Log Assignment

The Log assessment is similar to the project/process books you’re doing elsewhere on your media practice course. It exists to show how your work and your thinking develop over the term just as your process books show your project development. In this module, it should show how you both engage with the topics and assigned readings/engagements each week and how you (as the term progresses) develop your thinking about creative media practitioners, your thinking about your own creative media work, and the connections to be made between theories and practices.

The purpose of this assessment is to help you continue to develop your own research skills and to encourage discussion among students and tutors around your work and the ideas explored in the module.

The Log is evidence of your continuous engagement with the material throughout the term.  It should NOT be done retrospectively at the end of term.  It’s a good idea to set aside a few hours each week to produce a few pages for your Log.  Please clearly label each week’s entries in your Log (Week 1, Week 2, etc.).

There is no fixed length for the Log but it should include:

  • your creative media practitioner Report (described above) and any notes for the Report
  • reflections on the required readings and media engagements assigned each week
  • reflections on how your own creative media work might overlap or connect with the artists and theorist we are engaging with in lectures and seminars
  • notes from and reflections on the lectures and seminars
  • explorations of and brainstorming ideas for your Report and Essay
  • research notes for your Essay
  • responses to peer and tutor feedback
  • comments made on the discussion forums and your responses to the work of your peers
  • reflection on at least 2 occasions where you’ve shown your Log to others for feedback
  • anything else you’d like to include

In terms of format:  The decision about formats is up to you but most students create project logs in Microsoft Word (or similar) and submit the final version as a PDF.  As above, please make sure you label each week’s entries.

The Log is due at the end of term.  Please see Sussex Direct for the specific date.

Relevant learning outcomes:

  • Synthesising connections between cultural/philosophic/political/sociological theory and creative media.
  • Working independently and managing time and also being effective in a collaborative exercise.
  • Carrying out research tasks using a range of sources.
  • Developing self-reflexivity about students’ own creative media work and an ability to frame that work in terms of the media creatives and ideas presented on this module.

Practice as Research; From Modernism to Postmodernism

Questions (for class, Canvas Discussion & Log)

  1. What might a documentary ‘based on research’ be like?  And how might that be/feel different from a documentary ‘that is research’?
  2. How can experiments in creative media be viewed alongside more conventional notions of ‘research’ like books and articles?
  3. What is the value of describing all media projects as representations?
  4. Are all media products representations of other representations?
  5. What are the problems posed for politically engaged art by theories of postmodernism?
  6. What are the connections in this discussion of representations to the writing of Benjamin (and, if you’ve done it, McLuhan)?
  • Laurie Anderson
  • From Michelangelo Antonioni’s book, The Architecture of Vision (all page numbers listed below refer to the PDF pages, not the book pages). Don’t be put off by the preface which is the longest; the essays from Antonioni are quite short and punchy:
    ‘The Gaze and the Story’ (preface by Tinazzi) p. 12
    ‘Making a Film is My Way of Life’ p.38
    ‘Reality and Cinema Verité’ p. 78
    ‘Blow Up: It was Born in London…’ p. 112

Manifestos, Materiality, Politics and social & Artist Change

Questions (for class, Canvas Discussion & Log)

  1. What does the artist manifesto tell us about certain media artists’ aspirations for their own work?
  2. How might the artist manifesto complicate the discussions of “value” that we have been having around art this term?
  3. What might the discourse of manifestos have to tell us about media artists (like Warhol, for example) who eschewed the form?
  4. How are we to read artists’ manifestos? To what extent can we “trust” them?
  5. What are the implications and benefits of ‘manifestos’, lists of limitations or rules for creative practice generally including your own activities?
  • Guerrilla Girls ‘The Advantages of Being a Woman Artist’ manifesto and the Guerrilla Girls’ Guide to Behaving Badly
  •  “ANONYMOUS”
  •   Jean-Luc Godard’s ‘What is to be done?’

Voyeurism, Surveillance & Documentary·

Questions (for class, Canvas Discussion & Log)

1,What is the role of (media) surveillance in assertions of colonial authority? and/or authority more broadly?
2,How have documentarians throughout history negotiated issues of surveillance?
3,What might documentaries that overtly distance themselves from issues of surveillance look (or sound) like?
4,How has hacktivism had instigated real material, artistic or social change (if it has)?

  • Sharon Daniel’s Public Secret, critical discussion of her work