Category Archives: MAMO Research

All things of interest I’ve read and seen

Ogilvy Creative Consultancy Overview Case Study

Ogilvy Creative Consultancy Overview

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Run Yoga Run Case Study

The Wellness Movement Wavemaker Proximity Case Study

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Drawing Room Collaboration Case Study

Drawing Room Collaboration 2019 Case Study

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MEQ Results 2018/19 and 2019/20 University Wide Comparison

MEQ’s (Module Evaluation Questionnaires)

Kingston university, Kingston School of Art, Illustration Animation BA(Hons), Level 5, Module 5001 Process and Purpose. This Module focused on approaches to drawing and technology.

Module Impact from taking over design and delivery of Module 5001 in 2018/19 and continued development and quality assurance trough 2019/20. These results also evidences highest achieving outcomes through comparative scores, two years running (2018/19 & 2019/20) across Department, Faculty and University. This shows the module working at the highest levels in organisation, delivery, student engagement, student experience, student outcomes, studio and online based learning and equality of opportunity.

These are the MEQ results for the Module 2017/18 before I took it over and redesigned it.
They give an indication of where the module was and how it was performingmeq1718-chart

Here are the results for years 2018/19 and 2019/20. A marked improvement can be seen across the module in 18/19 and that improvement can be seen to continue in the 19/20 outcomes.

2018/19 Results

meq1819-chart2019/20 Results

meq1920-chart

2018/19

It is also demonstrable that across these two years that the module, through MEQ feedback, achieved the highest outcomes across all 10 categories when (in 2018/19) compared across Department (+.55), Faculty (+.50) and University (+.51). The highest outcomes being 4.74 and the lowest 4.06:

Averages
Module 4.49
Department 3.94
faculty 3.99
University 3.98

2019/20

…And also the highest outcomes across all 10 categories in 2019/20 when compared across Department (+.46), Faculty (+.53) and University (+.56). The highest outcomes being 4.87 (+.13 on 18/19 module outcomes) and the lowest 4.11 (+.05 on 18/19 module outcomes) in 2019/20. The results in the year 2019/20 were achieved under higher student numbers and tighter budget constraints.

Averages
Module 4.53 (+.04 on previous year)
Department 4.07 (+.07 on previous year)
faculty 4.00 9 (+.01 on previous year)
University 3.97 (-.01 on previous year)

2018/19

meq1819-Across Uni 001 meq1819-Across Uni 002 meq1819-Across Uni 003 2019/20

 meq1920-Across Uni 001 meq1920-Across Uni 002

meq1920-Across Uni 003These higher achieving outcomes in 2019/20 were facilitated by responding to the student feedback and external examiner observations. The module was made elective in response to student feed back relating to section 7 ‘There are opportunities for me to participate in learning activities throughout the module’. The use and integration of high end graphics software in relation to film, game and VR development, from hardware and software specs through to session design and delivery, were instigated by myself during the 2018/19 year. this went on to be recognised by the external examiners: ‘…exciting developments integrating new and rigorous approaches to developing students’ use of drawing as the foundation of their research whilst developing the potential of new technologies alongside more traditional skills.’ and ‘…astute initiatives to extend the exploration of drawing in experimental directions, particularly by engaging with new technologies such as VR.’

external examiner report 1819 001 external examiner report 1819 002These processes toward traditional processes and methodologies were developed further and carried forward into the Module design, the results of which can clearly be seen in the aforementioned MEQ’s and also developed into workshops involving industry and cultural exchange workshops with the Drawing Room Collaboration and the 2020 Vienna workshop. these projects included video projection, Gallery visits, gallery showings, VR specialisation studios, connections with post degree courses and research/development methodologies.

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MEQ and EER Examples

MEQ’s (Module Evaluation Questionaires)

Module Impact

Module 5001 Process and Purpose.

This Module focused on approaches to drawing and technology.

