MA ACE course handbook 2015-16 by Tim Morgan

Central Saint Martins MA Arts and Cultural Enterprise Course Handbook 2015/16

Course Handbook Course title

MA Arts and Cultural Enterprise

Level of Study

Level 7

Awards

MA, PG Dip, PG Cert

Awarding body

University of the Arts, London

Mode

Up to 90 weeks over 2 years, or flexible delivery mode (up to 5 years)

Attendance

20 hours per week study time (Online/low-residency hybrid: intensive on-site faceto-face sessions and synchronous/asynchronous online learning)

Enrolment

January 2016

College

Central Saint Martins

Pro Vice-Chancellor

Jeremy Till

Dean of Academic Programmes

Mark Dunhill

Programme

Culture and Enterprise / Art

Programme Director

Dominic Stone / Alex Schady

Course Leader

Charlotte Bonham-Carter

Disclaimer

In the day-to-day context, whilst every endeavour will be made to provide the courses and services described in this handbook, the University of the Arts London HEC reserves the right to make such changes as may be appropriate for reasons of operational efficiency or due to circumstances including industrial action beyond its control. ÂŠ 2015 University of the Arts London

Welcome to your course handbook! It might be useful for you to know the purposes of this handbook: 1) It details what you can expect regarding your course content, structure and assessment; 2) It provides relevant academic and administrative support contact details and useful links to College and University services; 3) It sets out what is expected of you as a student on this course.

Contents 1 Introduction ................................................................................................................. 5 1.1 Pro Vice-Chancellor Welcome Letter ......................................................................... 5 1.2 Educational and Creative Industries Context .............................................................. 6 1.3 The Geographical Context.......................................................................................... 6 1.4 Student Charter .......................................................................................................... 7 1.5 Equality and Diversity ................................................................................................. 8 2 The Course................................................................................................................... 9 2.1 Course Rationale ........................................................................................................ 9 2.2 Brief Course Outline ................................................................................................. 11 2.3 Personal and Professional Development (PPD) ....................................................... 15 3 Aims and Learning Outcomes .................................................................................. 18 3.1 Aims ......................................................................................................................... 18 3.2 Learning Outcomes .................................................................................................. 18 4 Course Structure and Outline Curriculum .............................................................. 20 4.1 Course diagram & assessment map ........................................................................ 20 4.2 Course structure & outline curriculum ...................................................................... 21 5 Course Management ................................................................................................. 22 5.1 Course Academic Team ........................................................................................... 22 5.2 Administrative Staff .................................................................................................. 36 5.3 Academic Programme Management ........................................................................ 37 5.4 Student Services ...................................................................................................... 37 5.5 Studentsâ&#x20AC;&#x2122; Union ........................................................................................................ 38 3

5.6 Course Regulations: Representation, Feedback and Quality Processes ................. 38 6 The Curriculum .......................................................................................................... 40 6.1 Unit 1: Researching Arts and Cultural Enterprise ..................................................... 40 6.2 Unit 2: Practice, Policy and Markets ......................................................................... 45 6.2 Unit 3: Contexts â&#x20AC;&#x201C; Local and Global challenges ....................................................... 50 6.4 Unit 4: Arts Entrepreneurship ................................................................................... 55 6.5 Unit 5: Business Models and Finance ...................................................................... 62 6.6 Unit 6: Focus: Social Impact and Innovation ............................................................ 68 6.7 Unit 7: Dissertation or Live Project ........................................................................... 72 7 Assessment ............................................................................................................... 76 7.1 Assessment as a Learning Process ......................................................................... 76 7.2 Forms of Assessment ............................................................................................... 76 7.3 Assessment Briefings ............................................................................................... 77 7.4 Marking Criteria ........................................................................................................ 78 7.5 Assessment Feedback and Tutorial Guidance ......................................................... 84 7.6 Assessment Weighting of Units and Credit Weighting ............................................. 84 8 Student Learning ....................................................................................................... 86 8.1 Strategy for Student Learning................................................................................... 86 8.2 Personal Tutorials .................................................................................................... 87 8.3 Credit Rating, Contact Hours and Attendance .......................................................... 87 8.4 Where you learn ....................................................................................................... 88 8.5 Technical Resources ................................................................................................ 88 8.6 Academic Support .................................................................................................... 89 8.7 Library Services ........................................................................................................ 97 8.8 Support for Disabilities ............................................................................................. 98 9 Glossary ................................................................................................................... 101 10 Health and Safety .................................................................................................. 109

1 1.1

Introduction Pro ViceChancellor Welcome Letter

Welcome to Central Saint Martins You are joining a unique community of art, design and performance. Central Saint Martins offers one of the most diverse and comprehensive ranges of foundation, undergraduate and postgraduate courses and research degrees in the country, while the University of the Arts, to which it belongs, offers the largest grouping of specialist arts, design and communication education programmes in Europe. Now that we are settled in to our acclaimed new building at Kings Cross and renewed facilities at Archway, the College is moving on to an ambitious programme of public events, with a view to opening up the debate about the role of the arts and design in society. This was started in 2013 with the highly successful series entitled ‘What’s the Point of Art School?’ In 2014 we launched a programme called ‘Restless Futures’, which will discuss a range of themes. Our aim is to make Central Saint Martins a key cultural institution on the national and international stage and in so doing enhance your experience of being a student here. Look out for all the events going on outside your curriculum whilst you are here – they are an important part of the overall experience. During the course of last year, we have felt London coming to our doorstep with bars, restaurants and public events opening all around us in King‘s Cross. This will continue over the next few years, placing the College at the heart of one London’s most vibrant areas. Our position in London also allows us to draw on the resources of what is widely seen as the world’s leading creative city. This course, uniquely for CSM, is being delivered to cohorts at both our King’s Cross campus, and at Hong Kong University’s HKU SPACE campus in Hong Kong. Like London, Hong Kong is at the confluence of global cultures and innovation, and in

the coming years will be the backdrop for a huge range of new creative ventures. I hope you have a great year. The College encourages open debate and communication. If things are going wrong with your course, let us know sooner rather than later. If you have suggestions as to how the College could get better, please tell us. If things are going well, tell us. It is only by working together that we can make Central Saint Martins one of the best places in the world to study art, design and performance. Professor Jeremy Till Head of Central Saint Martins Pro Vice-Chancellor, University of the Arts London 1.2

Educational and Creative Industries Context

Central Saint Martins offers one of the most diverse and comprehensive ranges of undergraduate and postgraduate courses and research degrees in art and design in the country, providing specialist education in fine art, fashion and textiles, graphic and communication design, 3D design including specialist courses in product design, ceramic design, and jewellery design, theatre design, acting and performance and interdisciplinary art, architecture and design. Central Saint Martins comprises nine programmes: Art; Culture & Enterprise; Drama & Performance which incorporates Drama Centre London; Fashion; Graphic Communication; Jewellery & Textile Design; Product, Ceramic & Industrial Design; Spatial Practices and the Foundation Diploma in Art and Design.

1.3

The Geographical Context

The course is being delivered simultaneously to cohorts in both London (at CSM) and Hong Kong (at HKU SPACE). Located in the heart of each city, the course is therefore strategically located at the centre of arts and design practice, in both Europe and Asia.

Course members of staff are active writers, curators, designers, educators, experts on innovation and enterprise, and researchers working across private, public and third sectors, both in the UK and abroad. The course actively collaborates with key cultural institutions and commercial enterprises to integrate students into the citiesâ&#x20AC;&#x2DC; networks of creative practitioners, business mavericks and social entrepreneurs. In particular, the course capitalises on current initiatives within the cultural industries and the social and commercial sectors, and draws on the expertise and vision of the individual creative entrepreneurs who work nearby, by inviting them to share their ideas, and to use the course as a vehicle to develop debate and drive innovation in cultural production. The college is at the centre of a global network of alumni, educator-practitioners, and collaborating organisations and institutions, which offer a wide range of employment in areas relevant to arts and cultural innovation in key commercial, public and third sector organisations. 1.4

Student Charter

The University recognises that in order to help fulfil your creative and professional potential, it is important that we make clear what you can expect from the University. Equally it is important that you are aware of your responsibilities as a student. More information on this can be found in the student charter; please visit: http://www.arts.ac.uk/media/arts/study-atual/studentsupport/documents/StudentCharter1415.pdf. For students studying in Hong Kong, this handbook should be read in conjunction with HKU SPACE's quality assurance policy related to programme monitoring that takes into account feedbacks from students and teachers: https://www.hkuspace.hku.hk/files/aboutus/governance/quality-assurance/qa-in-hkuspace/g_ch5_programme_monitoring.pdf 7

1.5

Equality and Diversity

The University is committed to advancing equality of opportunity, eliminating unfair discrimination and celebrating diversity within a supportive, creative learning environment for students, staff, governors and other community and industry partners with whom we work. We seek to foster good relations in relation to age, gender, gender identity, ethnicity, disability, pregnancy and maternity, sexual orientation, religion or belief and caring responsibilities. Equality legislation affords protection from discrimination for employees and students and provides a basis for the University’s commitment towards equality of opportunity. Our approach is reflected in our Equal Opportunities Policy, which covers staff and students. The Policy is coordinated by the University’s Diversity Team, which also supports a number of diversity networks, equality projects and initiatives. If you would like to find out more or get involved, please visit http://www.arts.ac.uk/about-ual/diversity/. Discrimination will not be tolerated at the University. If you believe, as a student, you are experiencing discrimination at the University, you should contact a member of staff in confidence. Contact the Students’ Union advice workers, your tutor, Course Leader, Programme Director or the University's Dean of Students. They will be able to help you decide on your most effective course of action. You can also contact the University's Diversity team in Student Services who can inform you of options for help, support and feedback. Useful contacts and further guidance are provided on the University’s intranet portal, MyArts.

2 2.1

The Course Course Rationale

The college is at the centre of a global network of alumni, educator-practitioners, and collaborating organisations and institutions. MA Arts and Cultural Enterprise works with knowledgeable practitioners to create an inspiring learning experience, within a wide-ranging professional network. The intensive face-to-face teaching takes place at CSMâ&#x20AC;&#x2122;s Kingâ&#x20AC;&#x2122;s Cross campus for the students enrolled in the London-based cohort, and at HKU SPACEâ&#x20AC;&#x2122;s Hong Kong campus for the Hong Kongbased students. Both cities are contemporary hubs for the cultural industries in their regions, and also rich sources of historical innovation across a wide range of cultural sectors, including museums, galleries, performance, festivals, and educational institutions. MA Arts and Cultural Enterprise acknowledges that we are living in a fast-changing, globalised world, which presents a great number of opportunities and challenges for cultural innovation. This Masters Programme takes these changing conditions as a starting point to engage you in developing new knowledge and skills in order to manage cultural projects in the UK and around the world. It has been developed specifically in response to an increasing need for multi-skilled individuals who can both generate the ideas for original arts and cultural events, as well as provide leadership for the teams that realise them. These individuals will be dynamic, responsive, fluent in public and private sectors, and have the ability to collaborate and develop networks. The course addresses a contemporary shift within the cultural economy towards experiences and events, and away from the artefact. It is a response to multiple new forms of artistic and creative practice (interdisciplinary, time-based, sociallyengaged, etc.), which demand new, hybrid forms of cultural management and organisation, and in turn,

a new pedagogical approach from higher education institutions. MA Arts and Cultural Enterprise takes as a starting point a definition of enterprise as engaging with projects that are new, challenging and complex, in order to create a valuable difference to specific stakeholders. It aims to enable you to gain a unique skill and knowledge set to become active creators in cultural management and production, be it as entrepreneurs, or within larger existing cultural organisations, anywhere in the world. For this reason, the course values rich cultural diversity, and benefits from the broad range of cultural backgrounds of its students, staff, and the college generally. Cultural diversity and intercultural dialogue are the essential point-of-departure for cultural and creative innovation, which generates cultural capital, and in turn fosters economic capital formation. The course is aimed at graduates with some years of work experience who wish to challenge themselves by gaining a critical understanding of our world today as well as skills in the design, planning and production of creative events in the broadest sense. Focusing on the core capabilities of CSM, and its central role in the future of arts and other creative industries, it will offer you insights into aspects of cultural policy and governance, an introduction to business skills and processes, and strategic planning, which will equip you to shape creative futures. It will encourage radical thinking, based on creative research, analysis, and a deep understanding of the value of the cultural economy, and its role in creating cultural capital, to the wider economic, political and social environment in which it is located. The course operates through a blended-learning delivery model, by means of face-to-face and online teaching, in either a two-year part-time, or up to five-year flexible mode. This mode of learning supports those of you who are already established in your careers, and who may be travelling from afar to join the course. Peer and collaborative learning is 10

fundamental to this model, and is achieved through a series of lectures, webinars, group tasks and workshops, as well as practice-based project developments in the realm of cultural production, enabling you to create networks that we hope will last well beyond your studies. 2.2

Brief Course Outline

The course comprises six multidisciplinary, 20credit, Level 7 units that can be combined to achieve a PG Cert or PG Dip, followed by a 60credit unit (dissertation/major project), to achieve an MA. Each of the six 20-credit units sets out to equip you with specific skills, knowledge and insights relevant to cultural innovation; as such, the content, teaching and learning activities, and assessment evidence for each one, is distinctive and uses the lexicon and discourses relevant to the specific range of disciplines that it covers. The final 60-credit unit offers the opportunity to bring together and demonstrate your assimilation of the skills and knowledge gained. The course starts with Unit 1: Researching Arts and Cultural Enterprise, in which you are introduced to key concepts of cultural production as well as the research, writing, analysis and evaluation skills essential for postgraduate study. You begin to work together as a group, learning to negotiate, agree ground rules, communicate and share ideas and, importantly, learn how to approach and resolve difficulty and conflict. Unit 2: Practice, Policy and Markets engages you in the macro analysis of the realm of cultural and artistic production and dissemination. It enables you to develop an understanding of cultural production in both the commercial and the public realms. Unit 3: Contexts â&#x20AC;&#x201C; Local and Global Challenges looks at the impact of contemporary values and discourses on the future. It interrogates globalisation as a challenge as well as an opportunity, and facilitates an understanding of enterprise in uncertain contexts. 11

In Unit 4: Arts Entrepreneurship, you explore the ways in which creativity, innovation, problem solving and entrepreneurship intersect. It employs real-world examples to enable you to think about business model innovation, new markets, new experiences and services, new ways of communication and new organisational models. Unit 5: Business Models and Finance is the core business unit of the course. It introduces you to the basics of general business processes and developing strategies around short and longer-term challenges. Teaching includes theoretical approaches, and case-study-based learning. Unit 6: Focus: Social Impact and Innovation engages with the overarching principles of social responsibility, ethical behaviours, social innovation and theories of socially-engaged practices, and challenges you to form an understanding of how cultural events and activities can support engagement with innovation and innovative practices. Unit 7: Dissertation or live personal project is the final, Masters-specific 60-credit unit, which enables you to reflect critically on theories and critical skills encountered previously in the course, while proposing new approaches to cultural production, in a self-directed dissertation or major personal project. The dissertation is an individual academic study, based on models and theories discussed throughout the course; the live project puts strategies of cultural production into practice. This unit culminates in you working together to organise an online exhibition of your work. In addition to the unit-specific academic texts and sources listed in the curriculum section of this handbook, you will find it very useful to be familiar with the following course reading list:

Essential Reading Anheier, H. K. and Isar, Y.R. (eds.) (2008) The cultural economy. London: SAGE. Anheier, H.K. and Isar, Y.R. (eds.) (2010) Cultures and globalization: cultural expression, creativity and innovation. Los Angeles; London: SAGE. Davies, R. and Sigthorsson, G. (2013) Introducing the creative industries: from theory to practice. London: SAGE. (Chapter six) (Excerpts accessible online via Moodle) Henry, C. (2007) Entrepreneurship in the creative industries: an international perspective. Cheltenham: Edward Elgar. Henry, C. and Bruin, A. de (eds.) (2011) Entrepreneurship and the creative economy: process, practice and Policy. Cheltenham: Edward Elgar (Chapters four and seven). Hesmondhalgh, D. (2007) The cultural industries. 2nd edn. London: SAGE. (Excerpts accessible online via Moodle) Kong, L. and O'Connor J. (eds.) (2009) Creative economies, creative cities: Asian-European perspectives. London: Springer. Lampel, J., Shamsie, J. and Lant, T.K. (eds.) (2008) The business of culture: strategic perspectives onentertainment and media. Taylor & Francis (Chapter one). Recommended Reading Evans, G. (2003) Cultural planning: an urban renaissance? London: Taylor & Francis. Jenks, C. (2005) Culture. 2nd edn. Abingdon: Routledge. Landry C. (2006) The art of city-making. London: Earthscan. Lewis, J. and Miller, T. (eds.) (2003) Critical cultural policy studies: a reader. Malden, Mass: Blackwell. 13

McGuigan, J. (2004) Rethinking cultural policy. Maidenhead: Open University.

