'When you have restricted access to small amounts of capital, femininity may be better than nothing at all', although

this investment is delegitimised, and 'workingclass women are positioned as immoral and tasteless because of their concern with appearance, one of the only forms of cultural capital on which they can draw' (Skeggs, 2001:305). Explanatory theories, for instance, try to answer the basic questions, why? Or what is? and can give rise to causal explanations that can yield important predictive power. Descriptive theories, on the other hand, are analytical accounts that provide information to help answer the research question, what? By identifying relevant factors, components, or systems. Interpretive theories are more speculative as they draw together information into syntheses that help answer the research question, how? Philosophical or phenomenological theories are conjectural by nature and use deliberative methods to respond to the research question, what might be? Contextual theories, on the other hand, may serve historical, ideological, or political ends and address research questions such as what was? And what was not? For art practice to be accepted as research, artist theorists need to engage directly with theoretical concerns that can be investigated in studio contexts as well as through other related forms and methods Create - Critique, links visual arts practice and critical dimensions, as theoretical interests are investigated through a cycle of processes involving creating and critiquing, which involve envisioning ideas in response to particular issues and contexts. Different aspects of theory can be related indifferent ways in art practice, depending on the purpose of an inquiry. Discursive methods. These are conceptual and analytical techniques to identify patterns and consistencies in information. When applied in studio research settings, visual images and objects are used as a means to investigate meanings and as sources of meaning. Dialectical methods use discourse and language-based strategies to assess the adequacy of arguments, claims, and actions that are part of are search project. Within the context of art practice as research, language forms such as metaphor and analogy are used in visual ways as agents that challenge and change things. Deconstruction. This method of critique examines are as of

emphasis and omission in systems and structures during the research process. In studio contexts, visual and verbal methods are used to critique social and cultural issues that embody meanings and explain how things are and how they might be. For instance, visual strategies may incorporate the use of representational forms, symbolic approaches, collage and bricollage methods, and arrange of visual and verbal textual devices. Ensembles of visual research that offered arguments, inferences, and insights that invited further questioning Not only a set of relational approaches to research, but it is also a transformative research practice. This means that knowledge creation in visual arts is recursive and constantly undergoes change as new experiences talkback through the process and progress of making art in research settings. Best represented in structures that are described as braided (Figure4.4) and self similar. self-reflexive Requires a transparent understanding of the field, which means that an individual can see through existing data, texts, and contexts so as to be open to alternative conceptions and imaginative options. = art practice as research Social constructivism is rooted in 3 developmental social cognitive theorists views; the first being Vygotsky and his Zone of Proximal Development (ZPD), (whereby the student is working at just the right level of difficulty where meaningful learning will take place with the help or scaffolding of a more knowledgeable other.) Thus the coming together of groups of children or adults with a wealth of different experiences and knowledge will always facilitate learning.. The next view is that of Bruners spiral curriculum which suggests that for concrete learning and cognitive synapses to be formed then each new idea or concept must be built upon using prior knowledge. The 3rd view is that of Banduras observational learning (Bobo Doll Experiment) which shows that children (and adults) learn by watching and doing. That is to say sometimes the best teaching and learning (not the learning being modelled in the Bobo Doll Experiment I hasten to add) occurs with little or no verbal instruction or didactic teaching but simple modelling of the skill/information to be assimilated.

hermeneutic insofar as we recognise the recursive role of interpretation in the understanding of social practices; that is, the

ways in which understanding is mobilised through the interrelationships between persons and artefacts, and that these understandings help to shape future practices. =swamping spoonfeeding Lorna Luke Tuesday, 15 October 2013, 12:13 PM Chinese proverb Tell me and Ill forget; show me and I may remember; involve me and Ill understand. appropriation of this newly found knowledge and through interaction with others, this knowledge is both shared and augmented. takes into account the diversity of backgrounds which come together with a common goal in mind tutor was there to facilitate rather than instruct. At times, an individual problem was shared, and the solution, being discussed amongst peers, was taken up by all. Fits in very well with fine art oriented courses, since the artistic process is very subjective, and it is imperative for the artist to have the freedom to be able to direct his/her own learning experience. Some of the starting points for this area of research are: people often make sense of life through a variety of ways of writing and reading; we are literate in different ways in different settings; some ways of reading and writing are deemed more worthwhile, valuable and influential than others; literacy practices change over time, as with those now associated with information and communications technologies; Richard Edwards & June Smith 48 literacy practices are often learned outside formal education institutions. =swamping spoonfeeding the movement and flows of literacy practices in peoples lives: how literacy practices are ordered and re-ordered, networked or overlapped across domains (home-college, virtual-real, readingwriting), across social roles in students lives and what objects might mediate such mobilisations.=swamping spoonfeeding the beneficial interaction between students informal vernacular literacy practices and the formal literacies required by their college learning. =swamping spoonfeeding culture and rituals of further education, and the artefacts and totems through which literacy is mobilised. =swamping spoonfeeding hybrid forms of multimodality =swamping spoonfeeding we do not treat literacy simply as a set of autonomous skills and

