1. Demonstrate a systematic and in-depth understanding of knowledge which is at the forefront of art and design, development, theory and context, in your area of professional practice.

2. Demonstrate a comprehensive understanding and critically reflective evaluation of methodologies and techniques applicable to your own creative development research and advanced scholarship.

3. Communicate your findings clearly to specialist and non- specialist audiences, adhering to academic standards.

4. Research, select and implement relevant creative problem-solving techniques, within the context of your chosen creative practice.

The submission of work for the project, must include:

- A written assignment length 5000 WORDS weighted at 100% (Learning Outcomes 1, 2, 3, 4).

You are required to provide a written research report which will allow you to demonstrate your in-depth knowledge and understanding of current ceramic art and design related issues, which will support your future in the creative industries, this will be agreed between you and your module leader.
You will need to make skilful judgments about the quality of sources that you are using and to construct a systematic and convincing investigation in response to your personally identified topic. (100%)

This module centres around understanding context that underpins your creative practice. It will present you with the¿opportunity to investigate a negotiated research subject of your choice and will provide you with an opportunity to apply theory to your own area of creative interests; you will also, with the support of staff, develop your analysis and communication skills.¿

The MA Ceramics dissertation, with a focus on primary research.

The main focus will be on self-instruction, within a tightly structured framework and relying largely on materials supplied. Week by week you will work through self-instructional course material which provides the framework and focus for reading key texts and papers and undertaking the specific tasks set. This work will be undertaken on an individual basis but at various points you will be expected to interact and share material with other students in your learning group and tutor.

Barrett, E. and Bolt, B. (2007). Practice as research : approaches to creative arts enquiry. London: Bloomsbury Visual Arts.

Mcniff, S. (2013). Art as research : opportunities and challenges. Bristol: Intellect.

¿Nelson, R. (2013). Practice as research in the arts : principles, protocols, pedagogies, resistances. Basingstoke: New York.

Berger, J. (2008). Ways of seeing. Penguin Classics.

Gray, C. and Malins, J. (2016). Visualizing Research. Routledge.

Dunne, A. and Raby, F. (2013). Speculative Everything : Design, Fiction, and Social Dreaming. [online] Erscheinungsort Nicht Ermittelbar: Mit Press. Available at: https://readings.design/PDF/speculative-everything.pdf.

Adamson, G. (2018). Thinking through craft. London: Bloombury Visual Arts.

Harrod, T. (2018). Craft. London: Whitechapel Art Gallery.

Lange-Berndt, P. (2015). Materiality. London: Whitechapel Gallery ; Cambridge (Mass.) ; London.

¿Hudek, A. (2014). The Object. MIT Press.

Studio spaces and workshops.
Computer Suites for accessing Blackboard, websites and electronic journals.
Course texts and details available in BlackBoard.
The Blackboard virtual learning environment will be available to support this module.