2.3

Personal and Professional Development (PPD)

The phrase Personal and Professional Development (PPD) is used within UAL to categorise a highly diverse range of activities through which you are enabled to build your futures across work related, academic, personal and social domains. PPD is a core component of MA Arts and Cultural Enterprise, and relevant knowledge and skills acquisition are embedded in all seven units on the course. The course focus on collaborative working in teams is an example of PPD in practice. PPD will offer you the opportunity of developing both measurable skills (e.g. creative or technical capability, presentation of self and work, realisation of projects or goals) as well as more intangible attributes (such as confidence, sense of personal direction, understanding of their values and own motivations). All forms of study have the potential to contribute to PPD, as they offer the opportunity for individual growth. The College defines PPD as the skills and knowledge necessary for students to: 

be an active member of a learning community



be an active and self-sufficient learner



be able to enter the professional world and manage subsequent career development.

At Masters’ level, PPD includes generic skills such as: 

effective, self- directed time management and planning skills



high level communication and presentation skills



high level skills of analysis, synthesis and decision making



competent and effective use of generic research methodologies and techniques



career management skills



the ability to continue to advance your knowledge and understanding, and to develop new skills and learning to a high level

Personal Development Planning (PDP), the means by which you plan, act and reflect on your learning, is included in our model of Personal and Professional Development. It is a nationally recognized process specifically concerned with planning, reviewing and evaluating and is an entitlement for all HE students. There is extensive overlap between PDP and PPD, although the two are not entirely the same. Personal Development Planning is essentially a process of: 

thinking about where you are now;



reflecting on your strengths and improvements you would like to achieve;



planning where you want to get to and what skills; and knowledge you will need to develop to get there



undertaking your plan of work;



recording the development you make;



identifying when you have reached your goal;



reflecting on your learning and achievement and, in the light of this…



planning where you want to go next.

Employability and Enterprise (E&E) Employability and enterprise is closely connected to Personal Professional Development (PPD) on the course and is embedded within all units. Enterprise and employability are central to units four and five in particular, and is student-centred, in order to reflect the wide range of career types and employment opportunities. There are many ways that postgraduates can fit into the rapidly shifting contemporary cultural and economic global landscape, and employability here means being able to identify and to situate yourself within relevant contexts for your practice. The Universityâ&#x20AC;&#x2122;s Student Enterprise and Employability (SEE) service supports the creative and commercial potential of students and graduates. Working closely with individual colleges, SEE will equip you with the skills to develop your practice, business, knowledge and intellectual capital. Services and activities include a range of business advice workshops, talks and networking events, work opportunities and a dedicated website. Artsmart and Enterprise Week are two further initiatives, which support the prospects of our students and graduates. For further information, please click on: http://www.arts.ac.uk/student-jobs-and-careers/

3 3.1

Aims and Learning Outcomes Aims

The course aims to equip you with the knowledge, cognitive and practical skills which will enable you to develop expertise as cultural producers within a fastchanging, globalised cultural economy. It achieves this by establishing a framework of learning that will enable you to interrogate and understand cultural policies and governance, and through a pedagogy based on collaboration and peer-to-peer learning. You will extend and expand your understanding of the value of culture and creative content within a business framework in today's multi-national cultural economy and how this varies across the globe. Ultimately, the course aims to enable you to step up to challenges in the next stage of your career within the creative industries, and to lead teams effectively, in order to realise ambitious creative and cultural events and projects across different media, platforms and countries.

3.2

Learning outcomes

On satisfactory completion of the course, you should be able to: 1. apply wide-ranging, critical understanding of current social and economic models of practice in order to drive forward new and engaging cultural enterprise or intervention (MC Subject Knowledge); 2. employ critical reflection in relation to key theories and discourses as appropriate to individual areas of research interest, and select and use relevant tools and methodologies to interrogate these (MC Research); 3. reflect on the ethical considerations of creative interventions to define, analyse and critically evaluate the success criteria of models of cultural innovation (MC Analysis);

4. demonstrate curiosity and adaptability and employ creative risk-taking in proposing cultural projects or interventions (MC Experimentation); 5. use of a range of media to present information confidently, convey key messages, argue a position, persuade and influence (MC Communication and Presentation; MC Technical Competence); 6. understand and communicate with diverse and wide-ranging audiences by adopting the metalanguages of enterprise and culture and translating between them (MC Communication and Presentation); 7. engage professionally and with resilience and tenacity with new and challenging scenarios (MC Personal and Professional Development) 8. work independently and collaboratively to problemsolve and innovate (Collaborative and/or Independent Professional Working)

Course Structure and Outline Curriculum

4 4.1

Course diagram & assessment map

The diagram following illustrates the overall pattern of course units and how they build to make the course.

Year 1

Spring

Summer

a a a

Xmas

Unit 5

35 Unit 4

Unit 3

13 Unit 2

Unit 1

Dec

New Year

Jan

Autumn

Year 2

Spring

Summer

Xmas

21 Unit 7

8 Unit 6

Dec

Unit 5 (continued)

New Year

Jan

a a a

a a a Autumn

Indicative contact time (a = admin weeks) Each 20-credit unit offers a total of 30 hours of taught time (60 hours for the final, 60-credit unit). The 20-credit units feature 17 hours of face-to-face cohort learning at an intensive session, which normally falls in week two or three of each unit (typically over a weekend: e.g. four hours on Friday, seven hours on Saturday, and six hours on Sunday â&#x20AC;&#x201C; this is indicated notionally by the darker shaded areas, but exact dates will be confirmed in course timetables), plus a further 13 hours of online learning (both synchronous and asynchronous), covering lectures, seminars, presentations, tutorials and assessment. Unit 7 has two periods of face-to-face learning, both timetabled towards the start of the unit. Teaching thereafter is in small groups, or on an individual basis, using the VLE, email, and other appropriate online communications. Assignment hand-in, assessment, and feedback Assignment hand-in is typically at the end of the penultimate week of each unit, with feedback for 20-credit units normally in the second week following the end of the unit (excluding weekends; bank holidays; the week before and after Christmas Day; and the week before and after Easter Day). Unit 7 feedback is normally within eight weeks of the final board of examiners (which is typically in the final week of the unit).

4.2

Course Structure and Outline Curriculum

The course is offered in both two-year part-time, and flexible learning modes. Part-time mode over two years: this means that, to achieve the Masters qualification in part-time mode, your learning is timetabled across 90 weeks over two full calendar years. To achieve the PG Cert takes 30 weeks’ study, over a nine-month period, and for the PG Dip, it takes 60 weeks’ study, over an 18-month period. Both PG Cert and PG Dip are offered as an exit award only. Flexible learning mode: in this mode, individual units can be undertaken over a maximum five-year registration period. Unit one is compulsory and must be taken as the initial unit. Units two to six can be taken in any order thereafter. Unit seven can be undertaken only when units one to six have been passed. In either mode, the MA award is based solely on the achievement in unit seven. You are expected to commit an average of around 20 hours per week to your studies. Taught input is offered through intensive face-to-face teaching and learning activities on site near the beginning of each unit, and continues in the form of synchronous and asynchronous online teaching, support and feedback via Moodle (the University’s Virtual Learning Environment) throughout the remainder of the unit. The course has been designed in this way to enable you to pursue your studies whilst also undertaking part-time employment, internships or care responsibilities. Your calendar for each unit is available on Moodle, and week-by-week timetable information is updated on a continuing basis.

5 5.1

Course Management Course Academic Team

Charlotte Bonham-Carter, Course Leader

Charlotte Bonham-Carter has extensive experience in cultural management and academic leadership. She has held curatorial positions at a number of public institutions, including the Irish Museum of Modern Art, Barbican Art Gallery, Institute for Contemporary Arts (ICA) and Art on the Underground. She now works as an arts management consultant, researching and advising on strategy and the development of vision and mission statements for arts organisations. In addition to her professional career, Charlotte is an accomplished writer and critic, and co-author of The Contemporary Art Book (Goodman, 2009 and 2011). Prior to her position at CSM, she was course leader for MA Visual Arts Management at Richmond University, London. Charlotte's current research is focused on cultural policy and the possible implications of this on the governance of contemporary visual arts organisations, curating and artistic practice. She has lectured widely on the topics of arts funding, arts management, instrumental cultural policy and cultural value. She holds an MA in Curating Contemporary Art from the Royal College of Art, London. Dominic Stone: Programme Director

Dominic’s research interests and professional practice are in the areas of social innovation, participative cultural practice and user-centred design, and the uses of creativity and innovation as agents of change within both corporate and organisational contexts, and within broader socioeconomic and political contexts. In addition to having been course leader for MA Applied Imagination at CSM, course director of MA Design Management at LCC, and Stage Three leader for BA Product Design at CSM, he has lectured and participated in course and curriculum development at Cranfield and the University of Brighton. He is currently Programme Director for the Culture and Enterprise programme at CSM. Prior to his academic career, Dominic spent nearly two decades in the creative industries, working in senior management roles for Fitch, BDG McColl, and Vitra. He trained in industrial design at Leeds Polytechnic, and graduated with distinction from the Royal College of Art’s MA Cultural History course, which is run in collaboration with the Victoria and Albert Museum. Frankie Cheung A graduate of the Hong Kong Baptist University, Frankie Cheung’s research interests include media effects, cultural identities and popular culture in Hong Kong. Frankie is involved in a number of book projects on Hong Kong culture. Before joining HKUSpace: CDP, he was a researcher in the Faculty of Education of the University of Hong Kong where he was working on the formation of national identity among youngsters in Hong Kong and mainland China. He teaches Media Practices, Cultural Industries in Hong Kong, and Media and Information Management in the Centre. Frankie is a Senior Lecturer and the Head of Arts, Media and Culture. Vanessa Cheung

Vanessa Cheung is the Deputy General Manager in Business Development (Nan Fung Development). After graduating from Hong Kong International School, Vanessa moved to the United States to study at the University of California, Berkeley in Molecular and Cell Biology. During her studies at Berkeley, however, she also found a passion for something elseâ&#x20AC;&#x201D;nature and everything it entails: its elements and materials, spatial relationships, and connections between the environment and people. She observed the kind of impact one individual could have on that and everything in between. So, Vanessa decided to follow that passion further, by winning acceptance to the prestigious Masterâ&#x20AC;&#x2122;s program at Harvard Graduate School of Design, studying Landscape Architecture. This was a formative time in her life. She learned from renowned pioneers in the field, and went to work immediately on important local and international landscape projects. Vanessa returned to Hong Kong in 2010 and experienced her city with new eyes. She took what she learned at Harvard and Berkeley and the practical skills she attained from real-world commercial landscape and urban planning projects, and applied it as Landscape Designer at AECOM, Hong Kong. Vanessa also secured a part-time faculty position as a guest lecturer at the University of Hong Kong, teaching City Branding. In addition, she is currently involved in pro-bono landscape projects, including a couple of monastery revitalization projects in Bhutan. Now Vanessa has embarked on a new role as the Deputy General Manager in Business Development for Nan Fung Development Ltd. Her work includes exploring and developing new business opportunities for the company using her creative mind in drawing relationships between different fields, in addition to overseeing all design aspects of projects. She hopes to inspire the younger 24

generation and push Hong Kong’s leadership potential beyond the status quo. Stephanie Dieckvoss Stephanie has a wealth of experience in cultural management in the public and private sector, including the Directorship of Art13 – Art15, London, a new global art fair for modern and contemporary art, which she launched in 2013. She was CoDirector of the Hong Kong Art Fair from 2007-2009, and from 2003 – 2007 was both Fair Manager of London’s Frieze Art Fair, and Public Programming Manager at the Serpentine Gallery. Stephanie teaches regularly on the business of the Art Market for IESA, London, and at Sotheby’s Institute. She holds an MA in Art History from the University of Hamburg, an MA in Art History from the Courtauld Institute, and an MBA (Public Services) from Warwick Business School. Her research areas include art and conflict, contemporary art markets, art and globalisation, private museums, and art schools as institutions. She also lectures on both BA Culture, Criticism and Curation and MA Culture, Criticism and Curation at CSM. David Griffiths David Griffiths’ career has been in management roles in marketing, branding, design and education projects. He has worked in both the public and private sectors and has extensive experience in Europe, India, Argentina, South Africa, Nigeria, Kenya, New Zealand and the Middle East. His corporate career includes operations positions with Securicor, and with Royal Mail, leading the brand identity program. Since 2003 his focus has been on training and teaching. Client delivery includes open courses and in-company programmes, including New Zealand Defence Forces, Auckland Council, HSBC, UK Govt Civil Service, Kuehne+Nagel UK, Axa UK, BAT, Sainsburys, Lloyds Banking Group, Siemens, Royal 25

Bank of Scotland, the United Nations and Serco. His visiting faculty experience includes universities in the UK, India and The Netherlands. David has in-depth knowledge of the Portfolio, Programme and Project Management disciplines, as well allied areas such as Risk and Change Management, and Business Case development. As well as Axelos trainer credentials he is a Member of the Association for Project Management (UK), the Chartered Management Institute (UK), a Fellow of the Chartered Society of Designers (UK) and a Chartered Marketer. He holds an MBA (Manchester) and an MSc (IT - City University, UK). Michelle Huang Michelle is Assistant Professor of Art History and Museum Studies at the Department of Visual Studies, Lingnan University. She obtained her Ph.D. in Art History from the University of St Andrews and has been a visiting scholar at the Victoria and Albert Museum and the University of the Arts London. Her research interests include the reception of Chinese pictorial art in the West, the historiography of Chinese painting, Chinese aesthetics, Western modernism, and cross-cultural art curation. Michelleâ&#x20AC;&#x2122;s publications include edited books, Beyond Boundaries: East and West Cross-Cultural Encounters (2011) and The Reception of Chinese Art across Cultures (2014), and articles in periodicals such as The Burlington Magazine, Museum History Journal, and the Journal of the History of Collections. Her current research project examines the collecting and exhibition history of modern Chinese painting in Britain, circa 1930-1980. Aenon Loo Dr. Aenon Loo runs White Cube Hong Kong. He cofounded Gallery EXIT, Hong Kong in 2008 and continues to serve as council. He holds a Doctor of Musical Arts from Columbia University, New York. He was awarded an Asian Cultural Council 26

fellowship in 2001 to partake in the Aspen Music Festival. Aenon Loo graduated from the Hong Kong Academy for Performing Arts in 2002, studying composition under Law Wing-fai and electronic music under Clarence Mak. He was given a full scholarship from Columbia University in 2002 to pursue a Doctor of Musical Arts (D.M.A.) degree in composition and electronic music. He received his D.M.A. in 2008 and later returned to Hong Kong to establish Gallery EXIT, a gallery that exhibits progressive and ambitious works in all media that seek to go beyond all boundaries of nationality and discipline. Andrew Marsh Andrew is Curator in Practice on BA CCC, where he teaches curatorial practice, critical writing, and issues surrounding commissioning contemporary art, the art market and managing off-site projects. He also supervises PhD Students. In his professional practice, he works as an independent critic and curator, and as technical director for major contemporary art commissions. His projects have been financed by the Arts Council and the Elephant Trust, and he is widely published. Andrew trained first as an artist before completing his Curating MA at Goldsmiths College, London. His research focuses on contemporary curatorial practice and theory, collaboration in curating, contemporary art markets and art criticism. Catherine Maudsley Catherine Maudsley is a Hong Kong-based art historian, art consultant, curator, educator and writer. A multiple award winner, she was a Connaught Research Scholar at the University of Toronto, a Canada-China Scholar in Beijing and a Commonwealth Scholar in Hong Kong. She has published and lectured extensively on Asian art and culture. She has taught in the Department of Fine Arts, University of Hong Kong, has served on the Executive Committees of the University of Hong 27

Kong Museum Society and the Hong Kong Oriental Ceramic Society, and is a Council Member of the Hong Kong Art School. Hammad Nasar Hammad Nasar is a curator, writer, and (since 2012) Head of Research and Programmes at Asia Art Archive, Hong Kong. Formerly based in London, Nasar co-founded the non-profit arts organisation Green Cardamom. Nasar has curated or co-curated numerous international exhibitions, including: Lines of Control: Partition as a Productive Space, Johnson Museum, Cornell University (2012, Ithaca, NY) and Nasher Museum, Duke University (2013, Durham, NC); Beyond the Page: The Miniature as Attitude in Contemporary Art from Pakistan, Pacific Asia Museum (2010, Pasadena, CA); Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, Whitechapel Gallery and Fotomuseum Winterthur (2010, London and Winterthur); In the Milieu of Fatah Halepoto, Sindh Museum and VM Art Gallery (2010, Hyderabad and Karachi); Safavids Revisited, British Museum (2009, London); and Karkhana: A Contemporary Collaboration, Aldrich Contemporary Art Museum (2005, Ridgefield, CT) and Asian Art Museum (2006, San Francisco, CA). He serves on the Editorial Board of Tate’s journal (Tate etc), on the juries for the V&A’s Jameel Prize and Art Basel’s crowdfunding partnership with Kickstarter; and on advisory panels for a number of arts organisations internationally, including Delfina Foundation (UK), Rhode Island School of Design (USA) and San Art (Vietnam). Nasar was a Fellow of the UK's Clore Leadership Programme and a Research Fellow at Goldsmiths College, London. Prior to entering the art world, he worked in professional and financial services.

