 27th June 2013, 10:00am – 4:30pm, Waterside 2, The Watershed, Bristol, UK.
"This one–day symposium explores the historical present in creative practice. In a cultural climate that valorizes the 'now' what does it mean to occupy the present moment? Our aim is to examine the present tense of creative practice as itself historical as opposed to understanding it as the end point of a linear chronological line. The symposium is motivated by a desire to pay attention to the atmospheric 'thickness' of the present tense in art, media and design practices and to imagine what kinds of experience can be articulated when what Lauren Berlant calls the 'ongoingness' of life is slowed down and brought into visibility. The symposium includes papers on the historical present in relation to painting, sound, photography, film, digital media and video."