Dr Harriet McKay
Focussing on two of life’s key ingredients, reading and bread, this Dissertation Studio offers sessions that will encourage you to experience and experiment with both. As you learn to make a basic loaf of bread, experiment with other doughs and produce a bread-based meal, so will your knowledge around how to craft a dissertation develop, expand and be improved. Designed to be rolled out remotely and/or in class, sessions are structured to complement your dissertation-making journey.
What you will need to take this studio:
- Texts – supplied by Harriet
- Access to MS Teams and weblearn
- Strong bread flour
- A mixing bowl
- Fast-acting dried yeast sachets
- Access to an oven
- Olive oil
- for week six, only eggs, butter and sugar
Recipe and method
Week 1 – Introduction and what to expect
Part 1: Making a sourdough starter.
Part 2: Dissertation starters; what are your initial dissertation ideas and how can you encourage them to ferment.
- Bertinet, R, (2019), Dough: Simple Contemporary Bread, Kyle Books.
- Bread: A Loaf Affair, 02:15 25/03/2010, BBC4, 60 mins.
- Great British Food Revival, Bread and Cauliflower, 19:00 14/11/2011, BBC2 England, 60 mins.
Week 2 – The basics
Part 1: Basic dough – Basic bread. Preparing to write dissertation check list (eg. Writing reminders, Harvard reminders, research sources). Part 2: Fougasse – decorative basic bread. Adding style to your dissertation
- Rubel, W, (2011), Bread: A Global History, The Edible Series
- Snapes, R, et al, (2018), Bread and Butter: History, Culture, Recipes, Quadril Publishing Ltd
Week 3 – World Bread Day
Part 1: Discussion of Week 2 readings. Bread surgery – Discussion of bread baking and results from Week 2. Writing surgery – reviewing past essays and assessing areas for improvement.
Part 2: Watch Great British Bake Off, Bread Week. Critique and discuss. Does this TV programme offer anything useful or is it and example of what commentator Edward Murrow described in 1957 when he said that television "is the real opiate of the people"? What was the original dea that Murrow is paraphrasing here?
Week 4 – (B)read theory: pizza, pitta, paratha
Global flow and food diasporas. How will including theory aid your dissertation? PowerPoint recipes and video demonstration/s.
- Alibhai-Brown, Y, (2009), The Settlers’ Cookbook. A Memoir of Love, Migration and Food, Portabello
- Palat, R, A, (2015), Empire, Food and the Diaspora: Indian Restaurants in Britain, South Asia: Journal of South Asian Studies, 38:2, 171-186
- Parveen, R, (2016), Food to remember: Culinary practice and diasporic identity, Oral History, 44(1), 47-56
- Mintz, S, (2008), Food and Diaspora, Food, Culture & Society, 11:4, 509 -523.
Week 5 – (B)read history: bunny chow
Part 1: What is bunny chow? Understanding history as a tool for investigation and dissertation detective work. PowerPoint bunny chow recipe and video demonstration.
Part 2: Video call and bread class with Jade de Waal, Masterchef and South Africa finalist and owner of Cape Town restaurant and food jamming venue Soute.
- Trapido, A, (2008), Hunger for Freedom. The Story of Food in the Life of Nelson Mandela, Jacana Media
- Dubow, S, (2014), Apartheid 1948- 1994, Oxford Histories
- The World Since 1945, Apartheid in South Africa, 05:00 18/09/2008, BBC2 England, 60 mins
Week 6 – (B)read literature: challah
Making an enriched bread. Literature as learning – making an enriched dissertation. PowerPoint challah recipe and video demonstration
- Below, S, (2001), The Adventures of Augie March, Penguin Modern Classics
- Ottolenghi, Y, and Tamimi, S., (2012), Jerusalem, Ebury Press
- Neuman, N, (2019), On the engagement with social theory in food studies: cultural symbols and social practices, Food, Culture Society, 22:1, 7894
- Roden, C, (1999), The Book Of Jewish Food: An Odyssey from Samarkand and Vilna to the Present Day, Penguin
Week 7 – Tutorials and online bread swap videos
Studio image: Harriet McKay. Banner: Hans Op de Beeck, Staging Silence (3), video still (detail), 2019
Dissertation Studios 2020–21
Studio 01: Another Place
Out of a direct treatment of place, whether subjective or objective, emerges another place. It is neither new, nor fixed in time, but it has remained unexplored, scarcely documented – piles of lime and useless cicadas.