Lars Nittve Lars Nittve is the Executive Director, M+ of West Kowloon Cultural District Authority. Dr. Lars Nittve was born in Stockholm in 1953. After studies at the Stockholm School of Economics and a M.A. at Stockholm University he served as lecturer in art history at the University of Stockholm during the period 1978-85. During the same period he held a post as Senior Art Critic at the daily Svenska Dagbladet, Stockholm, and contributed regularly to Artforum magazine, New York. In 1986 Nittve was appointed Chief curator at the Moderna Museet in Stockholm, where he curated a large number of high profile exhibitions – both monographic and thematic, among them Walter De Maria, Kandinsky in Sweden, Hilma af Klint and the seminal Implosion – a Postmodern Perspective. 1990-95 he served as founding Director of Rooseum – Center for Contemporary Art - in Malmö, Sweden, where he organised the whole exhibition programme, including surveys of Susan Rothenberg, Allan McCollum, Sherrie Levine and Andreas Gursky. In July 1995, Nittve became Director of the Louisiana Museum of Modern Art in Humlebaek, Denmark, where he also curated the groundbreaking exhibition Sunshine & Noir – Art in L.A. 1960-1997 as well as Cai Guo Qiang’s first museum exhibition outside Asia. In the spring of 1998, he was named the first Director of Tate Modern, London, which opened in May 2000 to great acclaim. On November 1, 2001, he took up his post as Director of Moderna Museet in Stockholm where he also, in 2004 co-curated the thematic exhibition Fashination about the dialogue between art and fashion in the last ten years. Later exhibitions include Time and Place: Los Angeles 1957-1968 (2008); Antony McCall (2009) and most recently Ed Ruscha: Fifty Years of Painting (2010). Noteworthy during his time at the Moderna Museet has been his successful campaign for strengthening 29

the collection – including The Second Museum of Our Wishes, which focuses on bringing more works by women artists into the collection and raising 70 million USD. The creation of the innovative Renzo Piano designed Pontus Hultén Study Gallery (opened in May 2008), The American Friends of the Moderna Museet Inc. and the Moderna Museet Malmö , designed by Tham Videgard Architects and opened in 2009, can also be mentioned. Lars Nittve has served on the jury of numerous international prizes and been on the board of large number of international art organizations. He is the author of several books on art, as well as articles in journals and catalogues in Sweden and abroad. In 2009 he was awarded a Ph.D. H.C by Umea University, Sweden, where he also since 2010 is Professor in Art History. He is a member of the Royal Swedish Academy of Fine Art and was in 2010 awarded H.M. The King’s Medal in gold, 12th size in the Order of the Serafim’s ribbon. In 2013 he was named, by Le Nouvel Observateur, one of “The Fifty who Change the World”. In the end of 2010 Lars Nittve left his post as Director of the Moderna Museet after having served the maximum length of nine years anyone is permitted to hold the post. Since January 2011 he is the Executive Director of M+, the future innovative museum of visual culture in the West Kowloon District in Hong Kong. Ian Saunders Professor Ian Saunders was the Associate Dean of Faculty of Arts at the University of Western Australia before joining HKU SPACE in 2015. His teaching and research background is in Literature and Communication Studies, and as Chair of Communication Studies led the formation of an outcomes based approach to curricula in the Faculty of Arts, Humanities and Social Sciences at University of Western Australia.

His publications are wide-ranging, and include work on literary theory (the field of his PhD), the Australian novel, virtual culture, and cultural practice and theory. Thomas Sevcik Thomas has extensive global experience in architecture and urban planning in Berlin, Zurich, Los Angeles, Las Vegas, Russia and China. He is a Co-founder of “arthesia”, a creative think tank oversees a number of creative solutions for large companies, organisation and regions in identity and positioning projects. He is a visiting lecturer of the MA Creative Practice and Narrative Environment programme at Central Saint Martins. His recent project include: Concept and content development of Volkswagen’s “Autostadt” corporate themeworld in Wolfsburg, Germany. Marc Spiegler Marc is the Director of Art Basel. In his role as Art Basel's director, Marc Spiegler oversees the global development of the organisation across the three shows in Basel, Miami Beach, and Hong Kong. Spiegler joined Art Basel as Co-Director in 2007 and became Director in 2012. Over the first six years, Art Basel developed into a truly global platform for leading international galleries to show their programs. In recent years and under the directorship of Marc Spiegler, Art Basel developed further worldwide projects such as the Crowdfunding Initiative in partnership with Kickstarter and a course for emerging collectors, realised in collaboration with Hong Kong University and Central Saint Martins in London. Before joining Art Basel, Spiegler, a dual citizen of France and the United States, worked as a journalist for 15 years – writing about the artworld for magazines and newspapers such as The Art Newspaper, Monopol, Art & Auction Magazine, ARTnews Magazine, Neue Zürcher Zeitung, and New York Magazine. He studied Political Science and Journalism in the United States and England.

Paul Sturrock Paul has twenty-nine years leading the design and implementation of entrepreneurial strategy, and developing the capability of others to do so, including as the senior manager and/or co-founder of several start-ups. His career experience has included financial and manufacturing management, and general management and international market development; latterly, he has focused on helping others to develop their entrepreneurial capabilities. He has extensive experience in entrepreneurship courses and programmes, and has advised founders and early stage investors as a board director, consultant or mentor. His programmes have run at FFWDLondon, a pre-accelerator programme for City University London and the Accelerator Academy to prepare start-up teams for first funding and successful application and entry to leading London accelerators, and include a threeday course in Creative Business Design for SME managers based in Hong Kong and mainland China for Hong Kong University. Paul has a Masters with Distinction in Innovation Management from CSM, an MBA from the University of Washington, Seattle, and a BA from Reed College, Portland with a Major in English Literature. Hayes Tang Hayes Tang is an Asian studies specialist. He is a reviewer of Policy and Society, Asian Education and Development Studies, Journal of Applied Research in Higher Education and a member of the international review board "Higher Education Teaching and Learning Portal" (hetl.org). A sociologist, Hayes is interested in the fields of academic profession, global migration and China studies. Having authored Immigrant Education and A Typology of Adaptation, the notions of academic

entrepreneurialism and scholarship of application inform his forthcoming work. Selected publications which are in press include “Academic Capitalism in Greater China: Theme and Variations” (published by The Johns Hopkins University Press), “Democratizing Higher Education in China’s Hong Kong: Between Rhetoric and Reality” (published by Routledge), “New Trends in Innovation Strategy at Chinese Universities in Hong Kong and Shenzhen “(in Int. J. Technology Management) and “The Scholarship of Application in the Context of Academic Entrepreneurialism: A Review of the Discursive Field” (in Asian Education and Development Studies). He also completed recently the manuscript Scholarship Reconsidered in an Era of Entrepreneurialism: Academic Professions in Hong Kong and South Korea. On issues about Hong Kong-China dynamics, he was interviewed by The Strait Times and China Daily. Hayes received his BSocSc, MPhil and PhD from the University of Hong Kong. Wesley Tang Wesley Tang has worked with HKU Space: CDP since 2008. After obtaining his MPhil degree from the Department of Comparative Literature at the University of Hong Kong, he taught at the School of Creative Media, City University of Hong Kong for four years. He is experienced in teaching classes across multiple disciplines, including new media theory and production, digital and visual communications, film studies, documentary cinema, critical theories, cultural studies and research methodology courses Irene Tsang

Dr Irene Tsang is Programme Director of Art and Design, College of Humanities and Law of HKU SPACE. She obtained her MA and PhD in art and archaeology from the School of Oriental and African Studies, University of London. Before joining HKU SPACE, she had taught Chinese and Western art history in City University of Hong Kong and Hong Kong Polytechnic University. Her research interests include Chinese material culture, theatrical art, art and gender and collecting of Chinese ceramics. Henrietta Tsui-Leung Henrietta is the founder and co-president of the Hong Kong Art Gallery Association and the owner of Galerie Ora-Ora, one of the leading galleries in Hong Kong for Chinese and Western contemporary art. Since inception, Ora-Ora has grown to manage nearly 40 veteran artists from around the world including Europe, North America, Australia, Asia, China and Hong Kong. Henrietta is an expert in Contemporary Ink Art and curates state-of-the-art exhibitions in Hong Kong and Beijing approximately once every 2-months. Her gallery participated in numerous Art Fairs inclusive of Art Basel Hong Kong, Art HK, Fine Art Asia, Art Asia Miami, Art Singapore and Young Art Taipei etc. Henriettaâ&#x20AC;&#x2122;s background is multi-disciplinary. Before she took up her passion in art, she spent 11 years in the banking industry with Citigroup and HSBC, with specialisation in corporate finance, public sector, real estate and top-tiers local corporations. Henrietta holds an MBA degree from Kellogg Business School, Northwestern University, and undergraduate degrees in Psychology and Economics from Queens University. She is a member of the Entrepreneursâ&#x20AC;&#x2122; Organization Hong Kong. Due to her unique background in business and art, she has been widely invited to speak and write academic papers on Contemporary Ink, art market, art investments, valuation, art licensing, art finance.

Ken Wong Ken Wong currently serves as Head of Centre for Degree Programmes at the University of Hong Kong, School of Professional and Continuing Education, responsible for internationalisation, developing strategic partnership and overseeing full-time undergraduate, postgraduate and executive education within HKU SPACE. With over 2,200 fulltime students at degree level and above, Ken is in charge of all academic, administrative and financial matters of the Centre. Graduated with a degree with first class in English and Literary Studies and started his advertising career in Leo Burnett, Ken moved onto graduate studies in cultural studies and corporate economics and management in London and SaĂŻd Business School respectively. Ken started his academic career in London and Hong Kong where he taught media studies, cultural politics and globalisation. He joined HKU SPACE in the academic year of 2000/01. During his tenure at HKU SPACE, Ken has held succeeding appointments of Senior Lecturer, Principal Lecturer, Associate Head, Head of Arts, Media and Culture, Deputy Head, and Head of the Centre. He received the outstanding teacher award in 2006/07, despite his shifting role from teaching to management in subsequent years. Apart from his teaching and management roles, Ken has published more than thirty papers, articles, journal reviews and book chapters on cultural politics, media economics, and more recently, on Hong Kongâ&#x20AC;&#x2122;s competitiveness and transnational education.

May Warren, Course Librarian May Warren is the Academic Support Librarian for MA Arts and Cultural Enterprise, BA Culture, Criticism and Curation, and MA Culture, Criticism and Curation, in the Culture and Enterprise programme. May also supports all Drama Centre London courses in the Drama and Performance Programme at CSM. For Hong Kong-based students, please see the following links for more information on HKU’s library and learning resources available for students: Library Access: http://lib.hku.hk/userinfo/student.html#3 Online Electronic Library Resources: http://sunzi1.lib.hku.hk/ER/space 5.2

Administrative Staff

If you have an enquiry about anything related to your course, or you would like to access support or the University’s student services, please email your student administrator in the first instance. If necessary, your enquiry will be referred on to a member of staff in your course, or other relevant adviser. The administrative support teams are grouped into two areas: Student Administration and Academic Administration. For Hong Kong-based students, this handbook should be read in conjunction with HKU SPACE’s policy and procedures regarding student and academic support. More information is available on the online platform SOUL 2.0 (log-in required): http://soul2.hkuspace.hku.hk/, or please refer to the HKU SPACE CDP Student Handbook.

The Student Administration team provides administrative support for the College’s student recruitment, admissions, enrolment, attendancemonitoring and assessment activities. The Academic Administration team provides support for courses within your programme including timetabling, Moodle support, course content-related enquiries, and co-ordinating assessment deadlines. Your key contacts are: Student Administration Manager: 

Andrew Pickles (email a.pickles@csm.arts.ac.uk)

Student Administration: 

5.3

Academic Programme Management

Despina Hadjilouca (email d.hadjilouca@csm.arts.ac.uk)

Mark Dunhill is the Dean of Academic Programmes including: Art, Culture and Enterprise, Drama and Performance, Graphic Communication Design. The Dean’s principal role is to oversee and ensure the academic quality and well-being of the programmes, and play a leading role in the management of the college. The Dean chairs exam boards, meets with student representatives each term through the Deans’ Forum (organised by the SU), and is in regular communication with Programme Directors. Students can, if required contact or request meetings with the Dean, in confidence, through the Deans’ assistant.

5.4

Student Services

The Course Regulations tab on Moodle includes detailed information about Student Services. You can find the Course Regulations pages via your course Moodle page http://moodle.arts.ac.uk/ or directly at http://www.arts.ac.uk/study-at-ual/academicregulations/

For students studying in Hong Kong, please refer to the HKU SPACE CDP Student Handbook regarding related learning facilities and student services. 5.5

Students’ Union

All enrolled students of The University of the Arts London are automatically deemed to be full members of the Students’ Union, unless you choose not to be. Every enrolled student has the right not to be a member of the Union and therefore has the choice not to be represented by it. The University of the Arts London publicises this option through its joining procedures prior to enrolment.

5.6

Course Regulations: representation, feedback and quality processes

The Committees webpages include detailed information on Course / Programme Committees, the Student Representative System, the processes we use to monitor the quality of your programme and the variety of ways in which you can provide feedback to help us improve your course. http://www.arts.ac.uk/study-at-ual/academicregulations/student-rep-and-feedback/course-anduniversity-committees/ The Course Regulations webpages include useful information on:  What to do if you are ill. 

What happens if you miss a deadline or fail a piece of work.



The adjustments that can be made to assessments if you have a disability.



What to do if you want to take time out from your studies.



How to avoid plagiarism in your work.



What to do if you want to appeal an exam board decision.

http://www.arts.ac.uk/study-at-ual/academicregulations/course-regulations/

For students studying in Hong Kong, please refer to the HKU SPACE CDP Student Handbook regarding related rules and regulations. For the details of HKU SPACE's quality assurance policy including the formation of Academic Committee and student representation, please refer to: https://www.hkuspace.hku.hk/aboutus/governance/quality-assurance/qa-in-hku-space.

