ba in visual and critical studies - dublin institute of ...typography ireland: typography ireland...

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Dublin Institute of Technology

Faculty of Applied Arts

School of Art, Design and Printing

BA in Visual & Critical Studies

Programme Document

Part B

May 2010

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Contents

Programme background and structure

1. Introduction to Faculty 3

2. Introduction to School, School Links, Staff Specialities and other 5

Programmes currently Offered

a) School of Art Design and Printing 5

b) Research, development and general scholarship within the School of Art, Design

and Printing 5

3. Facilities available to run new programme 10

4. Title of Programme, award sought, NQAI level and date of submission 11

5. Programme aims and overall learning outcomes 12

6. Nature, Duration and General Structure of Programme 13

7. Relationships with professional and academic bodies 17

a) External Advisory Board 17

b) Professional links for Placement Research projects 17

c) Other School Links with Professional and Academic Bodies 18

8. Programme Advisory Boards 20

9. Admission Requirements, Transfer Procedures, progression and student Numbers 21

10. Curriculum, Assessment and Modules 22

a) Programme Outline 22

BAVACS Module Strands

Semester Tables

b) Learning, Teaching and Assessment Strategies 30

Programme Delivery, Learning, Teaching and Assessment Techniques

c) Schedule of Assessment 31

d) Marks and Standards 33

e) Eligibility for Assessment 33

f) Assessment Criteria for Classification 33

g) General Assessment Criteria 35

h) Programme Structure 36

i) Modules 38

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1. Introduction to the Faculty

Faculty of Applied Arts

The Faculty of Applied Arts at the Dublin Institute of Technology provides a range of innovative

multidisciplinary and professional-level educational and research programmes in the creative,

visual and performing arts, at both undergraduate and postgraduate level. The Faculty houses

state-of-the-art newsrooms; film and television studios; production, recording and radio

broadcasting facilities; film and video editing; art and design studios; dedicated multimedia,

computer graphics and music technology laboratories.

The Faculty of Applied Arts comprises the following schools:

Conservatory of Music and Drama

School of Art, Design and Printing

School of Languages

School of Media

School of Social Sciences and Law

Almost 2500 students are enrolled on undergraduate and postgraduate programmes in Design,

Digital Arts, Music and Drama, Media and Journalism, Languages, Social Sciences and Legal

Studies, Visual, Performing and Media Arts.

The establishment of the Faculty of Applied Arts at the Dublin Institute of Technology has

coincided with a growing convergence between media, art and design and music, facilitated by

developments in the new digital technologies. These developments reflect a growing realisation

by policymakers in Ireland and the EU of the increasing economic significance of the cultural

industries as a key sector for the future.

The Faculty‟s underlying philosophy is to provide education and training in the key disciplines

within the cultural industries, while also acknowledging current technological and cultural changes.

All programmes share a strong commitment to linking creative practice with critical theory and new

technology, and aim to prepare students for professional life in the twenty-first century.

The Faculty is actively involved in research and scholarly activity across all its disciplines. A strong

emphasis is placed on supporting staff and postgraduates to develop a high profile in creative and

professional practice: fine art, design, film-making, multimedia, video/audio production, music

performance, composition, and drama. There is a growing community of Research Fellows and

postgraduate students purSiung MPhil and PhD research.

Partnership arrangements have been developed with leading European universities and research

institutions under the umbrella of CITE (Centre for International Technology and Education), and

the EU Socrates, NOW, KAMP, MAID, Media II, TAP, META, TEMPUS TACIS, Youth for Europe

and ADAPT Programmes. As a member of CITE, the Faculty of Applied Arts is involved in

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numerous EU projects focusing on linking creativity with advanced digital technology with

academic institutions in the UK, France, Netherlands, Spain, Germany, Denmark and Finland, and

over 100 industrial companies, design and production groups. The Faculty is also a member of

ELIA (European League of Institutes of the Arts), AEC (Association of European Conservatoires),

ICFAD (International Council of Fine Arts Deans) and EJTA, (European Journalism Teaching

Association).

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2. Introduction to the School, School Links, staff specialities and other programmes

currently

a) School of Art, Design and Printing

The first Technical Schools of Art and Science in Dublin were established in 1887 in Kevin Street.

When the Vocational Education System was established in 1930, these technical schools came to

be administered by the City of Dublin Vocational Education Committee (CDVEC). In 1971 the

national network of the Regional Technical Colleges was established throughout the country and

included Art and Design education in their programmes of study. At the same time the CDVEC

set up its own wholetime course in Art and Design in what was to become the College of Marketing

and Design. The current courses in Fine Art and Design were developed in the 1970s. The

success and continued popularity of these courses is exemplified by the high profile of the

graduates in the market place and by the number of applicants for places with in excess of 1000

portfolios being submitted for consideration annually.

The School of Art, Design and Printing provides a wide range of innovative, inter-disciplinary and

professional level educational and research programmes in visual communications, multimedia

design, illustration, interior design, furniture design, product design, painting, sculpture,

printmaking, printing technology, printing management and publishing. In 2003, the School

launched a BSc programme in Product Design in collaboration with the Faculties of Engineering

and Business at DIT. Most recently, the School has developed an innovative on-line distance

education programme in the visual arts in cooperation with the Sherkin Island Development

Society on Sherkin Island off the west coast of Cork. This programme which allowed the school to

develop its expertise in on line learning and new pedagogical strategies in visual arts education

has completed its pilot phase and has been developed into a 4 year BA in Visual Arts. Other new

programme proposals include an MA in Design and an MA in Community Art. The school has

also developed an active postgraduate research profile and since 1999 the number of MPhil and

PhD students has increased to 11. In 2008 the School launched a new MA in Professional

Design Practice in association with Design Ireland Skillnets targeted at senior designers in the Irish

Design industry. Community links are a vitally important part of the School‟s mission and these

include The National Drug Treatment Centre, the Larkin Centre for the Unemployed, the Mater and

Children‟s Hospital Development Initiative. The school is represented on the board of ELIA

(European League of the Institutes of the Arts) and is a member of CUMULUS.

b) Research, development and general scholarship within the School of Art, Design and

Printing

Research and scholarly activity play a central and critical role within Art and Design. They are

at the heart of all our teaching and learning. Research and scholarship are closely

intertwined terms and may be understood in a number of ways. Within the School of Art,

Design and Printing, scholarship is used to describe the ongoing and distinguished

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contribution of individual staff members to the discourse and development of their particular

field, be that through publication, conference and seminar participation and organization,

professional design practice, exhibition, or performance. Research is used to designate

scholarly activity that is specifically located within the School and is significantly collaborative

in nature. Such collaboration may involve several individuals working on a single project or it

may involve several individual projects working toward a common goal and in a mutually

supportive way.

BAVACS Research and Scholarly Interests

The specific research and scholarly activities of the Critical Theory staff teaching on BAVACS

include: museum, exhibition and collective memory; contemporary art criticism and writing;

representations of poverty in practices of material and visual commemoration; pedagogical

strategies in critical theory; contemporary French philosophy, in particular the work of Paul

Ricoeur and Julia Kristeva; philosophy of education; philosophy of language; pragmatic

linguistics; technology-enhanced learning, Computer Mediated Discourse Analysis; critical

analyses of the modelling of play and games in contemporary art practice; animal

communication; historical and contemporary forms of art criticism; modern aesthetics; political

economy of art; complexity and organisation in social systems; labour organisation in the arts;

the history and historiography of graphic design and typography in Ireland; the design and

material culture of religion and ritual; design for death; investigations of the everyday; and the

cultural politics of representation. Please see CVs attached in Appendix.

Research and Scholarship in the School of Art, Design and Printing is organised at School

level and is organised into three clusters:

i) On-Line Learning Communities

ii) Visual Process Research

iii) Heritage and Memory Studies

i) On-Line Learning Communities

Research in this cluster explores novel approaches to pedagogy and e-learning spanning the

disciplines of art and design. Key descriptors are: pedagogy, partnership, communities,

culture, art and design. Projects include:

Collaborative Art Space Research Network

In January 2003, as part of our WebCT Symposium, we initiated an international virtual

learning environments research network, Collaborative Art Space. This network currently

includes the following institutions: Dublin Institute of Technology, Ireland; Glasgow School of

Art, Scotland; HKU Utrecht, The Netherlands; Staffordshire University, England; Robert

Gordon University, Scotland; Ryerson University, Canada; UIAH Helsinki, Finland; University

of Ulster, Northern Ireland. The members of this expanding research network are actively

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interested in exploring and developing collaborative research projects and are planning to

meet at regular intervals to enable the emergence of shared research interests. In 2006, a 2

year project entitled “Interface: Virtual environments in Art, Design and Education” received

funding under the Minerva / Socrates initiative and a full report was published in the Spring

edition of the 2009 Arts and Humanities in Higher Education Journal.

MINERVA project - Interface II

Interface: Virtual Environments in Art, Design and Education. was an EU funded Minerva

Project collaboration between the Dublin Institute of Technology (DIT), the University of Art

and Design Helsinki (UIAH), the Art Academy of Latvia and Middlesex University, Learners

worked through a virtual learning platform employing a range of strategies and technologies

for collaboration in art and design education. This culminated in an international conference

hosted by DIT, September 2007 and an analysis of the project authored by Barry Jackson of

Middlesex University disseminated through the website.

(http://interface.dit.ie/undergraduate/index.php

ii) Visual Process Research

Research in this cluster explores the dynamics, methodology and cognitive outcomes of

visualisation within Drawing, Illustration, Painting, Sculpture, Printmaking, Typography, Film,

Engineering, Architecture, Science and other disciplines. It also investigates the culture of

practice based research and its relationship with traditional academic research. It has led to

key developments including Drawing Lab

Drawing Lab - The Drawing Laboratory

Established in 2005 DrawingLab is a research forum in which participants (DIT staff and

postgraduate students, international colleagues and practicing artists/designers) are invited to

engage visually and textually with wide range of drawings, and with one another‟s

contributions (visual and textual) in a sustained and concentrated exchange.

Partners include Loughborough University, Kingston University, Norwich University College of

the Arts, The Drawing Centre, New York and The Drawing Room, London.

Visual Communication Research

Typography Ireland: Typography Ireland was initiated in 2005 to further research and

recording of Irish typographic history and practice. Having received funding through DIT‟s

RICH project, Typography Ireland is currently conducting filmed interviews with leading Irish

practitioners with a view to constructing the first digital archive of Irish typography.

In tandem with their role as co-founders of Typography Ireland Clare Bell (Design for Print)

and Mary Ann Bolger (History of Design) have delivered papers on issues related to the social

dimensions of Irish typography at numerous international conferences. Among other places

they have spoken at University of Art and Design, Helsinki; Accademia di Belle Arti, Bologna,

http://interface.dit.ie/undergraduate/index.php

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Italy and most recently at the Design History Society Annual Conference at the University of

Hertfordshire. They are also regularly invited as guest lecturers to other universities and

cultural organisations in Ireland and abroad. Typography Ireland has been involved with the

Association Typographique International since 2005 (serving as Country Delegate for Ireland)

and played a leading role in bringing the ATypI 2010 conference to Dublin.

Art - Watching

Art-Watching was an interdisciplinary collaborative activity, resulting in the production of a

Book and Journal supplement in conjunction with Circa: Contemporary Visual Culture in

Ireland. Art-Watching: Book was the result of collaboration between an art writer (Niamh Ann

Kelly), a graphic designer (Brenda Dermody) and fine artist (Brian Fay). The book consists of

digital drawings and texts reflecting upon the collections on display at the Dublin City Gallery,

The Hugh Lane. This was produced as a designed limited edition artwork.Funding: Faculty of

Applied Arts, Collaborative Creative Practice Awards (2004/05). The Journal Supplement was

designed by John O‟Connor.

iii) Heritage and Memory Studies

Research in this cluster explores the dynamics and importance of heritage and memory

studies to contemporary visual and material culture. It is linked with the Research Institute for

Culture and Heritage (RICH: http://rich.dit.ie/ ), an inter-faculty research group. The cluster

focuses on interdisciplinary research into the sustenance and development of the heritage

industry in Ireland with a view to providing a needed resource for industry development and

policy formation in Ireland by developing useful research into:

1. Design concepts and content for museums, galleries, and heritage sites

2. Applications & Development of digital technologies and media in industry

Understanding of international context for commemorative and interpretative

practices

Table of Current Research at the School

MPhil Wang Yi Jia John O' Connor Concepts of appropriation in art

MPhil Raven Thomas Kieran Corcoran People’s cars

Mphil Pauline Keena Kieran Corcoran

Meaning and Signifying Practices in a

Contemporary Sculptural Practice

Mphil Fergus Murphy Siun Hanrahan Notions of a learning society

PhD Sutherland Mhairi Siun Hanrahan

artistic intervention within contested

landscape

PhD Sheelagh Broderick Mick Wilson arts & health practices

PhD Jackson Georgina Mick Wilson

Theories of spectatorship and political

engagement in contemporary art.

http://rich.dit.ie/

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PhD Emoe Clodagh Mick Wilson

'Disclosing the In-Between:

Encountering the Liminal in

Contemporary Art'

PhD Colford Anna Siun Hanrahan

Education in the Museum of Modern

Art

PhD

Coleman

Maria Siun Hanrahan Body Responsive Environments

PhD Byrne Tara Mick Wilson

'creative cities' rhetoric and cultural

planning

PhD Binns Luke Siun Hanrahan Culture-led Urban Regeneration

PhD Bell Clare

Siun Hanrahan,

John O'Connor,

Prof Ian

Montgomery Typography, Culture and Society

PhD Kelly Fionnughuala Noel Fitzpatrick

Self Efficacy and Virtual Learning

Environments

PostDoc Newman Eamonn

Noel

Fitzpatrick/NDRC

Comenius2.0 Virtual Learning

Environment/Computational

Linguistics

PostDoc Allemandou Joesph

Noel

Fitzpatrick/NDRC

Comenius2.0 Virtual Learning

Environment/Computational

Linguistics

The Graduate School of Creative Arts and Media (GradCAM)

The Head of the Department of Fine Art Dr Mick Wilson is currently seconded to the post of Dean

of The Graduate School of Creative Arts and Media (GradCAM)

GradCAM is a new collaborative initiative of national and all-island significance which builds

on the expertise of the Dublin Institute of Technology (DIT), the National College of Art &

Design (NCAD), the University of Ulster (UU), and the Institute of Art, Design and Technology,

Dún Laoghaire (IADT). These institutions are working in close collaboration with each other

and with a range of national and international networks to realise the Graduate School. The

School is a shared space of structured doctoral studies and research support - what has come

to be known as "fourth-level" education: the School is a centre for creative research

development; the School is a framework for critical interdisciplinary dialogue; and the School

operates as a permeable institution of enquiry that facilitates, promotes and leads the

interaction between cultural practice, educational practice and the everyday world of work and

innovation beyond the academy.

http://www.dit.ie/DIT/Homepage/index.html

http://www.ncad.ie/

http://www.ulster.ac.uk/

http://www.iadt.ie/

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3. Facilities available to run proposed new programme

Grangegorman Campus

The Faculty is planning an exciting, state-of-the art development at the Grangegorman campus

which will rival the best international facilities and further promote the cross-Faculty and

interdisciplinary synergies that this programme aims to harness.

Mountjoy Square / Portland Row

Lecturers, seminars and workshops delivered by the School of Art, Design and Printing take place

in seminar/lecture rooms in DIT Mountjoy Square and DIT Portland Row, where students have

access to internet, photocopying facilities, the library, tutorial rooms and computer labs and an

exhibition venue, Broadcast Gallery.

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4. Title of programme, award sought, NQAI level and date of submission

Title BA in Visual and Critical Studies

Award sought BA Honours

NQAI Level 8

Date of submission:

Subject to the DIT General Assessment Regulations, for an award with an Honours classification,

a candidate must obtain an aggregate mark (based on the total marks available) as follows:

First class honours 70% plus

Second Class honours (Upper Division) 60 - 69%

Second Class honours (Lower Division) 50 - 59%

Pass 40 - 49%

The classification granted will be awarded on the basis of an aggregate mark across all modules in

the final year of the programme. The weighting of marks will be proportionate to the number of

credits assigned to each module.

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5. Programme aims and overall learning outcomes

Programme Aims

The programme will:

Provide the student with thorough knowledge of the critical position of visual culture

in contemporary society;

Equip the student to engage productively with key theories of visual culture, in relation

to contemporary processes, practices and global contexts;

Foster the student‟s understanding of the origin, evolution and operation of

contemporary creative industries;

Provide the student with experience in critique of visual culture in the public sphere

through the development of high-level skills in writing, presentation and promotion of

visual culture;

Address a significant gap in third level education in Ireland at undergraduate level;

Promote a critical ethos in the cultural sector guided by an emphasis on practices that

prioritize initiative, interaction, collaboration and cooperation in the development of

visual culture.

Programme Overall Learning Outcomes

(A) Students will have a knowledge of:

key trends and debates in recent cultural history;

main philosophical and sociological theories underpinning contemporary visual

culture;

context of recent histories of art and design;

practices and processes of production of contemporary visual culture;

critical methods of analysis;

the relationship between research and industries of visual culture;

research practices including the use of archival, digital and primary, as well as

secondary sources.

(B) Students will be able to demonstrate mastery in:

critique of visual culture;

professional writing and editorial skills;

multi-media presentations: audiovisual, print, photographic and web technologies;

application of research in an industry context.

