Faculty of Arts and Design

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Fault lines : homophobic visual perceptions of masculinity
(2017) Thomas, Nathan; Kethro, Philippa; Carey, Piers
This study explores connections between masculinity and homophobia in a Faculty of Arts and Design at a South African university. Connections between masculinity and homophobia may have consequences for the visual representation of the male body in graphic design. Literature suggests that gender is socially constructed and performed, and that masculinity and homophobia are connected. As such understanding this connection might assist graphic designers who are often tasked with visually representing gendered bodies. The study uses critical theory as the research orientation for inquiry, which is then related to masculinity studies. Photo elicitation using context-free images of male body language in focus groups is the main data generation strategy. Multimodal Critical Discourse Analysis with particular reference to participants’ personal stake and interest in masculinity are employed as analytical tools. Overall, the research data reveals four discursive ‘positions’ in relation to visual perceptions of body language: human or situational performance of masculinity, socially gendered performance of masculinity, effeminate or ‘gay’ performance of masculinity, and homosexual performance of masculinity. However, in the data these positions overlap and combine when participants manage their stake or interest in masculinity. The thesis of this study is therefore that homophobic visual perceptions of masculinity may permeate gender performance as ‘fault lines’. Although the study finds these homophobic fault lines in visual perceptions of masculinity, there is also evidence of acceptance of non-mainstream forms of masculinity.
Modelling pedagogy for work-integrated learning in a South African tertiary graphic design programme
(2018-10) Kalala, Frank Bisaba; Kethro, Philippa; Carey, Piers
This research case study investigates the efficacy of a Work-Integrated Learning (WIL) pedagogy that simulates a professional design studio in a graphic design programme at a South African tertiary institution. The overall aim is to develop a model for future pedagogical development of the WIL approach under study. The researcher is one of a team of third-year level WIL teachers, so the study is positioned as educational practitioner research. The review of literature establishes three learning theory links with the WIL pedagogical approach under study. These are: a) learning integration, b) learning transformation, and c) learning transfer. Integrative and transformative learning in WIL study needs to be transferred to graphic design graduates’ design agency working roles as integrative and transformative capability, if WIL pedagogy is to be considered effective. The effective transfer of student learning to the workplace is also considered to be affected the fact that some aspects of pedagogical practice are implicit rather than explicit. Fourteen graphic design graduates currently employed in graphic design agencies were each interviewed twice regarding their working experience. The first round of initial unstructured interviews found that integrative and transformative capability in design agencies was connected with problematic issues of design agency professional capability: collaboration with colleagues, client relations and time management. The second round of semi-structured interviews established these themes as both confirming and disconfirming WIL learning transfer. Upon reflection on the account of WIL pedagogy given in the literature review, design agency collaboration, client relations and time management are implicitly connected to the integrative and transformative intentions of WIL pedagogy. This may compromise learning transfer. An analytical model of these pedagogical concerns was then constructed, to allow for development of the WIL pedagogical approach. Recommendations for such development are offered, and indications made for future research.
Telling tales : pictograms as a visual voice
(2013-10-17) Scott, Lee; Carey, Piers; Conolly, Joan Lucy
In this critically reflective self-study I have illustrated how my research in the field of Graphic design has been purposeful in creating a visual voice to express myself, improve my practice as an artist, teacher, and visual activist and in turn create an alternate voice for others. My study includes the conceptualization of the pictographic cards that I have named PicTopics, their value as an educational tool and their pertinence as visual prompts. My research questions have included exploring the role of the PicTopics in communicating a story or message, and how they could be pertinent to my practice as an artist, researcher, teacher and social being. My methodology, under the umbrella of self-study, has explored the living social, educational, and artistic values associated with fun, playing, creativity and wellbeing as a way to improve my practice. I used the PicTopic in a variety of settings - with the public at an art gallery to record their stories, in the classroom as creative prompts and as a way to inspire and conceptualize the practical artistic component of this study. I believe that the PicTopics when used as prompts can trigger and cultivate storytelling, enable engagement between people and open communication channels between the educator, and students. The PicTopics have become a thread between my living theories which are linked with my values and beliefs, my practice as an artist and my role as an educator and social transformer.
Through the Google lens : development of lecturing practice in photography
(2015-08-25) Du Plessis, Liza Kim; Timm, Delysia Norelle; Carey, Piers
This dissertation is a self-study that involves inquiring into my mentoring practice to change and improve my situation and find a sense of belonging. The centre of the inquiry into 'self' lies in the search and claiming of an identity that consolidates the development of my artistic, mentoring and research practices during my 'first time' employment experience, as a junior lecturer in a Photography program, 2009-2011. I reflect on three years of lecturing experience in a tertiary education setting at the Durban University of Technology, in which doing a Masters was obligatory. I entered this position, with little experience in research and lecturing or photographic expertise. During this study, I made myself known as osmosisliza, the name of the ‘cyborg’ who journeys in cyberspace. I claim to be a ‘photographer horticulturalist’, a mentor concerned with cultivating collective online spaces, to create movement to connect in cyberspace for social learning purposes. I ask “Who is osmosisliza?”. My class motto is “what you think, know and believe helps us all to be more”, a personal belief for building knowledge through exchange and collaboration with others. I employed a variety of free Web 2.0 applications, like Gmail, Blogger, Buzz, Picasa Web Albums, Google Bookmarks and YouTube to create online spaces in which I could position my living educational theory. I called this place the Google Lens (GL). The Google Lens formed the mechanism to cultivate communities of practice for social learning, to develop confidence, motivation and engagement. The Google Lens was also the repository for qualitative and quantitative data. Mostly I analyse verbal and visual text, writings, photographs and video exchanges between learners and myself archived in the Google Lens to address my research question and sub-question. Through the lens of Google I did action research to improve my practice, and analyse my development as a newcomer to academia. I investigate how successful I was in using the Google Lens to achieve my mentoring goals. I also made photographs during the process of this inquiry to visually address abstract identity dilemmas, concerns and thoughts in my place of work, to engage my ‘I’ in my ‘eye’ as photographer. I exhibit these in cyberspace. I call these electronic postcards. Electronic postcards are blog posts in a weblog called osmosisLIZA. I made 98 blog posts and sent 98 electronic postcards in this dissertation. An electronic postcard consists of a photograph, an illustration, labels and a text heading. In this document the electronic postcards run alongside the writings for this self-study, functioning as text and message of the experiences of a developing academic as well as evidence of the developmental questions I was continuously asking to improve my practice.