The Curriculum

6 6.1

Unit 1

Researching Arts and Cultural Enterprise

Course position

Weeks 1 - 11

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

In a fast paced globalised world, how do we research and interpret culture and notions of enterprise? How do we position ourselves in a world caught between George Ritzer’s McDonaldization (1993) and off-grid models for sustainable living? How do we engage with a plethora of terms such as ‘Digital Native, Digital Immigrant’ which rub against ‘Meta-Modernism’ and ‘Post-Internet’, without getting lost on theoretical discourses? How can we utilise current theories in a way that empowers innovative cultural production? What methodologies and tools can be employed to interpret these fluid terminologies and cultural constructs? This unit will explore how theoretical frameworks and research can be utilised when considering and developing practical outcomes. This unit introduces you to key concepts of cultural production as well as key research, writing, analysis and evaluation skills essential for postgraduate study. Recognising that some of you may have been out of higher education for a while, the unit evolves from an Orientation Project which enables you to understand each other’s backgrounds and worldwide provenance. These culturally specific experiences will impact on the unit outcomes, as well as your peer-to-peer learning and networking, as they are key to your learning experiences. You will begin to work together as a group, learn to negotiate, agree ground rules for the course, communicate and share ideas and, 40

importantly, learn how to approach and resolve difficulty and conflict. You will learn about theories of research, including action research and reflective practice, quantitative and qualitative analysis, and practice different writing styles. Key Terms Key terms for this unit are: Theories of Culture Theories of Research Research Methods:

Learning outcomes and related marking criteria (MC)



Action research



Reflective practice



Quantitative and qualitative analysis



Report writing



Academic writing

On satisfactory completion of the unit, you should be able to: 1. research and reflect critically, and select and use relevant tools and methodologies to interrogate research material (MC Research); 2. analyse and critically evaluate online forms of communication and information dissemination (MC Analysis); 3. work collaboratively to problem solve and innovate (MC Collaborative and/or Independent Professional Working).

Teaching and Learning Methods

Study is facilitated through weekly activity briefs and reading tasks, peer and self-evaluation in online

group tutorials and individual online tutorial feedback. Group workshops and seminars during the face-toface study time support your engagement further. To achieve the learning outcomes of this unit, the programme of study will typically include:  Unit briefing and introduction;  ‘Ice-Breaker’ activity briefs;  Group on-line ‘orientation’ exercise;  Reading tasks;  Face-to-Face workshops, introducing different ways of locating, interrogating, and interpreting a number of theoretical models;  Team work;  Student presentations to tutors and peers;  Peer and external feedback;  Tutorial facilitation/evaluation related to team/individual and cohort. Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are expected to: 

Element 1 Create and design a Workflow profile page, then create and keep a Workflow research journal which must contain a 500-word reflective report at the end of the unit. Weighted at 30%.



Element 2 Submit a 1,000-word literature review. Weighted at 40%.

 Element 3 Contribute to a group presentation of a proposal for the selection of an online platform (e.g. Facebook, Workflow, Google+) and the creation of content. Weighted at 30%. Each element is weighted (see percentages listed above) and added together to create the unit grade and you will receive a grade and feedback form for each individual element. Essential study material

Back, L. Academic Diary. Available at: http://www.academic-diary.co.uk/ Groys, B. (2012) Google: words beyond grammar. Hatje Cantz. dOCUMENTA (13): 100 Notizen. P rensky , M . (2 00 1) ‘D i gi tal Nati v es, D i gi tal Imm i grants’, On the Horizon, 9 (5). Available at: http://www.marcprensky.com/writing/Prensky%20%20Digital%20Natives,%20Digital%20Immigrants%2 0%20Part1.pdf?PHPSESSID=9495c51e566190013ef 48c600a46a13a Vermeulen, T . and Van der Akker, R. (2 01 0 ) ‘Note s o n m eta -mo dernism ’, Journal of Aesthetics and Culture, 2. Available at: http://www.aestheticsandculture.net/index.php/jac/arti cle/view/5677/6304

Recommended study material

Booth, W., Colomb, G. and Williams, J. (2008) The craft of research. 3rd edn. Chicago: Univ. of Chicago Press. Butcher, J. (1992) Copy editing: the Cambridge handbook for editors, authors and publishers. Cambridge University Press. (Excerpts accessible

online via Moodle) Emmison, D. M. J. and Smith, D. (2000) Researching the visual: images, objects, contexts and interactions in social and cultural inquiry. London: Sage. Rose, G. (2001) Visual methodologies: an introduction to the interpretation of visual materials. London: Sage. Strunk, W. and White, E. B. (2006) The elements of style. New York: Dover Publications. Wallace, M. (2006) Critical reading and writing for postgraduates. Los Angeles, Calif.: SAGE. (Excerpts accessible online via Moodle)

6.2

Unit 2

Practice, Policy and Markets

Course position

Weeks 13 - 22

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

Tino Sehgal’s ‘This is Propaganda’ was purchased by the Tate in 2005. According to the artist, the work, which involves a gallery guide singing a short phrase every time a visitor walks in to the gallery space, is a ‘constructed situation’. Sehgal allows no material evidence of his work, and thus, the work entered the Tate collection through an orally communicated contract. In other, socially engaged art forms, collectors offer money to support a social enterprise that is orchestrated by an artist, morphing the collector into both patron and social philanthropist. These examples illustrate how new forms of practice are changing the way we produce, disseminate and consume art. Equally, changing social, political economic and cultural conditions are inspiring new forms of practice and cultural management. This unit engages you in the macro analysis of the realm of cultural and artistic production and consumption. It enables you to develop an understanding of both the commercial as well as the public realm. While private philanthropy is on the increase, public funding for the cultural sector is at a low point across the Western World. In many other ‘emerging’ markets, state infrastructure for the arts is in its infancy, though developing rapidly. What do these conditions mean for cultural producers and how can we navigate an ever-changing public and private realm? These questions are the point of departure for our discussions throughout the unit. The unit will focus on cementing your understanding of how the

public and private spheres continually interact, so that you are able to draw conclusions, and practical working methodologies, which are relevant to your own cultures and projects. The unit will look in detail at modes of cultural production, dissemination and consumption, using the art world as a case study for other creative industries. Through the study of the art world, you are invited to make connections and draw conclusions about how different creative industry sectors have responded to changing conditions. The unit will examine markets within a broader context, focusing on cultural policy, as well as theories and models of governance. You will be asked to reflect on the influence of governments, NGOs and other political bodies in the realisation of cultural production. The unit will examine the concept of instrumental cultural policies in particular. You will learn to confidently navigate the complex networks of profit, not-for-profit and state agents in the art and cultural ecologies, and to critically examine the interplay of practice, policy and markets. Learning outcomes and related marking criteria (MC)

On satisfactory completion of the unit, you should be able to: 4. demonstrate a critical understanding of global cultural, economic and social models, and analyse and contextualise specific examples (MC Subject Knowledge); 5. conduct thorough research and employ critical reflection in relation to discourses surrounding art markets and governance (MC Research); 6. understand and communicate in the metalanguages of enterprise and cultural innovation, and translate between them (MC Communication and Presentation).

Teaching and Learning Methods

Study is facilitated through weekly activity briefs and reading tasks, peer and self-evaluation in online

group tutorials and individual online tutorial feedback. Group visits and workshops during the face-to-face study time further support your engagement. To enable your achievement of the learning outcomes of this unit, the programme of study will typically include:  Unit briefing and introduction;  Activity briefs;  Reading tasks;  Face-to-Face workshops, introducing different ways of locating, interrogating, and interpreting a number of theoretical models  Friday evening guest lectures during face-toface weekend period;  Presentations to tutors and peers;  Peer and external feedback;  Tutorial facilitation/evaluation related to team/individual and cohort. Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are required to submit: Team-led and individual writing tasks and contributions to peer presentations throughout the unit, evidenced in your online interactions in the digital classroom (formatively assessed). A 2,000-word academic report: you will develop a model of either the art market, or governance of the cultural sector, of your home city or country, described and analysed using models of the art ecology encountered in the unit (summatively assessed). The work for this unit will be assessed holistically

(tutors will look at all the work for the unit and make a single judgement against the marking criteria). Essential study material

Adam, G. (2014) Big bucks: the explosion of the art market in the 21st century. Farnham: Lund Humphries (Chapters seven and eight). Becker, H. (2008) Art Worlds. Berkeley, CA: University of California Press. (Excerpts accessible online via Moodle) Bourdieu, P. (1993) The field of cultural production. New York: Columbia University Press. (Excerpts accessible online via Moodle) Buck, Louisa, 2004. Market Matters, Arts Council England, 2004 Available at: http://www.artscouncil.org.uk/publication_archive/mark et-matters-the-dynamics-of-the- contemporary-artmarket/ Dempster, A. M. (2014) Risk and uncertainty in the art world. 1st edn. Bloomsbury Publishing (Chapters four, nine, eleven and twelve). Frey, B. S. (2003) Arts & economics: analysis & cultural policy. 2nd edn. Berlin: Springer. (Excerpts accessible online via Moodle) Holden, J. (2004) Capturing cultural value: how culture has become a tool of government policy, London: Demos. Available at http://www.demos.co.uk/files/CapturingCulturalValue.p df â&#x20AC;&#x2DC;Hands up for Hirst: how the bad boy of Brit-Art grew ri ch at t he e xpense o f his i nv esto rsâ&#x20AC;&#x2122;, The Economist, Sep 9th 2010. Available at http://www.economist.com/node/16990811 Morris, H. M. (2004) Taste buds: how to cultivate the art market: executive summary. Arts Council.

Available at: mhminsight.com/files/tastebudssummaryphp7xdjde-e9KL-6-2500.pdf Meredyth, D. and Minson, J. (eds.) (2001) Citizenship and cultural policy. London: SAGE. (Chapter five). O'Brien, D. (2014) Cultural policy: management, value and modernity in the creative industries. Abingdon: Routledge. (Chapters two and three). Robertson, I. (ed.) (2005) Understanding international art markets and management. Taylor & Francis. (Chapters two and five). Velthuis, O. (2007) Talking prices: symbolic meanings of prices on the market for contemporary art. Princeton, N.J.: Princeton University Press.

Recommended study material

Degen, N. (2013) The market. London: Whitechapel Gallery. (Excerpts accessible online via Moodle) D uel und, P . (20 08 ) ‘No rdi c cultural pol i cies: a cri tical vi ew’ . International Journal of Cultural Policy 14 (1): 7– 24. doi:10.1080/10286630701856468. Harris, J. (ed.) (2011) Globalization and Contemporary Art. 1st edn. Chichester: Wiley. Adam, G. (2014) Big bucks: the explosion of the art market in the 21st century. Farnham: Lund Humphries. Robertson, I. (ed.) (2005) Understanding international art markets and management. Taylor & Francis. Thompson, D. (2012) The $12 million stuffed shark: the curious economics of contemporary art. London: Aurum Press Ltd. (Excerpts accessible online via Moo

6.3

Unit 3

Contexts â&#x20AC;&#x201C; Local and Global challenges

Course position

Weeks 24 - 33

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

Contemporary society is facing enormous challenges, while at the same time offering opportunities undreamt-of by previous generations. Cultural practices and cultural production are each one side of the same coin. Graffiti projects in conflict areas of the Middle East (http://www.aljazeera.com/video/middleeast/2012/02/ 2012227124328836724.html), musical education to help the poor (https://www.ted.com/talks/jose_abreu_on_kids_tran sformed_by_music#t-15576), or event series on the Politics of Food (http://delfinafoundation.com/programmes/publicprogrammes/theme-the-politics-of-food-season-1/), demonstrate how cultural events can act as a response to, and catalyst for, social, political and economic change. They also demonstrate a local response to global tendencies towards economic and cultural individualism within a larger context of increasing cultural homogeneity, and perceptions of a decline in social cohesion. This unit sets out to dissect notions of cultural globalisation, and to engage you with how we can make use of concepts of globalization to instigate dynamic change. Focusing on case studies, this unit analyses different cultural events and projects, in order to discuss the social and political impact of cultural production. The unit looks at the impact of todayâ&#x20AC;&#x2122;s practice on the future, and encourages an

understanding of cultural innovation in challenging contexts. You will gain a theoretical understanding of current key issues, such as global versus local; the relationship between art, culture and sustainability; the relationship between art, culture and political power; the role of art and cultural practice in urban renewal; and supra-national concepts such as cultural diplomacy (including so-called ‘soft power’), and the role of culture and cultural identity in intercultural relations. Discussion topics are set by you, based on your own experience, but should incorporate aspects of the ‘Global challenges’ as set by the millennium project. (http://www.millenniumproject.org/millennium/challeng.html). A guided analysis of cases focuses on cultural contexts, and other sometimes neglected areas of investigation, such as sustainability, and conflict and war. You will be engaged in debates about ethics, and whether there are, or can be, valid norms in contemporary cross-cultural societies. Learning outcomes and related marking criteria (MC)

On satisfactory completion of the unit, you should be able to: 7. demonstrate critical reflection in relation to identifying and interrogating examples of social engagement, using key theories and discourses, and relevant tools and methodologies (MC Research); 8. define, analyse and critically evaluate the success criteria of models of social and cultural engagement (MC Analysis); 9. contribute to peer presentations, applying models of cultural innovation and social engagement to real-world examples (MC Personal and Professional Development).

Teaching and Learning Methods

Study is facilitated through weekly activity briefs and reading tasks, peer and self-evaluation in online group tutorials and individual online tutorial feedback. Guest speakers and workshops during the face-to-face study time support your engagement further. To enable your achievement of the learning outcomes of this unit, the programme of study will typically include:  Unit briefing and introduction;  Case study approach;  Reading tasks;  Face-to-Face workshops, introducing different ways of locating, interrogating, and interpreting a number of theoretical models;  Friday evening guest lectures during face-toface weekend period;  Student presentations to tutors and peers;  Peer and external feedback;  Tutorial facilitation/evaluation related to team/individual and cohort.

Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are expected to submit: 

Team-led and individual writing tasks and contributions to peer presentations throughout the unit, evidenced in your Reading Room Forum online (formatively assessed)



Two reports of 1,000 words each, which are critical examinations of self-selected case studies, providing an example of both a successful and an unsuccessful attempt to engage with local and global challenges. This can be through cultural activities and 52

innovation (at the government/societal level), or cultural responses (at the community and individual level) (summatively assessed). The work for this unit will be assessed holistically (tutors will look at all the work for the unit and make a single judgement against the marking criteria).

Essential study material

Bauman, Z. (1998) Globalization: the human consequences. Cambridge: Polity Press. (Chapters three and five). Castells, M. (2009) The rise of the network society: information age: economy, society, and culture Volume I. John Wiley & Sons. (Part II). Groys, B. (2008) Art power. Cambridge, Mass: MIT Press. (Pages 121 â&#x20AC;&#x201C; 131). Mirza, M. (2012) The politics of culture: the case for universalism. Basingstoke: Palgrave Macmillan. Scholte, J. A. (2005) Globalization: a critical introduction. 2nd edn. Basingstoke: Palgrave Macmillan. Tomlinson, J. (1999) Globalization and culture. Oxford: Polity Press.

Recommended study material

Adorno, T. W. (2001) The culture industry: selected essays on mass culture. 2nd edn. London: Routledge. Amor, M., and Enwezor, O. et al. (19 98 ) ‘L im i nal iti es: di scussi o ns o n t he glo bal and t he l ocal ’. Art Journal 57 (4): 28. doi:10.2307/777926. Hallam, E. and Street, B. (2000) Cultural encounters: representing otherness. Abingdon: Routledge. Global Humanitarian Forum Geneva (2015) The anatomy of a silent crisis: human impact report. Available at: http://www.ghf-ge.org/human-impactreport.pdf. Mesch, C. (2013) Art and politics: a small history of art for social change since 1945. London: I.B.Tauris. M ov i us, L . (2 01 0 ) ‘Cultural gl o bal isati o n and c hal lenges t o t radi tio nal com m uni cati o n t heo ries’. PLATFORM: Journal of Media and Communication, 2(1): 6– 18. Pleyers, G. (2010) Alter-globalization: becoming actors in the global age. Cambridge: Polity Press. Smith, A. (2012) Events and urban regeneration: the strategic use of events to revitalise cities. Taylor and Francis. Waters, M. (2001) Globalization. 2nd edn. London: Routledge.

