A temptation can be to revise plans, maybe draw up elaborate study timetables which take up more and more time. You can get caught in the never ending spiral of spending so much time planning that you never get any work done, and then need to revise plans which use up more time … and end up repeating this process ad infinitum.
Taking some time to think how and when you study best and being realistic about how much you can achieve in a study session can improve the time you spend on your course.
Learning logs should not be approached like a diary or a place to write streams of creative consciousness but instead to be used as a clear and edited learning tool to mark your thoughts over the course.
This is the start in a series of posts for the New Year. Whether you have lost your routine over the break or finding it hard to focus on your studies now life is returning to its normal pattern, there will be guidance on how you can get back into your course.
They remind me now of this prototype protagonist, who has been newly hatched from the egg of my mind with no idea of what their world might hold for them…because I haven’t thought that world entirely through yet!
I never fail to be amazed at how much a single poem can sometimes contain. It might contain ideas, images, ambiguities and multiple interpretations. It can be full of sound and music, and give the reader a powerful narrative. There is so much a poem can do.
In 2005 an 8 year old girl was told by a security guard to stop sketching Picasso and Matisse paintings as ‘they’re copyrighted’ (Jardin 2005). So what is a copy and how much new, creative work is required to term the work as ‘influenced by’, or an ‘homage’? Is her version in a different medium a copy?
We human beings love to try and predict the future, from the football scores to the next world conflict. Authors including Margaret Atwood, George Orwell and Kurt Vonnegut are amongst those who have famously done so. Futuristic, speculative fiction is big business, especially at a time when even the news can sound dystopian.
Critical Art can be hard to understand – it’s designed to be challenging after all – but the bracing experience of having one’s expectations re-calibrated so that we can understand everything anew, or at least from a different point of view is to be encouraged.
I hope you’ve all been getting your work out into the world following my short blog series on ‘Getting Your Poetry Out There’ but it seems only fair to come back with some tips for dealing with the one inevitability of a writer’s life: rejection.
Writing about works of art can be tricky, especially if you’re trying to build up a body of knowledge from a standing start as well as link it — perhaps at the repeated behest of your tutor — to work that you’ve made. Finding a way to turn the experience of looking at something into meaningful text isn’t easy, but developing a way of clearly writing about the visual is an important skill to acquire when studying art.
We all use – and therefore copy – artworks to illustrate our own research, but as we have seen taking and using these images is complicated. In this post I am using the primary source of artworks – galleries – as a case study to examine the post-digital shift in how copyright is thought of and applied.