Professional Practice Plan Task 7

November 2011 

Reviewed May 2013

Reviewed September 2014

2011. My overall personal practice plan over the next few years is mainly attitudinal. It is about a philosophy and strategy of continuing to seek out and build up qualifications and experience, and allowing my artistic ambition to propel my confidence towards making a body of work, a reputation and a living.

2013. Since starting the MA, I have worked through some other professional qualifications: 

Manual Notetaker Training City Lit    

Maths Champion Facilitating functional numeracy skills

Peer Mentoring Skills OCN Level 2

Arts Award Adviser Bronze & Silver

Facilitating Adult Financial Capability OCN Level 3

Customer Service NCFE Level 2

Mentoring Training Koestler Arts Trust

IT User Skills CLAiT Plus OCR Level 2    

Business and Administration NCFE Level 2

2014. It’s fascinating for me to review this plan again as I complete the MA. Since the last review I have added to my list of qualifications:

Protecting Human Research Participants, Certificate, NIH Office of Extramural Research                     Open Research, Peer to Peer University                                                                 
Lean Organisation Management Techniques, Level 2, NCFE completing                                     Citizen Maths, Numeracy, Functional Skills                                                     
Advice & Guidance, Level 3, NVQ Certificate, City & Guilds 35969                                                     Nutrition & Health, Level 2, NCFE                                            
Notetaking and Disability, Courses, Randstad                                   
Minute Taking, Training, Global Lingo                                        
Mentoring, Training, Stepping Up                                                                
Adult Mental Health First Aid, Training, Rethink                  
Working in the Health Sector, Level 2, NCFE                         
Notetaking for Disabled Students HE, Level 3, OCNLR, City Lit                                      
Youth Mental Health First Aid, Training, Rethink                                     
TEFL, Certificate, Teaching English as a Foreign Language, GlobalTefl                                             Mentoring Training, University of the Arts London

Clearly I have highly invested my time and efforts in filling up my CV in order to equip myself for work. That’s been a constant push as I have been determined to get into a position of being active and able to earn and progress. I have been working as an academic notetaker which has also moved towards assisting disabled students, and which is also merged with my continuing work as an arts mentor for the Koestler Arts Trust. 

I am becoming the example of building up opportunities bit by bit, trusting that will connect into something. I really believe nothing is irrelevant, and it all builds up to a picture. I freely admit that much of my drive to amass experiences and qualifications, to follow all leads and advice, to make sure I turn over all stones, is that I am a bit terrified by getting into a state of immobility. There have been many great experiences, but sometimes, although I take onboard as much follow through as I can, it’s like throwing stones into a lake that has no ripples. I was feeling that very strongly before the MA, and it’s largely what drew me to realizing I needed to do one. I acknowledge that four years later I am in a different place about all that and am equipped and activated.

2011. Like most artists, I multi task. I have various career strands which for me add up to my practice. Not all activities are equal at all times, and achieving equilibrium is fleeting. However, progressing in different areas is the moving goal, and some objective measurable goals can exist as well as more abstract and subjective aims. I aim to continue in several parallel occupations, and have divided my practice into different areas, all of which I am active in, or plan to increase or establish activity. All of these require continual development, and crucially, all of them for me are essential and interlinked, and here in no particular order:

Reviewing/Assessing

Fiction Writing

Gallery Projects

Teaching

Moving Image/Artwork

Selling Work

Reviewing/Assessing

2011. My current role with the Arts Council as Artistic Assessor in Visual Arts is finite, and last year the publication for which I review books nearly collapsed. These circumstances remind me of the precariousness of such employment, and the need to secure more appointments. This is partly a question of confidence, or making multiple submissions and approaches to magazines and newspapers, and not ceasing until I have found sustainable reviewing opportunities. I have put off proactivity in this area recently, but will pursue this throughout the New Year.  I realise that I have built up considerable experience and credibility in this area over the years, having reviewed hundreds of books in cultural areas, from art to music and photography, and more recently poetry.

There are many publications which review books and exhibitions, and I have listed and identified the appropriate contacts – a list which needs continual updating. I do not wish to make use of the multitude of unpaid blogging and social media reviewing, although I may reconsider putting some on selected sites – perhaps Reviews Unedited on the Artists Newsletter site or the members reviews on the Art Review site.

I think there is a danger of spreading one’s words thin, and devaluing them by giving them away. If I can convince myself of the value of reviewing on such sites, and how I could use that to develop further paid reviewing, then I may proceed. Otherwise, it seems a little backwards for me, when I should be thinking more ambitiously and professionally.

Sometimes I doubt my ability for quick recall and access to facts in reviewing  – specific names of other artists, dates and movements to refer to, but the reviewing I have done specialises in referring to itself – in analysing the actual exhibition or book rather than what else it may reference. I personally also find the other type of review – the academic and knowledgeable, often off-putting and too expert. Perhaps this is a positive – my Unique Selling Point as a reviewer, that it is experiential and considered, but not written exclusively for experts.

Visiting and assessing exhibitions for the Arts Council has been a highlight of this year for me, giving me diverse experiences and perspectives on the gallery experience. Perhaps I see now that my next task is to define my role as reviewer, to summarise that, so that I can easily communicate what viewpoint I bring to reviewing work. In a few years time, my plan is that I will have built up and established more reviewing roles, writing about books, exhibitions and other cultural events.

2013. I have done a lot more reviewing, and have been able to branch out as well as books and exhibitions, into film, theatre and other things. I have also put several review on the AN site. I really enjoy reviewing and all the events I get to see and think about, but again, most is not paid, and in fact costs me in tube fares. I have built up a great reviewing portfolio and practice, which has led me to a new review site being set up, The Alternative Art Review, TAAR, for which I have already been paid for reviewing.

