POSTER PRESENTATION EXPECTATIONSYour final project (which you will present in a poster-style gallery walk) documents your process and serves as a learning resource for your peers. It should address the following:1) Your “Poster” form is flexible but must include the following:a) An Executive Summary or Abstract: a succinct description of what you did, what domain(s) you covered, & what course concepts were put to work in your process (this can be a list of relevant concepts)b) Evidence: artifacts of your attempts and experiences and course material that supports or challenges your argument (note: seek disconfirming evidence as well – don’t just gloss over the stuff that doesn’t fit your story! Make sense of the evidence that fits and the evidence that doesn’t)c) Thematic Showcase: how did you make sense of your experiences and adjust? What was initially invisible that became visible? How did that occur?d) Revision Plan: Given more time, what would you do next? Link these plans to your varied forms of evidence.
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Manifesto “IN ACTION” – FINAL ASSIGNMENT EXPECTATIONS
OVERVIEW: 2 Parts to the Assignment
1) Final Reflection: DUE FINALS WEEK, Thursday, March 21, 8:00 am.
This will be a 2-page, double-spaced, written reflection addressing the following:
a)
b)
c)
d)
The key strength(s) of your manifesto effort
The main challenge you took on with the assignment (for yourself as a learner & actor/agent)
The ways in which you “stretched yourself” for the assignment
Your definitions of democracy and democratic practice and how you’ve worked to develop
them in greater depth through your work this quarter
e) Likewise, how have you integrated ideas about youth and new media into your thinking this
quarter
f) Complete the following:
i) Before my manifesto project I thought…
ii) After my manifesto project I know…
iii) If people learn one thing from my effort to bring my manifesto to life, it is this…
2) Final “poster” presentation: DUE FINALS WEEK, Thursday, March 21, 8:00 am.
Presentations will occur during our scheduled final exam time from 8:00 am-10:59 am. You must
attend the final exam in person for the full scheduled period.
This part of the assignment results from your efforts to enact your manifesto, as designed at
the midterm. DETAILS ARE BELOW…
POSTER PRESENTATION EXPECTATIONS
Your final project (which you will present in a poster-style gallery walk) documents your process
and serves as a learning resource for your peers. It should address the following:
1) Your “Poster” form is flexible but must include the following:
a) An Executive Summary or Abstract: a succinct description of what you did, what domain(s)
you covered, & what course concepts were put to work in your process (this can be a list of
relevant concepts)
b) Evidence: artifacts of your attempts and experiences and course material that supports or
challenges your argument (note: seek disconfirming evidence as well – don’t just gloss over
the stuff that doesn’t fit your story! Make sense of the evidence that fits and the evidence that
doesn’t)
c) Thematic Showcase: how did you make sense of your experiences and adjust? What was
initially invisible that became visible? How did that occur?
d) Revision Plan: Given more time, what would you do next? Link these plans to your varied
forms of evidence.
Goals
This assignment is not just about what you are doing to enact your manifesto (that is only part of the
task). It is also about what you can make visible through what you’re doing. Your manifesto is
essentially a case of some phenomenon, through which you are studying your relationship with
democratic practice and philosophy, framings of youth in society, and forms of new media as tools
frequently lauded for their participatory power.
Manifesto “IN ACTION” – FINAL ASSIGNMENT EXPECTATIONS
Use what you’ve developed so far to investigate the following aspects of lived experience and
possibilities for participation (yours and others) as they relate to your midterm manifesto plans and
the key themes of the course (youth, democracy, & new media):
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spaces & places (the built environment)
tools & technologies
systems & institutions
forms of communication
types of negotiation & regulation
How do these inform or have bearing on your practice and your understanding of democratic life?
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If you’re trying to love yourself, create community or mobilize supporters, etc., what led you
to that need? Where do you find it easy or difficult to practice? What kinds of tools &
technologies support or limit your practice? How do encounters with systems and institutions
affect your goal or come to life through this lens? When and how are varied forms of
communication called for as you try to bring your ideas to life? What roles do negotiation and
regulation play in your practice, and what are your strategies for navigating these processes?
If you’re trying to create community, what stands in the way of that? If you’re trying to
mobilize supporters, what barriers and opportunities are before you?
Strategies for organizing your “data collection” and presentation
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When in doubt, document! Keep a journal, snap photos, make a captain’s log, save artifacts
(e.g. table napkins with doodles), interview people who know you, etc.
Select 2 or 3 concepts from the course to examine in practice. For instance, in the Jenkins &
Carpentier article, you can see how much work goes into defining the conceptual terrain and
then communicating it. For instance, you could take “leadership” or “participation” and all of
the adjectives they used to amend them. Then explore for yourself. Are you experiencing
“minimal” participation? “maximal” participation? “critical” participation? Something else? How
do you know?
Consider narrowing your focus or domain (e.g., if you have a 10 point manifesto, perhaps
focus on 2 or 3 of the points you think are important now; if your manifesto is applicable in
every area of your life, for the assignment, choose one or two areas—your coursework, your
job, your friendships, etc.).
Notes
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•
It’s called a poster session, but you don’t have to produce a poster. You can, but you could
also have a set of slides or a journal or a portfolio or a piece of audio or video, etc.