(C) Students will be able to demonstrate competence in:

organization of publications, curated and related events;

undertaking research on contemporary visual culture;

initiating research projects relevant to industry.

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6. Nature, duration and general structure of programme

The BA in Critical and Visual Studies is a three-year, modularised Honours Degree and comprises

180 ECTS credits. It is an interdisciplinary programme made up of existing and new specially

designed modules drawn from across the Faculty of Applied Arts. This degree is designed to

produce graduates who can function as mediators, promoters and researchers of visual culture

both nationally and internationally and capitalises on existing resources to provide a focused

educational experience which draws on the practice based knowledge and expertise of the Faculty

of Applied Arts, and in particular in the School of Art Design and Printing.

The programme is developed in a thematic structure: Stage 1: Foundations; Interpretation and

Criticism; Stage 2: Experience; Current Perspectives; Stage 3: Public Presentation; Research

Realization. Over these 3 stages the students will be introduced to essential research and

academic skills, practice and theory, moving towards semi-public presentation of work in Stage 3,

in a student seminar series. There will be a strong emphasis throughout the 3 stages on the

relevance of contemporary cultural debates to visual culture.

Throughout the 3 stages of the programme the student will avail of a Discipline History, one per

year, of their choice from the Histories of: Fine Art, Visual Communication or Interior and Furniture

Design. This will allow them to create a discreet discipline pathway through the programme or to

choose a different discipline each year.

In each semester, over the 3 stages, the student will choose a Theory Seminar option. Choice of

these elective modules will be subject to availability and timetabling restraints, with approximately

six offered each semester. Each module will be assessed through the production of submission

appropriate to the student‟s stage of study, as outlined in each Module.

In Stages 1 and 2 there will be Synthesis of Learning Tutorial Modules which will ensure the

integrated nature of learning for t he BAVACS students. These modules will focus on reading

groups as a strategy to further critical awareness and intellectual confidence at key points in the

programme.

In Stage 2, students will take a module in real-world placement. This Collaborative Module will be

run with key institutions, organizations and business in visual culture in Dublin. Alternatively,

students can avail of the Erasmus Programme for an academic exchange for one semester,

gaining 15 credits, while engaging on line with the core modules of Semester 3. In Semester 4 all

students will take an Archive Studies Module which will also include real-world archive use.

The programme will consist of approximately 11 class contact hours per week.

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Programme Structure

Stage 1 Foundations; Interpretation and Criticism

In Stage 1, students are introduced to key histories and theories of visual culture, methods of

research, documentation and presentation of findings. In the core modules students will gain the

knowledge and skills necessary to begin their engagement with contemporary visual culture.

Through the option modules, students will be able to acquire a focus on a discipline history and

specific theories of visual culture.

Core Modules (45 Credits):

Search and Research (5 credits)

Whose History? (5 credits)

Introduction to Philosophy and Aesthetics (10 credits)

Post Media? Technologies of Today (5 credits)

After Nationhood (5 credits)

Vision and Spectacle (10 credits)

What is Study? (Cooperative Learning Module 1) (5 credits)

Option Modules (15 Credits):

1 of the following 5 credit Discipline History Modules (5 credits):

Fine Art: Theories of History

Visual Communications: The ABC of Typographic History

Interior and Furniture Design: Mechanization and its Malcontents

Any 2 of the following 5 credit Theory Seminar Modules (10 credits):

Art and Society

Everyday Objects

Exhibiting Memory: Cultures of Monuments and Museums

Gender and Design

Narrative in Visual Culture

Play and Games

Post Modern Aesthetics: Deconstructing Derrida

The Psychology of Space, Cognitive Mapping and the Built Environment

Theories of the Self and Strategies of Creativity

Typography, Culture and Society

Virtual Environments: Is One Life Enough?

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Stage 2 Experience; Current Perspectives

In Stage 2, students will advance their knowledge of industries of contemporary visual culture, and

academic research and articulation proficiency. The core modules will address the key concepts

that frame contemporary visual culture. The core collaborative module will provide the students

with real world industry/academic exchange experience and engagement with archival material

ensuring the broader application of their research. Through the option modules, students will be

able to acquire a focus on a discipline history and specific theories of visual culture.


Resistance: Cultures of Protest (5 credits)

Fractured Worlds (5 credits)

Collaborative Learning: Real-World Engagement (10 credits)

Body Culture: The Visualized Self Today (5 credits)

Ethics, Polemics (10 credits)

Archive Studies (Academic Practice 1: Writing Research) (5 credits)

What is the Topic? (Cooperative Learning Module 2) (5 credits)



Fine Art: The Legacies of Modernism

Visual Communications:

Interior and Furniture Design

2 of the following 5 credit Theory Seminar Modules, not previously taken (10 credits):

Art and Society

Everyday Objects


Gender and Design


Play and Games






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Stage 3 Public Presentation; Research Realization

In Stage 3, the students will refine their academic abilities and present a professional standard

research thesis. Core modules will focus on in-depth research practice, the utilization of key visual

and textual resources, and culminate in the collation of independent research project. Through the

option modules, students will continue to acquire a focus on a discipline history and specific

theories of visual culture.


Talking Points: Public Seminars

(Academic Practice 2: Research Presentation) (10 Credits)

Thesis Preparation (5 credits)

Written Thesis/ Thesis Project (30 Credits)



Fine Art: Postmodern and Contemporary Practices

Visual Communications:

Interior and Furniture Design

2 of the following 5 credit Theory Seminar Modules, not previously taken (5 Credits):

Art and Society

Everyday Objects


Gender and Design


Play and Games






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7. Relationships with professional and academic bodies

Specific to this programme development the Programme Committee have developed strong

professional and academic links, through a series of Brainstorm Sessions. This has resulted in the

establishment of an External Advisory Board, and the design of Collaborative Modules with key

institutions of visual culture in Dublin.

a) BAVACS External Advisory Board

The External Advisory Board will be nominated on 3 yearly basis and will comprise of key players

in professions and institutions of visual culture and leading academics in the field. The Board will

annually review the Programme content and delivery to advise on the continued contemporary

relevance of the programme. The initial BAVACS External Advisory Board:

Patricia Bickers Editor: Art Monthly;

Principal Lecturer, University of Westminster

Anne Brady: Creative Director: Vermillion Design;

Director: Associated Editions

Lorraine Comer: Head of Education, National Museum of Ireland

Pat Cooke: Director: MA in Cultural Policy and Arts Management,

University College Dublin;

Chair, 2002-06: Irish Museums Association

Luke Gibbons: Professor of Irish Literary and Cultural Studies, National

University of Ireland, Maynooth

Julia Lockheart: Senior Lecturer, Language Studies Centre Goldsmiths,

University of London; Director: Writing-PAD project;

Joint Editor: Journal of Writing in Creative Practice.

Jason Oakley: Publications Manager, Visual Artists Ireland

b) Professional Links for Placement Modules

Professional contacts have been formally developed through a series of meetings with key

institutions and industries of visual culture in Dublin, to ensure professional relevance of the

Collaborative Module and the Archive Studies Module. These are:

Irish Museum of Modern Art: Lisa Moran, Curator Community and Education

Programmes

Dynamo Design: Richard Seabrooke, Creative Director

Associated Editions: Anne Brady

http://www.writing-pad.ac.uk/

http://www.attainable-utopias.com/tiki/JournalWritingCreativePractice

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CIRCA Website for Visual Culture: Peter Fitzgerald, Editor

ESB Centre for the Study of Irish Art, National Gallery of Ireland: Donal Maguire

National Museum of Ireland: Jennifer Gough, Head of Education

National Library of Ireland: Johanna Finnegan, Education and Outreach Officer

Irish Film Institute: Sarah Glennie, Director

Project Arts Centre: Tessa Giblin, Visual Arts Curator

Red Dog Design: Mary Doherty, Creative Director

National Irish Visual Arts Library, NCAD, Una Walker

Visual Artists Ireland, Jason Oakley, Publications Manager

c) Other School Links with Professional and Academic Bodies

There are also a number of national and international links within the School. The School of Art

Design and Printing is committed to working with cultural organisations, educational institutes and

marginalised communities, nationally and internationally, in a variety of ways which include:

• Research and Development

• Arts in Context (Community Arts) programmes

• Involvement in National & EU Committees

• Professional Development

Strong links have been established and are maintained with many appropriate organisations in

Ireland and abroad. This ensures the quality of the context in which the programme is delivered

and evaluated. These organisations include:

European League of the Institutes of the Arts (ELIA)

College internationale de philosophie

National Digital Learning Repository

EDIN, Learning Innovation Network,

IoTi: Flexible Learning Project

Irish Learning Technology Association.

Visual Artists Ireland

Arts Council of Ireland

Galway Mayo Institute of Technology

Institute of Technology Carlow

National University of Ireland

Aosdána

University of Ulster

Ryerson University

Irish Museums Association

Art Historians Association

AICA: International Art Critics Association

London College of Communication (University of the Arts, London)

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Chelsea College of Art and Design (University of the Arts, London)

Institute of Technology, Sligo

Crawford College of Art and Design, Cork

Cork Institute of Technology

University for the Creative Arts, Epsom, Surrey

Institute of Creative Advertising and Design

Gray‟s School of Art, Robert Gordon University, Aberdeen

University of Art and Design Helsinki

Winchester School of Art, Southampton University

Amsterdam School for Cultural Analysis, University of Amsterdam

Middlesex University

Royal College of Art, London

University of Paris VII, Institut d‟Etudes Anglophones

The Drawing Center, New York

The Art Academy of Latvia, Riga

Larkin Centre for the Unemployed

Mater & Children‟s Hospital Development Initiative

The National Drug Centre

Professional practice and involvement by staff through:

Publications

Conference papers

Conference and seminar organization

Public lectures, talk

Advisory and consultancy to industry and academic institutions

National Percent for Art Scheme Awards

Artist residencies, nationally and internationally

Exhibitions of original works

Seminars, Symposia, Workshops

Educational residencies and seminars

Professional Studio Practice

Curatorial activities

Exhibitions of original works

International Links

(For detailed information see Staff CVs, Part A of Programme Document)

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8. Programme advisory boards

The programme will be monitored annually in accordance with DIT Quality Assurance guidelines.

The delivery of the programme will be monitored through regular meetings of the Programme

Committee. The comments and findings of the BAVACS External Advisory Board (see Section 7)

will be taken into account in the annual review process of the Programme Committee.

The Programme Committee will meet at least once a semester, and the entire Programme Team

will meet at least once a year. An annual monitoring report will be prepared by the Programme

Committee and submitted to the Director of the Faculty. This monitoring report is prepared on form

Q5, which is contained in the DIT Handbook for Academic Quality Enhancement.

Student views are solicited through the distribution of the Q6 and Q6C forms seeking feedback

from students on individual modules and the overall programme.

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9. Admission Requirements, transfer procedures, progression and student numbers

Admission requirements and procedures

Minimum entry requirements for year 1:

- Leaving Certificate (Minimum 6 subjects, 2 of which must be at Honours level) or equivalent

- Minimum HC3 in English

Procedures for non-standard applicants

We wish to encourage applications for Year 1 from applicants who are enthusiastic and keen to

develop their academic potential, update their research skills and diversify their subject knowledge.

We recognise that mature students and people working in the fields of visual culture have

considerable life and work experience and when academic potential is assessed we take into

account the achievements of applicants in the wider context in which they were accomplished.

The programme will give professionals working in the industry of visual culture, the skills and

critical insight they need to become confident within the fast-moving and richly diverse field. RPL

(Recognition of Prior Learning) is a process which acknowledges, and gives value to, learning

achieved prior to registering for a DIT programme. Applications from non-standard applicants will

be dealt with on a case-by-case basis and in accordance with Institute regulations. This includes

the submission of a portfolio of written work by the applicant, along with evidence of qualifications

and relevant industry or research experience to date.

Progression

In order to progress from one stage of the programme to the next, students must pass all core

modules. Successful graduates will also be able to apply for Masters programmes in DIT.

Student numbers

2010 2011 2012

Year 1 30 35 40

Year 2 30 35

Year 3 30

An increase in the above numbers is envisaged following the move to Grangegorman, when

current accommodation constraints can be addressed.

22

10. Curriculum, Assessment and Modules a) Programme Outline BAVACS Modules Strands

Core Academic Practice

Stage 1: Search and Research; Whose History?; What is Study?

Stage 2: Collaborative Learning: Real World Engagement; Archive Studies; What is the Topic?

Stage 3: Talking Points; Thesis Preparation; BAVACS Written Thesis

Core Theory

Stage 1: Introduction to Philosophy and Aesthetics; After Nationhood; New Media: Technologies of

Today; Vision and Spectacle

Stage 2: Resistance: Cultures of Protest; Fracture Worlds; Culture: The Self Visualized; Ethics,

Polemics


Theory Options

Core Theory

Discipline History Options

23


Stage 1: Fine Art 1: Theories of History or Visual Communications 1: The ABC of Typographic

History or Interior and Furniture Design 1: Mechanization and its Malcontents

Stage 2: Fine Art 2: The Legacies of Modernism or Visual Communications 2: Modernism and

Modernisms or Interior and Furniture Design 2: Modernism and Modernisms

Stage 3: Fine Art 3: Postmodern and Contemporary Practices or Visual Communications 3:

Graphic Design Now or Interior and Furniture Design 3: Design Now

Theory Options

Stages 1-3, 3 of the following:

Virtual Environments: Is one life enough?;

Theories of the Self and Strategies of Creativity;

Narrative in Visual Culture;

Ireland, Film and Documentary;

Art and Society;

Everyday Objects

Stages 1-3, 3 of the following:

Post Modern Aesthetics: Deconstructing Derrida;

Exhibiting Memory: Cultures of Monuments and Museums;

The Psychology of Space, Cognitive Mapping and the Built Environment;

Gender and Design;

Typography, Culture and Society;

Play and Games

24

BA Visual and Critical Studies Year/Stage: 1 Semester: 1 Foundations

Code Module title Weekly Contact Hours Total Learning Hours for Semester Credits Assessment

Lecture Seminar Studio Workshop TOTAL Contact Independent TOTAL ECTS Marks (x100)

totals 4 5.5 9.5 114 436 550 25

Search and Research

1 1 - 2 24 76 100 5

Whose History? 1 1 – 2 24 76 100 5

Introduction to Philosophy and Aesthetics

1 1.5 – 2.5 30 170 200 10

Discipline History: Fine Art/ Interior & Furniture/ Visual Communication

1 – - – 1 12 38 50 Awarded Sem.2

Option: Theory Seminar

2 - – 2 24 76 100 5

25

BA Visual and Critical Studies Year/Stage: 1 Semester: 2 Criticism and Interpretation



totals 3 7 3 13 156 494 650 35

New Media: Technologies of Today

- – - 3 3 36

64

100

5

After Nationhood 1 1 – 2

24

76

100

5

Vision and Spectacle 1 1.5 – 2.5

30

170

200

10

What is Study? (Cooperative Learning 1)

2.5 - – 2.5 30

70

100

5


1 – - – 1

12

38

50

5


2 - – 2 24

76

100

5

26

BA Visual and Critical Studies Year/Stage: 2 Semester: 3 Experience



totals 4 9 13 156 394 550 25

Resistance: Cultures of Protest 1 1 - 2

24

76

100

5

Fractured Worlds 1 1 – 2

24

76

100

5

Collaborative Module: Real-World Placement (/Exchange Programme)

1 5 (offsite)

– 6

72

128

200

10


1 – - – 1

12

38

50

Awarded Sem. 4


2 - – 2 24

76

100

5

27

BA Visual and Critical Studies Year/Stage: 2 Semester: 4 Current Perspectives



totals 4 10 14 168 482 650 35

Body Culture: The Visualized Self Today 1 1 - 2

24

76

100

5

Ethics, Polemics 1 1.5 – 2.5

30

170

200

10

Archive Studies (Academic Practice 1: Writing Research)

1 3 (offsite)

– 4

48

52

100

5

What is the Topic? (Cooperative Learning 2)

2.5 - – 2.5

30

70

100

5


1 – - – 1

12

38

50

5


2 - – 2 24

76

100

5

28

BA Visual and Critical Studies Year/Stage: 3 Semester: 5 Public Presentation



totals 3.5 5 8.5 102 348 450 20

Talking Points: Public Seminars (Academic Practice 2: Research Presentation)

1 3 (offsite)

- 4

48

152

200

10

Thesis Preparation

1.5 – – 1.5 18

82

100

5


1 – – 1

12

38

50

Awarded Sem. 6

Option: Theory Seminar 2 - – 2

24

76

100

5

29

BA Visual and Critical Studies Year/Stage: 3 Semester: 6 Research Realization



totals 1 4.5 5.5 66 684 750 40

Written Thesis

- 2.5 - 2.5 30

570

600

30


1 – – 1

12

38

50

5

Option: Theory Seminar - 2 – 2

24

76

100

5

30

b) Learning, Teaching and Assessment Strategies

The aims of the BA in Visual and Critical Studies are such that the delivery of the programme

requires a range of innovative learning, teaching and assessments method alongside more

conventional methods.

Formative assessment techniques (self assessment, peer assessment and formative feedback)

are an integral part of the programme‟s philosophy and development. Formative assessment

enables students further their own critical awareness in relation to their own development as well

as actively contributing to the development of their colleagues in a community of research critical

practice.