2014. I have recently taken a break from reviewing to complete the MA – still books for the Good Book Guide – always that. I have probably reviewed 200 – 300+ exhibitions and plays, and have built up a good body of work, and also a confidence that I can write about anything I’m asked to – I can always find a position or a way of understanding as a handle to start with.

I set up a blog some time ago which has been latent but is soon to emerge. It’s a reviewing persona – theGamorousAnorak http://theglamorousanorak.blogspot.co.uk/ where I thought I would place some reviews, writings, opinion pieces, articles, research, etc, and see where it takes me. I’m a bit fed up with reviewing for The Upcoming – editing issues and lack of support for writers when anything goes wrong… I think I’ve resigned already. Post MA, I thought I would email lots of galleries, theatres, etc, to get on their mailing lists as press in my own right, so that I can arrange and choose what I review myself. Just this week I have been invited to a couple of press events from my own contacts. So already theGamorousAnorak launched sooner than expected with Patrick Hughes 75th Birthday Press Lunch at Flowers Gallery.

http://eleanormacfarlane.blogspot.co.uk/2014/10/theglamorousanorak.html

http://theglamorousanorak.blogspot.co.uk/

Fiction Writing

2011. Writing fiction, and especially now novels, is integral to exploring and expressing my ideas. It takes a good year of commitment to write a novel, and more to edit and process it. It has been unfeasible to write one while starting the MA and other commitments, but things change, and I may prioritise writing at some point over the next couple of years.

As to getting published, I have many finished and nearly finished projects, some of which I have previously submitted to agents and publishers. I have gained some idea of how the world of publishing works, and in some ways, am still waiting for my lucky break. I have gained some useful feedback and developing relationships, and at least know how to submit work properly. I occasionally attend events for aspiring novelists, and also writers’ talks. When it comes to it, there is no substitute in this area for getting on with it, applying rigorous self editing, and consistent proactivity.

I have a friend who has a long established book group of nearly 25 years, and who has offered to read with her group my most recent novel of 2010, Einstein Symphony No 1. That is arranged for the New Year, and is a great opportunity to gain considered critique.

It’s important for me to write, and develop my ideas which link with my art practice – notions of time as it is experienced, the legacy of having lived, ideas about music and movies. I have plans swirling around for my next novel which concerns the reality of fictional characters. Although I may plan over the next few years to write another novel, and to get one published and distributed, what is really within my power to enact is the will power to write, to get involved and commit to the thinking process and what it takes to list and send out. That at least I will do.

2013. Nothing much here, except an involvement with a publishing venture for dyslexic writers. It’s just emails so far, and no, they’re not going to publish my novels, but there may be workshops and other writers to meet.

Not fiction, but other writing work – it may be unlikely and ironic for a dyslexic person, but I have recently spent a weekend training in notetaking with a view to working as a manual Notetaker for disabled students – there is a further qualification to take. I’m quite drawn to it, and have found I am capable. It’s not the best paid job in the world, but is interesting, flexible and suitable.

2014. Again, this is part of future plans once I am “free” of the MA and can plan other projects. All the blogging and review and art writing, as well as writing for courses and the notetaking – all of that will surely have fed into my writing once I plan another novel.

Gallery Projects

2011. I have given myself recently a platform for development, spurred on by the MA, in the Breaking Boundaries task. Through theViewergallery, I plan to create many different projects. I feel it gives me license to set up, to experiment, to sell, to approach. I can link to other organisations and events, involve other artists, and create all sorts of contexts around my own work.

http://theviewergallery.blogspot.com/

I am thinking through projects I’d like to do with theViewergallery – as well as similar and repeating events like those initiated at the launch, it is an ideal imaginary space to try out more conceptual ideas, to make use of free space, office space, any resources that may be had. It is not my intention to overload myself with commitments and debt, since even negotiated space requires some financing, but I feel somehow liberated to set up and try out art and exhibitions I would like to see happen. In time I would like theViewergallery to have a more concrete basis, to pay for itself and to have a studio/premises/storage space, but this is not its current priority.

2013. I have had about four theViewergallery / theLongLine events, and have built up items and ideas. I aim to arrange one or two events a year. I have applied for a couple of things with it – venues, and so on, but have not quite been successful yet. I’ll keep going, and hope for some more invites to show, and ways of setting up that don’t take too much time and resources.

2014. theViewergallery is waiting for a little time to set up new projects. I’m going to try out a variety of formats including an online questionnaire I have really had in mind since my degree, about how to think like an artist. I’d like to do more moving image screenings because it is a great way of meeting other moving image artists and also trying out screening formats such as multiple screens and TVs etc, and setting up in different kinds of places. Very much an ongoing series of ideas. 

Occasionally I have put theViewergallery forward as a proposal in itself, and have not been successful as yet, but will continue applying for a funded project. Whatever happens, I know I can always get it together to make theViewergallery happen, and it actually has built up quite a collection of stuff – fixtures and fittings and popup regalia. I still find it a great arena or persona for myself as an artist.

Teaching

2011. One of my main reasons for studying for an MA was to make myself more qualified to teach, in a very qualified and shrinking market. I have proactively gained various experience and qualifications in teaching in recent years, and still add to that and continually apply for the kind of jobs I would like. My CV has become more specific and credible, and so I hope it is only a matter of time before I gain the right job. Whenever I see vacancies for Associate Lecturers in Fine Art somewhere in England that I could travel to and from within a working day, I apply.