6.4

Unit 4

Arts Entrepreneurship

Course position

Weeks 35 - 44

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

This unit explores the ways creativity, innovation, problem solving and entrepreneurship intersect. There are many definitions of entrepreneurship, which we explore, borrow from and perhaps expand. But as a starting point we define it as the craft of creating a valuable difference, using resources outside of our control (e.g. working through others, and using influence, resources and capital that is controlled by third-party stakeholders), under conditions of uncertainty and ambiguity, and by means of bold and complex projects. We acknowledge and explore measures of value beyond economic ones, with the caveat that value is ultimately defined by its intended recipients. The unit explores different manifestations of entrepreneurship, and makes use of London and other places throughout the world where creative sector entrepreneurs thrive. We start by exploring 'emergent' approaches to venture design besides traditional analytical planning, with an emphasis on those that emphasise creativity, interpretation, empiricism and iteration such as Lean Startup, Design Thinking and Effectual Entrepreneurship. You will then gain practical experience in applying these tools by iteratively designing a cultural venture project. You will:

Learning outcomes and related marking criteria (MC)



Appreciate the importance of the 'adjacent possible’ as a starting point to focus the exploration of potential venture opportunities.



Learn how to expand this potential through collaboration with others.



Understand how to identify and evaluate specific segments, niches and audiences as your focus for the venture design process.



Increase your ability to understand your target audience's needs and aspirations in order to identify a gap in the market which you can address.



Learn how to design a value proposition that addresses this gap and is clearly differentiated from the audience's alternatives.



Learn how to manage risk and uncertainty by building a low cost experiment to prototype or pilot your idea with representative members of your audience, and then iterating, based on the initial results.

On satisfactory completion of the unit, you should be able to: 10. demonstrate resourcefulness, resilience, and imagination in conducting a creative search for a venture opportunity and iterate it by engaging with potential audiences and other stakeholders (MC Experimentation); 11. communicate your idea compellingly to a diverse potential audience, collaborative partners and investors, and inspire engagement and participation (MC Communication and Presentation); 12. utilise collaborative approaches to team work, problem solving and innovation, within the 56

specific context of a selected entrepreneurial and cultural niche or ecosystem, to create an economically sustainable and beneficial platform (MC Collaborative and/or Independent Professional Working). Teaching and Learning Methods

Study is facilitated through weekly activity briefs and reading tasks, peer and self-evaluation in online group tutorials and individual online tutorial feedback. Group visits and workshops during the face-to-face study time support your engagement further. To enable your achievement of the learning outcomes of this unit, the programme of study will typically include:  Unit briefing and introduction;  Activity briefs;  Reading tasks;  Face-to-Face workshops, introducing different exercises to develop your entrepreneurial skills.  An accelerated field experiment during the face-to-face session  Team work;  Guest lectures during face-to-face session;  Student presentations to tutors and peers;  Peer and external feedback;  Tutorial facilitation/evaluation related to team/individual and cohort.

Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are required to undertake and submit the following: 

Keep a blog documenting your reflections 57

and progress of your research throughout the unit. Post frequency should be weekly, at least. (formatively assessed) 

Submit a 500-word report outlining how you have contributed to the progress of your fellow students’ projects and acknowledging and reflecting on the contributions of others to your project (summatively assessed)



Prepare the first part of a proposal for an art or cultural venture targeted at a specific audience. We do not expect the proposal to cover the details of the project’s finance and implementation. Instead the focus should be on presenting a persuasive, compelling and vivid description of the concept and the need for it (summatively assessed). It should include:

1. An artefact using appropriate media (text,

brochure, web site, video or other agreed intervention) targeted to its audience and compellingly positioning the experience, product or service to test demand. For example, you could mock a video and text a pitch for a crowdfunding campaign. 2. A 1,000-word report making the case for your

project’s viability, including: a profile of your target audience, insights into their needs, aspirations and preferences; description of the gap you have identified and how your offering matches this gap. All of this should be backed up by evidence gathered as a result of field research and iteration throughout the unit. The work for this unit will be assessed holistically (tutors will look at all the work for the unit and make a single judgement against the marking criteria).

Essential study material

Christensen, C. M. et al. (2007) ‘Finding the right job for your product.’ MIT Sloan Management Review, 48(3), pp. 38-47. (Excerpts accessible online via Moodle) Kelly, K. 1,000 True fans, the technium. Available at: http://kk.org/thetechnium/2008/03/1000-truefans/. Read, S., Sarasvathy, S. and Wiltbank, R. (2010) Effectual entrepreneurship. Abingdon: Taylor & Francis. Skok, M. (2013) D on’t make t he mistake of overlooking your minimum viable segment. Venture Beat. Available at: http://venturebeat.com/2013/06/03/minimum-viablesegment/.

Recommended study material

Brown, T. (2006) Innovation through design thinking. MIT Video. Available at: http://video.mit.edu/watch/innovation-throughdesign-thinking-9138/. Cooper, B. and Vlaskovits, P. (2010) The entrepreneur’s guide to customer development: a “cheat sheet” to the four steps to the epiphany. United Kingdom: Cooper-Vlaskovits. (Excerpts accessible online via Moodle) Drucker, P. (2014) Innovation and entrepreneurship: practice and principles. Taylor & Francis. Fitzpatrick, R. (2013) The mom test: how to talk to customers & learn if your business is a good idea when everyone is lying to you. United States. Jo hnso n, S. (2 01 0) ‘The Geni us o f t he Ti nkerer’. The Wall Street Journal. Available at: http://www.wsj.com/articles/SB10001424052748703 989304575503730101860838.

Johnson, S. (2010) Where good ideas come from: the natural history of innovation. New York: Riverhead Books. (Excerpts accessible online via Moodle) Kelly, K. 1,000 True fans, the technium. Available at: http://kk.org/thetechnium/2008/03/1000-truefans/. Kim, C. and Mauborgne, R. (2005) Blue ocean strategy: how to create uncontested market space and make the competition irrelevant. 1st edn. United States: Harvard Business School Press. (Excerpts accessible online via Moodle) Kimbell, L. (2011) ‘Ret hi nking D esi gn T hi nki ng: P art I’, Design and Culture, 3(3), pp. 285– 306. doi:10.2752/175470811x13071166525216. Leadbeater, C. and Powell, D. (2010) We-think: mass innovation not mass production. London: Profile Books. Lester, R. and Piore, M. (2004) Innovation - the missing dimension. United States: Harvard University Press. Maeda, J. (2012) John Maeda: how art, technology and design inform creative leaders. TED. Available at:http://www.ted.com/talks/john_maeda_how_art_te chnology_and_design_inform_creative_lead ers. Mintzberg, H. and Waters, J. (1985) ‘Of strategies, del iberate a nd emergent’, Strategic ManagementJournal, 6(3), pp. 257– 272. doi: 10.1002/smj.4250060306. Müller, R. M. and Thoring, K. (2014) ‘Design thinking vs. lean startup: a comparison of two userdriven innovation strategies’, 2012 International Design Management Conference. Available at: http://www.researchgate.net/publication/234066097_ DESIGN_THINKING_VS._LEAN_STARTUP_A_C

OMPARISON_OF_TWO_USERDRIVEN_INNOVATION_STRATEGIES P o rte r, M . (1 996 ) ‘What i s s trate gy ’, Harvard Business Review, 74(6), pp. 61-78. Rittel, H. and Webber, M. (1973) ‘D i lemm as i n a general theory o f planni ng’, Policy Sciences, Springer, 4(2), pp. 155– 169. Scalzi, J. (2008) The problem with 1,000 true fans. whatever. Available at: http://whatever.scalzi.com/2008/03/12/the-naggingdetails-about-1000-true-fans/ Schneider, J. and Stickdorn, M (2011) This is service design thinking: basics - tools - cases. Netherlands: Book Industry Services.

6.5

Unit 5

Business Models and Finance

Course position

Weeks 46 - 58

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

This unit is an ‘enabler’ to the other units in the course, in that it aims to provide you with the knowledge and capabilities to succeed as a creative professional in whichever field of artistic or cultural expression you focus on. It provides foundation capabilities to develop and support your leadership skills in connection with original arts and cultural events. It will equip you with the skills and knowledge that are necessary to be a creative entrepreneur, so that you can concentrate on your arts and cultural passions, confident that the basic underlying business and management tasks are being taken care of. It will equip you with the confidence to understand the language that other business and management professionals use and to interpret that understanding in a way that supports the achievement of the artistic and cultural goals you have set yourself. This unit introduces you to the key concepts of business models and financial language, to help you understand the basic principles and concepts of project and risk management, so that you are able to create and execute the timely and reliable delivery of the creative concept you are passionate about. The unit will look at the way ‘value’ can be created, both in the traditional ‘profit/economic’ sense, and the broader social and environmental points-of-view that are being adopted to an increasing degree in 62

contemporary global society. It explores the definition of value, and challenges you to consider your own personal sense of value, in the context of cultural innovation. The unit will provide you with both an overview of key concepts and an understanding of how to build a â&#x20AC;&#x2DC;personal toolkitâ&#x20AC;&#x2122;, which can grow with you as your professional career grows. The aim is to enable you to feel confident in planning your future career development, and to be a reflective practitioner. A particular focus will be how you apply these ideas to your collaborations with colleagues, clients and other stakeholders in a team context, as this distinguishes cultural enterprise and innovation from solo creative endeavours (which generally happen largely without the interaction with other people or organisations). The unit will look at the three traditional sectors of societies that influence business and management activities: for-profit, not-for-profit (e.g. NGO and charitable organisations) and government (central or local). It will also consider newer, hybrid forms of business model, such as social enterprises. Key Terms Business models Revenue models Organisational structures Finance and Accounting The Triple Bottom Line (People, Planet & Profit) Value (Value Creation and Defining Value) Project Management Risk Management

Leadership models Business processes Marketing For-profit, Not-for-profit, Government Sector, Social Enterprise Stakeholder Engagement Knowledge creation as a value asset Learning outcomes and related marking criteria (MC)

On satisfactory completion of the unit, you should be able to: 13. research and plan the project delivery of a cultural innovation, identifying the key risk factors, and researching funding sources, to create an appropriate and viable business model (MC Research); 14. define, analyse and critically evaluate the success criteria of business models in relation to cultural projects (MC Analysis); 15. utilise collaborative approaches to team work, problem solving and innovation within a professional context, and provide appropriate leadership (MC Collaborative and/or Independent Professional Working).

Teaching and Learning Methods

Study is facilitated through weekly activity briefs and reading tasks, peer and self-evaluation in online group tutorials and individual online tutorial feedback. Group workshops and seminars during the face-toface study time support your engagement further. To enable your achievement of the learning outcomes of this unit, the programme of study will typically include: Unit briefing and introduction;

‘Ice-Breaker’ activities; Reading tasks; A Face-to-Face workshop; Team work; Student presentations to tutors and peers; Peer and external feedback; Tutorial facilitation/evaluation related to team/individual and cohort. Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are expected to undertake and submit the following: 1. A business presentation to your cohort peer group in two parts: (a) A critical review of how you intend to apply the project management and business model ideas of this unit to the creation of your final assignment for unit 7, or an alternative ‘real-world’ scenario which is relevant to your current professional practice (formatively assessed). (b) An outline of your own specific strategy for personal career development, to enable you to use the ideas of this unit to support your continuing use of the reflective practitioner concept in your personal and professional future (formatively assessed). 2. The unit concludes with the submission of a 2,000-word report (or a similar value artefact such as a video production or digital resource – with prior agreement of the unit tutor), exploring the opportunities and challenges (risks) of creating a sustainable business model for your artistic or cultural future. You are encouraged to build upon the work you have done in the earlier units of the

course (summatively assessed). The work for this unit will be assessed holistically (tutors will look at all the work for the unit and make a single judgement against the marking criteria). Essential study material

Association for Project Management (UK) (2012) Body Knowledge, 6th edn. (Excerpts accessible online via Moodle) Change Management Institute (2013) The effective change manager The Change Management Body of Knowledge. (Excerpts accessible online via Moodle) Osterwalder, A. and Pigneur, Y. (2010) Business model generation: a handbook for visionaries, game changers, and challengers. Hoboken, New Jersey: John Wiley & Sons. Royal Institution of Chartered Surveyors (2015) Stakeholder Engagement, RICS Guidance Note. Available at: http://www.rics.org/uk/knowledge/professionalguidance/guidancenotes?pn=1&so=Relevance&rl=projectmanagement1%2Bconstruction (Register on website for download)

Recommended study material

APMG International (2013) Agile Project Management. Ashford: DSDM Consortium. (Excerpts accessible online via Moodle Smith, R., King, D. and Sidhu, R. (2014) Effective change manager's handbook: essential guidance to the change management body of knowledge. Kogan Page. Murphy, P. (2011) The basics: management of value. Axelos: London. (Available for free if you create a free account: https://www.axelos.com/casestudies-and-white-papers/the-basics-managementof- value)

Axelos â&#x20AC;&#x201C; Management of Risk, TSO, London (Available for free if you create a free account: https://www.axelos.com/case-studies-and-whitepapers/the-basics-management-of-value) Osterwalder, A. and Pigneur, Y. (2015) Value proposition design: how to create products and services customers want. John Wiley & Sons.

6.6 Unit 6

Focus: Social Impact and Innovation

Course position

Weeks 60 - 69

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

Discussions around the impact of culture on society are at the centre of recent developments in creative practice and cultural policy. In the visual arts, socially engaged practices are pushing the market and the institution in new directions, and repositioning the role of art in society. And, cultural entrepreneurship is frequently imbued by concepts such as Corporate Social Responsibility (CSR), Social Return on Investment (SRoI), social capital and social innovation. And yet, the social value of cultural production, and the ethical frameworks through which we increasingly make judgements about its success are conceits that continue to provoke debate. This unit looks at the social and ethical implications of cultural production, and aims to give you the critical facilities that you need to dissect the relationship between culture and social impact in different contexts. The unit begins with the question, how can societal change be implemented through cultural production and practice? The unit introduces you to the overarching principles of social innovation and theories of socially-engaged practices, and challenges you to form an understanding of how cultural events and activities can support engagement with innovation and innovative practices. Specific case studies will be explored. The unit then adopts a more critical position, beginning with an analysis of cultural labour, and the cultural worker itself â&#x20AC;&#x201C; as both an inspired model for the flexible, late-capitalist worker, and a symbol of precarious labour and neoliberal ideals run awry. Finally, the unit looks at the ethical considerations of cultural production, including the increasingly problematic role of companies involved in ethically contested areas of business, as key supporters of arts and culture. The unit equips students with the skills necessary to create frameworks that support the potential of art and culture to

implement social change, whilst also establishing a critically informed position on the role of art and culture in society. Learning outcomes and related marking criteria (MC)

On satisfactory completion of the unit, you should be able to: 16. analyse models of social innovation and apply them to a self-initiated project proposal, and critically evaluate and reflect upon this proposal (MC Analysis); 17. develop a self-initiated project and select the most suitable mode of presentation for a professional audience (MC Personal and Professional Development); 18. engage in group activity in a professional context, to present a case study applying models of social innovation (MC Collaborative and/or Independent Professional Working).

Teaching and Learning Methods

Unit briefing and introduction;



Case study approach;



Problem analysis;



Group activities to model CSR activities and responses



Workshops



Seminars



Friday evening guest lectures during face-to-face weekend period



Student presentations to tutors and peers;

Assessment evidence



Peer and external feedback;



Tutorial facilitation/evaluation related to team/individual and cohort.