Across each stage of the programme there are both formal and informal opportunities for students

to progress ownership over learning, while developing academic rigour and professional standards

of research. The use of web and online technologies, the development of reading groups and

student-led seminars are core methods of learning. Students w ill engage in off-site collaborative

and research modules and present their work in a semi-public arena.

Programme Delivery, Learning, Teaching and Assessment Techniques:

Lectures

Seminars: Tutor-led and Student-led

Critique

Student Presentations

Image Construction

Research Documentation

Site Visits

Digital Lab Workshop

Group Work: Discussion, Reading, Research

Real World Engagement; Research and Observation

Screening

Project-based Learning

Essays

Historical and Seminar Papers

Experimental Writing

Learning Portfolios

Literature Review

Text Review

Image/Object Review

Web Development

Presentation Techniques: Exhibition, Paper, Disputation

31

c) Schedule of Assessment

BA VISUAL AND CRITICAL STUDIES - STAGE 1

Schedule of Assessments

Strand Credit Code Modules Status Assessment Semester

Yearly Contact Hours

Yearly Learning Hours


5 Search and Research

Core Learning Portfolio: 50%

Presentation: 50%

1

24 100

5 Whose History? Core Written

Submission: 50%

Presentation: 50%

1 24 100

5 What is Study? Core Written Submission: 50%

Presentation: 50%

2 30 100

Core Theory 10 Introduction to Philosophy and Aesthetics

Core Written Submission: 80%

Presentation: 20%

1 30 200

5 After Nationhood Core Written Submission: 80%

Presentation: 20%

2

24 100

5


Core Portfolio Website

Research Report

2 36 100

10

Vision and Spectacle Core Written Submission: 100%

2 30 200


5 Fine Art 1/ Interior & Furniture 1/Visual Communication 1

Core Group Project: 50%

Written Submission: 50%

2 24 100

Theory Seminar Options

5 Option, see Supplemental Booklet

Core Leaning Portfolio: 100%

1 12 100



2 12 100

32






Academic Practice 5 Archive Studies Core Written Submission: 100%

4

48 100

5 What is the Topic? Core Written Submission: 50%

Presentation: 50%

4 30 100

10 Collaborative Learning: Real World Engagement

Core Report: 40%


Presentation: 20%

3 72 200

Core Theory 5 Resistance: Cultures of Protest


3 24 100

5 Fractured Worlds Core Written Submission: 80%

Presentation: 20%

3

24 100

5 Body Culture: The Self Visualized


Presentation: 40%

4 24 100

10 Ethics, Polemics Core Peer Assessment: 20%


4

30 200




4 24 100




3 12 100



4 12 100

33






Academic Practice 10 Talking Points Core Peer Assessment: 40%


5

48 200

5 Thesis Preparation Core Written Submission: 100%

5 18 100

30 Written Thesis Core Written Submission: 100%

6 30 600




6 24 100




5 12 100


Core Presentation: 40%


6 12 100

d) Marks and Standards

Examinations are conducted in accordance with the regulations laid down by the Academic Council of the Dublin Institute of Technology. Assessments are in accordance with the General Assessment regulations (2009).

e) Eligibility for Assessment

To be eligible for assessment, registered learners must have complied with the specific regulations of their course and the General Regulations of the Dublin Institute of Technology (2009)

f) Assessment Criteria for Classification for Thesis

First Class Honours

70-100% The research is of exceptional depth and collation of sources reflects ambitious

initiative. The thesis consists of an excellently structured argument underpinning

an independent critical position. There is creative and intelligent analysis,

exceptional development of concept and critical reflection. Presentation in text

and visuals is exceptional, with correct implementation of referencing guidelines.

Second Class Honours Upper

60-69% There is a comprehensive level of research and collation of sources with initiative.

The thesis consists of creative and intelligent analysis, a high level of conceptual

development, and strong critical reflection. The argument is coherently structured

with a clear attempt to develop a critically independent position. The presentation

34

is coherent and appropriate, with mainly correct implementation of referencing

guidelines.

Second Class Honours Lower

50-59% The research is competent and the collation of sources has structure with some

evidence of critical evaluation. The thesis consists of competent analysis, with

evidence of creativity and conceptual development. The presentation is

competent, with satisfactory use of referencing.

Pass

40 –49% Research is barely adequate, with use of standard accessible sources. The thesis

consists of some level of analysis, but is essentially descriptive. There is some

attempt to evaluate material and structure an argument. The presentation is

adequate, with significant incorrect use of referencing.

Fail

Below 40% The thesis contains inadequate analysis, with inadequate attempt to structure an

argument. Research is inadequate, limited and unfocussed. There is unsupported

opinion. Presentation is poor, with inadequate referencing.

35

g) General Assessment Criteria

Art, Design & Printing @ DIT – Head John O Connor BDes MA ANCAD MIDI MISTD Dublin Institute of Technology, 41 Mountjoy Square, Dublin 1, Ireland t: 402-4138, f: 402-4297, e: [email protected]

Assessment Form: Critical Theory

___________________________________________________________

prog code > date > __________________________________________________________________________ prog title > module title > __________________________________________________________________________ tutor > student > __________________________________________________________________________project title > __________________________________________________________________________

Comments

Research Analysis & Development

Evaluation/ Structure

Presentation and Referencing

70-100%

Exceptional depth and collation of sources reflects ambitiouis initiative

Creative and intelligent analysis, exceptional development of concept and critical reflection

Excellently structured argument underpinning an independent critical position

Presentation in text and visuals is exceptional, with correct implementation of referencing guidelines

60-69%

Comprehensive level of research and collation of sources with initiative

Creative and intelligent analysis, high level of conceptual development, and strong critical reflection

Coherently structured argument with a clear attempt to develop a critically independent position

Coherent and appropriate presentation, with mainly correct implementation of referencing guidelines

50-59%

Competent research and collation of sources

Competent analysis, evidence of creativity and conceptual development

Competent structure with some evidence of critical evaluation

Competent presentation, with satisfactory use of referencing

40-49%

Adequate research, use of standard accessible sources

Adequate analysis, but essentially descriptive

Some attempt to evaluate material and structure an argument

Adequate presentation, with some incorrect use of referencing

0-39%

Limited and unfocussed research

Limited analysis Little or no attempt to structure an argument, unsupported opinion

Poor presentation, with inadequate referencing

Weighting > Weighting > Weighting > Weighting >

Mark > Mark > Mark > Mark >

Overall Mark >

36

h) Programme Structure


Programme structure

Strand Credit Code Modules Status Pre requisite

Co requisite

Semester Yearly Learning Hours


5 Search and Research Core

1

100

5 Whose History? Core 1 100

5 What is Study? Core 2 100

Core Theory 10 Introduction to Philosophy and Aesthetics

Core 1 200

5 After Nationhood Core 2

100

5


Core 2 100

10

Vision and Spectacle Core 2 200



Core 1 & 2 100



Core 1 100


Core 2 100

37


Programme structure


Co requisite


Academic Practice 10 Talking Points Core

5

200

5 Thesis Preparation Core 5 100

30 Written Thesis Core 6 600



Core 6 100



Core 5 100


Core 6 100


Programme structure


Co requisite


Academic Practice

5 Archive Studies Core

4 100

5 What is the Topic? Core 4 100

10 Collaborative Learning: Real World Engagement

Core 3 200

Core Theory

5 Resistance: Cultures of Protest

Core 3 100

5 Fractured Worlds Core 3

100

5 Body Culture: The Self Visualized

Core 4 100

10 Ethics, Polemics Core 4

200



Core 3 & 4 100



Core 3 100


Core 4 100

38

i) Modules

Stage 1

Foundations; Interpretation and Criticism


Search and Research (5 credits)

Whose History? (5 credits)

Introduction to Philosophy and Aesthetics (10 credits)

New Media: Technologies of Today (5 credits)

After Nationhood (5 Credits)

Vision and Spectacle (10 credits)

What is Study? (Cooperative Learning 1) (5 credits)



Fine Art 1: Theories of History

Visual Communications 1: The ABC of Typographic History

Interior and Furniture Design 1: Mechanization and its Malcontents

Any 2 of the following 5 credit Theory Seminar Modules (10 Credits)

See Supplement Booklet: Theory Seminar Option Modules:

Art and Society

Everyday Objects


Gender and Design


Play and Games






39

Pre-requisite module code(s)

Co-requisite module code(s)

ECTS Credits

Module Code

Module Title

5

Search and Research

Module Author(s) BAVACS Committee Module Description Students will be introduced to a range of research methods in visual culture. They will be introduced to methods of assessing sources and implementing various documentation techniques Module Aim The aim of the module is to introduce the student to the range of research sources and methods available and enable the student to engage in professional standard research practice, critique and presentation. Learning Outcomes On completion of this module students will be able to:

1. Identify research sources; 2. Utilize a variety of methods of research; 3. Document their research in different media; 4. Understand the significance of different research methods to particular subjects; 5. Present preliminary analysis of objects of research

Learning and Teaching Methods Lectures Seminars Archive Research Site Visits Comparative Sources Survey Analysis of Access to Objects of Research Workshop/Studio: Documentation of Culture – Visual, Audio, Graphic and Text Description Module Content Syllabus: Research Methods Primary, Secondary and Tertiary Information Sources Uses of Quantitative and Qualitative Research Documentation Practices – Introduction: Visual, Aural, Textual Visual Methodologies Rhetorical Methods of Criticism Interview Techniques Presentation Skills Module Assessment This module will be assessed through the production of a Learning Portfolio and class presentations. Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20%

40

Reading List Barbour, Rosaline Introducing qualitative research: a student's guide to the craft of doing qualitative research. London: Sage Publications, 2008. Barthes, Roland, Camera lucida: reflections on photography. London: Vintage, 1993. Becher, Tony Academic Tribes and Territories: intellectual enquiry and the cultures of disciplines, Philadelphia, PA: Open University Press, 2001. Foster, Hal „The Artist as Ethnographer‟, in: The Return of the Real: the avant-garde at the end of the twentieth century. Cambridge, Mass.: MIT Press, 1996 Geertz, Clifford „Thick Description: Toward an Interpretive Theory of Culture‟, in: The Interpretation of Cultures. London: Fontana, 1993. Harding, Sandra (ed.) Feminism and Methodology: Social Science Issues. Bloomington IN: Indiana University Press Milton Keynes : Open University Press, 1987. Hart, Chris Doing a Literature Review: releasing the social science imagination. London: Sage, 1998. Bourdieu, Pierre Distinction : a social critique of the judgement of taste. London: Routledge & Kegan Paul, 1986. Brennan, Teresa and Jay, Martin (Eds.) Vision in context: historical and contemporary perspectives on sight. New York: Routledge, c1996. Crow, Thomas, Modern art in the common culture. New Haven: London: Yale University Press, 1998. Dunne, Máiréad, Pryor, John and Yates, Paul Becoming a researcher: a companion to the research process. New York: Open University Press, 2005. Göttingen: Steidl ; London : Thames & Hudson [distributor], 2008. Locke, Lawrence F Reading and understanding research Thousand Oaks: Sage Publications, c2010. Renov, Michael, The subject of documentary. Minneapolis Univ. of Minnesota Press 2004 Renov, Michael (Ed.) Theorizing documentary. UK; New York: Routledge, 1993. Ridley, Diana. The literature review: a step-by-step guide for students. London: SAGE, 2008. Roberts, Brian Getting the most out of research experience: what every researcher needs to know. London: SAGE, 2007. Tate Publishing, Making history: art and documentary in Britain from 1929 to no.w London: Tate Publishing, 2006. Ward, Paul Documentary: the margins of reality. London: Wallflower, 2005. Warner Marien, Mary Photography: a cultural history. London: Laurence King, 2006. Magazines/Journals Art and Research; Design Studies; Journal of Design History; Journal of Material Culture; Leonardo Further Details This module will take place over 1 semester: 2 hours per week.

41



ECTS Credits

Module Code

Module Title

5

Whose History?

Module Author(s) BAVACS Committee Module Description Students will be introduced to ideas of history and theories of the mediation of culture in history and as history. The module will address a range of traditions with the recent history of visual culture. Module Aim The aim of the module is to introduce students to historiography and concepts of cultural authorship. Learning Outcomes On completion of this module students will be able to:

1. Identify trends in histories of culture; 2. Assess research in terms of cultural contexts 3. Critique systems of cultural histories; 4. Contextualize chosen objects of research within paradigms of historiography

Learning and Teaching Methods Lectures Seminars Tutorial support Reading Text Analysis Writing Module Content Syllabus: What is History? Where is knowledge produced? Cannons and their critics Feminist perspectives on history The role and status of the visual in history History and Modernity: Marx, Webber and Hobsbawm Revisionism and Irish Histories Other Histories: non-western and postcolonial approaches to history Oral History The Archive Professional histories and the creative industries Religion and Secular Culture in Western Traditions of Publication Module Assessment This module will be assessed through the production of a written comparative literature review and group presentations on types of historical writing. Students will be individually assessed. Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20%

42

Reading List Atfield, Judith „FORM/female FOLLOWS FUNCTION/male‟ in John A. Walker Design History and the History of Design. London: Pluto, 1989. Benjamin, Walter Illuminations. London: Pimlico, 1999 Bennett, Tony, Lawrence Grossberg and Meaghan Morris (eds), New Keywords. A Revised Vocabulary of Culture and Society Malden: Blackwell, 2005. Berger, Stefan, Heiko Feldner, Kevin Passmore (eds) Writing History: theory and practice. London: Arnold, 2003. Blauvelt, Andrew (ed) Visible Language: New Perspectives: Critical Histories of Graphic Design (a special project in three issues) Vol. 28, No. 3 (Spring 1994); Vol. 28, No. 4, (Fall 1994); Vol. 29, No. 1 (Winter 1995) Boyce, George and Alan O‟Day (eds) Modern Irish History: Revisionism and the Revisionist Controversy. London: Routledge, 1996 Carr, E.H. What is History? Basingstoke: Palgrave, 2001. Foucault, Michel Archaeology of Knowledge. London; New York: Routledge, 2002. Hobsbawm, Eric and Terence Ranger (eds) The Invention of Tradition. Cambridge : Cambridge University Press, 1983 Lees-Maffei, Grace and Rebecca Houze (Eds) „Section 7: Foundations, Debates, Historiography, 1980-1995‟ in The Design History Reader. Oxford: Berg, 2010 Meggs ,Philip B. „Is a canon of design history really dangerous?‟ in Steven Heller & Marie Finamore Design Culture. New York: Allworth, 1997. Perks, Robert and Alistair Thomson (eds) The Oral History Reader. London; New York: Routledge, 2006. Rose, Gillian Visual Methodologies (2nd Ed). London: Sage, 2007 Said, Edward Orientalism. London: Penguin, 1995 Scotford, Martha „Is there a canon of design history?‟ in Steven Heller & Marie Finamore Design Culture. New York: Allworth, 1997. Walker, John A Design History and the History of Design. London: Pluto, 1989. Further Details This module will be delivered over 1 semester: 2 hours per week.

43



ECTS Credits

Module Code

Module Title

10

Introduction to Philosophy and Aesthetics

Module Author(s) BAVACS Committee Module Description Students will be introduced to some of the fundamentals questions raised within the tradition of Western Philosophy of Art. The module will explore the responses to fundamental questions about Art given by Plato, Kant, Nietzsche and Hegel. Students will be given the foundations to philosophical Aesthetics which will enable them to situate and contextualise currents debates with regard to contemporary visual culture. Module Aim The aim of the module is to introduce students Aesthetics as a philosophical discipline, the module will give an historical overview of some of the canonical texts of philosophical Aesthetics. Through the study of these foundation texts students will be able to contextualise the current debates in contemporary visual cultural analysis. Learning Outcomes On completion of this module students will be able to

1. Discuss the interdependence of objective and subjective Aesthetics theories. 2. Analyse the relationship between Aesthetic theory and the work of Art. 3. Critically evaluate some of the canonical texts of philosophical Aesthetics in Western

Philosophy. 4. Assess the influence of fundamental philosophical questions about Art and the role of the

Artist in society. Learning and Teaching Methods Lectures, Seminars, Presentations, Reading Groups Formative Assessment Module Content Syllabus: Introduction to Western Philosophy Socrates and Plato The Allegory of the Cave : Theory of Forms Plato‟s Role of the Artist in the Republic Aristotle and Rhetorical Devices Descartes „The Cogio‟ Immanuel Kant, what is an Aesthetic Judgement? Immanuel Kant : The Sublime The shift in Paradigm from Mimetic Imagination to Productive Imagination Nietzsche and existential Imagination The Artistic Genius : Nietzsche Hegel, What is Natural Beauty PreModern Aesthetics Hegel and Marx

44

Module Assessment This module will be assessed through the production of written submissions and presentations. The students will also be given the opportunity for formative assessment in the module through peer and self assessment along with feedback from the tutor. Reading List Aristotle, Poetics, http://classics.mit.edu/Aristotle/poetics.html Descartes, Rene (1960). Discourse on Method and Meditations. ; Laurence J. Lafleur (trans.) New York: The Liberal Arts Press Kant, Immanuel, (1987), Critique of Judgment, trans. Werner S. Pluhar. Indianapolis: Hackett. Nietszhe, Frederich, (1967), The Birth of Tragedy. trans. Walter Kaufmann, in The Birth of Tragedy and The Case of Wagner. New York: Random House. Hegel, G.W. F, (1975), Aesthetics. Lectures on Fine Art, trans. T.M. Knox, 2 vols. (Oxford: Clarendon Press.. Adorno, T. (1970), Aesthetic Theory, oxford: Contimun. Seconday Reading Hanfling, Oswald, (ed.), (1992), Philosophical aesthetics : an introduction, Massachusetts : Blackwell Publishing, 1992. Coplestone, Ferderick,(1960), The History of Philosophy, London, Continuum, Vol 1 & Vol 6. Further Details This module will be delivered over 1 semester: 2.5 hours per week.