I have had plans to devise and organise classes, which I occasionally revise and add to. Throughout next year, if I do not gain appropriate employment, I will volunteer for more relevant experience, and work on setting up my own classes.

There are two places who have indicated they might ask me to do an artist talk next year – Newcastle University and Oxford Brookes University. I may be able to combine these with some tutorials for students, which again adds up to credible experience.

2013. Nothing more here, except qualifications and experience that add up towards my teaching CV. I still think an ideal job for me would be an associate lecturer in Fine Art colleges. The MA will help in that.

2014. Post MA I will be searching for teaching positions. I have in the last couple of years added to qualifications and experience, all of which I hope will make the case when I apply. What I really want is associate lecturer positions in art schools – it’s been my aim for the MA – I’ve always wanted the intensity and variety of that, and all those conversations, tuning in to various students and practices. I’ve been working as an art tutor for the Independent Art School, non-accredited teaching which has been enjoyable and also adds to experience.

http://eleanormacfarlane.blogspot.co.uk/2014/07/independent-art-school-tutoring.html

Additionally, other work I have been doing in student support contributes to that and employs me in its own right – academic notetaking which has led to other roles and joined up with mentoring towards the possibility of mental health mentoring for higher education students. These roles are rather intense and hard work, but can be very rewarding. I also see such support as very related to tutoring, as there are many overlapping skills and sensibilities.

Moving Image and Artwork

2011. I am surprised at how I have moved away slightly from making work this year, but it feels like a natural pause and preparation for much more work. Preparation for an exhibition in the New Year has dominated – Vessels, with a delayed deadline it spread out for longer, but I feel, benefited from even more consideration and deciding of details.

I have not felt a great deal of artistic satisfaction in the visual work I produced for the MA, but feel it has been really valuable, and added to my stable of ideas to develop, especially the use of layers of empty  frames. There is much to explore there in projected and subtle images and Moving Image.

It has been an artistically active year, but over the next few years I hope to be more productive in Moving Image terms, to make work for its own sake, and to continue to develop my own style and ideas in Moving Image. I have an aim in my life and my practice to create a body of work which manifests my vision and ideas. This whole idea propels me and connects all my activities and aspirations together.

Approaching galleries, working with curators and organizations, submitting proposals and gaining funding all still seem to be rather more a question of luck than decision, but are things I continually try to learn about and participate in. More reliable is what I actually make sure to do myself.

2013. I am happy artistically with the work I am making and planning in the MA, now that projects are more self-directed and larger. I see how to connect what I have learned with my previous work, and feel it deepens the whole body.

2014. I make and study art because at the core, what I want is to get there, to see and make and do what I hope to imagine, to make something exist that I desired to see since childhood or at heightened moments – perhaps that’s just my fanciful way of saying it anyway. The many steps and processes towards that has steps upon the way, moments where the critical voice and the education and learning and the eye that seeks all agree and produce something satisfactory. It always moves on, there’s always many possible configurations and alternatives. It takes many steps over years to refine and manifest a practice. What I’m trying to say is that I am very happy with what has happened over the MA and what I have come up with in the final project, and the technical abilities I have built up over the years which allows me to produce what I feel is my own art. Always becoming, always starting over, but I have unpicked many areas of my art practice and uncovered what I truly want to do in art, and all else will just have to follow.

Selling Work

2011. I have not concentrated on this aspect for some time. I have produced work which has, if not been unsellable, has at least been unsellable by me, despite aspirations otherwise. Plans and ideas are one thing – actually producing works and multiples to sell, and creating the arena and market for them is what I am now ready for.

I have previously made and sold arty and creative items, and heartily wanted to avoid some of the pitfalls of that – selling sale or return, having leftover stock, not really knowing how to price and basically not really being equal in business. Now, courses and experiences later, I am ready to relaunch selling products. Thank goodness for the internet and the practice I have had selling excess review books and items for my son on eBay and Amazon. I used to feel that everything must be anticipated and thoroughly thought through, and while it is efficient to prepare for eventualities, and to start off well, it can be immobilizing to activity and experimentation.

I have always enjoyed making things. Often my artwork becomes contraptions, or objects, or art inventions. I delight in coming up with practical solutions which also convey my ideas, and I have had rewarding experiences in showing these publically. Through theViewergallery, I will present and sell a range of my handmade art products. I have already made a start in this area in my handmade corporate items – theViewergallery badges, magnets, stones, cards, etc. I have some ideas and prototypes and models which I have devised. I don’t know what I have been waiting for – things to come together perhaps, but I have found a way to start now, without having everything already paved towards the V&A shop or other ultimate goals. 

Again, I find the persona afforded me through theViewergallery somehow liberating in acting as an agency to sell, rather than dealing with any dilemmas about selling through my own name, giving me a workable solution. 

2013. It’s all about getting involved – you just never know. As part of the Cubitt Gallery Drawing Collective, I have been asked to participate in a charity art fair at a big solicitors’ near the Barbican. In fact, I went there today to look at the space and meet the team. It’s a great opportunity to show and sell work – I feel rather lucky and am making some prints upon skeleton leaves for it. I’ll be blogging all about it.

http://eleanormacfarlane.blogspot.co.uk/2013/05/slaughter-and-may-art-fair.html

2014. More learning experiences rather than marvellous successes. I’ve followed a lot of advice and ensured that I am as gallery ready as I can be – I may make moving image, and it’s still a mystery how all that works commercially, but I have a sellable practice in framed prints and items. The framing is not just because of selling, but a more conceptual solution to objectness and the relationship between still and moving images – also I have a real urge to make and process things. To me it’s potentially an ideal balance which could also actually work.

