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