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Thesis Preparation...Rules for Engagement

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Thesis Preparation...Rules for Engagement

  1. 1. Thesis Preparation... Rules for EngagementWEEK 01
  2. 2. Week 01Letters to the futureThesis fictionsHaving an experienceThesis frameworkMake a psuedo-structure (e.g., a framework)Sample fiction
  3. 3. An experience
  4. 4. An experiencematerials form purpose
  5. 5. An experience materials form purpose aesthetic intellectual practicalexperiences experiences experiences
  6. 6. An experiencematerials form purpose patterns among traits in every experiences experience
  7. 7. An experiencematerials form purpose interest & purpose experiences that rise above separate experiences the threshold of perception
  8. 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. 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. 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. 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. 12. Thesis committeeSubject matter expertThesis facultyDepartment chairTechnical advisor (shared)
  13. 13. Frameworks
  14. 14. CREATORCONSUMER
  15. 15. CREATORCONSUMER
  16. 16. CREATORCONSUMER
  17. 17. We create frameworksthat allow people to improvise.
  18. 18. FRAMEWORKUnstated rules implicitly set by thecharacter of some entity where theinteraction occurs
  19. 19. IMPROVISATIONCreating in the moment in response toenvironment; results in invention of newpatterns, practices, structures, behaviors
  20. 20. AttributesPresent Involves the audienceDetectable Requires no pre-knowledgeResponsive Defines parametersAdditive Accepts all offers
  21. 21. “pseudo-structure”
  22. 22. “yes, and...”
  23. 23. “OVERTHINKING”
  24. 24. 1 Present: Involve the audience
  25. 25. STREET VENDORS
  26. 26. STREET VENDORS
  27. 27. 2 Responsive: Define parameters
  28. 28. hello health
  29. 29. PROJECT H, LEARNING LANDSCAPE
  30. 30. 3 Detectable: No pre-knowledge
  31. 31. LOCAL PROJECTS, JETBLUE STORY LOCAL PROJECTS MEDIA DESIGN PROCESS 47
  32. 32. KICKSTARTER
  33. 33. 4 Additive: Accepting all offers
  34. 34. POP-UP LUNCH
  35. 35. ZERO ENERGY MEDIA WALL
  36. 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. 37. Thesis fictions
  38. 38. Fictitious thesis fiction
  39. 39. 1970s
  40. 40. NYC 1959
  41. 41. JOHN COLTRANE, MILES DAVIS, 1959
  42. 42. MILES DAVIS, 1959
  43. 43. MILES DAVIS, 1959
  44. 44. Classical notation:
  45. 45. Jazz notation:
  46. 46. GIANT STEPS
  47. 47. MUSIC FRAMESClassicalLeaves no room for participationRequires prior knowledgeJudged on “right way”Evaluated as fixed in timeViewed as sets of “original works”Stability
  48. 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. 49. DESIGN FRAMESClosedRequired specialized knowledgeJudged on “right way”Left no room for participationEvaluated as fixed in timeViewed as original work
  50. 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. 51. SHIFTSClosed EmergentArtifacts BehaviorsPredetermined Present
  52. 52. ORAL TRADITIONOrality + Literacy
  53. 53. MILMAN PARRY
  54. 54. “modal jazz”
  55. 55. thank you.
  56. 56. next: week two
  57. 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

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