I have more understanding of this area and how to approach it, and again, if it does not come along to me, I will create opportunities for myself and set up ways of selling.

Where I am in the Context of Contemporary Art

2011. I am in a position of potential. I have experience and a body of work which now means that although I must maintain my proactivity to ensure progress towards a sustaining practice, I no longer have to pounce on everything that moves, and follow through every slight opportunity. I can create a context around what I would like to happen, whether or not the world of contemporary art fits itself around me. I like being involved in current practice, and plan to continue exhibiting and reviewing, and would also like to get more involved in cross media Fine Art teaching. 

2014. I understand this question much more as I finish the MA, and realise this was one of the main areas I needed to grasp and clarify. I think I will always find it a little challenging to come up with a straightforward answer to this. I still naturally resist relating my thinking to that of other artists, but understand now how to mention ideas as expressed in other practice and how that indicates my intentions or directions. 

I feel my understanding is facilitated by an idea in the rehang at Tate Britain, which I wrote about some time ago:

http://eleanormacfarlane.blogspot.co.uk/2013/05/500-years-of-british-art.html

Work there is now arranged in time, and different forces, practices and eras co-exist, young and old, much more as in life, with overlapping layers of influences and art, each cutting edge or contemporary in their own way. I know where I look back, and where to today. I know now how to talk about my work in terms of contemporary or recent practice. Rather than disliking naming other artists for fear of enclosing my work in unwanted associations, I now welcome that as a discussion and entry point. In the multiplicity of roles and positions in the art world, I have a clearer understanding of that matrix and how to carve out the space I want, which is to be an exhibiting artist, showing and making work, and involved with interesting projects with theViewergallery and theGlamorousAnorak, setting up screenings and reviewing and writing, and with some teaching positions as associate tutor in art schools.

Research

2014. This category didn’t figure before, but now I feel able and mobilised to undertake somewhat of a research practice, whether I continue the pathway towards a PhD, other research projects, or even some guerrilla research. 

Research seems to start off in research about what research itself is, and building up understanding of the conventions and language, the connections and formats, in addition to the subject researched. Working toward the PhD application was really valuable for my entire practice and MA, and the recent Open Research course further built my knowledge, resources, and confidence in my own ability to undertake projects as a continual practice.

http://eleanormacfarlane.blogspot.co.uk/2014/01/phd-application.html

http://eleanormacfarlane.blogspot.co.uk/2014/10/open-research.html

Post MA, I intend to develop and write a research statement in addition to an artist statement. There is plenty of material in my thinking already. Combined with the blogging practice, the reviewing and creative writing, I am heartily looking forward to building up new writing projects after the MA.

11th November 2014

Tutorial Report 37

Date: 27^th October 2014                              Tutor: Caroline Wright

_________________________________________________________________________________

Reflection on outcomes since last tutorial

This tutorial was about my Professional Practice Plan, Artist CV and also any dyslexia issues for assessment. Tracking the progress between the start of the MA and now at the point of leaving is recently different, as beyond the MA there will be new thoughts – I'm looking forward to all the projects to start up and follow through – I've really equipped myself with possibilities. My CV has been a bit stuffed with everything, and my artist CV too scattered – great point about leaving some space for new possibilities – at the moment it looks like I have no time and commitment for exhibitions, as it is not necessarily clear that all those roles and jobs I have built up can be dropped for flexibility. I don’t think I really knew what an artist CV should contain, and what it should omit.

After the tutorial I edited several one page CVs for various roles – artist, tutor, mentor, curator, workshop, notetaker, reviewer – I'm really happy to clarify them, and I think they make much more sense to a reader, and also to myself. Also wrote a research CV which I can build upon after recent intriguing ventures into the world of research possibilities.

Notes to self: The CV should show progression and build upon experiences to higher grade, higher quality roles. Too much on a CV can undermine the point – summarise, consolidate. Some things trump others, so don’t need to add everything. Highlight. Direct.

____________________________________________________________________________

Current projected aims and outcomes

I'm glad I mentioned to CW about another exhibition I was a bit torn about being involved in. The truth is I have felt I do not have the luxury of being selective – it’s either show work or not. CW just pointed out the questions I should ask of the organisers – they have been asking more and more of the artists, with too many unknown variables. I had a good phone call with them later, and it went well to ask some of those questions, from the point of view of actually being a professional artist and not someone too keen to throw my work away. The truth is that compromise is not always a bad work – it is negotiation, but the crunch issue to me that CW pointed out was that I could not be sure there would be an appropriate setting and context to my work. I felt I left it on very good terms with the organisers with a not so jokey idea about a paid commission at some point.

Very apposite that this issue should emerge just at this point, to give me a focus for reassessing my plans and strategies for exhibiting opportunities, and preparing what to question and what to ask for. Notes to self: Fee for work, for exhibition, who are the other artists, who will be invited, who can I invite, what is the context, will the work be shown in appropriate ways, etc.

CW suggested targeting certain opportunities and building up having the choices and selection. It’s true, I really could set up an exhibition and screening, perhaps apply for funding. This time I know how to invite the appropriate people and to follow through, unlike in my exhibition Viewer after my degree in 2007. Again, it’s about building up to higher, better quality, more selective – if at all possible.

________________________________________________________________________________

Discussion and recommendations

For assessment, I will basically follow the same model of previous years, including the folder of backup material – for me it’s a good way of collecting thoughts and making it coherent. I have seen MA shows where a couple of people have produced a printed book of their project – I always hoped if there was time I would do that – I certainly have the material and it would be appropriate to my practice – there’s still time, after more imperative issues have been dealt with. CW also cautioned about quality of said publications, and to employ what every graphic design skills or contacts I may have. Time will tell.

