Grad Seminar

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Grad Seminar by Mind Map: Grad Seminar

1. The memory of places

2. WRITING

3. Cory

3.1. Discovery

3.1.1. science

3.1.1.1. chemistry

3.1.1.1.1. experimentation

3.1.1.2. geology

3.1.1.3. physics

3.1.1.4. anthropology

3.1.1.4.1. animal/nature

3.1.1.4.2. what images do we associate with pattern

3.1.1.5. rheology

3.1.1.5.1. study of flow

3.1.1.5.2. how does this manifest itself in the work

3.1.2. chance

3.1.3. curiosity

3.1.3.1. Chrome

3.1.3.1.1. how do you make color choices?

3.1.4. empirical

3.1.5. technology

3.1.6. innovation

3.2. materials

3.3. Process

3.3.1. pattern

3.3.2. rhythm

3.3.2.1. how do you generate form?

3.3.2.2. material control/lack of control

3.3.3. developing specific sets of rules

4. Ryan Rennie

4.1. Global flows

4.1.1. Time and place

4.1.1.1. Hyper-reality

4.1.2. new primitivism

4.1.3. exotica

4.1.3.1. Tiki culture

4.1.4. "art history"

4.1.4.1. historical fiction

4.2. Post Modern in relation to now

4.2.1. Pastiche

4.2.1.1. Stylistic reproduction( no commentary)

4.2.2. Parody

4.2.2.1. Stylistic reproduction (with commentary, satire.etc)

4.2.3. paradox

4.2.4. Baudrillard

4.3. Post colonial

4.3.1. Assimilation

4.3.2. Appropriate the appropriated

4.4. installation

4.4.1. observation

4.4.2. play

4.4.3. distance

4.4.4. aesthetics of culture

4.4.5. Found object/assemblage

4.4.6. Made or unmade

4.4.6.1. ceramics

4.4.6.2. Purchased,found, stolen

5. William

5.1. Gravity

5.1.1. Installation

5.1.1.1. Relationships between objects and images

5.1.1.1.1. sight lines

5.1.1.1.2. what is framed

5.1.1.1.3. distance between objects and present/past/future

5.1.1.1.4. found and made objects

5.1.1.1.5. gaps and holes in a nonlinear narrative

5.1.1.2. call attention to the viewer in relationship to others in the space

5.1.1.2.1. objects oriented on the floor - shoe gazing

5.1.1.2.2. diegetic/non-diegetic sound

5.1.1.2.3. Present/Absent/I am here/You are not

5.1.1.3. spatial behavior

5.1.2. Domestic

5.1.2.1. cat

5.1.2.2. stools

5.1.2.3. books

5.1.2.4. desire

5.1.2.5. shoes

5.1.3. Quiet

5.1.3.1. Poetry

5.1.3.1.1. my own writing

5.1.3.1.2. sequencing/building upon

5.1.3.2. Language

5.1.3.2.1. What I give up and withhold between clarity and perception

5.1.3.2.2. mirroring experience

5.1.3.2.3. Bachelard - Poetics of Space

5.1.3.2.4. Ahmed - Queer Phenomenology

5.1.3.2.5. Beachy-Quick - "Anniversary"

5.1.3.2.6. Weil - Gravity and Grace

6. Meagan

6.1. overlapping

6.1.1. places

6.1.1.1. patterns

6.1.1.1.1. texturally through the space

6.1.1.1.2. cultural ...

6.1.1.2. aspects that define the place

6.1.2. processes

6.1.3. techniques

6.1.4. ideologies

6.1.5. memories

6.2. art

6.3. craft

6.3.1. everyday objects

6.3.2. functionality

6.4. life of the work

6.5. curiosity

6.5.1. subtle details

6.5.1.1. close looking

6.5.2. meanings

6.5.3. the need to make

6.5.4. continuous search for knowledge of how things are made

6.6. narrative

6.7. collections

7. Jronner

7.1. Conditioning

7.1.1. Choice

7.1.1.1. Positive Reinforcement

7.1.1.2. Negative Reinforcement

7.1.1.3. Habit Forming Approaches

7.1.1.3.1. Nir Eyal

7.1.1.4. Free Will

7.1.1.5. Consequences

7.1.2. Absurdity

7.1.2.1. "Concrete Comedy"