These are the MEQ results for the Module 2017/18 before I took it over and redesigned it.
They give an indication of where the module was and how it was performing

 

meq1718 chart

 

 

 

 

 

 

 

 

 

 


And here are the MEQ results for the Module 2018/19 after I took it over and redesigned it. 

meq1819 chart

Improvements can be seen across the board after implementation of interlinking and dynamic drawing sessions that utilised drawing as complimentary practice to drawing and

As a response to the criteria used in marking question (9) the year team have implemented a face to face formative assessment point at the end of the first semester toward giving clarity to the student experience.

 


EER (External Examiner Reports)

This is to evidence External Examiner recognition of the combination of Drawing and VR technology as an area of good practice.

Ext Exam 001

Ext Exam 002

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Colab at Owlpen Overview

Colab Case Study

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Kingston Vienna Cultural Exchange 2018/19 Overview

Kingston Vienna Cultural Exchange Case Study

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RCA Case Study 2015

rca-write-up-of-classes-send-2015

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Francis Bacon, Meat, X-rays and Degas

after_the_bath_edgar_degas_-_national_galleryFrom Interviews with Francis Bacon
DS David Sylvester – FB Francis Bacon

Pg 46

FB …..we are meat….we are constantly seeing images of the human body through X-ray photographs and that obviously does alter the beautiful Degas pastel in the National Gallery of a women sponging her back. And you will find at the very top of the spine that the spine almost comes out of the skin altogether. And it gives such a grip and twist that you’re more conscious of the vulnerability of the rest of the body than if he had drawn the spine naturally up to the neck. He breaks it so that this thing seems to protrude from the flesh. Now, whether Degas did this purposely or not, it makes it a much greater picture, because you’re suddenly conscious of the spine as well as the flesh, which he usually just painted covering the bones. In my case, these things have certainly been influenced by X-ray photographs.

Interviews with Francis Bacon
By David Sylvester
Thames and Hudson
Reprinted 2008
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Francis Bacon On Velasquez’s Pope And Photographs

From Interviews with Francis Bacon
DS David Sylvester – FB Francis Bacon

Pg 24

Bacon talking about Velasquez Pope Innocent X 1650.

DS…you do in fact paint other pictures which are connected to religion (apart from the Crucifixion he painted several Popes).

…But why is it you chose the Pope?

FB Because I think it is one of the greatest portraits that have ever been made, and I become obsessed by it…it haunts me, and it opens up all sorts of feelings and areas of – I was going to say – imagination…

Links to existing images generating new ideas through the act of observevation, also Duchamps idea that the view changes a work of art by coming to it.

Bacon paspsort

Pg 30

FB…99% of the time I find that photographs are very much more interesting than either abstract or figurative painting. I’ve always been haunted by them.

DS Do you know what it is especially that haunts you about them?…

FB I think it’s the slight remove from fact, which returns me onto the fact more violently. Through the photographic image I find myself beginning to wander into the image and unlock what I think of as its reality more than I can by looking at it. (Photographs) are often triggers for ideas.

DS I suppose the Muybridge’s are the photographs you’ve made use of the most continually.

FB Well, of course, they were an attempt to make a recording of human motion – a dictionary, in a sense. And the thing of doing series may possibly have come from looking at those books of Muybridge with the stages of a movement shown in separate photographs….

bacon_dyer_photo

Pg 38

DS…in recent years, when you’ve planned to do a painting of somebody, I believe you’ve tended to have a set of photographs taken especially.

FB…I very much prefer working from the photographs than from them (the actual person)…I find it easier to work than actually having their presence in the room…if I have the presence of the image there (the actual person in the room), I may not able to drift so freely as I am able to through the photographic image…I find it less inhibiting to work from them through memory and their photographs than actually having them seated there before me.

DS You prefer to be alone?

FB Totally alone. With their memory.

….What I want to do is distort the thing far beyond the appearance, but in the distortion to bring it back to a recording of the appearance.

12w

DS Are you saying that painting is almost a way of bringing somebody back, that the process of painting is almost like the process of recalling?

FB I am saying that…

Velasquez’s Dwarf painting is almost alive and what he says earlier in section about his memory (or imagination) used in conjunction with photos to invoke the person.

Interviews with Francis Bacon
By David Sylvester
Thames and Hudson
Reprinted 2008
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