Remember to send the film file to CW as well as the assessment email to check.

The PPP page of assessment – condense to a series of aims, like an exit strategy from the MA towards the next couple of years. Perhaps add some key dates for a sense of a timed journey.

Reflection

Such a useful tutorial for me – sometimes you have to go through a few years to have a very valuable CV day. I have three weeks to get everything together now before I go to set up in Sheffield. I'm pretty sure I know what to do and what’s involved, and so now all I have to do it keep going, organise and prioritise tasks.

27th October 2014

theGlamorousAnorak

http://theglamorousanorak.blogspot.co.uk/

I have been planning a new reviewing site and persona for myself when I leave the MA. Having reviewed for The Upcoming for a couple of years, I recently took a break from that to devote more time to finishing off the MA, and realised I didn't really want to go back. I truly enjoyed getting to review not just exhibitions but also theatre, film, opera and basically anything. I've built up a good body of work and know that I can review absolutely anything, no matter how awful, wonderful, baffling or high/lowbrow.

I thought I would be sending out screeds of emails to get myself on press lists for galleries, etc, but something came up which precipitated the launch of theGlamorousAnorak.  I was invited to a press lunch in my own right, as it were, from an artist I worked with a couple of years ago in the Cubitt Drawing Collective, who now works at Flowers Gallery. I've had the opportunity to go to press events through The Upcoming, and they are invariably a table of coffees, perhaps a few sandwiches and pastries, and a talk by the artist or curator. I was taken aback to walk in to Flowers gallery and find about a dozen people sitting around a big table having a proper lunch. If I'd known that I'd have been in time, as usually these things start a bit late anyway.

So I sat right next to Angela Flowers who started the gallery and her son Matthew who now runs it. Next to us was the artist Patrick Hughes - this lunch was for an exhibition celebrating his 75th birthday and 50 years since he came up with his reverse perspective paintings. There were various other artists and writers there. It was a very pleasant time with Patrick telling outrageous anecdotes about characters he and Angela knew. Angela Flowers is a lovely lady and we talked about my popup theViewergallery and how she had to imagine eating butter during the war. I asked Patrick if he was going to give us a walk through the exhibition, whereupon he bounded up and said he'd take me now, and I had a great talk with him about his work and various other things. He's energetic and enthusiastic, and really generous with his thoughts.

Eye Level, Patrick Hughes, 2014

http://www.flowersgallery.com/

Work, life, preparing for MA and everything else - it's a bit relentless at the moment, but some chances you can't pass up, so theGlamorousAnorak was launched and tweeted later with this review:

http://theglamorousanorak.blogspot.co.uk/2014/10/patrick-hughes-new-reverspectives.html

More will probably have to wait for a wee while, but I thought theGlamorousAnorak would be a good place to keep up the blogging habit the MA has engendered, and to see where else reviewing might take me. Hoping for some sort of an in with a gallery,

19th October 2014

Open Research

I completed this online facilitated course, Open Research:

https://p2pu.org/en/courses/2377/open-research/

On the Peer to Peer University, P2PU, it was run by the Open University's OER Research Hub.

What I was hoping for was an insight into research in general, and it turned out to be much more. As well as collecting a great amount of resources for future research projects, it was the collaborative elements - the forums and the google hangouts which were valuable. I didn't really know I could converse with academic researchers about research itself and not come across like a complete and utter idiot. The MA and the PhD proposal have clued me in to Research quite a lot and I feel equipped to approach future research projects, whether an actual PhD or other projects involving institutions. Besides, I do find the whole area very interesting, as a way of understanding ideas.

The course also included some interesting discussions about ethics and dissemination of ideas. Most of the other contributors seemed to be academics often involved with the development of education, research and open learning itself, and a few scientists to boot. But everyone has a perspective and contribution to add, and cross overs from other disciplines and fields are always enlightening. As with the MA it's the sharing and the response which makes ideas come alive.

Openness in research in the arts and humanities are I think highly valued, as many projects are designed with audience engagement in mind. I have come to realise that it helps to be able to speak to the academics and researchers in institutions when making a proposal, or at least to understand their concerns and language.

I don't know what research I will be involved with in time, but there will be research, and it will be largely open.

Some bits from my own comments and contributions:

1.1 What does Openness mean to you?

Great thoughtful comments which all ring true on the mutifacted basic ideas of openness.
To me openness is about access. Sometimes it is difficult to find information because you don't know what you are looking for.

It's the difference between browsing library shelves or being in a system where you have to know and order the books you want.

Openness is leaving a trail or a multiplicity of trails so that people can find information from all the different ways, reasons and methodologies of approach.

So it's understanding that the titling, the labelling, the categorising of knowledge may not be equally understood or read by those seeking it.

Research may have certain conventions, but open research allows for entry from different disciplines.

1.2 What is Open Research?

Perhaps more in the context of art practice, open research is being transparent in the processes of working.          

Often these aspects of art are a bit secretive, partly because it takes discipline and the invention of system of documentation.

Perhaps openness in research is also being in a state of readiness to disclose and to engage in debate.

Initial thought about applying more openness to my work and research...artists are always looking for ways for viewers to understand and engage with their work, and I can see that more open research can link to other debates and conversations, within and outside of the arts.

1.3 What does openness in research mean to others?

In open research there is more potential for loss of control, and the research spreading into unexpected or unintended use.

This dilemma is desirable for researchers, to engage in a wider conversation, yet potentially undesirable, as there are possibilities for unintended change of context.

The process of open research means more transparency built into the research project, releasing selected information before conclusions are reached, engaging in debate along the way, and possibly incorporating suggestions and feedback.

