Studio 5: Imperfect Theories
Floor Mosaics in the Church of Santa Maria and San Donato, Murano, Italy, c.1140
Things can lead to theories. They can point to a way of seeing artefacts or objects that is more significant than the thing itself. In the twentieth century the notion that art and architecture speak for themselves was superseded by the idea that theory did the talking. Today, theory is often regarded as an autonomous discipline or even as a form of practice; artists, architects, designers and filmmakers produce theory-conscious work.
We will be looking at theories which are imperfect because they have materialised and so they have lost their purity or absoluteness; or, at examples of artefacts in which theory is latent, not explicit.
You can examine, critically, any work that can be seen as theory or that presents an interesting relationship with theory; eg conceptual works, hybrids, replicas, forgeries, artefacts that allude to Utopias, function-less architecture, manifestos, etc.
Over the summer you can:
- enrol in the British Library
- have a first look at the readings, films and websites mentioned below and more, according to your own topic
- visit some exhibitions for inspiration
- identify two to three potential topics; identify the theoretical qualities in each of these topics and write a short paragraph for each, which describes them – how do these ideas transcend the objects/artefacts and point towards something bigger?
Outline of the first seven weeks of study and reading list
- Consciousness and the ephemeral: We visit this year’s Serpentine Pavilion by Francis Kéré, we read the poem Thirteen Ways of Looking at a Blackbird (1917) by Wallace Stevens and the essay The Knocking on the Gate in Macbeth (1823) by Thomas de Quincy and we discuss your topics. (Due: 200 words about your topic)
- Thesis and originality: We watch F For Fake (1975) by Orson Welles and/or The Century of the Self (2002) by Adam Curtis and we look at the Wikipedia entries ‘Originality’ and ‘No original research’. We discuss tradition, originality and referencing in the work of art and in dissertations. (Due: Bibliography relevant to your dissertation)
- Medium and representation: We visit the Victoria and Albert Museum (V&A), we read TS Eliot’s poem The Waste Land (1922) and we look at Museum Photographs (1993) by Thomas Struth. We discuss changing contexts, the effect of time on artefacts, the medium of your chosen subject and how it relates to the medium of the dissertation. (Due: advanced outline and literature review)
- Pin up/presentations (Due: 5 images, 5 minutes talk by each student)
Weeks 5-7: working in reading groups and with the tutor.
Image: Floor Mosaics in the Church of Santa Maria and San Donato, Murano, Italy, c.1140; arrangements which evoke cosmic systems but are averse to theory as we understand it today.
Studio 1: Another India will examine, reflect upon and critique the historic use of "exotic" motifs in design.
In Studio 2 we will explore environmental topics through the lens of art, architecture, spatial practice, media and design disciplines.
Studio 3: Music is the Weapon: Performance, Culture and the Music Industry is an exploration of race, gender, class and more in music.
Studio 4: What Not to Wear? will investigate the roles that dress and fashion play in our workplaces.
Studio 5: Imperfect Theories allows you to critically examine any work that can be seen as theory or presents an interesting relationship with theory.
Nico de Oliveira
Studio 6: This dissertation studio is designed to help students who are interested in curating as a broad subject, as well as those who wish to contextualise their own practice within the scope of displaying art.
Dr Lesley Stevenson
Studio 7: This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past.
Studio 8 will look at one element of that system – the picture postcard – from a number of different perspectives.
Studio 9: Together we will explore the space of criticism; acknowledging our point of encounter with objects, places, sites and processes and the relationship between text, writer and reader.
As creative practitioners we digest and produce images every day – as citizens of the digital age we consume between hundreds and thousands of images each day. This dissertation studio will slim down your daily diet to one image.
Speculative descriptions of the future reveal a magnified — or distorted — reflection of the fears and desires of the present.
Much is happening in the world today that foregrounds questions pertinent to our identities in a globalised world.
How does the relationship of memory to fantasy affect history? What are the links between desire, sexuality and trauma? How are these relationships played out or negotiated in visual and written practice? These questions will form the beginning of our enquiries into artworks, films and literature.
We will look at how the idea of nature has been constructed over time and place, and study its impact on design practice in an age marked by the sustainability imperative.
Studio 15: Music, Technology and Ideas encourages you to explore how and why we make music, including its origin, relationship to technology and more.
Studio 16: Narrative and Storytelling will see you produce storygraphs, storyboards and various forms of narrative analysis in the seminars.
Studio 17: Knowing Audiences will encourage you to study an audience group using qualitative research methods in your investigations.
This workshop will address some perennial problems of writing in the field of visual culture.
Studio 19: This studio will explore a reading of objects focusing on the interplay between materials, the objects they form and their context.
This Dissertation Studio examines instances of the liminal as they occur in critical theory and culture, and is open to any topic and students from all disciplines.
This year, Studio 21 will stage an unusual experiment. It will move, unpack, catalogue, and perform readings from one private library; and make this library, without exception, the single resource for all the research and writing in the studio.
Studio 22: Meaningful work explores the value of making and the idea of craft as meaningful work.