45

Pre-Requisite Modules code(s)

Co-Requisite Modules code(s)

ECTS Credits 5

Module Code

Module Title New Media: Technologies of Today

Module Author(s) BAVACS Committee Module Description

Students will produce a multipage portfolio website in XHTML and CSS containing an artist's statement, images of art work, video and audio content, documentation, marketing and press material (if relevant) and a CV. Module Aim

This course teaches the basic skills required for designing and implementing websites. It will introduce the standard mark-up languages used on the www. Students will learn how to develop a personal website to display their work (images, video, audio) using XHTML. Learning Outcomes When students have successfully completed this module they should:

1. Be able to design and build simple multipage websites in XHTML 2. Be proficient optimizing visual/audio content for the web 3. Have confidence designing interfaces for the web

Learning and Teaching Methods

One three-hour block every week, which will include:

Lecture Technical workshops and demonstrations Lab Work Student Presentations Tutorials

Module Content The content of this module will include an extended exploration of the following: Mark up languages and the Internet, structuring and formatting webpage‟s with XHTML, using CSS to style webpage‟s, usability, search rankings, preparing content for the internet and website optimization. Module Assessment

Formative assessments: Learner progress reports, learner reviews, project presentation, group critiques.

Summative assessments: Portfolio Website uploaded to the internet, research report.

Assessment Criteria and Weighting:

Research Analysis and Development Realization Presentation 10% 20% 50% 20% Reading

As We May Think, Vannevar Bush, Atlantic Monthly 1945, http://www.theatlantic.com/doc/194507/bush The visual display of quantitative information, Tufte, Edward R., 1942- Cheshire, Conn. Graphics Press, 1993, c1983.

http://www.theatlantic.com/doc/194507/bush

46

The World Wide Web Consortium http://www.w3.org/ A List Apart http://www.alistapart.com/ Supplemental Reading

Thinking with Type by Ellen Lupton, Princeton Architectural Press 2004.

CSS Zen Garden http://www.csszengarden.com/ Further Details Thirty-six contact hours sixty-four independent hours, three hours weekly over one semester.

http://www.w3.org/

http://www.alistapart.com/

http://www.csszengarden.com/

47



ECTS Credits

Module Code

Module Title

5

After Nationhood

Module Author(s) BAVACS Committee Module Description Students will be introduced to the core ideas of postcolonial theory, issues of collective identity and geographical relativism. They will address how these are manifest in contemporary culture. Module Aim The aim of the module is to engage with and critique theories of nationalism and post colonial theory as relevant to contemporary visual and material culture. Ideas of identity and difference will be explored through a focus on the role of the role of visual culture in the construction, maintenance and dissemination of nationalism and also of its role in the critic and dismantling of grand narratives of nationalism and modernism. Learning Outcomes On completion of this module students will be able to:

1. Articulate the relationship between modernity and nationalism 2. Comprehend the legacy of postcolonial theory; 3. Engage critically with concepts of cultural difference; 4. Discuss the role of visual culture in the construction and dissemination of nationalism or

national style; 5. Assess the impact and mediation of postcolonialism in contemporary material and visual

culture; 6. Formulate and present critiques of the role of these theories today.

Learning and Teaching Methods Lectures Seminars Reading Writing Presentation Text, Object and Image Analysis Site Visits Module Content Syllabus: Nation and Narrating „Ourselves‟ Imagined Communities and Collective Identity Nation State and National Style Cultures of Difference Neo-Colonialism and the Reinvention of Otherness Geography and Myth in Popular Culture Module Assessment This module will be assessed through the production of written submissions and presentations, including an Object Review and Essay. Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20%

48

Reading List Anderson, Benedict Imagined communities: reflections on the origin and spread of nationalism London; New York; Verso, 2006. Bhabha, Homi The Location of Culture. London: Routledge1994 Bhabha, Homi (Ed.) Nation and Narration. London and New York: Routledge. 1999 Cullen, Fintan Visual politics: representation of Ireland, 1750-1950. Cork University Press, 1995. Cullen, Fintan and Morrison, Johan (Eds.) A shared legacy: essays on Irish and Scottish art and visual culture. Aldershot, England; Burlington, VT: Ashgate, 2005. Cronin, Michael, Gibbons, Luke and Kirby, Peadar Reinventing Ireland: culture, society, and the global economy. London; Sterling, Va.: Pluto Press, 2002. Crowley, David National style and nation-state : design in Poland from the vernacular revival to the international style. Manchester: Manchester University Press, 1992. Crowley, David „Building the World Anew: Design in Stalinist and Post-Stalinist Poland.‟ Journal of Design History, Vol. 7, No. 3 (1994), pp. 187-203. Gellner, Ernest Nations and Nationalism, Ithaca, NY: Cornell University Press, 1983. Fabian, Johannes Time and the Other, How Anthropology Makes its Object. New York: Columbia University Press,1983. Gibbons, Luke Transformations in Irish culture. Cork: Cork University Press in association with Field Day, 1996. Gilroy, Paul The Black Atlantic and Double Consciousness London/New York: Verso, 1993. Graham, Colin Deconstructing Ireland: identity, theory, culture. Edinburgh: Edinburgh University Press, 2001. Graham, Colin and Kirkland, Richard (Eds.) Ireland and Cultural Theory: The Mechanics of Authenticity. Basingstoke and London: MacMillan Press Ltd., 1999. Stuart Hall and Maharaj, Sarat Modernity and difference. London: Institute of International Visual Arts, 2001. Hall, Stuart and du Gay, Paul (Eds) Questions of cultural identity. London; Thousand Oaks, Calif.: Sage, 1996. Hobsbawm Eric and Terence Ranger (eds) The Invention of Tradition. Cambridge: Cambridge University Press, 1983. Hutchinson, John and Anthony D. Smith Nationalism. Oxford: Oxford University Press, 1994 Kearney, Richard Strangers, Gods, and monsters: interpreting otherness. London; New York: Routledge, 2003. Kearney, Richard Postnationalist Ireland: Politics, Culture, Philosophy. London and New York: Routledge, 1997 Kiberd, Declan Inventing Ireland: the literature of the modern nation. London: Vintage, 1996. Kruger, Barbara and Mariani, Phil (Eds.) Remaking History. Seattle: Bay Press, 1989. McCarthy, Mark (Ed.) Ireland’s Heritages – Critical Perspective on Memory and Identity, ed. Mark McCarthy, 55-69. Hants/ Burlington: Ashgate, 2005. Mitchell, WJT (Ed.) Landscape and Power. Chicago and London: University of Chicago Press, 2002. Morris, Ewan, Our Own Devices: national symbols and political conflict in twentieth-century Ireland. Dublin: Irish Academic Press, 2005. O‟Toole, Fintan The Ex-Isle of Erin. Dublin: New Island Books, 1996 Said, Edward Orientalism. London: Penguin, 2003. Said, Edward Culture and Imperialism. London: Vintage, 1994. Sherman, Daniel J. (Ed.) Museums and Difference.. Bloomington: Indiana University Press Spivak, Gayatri Chakravorty In other world: essays in cultural politics. London: Routledge, 2006. Magazines/Journals Image and Narrative (Online); Irish Arts Review; Irish Studies; Third Text Further Details This will be delivered over 1 semester: 2 hours per week.

49



ECTS Credits

Module Code

Module Title

10

Vision and Spectacle

Module Author(s) BAVACS Committee Module Description Students will be introduced to theories and histories of seeing, including: the psychology of perception, colour theory, ideas of spectacle, the art of looking and vision as a mechanism of power. Module Aim The aim of the module is to engage the student in histories of vision pertaining to contemporary visual and material culture and enable a critical awareness of the both power and limits of visual culture today. Learning Outcomes On completion of this module students will be able to:

1. Understand the physical and psychological mechanism of vision, theories of perception, space and colour

2. Assess the importance of looking in cultural history 3. Engage with contemporary theories of vision

Learning and Teaching Methods Lectures Seminars Reading Writing Presentation Text, Object and Image Analysis Site Visits Module Content Syllabus: The Art of Looking: Visual Culture and Patronage Colour Theory Psychologies of Perception Society and Spectacle Vision and Power Module Assessment This module will be assessed through the production of written submissions: Thematic Text Review/Essay. Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20% Reading List

Azoulay, Ariella The Civil Contract of Photography. New York: Zone Books; Cambridge, Mass.: Distributed by The MIT Press, 2008. Bal, Mieke and Bryson, Norman Looking In: The Art of Viewing Amsterdam: G+B Arts International, 2001.

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Barthes, Roland Camera Lucida. London: Vintage. 2000. Berger, John Ways of Seeing. London: Penguin, 2008. Cherry, Deborah and Cullen, Fintan (Eds.) Spectacle and display. Malden, MA; Oxford: Blackwell/Association of Art Historians, 2008. Deborrd, Guy, The society of the spectacle. New York: Zone Books, 1995 De Grandis, Luigina The Theory and the Use of Colour. Poole: Blandford Press, 1986. Elkins, James On Pictures ad the Words that Fail Them Cambridge: Cambridge University Press, 1998. Elkins, James How to Use your Eyes. New York: Routledge, 2000. Foucault, Michel Discipline and Punish: The Birth of the Prison. Harmondsworth: Penguin Books, 1979. Foster, Hal (Ed.) Vision and visuality. New York: New Press, 1999. Gombrich, Ernst Art and Illusion: A Study in the Psychology of Pictorial Representation, London; New York: Phaidon Press, 2002. Gregory, Richard L. Eye and Brian: The Psychology of Seeing. London: Weidnfield and Nicholson, 1990. Mulvey, Laura Visual and Other Pleasures. Basingstoke: Palgrave Macmillan, 2009. Mulvey, Laura Citizen Kane. London: BFI Publishing, 1992. Rancière, Jacques Aesthetics and its discontents Cambridge: Polity Press, 2009. Rancière, Jacques The future of the image. London: Verso, 2007. Rancière, Jacques The Politics of Aesthetics. London: Continuum, 2004. Shapiro, Gary, Archaeologies of Vision: Foucault and Nietzsche on seeing and saying. Chicago, Ill. ; London : University of Chicago Press, 2003. Schiffman, Harvey Richard Sensation and Perception: An integrated Approach. New York: John Wiley & Sons, 2000 Solomon-Godeau, Abigail Photography at the Dock. Minneapolis: University of Minnesota Press, 1997. Sontag, Susan On Photography. London/New York/Victoria/Ontario/Auckland: Penguin, 1979. Sontag, Susan Regarding the Pain of Others. London: Hamish Hamilton/Penguin Books, 2003. Magazines/Journals Art Journal; Art Monthly; Circa; Eye; Journal of Visual Culture; Museum and Society (Online); Museum Ireland Journal Of European Studies Further Details This module will be delivered over 1 semester: 2.5 hours per week, to include lectures and seminars, as well as student-led presentations and workshops.

51



ECTS Credits

Module Code

Module Title

5

What is Study? (Cooperative Learning 1)

Module Author(s) BAVACS Committee Module Description Based on the knowledge gained from the core modules in Semesters 1 and 2, this module provides a focused structure to the critic of each other‟s work. Students will be required to work together on collaborative/cooperative reading and writing projects. Module Aim The aim of the module is to bring together elements achieved in other modules of the first year programme to engage in the critique each other‟s written production. Learning Outcomes On completion of this module students will be able to:

1. Appraise a critical piece commenting contemporary visual arts 2. Critically evaluate of their work 3. Critically evaluate the written production of other students

Learning and Teaching Methods Seminars Reading Writing Presentation Textual Analysis Module Content Syllabus The role of Critique and interpretation Guided reading activities Group discussions Development of critical awareness Professional presentation skills Self and Peer Assessment Module Assessment This module will be assessed through the production of written submissions and presentations. The students will also be given the opportunity for formative assessment in the module through peer and self assessment along with feedback from the tutor. Reading List Selected texts taken from core module on the 1

st year programme

Further Details This module will be a weekly meeting between students and a tutor, alternating group-based activity with individual tutorials.

52



ECTS Credits

Module Code

Module Title

5

Fine Art 1: Theories of History

Module Author(s) Niamh Ann Kelly, Tim Stott Module Description In this module the student is introduced to key recurrent themes in art and a wide-range of art-historical and contemporary material. The student is informed of socio-political, aesthetic and philosophical concerns in art and the relationship between histories and theories of the art cannon. This module is designed to explore the changing technological environment in which the artist operates, connections between art and society and the importance of interpretation in forming art‟s histories and theories. Module Aim The aim of this module is to introduce the student to the scope of the history of art and develop their knowledge and understanding of the history and theory of art. A significant emphasis of the module is upon critical reflection on and analysis of art in both historic and contemporary contexts. The module will help the student to achieve a standard of visual literacy that, together with skills of inquiry and analysis will enable critical evaluation of art. Learning Outcomes On completion of this module the learner will be able to:

1. Articulate a viewpoint and a theory on a variety of artistic styles and periods 2. Show an awareness of the origin of specific key artworks and art movements and an

understanding of their critical relativity 3. Apply a method of investigation and analysis to the study of any art work 4. Make connections between art and societal change 5. Assess the role and function of the artist in contemporary society 6. Consider art in different environments and with different aims 7. Engage with current thinking and opinions on contemporary as well as historic art practice

Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: First Semester: Thematic introduction to key themes in the history of art. Roles of the Artist in Society Languages of Classicism Collections: Making Art History? Patronage and Exhibitions The Body as Art Ateliers to Interventionism: Studio Practices Work or Leisure in Art: A Matter of Gender? New Technology and Art Teaching Art: Academies, Schools, Collectives Second Semester: Focus on twelve artefacts, to promote close readings and considered, developed arguments. Medium Form Narrative

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Technique Communication Word & Image History & Context Module Assessment This module is assessed through the production of class presentations and written submissions. There will be a Formative Assessment point at the end of the first semester, with a Group Exhibition/Space Review and an individual written report. This will be extended in second semester to a themed essay. Group Exhibition Project, Class presentation and individual written report: 50% Essay: 50% Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20% Reading List Baxendall, Michael Painting and Experience in Fifteenth Century Italy. Oxford: Oxford University Press, 1988. Belting, Hans Likeness and Presence: A History of the Image before the Era of Art. Chicago: University of Chicago Press, 1984 Belting, Hans Art History after Modernism. Chicago: University of Chicago Press, 2003. Berger, John Ways of Seeing. London: Penguin, 2008. Blunt, Anhtony Artistic Theory in Italy 1450 – 1660. Oxford University Press, 1985 Broude, N. & Garrard, M. (eds.) Feminism and Art History – Questioning the Litany. New York; London: Harper and Row, 1982 Clark, T. J. The Sight of Death: an experiment in art writing. New Haven: Yale University Press, 2008. Elkins, James How to use your Eyes. New York: Routledge, 2000 Fernie, Eric (ed.) Art History and Its Methods. Oxford: Phaidon Press, 1995. Gombrich, Ernst The Use of Images: Studies in the Social Function of Art and Visual Communication. London Phaidon, 2000 Harrison Charles et al. Art in Theory: 1648-1815. Malden MA: Blackwell Publishers, 2001 Harrison C. et al. Art in Theory: 1900-2000: an anthology of changing ideas. Malden MA: Blackwell Publishers, 2002. Hughes, Robert The Shock of the New Art and the Century of Change. London: Thames and Hudson, 1991. Kennedy, Brian P.(ed.), Irish Painting. Dublin: Townhouse, 1993. Klonk, Charlotte Spaces of Experience: Art gallery Interiors from 1800-2000. New Haven: Yale University Press, 2009. Levey, Michael From Giotto to Cezanne: A concise history of painting. London: Thames & Hudson, 2003 Messmer, Dorothy Moral Imagination: Art and Climate. Nurnberg: Verlag, 2008. Panofsky, Erwin Studies in Iconology: Humanistic Themes in the Art of the Renaissance. New York; London: Harper and Row, 1972. Riegl, A. Historical Grammar of the Visual Arts. New York: Zone Books, 2004 Journals Artforum, Art Monthly, Frieze, Irish Arts Review, Source, Art in America, Flash Art Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

54



ECTS Credits

Module Code

Module Title

5

Design History Interior/Furniture 1: Mechanisation and its Malcontents

Module Author(s) Mary Ann Bolger Module Description This module provides a general introduction to the history of design since the second industrial revolution, with an emphasis on how design reflects and/or influences wider social issues. The student will address and critique the significance of mechanisation in the development of modern design theory and discuss the formation of canons of design history in general and so-called „design classics‟ in particular. Module Aim The aim of the module is to introduce critical debates in the history of design while situating the subject in relation to wider social history. The module will allow students to develop a familiarity with key themes, objects and practitioners that inform contemporary practice in interior and furniture design. The module will help the student to achieve a standard of visual literacy that, together with skills of inquiry and analysis will enable critical evaluation of design and visual culture. Learning Outcomes On completion of this module the learner will be able to:

1. Make connections between design and societal change, drawing upon key theorists 2. Assess the role of mechanisation in the establishment of modern design practice 3. Demonstrate a basic comprehension of changing values and tastes in the history of

design and articulate their contemporary relevance. 4. Formulate and present critiques of so-called „design classics‟. 5. Apply a method of investigation and analysis to the study of designed objects

Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: First Semester: Introduction to design history: mechanisation and its malcontents R Progress, Neoclassicism and the Industrial Designer Mass production and new technology A.W. Pugin, John Ruskin and the Gothic revival Henry Cole and the Great Exhibition of 1851 William Morris and the Arts and Crafts Movement The Celtic Revival: the Irish Arts and Crafts Movement International Art Nouveau (c.1880-1910) Second Semester: Focus on twelve artefacts, to promote close readings and considered, developed arguments. What makes a design classic? Cult objects Design and art Form and function From producer to consumer

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Style & Fashion Communication Word & Image History & Context Module Assessment This module is assessed through the production of class presentations and written submissions. There will be a Formative Assessment point at the end of the first semester, with a Group Exhibition/Space Review and an individual written report. This will be extended in second semester to a themed essay. Group Exhibition Project, Class presentation and individual written report: 50% Essay: 50% Assessment Criteria Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20% Reading List Collins, Michael Towards Postmodernism. London: British Museum, 1994. Conway, Hazel Design History – a Student’s Handbook. London: Routledge, 1987. Cumming, Elizabeth and Wendy Kaplan, The Arts and Crafts Movement. London: Thames and Hudson, 1991. Fallan, Kjetil Design History: Understanding Theory and Method. Oxford: Berg, 2010. Forty, Adrian Objects of Desire: design and society, 1750-1980. London: Thames and Hudson, 1986. Heskett, John Industrial Design. London: Thames & Hudson, 1984. Larmour, Paul The Arts and Crafts Movement in Ireland Lees-Maffei Grace and Rebecca Houze The Design History Reader. Oxford: Berg, 2010. MacCarthy, Fiona A History of British design, 1830-1970. London : Allen and Unwin, 1979 McDermott, Catherine, Essential Design, London: Bloomsbury, 1994 Pevsner, Nikolaus, Pioneers of Modern Design. From William Morris to Walter Gropius, Revised & Expanded. New Haven & London:Yale University Press, 2005 Sparke, Penny An Introduction to Design and Culture, 1900 to the present. London: Routledge, 2004. Walker, John A Design History and the History of Design. London: Pluto, 1987. Magazines/Journals Blueprint, Creative Review, Things, The Design Journal, Design and Culture, Journal of Design History Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

56



ECTS Credits

Module Code

Module Title

5

Design History Visual Communications 1: the ABCs of History

Module Author(s) Mary Ann Bolger Module Description This module provides a general introduction to the history of design, writing and typography in the West, with an emphasis on how designed objects and letterforms interact with, reflect and influence wider society The student will address and critique the significance of technologies of communication in modern culture and discuss the formation of canons of design history in general and so-called „design classics‟ in particular. Module Aim The aim of the module is to introduce critical debates in the history of graphic design while situating the subject in relation to wider social history. Students will examine the cultural significance and historical development of key technologies of communication writing, typography and printing while engaging in critical reflection on the assumptions that govern our understanding of everyday writing and professional typographic practice. The module will help the student to achieve a standard of visual literacy that, together with skills of inquiry and analysis will enable critical evaluation of design and visual culture. Learning Outcomes On completion of this module the learner will be able to:

1. Make connections between design and societal change, drawing upon key theorists 2. Identify key factors in the development of the Latin alphabet 3. Assess the cultural significance of writing, typography and/or printing 4. Demonstrate a basic comprehension of changing values and tastes in the history of

design and articulate their contemporary relevance. 5. Formulate and present critiques of so-called „design classics‟. 6. Apply a method of investigation and analysis to the study of designed objects

Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: First Semester: Introduction to technologies of communication „Keeping Count of One‟s Cows‟ How writing began. Pictograms and rebuses. „Codes and conspiracy theories‟ Do we write in hieroglyphs? „What did the Romans do for Us?‟ The development of Latin script „The Work of Angels‟ Ireland‟s contribution to the way we write today „The Alphabetic Babel‟ The symbolism of letterforms „What did Gutenberg do?‟ Introduction to printing. Printing comes to Ireland Letterforms as part of wider design history „Odd sorts‟ New technology and 19th century commercial types Second Semester: Focus on twelve artefacts, to promote close readings and considered, developed arguments. What makes a design classic?

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Cult objects Design and art Form and function From producer to consumer Style & fashion Communication Word & Image History & Context Module Assessment This module is assessed through the production of class presentations and written submissions. There will be a Formative Assessment point at the end of the first semester, with a Group Exhibition/Space Review and an individual written report. This will be extended in second semester to a themed essay. Group Exhibition Project, Class presentation and individual written report: 50% Essay: 50% Assessment Criteria: Research 30% Analysis and Development 25% Evaluation and Structure 25% Presentation and Referencing 20% Reading List Collins, Michael Towards Postmodernism. London: British Museum, 1994. Conway, Hazel Design History – a Student’s Handbook. London: Routledge, 1987. Cumming, Elizabeth and Wendy Kaplan, The Arts and Crafts Movement. London: Thames and Hudson, 1991. Drucker, Johanna The alphabetic labyrinth: the letters in history and imagination. London: Thames and Hudson, 1999 Fallan, Kjetil Design History: Understanding Theory and Method. Oxford: Berg, 2010. Forty, Adrian Objects of Desire: design and society, 1750-1980. London: Thames and Hudson, 1986. Hollis, Richard Graphic Design: A Concise History. Oxford: OUP, 1999. Lees-Maffei Grace and Rebecca Houze The Design History Reader. Oxford: Berg, 2010. Lupton, E. and Abbot Miller, J. Design, Writing Research: Writing on graphic design. London: Phaidon, 1996 Livingston, A & I Dictionary of Graphic Design and Designers. London: Thames & Hudson, 1998. MacCarthy, Fiona A history of British design, 1830-1970. London : Allen and Unwin, 1979 McDermott, Catherine, Essential Design, London: Bloomsbury, 1994 McLuhan, Marshall The Gutenberg Galaxy. Toronto: University of Toronto Press Meggs, Philip B A History of Graphic Design. New York: Wiley, 1998. Robinson, Andrew Story of writing: alphabets, hieroglyphs and pictographs. London: Thames &

Hudson, 1995 Pevsner, Nikolaus, Pioneers of Modern Design. From William Morris to Walter Gropius, Revised & Expanded. New Haven & London: Yale University Press, 2005 Sacks, David The Alphabet. London: Hutchinson, 2003 Sparke, Penny An Introduction to Design and Culture, 1900 to the present. London: Routledge, 2004. Spiekermann, Erik Stop Stealing Sheep and Find Out How Type Works. San Jose, Adobe, 2003. Walker, John A Design History and the History of Design. London: Pluto, 1987. Magazines/Journals Blueprint, Creative Review, Things, The Design Journal, Design and Culture, Journal of Design History Eye Magazine, Visible Language Further Details 1.5 hours weekly, over 2 semesters. ECTS awarded at end of second semester.

58

Stage 2

Experience; Current Perspectives


Resistance: Cultures of Protest (5 credits)

Fractured Worlds (5 credits)

Collaborative Module: Real-World Placement (10 Credits)

Body Culture: The Visualized Self Today (5 credits)

Ethics, Polemics (10 Credits)

Archive Studies (Academic Practice 1: Writing Research) (5 Credits)

What is the Topic? (Cooperative Learning 2) (5 credits)



Fine Art 2: The Legacies of Modernism

Visual Communications 2: Modernism and Modernisms

Interior and Furniture Design 2: Modernism and Modernisms

2 of the following 5 credit Theory Seminar Modules, not previously taken (10 Credits)


Art and Society

Everyday Objects


Gender and Design


Play and Games






59



ECTS Credits

Module Code

Module Title

5

Resistance: Cultures of Protest

Module Author(s) BAVACS Committee Module Description This module provides an introduction to political and cultural resistance with an emphasis on the role of the visual in subverting and resisting prevailing norms and in the mediation of contemporary cultures of protest. Module Aim The aim of the module is to examine key aspects of the theory and practice of contemporary cultures of resistance, primarily from the point of view of visual culture. The module will introduce students to theories and critiques of a wide range of forms of resistance including human and civil rights activism, anti capitalist protest, social and youth movements. Learning Outcomes On completion of this module students will be able to:

1. Engage critically with debates concerning subculture and protest in modern Western societies.

2. Discuss the role of the visual in recent and contemporary cultures of protest. 3. Apply theoretical concepts in the analysis of the visual and material culture of protest.

Learning and Teaching Methods Lectures Seminars Reading Writing Object Review Essay Module Content Introduction to cultures of protest: authority and rebellion 1968 and all that: civil rights and the politics of protest Resistance through ritual: anthropology and protest Visible dissent: the role of the visual in contemporary protest Subculture: the meaning of style? Digital resistance Globalisation and global resistance Personal protest: gender, race, class, ethnicity Buy Nothing: Subvertising and anti-capitalist critiques The commodification of resistance Module Assessment This module will be assessed through the production of object review and thematic essay. Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10%

60

Reading List Amore, Louise (ed.) (2005) The Global Resistance Reader, London: Routledge. Bell, David and Barbara M. Kennedy (eds) (2000) The Cybercultures Reader. London & New York: Routledge. Bennett, Andy and Keith Kahn-Harris (eds) (2004) After Subculture : critical studies in contemporary youth culture. New York: Palgrave Macmillan. Gelder, Ken and Sarah Thornton (2005), The Subcultures Reader (2

nd ed), London: Routledge.

Gilroy, Paul. (1987) There Ain’t No Black in the Union Jack, London: Routledge Hall, Stuart and Tony Jefferson (2005), Resistance through Rituals: Youth Subcultures in Post-War Britain (2

nd ed) London: Routledge.

Hebdige, Dick (1979) Subculture: the meaning of style. London: Routledge. Klein, Naomi (2000) No Logo. London: Flamingo. Mason, Matt (2008) The Pirate's Dilemma. London: Allen Lane. McQuiston, Liz (1993) Graphic Agitation. London: Phaidon. McQuiston, Liz (2004) Graphic Agitation 2. London: Phaidon. McKay, G. (1998) DiY Culture: Parties and Protest in Nineties Britain, London: Verso. Muggleton, David (2000) Inside Subculture: the postmodern meaning of style. Oxford: Berg. 2000. Polhemus, Ted (1994) Street Style: from sidewalk to catwalk. London: Thames & Hudson. Shepard, Benjamin and Ronald Hayduk (eds) (2002) From Act Up to the WTO: Urban Protest and Community Building in the Era of Globalization, London: Verso. Further Details This module will be delivered over 1 semester: 2 hours per week.

61



ECTS Credits

Module Code

Module Title

5

Fractured Worlds

Module Author(s) BAVACS Committee Module Description Students will be introduced to three fundamental movements in philosophy which have influenced critical debate in contemporary visual and material culture: Structuralism, Critical Theory and Phenomenology. Module Aim The aim of the module is to engage with and to critique fundamental premises of contemporary cultural debates. Each movement in contemporary philosophy has had a direct impact on the debate within contemporary visual and material culture, nonetheless this modules aims to identify some of the key overarching common themes shared by these movements: the fractured self, anti-positivism and a hermeneutics of suspicion. Learning Outcomes On completion of this module students will be able to

1. Discuss the influence of Modern philosophy on current cultural visual analysis 2. Critically situate and contextualise each major movement in modern philosophy 3. Critically evaluate different means of criticism, in particular structuralism and Marxist

critical theory. Learning and Teaching Methods Lectures Seminars Reading Writing Presentation Textual Analysis Module Content Syllabus Introduction to Philosophy Positivism – Anti Positivism Communism is back in Fashion: Badiou The Hermeneutics of Suspicion Introduction to Structuralism/ Post Structuralism Introduction to Critical Theory: The Frankfort School Introduction to Phenomenology: Paul Ricoeur Critique of Husserl Module Assessment This module will be assessed through the production of written submissions and presentations. The students will also be given the opportunity for formative assessment in the module through peer and self assessment along with feedback from the tutor. Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10%

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Reading List F. de Saussure, Course in General Linguistics, The Philosophical Library, 1959. F. Jameson, The Prison House of Language, Princeton University Press, 1977. M. Lane, Introduction to Structuralism, Basic Books, 1970. Roland Barthes, Mythologies, Cape, 1972 Roland Barthes, „Inaugural lecture at the Collège de France‟, 1977, in Oxford Literary Reivew, Vol, 4. No. 1, 1979. S.Sontag, ed. A Barthes Reader, Hill and Wang, 1983. Theordore, Adorno, Aesthetic Theory, University of Minnesota, 1997. Walter Benjamin, Illuminations, Fontana, 1973. T. Eagleton, Walter Benjamin: or Towards a Revolutionary Criticism. NLB, 1973. Herbert Marcue, One-dimensional Man: Studies in the Ideology of Advanced Industrial Society, Beacon Press, 1964. Paul Ricoeur, Husserl: An Analysis of his Phenomenology, Northwestern University Press, 1967. Paul Ricoeur, The Conflict of Interpretations: Essay in Hermeneutics¸Northwestern University Press, 1974. Edmund Husserl, The Crisis of European Sciences and Transcendental Phenomenology, Northwestern University Press, 1970. Edmund Husserl, Ideas: General Introduction to Pure Phenonmenology, Collier Books, 1962. Alain Badiou, Theory of the Subject, trans. by Bruno Bosteels; New York: Continuum, 2009: Alain Badiou, Philosophy in the Present, (with Slavoj Žižek); New York: Polity Press, 2010 Further Details This module will be delivered over 1 semester: 2 hours per week.

http://en.wikipedia.org/w/index.php?title=Theory_of_the_Subject&action=edit&redlink=1

http://en.wikipedia.org/wiki/Bruno_Bosteels

63



ECTS Credits

Module Code

Module Title

10

Collaborative Learning: Real World Engagement

Module Author(s) BAVACS Committee Module Description Students will engage with a real world cultural environment through an agreed schedule of residency, programming work, research project or observation. The collaborative partners are institutions, companies and organizations of visual and material culture in Dublin. These include: Irish Museum of Modern Art; National Museum of Ireland; Associated Editions; Irish Film Institute; Project Arts Centre; Circa Website for Visual Culture; Dynamo Design; Visual Artists Ireland; Red Dog Design; and individual Art and Design Practitioners. These off-site engagements will be complemented by a series of on-site lectures and talks by invited professionals explaining what they do: why and how careers in their area of specialization operate. (Alternately, students can avail of an academic placement in an academic or Erasmus exchange capacity over one semester, to the value of 15 credits) Module Aim The aim of this module is to give students an in-depth exposure to a range of learning experiences in real world settings. In this way, the student is faced with the challenge of relating material learned at college to real world situations by observing an actual work organisation and becoming cognisant of the practicalities and realities of the cultural sector today. Learning Outcomes On completion of this module students will be able to:

1. Engage with a real world cultural context 2. Understand the scope of the day-to-day operational complexities of real world cultural

industries and institutions 3. Identify and become involved in practical applications of academic issues previously

learned about only in a theoretical way 4. Differentiate between professional areas in visual culture

Learning and Teaching Methods The option essentially consists of experiential learning, with a taught overview element. Module Content Syllabus: Students are placed in a pre-approved real cultural institution, company or organization setting for a period of approximately 1 day per week in semester 3. They will propose a project of research/observation to a DIT BAVACS panel, who will nominate the student for a particular placement, in collaboration with the institutions, industry or individual involved. While there they are visited twice by a DIT Work Experience Mentor who, in consultation with the work supervisor, evaluates the performance of the student across a number of criteria and awards a mark accordingly at each stage of the process. The placements will be in one of the following areas: Publishing Exhibitions Screenings Design Practice Art Practice Events Organization Collections Education Programming

64

A series of Onsite Lectures: Jobs in Visual Culture will be delivered by invited speakers from the sector. Module Assessment The student will produce a Report on the Module and at the end of the placement present an account to class group. Marking: Tutor/Placement Report: 40% This will include feedback from Industry and proof of attendance. Student Report: 40% Presentation: 20% Assessment Criteria: Tutor/Placement Report Student Report and Presentation Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10% Reading List There is no prescribed reading for this module as it is essentially experiential in nature. Further Details Approval for Placement Students are required to co-operate with the resources put in place by the School to facilitate the work placement process including DIT Links Placement Officer. These resources are intended to support the student in obtaining suitable work placement and in fully completing this placement to the satisfaction of the Employer and of the DIT Academic Mentor. All placements must be at a work setting which must be approved by the School in advance of student commencing the work. Such approval is based on the judgement of the School (in consultation with the Links Placement Officer). It should be noted that placement will normally be within organisations in the Republic of Ireland. Since students require to be visited by academic mentors as part of the process, proposals by students for work placement in locations outside of the Republic of Ireland, because of the additional expense involved to the School, will require special approval by the Head of School.