The difference in open research - willingness of others to participate and therefore to get research projects up and running because they are open.

Guerilla and small scale research projects - a very attractive idea.

Compelling - the global network of peers. Excellent way of gathering data and comments to get projects going.

Do you think that in order to become an open researcher you have to be a conventional academic first?

There are certainly things to learn from conventional research - many concepts and also the research language. But having gleaned some basics, I think even conventional researchers are interested in new forms and new methods of research. Everybody likes script that reads well and easily, and I suggest open research reads more easily because it is designed to appeal to people outside of the traditional research and academic environment. It can still be just as credible as conventional research, but there is the potential for a more inventive approach.

I am thinking that open research is not passive but active. It's all very well being available, publishing, blogging, but the difference between traditional and open research seems to be about the audience. Perhaps open research is characterised by the efforts and systems researchers put in place to disseminate ideas and information outside of the usual scope of academic audiences, so that it is not just research for other researchers.

Advantages and Challenges of Open Research

In what ways do you think you can be open at this stage of the research process?
By documenting and perhaps blogging thoughts, processes and potential methodologies which are being considered.

What are the advantages of being 'open' at this stage in the research process?

It requires coherent thinking and clarity of documentation, which in turn may help the planning process itself.

What are the challenges of being 'open' at this stage in the research process?

It may be at too early a stage to invite comment which may be a distraction. There may as yet be elements of the project which are sensitive, and which are yet to transpire, and so being open may disadvantage the project of make it seem less considered.

How could you resolve any challenges?

Probably yet more openness about the challenges themselves. Actually this makes the research a highly reflective process which is a great way of researching and maintaining process and ethics.

In what ways do you think you can be open at this stage of the research process?
Not all research is the same. I feel that perhaps this course discusses more factual research than the arts, which, while conducted under the same methodologies, is sometimes more a voyage of discovery in art practice. Therefore the term data may be much more subjective in an arts research project. Openness in this context may be more self reflective, and is still possible.

What are the advantages of being 'open' at this stage in the research process?

The advantages of openness in the arts context would be in articulating thoughts and ideas which may normally remain embedded within practice. I believe that a reflective art practitioner is more able to communicate thoughts in and outside of art practice, and so this would be an advantage in communicating ideas.

What are the challenges of being 'open' at this stage in the research process?

The artist researcher may expose their ideas and processes before they are formed or at a vulnerable stage. Some processes get worked through and left behind, and the researcher should feel free to abandon directions which are not effective when the project evolves.

How could you resolve any challenges?

Again, openness about the process itself is an effective strategy. Also, I would consider what a video contributor said in the previous unit about being selective about what to publish during a project.

Any further thoughts/comments?

I think the strategy of openness is a direction of travel, but is not an automatic process for everything that happens in a research project. 

2.0 Ethics in the Open

My area of research covers reflective practice, mostly in fine art. This area borrows from and seeps into educational theory, psychology and other disciplines.

Often it involves interviewing artists about their personal methods of working and thinking, and so there are issues of revealing and confidentiality there, and sensitive times in art tutorials and crits, etc.

As a practising artist, any research project I do within an institution highly prizes openness in research for public engagement.

2.2 Institutional Research

I don't currently work in an institution, but I am glad to be made aware of codes of ethics and will research for more.

Up to certain level, a researcher has to rely upon common sense, but once work becomes research, the ethical methodologies are surely one of the criteria which verifies it.

2.3 Research in the Institution and Beyond

I think it's a key point about being transparent about the understanding of openness - researchers would have to define terms as open research is full of moveable definitions. True openness is not just being open but explaining how that is implemented.

I took the NIH course - it's always valuable to see different applications of research principles.

2.4 'Good' Open Research

Sending the request to external teachers makes all subsequent data gathered that way completely invalid as having been obtained by informed consent - the other teachers may have selected, deselected or cooerced students to participate. If anything, he should have passed the survey on to external institutions whose policy he could check, and who could participate in the survey according to agreed principles.

I'm not surprised our group has not yet answered this one - it makes you think. We are in the midst of exploring all these issues, and so it's quite hard to boil them down at this stage into a simple and clear approach. However, without being too complicated, most things can be reduced to steps, and an open researcher would always prioritise transparency. I'd say that along with all attempts and intentions to be clear and open, none of that matters if the researcher does not check for understanding in the participants, and adapt their approach to ensure information is being received and understood.

2.5 Open Research Ethics Summary

Already we have about a year's worth of material to read through and think about. I'm very glad of this introduction to the area and the collation of all the links to explore further. It's hard not to feel skimming over such fascinating issues, full of interesting distractions.

3.1 Open Access Publishing

Having thought about Green and Gold, my thinking turns to as yet unspecified alternatives. certainly as an individual I am used to inventing new practices, although sometimes reinventing wheels.

I came across this clear guide which begins to expand the colours and options. Such is the nature of research and future conditions, it seems useful to come up with easily responsive ideas for changing circumstances, especially for a researcher who works outside and occasionally with institutions - there will be no one size fits all.

http://www.sherpa.ac.uk/documents/sherpaplusdocs/Nottingham-colour-guide.pdf

3.2 Examples of Open Dissemination

Institutions are always particularly banging on about public engagement in the arts, and an open approach to research seems an ideal method of capturing a variety of interests. However, it may also invite many distracting requests and queries. I've seen this happen in a project where there was so much interest to deal with that the museum had to formalise and somewhat restrict what had been an open door policy to their research project.