competencies. To do so, leads to a view of literacy as a cognitive property of each individual mind, to an idea that literacy can be taught, learned and demonstrated entirely independent of a context of use, and to attempts to measure how much literacy each individual has. =swamping spoonfeeding Our approach draws upon the New Literacy Studies, which offers a socially situated and constructed view of literacies as multiple, emergent and situated in particular contexts (Barton et al, 2000). This is what is referred to as a social practices approach to literacy. =swamping spoonfeeding Legacy content (to borrow the computer term for old systems) and Future content. Legacy content includes reading, writing, arithmetic, logical thinking, understanding the writings and ideas of the past, etc all of our traditional curriculum.=Digital Natives, Digital Immigrants - Marc Prensky Being envied is a solitary form o f reassurance. It depends precisely upon not sharing your experience with those who envy you. You are observed with interest but you do not observe with interest i f you do, you will become less enviable. In this respect the envied are like bureaucrats; the more impersonal they are, the greater the illusion (for themselves and for others) of their power. the glamorous resides in their supposed happiness: the power of the bureaucrat i n his supposed authority. It is this which explains the absent, unfocused of so many glamour images. They look out over the looks of envy which sustain them. She is meant t o imagine herself transformed by the product into an object of envy for others, an envy which w i l l then justify her loving herself. One could put this another way: the publicity image steals her love of herself as she is, and offers it back t o her for the price of the product. Publicity is, i n essence, nostalgic. It has t o sell the Past t o the future. It cannot itself supply the standards o f i t s own claims. And so all i t s references t o quality are bound t o be retrospective and traditional. Publicity needs t o turn t o i t s o w n advantage the traditional education o f the average spectator-buyer. =ways of seeing. john berger Capitalism survives by forcing the majority, whom it exploits, t o define their own interests as narrowly as possible.

Rather than an expression of a reflexively chosen identity, the photos produced by different actors are explained by their corresponding position in the field and composition of capital, as well as by the photos' functionality What this model lacks are considerations of audience expectations, the logic of fields, or market demands as if reflexive representations of self are produced under circumstances of artistic freedom, undisturbed by their intended uses, methods of appraisal, power-relations or interests. visual economy is thus based on conversion between different forms of capital, (cf. Bourdieu, 1986): corporeal capital (manifested in bodily features) and local cultural capital (the knowledge needed to produce a conventionalised photo, including technical mastery of camera and graphic software as well as mastery of the relevant aesthetic codes and conventions) are materialised and objectified as photos, which, in turn, are convertible into social capital, i.e. social ties and status =on_friendship_boobs_and_the_logic_of_the_catalogue._online_selfportraits_as_a_means_for_the_exchange_of_capital (RUTHIE) 'When you have restricted access to small amounts of capital, femininity may be better than nothing at all', although this investment is delegitimised, and 'workingclass women are positioned as immoral and tasteless because of their concern with appearance, one of the only forms of cultural capital on which they can draw' (Skeggs, 2001:305). of investment in physicality as a capital which promises access to power in some spheres but brings about delegitimisation in others =on_friendship_boobs_and_the_logic_of_the_catalogue._online_selfportraits_as_a_means_for_the_exchange_of_capital (RUTHIE) The photos taken by girls are often arms-length images (taken from a high angle, with the girl holding her mobile phone in an outstretched hand above her head). This angle was advantageous both for the production process (it's easier to take a self portrait this way, without having to use a timer) and for the product (accentuating the breasts and hiding the belly). However, this angle also relies on advertisements-iconography which identifies femininity with subordination (Goffman, 1979) Comments function as gifts, both because most comments are compliments, i.e. public recognition of the receiver's worth; and because (independently of its content) every comment raises the receiver's comment-count Pierre Bourdieu (1992, 1993a) analyses systems of cultural-

production as fields - semi-autonomous spheres in which social worth is produced and contested. Fields are social games in which agents struggle for different stakes (e.g. money, prestige, artistic qualities and their public recognition) and about which stakes merit a struggle also social spaces in which different agents take positions relationally, through strategies like self-differentiation and assimilation a shift from photographing others for self-consumption to documentation of self for consumption by others, in a way that serves the economic interest of the Internet and mobile communication industries that developed these platforms Lee (2005) and Hjorth (2007) acknowledged that self-portraits often mimic conventions of mass media or stereotypical feminine poses; 'encourage[s] users to commodify their own activities' for the interests of the site's operators Strategies-of-action within the field (aimed at obtaining either economic capital or fieldspecific cultural capital) are products of the field's structure, and the agents' habitus, field-positions, and "cards" (i.e. volume and composition of capital) =on_friendship_boobs_and_the_logic_of_the_catalogue._online_selfportraits_as_a_means_for_the_exchange_of_capital (RUTHIE)