To evidence your achievement of the learning outcomes of this unit, you are expected to undertake the following: 

Element 1 As a group, present a case study of your own choice to the cohort that represents a real-world example of a cultural endeavour that has sought to inspire social innovation or societal change. The case study should be supported by a 500-word individual critical reflection. Weighted at 25%



Element 2 Individually, select and use a model of CSR or social innovation to develop your own cultural project. This can be presented either as a written report, or can take the form of an online intervention such as a blog or a website; in either case, it should comprise 1,000 words. Weighted at 75%

Each element is weighted (see percentages listed above) and added together to create the unit grade and you will receive a grade and feedback form for each individual element. Essential study material

Bishop, C. (2012) Artificial hells: participatory art and the politics of spectatorship. London: Verso. (Excerpts accessible online via Moodle) Visser, W. (2011) The age of responsibility: CSR 2.0 and the new DNA of business. 2nd edn. Chichester: John Wiley & Sons. (Part III) Kwon, M. (2004) One place after another: site-specific art and locational identity. Cambridge, Massachusetts: MIT. (Excerpts accessible online via Moodle) Mulgan, G. (2007) Social innovation: what it is, why it matters, and how it can be accelerated. Oxford: Skoll Centre for Social Entrepreneurship, University of Oxford. Available at: http://www.sbs.ox.ac.uk/ideas-impact/skoll/research/social70

innovation-reports-resources/social- innovation-what-it-why-itmatters-how-it-can-be-accelerated Rasche, A. and Waddock, S. (2014) ‘Glo bal sustainability governance and the UN global compact: a rejo i nder to c ri ti cs.’ Journal of Business Ethics, 122 (2), pp. 209-216.

Recommended study material

AccountAbility & UN Global Compact (2013) Growing into your sustainability commitments: a roadmap for impact and value creation. Available at: http://www.accountability.org/aboutus/publications/ungc-roadmap.html Belfiore, E. and and Bennettt, O. (2010) The social impact of the arts. Hampshire: Palgrave Macmillan. Habermas, J. (1992) Moral consciousness and communicative action. Cambridge, Massachusetts: MIT Press. (Excerpts accessible online via Moodle) Moon, J., Crane, A. and Matten, D. (2 00 5 ) ‘Can co rpo rati o ns be c i ti zens? Co rpo rate c i ti zenshi p as a metaphor for business participation in so ciet y ’. Business Ethics Quarterly, 15(3), pp. 429– 453. Thompson, N.(2012) Living as form: socially engaged art from 1991-2011. London: MIT Press. (Excerpts accessible online via Moodle) Osburg, T.and Schmidpeter, R.(eds.) (2013) Social innovation: solutions (or a sustainable future. New York: Springer

6.7

Unit 7

Dissertation or Live Project

Course position

Weeks 73 - 90

Level of Study

HE Level 7

Credit rating

Contact Hours

Details of Contact Hours for this unit available at http://mycontacthours.arts.local/home

Overview

This final unit acts as a culmination to your learning, and requires you to critically reflect on previously encountered theories, discourses, tools and process, while developing new approaches to cultural production, in the form of either a selfdirected final dissertation, or a self-directed live project. You will test some of the ideas and knowledge with which you have engaged in previous units, by either: Option A- Dissertation: developing a critical academic study in the form of a dissertation, based on models and theories discussed throughout the course; Or, alternatively, Option B â&#x20AC;&#x201C; Live Project: developing an individual practical project, which puts some of these strategies of cultural production and innovation into practice. The dissertation requires an in-depth, critical analysis of the theoretical principles and discourses of cultural production and innovation. These may encompass cultural criticism, sociology and ethnography, economic and political theory, and other relevant fields of academic analysis and critique. You are encouraged to explore the boundaries of the disciplines concerned, and to 72

identify new areas of research within a potentially expanded field of cultural innovation. You will be required to write a 12,500-word dissertation, which will be supported by individual tutorials with a dedicated tutor. The live project revolves around the creation of a culturally-innovative intervention, in the form of an event, project or other enterprise, which draws explicitly on the theoretical approaches and practical tools and processes encountered earlier in the course. The project chosen can either be a realworld intervention, or can take the form of a detailed hypothetical proposal; in either case, it needs to include a proposition, scoping, stakeholder engagement, and audience research, hypothetical locations (geographical, temporal and/or digital) and also include a timeline and business plan. The written submissions related to the project will equate to a word count of 12,500 words, and you will be supported by individual tutorials with a dedicated tutor. Whichever option you choose, collaboration should be at the heart of your project, and you should draw actively on the networks you have developed over your period of study which should reflect the diversity of contacts you have made; the digital learning environment will continue to be central in supporting your peer learning. Learning outcomes and related marking criteria (MC)

On satisfactory completion of the unit, you should be able to: 19. plan and conduct a substantial self-managed programme of research and enquiry (MC Personal and Professional Development; MC Technical Competence); 20. drawing on the networks you have established, design and investigate an original research question or proposition and

conduct an appropriate information search or literature review (MC Research); 21. synthesise theoretical, academic and creative issues that have been addressed during the course, and relate these to the context of your chosen route (dissertation/project) (MC Subject Knowledge); 22. evaluate the results of your work and present a well-researched critical or practical thesis which demonstrates your ability to construct a logical and compelling argument (MC Analysis); 23. present to a professional standard, and in a form appropriate to the chosen route (dissertation/project) and audiences (MC Communication and Presentation); 24. reflect on the social, political and economic significance of cultural innovation in the context of contemporary global societal concerns, and identify the emergence of new and hybrid disciplines and discourses in this field (MC Experimentation); 25. participate with peers in the organisation, curation and implementation of an online exhibition (MC Collaborative and/or Independent Professional Working). Teaching and Learning Methods

This unit is focused on self-directed learning as you bring together the various components of the course. You will be assigned a personal tutor, and you will need to negotiate the form and timing of the engagement with your tutor â&#x20AC;&#x201C; e.g. face-to-face, digital/virtual interaction or telephone/video conferencing â&#x20AC;&#x201C; taking account of the allocated learning and teaching hours for this unit.

Assessment evidence

To evidence your achievement of the learning outcomes of this unit, you are expected to undertake and submit the following: Option A â&#x20AC;&#x201C; Dissertation: A 12,500-word dissertation in the form of an in-depth, critical analysis of the theoretical principles and discourses of cultural production and innovation. Option B â&#x20AC;&#x201C; Live Project: an individual practical project, with original research and appropriate documentation totalling 12,500 words, which identifies and puts into practice some of the strategies of cultural production and innovation previously encountered on the course. Supported by the Course Team, you are also all required to work with your peers in the organisation of an online exhibition of your projects, supported by a tutor. This exhibition celebrates the achievements of the cohort, and allows you, individually, to present the critical and creative outcomes of your work to a wider audience, in the form of the documentation of your learning journey and personal transformation. The work for this unit will be assessed holistically (tutors will look at all the work for the unit and make a single judgement against the marking criteria).

Essential study material

The primary and secondary source material for Unit 7 will be dictated by the route chosen (dissertation/project) and the specific context for the academic enquiry or practical intervention. The Unit draws extensively on the academic study skills, research methods, personal planning and project management processes covered in the previous units.

7 7.1

Assessment Assessment as a Learning Process

Assessment is a very important part of your course. The assessment on your course is designed to enable you to practice and demonstrate the Learning Outcomes. The marks you receive in the final Stage constitute your degree results. However, before that, and arguably even more importantly, feedback on your work supports your learning by helping you understand what is expected of your work at this level, analysing what you have achieved so far and indicating how you can improve your work in future. Assessment is a matter of academic judgement, not solely of computation. Assessment can be of yourself: ‘self-assessment’, by your co-students: ‘peerassessment,’ or led by your tutors. Using the eight UAL Marking Criteria, you are assessed according to your achievement for each Learning Outcome, and must pass each Learning Outcome to pass the Unit. You must pass all Units to pass the Stage. Learning can be demonstrated in many ways and may include evidence such as your contribution to discussions in workshops and seminars, your recording of your own learning, documented through evaluative writing, through to your achievement in realising finished work and projects.

7.2

Forms of Assessment

There are two principal forms of assessment:

Formative

Formative assessment takes place through critiques and Personal Tutorials, and is primarily intended to provide you with effective feedback and guidance on your development, helping you to learn more effectively.

assessment

Summative assessment

Summative assessment is the summation of the assessment activity that has taken place during the Unit, and results in a recommended mark for your achievement. It is carried out by at least two members of staff, normally tutors who have taught the Unit you have studied and is used:

7.3

Assessment Briefings



to determine whether you have satisfactorily achieved all the Learning Outcomes of the Unit;



to judge the level at which you have achieved the Learning Outcomes i.e. the recommended letter grade.

You will be given a brief for all your assessments. For formative assessments; this will normally be in writing but may also be given to you verbally in a teaching session. Where the assessment counts towards your final award (summative assessment), you will receive the brief in writing and it will be posted on your Course Moodle site. The brief will tell you about what work is required for assessment, and includes the submission deadline. Your assignment brief will include the marking criteria matrix according to which your work will be assessed. The standard UAL marking criteria feedback form may have been customised to ensure the criteria’s relevance and suitability to your course unit or assignment. Criteria are not weighted (i.e. a particular proportion of your mark is not attributed to each criterion); markers will consider your work as a whole. However, some criteria may be given more emphasis at some times than others, to support your learning. Any particular emphasis in terms of the criteria will be made clear in the assignment brief. Your course Moodle site can be found at http://moodle.arts.ac.uk. It includes: • Your assignment briefs, including deadlines and the date by which you will receive feedback • The Marking Criteria Matrix • The UAL standard Assessment Feedback Form • The University Marking Scale

The Assessment website includes detailed information about how you will be assessed on your course, including ‘element’ and ‘holistic’ assessment, the marking criteria and marking scale in use at UAL, and the University’s assessment feedback turnaround policy. Go to: www.arts.ac.uk/assessment for more information. 7.4

Marking Criteria

There are eight standard UAL marking criteria: 

Research;



Subject Knowledge;



Experimentation;



Analysis;



Technical Competence;



Communication and Presentation;



Personal and Professional Development;



Collaborative and/or Independent Professional Working.

These will be applied to your work to help you understand what you have accomplished, how any grade given was arrived at, and how you can improve your work in future. Not all the criteria will be relevant to every unit. Any criteria that do not apply will be indicated as such on your feedback form. The Marking Criteria Website includes more information about assessment and resources for you to download; you can find this via http://www.arts.ac.uk/assessment/. The relationship between the course learning outcomes and the UAL marking criteria

Your course is designed to enable you to demonstrate the learning outcomes by completing the assessments. Your work will be assessed through the UAL marking criteria, which have been developed to help tutors give you clear and helpful feedback on your work. Which marking criteria relate to which learning outcomes are 78

shown in brackets on each Unit Specification (see section 4, above). Additionally, the learning outcomes that relate to the relevant marking criteria for the unit are indicated on your Assessment Feedback Form. The following table shows how Course Learning Outcomes map against Marking Criteria.

Unit 1 Learning Outcomes

UAL Marking Criteria Research

LO1: research and reflect critically, and select and use relevant tools and methodologies to interrogate research material

LO2: analyse and critically evaluateonline forms of communication and information dissemination

LO3: work collaboratively to problem solve and innovate

 

Analysis Subject Knowledge Experimentation Technical Competence Communication & Presentation PPD Collaborative and/or Independent Professional Working

 Unit 2 Learning Outcomes

UAL Marking Criteria

LO4: demonstrate a critical understanding of global cultural, economic and social models, and analyse and contextualise specific examples

LO5: conduct thorough research and employ critical reflection in relation to discourses surrounding art markets and governance

LO6: understand and communicate in the meta-languages of enterprise and cultural innovation, and translate between them



Research Analysis Subject Knowledge



Experimentation Technical Competence Communication & Presentation



PPD Collaborative and/or Independent Professional Working

Unit 3 Learning Outcomes

UAL Marking Criteria Research

LO7: demonstrate critical reflection in relation to identifying and interrogating examples of social engagement, using key theories and discourses, and relevant tools and methodologies

LO8: define, analyse and critically evaluate the success criteria of models of social and cultural engagement

LO9: contribute to peer presentations, applying models of cultural innovation and social engagement to real-world examples

 

Analysis Subject Knowledge Experimentation Technical Competence Communication & Presentation



PPD Collaborative and/or Independent Professional Working

Unit 4 Learning Outcomes

UAL Marking Criteria

LO10: demonstrate resourcefulness, resilience, and imagination in conducting a creative serach for a venture opportunity and iterate it by engaging with potential audiences and other stakeholders

LO11: communicate your idea compellingly to a diverse potential audience, collaborative partners and investors, and inspire engagement and participation

LO12: utilise collaborative approaches to team work, problem solving and innovation, within the specific context of a selected entrepreneurial and cultural niche or ecosystem and beneficial platform

Research Analysis Subject Knowledge Experimentation



Technical Competence Communication & Presentation



PPD Collaborative and/or Independent Professional Working

 81

Unit 5 Learning Outcomes

UAL Marking Criteria Research

LO13: research and plan the project delivery of a cultural innovation, identifying the key risk factors, and researching funding sources, to create an appropriate and viable business model

LO14: define, analyse and critically evaluate the success criteria of business models in relation to cultural projects

LO15: utilise collaborative approaches to team work, problem solving and innovation within a professional context, and provide appropriate leadership

 

Analysis Subject Knowledge Experimentation Technical Competence Communication & Presentation PPD Collaborative and/or Independent Professional Working

 Unit 6 Learning Outcomes

UAL Marking Criteria

LO16: analyse models of social innovation and apply them to a selfinitiated project proposal, and critically evaluate and reflect upon this proposal

LO17: develop a self-initiated project and select the most suitable mode of presentation for a professional audience

LO18: engage in group activity in a professional context, to present a case study applyting models of social innovation

Research Analysis



Subject Knowledge Experimentation Technical Competence Communication & Presentation PPD Collaborative and/or Independent Professional Working

 

Unit 7 Learning Outcomes LO19: plan and conduct a substantial self-managed programme of reserach and enquiry

UAL Marking Criteria

LO20: drawing on the networks you have established, design and investigate an original research question or proposition and conduct an appropriate informaiton search or literature review

LO21: synthesise theoretical, academic and creative issues that have been addressed during the course, and relate these to the context of your chosen route (dissertation / project)

LO23: present to a professional standard, and in a form appropriate to the chosen route (dissertation/proje ct) and audiences

LO24: reflect on the social, political and economic significance of cultural innovation in the context of contemporary glboal societal concerns, and identify the emergence of new and hybrid disciplines and discourses in this field

LO25: participate with peers in the organisation, curation and implementation of an online exhibition



Research



Analysis



Subject Knowledge Experimentation Technical Competence Communication & Presentation PPD Collaborative and/or Independent Professional Working

LO22: evaluate the results of your work and present a well-researched critical or practical thesis which demonstrates your ability to construct a logical and compelling argument



  



weighting

Assessment

In all cases, the credit value of a Unit determines the assessment weighting of the Unit as follows:

Credit rating

Assessment Weighting of Units and Credit Weighting

week

7.6

assessment

Informal feedback is given as part of normal tutorial activity. At each summative assessment point, you will receive the initial marks given by Internal Examiners. You will also be provided with appropriate written feedback that specifically evaluates your achievement against the Marking Criteria and Learning Outcomes of the Unit concerned. Internal recommended marks are subject to external moderation and to formal confirmation by the Board of Examiners.

Summative

Assessment Feedback and Tutorial Guidance

Unit

7.5

100% 100%

You have to pass all units to gain the MA. However, your award classification is based on your achievement in unit seven only. As an example, if you were to be awarded the following Unit letter grades you would achieve the classification indicated below.

Weighted mark

Points value

C+

A-

C-

A-

100%

weighting

B+

Assessment

letter grade

Credit rating

Recommended

Unit 1

Total point value before moderation and

confirmation

The final grade for the year is rounded to the nearest whole number: 13 becomes 13/ A- / Distinction.

8 8.1

Student Learning Strategy for student learning

Your course operates through a blended-learning delivery mode, by means of face-to-face and online teaching. While the course provides staff-directed learning, these experiences should act as a catalyst for further independent, collaborative and peer learning. Your engagement with course materials, content and the resources made available to you by your peers is fundamental to creating a learning environment that : 

supports the development of a professional practice that is reflective, and capable of adapting and advancing



increases skills and knowledge, and equips you with theoretical concepts to understand the world around you, and which can usefully be applied to professional contexts;



refines judgement, deepens understanding and encourages critical thinking and reflection;



helps you to develop a professional network of colleagues in arts and cultural enterprise, and prepares you for a lifelong engagement in cultural innovation and arts management.

