Here is a pseudo-structure I created to inspire action and participation:A collaborative poem:I will start the poem with the first line:"We came together today,"Now I invite the next person to continue the poem by adding the next line. They can type their line response here in the chat. We will continue building the poem line by line, with each person adding to it when inspired until the poem feels complete. The structure is open-ended collaboration, with no predetermined end, inviting iterative participation. Please add the next line to continue the poem
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Semelhante a Here is a pseudo-structure I created to inspire action and participation:A collaborative poem:I will start the poem with the first line:"We came together today,"Now I invite the next person to continue the poem by adding the next line. They can type their line response here in the chat. We will continue building the poem line by line, with each person adding to it when inspired until the poem feels complete. The structure is open-ended collaboration, with no predetermined end, inviting iterative participation. Please add the next line to continue the poem
Semelhante a Here is a pseudo-structure I created to inspire action and participation:A collaborative poem:I will start the poem with the first line:"We came together today,"Now I invite the next person to continue the poem by adding the next line. They can type their line response here in the chat. We will continue building the poem line by line, with each person adding to it when inspired until the poem feels complete. The structure is open-ended collaboration, with no predetermined end, inviting iterative participation. Please add the next line to continue the poem (20)
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Here is a pseudo-structure I created to inspire action and participation:A collaborative poem:I will start the poem with the first line:"We came together today,"Now I invite the next person to continue the poem by adding the next line. They can type their line response here in the chat. We will continue building the poem line by line, with each person adding to it when inspired until the poem feels complete. The structure is open-ended collaboration, with no predetermined end, inviting iterative participation. Please add the next line to continue the poem
- 1. Thesis Preparation ... Rules for Engagement WEEK 01
- 2. Week 01 Letters to the future Thesis fictions Having an experience Thesis framework Make a psuedo-structure (e.g., a framework) Sample fiction
- 4. An experience materials form purpose
- 5. An experience materials form purpose aesthetic intellectual practical experiences experiences experiences
- 6. An experience materials form purpose patterns among traits in every experiences experience
- 7. An experience materials 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 practical experiences 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
- 10. “Having an Experience,” John Dewey An experience 1. What p. 36 materials form purpose 2. How p. 44 aesthetic intellectual practical experiences 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
- 12. Defining an idea What is it? Who is it for? Why do it? What/Where will its effect be? How will you do it? Who will be involved?
- 13. Criteria for a thesis idea Innovation: 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?
- 14. Thesis committee Subject matter expert Thesis faculty Department chair Technical advisor (shared)
- 15. Frameworks
- 17. CREATOR CONSUMER
- 18. CREATOR CONSUMER
- 19. CREATOR CONSUMER
- 20. We create frameworks that allow people to improvise.
- 21. FRAMEWORK Unstated rules implicitly set by the character of some entity where the interaction occurs
- 22. IMPROVISATION Creating in the moment in response to environment; results in invention of new patterns, practices, structures, behaviors
- 23. Attributes Present Involves the audience Detectable Requires no pre-knowledge Responsive Defines parameters Additive Accepts all offers
- 25. “yes, and...”
- 39. “OVERTHINKING”
- 40. 1 Present: Involve the audience
- 41. STREET VENDORS
- 42. STREET VENDORS
- 43. 2 Responsive: Define parameters
- 44. hello health
- 45. PROJECT H, LEARNING LANDSCAPE
- 46. 3 Detectable: No pre-knowledge
- 47. LOCAL PROJECTS, JETBLUE STORY LOCAL PROJECTS MEDIA DESIGN PROCESS 47
- 48. KICKSTARTER
- 49. 4 Additive: Accepting all offers
- 50. POP-UP LUNCH
- 51. ZERO ENERGY MEDIA WALL
- 52. 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
- 53. Thesis fictions
- 55. 1970s
- 56. NYC 1959
- 57. JOHN COLTRANE, MILES DAVIS, 1959
- 62. Jazz notation:
- 63. GIANT STEPS
- 64. MUSIC FRAMES Classical Leaves no room for participation Requires prior knowledge Judged on “right way” Evaluated as fixed in time Viewed as sets of “original works” Stability
- 65. MUSIC FRAMES Classical Jazz Leaves no room for participation Based on participatory methods Requires prior knowledge Requires little prior knowledge Judged on “right way” Judged on deviation from original Evaluated as fixed in time Evaluated as interactive Viewed as sets of “original works” Viewed as “interpreted works” Stability Creative instability
- 66. DESIGN FRAMES Closed Required specialized knowledge Judged on “right way” Left no room for participation Evaluated as fixed in time Viewed as original work
- 67. DESIGN FRAMES Closed Emergent Required specialized knowledge Requires no specialized knowledge Judged on “right way” Judged on deviation from original Left no room for participation Based on participatory methods Evaluated as fixed in time Evaluated as interactive Viewed as original work Viewed as mediated content
- 68. SHIFTS Closed Emergent Artifacts Behaviors Predetermined Present
- 69. ORAL TRADITION Orality + Literacy
- 70. MILMAN PARRY
- 72. “modal jazz”
- 73. thank you.
- 74. next: week two
- 75. 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