7.1.3. Hypocrisy

7.1.4. costs/consequences

7.1.4.1. behavioral

7.1.4.2. economic

7.1.4.3. Political

7.1.4.4. Psychological

7.1.5. Modes

7.1.5.1. Instinctual

7.1.5.2. Cultural

7.1.6. Viscerally Evocative

7.1.6.1. Strategies

7.1.6.2. Scientific Basis

7.1.6.2.1. Psycology

7.1.6.2.2. Neuroscience

7.1.6.2.3. Anthropology

7.1.6.3. Art

7.1.6.3.1. Phenomelogical

7.1.6.3.2. Shock

7.1.6.3.3. Experiential

7.1.6.3.4. Experiential

7.1.7. Thresholds

7.1.7.1. Violence

7.1.7.2. Fear

7.1.7.3. Empathy

8. YEHRIM

8.1. material research

8.1.1. clay

8.1.1.1. delicacy

8.1.2. accumaltaion

8.1.2.1. reference

8.1.3. fiber

8.1.4. paper

8.1.4.1. ephemeral

8.2. space

8.2.1. installation

8.2.1.1. transform space

8.2.1.2. play

8.3. personal

8.3.1. cultural history

8.3.1.1. pattern

8.4. time

8.4.1. cycle

8.4.1.1. human life

8.4.2. impermanence and permanence

8.5. formal

8.5.1. repetitions

8.5.2. delicacy

8.5.3. rhythm

9. Mimi

9.1. Design

9.1.1. Furniture

9.1.1.1. Chairs

9.1.1.1.1. transformation

9.1.1.1.2. anthropomorphization

9.1.2. Textiles

9.1.3. Encounters

9.1.4. Graphic Design

9.1.5. Style

9.2. Self-Help

9.2.1. Affirmation

9.2.2. Psychology

9.2.3. Sociology

9.3. Desire

9.3.1. Love

9.3.2. Intimacy

9.3.3. Collecting Objects

9.3.4. Proximity

9.4. Commodification

9.4.1. Marketing Lingo

9.4.1.1. tone

9.4.2. Style

9.5. Relationships

9.5.1. Intimacy

10. Kelsey

10.1. evocative

10.1.1. ambiguous

10.1.2. bodily

10.1.3. familiar forms

10.2. associative

10.2.1. connections between things

10.2.2. connections between people

10.2.3. relating to memory and personal experience

10.3. human experience

10.3.1. desire

10.3.1.1. gaze

10.3.1.2. longing

10.3.2. psychology

10.3.2.1. subconsious

10.3.2.2. sexuality

10.3.2.2.1. risque

10.3.2.2.2. feminity

10.3.3. the body

10.3.3.1. limbs

10.3.3.2. genitalia

10.3.3.3. anthropomorphic

10.3.4. family dynamics

10.3.4.1. the way we treat others

10.3.5. relationships

10.3.5.1. with others

10.3.5.2. between materials

10.3.6. behavior

10.3.6.1. gaze

10.3.7. tension

10.3.7.1. awkward vs considered

10.3.7.1.1. curious

10.4. escapist

10.4.1. wonderment

10.4.2. escape reality

10.4.3. f antasy

10.5. play

10.5.1. humor

10.5.2. childhood

10.6. abstract

10.6.1. Surrealism

10.7. architecture

10.7.1. structures

10.7.2. passageways

10.7.2.1. entryways

10.7.2.2. portals

10.7.2.2.1. fantasy

10.8. scale

10.8.1. relative to the body

10.8.2. architectural

10.9. processes

10.9.1. technique

11. Morgan

11.1. playfulness

11.1.1. humour

11.1.2. childhood

11.1.3. unexpected use of stuff

11.2. collection

11.2.1. objects

11.2.1.1. found

11.2.1.2. built

11.2.2. SUSAN STEWART: ON LONGING

11.2.3. materials

11.2.3.1. material culture

11.2.3.1.1. semiotics

11.3. place

11.3.1. interior/human

11.3.1.1. the interior of the home

11.3.1.1.1. Home: A Short History of an Idea by Witold Rybczynski

11.3.2. exterior/nature

11.3.2.1. canada

11.3.2.1.1. MARGRET ATWOOD

11.4. assemblage/collage

11.4.1. piling/stacking

11.4.2. curating objects

11.5. experiential

11.5.1. installation

11.5.1.1. how to move through the space

11.5.1.1.1. psychogeography

11.5.2. environment

12. Alex

12.1. utility

12.1.1. craft

12.1.1.1. tradition

12.1.1.1.1. technique

12.1.2. function

12.1.2.1. useful

12.1.2.2. practical

12.1.3. precision

12.1.4. industry

12.1.4.1. product

12.1.4.2. design

12.2. sculpture

12.2.1. mass

12.2.2. plane

12.2.3. curve

12.2.3.1. form

12.2.4. weight

12.2.5. composition

12.2.6. arrangment

12.2.7. line

12.2.8. architecture

12.2.8.1. flying buttress arch aesthetic relating to forms of the vessel

12.2.8.2. columns

12.2.8.3. roof tiles

12.2.8.4. crepidoma

12.2.8.5. ground

12.2.9. light

12.3. material

12.3.1. material research

12.3.1.1. time

12.3.1.2. temperature

12.3.1.3. experimentation

12.3.2. material phenomena

12.3.2.1. event

12.3.3. how material responds to time and temperature

12.3.4. natural

12.3.5. artificial

12.3.6. clay

12.3.6.1. ceramic-vitrify

12.3.6.2. texture

12.3.6.3. malleability

12.3.7. glaze

12.3.7.1. melt

12.3.7.2. dry

12.3.7.3. fluid

12.4. vessel

12.4.1. pottery

12.4.1.1. domestic

12.4.2. containment

12.4.3. disperse

12.4.4. form

12.5. discovery

12.5.1. process

12.5.1.1. play

12.5.2. chance

12.5.2.1. failure

12.5.2.2. uncertainty

12.5.3. investigation

12.6. color

13. Lea Griggs

13.1. craft

13.1.1. ethical development through skill

13.1.1.1. support contain cover

13.1.1.2. material hierarchy

13.1.1.3. natural/physical laws

13.1.1.4. tradition

13.1.1.5. assimilation through material/skill

13.2. design

13.3. art

13.3.1. perceptions of cultural wealth

13.3.1.1. the gaze/perception

13.3.1.2. cultural laws

13.3.1.3. progression

13.3.1.4. assimilation through aesthetics

13.3.1.4.1. marketing

13.4. labor

13.4.1. this is a moralized state of being fd

13.5. industrial brink

13.5.1. a multitude of objects from industrial methods that signify no cultural value with no personal relation to the human condition. Consumption items (they are not restrained from elevating but are not meant to)

14. writing text, creating language

15. Design in response to social forces

16. Work of art in the age of Mechanical reproduction. -Walter Benjamin

17. SAMPLES