You are expected to show initiative, to take responsibility for your own learning and to substantiate the critical judgments you make in proposing solutions to course and self-initiated projects. The emphasis is on student-centred and peer learning, which enable and encourage you to enhance your independent learning skills, and manage your project work. There are many ways in which you will learn. You will be guided in certain skills and you will learn from group projects and reflective dialogue. Lectures, seminars and webinars provide guidance in reading and research and, in following that guidance, you will develop your critical thinking and refine the judgements upon which your proposals are based. You will add your own understanding to that of your peers and the academic staff, through discussing 86

work in intensive workshops, group seminars and online webinars, where you will expand your ideas, increase your confidence and enrich your engagement. 8.2

Personal Tutorials

Personal tutorials will enable you to reflect upon research, analysis, stakeholder engagement, and the professional context, and help you plan your own career development. You can find detailed information about your tutorial entitlements in the University’s Policy on Personal Tutoring at www.arts.ac.uk/tutorial. For Hong Kong-based students, this handbook should be read in conjunction with HKU SPACE CDP Student Handbook for details of the personal tutor scheme for CDP students.

8.3

Credit rating, contact hours and attendance

The University of the Arts London operates a credit framework under which this course is credit rated at 180 credits. Under the University’s Credit Framework, one credit is equal to ten notional learning hours. This is the indicative amount of time it will take to achieve the Learning Outcomes of a Unit at a given level. Therefore on average it will require you to commit 1800 hours of your time to achieve the Learning Outcomes of the Units and gain the credits for the MA course. Credits are awarded on the satisfactory achievement of all the Learning Outcomes as specified in each Unit. You are expected to engage in all the taught elements of the course (face-to-face and online), and to plan your time carefully. Further details of the University’s expectations in regards to your attendance can be found on the Academic Regulations website: www.arts.ac.uk/study-at-ual/academicregulations/student-regulations/attendance-policy. For Hong Kong-based students, please refer to the HKU SPACE CDP Student Handbook regarding rules and regulations in relation to student attendance, punctuality and absence from classes. Time that is identified as ‘independent study’ indicates the number of hours you are expected to commit to 87

your learning in addition to taught and supervised access time. Please also take the opportunity to make site visits, visit galleries, exhibitions and learning resources elsewhere. 8.4

Where you learn

During your face-to-face attendance, the physical environment of the course enables learning in the open access workshops, library and common teaching areas. The virtual learning environment, Moodle, is used across the University and is central to your learning experience on MA ACE. The Moodle site provides crucial information and links with many other useful sites. As part of your responsibility for your own learning, you are expected to take full advantage of the face-to-face and online resources that are offered. You must be aware of the progress you are making, able to account for your self-directed learning time and able to articulate, during the staffled learning time, problems and questions which have arisen in self-directed time.

8.5

Technical Resources

Access to Technical Resources within your College You have planned access to technical workshops and specialist technical resources within the College you are enrolled in, where these are relevant to course and unit learning outcomes. If it becomes apparent that you may need to work across subject areas within your College, but outside of your course specialism, then you will need to speak to your Course Leader and get their support for any proposal that indicates a need to access other technical resources. These technical resources must be appropriate to, and necessary to fulfil, the learning outcomes of the course unit in question. Your Course Leader would need to contact the appropriate Technical Coordinator to discuss your options and agree access. Access to Technical Resources not based within your College There is no student entitlement for you to have access to technical workshops or specialist technical 88

resources at any other of the colleges within UAL. The only exception to this is for PhD students who will need the agreement of their supervisor so that they can discuss and agree any research related access with the relevant Head(s) of Technical Resources Further information on the technical resources available at Central Saint Martins can be found at: https://otter.arts.ac.uk/oats/. For Hong Kong-based students, please refer to the HKU SPACE CDP Student Handbook for more details about technical resources available to students.

8.6

Academic Support

Academic Support is designed to help you progress and to achieve to the top of your potential. There are four main kinds of academic support, offered in addition to the main teaching and technical support on your course: 1 Study Support: taught by the College team of Academic Support Lecturers and visiting tutors. 2 Information and Digital Literacy: led by Academic Support Librarians and Learning Zone Advisers 3 Language Support: taught by specialist tutors from the Universityâ&#x20AC;&#x2122;s Language Centre 4 Academic support events across the University: led by the University Academic Support team with visiting tutors and college lecturers, open to all students across UAL. In addition, an academic support online resource is being developed and will become available in 2014-15. The Academic Support team in the College works closely with all courses and with the Libraries, the Language Centre and University-wide events to develop a wide range of support activities and resources. For example, you may find group sessions

scheduled within your course, bookable and drop-in tutorials, reading groups and workshops. Many opportunities will be offered at the College and some will be at other sites such as High Holborn or the Learning Zones at King’s Cross and Elephant and Castle, open to all across the University. Look out for information on Academic Support at CSM on Moodle and see also Academic Support across the University (below). Your course is carefully designed to enable your development towards independent learning and professional practice. Your tutors are there to guide you through the many choices and challenges that you will experience – so always try to discuss your personal development plans with your course tutors and talk to them about additional Academic Support opportunities. Study Support

Study Support provides additional guidance to develop your learning strategies and knowledges. A team of experienced tutors work across courses and programmes, leading workshops, one to one tutorials and other activities to develop the skills that underpin your success in your course and future, and develop your independent learning abilities. We aim to ensure that study support works in relation to your course - that it’s relevant to your subject and level of study - and offered early enough to help you in advance of assessments. It’s all about improvement – you may be advised by tutors to take up a particular kind of support but also you may choose to improve an ability such as making oral presentations, increase your understanding of academic referencing, or want to explore ways to manage multiple deadlines. Study support typically includes sessions to develop your skills and confidence in areas such as:  understanding academic language and cultures  time, workload and project management

 effective research  reading and analysis  critical thinking and debate  planning and structuring written work (proposals, reports, essays, dissertations)  referencing, citation, crediting and bibliography  reflective writing  making oral presentations  working collaboratively  preparing for transition between levels of study  preparing for the workplace The Study Support Team at CSM are all based in the Student Centre on the ground floor at Kings Cross: Tim Sokolow and Richard Reynolds: Heads of Academic Support Tel: 020 7514 2367 Email: studysupport@csm.arts.ac.uk Laura Davidson: Academic Support Administrator Tel: 020 7514 7003 Email: studysupport@csm.arts.ac.uk Christabel Harley Academic Support Lecturer Tel: 020 7514 8715 Email: studysupport@csm.arts.ac.uk

To find out more about study support, visit http://www.arts.ac.uk/study-at-ual/library91

services/academic-support--research/academicsupport-for-students/ ,your course Moodle site, or email studysupport@csm.arts.ac.uk Information and Digital Literacy

Library Services provide a wide range of collections and facilities to support you in your written and practice-based work. For general information about the Library at CSM see 8.7 below. An essential aspect of academic support is provided by the Library: using learning resources, including eresources, effectively supports not only your current studies, but your personal and professional development and your employability.Library support Inductions at the beginning of your course will introduce the Library and the Academic Support Librarian relevant to your subject area:MA Arts and Cultural Enterprise: May Warren m.warren@csm.arts.ac.uk Further sessions throughout your course can help to develop your understanding and ability to use both online resources and the physical library effectively so that you can find what you need and manage research. This learning is known as information literacy. Sessions are designed as appropriate to levels of study and may be scheduled in liaison with your course team or accessed individually by contacting your Academic support librarian to arrange 1-2-1 support appointments during the week. If you need additional help using the online library you can email your course librarian at any time. You can also visit the Information Desk on the lower floor of the library, or call 0207 514 7310 / 7311. The library offers an online ‘ask a librarian’ facility to help you – to access visit http://arts.ac.libanswers.com/. Further information about study support from the Library is available on Moodle, or visit http://www.arts.ac.uk/study-at-ual/library-services/

Learning Zones http://www.arts.ac.uk/study-at-ual/libraryservices/academic-support--research/academicsupport-for-students/ These are located within the Libraries at Kings Cross and at the Elephant and Castle. They are informal student-focused facilities, which encourage peer support with professional staff on hand to assist. The Advisors in the Learning Zones are especially focused on digital skills and can help you with general software or digital enquiries, including the use of the University’s Virtual Learning Environment – Moodle –online tutorials such as lynda.com. The Learning Zones are flexible spaces for individual study, group collaboration, sharing and innovation. They offer new technology (Macs and PCs, iPads, mobile interactive smart plasma screens) and traditional study resources. You will find assistive software such as Texthelp, Read Write Gold, additional assistive technology equipment such as headphones plus adjustable and flexible furniture. You will see additional Academic Support workshops and activities on offer in the Learning Zones from time to time, open to all students. These enable you to network with students from other courses and colleges, to explore themes and develop knowledges that cross subject boundaries and that will help you work successfully and safely in international and virtual environments. These opportunities are part of Academic Support across the University and are announced via Academic Support at CSM on Moodle. Language Support

The Language Centre is centrally located at 272 High Holborn, London, WC1V 7EY. It offers English language support to non-native speakers of English and a range of modern language courses to students and staff across the University. All languages are taught by a team of qualified and experienced tutors. Our tutors teach across all of the colleges locations at UAL. Hong Kong-based students may wish to note that the 93

medium of instruction at HKU SPACE is English. Please refer to the link below for details: http://hkuspace.hku.hk/learners/medium-ofinstruction. CDP also provides English language enhancement courses for students. English Language Support

To help you prepare and to support you through your college studies, we offer language support (classes, tutorials and workshops), throughout the academic year. This is for non-native speakers of English, i.e. if English is not your first or mother language. Classes and tutorials are free to students currently studying an accredited course at the University. All our language support timetables are available from http://languagecentre.myblog.arts.ac.uk. Timetables change regularly so please keep checking for new courses or tutorials. Information will be available from late September but you can also find out about the provision by talking to your course leader, to your academic support lecturers, or emailing the Language Centre on languagecentre@arts.ac.uk.

Course Specific Language Classes

Once your full-time course starts, you will be informed by your course leader of the times and locations of English classes. These are taught in the context of arts, design and communications and are designed to support you with the language and academic skills you need to successfully complete your course. Most classes are taught on the college sites and take place every week.

Academic English Skills Classes

These are offered to all UAL students whose first language is not English. They are not attached to your course, but you can sign up for any of them. They cover areas such as language for presentations and improving your academic writing. Information on how to sign up is available from http://languagecentre.myblog.arts.ac.uk.

Language Tutorials

If you would like a one-to-one session with a language tutor to look at your writing, get help understanding a difficult text, or prepare for a presentation, you can 94

attend a tutorial. Tutorials last thirty minutes and there are sessions every week during standard term times at all the colleges and also at the Language Centre. You can attend anywhere - not just at your college or building. There are three types of tutorial:  bookable tutorials. Information on how to book these is available from http://languagecentre.myblog.arts.ac.uk.  drop-in tutorials, where you can just arrive any time within the advertised time slot and may not book. These are located in all of the colleges, and are usually in the libraries. Timetables can be found at languagecentre.myblog.arts.ac.uk  on-line tutorials where you send up to 500 words

by email to an English tutor: englishtutorial@arts.ac.uk. You must give your name, student number and course in the email. The tutor will check your work and reply with suggestions within a few days. Intensive English Classes

These run during the winter and spring holidays and are offered at FE, BA and MA levels. These classes will be advertised through language classes, on http://languagecentre.myblog.arts.ac.uk and by email from the Language Centre at languagecentre@arts.ac.uk.

Proofreading service

If you would like your written work to be proofread before submission, you can bring it to The Language Centre. Proofreading usually costs £40 per 2000 words. You must allow at least one week for proofreading to be completed. This is not a one-toone tutorial, and you do not work on your text with a tutor. To book the service please bring your work to the Language Centre reception or email languagecentre@arts.ac.uk with the subject ‘proofreading’.

Pre-sessional English

We also offer preparation courses for non-native English speaking students who wish to improve their English before the start of their UAL course. The Presessional Academic English Programme is six or twelve weeks duration (+ induction) and starts in June 95

and July. Tuition fees are additional to the fees for the course you are preparing to join. For further information visit www.arts.ac.uk/study-atual/international/english-languagesupport/presessional-academic-english-programme/ Modern Languages

We offer extra-curricular modern languages courses in the evenings. Information about timetables and fees is available from September. For more information please visit www.arts.ac.uk/study-atual/language-centre/modern-language-eveningcourses/

Academic Support across the University

Academic support @ arts events offer a space for collaborative and personal enquiry into the nature of arts learning, and how you learn, through a range of exploratory and experimental workshops, pop-ups, talks and panel discussions. The programme aims to help you understand what influences the way you learn, and how increasing self-awareness of habits, motivations and dispositions towards learning, enquiry and collaboration can improve your study practice, progress and achievement. Workshops explore a number of important themes including research, thinking, writing, presenting, collaborating, and how and why we get stuck â&#x20AC;&#x201C; looking for example at creative blocks and troublesome knowledge. Academic support @ arts events are held at a range of college sites and venues and are free to all fullyenrolled students from across the university, full or part-time, at all levels of study. They offer excellent opportunities to share experiences and network with students outside of your course or college. Online Academic Support resources are being developed within UAL for launch in 2014-15. This will be a searchable resource base with relevant guidance materials, news, events, information and links to other useful sources of academic support. All students can access information on academic support @ arts events through the University Events 96

website or directly from: http://www.arts.ac.uk/studyat-ual/library-services/academic-support-research/academic-support-for-students/academicsupport-events/ Additionally, the events are advertised through the Postgraduate Community Moodle site and newsletter â&#x20AC;&#x201C; if you are a postgraduate student you will automatically be enrolled onto this. academic support @ arts events Coordinator: Graham Barton Administrator: Lukas Becker Tel: 020 7514 6189 Email: academicsupport@arts.ac.uk Twitter: @UAL_AcadSupport 8.7

Library Services

Library Services provides outstanding print and online collections in arts, design and communication, study spaces for independent and group learning, and staff who are happy to help you make the most of these resources. Your library membership entitles you to use any of the six college libraries that make up University of the Arts London. The Central Saint Martins Library, based on floors 2 and 3 of the Granary Building, covers a wide range of design subjects, the performing arts, fine art, photography and fashion with an extensive collection supporting cultural and contextual studies. There is also a Materials and Products Collection consisting of samples, trade catalogues and directories. A range of CSM theses and dissertations is held within the Library. In addition to books, journals and films in the physical library, University of the arts also provides you with access to a vast online library. This means that you will be able to access specialist books, journals, film &TV, image databases and more from anywhere in the world with your UAL login details. Everything you need to know about the Library Services and what we have to offer, including a link to the Library Catalogue, opening hours and online 97

subject guides can be found on the Library Services website, (http://www.arts.ac.uk/study-at-ual/libraryservices/). The Library Catalogue allows you to search for online resources as well as books, DVDs and other items; check what items you have taken out and when they are due back; place reservations; check opening times and locations. Courses have dedicated Course Librarians who understand information resources in your subject area. They provide induction, information skills development, and one to one support (see Academic Support section 8.6 above). Your Course Librarian is May Warren, and she can be contacted by e-mail: m.warren@csm.arts.ac.uk. The Library always welcomes suggestions and comments from students and staff for ways to improve the service. Feedback forms are available via the Library Services web page. For Hong Kong-based students, please see the following links for more information on HKU's library and learning resources available for students: Library Access: http://lib.hku.hk/userinfo/student.html#3 Online Electronic Library Resources: http://sunzi1.lib.hku.hk/ER/space 8.8

Support for disabilities

Support for students with disabilities is provided by the University Disability Service. The Disability Service staff work with students who are or believe they may be disabled due to:  Dyslexia or other specific learning difficulties  Sensory or physical impairments  Long-term health and mental health issues

 Autistic Spectrum Disorders  Neurodiversity The above list is intended to provide examples but is not exhaustive. The Disability Service can:  Provide confidential advice by phone, email, dropins and appointments  Arrange dyslexia screenings and/or assessments  Assess what you might need to access your course  Help you to access funding  Organise appropriate support  Provide information about equipment or assistive technology  Arrange extended library loans and other library support  Arrange support workers (e.g. one-to-one study skills tuition, communicators, note-takers, technical and practical assistants, equipment, mentoring, interpreters)  Help to communicate your needs to other staff who may need to know (e.g. your Programme Team, Academic Support team, Technicians, Library, Housing or Health and Safety Teams  Signpost or refer you to other relevant support services Students at Central Saint Martins can contact us in the following ways: Tel: 020 7514 6156

email: disability@arts.ac.uk For students studying in Hong Kong, it is HKU SPACEâ&#x20AC;&#x2122;s policy to offer equal opportunities to all students with or without disabilities. Please refer to HKU SPACE CDP Student Handbook regarding related information for students with special needs.