65



ECTS Credits

Module Code

Module Title

5

Body Culture: The Visualized Self Today

Module Author(s) BAVACS Committee Module Description Students will be introduced to philosophical questions about the body and the self. The representation of the self has in recent time become a major theme in contemporary philosophy and visual culture. The students will be given an overview of the historical development of the body as a major issue in contemporary philosophical debates. Module Aim The aim of the module is engage students critically with a number of philosophical issues in relation the body and the self. The „Death of the Subject‟ became a major tenant of much criticism made of PostStructuralist philosophy, this module aims to re-examine the implications of such a stance in relation to the self and the Other, in particular to examine the “ethical Other” Learning Outcomes On completion of this module students will be able to

1. Critically evaluate a post structuralist conception of the subject 2. Assess the implications, ethical and otherwise, of the role of the other in the construction

the self 3. Contextualise current debates in contemporary visual culture in relation to underpinning

philosophical stances Learning and Teaching Methods Lectures Seminars Reading Writing Presentation Textual Analysis Module Content Syllabus Introduction to the Body as a philosophical enquiry The limits of the self in Phenomenology The Phenomenology of the Body: Maurice Merleau Ponty The hermeneutic Turn, Understanding the Self Structuralism : Post Structuralism The post structuralist „End of the Subject‟ Introduction to Levinas, the ethical Other Imagining Myself as Another: Paul Ricoeur Touching the Other Embodied Subjectivity Module Assessment This module will be assessed through the production of written submissions and presentations. The students will also be given the opportunity for formative assessment in the module through peer and self assessment along with feedback from the tutor. Assessment Criteria: Research 30% Analysis and Development 30%

66

Evaluation and Structure 30% Presentation and Referencing 10% Reading List Maurice Merleau Ponty, Phenomenology of Perception trans. by Colin Smith, (New York: Humanities Press, 1962) and (London: Routledge & Kegan Paul, 1962) translation revised by Forrest Williams, 1981; reprinted, 2002) Emmanuel Levinas, Entre Nous: On Thinking-of-the-Other. Trans. Barbara Harshav and Michael B. Smith, New York, NY: Columbia University Press, 2000. Paul Ricoeur, Oneself as Another (Soi-même comme un autre), trans. Kathleen Blamey. Chicago: University of Chicago Press, 1992 (1990). Jacques Derrida, On Touching—Jean-Luc Nancy, trans. Christine Irizarry (Stanford: Stanford University Press, 2005). Richard Kearney, Strangers, Gods and Monsters : Interpreting Otherness (Routledge, 2002) Alain Badiou, Theory of the Subject, trans. by Bruno Bosteels; New York: Continuum, 2009: Further Details This module will be delivered over 1 semester: 2 hours per week.

http://en.wikipedia.org/w/index.php?title=On_Touching%E2%80%94Jean-Luc_Nancy&action=edit&redlink=1

http://en.wikipedia.org/w/index.php?title=Theory_of_the_Subject&action=edit&redlink=1

http://en.wikipedia.org/wiki/Bruno_Bosteels

67



ECTS Credits

Module Code

Module Title

10

Ethics, Polemics

Module Author(s) BAVACS Committee Module Description This module will address current concerns and debates in visual culture. The class group will be divided into two, and each group will focus on one theme. The module will introduce the core concerns of the chosen polemics and culminate in two internal student-led seminars. Module Aim The aim of the module is to reflect on current thinking in visual culture and to enable the students to actively engage their research skills, analytic ability, intellectual capacity and presentation skills on a particular theme. The module will encourage debate on ethical concerns in contemporary visual culture. Learning Outcomes On completion of this module students will be able to:

1. Identify and research key polemic debates in contemporary culture; 2. Develop critique of current thinking on visual culture; 3. Engage with high level research sources; 4. Articulate and present an independent position in relation to a contemporary issue; 5. Produce a position presentation and paper


Lectures, Seminars, Reading, Presentations Module Content

Syllabus: Two/Three themes to be decided annually, to reflect current issues in visual culture. Initial themes: Shopping Creative Cities Contemporary Poetics Authenticity Aesthetic Cynicism Sustainable Futures for Visual Culture Module Assessment This module will be assessed through the development of internal student-led seminars, with written submissions of individual Position Papers. Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10% Reading List

To be developed per theme, for example: Shopping; Authenticity; Creative Cities Shopping: Baudrillard, Jean (1997)The Consumer Society: myths and structures. London: Sage.

68

Frank, Thomas (1998) The Conquest of Cool: Business culture, counterculture and the rise of hip consumerism. Chicago, University of Chicago Press. Klein, Naomi (2000) No Logo. London: Flamingo. Lancaster, Bill (1995) The Department Store: A social history. Leicester University Press. Lee, Martyn J. (2000) The Consumer Society Reader. Oxford: Blackwell, 2000. Pavitt, Jane (ed) (2000) Brand.New. London: V&A. Shields, R. (1992) Lifestyle Shopping: the subject of consumption. London & New York: Routledge. Authenticity: Balme Christopher B.1998 “Staging the Pacific: Framing Authenticity in Performances for Tourists at the Polynesian Cultural Center.” Theatre Journal 50 (4): 53-70 Graham, Colin, and Kirkland, Richard (Eds.) Ireland and Cultural Theory: The Mechanics of Authenticity, ed. Colin Graham and Richard Kirkland, 7-28. Basingstoke and London: MacMillan Press Ltd, 1999. Hall, Martin “The Reappearance of the Authentic”. Museum Frictions: Public Cultures/Global Transformations, ed. Ivan Karp, CorinneA. Kratz, Lynn Szwaja and Tomós Ybarra-Frausto, with Gustavo Buntinx, Barbara Kirshenblatt-Gimblett, Ciraj Rassool, 70-101. Durham/London: Duke University Press, 2006 Jay, Martin “Taking on the Stigma of Inauthenticity: Adorno‟s Critique of Genuineness”. New German Critique 33 (1): 15-30, 2006 Creative Cities: Florida, Richard The flight of the creative class: the new global competition for talent. New York: HarperBusiness ; Enfield : Publishers Group UK [distributor], 2006. Florida, Richard The rise of the creative class: and how it's transforming work, leisure, community and everyday life. New York, NY : Basic Books, 2004. Highmore, Ben (Ed.) The Everyday Life Reader. London: Routeledge, 2002. Further Details This will be delivered over 1 semester: 2.5 hours per week.

69



ECTS Credits

Module Code

Module Title

5

Archive Studies (Academic Practice 1: Writing Research)

Module Author(s) BAVACS Committee Module Description The module will develop the student‟s awareness of archives as a source for research. Students will gain experience on the practical use of an archive, through collaboration with key Archives in Dublin: National Library, ESB Centre for Irish Study National Gallery of Ireland; Irish Film Institute; National Irish Visual Arts Library; Irish Museum of Modern Art and the National Museum of Ireland. There will also be a strong theoretical component to the module addressing the archive and its uses for both the history and future of visual culture. Module Aim The aim of the module is to encourage the considered use of archives in contemporary research relating to visual culture. The module will address the role and implications of archival practice in relation to documentary traditions, memory studies, ideas of witness and functions of visual culture. Learning Outcomes On completion of this module students will be able to:

1. Identity and utilize relevant archival material; 2. Understand the function of archives; 3. Comprehend and engage with debates around archival sources: the relationship between

history and traditions of textual, visual and aural documentary; 4. Position visual culture in the context of archival practices; 5. Assess the significance of archives for contemporary visual culture.

Learning and Teaching Methods Lectures Seminars Offsite Research: Archive Utilization Module Content Syllabus: What is an archive? Materialism and Memory Documentary Practices and Ideas of Witness Records and Recollection Aural Histories; Intangible Heritage Presence/Absence in the Making of History Text, Image and Remembrance Module Assessment This module will be assessed through the production of Historical Paper, 2,000 words. Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10%

70

Reading List Agamben, Giorgio Remnants of Auschwitz. New York: Zone Books, 2008. Bacon, Julie (Ed.) Arkive City. Belfast: Interface, University of Ulster, 2008. Baer, Ulrich Spectral Evidence. Cambridge, Mass./London: MIT press, 2002 Batchen, Geoffrey Forget Me Not - Photography and Remembrance. New York: Princeton Architectural Press, 2004 Derrida , Jacques Archive fever: a Freudian impression. Chicago: University of Chicago Press, 1996. Enwezor, Okwui (Ed.) Archive fever: uses of the document in contemporary art. Göttingen: Steidl; London: Thames & Hudson [distributor], 2008. Foucault, Michel Archeology of Knowledge. London; New York: Routledge, 2002. Gray, Peter and Oliver, Kendrick(Eds) The Memory of Catastrophe. Manchester/ New York: Manchester University Press, 2004. Hirsch, Marianne Family frames : photography, narrative, and postmemor.y Cambridge, Mass.; London: Harvard University Press, 1997 McCarthy, Mark (Ed.) Ireland’s Heritages: Critical Perspective on Memory and Identity. Hants/Burlington: Ashgate, 2005. Merewether, Charles The Archive, London: Whitechapel; Cambridge, Mass.: MIT Press, 2006 Meyerowitz Joel Aftermath: world trade center archive. New York: Phaidon Press, 2006. Minh-Ha, Trinh “The Totalizing Quest of Meaning”. The Postmodern Arts, ed. Nigel Wheale, 258-278. London and New York: Routledge, 1995 Nora, Pierre Realms of Memory: Rethinking the French Past 1:. Conflicts and Divisions, New York: Columbia University Press, 1996 Plate, Liedeke, & Smelik, Anneke (Eds.) Technologies of memory in the arts. Palgrave Macmillan 2009. Reinhardt, Mark “Who Speaks for Margaret Garner? Slavery, Silence, and the Politics of Ventriloquism”. Critical Inquiry 29 (1): 81-119, 2002 Ricouer, Paul Memory, History, Forgetting, Chicago, Ill.: University of Chicago Press, 2006 Spieker, Sven The Big Archive: art from bureaucracy Cambridge, Mass.: MIT Press, 2008. Stanczak, Gregory, C (Ed.) Visual research methods: image, society, and representation. Los Angeles: Sage Publications, 2007. Taylor, Diana The archive and the repertoire: performing cultural memory in the Americas. Durham: Duke University Press, 2003. Journals Afterall, Cabinet, Critical Inquiry, Journal of Visual Culture, Materialworld.com (A Journal of Word and Image Studies), Memory Studies Further Details The module will be delivered over 1 semester: 4 hours per week (on campus: 1 hour and Offsite: 3 hours)

71



ECTS Credits

Module Code

Module Title

5

What is the Topic? (Cooperative Learning 2)

Module Author(s) BAVACS Committee Module Description Based on the knowledge gained from the core modules in Semesters 1 and 2, this module provides a focused structure to the critic of each other‟s work. Students will be required to work together on collaborative/cooperative reading and writing projects. Module Aim The aim of the module is to bring together elements achieved in other modules of the first year programme to engage in the critique each other‟s written production. Learning Outcomes On completion of this module students will be able to

1. Appraise a critical piece commenting contemporary visual arts 2. Critically evaluate of their own work 3. Critically evaluate the written production of other students

Learning and Teaching Methods Seminars Reading Writing Presentation Textual Analysis Module Content Syllabus The role of Critique and interpretation Guided reading activities Group discussions Development of critical awareness Professional presentation skills Self and Peer Assessment Module Assessment This module will be assessed through the production of written submissions and presentations. The students will also be given the opportunity for formative assessment in the module through peer and self assessment along with feedback from the tutor. Reading List Selected texts taken from core module on the 2

nd year programme

Further Details This module will be a weekly meeting between students and a tutor, alternating group-based activity with individual tutorials.

72



ECTS Credits

Module Code

Module Title

5

Fine Art 2: The Legacies of Modernism

Module Author(s) Niamh Ann Kelly Module Description This module is an in-depth examination of the legacy of modernism. It will introduce the student to concepts of modernism in art and modernity in society. The module will focus on art practices that have shaped perceptions of what is considered modern today through analyses of the systems supporting the modern project: studio practice, patronage, urbanization, relativistic cultural values and public dissemination of art. Module Aim The aim of this module is to provide students with an in-depth understanding of modernism in art, its relationship to cultural values and its legacy for contemporary art. It will also enable students to formulate a critical evaluation of the art produced during and since the modernist period. Learning Outcomes On completion of this module students will be able to:

1. Demonstrate an informed understanding of modernism and modernity; 2. Engage in research in order to arrive at an independent stance on important and 3. specific developments in modernism; 4. Relate the changes in the language of art to events and syntactical shifts in other art

forms and relevant societal changes; 5. Engage with theoretical concepts raised by the histories and theories of modernism and

use these concepts to examine fine art practice Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: Modernism and Modernity The City as the Site of the Modern Realism and Idealism: From City to Country The Language of Primitivism and Ideas of Euro-centrism Authorship in Art: the development of Surrealism and Cubism Searches for Universal Language: De Stijl and Internationalism Ideology through Art: Constructivism and the Bauhaus Art and War: Futurism and Contemporary Subjects Irish Art and Modernity Space and Art 1: Dispute within Modernism. Abstract Expressionism and Minimalist Sculpture Space and Art 2: Art Outside Institutions Art as Cultural Rebellion: Then and Now Module Assessment This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a Text Review. This will be extended in second semester to a themed essay. Literature Review: 50% Essay: 50%

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Assessment Criteria Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10% Reading List Arnold, Bruce Mainie Jellett and the Modern Movement in Ireland. New Haven; London: Yale University Press, 1991. Batchelor, David (ed.) Realism, Rationalism, Surrealism: Art between the Wars. New Haven; London Yale University Press, 1993. Bocock, Robert & Thompson, Kenneth Social & Cultural Forms of Modernity. Oxford: Polity Press/ Open University, 1992. Bowness, Alan Modern European Art. London: Thames and Hudson, 1985. Chipp, Herschel Browning Theories of Modern Art: a sourcebook by artists and critics. Berkeley: University of California, 1996. Foster, Hal (ed.) Art since 1900: modernism, antimodernism, postmodernism. London: Thames and Hudson, 2004 Frascina, Francis. et al. Modernity & Modernism - French Painting in the Nineteenth Century: Practices and Debates. New Haven; London: Yale University Press, 1993. Frascina, Franci & Harris, Jonathan (eds.) Art in Modern Culture: An Anthology of Critical Texts. London: Phaidon/Open University, 19992. Hamilton, George Heard Painting and Sculpture in Europe 1880 – 1940. London: Penguin Books, 1987. Harrison, Charles Since 1950: Art and its Criticism New Haven: Yale University Press, 2009. Kennedy, S. Brian Irish Art and Modernism, 1880-1950. Institute of Irish Studies, 1991. Kwon, Miwon One Place after Another. Cambridge, Mass.; London: MIT, 2002. Nochlin, Linda The Politics of Vision: Essays on Nineteenth Century Art and Society. London: Thames and Hudson, 1991. Parker, Rozsika & Griselda Pollock (eds.) Old mistresses: women, art and ideology. Pandora, 1986. Sontag, Susan On Photography. London: Penguin, 2002. Walker, Dorothy Modern Art in Ireland. Dublin: Lilliput, 1997. Wood, Paul et al. Modernism in Dispute: Art since the Forties. New Haven; London: Yale/Open University, 1994. Magazines/ Journals Artforum, Art in America, Art Monthly, Art in America, Flash Art, Frieze, Irish Arts Review, Source, Third Text Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

http://library.dit.ie/search?/afoster/afoster/1%2C109%2C247%2CB/frameset&FF=afoster+hal&2%2C%2C12/indexsort=-

74



ECTS Credits

Module Code

Module Title

5

Design History Interior/Furniture 2: Modernism and Modernisms

Module Author(s) Mary Ann Bolger Module Description This module provides an in-depth examination of Modernism in design and its legacy. It examines the relationship between Modernism and modernity and critiques the role of the Modern movement in the construction of the idea of design as a profession. It attempts to identify key tennents of pioneer and international stages of Modernism and examines how these fragmented in the post-war period into a series of local or national modernisms. It addresses the emergence of alternative Modernisms, such as the Moderne, and examine the political, commercial and ethical dimesions of Modernism. Finally it examines the legacy of Modernism and Modernist design theory on contemporary design practice. Module Aim The aim of this module is to provide students with an in-depth understanding of modernism in design, its relationship to cultural values and its legacy for contemporary design. It will also enable students to formulate a critical evaluation of design produced during and since the Modernist period while critiquing the supposed homogeneity of Modernism in design. Learning Outcomes On completion of this module students will be able to:

1. Demonstrate an informed understanding of modernism and modernity; 2. Engage in research in order to arrive at an independent stance on important and specific

developments in modernist design practice and theory; 3. Evaluate the impact of modernist design theory on contemporary formations of what

design is and what it is for; 4. Engage with theoretical concepts raised by the histories and theories of modernism and

use these concepts to examine designed objects Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: Modernism, modernity and the moderne 1900: the modern millennium Art and Industry Pioneer Principals: Form Follows Function? Ornament is crime? Pioneer Politics: Manifestos and Revolutionaries The Bauhaus: Modernist design education Building Utopia: Modernist Architecture The Machine Aesthetic Kino Eye: Modernist film Modernism at War The Post-War World: Recovery and Reconstruction National Modernisms Cold War Modern Conservative Modernity

