Learning agreements considering and formulating
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This document provides guidance for formulating a learning agreement for a Master's program. It outlines important aspects to address such as the goals and objectives of the study, a proposed timeline, required skills and resources, and how the proposal relates to the program's aims and assessment criteria. Additionally, it discusses considering the social, political, personal, critical, historical, geographical, institutional, and cultural contexts that inform one's area of study and practice.
Learning agreements considering and formulating
- 1. Formulating a Learning agreement why what how
- 2. why why are you doing it?
- 3. what what do you hope to gain? what are your core ideas? what interests you? can you write this down in a sentence?
- 4. how how do you write about what you do? how do you write about what you don’t know? how do you project into and predict the future? how to begin to find answers?
- 5. what what do you want to achieve? what are you going to do?
- 6. MA-ness is the proposal feasible? is the proposal of an MA level?
- 7. content - advice think about what you would like to study and how this relates to your practice focus on the issues you wish to pursue define the scope and nature of the study identify your learning needs be clear and precise about what it is that you are planning to do
- 8. practical - advice timetable how much time are you going to give? what can you do in the time you are willing to give to the course? – be honest ability do you need to learn new skills ? budget how much are you willing to spend ?
- 9. practical - advice resources identify access and resource issues reference material requirements
- 10. how how do you achieve success? how are you going to achieve the learning outcomes of the unit? how does your proposal relate to the aims and assessment criteria of the unit?
- 13. your making - contextual framework
- 14. social context Making and seeing an image always takes place in a social context. The way it is seen and how it is seen are culturally constructed. Audience for work - who is included/excluded/implicated on the ways an image is produced, circulated and consumed
- 15. political context Specific political issue broad political issue gender - race - ethnicity - sexual orientation - class - disability - religion
- 16. personal context Biography - narrative of the self particular issues - memories What motivates/ drives you? Your particular skills as an artist/ designer/writer/photographer What strategies do you use when the work is not going well? How do you relate to the forces that in part condition what you know and in which you make things?
- 17. critical/theoretical context Does your work relate to particular critical debates about contemporary art and design practices? Is your work informed by/engaging with/contesting particular theoretical frameworks/issues?
- 18. historical context Understand how/whether your practice relates to a tradition, with a history How knowledge relates to periods in time.
- 19. geographical context Local, regional, national, international, global. Where do you make your work? Do you make your work in relation to a particular place? studio home church city rural cyberspace
- 20. institutional context MA Course - school of design Your educational background/experience Your professional background/experience Your family background/experience
- 21. cultural context In it’s broadest sense - ‘a whole way of life’ - this relates to all the other categories. More specifically, what works of artists, designers, writers, filmmakers, photographers, musicians are important to you and your work - why?
- 22. mapping your practice Any other contexts worth considering? Importance Overlapping change - evolution of practice
- 23. TO ROLL TO CREASE TO FOLD TO STORE TO BEND TO SHORTEN TO TWIST TO TWINE TO DAPPLE TO CRUMPLE TO SHAVE TO TEAR TO CHIP TO SPLIT TO CUT TO SEVER TO DROP TO REMOVE TO SIMPLIFY TO DIFFER TO DISARRANGE TO SHAVE TO OPEN TO MIX TO SPLASH TO KNOT TO SPILL TO DROOP TO FLOW TO SWIRL TO ROTATE TO SMEAR TO FLOOD TO FIRE TO IMPRESS TO INLAY TO LIFT TO CURVE TO SUPPORT TO HOOK TO SUSPEND TO SPREAD TO HANG OF TENSION OF GRAVITY OF ENTROPY OF NATURE OF GROUPING OF LAYERING OF FELTING TO COLLECT TO GRASP TO TIGHTEN TO BUNDLE TO HEAP TO GATHER TO ARRANGE TO REPAIR TO DISCARD TO PAIR TO DISTRIBUTE TO SURFEIT TO SCATTER TO COMPLEMENT TO ENCLOSE TO SURROUND TO ENCIRCLE TO HIDE TO COVER TO WRAP TO DIG TO TIE TO BIND TO WEAVE TO JOIN TO MATCH TO LAMINATE TO BOND TO HINGE TO MARK TO EXPAND TO DILUTE TO LIGHT TO REVISE TO MODULATE TO DISTRILL OF WAVES OF ELECTROMAGNETIC OF INERTIA OF IONIZATION OF POLARIZATION OF REFRACTION OF SIMULTANEITY OF TIDES OF REFLECTION OF EQUILIBRIUM OF SYMMETRY OF FRICTION TO STRETCH TO BOUNCE TO ERASE TO SPRAY TO SYSTEMATIZE TO REFER TO FORCE OF MAPPING OF LOCATION OF CONTEXT OF TIME TO TALK OF PHOTOSYNTHESIS OF CARBONIZATION 67-68 TO CONTINUE