see slide show that goes with this: https://drive.google.com/file/d/1RP_9NbY0r47wbWSavykg30__mfNi95VQ/view?usp=sharing1:Asynchronous seminar:a debate/discussion that happens in writinga text/prompt that sets out the subject of the seminarpost at least twicebe considerate towards others,keep them short: not essays - key points for discussion, think about it as if verbalopen until 17:00 hours on 2nd marchcopy and paste the discussion at the end to keep as it's a good resource2:PPP - slide 6 in presentation:Professional Practice Plan (PPP)a career plan or development plan as an artist. perhaps career, or high profile as an exhibition artist or further study.Each year the word count increases, it is assessed and added to each year.its a fluid document, its going to change and thats not a problem. Its a good thing if you are adapting and changing.From the slides:A working document that starts in year one and continues until you finish study. It is intended to act as a career plan, it is continually revised and kept current over the length of the course.In year one, the PPP is between 500 – 1000 wordsSubmitted for assessment in June 2018The plan should be written to include the following, which should be used as a guide and is not exhaustive:A summary of your practice in professional terms.A plan that sets out your aims for one year ahead, three years ahead and five years ahead. It is about dreams and aspirations, but should be realistic. -+ how will you get there? what do you need to do to get there? think about the methods and requirements. What steps make things possible?+Includes identification of networks, notes on skills needs or facilities acquisitionLists appropriate ways of presenting your practice (e.g. website) public profile, what will work for you. social media, website etc or perhaps you are analogue, zines, postal, books etcEach year the plan is re-worked, amended and added to.Possible formats:Chart, - tables- spreadsheetsPlan, or mapDiagram, colour coded etcMap,A body of text, narrative, like a proposal, punctuated with key points etcColourful/different fonts/tracking method, - to distinguish each year, to show the progress like I do on my mind maps and sketchbooksLinks, references, illustrations, - things that are useful, perhaps programmes etcBusiness document. - this is more of a business document - a proposal and business plan.Book a tutorial on monday 5th march - these are pop - have a draft ready, not refined or finished but something to base our discussion on friday 2nd march before the session.share on journal or on shared drive, it's up to you. eventually on the journal.3:Visual Methodologies - Gillian RoseDiscourse Analysis IIWe all have different views because we are different people and bring a certain baggage with us the influences our subjectivity.How is this work framed... what bias is pushed upon us.Group discussion: responsesWhat are your responses to Rose's writing on discourse analysis II?unnecessarily academic, and tedious links but overall useful if somewhat 'obvious' towards the end.it feels quite outdated as it doesn't reference technology/social media/websites etc which is now a very active part of institutional discourse. There are a lot more exciting opportunities for viewers to interact and view work now.It also highlighted the dominate role of a museum so it has opened up the dialogue around that. It's created and increased personal awareness and how dynamics work between different partners in art exhibitions.discussion regarding the power of relations between artist/curator/public/press/critics etc. How the works are chosen? are they picking works that fit in to programming or things they believe are already interested in. is it trend led i.e.: the shows regarding artist that have been banned from travel in the states.How much of an exhibition is about the curators personal taste, research driven or about the public and footfall? Acknowledging the bias and privilege and making sure that it is highlighted and bringing in the people with the experience and knowledge.How do you define a good curator? do they have their own motives?Did Rose's writing change anything for you as an artist?Points that were already in the conscious,its important to consider the context that your work is going to be shown, and how it is created.what your role is as an artist to manipulate and select your own environment, where you wan your work to be displayed and who see it. Whether the systems in art galleries etc are relevant to your work, or that it might not be suitable to be experienced outside the 'white cube' etc.How does this approach relate to our artwork?The artist has some responsibility to make artwork for and decide the end destination, who and where they will see it. You can influence control over this aspect. So the artist as curator, initially.when the artists becomes a curator, the traditional responsibilities of a museum, will transform to the artist's responsibilities. So the artist for instance should be reflexive, although that lack of reflexive, is one of the weak parts of the discourse analysis IIThe right to speak about certain discourses, being aware of your genres and bias, how you are read as an artist and whether you have the knowledge/experience/heritage to discuss the narratives of certain types of work. Being aware of cultural appropriation. Conflicted opinions regarding this, whether this can be restrictive or not to one own practice.