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Category Archives: MAMO Research
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.
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.
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:
…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.
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)
These 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.’
These 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.
MEQ’s (Module Evaluation Questionaires)
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
And here are the MEQ results for the Module 2018/19 after I took it over and redesigned it.
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.
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
From Interviews with Francis Bacon
DS David Sylvester – FB Francis Bacon
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.
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….
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.
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.