75

Mass Market Modernism Deco and Streamlining Organic Modernism and functioning decoration “Good Design” and the professionalisation of design Module Assessment This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a Text Review. This will be extended in second semester to a themed essay. Literature Review: 50% Essay: 50% Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10% Reading List Essential: Crowley, David and Jane Pavitt (eds) Cold War Modern: Design 1945-1970. London: V&A. Curtis, William J.R. (1996) Modern Architecture since 1900, London: Phaidon. Greenhalgh, Paul (1993) Quotations and sources on design and the decorative arts. Manchester, Manchester University Press. Le Corbusier (1998) Essential Le Corbusier: L'esprit nouveau articles. Oxford & Boston: Architectural Press. Naylor, Gillian (1985) The Bauhaus Reassessed: sources and design theory. London, Herbert. Pevsner, Nikolaus, Pioneers of Modern Design. From William Morris to Walter Gropius, Revised & Expanded. New Haven & London:Yale University Press, 2005 Wilk, Christopher (ed) (2006) Modernism: Designing a new world. London, V&A. Woodham, Jonathan M. (1997) Twentieth Century Design. Oxford: OUP. Supplemental: Attfield, Judy (2001) Utility Reassessed: the role of ethics in the practice of design. Manchester, Manchester University Press. Banham, Reyner (1960) Theory & Design in the First Machine Age. London, Butterworth. Batchelor, Ray (1994) Henry Ford, mass production, modernism, and design. Manchester & New York: Manchester University Press. Benton, Charlotte, Benton, Tim & Wood, Ghislaine (2003) Art Deco 1910-1939. London, V&A. Berman, Marshall (1988) All That is Solid Melts into Air: the experience of modernity. Harmondsworth, Penguin. Caws, Mary Ann (2001) Manifesto: a century of isms. Lincoln, Neb. University of Nebraska Press. Colomina, Beatriz (ed) (2003) Cold War Hot Houses: inventing postwar culture, from plastics to Playboy. New York: Princeton Architectural Press. Colomina, Beatriz (1994) Privacy and publicity : modern architecture as mass media. Cambridge, Mass. & London: MIT Press,. Duncan, Alastair (1998) Modernist Design 1880-1940. Minneapolis, Northwest Corp. Droste, Magdalena (2002) Bauhaus 1919-1933. Berlin, Taschen. Heskett, John (1980) Industrial Design. London, Thames & Hudson. Lees-Maffei Grace and Rebecca Houze The Design History Reader. Oxford: Berg, 2010. Lupton Ellen and Abbot Miller, J. (1995) ABCs of the Bauhaus and Design Theory. New York, Princeton Architectural Press. Marchand, Roland (1985) Advertising the American Dream: Making Way For Modernity 1920-1940. Berkeley, University of California Press. Margolin, Victor (ed) Design Discourse: History, theory, criticism. Chicago & London, University of Chicago Press. Naylor, Gillian (1985) The Bauhaus Reassessed: sources and design theory. London, Herbert. Pevsner, Nikolaus (1985) The Sources of Modern Architecture and Design. London and New York, Thames & Hudson. Pevsner, Nikolaus, Pioneers of Modern Design. From William Morris to Walter Gropius, Revised & Expanded. New Haven & London:Yale University Press, 2005

76

Schwartz, Frederic J. (1996) The Werkbund: design theory and mass culture before the First World War. New Haven: Yale University Press. Sharp, Dennis (1993) Bauhaus, Dessau. London, Phaidon. Sparke, Penny (2005) As Long As It’s Pink. London: Routledge. Sparke, Penny (1998) A Century of Design: design pioneers of the 20th century. London, Mitchell Beazley, 1998. Sparke, Penny An Introduction to Design and Culture, 1900 to the present. London: Routledge, 2004. Weston, Richard (1996) Modernism. London, Phaidon. Whitford, Frank (1994) Bauhaus: the face of the 20th century. London, Phaidon. Magazines/ Journals Design Culture, Blueprint, Journal of Design History Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

77



ECTS Credits

Module Code

Module Title

5

Design History Visual Communication 2: Modernism and Modernisms

Module Author(s) Mary Ann Bolger Module Description This module provides an in-depth examination of Modernism in design and its legacy. It examines the relationship between Modernism and modernity and critiques the role of the Modern movement in the construction of the idea of a graphic design profession. It attempts to identify key tennents of pioneer and international stages of Modernism and examines how these fragmented in the post-war period into a series of local or national modernisms. It addresses the emergence of alternative Modernisms, such as the Moderne, and examine the political, commercial and ethical dimesions of Modernism. Finally it examines the legacy of Modernism and Modernist design theory on contemporary graphic design practice. Module Aim The aim of this module is to provide students with an in-depth understanding of modernism in design, its relationship to cultural values and its legacy for contemporary graphic design. It will also enable students to formulate a critical evaluation of design produced during and since the Modernist period while critiquing the dominance of Modernism and Modernist rhetoric in the contemporary discourse of graphic design. Learning Outcomes

On completion of this module students will be able to: 1. Demonstrate an informed understanding of modernism and modernity; 2. Engage in research in order to arrive at an independent stance on important and specific

developments in modernist design practice and theory; 3. Evaluate the impact of modernist design theory on contemporary formations of what

graphic design is and what it is for; 4. Engage with theoretical concepts raised by the histories and theories of modernism and

use these concepts to examine designed objects Learning and Teaching Methods Lectures Seminars Student presentations Site visits Self-directed Learning Module Content Syllabus: Modernism, modernity and the moderne 1900: the modern millennium Art and Industry: the birth of graphic design? Pioneer Principals: Form Follows Function? Ornament is crime? Pioneer Politics: Manifestos and Revolutionaries The Bauhaus: Modernist design education The Machine Aesthetic The New Typography Kino Eye: Modernist film and photography Modernism at War: propaganda and persuasion The Rhetoric of Neutrality: the international typographic style The Post-War World: Recovery and Reconstruction National Modernisms

78

Cold War Modern Conservative Modernity Mass Market Modernism Deco and Streamlining Corporate Identity and the New York School “Good Design” and the professionalisation of design Oranje and green? The development of graphic design in Ireland Module Assessment This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a Text Review. This will be extended in second semester to a themed essay. Literature Review: 50% Essay: 50% Assessment Criteria: Research 30% Analysis and Development 30% Evaluation and Structure 30% Presentation and Referencing 10% Reading List Essential: Bierut, Michael, Steven Heller, Jessica Helfand & Rick Poynor (eds) (1999) Looking Closer 3: Classic Writings on Graphic Design. New York: Allworth. Crowley, David and Paul Jobling (1996) Graphic Design: a critical introduction : reproduction and representation since 1800. Manchester: Manchester University Press. Crowley, David and Jane Pavitt (eds) Cold War Modern: Design 1945-1970. London: V&A. Greenhalgh, Paul (ed) (1990) Modernism in Design. London: Reaktion. Hollis, Richard (2001) Graphic Design, a Concise History. London, Thames & Hudson. Kinross, Robin (1989) „The Rhetoric of Neutrality‟ in Victor Margolin (ed) Design Discourse: History, theory, criticism. Chicago & London, University of Chicago Press. Le Corbusier (1998) Essential Le Corbusier: L'esprit nouveau articles. Oxford & Boston: Architectural Press. Wilk, Christopher (ed) (2006) Modernism: Designing a new world. London, V&A. Woodham, Jonathan M. (1997) Twentieth Century Design. Oxford: OUP. Supplemental: Ades, Dawn (1986) Photomontage. London, Thames and Hudson. Attfield, Judy (2001) Utility Reassessed: the role of ethics in the practice of design. Manchester, Manchester University Press. Aynsley, Jeremy (2001) 20th Century Graphic Design. London, Mitchel Beazley. Bierut, M., Drenttel, W., Heller, S., & Holland, D.K., (1997) Looking Closer 2: critical writings on graphic design. New York, Allworth. Benton, Charlotte, Benton, Tim & Wood, Ghislaine (2003) Art Deco 1910-1939. London, V&A. Berman, Marshall (1988) All That is Solid Melts into Air: the experience of modernity. Harmondsworth, Penguin. Caws, Mary Ann (2001) Manifesto: a century of isms. Lincoln, Neb. University of Nebraska Press. Colomina, Beatriz (ed) (2003) Cold War Hot Houses: inventing postwar culture, from plastics to Playboy. New York: Princeton Architectural Press. Curtis, William J.R. (1996) Modern Architecture since 1900, London: Phaidon. Dickerman, Leah(1996) Building the collective: Soviet graphic design, 1917-1937: selections from the Merrill C. Berman collection. New York, Princeton Architectural Press. Drucker Joanna (1997) The Visible Word: Experimental Tpography and Modern Art. Chicago, University of Chicago Press. Duncan, Alastair (1998) Modernist Design 1880-1940. Minneapolis, Northwest Corp. Droste, Magdalena (2002) Bauhaus 1919-1933. Berlin, Taschen. Greenhalgh, Paul (1993) Quotations and sources on design and the decorative arts. Manchester, Manchester University Press. Heller, Steven (2000) Paul Rand. London, Phaidon. Heller, Steven and Ballance, Georgette (2001) Graphic Design History. New York, Allworth.

79

Heller, Steven (2000) The Swastika: Symbol Beyond Redemption. New York, Allworth. Lavin, Maud (2001) „Clean New World: Culture, Politics, and Graphic Design. Cambridge, Mass., MIT. Lees-Maffei Grace and Rebecca Houze The Design History Reader. Oxford: Berg, 2010. Lupton, Ellen & J. Abbott Miller (1996) Design, writing, research : writing on graphic design. New York: Kiosk. Lupton Ellen and Abbot Miller, J. (1995) ABCs of the Bauhaus and Design Theory. New York, Princeton Architectural Press. Marchand, Roland (1985) Advertising the American Dream: Making Way For Modernity 1920-1940. Berkeley, University of California Press. Margolin, Victor (ed) Design Discourse: History, theory, criticism. Chicago & London, University of Chicago Press. McLean, Ruari (1997) Jan Tschichold: a life in typography. London, Lund Humphries Publishers. Müller, Lars (1995) Josef Müller-Brockmann: designer: a pioneer of Swiss graphic design. Baden, Verlag Lars Müller. Naylor, Gillian (1985) The Bauhaus Reassessed: sources and design theory. London, Herbert. Pevsner, Nikolaus, Pioneers of Modern Design. From William Morris to Walter Gropius, Revised & Expanded. New Haven & London:Yale University Press, 2005 Purvis, A. W. (2004) H.N. Werkman. London, Laurence King. Remmington, R. Roger (2003) American Modernism. London, Laurence King. Schwartz, Frederic J. (1996) The Werkbund: design theory and mass culture before the First World War. New Haven: Yale University Press. Sparke, Penny (2005) As Long As It’s Pink. London: Routledge. Sparke, Penny (1998) A Century of Design: design pioneers of the 20th century. London, Mitchell Beazley, 1998. Sparke, Penny An Introduction to Design and Culture, 1900 to the present. London: Routledge, 2004. Spencer Herbert (1969) Pioneers of Modern Typography. London, Lund Humphries. Tschichold, Jan, McLean, Ruari (trans) (1995) The New Typography: A Handbook for Modern Designers. Berkeley, University of California Press. Weston, Richard (1996) Modernism. London, Phaidon. Whitford, Frank (1994) Bauhaus: the face of the 20th century. London, Phaidon. Magazines/ Journals Design Culture, Eye, Journal of Design History Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

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Stage 3

Public Presentation; Research Realization


Talking Points: Public Seminars

(Academic Practice 2: Research Presentation) (10 credits)

Thesis Preparation (5 credits)

Written Thesis/ Thesis Project (30 credits)



Fine Art 3: Postmodern and Contemporary Practices

Visual Communications 3: Graphic Design Now

Interior and Furniture Design 3: Design Now

2 of the following 5 credit Theory Seminar Modules, not previously taken (10 credits)


Art and Society

Everyday Objects


Gender and Design


Play and Games






81



ECTS Credits

Module Code

Module Title

10

Talking Points: Public Seminars (Academic Practice 2: Research Presentation)


This module will provide the students with the opportunity to engage fully in a semi-public seminar. In this module the student will be involved in organizing a seminar in a public institution aimed at students of visual culture. The students will develop the theme, produce papers and organize the semi-public presentation of their research. Module Aim The aim of the module is to enable the students to partake in public presentation of their work, gain experience in the scope of organization of public events. They will draw on their experience from the Collaborative Module (Stage 2) to present their research in public and engage in the debates it raises. Learning Outcomes On completion of this module students will be able to:

1. Present research in public to a professional conference standard; 2. Engage in discussion and debate on their research; 3. Understand the fundamentals of organising public talks; 4. Document a public event; 5. Work successfully in a team; 6. Take initiative in individual research development.

Learning and Teaching Methods Seminars, Real world learning: seminar organization, promotion, realization and documentation Module Content Syllabus: Students will work with regroup as a class once a week to partake in a seminar, to review progress of each seminar group and negotiate as a team. Module Assessment This module will be assessed through seminar organization and realization and the submission of a research paper. Peer assessment: 40% (20: individual peer assessment; 20: group assessment) Individual Seminar Research Paper: 60% Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 40% Presentation and Referencing 10% Reading List There is no prescribed reading for this: Reading lists will be developed as relevant to seminar themes.

82

Further Details This will be delivered over 1 semester: 4 hours per week (1 hour seminar and 3 hours organization, realization and documentation).

83



ECTS Credits

Module Code

Module Title

5

Thesis Preparation


In this module students are introduced to the methodologies required to develop and articulate a sustained body of independent research. This module provides participants with the opportunity to conduct research on a chosen topic that is important to them and is relevant to contemporary Visual Culture. Students learn how to develop a research proposal, outlining a plan and schedule which provides them with an appropriate framework to produce a dissertation (approximately 10,000 – 12,000 words) that meets the academic rigor suitable for a BA Honours Degree. Module Aim The aim of the module is to enable the student to identify a suitable subject for their final thesis and to develop a research plan and appropriate methodologies for their topic. Learning Outcomes

On completion of this module students will be able to produce:

1. Choose a suitable research topic and research question and develop a research proposal; 2. Develop an outline plan for their research and manage the complexities associated with

an independent research project; 3. Conduct a critically focused literature review; 4. Produce an extended proposal; 5. Draw preliminary conclusions in a research paper.

Learning and Teaching Methods Lectures Seminars Tutorials Group Presentations Individual Presentations Module Content Syllabus: Choosing a Research Topic Developing a Thesis Proposal Research Methods and Skills, using resources, planning and organisation Research Techniques, methods and analysis Conducting a search of relevant literature and producing a Literature Review Literature Review Develop Visual and Object Analysis, in the context of a Thesis Topic Development Module Assessment This module is assessed through the production of literature review and extended proposal in the form of a research paper. Literature review: 40% Research Paper/Extended Proposal: 60% Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 30% Presentation and Referencing 10% Library and Presentation Skills 10%

84

Reading List Anderson, Jonathan and Poole, Millicent Assignment and thesis writing. Australia: Wiley, 2001. Bryman, Alan Social research methods. Oxford; New York: Oxford Universtiy Press, 2004. Denscombe, Martyn The good research guide. Maidenhead: Open University Press, 2003. Paltridge, B. „Thesis and Dissertation Writing: an examination of published advice and actual practice‟, English for Specific Purposes, 21, 2002. Schostak, John & Jill Radical Research: Designing, Developing and Writing Research to Make a Difference. London: Routledge, 2008. Somekh, Bridget and Lewin, Cathy (Eds.) Research methods in the social sciences.London Sage Publications, 2005. Wisker, Gina The undergraduate research handbook. Basingstoke [u.a.]: Palgrave Macmillan, 2009 Students will also select and be directed towards sources specific to set projects and their thesis topic. Further Details This module will be delivered in 1 semester: 1.5 hours per week.

85



ECTS Credits

Module Code

Module Title

30

Written Thesis

Module Author(s) BAVACS Committee Module Description In this module the student will produce a 10 000 –12,000 word thesis on an approved topic. During the early stages of the process, emphasis is placed on offering guidance and advice in formulating a research topic. The module provides a broad understanding of research skills, techniques and methodologies that may be utilised in a research project. Participants are also acquainted with available material and resources as well as the criteria that should be adhered to when producing research. Drawing on the academic expertise available in the School of Art, Design & Printing, participants will also be assigned a supervisor who can offer guidance and direction during the research process with feedback given on their first and second drafts. The submission of the thesis is scheduled for May/June. Module Aim The aim of this module is to enable the student to develop and present an independent and critical position on their chosen topic on the basis of substantial research. Learning Outcomes On completion of this module students will be able to

1. Evaluate and choose various research methods appropriate to a specific research project; 2. Conduct extensive and sustained research demonstrating ability to integrate knowledge

collected from a range of primary and secondary sources; 3. Draw conclusions from the evidence compiled and formulate judgements that enables

appropriate recommendations; 4. Show original and critical thinking; 5. Structure an extended thesis investigating or testing a hypothesis from a research

proposal that is informed by the forefront of learning in their field of research; 6. Produce a fully annotated, illustrated and well structured academic text with full

bibliography; 7. Reflect upon and critically evaluate the research process and learning outcomes.

Learning and Teaching Methods This module uses a mixture of tutorials and seminars that focus on supporting thesis development and include regular direct one-to-one sessions with thesis supervisors. Weekly half-day student-led seminars are core to the process. Module Content Syllabus: Focused Research Seminar Presentations Research Write up Thesis Production Module Assessment This module is assessed through the production of a thesis. Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 30% Presentation and Referencing 10%

86

Studentship 10% Reading List Students will select and be directed towards sources specific to set projects and their thesis topic. Further Details This module will be largely student-directed with tutorials every second week and a student-led seminar every two weeks, presenting research development/related work.