Studio 02: Feminist Approaches
The Dissertation Studio 02 seminar series will address feminist practices within architecture, history and activism.
Studio 03: Narrative and Storytelling
This studio focuses on modes of storytelling and narrative conventions. We will particularly consider how narrative intersects with, and informs, identity.
Studio 04: The Conquest of Joy
This studio encourages dialogues around the cultural production at a time when narratives founded on certainty have ceased to make sense.
Studio 05: This is my truth; show me yours: Post-truth, propaganda and bulls**t
This studio will look at the emergence of the notion of "post truth" and explore links between other ideas around propaganda and Harry Frankfurt’s argument about "bulls**t". We will consider the usefulness of these ideas, and how they can be explored in creative practice.
Studio 06: The Practice of Space – Writing Atmospheres in Art and Architecture
Nico de Oliveira
Dissertation Studio 06 looks at space as practice, since each location is a mutable entity framed as a moment in time, populated by individuals and shaped by their actions as artists, musicians, curators, designers, architects, writers and spectators.
Studio 07: Meaningful Work
This studio will consider the value of making in itself, independent of the product or outcome, exploring the idea of craft as meaningful work.
Studio 08: Speak, Form.
Dissertation Studio 8 asks: How is it that form might speak? This studio looks at the power of rhetoric, of the medium as message, of the figure as discourse.
Studio 09: Thinking with Ruins
This studio pays heed to these cultural forms and persuasions but asks, how might we productively think with ruins in the present?
Studio 10: Sport and Aesthetics
Dissertation Studio 10 will examine the concept of aesthetics as applied within that most everyday activity: sport.
Studio 11: Le Marteau Sans Maître (The Hammer without a Master)
In a networked world where knowledge and information seems to be accessible everywhere and in any form; and where people in distant places appear to speak to us in real time from our computer screens, Studio 11 tries to imagine an ‘immediate’ and performative experience of the world – outside language and not shaped by our intellect and will.
Studio 12: Material Culture and Transcultural Exchanges
Dissertation Studio 12 is concerned with the increasing complexity of the material and symbolic flows of fashion, textile, artefact and commodity.
Studio 13: B(read)
Focussing on two of life’s key ingredients, reading and bread, this Dissertation Studio offers sessions that will encourage you to experience and experiment with both.
Studio 14: Rewilding
In this Dissertation Studio, we will examine some of the many ways in which art, architecture, and design connect to the discourse on rewilding.
Studio 15: “If I stay silent nothing will change”: Identity, Politics, Social Change and Creative Culture(s)
This cross-disciplinary studio considers how power, culture, politics, identity, representation, activism, social media, and mass culture theory intersect with a range of arts practices, including photography, architecture, design and fine art, film studies, fashion and music, sound, pop art, and theatre.
Studio 16: A Material World
This Dissertation Studio will be based on the processes that are intrinsic to the design and making of textiles, however it will also be looking at the materiality of these textiles as objects.
Studio 17: Souvenir
This studio is concerned with those objects that are lent a particular enchantment because of their relationship with the past. It considers the role of memory and how it is embodied in cultural artefacts.
Studio 18: Modes of Human Exchange (Being-with and without)
This studio considers the current (exceptional) conditions of human exchange in a broader historical/social context, highlighting how facial/bodily gestures and the decorum of their physical/ambient surroundings have provided essential clues to the way we respond to, and interact with, the ‘other’.