Bio: Peter Jaeger is an academic researcher. The author has contributed to research in topics: Modular form. The author has an hindex of 1, co-authored 2 publications receiving 3 citations.
Topics: Modular form
31 May 2016
TL;DR: In this article, the authors present a practice-centred teaching method for collaborative writing for design teams at M-level in higher education (HE) by using Approaches, Practices and Tools (APTs) across three case study workshops.
Abstract: This thesis offers and evaluates collaborative writing practices for teams of Design students at M-Level in Higher Education (HE). The research begins by asking why writing is included in current art and design HE, and identifies an assumption about the role of writing across the sector derived from a misreading of the 1960 and 1970 Coldstream Reports. As a result, drawing on recommendations that were made in the Reports for non-studio studies to be complementary to art and design practice in HE, I focus on how teams of design students can complement their design skills with collaborative writing. Some studies for addressing how design students learn from writing in HE already exist, but none have established a practice-centred teaching method for collaborative writing for design teams at M-level. My research captures the effects of my Approaches, Practices and Tools (APTs) across three case study workshops. I compare these with the most common writing model in HE designed for text-based study in the humanities. My APTs use participants' designerly strengths to redesign how they can use writing to complement their practice. This provides learners with a means of identifying and creating their own situated writing structures and practices. I document how my practice-centred APTs position collaborative writing practices as a designerly mode of communication between design practitioners working in teams. I show it to be more complementary to practice and so more effective in comparison to models imported from the humanities. My explorations are carried out through two thesis sections. Section One is an in-depth literature-based rationale that critically informs my investigations. Section Two presents my methodologies and reports three case studies, in which I explore the emergent data collected through a range of qualitative methods, mapping and evaluative techniques. The findings are of importance to those teaching M-Level design courses.
01 Jan 2017
TL;DR: In this paper, Kwabena Opoku-Agyemang et al. studied the ways in which oral tradition influences the nature, form, and shape of African electronic literature.
Abstract: Beyond Oral/Digital: Ghanaian Electronic Literature as a Paradigm for African Digital Textuality Kwabena Opoku-Agyemang This dissertation speaks to a massive dearth of research in African electronic literature (African e-lit), a discipline that boasts a growing number of works but little scholarship. With African literature incorporating digital technology into its creative process, and with electronic literary criticism focusing on areas outside its predominantly western cannon, African e-lit positions itself as an important area of scholarly endeavor. After considering the implications of placing African e-lit as the direction in which both African literature and electronic literature take, this dissertation looks at three different genres of African elit in the context of oral literature. There are analyses of examples of concrete poetry, conceptual poetry, and mobile video games, all from Ghana. Ultimately, the aim of this project is to ascertain the ways in which oral tradition influences the nature, form, and shape of African electronic literature.
••01 Jan 2018
TL;DR: Orley considers the defining features of a commemorative performance by reflecting on and discussing a solo show she created in 2016 about her grandfather who was an immigrant and radiologist in the first half of the twentieth century.
Abstract: Orley considers the defining features of a commemorative performance by reflecting on and discussing a solo show she created in 2016 about her grandfather who was an immigrant and radiologist in the first half of the twentieth century. The chapter is driven by two key ideas, namely that heritage is a moment of action that is vital and alive rather than something frozen in the past (Smith in Uses of Heritage. Routledge and Taylor & Francis Group, London, 2006); and that the dead are still with us (Berger in Here Is Where We Meet. Bloomsbury, London, 2006). Orley experiments with Jane Rendell’s practice of site-writing (Site-Writing: The Architecture of Art Criticism. I.B. Tauris, London, 2010) to present a chapter arranged in fragments. She concludes that the kind of commemorative work in which she is interested is one that accounts for different perspectives, challenges one-sided historicity and offers new possibilities in the present.