Proposal Writing Workshop - Notes Included
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8/3/2019 Proposal Writing Workshop - Notes Included
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AGENDA
Reasons to Participate
A Look at the Call for Proposals
The Logic of a Good Proposal: Two Examples
Criteria for a Good Proposal
Discussion: What You Might Have to Offer
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WHY ACONFERENCE?
Annual get-together
Showcase new developments
Share lessons learned
Report research
Explore a topic in depth
Meet people with similar interests
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WHY AC ALL FOR PROPOS ALS?
Need to fill time slots
Need to attract registration
Need to build community
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WHY PRESENT?
Acquire a distinctive experience
Enhance career skills
Engage in scholarly communication
Receive a certificate of participation
Have a chance to receive best paper award
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CONFERENCE THEME:
BORDER CROSSINGS
´Our mandate is to provide an opportunity for students to research topics that they
find engaging, and furthermore, topics that ¶cross borders· so students can
explore creativity, collaboration, and contestation in trans-disciplinary practice.µ
´A research strategy that crosses many disciplinary boundaries to create a holistic
approach. It applies to research efforts focused on problems that cross the
boundaries of two or more areas of study.µ
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KINDS OF PRESENTATIONS
Individual or group
Research paper OR Project Report
Performance OR Demonstration
Talk or Poster
Course Project
Film
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SUBMISSION P ACK AGE
Contact Information
Type of Submission
Professor or Teaching Assistant Reference
300 word abstract
Digital work related to proposal
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HOW TO SUBMIT
Submit your submission package to the Deans office by the deadline: January 5,
2012 at 11:30 pm
Email: [email protected]
Conference webpage: http://www.fcat.sfu.ca/ugc2012
Application Package:
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PROPOS AL LOGIC
Current
Situation
Desired
Situation
Proposal
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EXAMPLE 1: SITU ATION
OCAD University has its facilitiesspread along McCaul Street,
Dundas and Richmond street.
The downtown location of the
university is an attractive position
for the largest University of Art &Design in Canada, yet it lacks a
cohesive campus experience.
Current
Situation
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EXAMPLE 1: PROPOS AL
The aim of the Visible Campusproject is to create a sense of
identity between the different
fragmented campus buildings of
OCAD University. During my
presentation I will talk about ourresearch and analysis process
which features both a ¶bottom up·
and a ¶top down· approach.Proposal
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EXAMPLE 1: DESIRED SITU ATION
As result of our process, we haveidentified opportunities for
designing a more cohesive, social,
lively and interactive campus
experience, designs which we
propose to present at theconference.
Proposal
Desired
Situation
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EXAMPLE 1: PROPOS AL LOGIC
Current
Situation
Desired
Situation
Proposal
Bottom-up and
top-down
research
process to
create a sense
of identity
Campus
experiencelacks cohesion
Opportunities
for a morecohesive, lively,
and interactive
campus
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ABSTRACT: EXAMPLE 1 COMPLETE (188
WORDS)
OCAD University has its facilities spread along McCaul Street, Dundas and Richmond
street. The downtown location of the university is an attractive position for thelargest University of Art & Design in Canada, yet it lacks a cohesive campusexperience. A research project, ¶Visible Campus· was initiated to address this gap.The aim of the Visible Campus project is to identify needs and create a sense of
identity between the different fragmented campus buildings of OCAD University.During my presentation I will talk about our research and analysis process which
features both a ¶bottom up· and a ¶top down· approach. The ¶bottom up· approachentailed the interviewing of different stakeholders such as OCADU students, faculty,
residents and local business owners. The top down approach includes both the
needs from local BIAs and the university as well as a compilation of programmaticmaps that helped to identify urban connections of the campus. As result, the project
team identified needs and opportunities for creating a more cohesive, social, livelyand interactive campus experience. Currently, we are designing for the needs
identified in the research, which can be presented in March.
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EXAMPLE 2: SITU ATION
How can geometric formalism helpus to reflect on the utopian
aspirations of modernism and the
contemporary possibilities of
imagining new and meaningful
spaces of culture?Current
Situation
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EXAMPLE 2: PROPOS AL
I examine the ways geometry isconsidered in the writings of
various philosophers; I consider
historical examples in art and
architecture and other artistic
practices that engage geometricforms; I use these frameworks to
discuss my current studio
practice.Proposal
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EXAMPLE 2: DESIRED SITU ATION
Such an emphasis on the aestheticexperience of geometry enables us
to see the opposition between the
intelligible and the sensible realms
as a productive one. An
attentiveness to the possibilitiesand the limitations of materiality
can serve as foundation for a
responsible aesthetic production.Proposal
Desired
Situation
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EXAMPLE 2: PROPOS AL LOGIC
Current
Situation
Desired
Situation
Proposal
Examine use of
geometry in
philosophy, art
and my studio
practice
How can we
reconcilemodernism and
contemporary
thought
More
responsibleaesthetic
production
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ABSTRACT: EXAMPLE 2 COMPLETE (203
WORDS)In this presentation I speculate on the use of geometric formalism to reflect on our
relationship to the utopian aspirations of modernism and on the contemporary possibilities of
imagining new and meaningful spaces of culture. I examine the ways geometry is considered
in the writings of various philosophers as Kant, Bergson and Deleuze not an external and
objective form of knowledge but an embodied, aesthetic process of construction. Through this
materially grounded understanding of geometry I consider both historical examples of
formalism in art and architecture underpinned by a discourse of transcendence, and other
artistic practices that engage geometric forms and questions of architecture with a sensitivity
to embodied and plural subjectivity. I use these frameworks to discuss my current studiopractice that consists of a visual study and materially sensitive translation of shapes, planes
and angles of the urban built environment for contemplating on the relationships between
architectural form and social agency. Such an emphasis on the materially embodied nature of
the aesthetic experience of geometry enables conceptualizing the traditional opposition
between the intelligible and the sensible realms as a productive tension. An attentiveness to
the possibilities and the limitations of materiality can then serve as foundation for a
responsible aesthetic production.
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SOME CRITERI A
- interest of the topic to the conference's audience
- quality of the work
- clarity of the proposal/presentation
- significance of the issues addressed
- relevance of the topic to the conference theme