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Glossary Action research

A method of conducting research which focuses on learning from the effect of the researcherâ&#x20AC;&#x2122;s actions on the external environment, or within a specific situation. Action Researchers are motivated to improve the overall condition of the environments and situations which they study â&#x20AC;&#x201C; rather than to achieve definitive knowledge, or to demonstrate the truth of a specific hypothesis.

Assessment

Work you do on the course is assessed informally (formative assessment) and formally (summative assessment), according to the learning outcomes for each unit. Assessment can be staff-led or peerto-peer. Feedback is normally given in an Assessment Form that maps the learning outcomes against Marking Criteria. In order to complete the course you must receive a passing mark for all pieces of work that are summatively assessed.

Briefing Documents and Briefing Meetings

Briefing documents and briefing meetings are arranged to inform you of what is required from you for particular elements of the course or at certain key points in the course such as induction, the beginning of each project or unit, or prior to assessment. Briefings involve the distribution of explanatory documents including timetables, project briefs, and guidelines for assessment.

Collaboration

Collaboration is one of the core pedagogic principles of the course. It focuses on developing co-operative and responsible approaches to teamwork, problem-solving and opportunity development at a strategic level. It also acts as a mechanism for encouraging you to explore risktaking creatively through experimentation and to enhance your understanding of the implications of your actions. It is fundamental to successful professional practice; however, as with other key concepts ('leadership', 'risk-taking'), it is ideologically complex, and demands flexibility and an openness to differing views and experiences.

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Cultural Analysis

Cultural analysis is a form of qualitative research in the Humanities and Social Sciences that fosters new knowledge or understanding through close or comparative study of cultural objects or production. Cultural analysis pays attention to cultureâ&#x20AC;&#x2122;s relation to technology and economics, the impact of the media, and the political dimensions of culture. It tends to favour interdisciplinary and/or transnational methods.

Cultural Policy

The protocols adopted by institutions, organisations and government bodies regarding access and support for culture in society. It includes funding (both private and public), heritage and legal issues, and organisational structures of cultural bodies. Current cultural policy is aimed at supporting and promoting a widening of access to the arts and culture activities by those traditionally disenfranchised or underrepresented, either as visitors or producers of culture (the democratisation of culture).

Dissertation

The dissertation is an independent, self-directed piece of research. It should be on a topic that is genuinely interesting to you, pursued in depth, with significant amounts of original research and constituting a contribution to scholarship and/or critical theory. It is supported by briefings, lectures about research and writing, workshops, peer-led presentations of research, written feedback on drafts, and one-to-one tutorials.

Enterprise

There are many definitions of enterprise and entrepreneurship. As a starting point we define it as the craft of creating a valuable difference, using resources outside of our control, under conditions of uncertainty and ambiguity, by means of new projects that are new, challenging, and complex.

Employability

There are many definitions of employability, but in the higher education context, the following meaning is generally accepted: 'a set of skills, knowledge and personal attributes that make an individual more likely to secure and be successful in their chosen occupation(s) to the benefit of 102

themselves, the workforce, the community and the economy' (Yorke, 2006). e-portfolio

A systematic collection of digital documents and artefacts (files), created to provide evidence of a student's reflection and learning and hence a record of his/her intellectual development. These are generally linked to curricular activities and may or may not be linked to PDP activities. Workflow and MyBlog tools are an example of e-portfolio tools.

Essay

A piece of writing where you show analysis, critique, evaluation and examination of a particular topic that is either given to you or that you identify yourself. It is important to follow the academic guidelines on the proper formatting, structuring and presentation of these documents.

Group Project

A student-led, collaborative project. You are assessed for your contribution as individuals and for the success of the overall project.

Guest lecturers and visiting speakers

Occasional visitors that provide a valuable opportunity for students to hear and discuss issues with a visiting professional.

Independent study

Independent Study is fundamental throughout the course and is increasingly expected as you progress through the Course. These are the learning hours in which you carry out your research, writing, experiments and studio work that is not taught, supervised or requiring specialist facilities.

Innovation

There are many definitions of innovation. In 1934, the economist Joseph Schumpeter paved the way in The Theory of Economic Development, in which he stated that innovation is the ‘introduction of a new product or a qualitative change in an existing product; process innovation new to an industry; the opening of a new market; development of new sources of supply for raw materials or other inputs; changes in industrial organisation.’ In his HM Treasury report ‘Creativity in Business: building on 103

the UK’s strength’ (2005), Sir George Cox provided a very different, pared down definition of innovation, summarising it as ‘the successful exploitation of new ideas’. Interdisciplinarity

Study which involves several unrelated academic or professional disciplines crossing subject boundaries to create new knowledge and theory.

Learning Outcomes

Learning Outcomes define the particular kinds and levels of skills, knowledges, understandings and attributes that you are expected to demonstrate in each Unit and over the Course as a whole. You are assessed in each Unit, using the marking criteria, according to your level of achievement of the specified learning outcomes.

Learning support

Learning Support is available to help you with your writing, reading, research, time management, planning, personal skills etc. You can self-refer and book an appointment for support with the Learning Support Tutor.

Lectures

Lectures present a body of knowledge in a formal way to larger groups of students, and are usually given by regular members of staff or invited guests.

Marking Criteria

There are eight standard UAL postgraduate marking criteria: research, subject knowledge, experimentation, analysis, technical skill, communication and presentation, selfmanagement and development, and collaborative and/ or independent professional working. These criteria are used in assessment to judge how well you have achieved the learning described by the unit learning outcomes. Feedback against the marking criteria should help you to understand how to develop, improve and take your work forward.

Peer learning

The Course emphasises the learning you gain from one another both formally and informally. Strategies include the sharing of events, studios, group tutorials, seminars and workshops to

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encourage the process of discussion, exchange and peer evaluation. Presentations

Presentations can be visual or oral (normally both) and are a means of communicating individual and/or group experience, ideas, work in progress or completed work to staff and often sharing your learning with your peer group. They are normally in a seminar or group tutorial situation. Presentations can be used as a means of formative or summative assessment: the status of any presentation required is made clear in advance.

Professionalism

This is linked to the idea of certain attributes and attitudes that are integral to the professional standards endorsed by professional and statutory bodies. For example, The Royal College of Physicians defines medical professionalism as 'a set of values, behaviours, and relationships that underpins the trust the public has in doctors'. It implies a student’s identification with the values and culture of a specific set of professional norms.

Reflective and evaluative writing

Reflective writing communicates your individual consideration of your learning, progress, experience, or a subject. Your personal view and unique experience is fundamental to the development of your creative identity and it is the process of reflection (especially combined with the exercise of writing) that transforms experience – whether ‘good’ or ‘bad’ – into learning. Reflection, however, is inevitably closely linked with evaluation. Evaluative writing communicates judgements: it questions the results of reflection, compares and contrasts with previous experience or the ideas of others, considers evidence, and may express preferred conclusions which in turn make material for further reflection. Evaluative writing is analytical and may challenge assumptions and established doctrine. Together, reflection, evaluation and the activity of writing build your ability to maintain and articulate an informed critical position.

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Report

A report is an edited, coherent presentation of experiences, activities or research that has recently been undertaken. It may be written or oral and include documentary images.

Research

Your knowledge and critical skills are extended through project-based and self-initiated research. Sources include previous experience, individuals and communities, expert interviews, the technologies and materials collection, live practices, on-line and text-based resources both inside and outside the College. Practical projects enable you to learn through doing. Research is required to generate, test, substantiate and extend ideas. Emphasis is placed on both the relevance of investigation and critical evaluation of evidence, which inform your creative decisions and proposals. Evidence of research can range in form, from images and textual information gathered for example from libraries (secondary research) to your own documentation, experiments and findings (primary research). Unit One introduces you to a range of research methodologies, which are crucial to the later units.

Risk-taking

Risk taking encourages students to come out of their â&#x20AC;&#x2DC;comfort zoneâ&#x20AC;&#x2122; (which may be defined in terms of previous experience, learning and skills, or culturally-specific expectations and preconceptions). It describes an approach in which challenges and opportunities are seized in ways that embrace uncertainty in outcomes. The objective of risk-taking is to develop skills that help to demonstrate the possibilities of ambiguity and uncertainty as incremental steps on the route to finding new and creative responses to a given context, such as finding new solutions to existing problems.

Seminars or Workshops

Seminars, or Workshops, are meetings of groups of students brought together to debate and discuss particular topics or issues and to share views and experience. They can have both a practical or 106

theoretical focus and can be led by staff, students or invited practitioners. Technical Inductions

Technical Inductions instruct you on safe working practices and Health and Safety issues and the basic use of equipment and protocols.

Theory

A theory is a system of ideas intended to explain something, or a set of underpinning principles. Theory is a generalised term often used to define ways in which to formulate ideas and approaches to them. For example, theory may inform a method of analysis, or be used to test ideas. In the Course you will encounter theory as the use, practice and development of ideas through historical and contemporary research. Particular theories may be implicit in or develop from practice, or they may be an explicit starting point for practice.

Transdisciplinarity

The integration of researchers from unrelated disciplines and professions with non-academic and non-professional participants working towards a common goal.

Tutorials

Tutorials may be one to one, or in small groups where a common issue has been identified by the tutor. They are concerned with the particular needs of the individual or group and monitor progress, advising on future development, and are a key means of formative assessment. Tutorials also provide a forum for discussion of non-academic issues that may be affecting your work. Additional pastoral tutorials can be arranged with the Course Leader. Personal tutorials are formally scheduled at least three times during the Course. They are one-toone with your personal tutor, who takes an overview of your progress across the units. A personal tutorial is documented with a report enabling you to set the agenda and construct written feedback with your tutor. Group tutorials develop your ability to make evaluative and critical judgements and engage in 107

constructive dialogue in relation to work in progress for a particular project. They may be student- or tutor-led. When necessary tutorials (e.g. Personal tutorials and/ or Dissertation tutorials) can be conducted via Skype, the VLE, or telephone; these are considered equivalent to a face-to-face tutorial. Virtual Learning Environment (VLE)

A resource for briefing documents, assignments, information on and relevant to the Course, the College and the University, and a means of communicating with staff and other students. The course VLE is based on Moodle, and extends to platforms such as Workflow, and teaching and learning blogs, to facilitate structured peer-learning activities and group work.

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Health and Safety

10 University Health & Safety

The Court of Governors of the University of the Arts London recognises its legal responsibility to provide a safe and healthy workplace and learning environment for all its employees, students and visitors to the sites of the University. The University publishes an extensive set of Standards and Guidance Notes as part of its Health & Safety Policy and these can be viewed at http://www.arts.ac.uk/study-atual/academic-regulations/studentregulations/student-safety/

Health & Safety; and Risk Assessment

Health & Safety is based on common sense and is not a difficult thing to build into your planning and project delivery. It need not compromise your creative instincts and Central Saint Martins will endeavour to support you as long as your Risk Assessment demonstrates that your work can be done safely and that any hazards are being managed. Central Saint Martins will require you to risk assess your projects regularly, especially when you are taking part in college exhibitions or shows, to ensure that you are doing things safely. Risk Assessment is a simple process where you look at what, in your work, could cause harm to people and what steps you can put in place to stop that happening. Some people worry about this process but we all do Risk Assessments every time we cross the road and we work hard to make the process simple. Your tutors will help you with Risk Assessment and, if you are planning something ambitious, your tutors will arrange for you to meet the College Health & Safety Adviser for more specialist advice. This is an important skill to learn as it is very likely that anywhere you want to exhibit work privately will require you to provide a Risk Assessment before allowing you to work on their premises.

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Induction

Health & Safety is integral to good professional practice in all fields. You will be introduced to your duties and responsibilities regarding Health & Safety through a safety induction at the outset of your course; and again in relation to specific activities as you progress. Before you are allowed to work in our workshops, you will have to attend an induction session with our Technical staff. They will explain and demonstrate safe systems of work to you, after which they will deliver one to one training for anyone wanting to use college equipment.

Working with hazardous substances

It is likely that you will be working with substances that may be hazardous to you and others working nearby. Every substance, when purchased, has a Material Safety Data Sheet that outlines the hazards and how to manage them so there are no excuses for not understanding what risks are posed. You will be expected to comply with that guidance and, at the end of every day, you will be expected to safely store your materials in the fireproof cabinets that we provide. If you are using found items, perhaps from skips, in your work, you need to talk to our Facilities Team who may be able to help you carry it in; will be able to arrange access to service lifts to help you get items above ground level more easily, but who also need to be aware of any hazards that you might be introducing into the building. For example, you will not be allowed to bring in used mattresses unless they have been fumigated.

Working with Electricity

Electricity is the most common cause of fire in the UK and we take fire safety very seriously. We allow people to work using extension leads, on the understanding that, at the end of your working day, you unplug them from the wall. You need to take care not to overload extension leads or circuits and your tutors, or the Health & Safety Adviser will help you to understand what that means if you are not sure. You will not be 110

allowed to join extension leads together to create a longer lead; and if you design and build your own circuitry, we will ask our electrician on site to check that it is safe before we allow you to start using it. Please note that, if you want to bring in any electrical equipment from outside the college, you should check with your tutor first, who will ask you to have it tested by the onsite electrician before they give you permission to start using it. Fire Safety

On your first day at Central Saint Martins, your tutor should explain our General Emergency Evacuation Plan to you; and you should make time to find your nearest Fire Exits. You must not, at any time or for any reason, block our fire exit routes. Anything left in a fire exit at the end of the day is likely to be removed and, if unclaimed, will be disposed of. In the event of an alarm sounding you should IMMEDIATELY leave the building by the nearest safe evacuation route and assemble on Granary Square – there are no acceptable reasons for delaying your exit. After the alarm has finished we will get you back into the building as quickly as we can. If you discover a fire:

Working unsupervised



Raise the alarm by pressing the button on one of the red call point boxes found along the fire exit routes; and



Evacuate immediately – our security desk has a panel that shows where fire alarms have been activated and will make calls to the Fire Service as necessary.

You are likely to work at times when your tutors are not there. Central Saint Martins requires that students work in groups of three as a minimum when no staff members are present so that, if 111

someone has an accident, there is a person to look after the casualty while another summons help. This is not negotiable. First Aid

If you have been hurt, or if you need First Aid support for anyone else: Kings Cross 

Phone 6281 from an internal phone; or



Phone 020 7514 6281 from a mobile; or



Contact any of the Facilities Team who are in Radio contact with each other and all of whom are First Aiders. You will always find a Facilities Team Member at the Barriers; or in the Loading Bay.

Archway 

Phone 7097 or 7098 from an internal phone; or



Phone 020 7514 7097 or 020 7514 7098 from a mobile; or



Contact any of the Facilities Team who are in Radio contact with each other and all of whom are First Aiders. You will usually find a Facilities Team Member in the Ground Floor Admin Office.

These are the numbers for our Security Desks and they will immediately deploy someone to you. Reporting injuries and near misses

If you are injured, or if something happens that could have caused you a serious injury but didn’t (what we call a ‘near miss’), please contact your tutor and ask them to raise an incident report form. The more information we can gather about how people get hurt or how people could have been badly hurt, the better chance we have of taking action to stop people 112

getting injured in the future. Reporting injuries, incidents and near misses helps us to keep you safe on College premises.

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