Thesis Preparation...Rules for Engagement

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  • 1. Thesis Preparation... Rules for EngagementWEEK 01
  • 2. Week 01Letters to the futureThesis fictionsHaving an experienceThesis frameworkMake a psuedo-structure (e.g., a framework)Sample fiction
  • 3. An experience
  • 4. An experiencematerials form purpose
  • 5. An experience materials form purpose aesthetic intellectual practicalexperiences experiences experiences
  • 6. An experiencematerials form purpose patterns among traits in every experiences experience
  • 7. An experiencematerials form purpose interest & purpose experiences that rise above separate experiences the threshold of perception
  • 8. “Having an Experience,” John Dewey An experience 1. What p. 36 materials form purpose 2. How p. 44 aesthetic intellectual practicalexperiences experiences experiences patterns among traits in every experiences experience interest & purpose experiences that lift above the 3. Why separate experiences threshold of perception p. 55
  • 9. “Having an Experience,” John Dewey An experience 1. What p. 36 materials form purpose 2. How p. 44 aesthetic intellectual practicalexperiences experiences experiences patterns among traits in every experiences experience interest & purpose experiences that lift above the 3. Why separate experiences threshold of perception p. 55 Diagram drawn from Richard Buchanan, Carnegie Mellon University, 1998
  • 10. Defining an ideaWhat is it?Who is it for?Why do it?What/Where will its effect be?How will you do it?Who will be involved?
  • 11. Criteria for a thesis ideaInnovation: New knowledge?Meaningfulness: Relevant and meaningful?Impact: Larger than class project? Program?Groundedness: Able to produce work? Feasible?Viability: =Demonstratable?Story: Tell a compelling story?Aesthetic quality: Well designed?
  • 12. Thesis committeeSubject matter expertThesis facultyDepartment chairTechnical advisor (shared)
  • 13. Frameworks
  • 14. CREATORCONSUMER
  • 15. CREATORCONSUMER
  • 16. CREATORCONSUMER
  • 17. We create frameworksthat allow people to improvise.
  • 18. FRAMEWORKUnstated rules implicitly set by thecharacter of some entity where theinteraction occurs
  • 19. IMPROVISATIONCreating in the moment in response toenvironment; results in invention of newpatterns, practices, structures, behaviors
  • 20. AttributesPresent Involves the audienceDetectable Requires no pre-knowledgeResponsive Defines parametersAdditive Accepts all offers
  • 21. “pseudo-structure”
  • 22. “yes, and...”
  • 23. “OVERTHINKING”
  • 24. 1 Present: Involve the audience
  • 25. STREET VENDORS
  • 26. STREET VENDORS
  • 27. 2 Responsive: Define parameters
  • 28. hello health
  • 29. PROJECT H, LEARNING LANDSCAPE
  • 30. 3 Detectable: No pre-knowledge
  • 31. LOCAL PROJECTS, JETBLUE STORY LOCAL PROJECTS MEDIA DESIGN PROCESS 47
  • 32. KICKSTARTER
  • 33. 4 Additive: Accepting all offers
  • 34. POP-UP LUNCH
  • 35. ZERO ENERGY MEDIA WALL
  • 36. MAKE A PSEUDO-STRUCTURE (e.g., framework) Create a pseudo-structure based on your color. (e.g., Write a song, create an alphabet, compose a painting.)Image: Frank Chimero
  • 37. Thesis fictions
  • 38. Fictitious thesis fiction
  • 39. 1970s
  • 40. NYC 1959
  • 41. JOHN COLTRANE, MILES DAVIS, 1959
  • 42. MILES DAVIS, 1959
  • 43. MILES DAVIS, 1959
  • 44. Classical notation:
  • 45. Jazz notation:
  • 46. GIANT STEPS
  • 47. MUSIC FRAMESClassicalLeaves no room for participationRequires prior knowledgeJudged on “right way”Evaluated as fixed in timeViewed as sets of “original works”Stability
  • 48. MUSIC FRAMESClassical JazzLeaves no room for participation Based on participatory methodsRequires prior knowledge Requires little prior knowledgeJudged on “right way” Judged on deviation from originalEvaluated as fixed in time Evaluated as interactiveViewed as sets of “original works” Viewed as “interpreted works”Stability Creative instability
  • 49. DESIGN FRAMESClosedRequired specialized knowledgeJudged on “right way”Left no room for participationEvaluated as fixed in timeViewed as original work
  • 50. DESIGN FRAMESClosed EmergentRequired specialized knowledge Requires no specialized knowledgeJudged on “right way” Judged on deviation from originalLeft no room for participation Based on participatory methodsEvaluated as fixed in time Evaluated as interactiveViewed as original work Viewed as mediated content
  • 51. SHIFTSClosed EmergentArtifacts BehaviorsPredetermined Present
  • 52. ORAL TRADITIONOrality + Literacy
  • 53. MILMAN PARRY
  • 54. “modal jazz”
  • 55. thank you.
  • 56. next: week two
  • 57. MAKE ANOTHER PSUEDO-STRUCTURE Create a pseudo-structure (e.g., framework) that inspires action. At least one person must participate in it. Demonstrate structure and participation in some way.Image: Frank Chimero