3.3 Facilitating Open Dissemination

I use twitter for some things, blog others, even have an old steam powered website. I don't tend to be a particularly early adopter of new platforms, because using each media well and upkeep are a real time issue. For art projects the balance of what research to disseminate is tricky - some processes just have to wait until the grand reveal. In exhibition terms, openness may not always be shared online digital information, but physical transparency about art processes and research.

3.4 Open Licensing

You're absolutely right about an artist's concerns. However, much art education and practice now involves thoroughly researching projects and also engaging with researchers in other disciplines. Formats for open art research dissemination may still have to be invented, as copyright issues are involved, However, I believe there are creative solutions to be discovered and developed, again using the methodologies and findings of other research disciplines and forums, such as this.

Well, I'm still researching this and considering options. I've seen a couple of artists who also make moving image who have some clips on their website which are protected and some which are freely available to download and use under a creative commons license. I respond to that idea although it's not really suitable for my work - perhaps for some areas. I think that in my own work I am still confused about what might be research which could be openly available to others, and what is my core work and creative capital. There are so many overlapping layers and edges. And since research is not my core activity, but part of my art practice, there are additional formatting and time issues which need to be considered. However, open research is surely about establishing conversations about ideas, and that's a good place to start from.

3.5 Planning Your Own Research Project

My research project idea:

The Reflective Learning Cycle: can a revised model better reflect fine art practice? Art practice-based research.

What is the aim of your research project?

To look at the way artists think and reflect upon working and learning, to see if there are new and useful models and insights.

What are you trying to find out? Why?

New model of the reflective learning cycle specific to artists

What methods will you use?

Interviews, reflective art practice, qualitative

What data will you gather?

interviews, data about art crits

What will you release openly?

most of the data I collect.

What license will you adopt?

to be decided - I need to absorb that area

What dissemination approach will you take?

Blogging. Perhaps art school talks, etc

Which open research practices, if any, will you use for this project?

I will research from the beginning in ways that is suitable for blogging and openness, and integrate that into the project

Tell us more about why you will use these open research practices:

I think open research is as much an attitude and approach as a practice, and I would like to integrate open practices and let them lead the research to some extent.

Are there any open research practices that you wouldn't use for this project?

I will anyway be selective and not be a completely open project, I still have some decisions to make as regards copyright of some materials.

Tell us more about why you wouldn't use these open research practices:

Some research needs time to brew before conclusions are reached – I think it can be exposed at too soon a stage.

4.0 Reflecting in the Open

4.1 Researchers Reflect on Reflection

I have been researching various Reflective Cycle models in relation to fine art practice. Many like Kolb and Schön are widely used in educational and business practice, etc, but there are others, and many stem from earlier Graham Wallis Art of Thought which in turn amalgamated research from psychologists, artists, poets and musicians. What we assume is a formulaic cycle of plan, act, review, etc, is potentially much more complex and individualistic.

4.2 Blogging as Reflection

I am just completing what is the first completely distance MA in fine art in Europe. It has been a very long four years, during which I have kept my entire work on a blog - reflective journal, research material, jottings, trials and all else. although it is a closed community which has access to that, I now thoroughly have the habit of blogging, and of sharing information and thoughts in progress. I will soon have the time to set up new projects, and appreciate the idea of having specific blogs for particular projects, and even particular audiences. I have a popup gallery blog which will be a great platform for a research project, mixing it with art and other projects.

I don't have much to add to the comments, which fairly summarise the points - but blogging is not just about sharing information, it's also a great place to crystallise and collate thinking, giving an entire project an identity.

4.3 Reflection and Evaluation

There are several good points to be integrated in structuring any research - I think having a structure for reflection is vital. However, personally I always work as a lone freelancer - an individual artist researcher rather as part of a team. My collaboration is whatever openness I can integrate into the project. I don't see that changing much.

4.4 Tools for Reflection

4.5 Reflecting on your own Research

This thinking continues throughout life and all educational levels! Once we get over the copying thing, we are unsure of sharing thoughts in progress before they are developed and verified. We also need to retain the right to abandon a train of thought when we choose to go elsewhere.

How open were you when conducting research before you started this course?

Open, but in a closed environment - blog in an MA group

What parts of your research, if any, did you share openly?

Blogging practice has made me increasingly open about all areas of practice and research, but not openly open - selective dissemination.

What do you think works well for you about doing open research?

I think its the structure of self reflection. It's a great way of keeping track of own thinking and the project itself

What do you think might not work so well for you?

I have to think through what to keep back. I think it also could be quite time consuming to polish all the updates

What are you going to do to be a (more) open researcher in the future?

I'm going to try a specific small project, using ideas form this course, to see what works best for me.

How are you going to change your practice? What would you plan differently in the future as a result of having done this course?

I'm convinced of the importance of open research. I'm aware how much I've benefited personally form what is available openly, and I plan to contribute. bit early to indicate specifics, but the principle of openness is embedded.

13th October 2014

...................................................................................................................................................................

Unexpectedly received some feedback about my participation in the Open Research course:

Thank you very much for participating in the course. It has been a pleasure to have you on board. Your contributions to the forum discussions were insightful, thought-provoking and very valuable. We all appreciate your sharing some of your personal reflections: it has been very interesting to hear of and learn from your perspective as an artist.

Questions

I'd like to hear more about your project as it sounds fascinating, are you looking at new models with an aim to applying them to teaching art?

In terms of capturing reflection instead of asking about reflection, may I point you in the direction of 'think aloud protocols'? I think you may find the methodology useful http://en.wikipedia.org/wiki/Think_aloud_protocol

Concerns

Your concerns about how much and when to share are perfectly valid. You've mentioned you blog openly but within closed doors... have you thought about how different it would really be if you made it properly open? To be honest, after your participation in the forum discussions and hangouts these last few weeks, I feel like 'hey, I wish I could read her posts'. Whenever you are ready to share with the big world out there, let us know, we can't wait!