87



ECTS Credits

Module Code

Module Title

5

Fine Art 3: Postmodern and Contemporary Practices

Module Author(s) Niamh Ann Kelly, Tim Stott Module Description

In this module students will examine issues in the history and theory of art since modernism: postmodernist and contemporary art. The module will focus on key themes and issues in art practice from in the 1960s to today. This will include ideas of inter-disciplinary and multi-media art practice, as well as an examination of the structures and processes that mediate art today: criticism, collection and curation. Module Aim The aim of this module is to provide students with an in-depth understanding of postmodernist and contemporary art. It will also enable students to develop the language to critique and evaluate contemporary art and engage fully with international art practice. Learning Outcomes On completion of this module students will be able to: Demonstrate an informed understanding of postmodern and contemporary art; Produce and present a critical independent analysis and evaluation of postmodern and contemporary art; Have a complex engagement with theoretical concepts and use these concepts to analyse relevant issues in contemporary art; Take initiative in conducting both historical and theoretical research. Learning and Teaching Methods Lectures, Seminars, Site Visits, Visual and Textual Analysis Module Content Syllabus: Yes/No: Art As Civic Protest Myths of Originality and Cultures of Borrowing Art and the Everyday 1: Arte Povera and Contemporary media Art and the Everyday 2: The Legacy of Pop Experience and Performance in Art Redefining the Origin: Technology and Multiples in Art New Audiences, Participatory Arts Reading Art Art, Time, Space Critical Practices and the History of Art Contemporary Art and Traditions of Documentary The Place of Political Art Traces: Collections, Material Cultures and the Making of Now Curation, Intervention and Immaterial Art Module Assessment

This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a thematic Comparative Literature Review. This will be extended in second semester to a themed essay. Literature Review: 50%

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Essay: 50% Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 40% Presentation and Referencing 10% Reading List Azoulay, Ariella The Civil Contract of Photography. New York: Zone Books; Cambridge, Mass.: Distributed by MIT press, 2008. Bal, Mieke Looking in: the art of viewing. Amsterdam: G & B Arts International, 2001. Blazwick, Iwona (Ed.) Century city: art and culture in the modern metropolis. London: Tate Publishing, 2001. Bois, Yve Alain & Krauss, Rosalind (eds.) Formless: A User’s Guide. New York: zone Books, 1997. Bourriaud, Nicholas The Radicant, Berlin; New York: Sternberg Press, 2009. Cashell, Kieran Aftershock: the ethics of contemporary transgressive art. London: I. B. Tauris, 2009. Cooke, Lynne & Kelly, Karen Robert Lehman Lectures on Contemporary Art. New York: Dia Centre for the Arts, 1996. Cooke, Lynne & Kelly, Karen, with Funcke, Bettina Robert Lehman Lectures on Contemporary Art. New York: Dia Centre for the Arts, 2004. Da Costa, Beatriz & Philip, Kavita (eds.) Tactical biopolitics: art, activism, and technoscienc., Cambridge Mass.: MIT Press, 2008. Douglas, Stan & Eamon, Christopher (Eds) Art of Project. Ostfildern: Hatje/Cantz, 2009. Ellis, L. (1997), „Do You Want To Be In My Gang? An account of ethics and aesthetics in contemporary art practice‟, <http://www.ukonline.co.uk/n,paradoxa/ellis.htm> Fisher, Jean Vampire in the Text: narratives in contemporary art. London: INIVA, 2003. Fisher, Jean Over here: international perspectives on art and culture New York, N.Y.: New Museum of Contemporary Art; Cambridge, Mass.: MIT Press, 2004. Foster, Hal (ed.) The Anti-Aesthetic: essays on postmodern culture. New York: New Press, 1983. Foster, Hal (ed) Postmodern Culture. London: Pluto, 1985. Grosnich, Uta Art Now: 137 Artists at the Rise of the New Millennium. Köln: Taschen, 2002. Harris, Jonathon (Ed) Dead History, Live Art? – Spectacle, Subjectivity and Subversion in Visual Culture since the 1960s. Liverpool: Liverpool University Press, 2007. Hebdige, Dick Subculture, The Meaning of Style. London: Methuen, 1979 Heiser, Jorg All of a Sudden: things that matter in contemporary art. Berlin: Sternberg Press, 2008. Hooks, Bell Art on My Mind. Hew York: New Press, 1995. Kelly, Liam Thinking Long. Kinsale: Gandon, 1996. Krauss, Rosalind E. The Originality of the Avant-garde and other Modernist Myths. Cambridge, Mass., MIT Press, 1985. Mulholland, Neil The Cultural Devolution: Art in Britain in the Late Twentieth Century. Aldershot: Ashgate, 2003. Nixon, M. (ed.) October Files 3 – Eva Hesse. Cambridge, Mass.: The MIT Press, 2002. Parker, Rozsika & Griselda Pollock (eds) Framing feminism: art and the women's movement 1970-85. London: Pandora, 1987. Pollock, Griselda (ed.) Generations and Geographies in the Visual Arts – Feminist Readings. London; New York: Routledge, 1996. Roberts, John Philosophizing the Everyday: Revolutionary Practice and the Fate of Cultural Theory. London: Pluto Press, 2006. Sandler, Irving Art of the Postmodern Era: from the late 1960s to the early 1990s. New York: Icon Editions, 1996. Sontag, Susan Where the Stress Falls. London: Picador, 2002. Sukla, Ananta Ch. (ed.) Art and Representation: contributions to contemporary aesthetics. Westport, Conn.: Praeger, 2001. Zurbrugg, Nicholas Critical Vices: the myths of postmodern theory. Amsterdam: G+B Arts, 2000. Magazines/ Journals Art in America , Artforum, Art Monthly, Frieze, Irish Arts Review, Journal of Visual Culture, Source, Flash Art, Third Text

http://library.dit.ie/search?/afisher%2C+j/afisher+j/1%2C17%2C31%2CB/frameset&FF=afisher+jean&3%2C%2C3

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Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

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ECTS Credits

Module Code

Module Title

5

Interior/Furniture Design 3: Design Now

Module Author(s) Mary Ann Bolger Module Description In this module students will examine issues in the history and theory of design since modernism: postmodernist and contemporary design. The module will focus on key themes and issues in design and visual culture from the 1960s to the present. The module will address the Postmodernist rejection of the grand narratives of Modernist design and the impact on design of new consumption practices, environmentalism, the rise of inclusive design and the adoption of “design thinking” by other sectors. Module Aim The aim of this module is to provide students with an in-depth understanding of postmodernist and contemporary design. It will also enable students to develop the language to critique and evaluate contemporary design and engage fully with international design practice. Learning Outcomes On completion of this module students will be able to:

1. Demonstrate an informed understanding of postmodern and contemporary design; 2. Produce and present a critical independent analysis and evaluation of postmodern and

contemporary design; 3. Have a complex engagement with theoretical concepts and use these concepts to analyse

relevant issues in contemporary design; 4. Take initiative in conducting both historical and theoretical research.


Lectures, Seminars, Site Visits, Visual and Textual Analysis Module Content

Syllabus: Pop and the popular The Language of Postmodern Architecture High Tech New minimal: Modernism after Modernism Subculture and design Appropriation, originality, authenticity The Cult of the Designer Design for the Real World Green design Design and change Designing the Future Module Assessment This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a thematic Comparative Literature Review. This will be extended in second semester to a themed essay. Literature Review: 50% Essay: 50%

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Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 40% Presentation and Referencing 10% Reading List Essential: Aynsley, Jeremy & Harriet Atkinson (2009) The Banham Lectures: Essays on Designing the Future. Oxford, Berg. Fry, Tony (2009) Design Futuring: Sustainability, Ethics and New Practice. Oxford, Berg. Jencks, Charles (1977) The language of post-modern architecture. London, Academy Editions. Julier, Guy (2000) The culture of design, Sage, London. Highmore, Ben (ed.) (2009) The Design Culture Reader. New York: Routledge. Leach, Neil (1997) Rethinking architecture: a reader in cultural theory. New York, Routledge. Suplementary: Appignanesi, R. & Garratt, C. (2004) Introducing Postmodernism. Cambridge, Icon. Barthes, Roland (1993) Mythologies. London, Vintage. (New ed. orig. pub, 1957) Baudrillard, Jean (1998) The Consumer Society: myths and structures, London: SAGE Betsky, Aaron and Erik Adigard (2000), Architecture Must Burn, London: Thames & Hudson. Branzi, Andrea (1984) The Hot House: Italian New Wave Design. London: Thames & Hudson. Brown, Tim (2009) Change by Design: How Design Thinking Creates New Alternatives for Business and Society. New York: Collins. Clark, Hazel & David Brody (2009) Design Studies: A Reader. Oxford, Berg. Collins, Michael (1994) Towards Postmodernism- Design Since 1851, London: British Museum. Collins, Michael (1999) Alessi. London: Cartlon. Crozier, Ray (1994) Manufactured pleasures: psychological responses to design. Manchester, Manchester University Press. Fairs, Marcus (2009) Twenty-first Century Design. London: Carlton. Featherstone, Mike (1991) Consumer Culture and Post-Modernism. London: Sage. Fitoussi, Brigitte (1998) Memphis. London: Thames & Hudson. Foster, Hal (Ed) (1985) Postmodern Culture, London: Pluto Gimpel, Jean (1995) The End of The Future: The waning of the High-Tech World. Connecticut, Praeger. Gorman, Carma (ed.) (2003) The Industrial Design Reader, Allworth Press, New York. Hebdige, Dick (1988) Hiding in the Light: On images and things. London, Routledge.. Hinchman, Mark (2009) History of Furniture: A Global View. Oxford, Berg. Jameson, Fredric (1991) Postmodernism, or, the cultural logic of late Capitalism. London: Verso. Jencks, Charles (Ed) (1992) The Post-Modern Reader, Academy Editions Hebdige, Dick (1979)Subculture: the meaning of style. London: Routledge, 1979. Klein, Naomi (2000) No Logo. London: Flamingo. Mau, Bruce (2004) Massive Change: A Manifesto for the Future Global Design Culture. London & New York: Phaidon. Margolin, Victor & Richard Buchanan (1995) The Idea of Design: A Design Issues Reader. Cambridge, Mass. & London, MIT Press. McDermott, Catherine (2009) Contemporary Design 1900-today. London: Carlton /Design Museum. McDonough, William & Michael Braungart (2002) Cradle to Cradle: remaking the way we make things. New York: North Point Press. Plant, Sadie (1998) Zeros and Ones: Digital women and the new technoculture. London, Fourth Estate. Poynor, Rick (2003) No More Rules: Graphic Design and Postmodernism. London: Laurence King. Seago, Alex (1995) Burning the box of beautiful things: development of a postmodern sensibility Oxford: Oxford University Press. Sparke, Penny , Anne Massey, Trevor Keeble & Brenda Martin (2009) (eds) Designing the Modern Interior: From The Victorians To Today. Oxford, Berg. Venturi, Robert & Scott-Brown Denise (1977) Learning From Las Vegas: the forgotten symbolism of architectural form. Cambridge, Mass. & London, MIT Press.

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Magazines/ Journals Design Culture, Circa, Frieze, Irish Arts Review, Journal of Visual Culture, Design Issues, Journal of Design History, ID, Blueprint, Interiors. Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

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ECTS Credits

Module Code

Module Title

5

Visual Communications 3: Graphic Design Now

Module Author(s) Mary Ann Bolger Module Description

In this module students will examine issues in the history and theory of design since modernism: postmodernist and contemporary design. The module will focus on key themes and issues in design and visual culture from the 1960s to the present. The module will address the Postmodernist rejection of the grand narratives of Modernist design and the impact on design of new technologies and new cultural practices. Module Aim The aim of this module is to provide students with an in-depth understanding of postmodernist and contemporary design. It will also enable students to develop the language to critique and evaluate contemporary design and engage fully with international design practice. Learning Outcomes

On completion of this module students will be able to:

1. Demonstrate an informed understanding of postmodern and contemporary design; 2. Produce and present a critical independent analysis and evaluation of postmodern and

contemporary design; 3. Have a complex engagement with theoretical concepts and use these concepts to analyse

relevant issues in contemporary design; 4. Take initiative in conducting both historical and theoretical research.

Learning and Teaching Methods Lectures, Seminars, Site Visits, Visual and Textual Analysis Module Content Syllabus: Pop and the popular New minimal: Modernism after Modernism Subculture and design Amateurs and professionals Retro Techno Appropriation, originality, authenticity Designer as Author Typography after the end of print Deconstruction and deconstructivism The rise of the Design Consultant Advertising, branding and the role of the graphic designer First things first: graphic design and social responsibility Module Assessment This module will be assessed through the production of written submissions. There will be a Formative Assessment point at the end of the first semester, with the production of a thematic Comparative Literature Review. This will be extended in second semester to a themed essay. Literature Review: 50% Essay: 50%

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Assessment Criteria: Research 25% Analysis and Development 25% Evaluation and Structure 40% Presentation and Referencing 10% Reading List Essential: Barnard, Malcolm (2005) Graphic Design as Communication. London: Routledge. Bierut, M., Drenttel, W., Heller, S., & Holland, D.K., (1997) Looking Closer 2: critical writings on graphic design. New York, Allworth. Crowley, David & Paul Jobling (1996) Graphic Design: Reproduction and representation since 1800. Manchester: Manchester University Press. Jencks, Charles (1977) The language of post-modern architecture. London, Academy Editions. Poynor, Rick (2003) No More Rules: Graphic Design and Postmodernism. London: Laurence King. Robberts, Lucienne (2006) Good: an introduction to ethics in graphic design. Lausanne & Worthing: AVA Academia. Suplementary: Appignanesi, R. & Garratt, C. (2004) Introducing Postmodernism. Cambridge, Icon. Barthes, Roland (1993) Mythologies. London, Vintage. (New ed. orig. pub, 1957) Barthes, Roland (1993) Camera Lucida: reflections on photography. London, Vintage. Barthes, Roland (1977): Image-Music-Text. London, Fontana Barnbrook, Jonathan (2005) Jonathan Barnbrook. London, Booth-Clibborn. Baudrillard, Jean (1998) The Consumer Society: myths and structures, London: SAGE Bierut, M., Drenttel W., & Heller, S. (2002) Looking Closer 4: critical writings on graphic design. New York, Allworth/AIGA Bierut, M., Drenttel, W., Heller, S., & Holland, D.K., (1994) Looking Closer: critical writings on graphic design. New York, Allworth. Blackwell, Lewis (2004) 20

thCentury Type (revised edition). London, Laurence King.

Bolger, Mary Ann (2009) Design Factory: On the edge of Europe. Dublin: Lilliput. Breathnach, Teresa and Brenda Dermody (2009) New Retro. London, Thames & Hudson Carson, D. & Blackwell, L. (2000) The End of Print. (2

nd ed) London, Lawrence King Collins,

Michael (1994) Towards Postmodernism- Design Since 1851, London: British Museum deWaal Malefyt, T. & Moeran, B. (2003) Advertising Cultures. Oxford, Berg. Foster, Hal (Ed) (1985) Postmodern Culture, London: Pluto Gimpel, Jean (1995) The End of The Future: The waning of the High-Tech World. Connecticut, Praeger. Hebdige, Dick (1988) Hiding in the Light: On images and things. London, Routledge.. Jameson, Fredric (1991) Postmodernism, or, the cultural logic of late Capitalism. London: Verso. Jencks, Charles (Ed) (1992) The Post-Modern Reader, Academy Editions Hebdige, Dick (1979)Subculture: the meaning of style. London: Routledge, 1979. Klein, Naomi (2000) No Logo. London: Flamingo. Lupton, Ellen (1996) Design/Writing/Research. New York: Kiosk, 1996. Lupton, Ellen (1996) Mixing Messages: Graphic design in contemporary culture. New York, Cooper-Hewitt/Princeton Architectural Press. Margolin, Victor & Richard Buchanan (1995) The Idea of Design: A Design Issues Reader. Cambridge, Mass. & London, MIT Press. Nava, Mica (ed) (1997) Buy This Book: studies in advertising and consumption. London, Routledge. Plant, Sadie (1998) Zeros and Ones: Digital women and the new technoculture. London, Fourth Estate. Poynor, Rick (1998) Typography Now: The Next Wave. London: Booth-Clibborn. Poyner, Rick (2004) Communicate: Independent British graphic design since the Sixties. London, Laurence King. Poynor, Rick (2001) Obey the Giant: Life in the image world. London & Berlin, August/Birkhauser. Poynor, Rick (1998) Design without Boundaries: Visual communication in transition. London, Booth-Clibborn. Seago, Alex (1995) Burning the box of beautiful things: development of a postmodern sensibility Oxford: Oxford University Press. Triggs, Teal (2005) Radical Type Design. Harper Design.

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Trigs, Teal (ed) (1995) Communicating Design. London, Batsford. Vanderlans, Rudy (1993) Émigré (The Book): Graphic Design into the Digital Realm. New York: Van Nost. Reinhold. Venturi, Robert & Scott-Brown Denise (1977) Learning From Las Vegas: the forgotten symbolism of architectural form. Cambridge, Mass. & London, MIT Press. Walter, Benjamin (1999) Illuminations. London, Pimlico Weingart, Wolfgang (1999) Weingart: Typography - My Way to Typography - Retrospective in Ten Chapters with Thoughts by Paul Rand Baden, Verlag Lars Müller. Williamson, Judith (1994) Decoding Advertisements: ideology and meaning in advertising. London, MarianBoyars. Williamson, Judith (1986) Consuming Passions: the dynamics of popular culture. London & New York, MarianBoyars. Magazines/ Journals Émigré, Wired, Visible Language, Eye, Creative Review, Dot Dot Dot, Design Culture, Circa, Frieze, Irish Arts Review, Journal of Visual Culture, Third Text Further Details 1 hour weekly, over 2 semesters. ECTS awarded at end of second semester.

ba in visual and critical studies - dublin institute of ...typography ireland: typography ireland...

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