Best of luck, Bea (on behalf of the OERRH team)

And I achieved an Open Research badge, whatever that is - more to research. Actually, this may be a great way to set up courses. Got me thinking now.

About Badges

At P2PU, learning is guided by people, passion, and projects. We’ve created this Badge platform to spark feedback between Experts and Learners about their learning projects. A Badge is symbol of mastery that comes out of those conversations. Here you’ll find out how Badges work, and some resources to build your own.

Fast Facts

• Badges are a way for Learners to get feedback on their learning projects.
• A "learning project" is an artifact that folks make in their learning experience--it can be a book report, an Arduino project, a presentation or a poem.
• On badges.p2pu.org we have two kinds of community members: Experts and Learners.
• An Expert is someone who can award the Badge because they have already achieved it. Only Experts can award Badges, but any Learner can give feedback on any project.
• Badges can be shared via Twitter or embedded in any website via iframe. We encourage you to share them!
• Our Badges do integrate with the Mozilla Open Badges Infrastructure.

http://openbadges.org/

24th October 2014

Task 6 Student Texts and Seminars

Making and delegating work

23rd September 2014

Tutorial Report 36

Date:     8^th September 2014          Tutor: Angela Rogers

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Reflection on outcomes since last tutorial

I had sent a couple of nearly there video samples, one of the old school photos, now called Class of Yesterday, and one layered with Found Paintings – Embedded, which will be the final piece. Also sound which I have identified but not worked on yet – Ellen singing. Also the paragraph outlines for the written contextual commentary which would leave only about 100 words apiece.

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Current projected aims and outcomes

I have been spending much time working on this – currently Class of Yesterday, and after waves of processing to give myself the palette, now piecing the images together, and checking against Found Paintings. It was great to hear Angela say, unprompted!, that the work is so full of references, with positive and negative, fading, masks, and so on. Of course that is what I have been aiming at and what I see. AR thought it was now all pulling together and that my attention to the process is bearing fruit. Meticulous is such an encouraging word – most of that work is volumatic (not sure if that is a word, but it should be – all about sheer volume), repetitive and mostly invisible. As I come to the stage in making the piece where I am aiming for a kind of perfection, or at least doing whatever the piece requires that I can possibly do, maintaining meticulousness whilst I have to make compromises and choices, is the arbiter of inner judgement.

The obvious reference to Boltanski. I am not signposting work, or labelling intention in his way. In fact, my work is not necessarily a memorial at all – that’s one of many possible interpretations. I could put it this way – in Embedded the positive and negative aspects are equal, as a literal metaphor. People fade away, but the fade in also, perhaps being remembered. We all fade away in time, but my feeling is that we all make a mark and our presence makes a difference in the world, no matter how short nor how remote in time. All these thoughts of mine have been embedded into the piece as I have been making it.

The layers add layers of thought – the paintings, colours, textures – an aesthetic and sensual experience, and adds more information and interpretations – emotional and conceptual. What makes the multiple layering work is rigorousness and thoroughness.

AR discussed more reflection upon my intentions for the piece as I complete – more integrated thoughts. The purpose and value – each work on its own – paintings and photos, but which more dominant, or where is the balance – that’s what I own and control. Apparent in the stills – the framed digital prints, shown in a variety of ways.

Positive and negative within the image stimulates associations – can’t determine people’s responses, perhaps psychological response. Warning of overwhelming with too much stimulation and information – be conscious of refinement. Keep it subtle – reached a fine balance – keep attention to aesthetics. Don’t be seduced into adding more, pull back, what can I take out in finishing?

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Discussion and recommendations

The projection – keep as unencumbered as possible – I had been thinking of projecting into a blank frame but that directs the interpretation too much – will use a blank board. The lack of physical presence is the impact of the piece. Has the quality of memory.

Also showing on a floor TV. The multiplicity of display – potential to mitigate a heavy emotional impact. I liked Angela’s description of the informality of display. Yes, I am showing in an informal way to show it is one of many possible ways to show, that it would be arranged differently, possibly different stills framed, etc, somewhat responding to the exhibition space. I want to make sure the focus is on the moving image although I am also showing stills. I am fascinated with the reflexive relationship between the stills and moving image.

The Old school photos – class of Yesterday, as I have been working on them, photographing them again and solarising, making them reflective and silvery, positive and negative at the same time, and further with the still I am producing, I am very aware of referencing the entire history of photography, back to glass and metal plates, and daguerreotypes, and want to reflect this further by possibly having one etched in metal. I have been reading/researching about this a bit but have a mountain of blogging to do.

The sound – yet to really work on – have to keep it subtle, and not pull away attention form the work. Perhaps blend in, break it up with other music. The sound can’t be the experience of this work – don’t undermine it – consolidate and build it.(Note: AR emailed she did not understand this comment – what I meant was that the sound can't be the total experience of the work, meaning that it must not overwhelm the visual).

The contextual writing. AR’s earlier writing workshop was great about writing around a thing to get words and phrases out. I think I will write the paragraphs I have identified – very useful anyway. There are overlapping ideas. But AR said the writing is not an essay, so make it your own and satisfying – it can be lyrical, have character.

Reflection

It’s quite difficult to update colleagues of progress of piece as there is so much subtle processing, and not so subtle, so it was good to be able to get together a near sample to send, and hear AR say what I hoped and intended was in the piece. Anyway, compromises, in a positive sense of choice, now have to be made in completing the piece.  

10th September 2014