You are as much a presenter as an audience to your peers. You must attend and
participate in the final presentations to receive full credit.
Assessment
The assessment of your final assignment will be based on your written reflection, “poster”
presentation (addressing the above 4 points), and supporting artifacts. Be prepared to submit your
supporting materials either electronically or to hand it to me at the end of the final exam session.
We’ll use a design framework for assessment of your “poster”. So your final assignment should
efficiently convey how you began, your forms of prototyping and testing, and how that informed your
understanding and revision decisions. We will co-develop a rubric that will serve as your guide for
what qualifies as excellence, meeting expectations, minimum requirements for a passing grade, and
below reasonable standards of expectation.
Hong 1
Zhen Hong
Professor Booker
Comm 114D
February 12, 2019
A media artifact refers to an object of study, film camera, photograph or a phonograph
among others. My media artifact is make-up (a make-up is a mask, war pain or other things that
that are mostly worn by women with intention of embellishing themselves because of low self
esteem). It is true that women do spend a lot of money on make-up as compared to men. This has
made numerous supermarkets be filled with glossy magazines featuring beautiful celebrities
dressed in the latest fashion at the same time sporting perfect hair. For example, the celebrities do
have flawless skin, white teeth and even some of them happen to have given birth few years ago
though they appear without any stretch.
Make-ups have gained popularity in all walks of life. In the institutions of higher
learning, no party goes without the party goers rebranding themselves. The venue where the
party is scheduled to take place is always decorated with sparkly royal blue walls and the even
the carpet is pink or has a unique color. Therefore, make-up has a lot of sense to me as a student.
For example, use of make-ups is known to increase individual confidence at the same time
ensure that beauty has been enhanced. On the other hand, some people such as staunch
Christians do not like associating with bodily make ups as they are known to interfere with God
given image. Therefore, I intend to understand why there is extensive use of make-ups in
business, among high school and university students and the need to maintain or change this
culture. It is meaningful to me in the sense that I will get to compare my knowledge on the same
Hong 2
and all the controversies surrounding the topic. Being a common aspect n the society yet not
much written about t, I seek to get as much content as I could so that I can get diverse
perspectives if I have to comment about it in future.
Make-up a media artifact is unique in its own way. It will provide insights as to why it
gained increased attention around the globe. My choice of presentation (poster) is easy as
compared to others.
There is limited literature on make-ups. Notably, make-up is part and parcel of media
artifact that has not been addressed by other scholars. Therefore, this is the appropriate element
for the current scope of work.
At personal level, I do appreciate the fact that a make-up is necessary in any business to
attain a unique competitive edge in the respective industry. For example, companies that have been
manufacturing and selling cosmetics have been able to rely and integrate services of make-ups to
ensure that attraction and retention of customers from various parts of the world becomes a reality.
To some people, this has not been the case. The best case study is university and other tertiary
college students who rely on make-ups for their own personal ambitions and set objectives
(Vandegrift, 2015). It is justifiable that a significant number of people in society have understood
responsible use of make-up as an art to communicate an important message in society. Therefore,
this project is intended to act as a bridge between an individual experience and a social
understanding of make-up.
Make up is actually an art that has not been appreciated for a long period of time. Majority
of people do see and use cosmetics as a vain attempt to change who they are and the physical
features that are associated with. The current project is here to demystify and demolish this belief
that has affected society for a long period of time. Painters do have unique tools that make them
Hong 3
accomplish their objectives of art within the right time frame. For example there is use of palettes
and charcoals as some of the necessary tools to ensure that an artistic work is well communicated
to the target audience. To untrained person with passion in make-up, use of artistic tools is a not a
requirement. Make-up has been used for a long time as an ingredient of painting, sketching, drama,
pottery and photography among others. Some people have been unable to understand correct use
of the tools as per the guidelines of the rules and regulations of art. These are some of the issues
that the current project is meant to create a bridge between personal and social experiences.
Make up is a unique culture with its own history. For example, historical traces of makeup
are traced to cave paintings. The paintings usually consisted of images of the Stone Age activities
and women with portions of their activities colored in reddish brown tones (Azure, 2017). The
body images were meant to create and express different moods, sexual maturity, mourning and
other social circumstances. Make up has been known to be a source of communication and
expression of various feelings. However, this is not the same for current generation. Current project
is intended to address such loopholes that have existed for a long period of time. Evidently, this
project is meant to understand various origins of make up across the globe.
It is known that make ups are traced back to the era of Mesopotamia cultures at the time
cosmetics were used by Sumerians, Assyrians and Babylonians to enhance appearance of their
faces. Later on, Egyptians adopted the idea of social beauty as a unique sign of power (Azure,
2017). To ensure that they had unique cosmetics to serve their unique interests, they relied on
different types of clay, iron oxide and special inks that were applied on body parts with use of
small brushes. Prior the age of renaissance, heavy make- up was considered vulgar. The Asian
cultures have brought about heavy handed and rigid makeup across the globe (Azure, 2017). For
example eyes of women were strongly highlighted in black while the lips were painted red hearted
Hong 4
in shape. This was the same in China and other regions of the world. However, in China women
preferred a much simpler make-up where the eye were painted in black and the lips slightly red in
color. Therefore, these are just but some of the issues that the current project will serve as a bridge
between an individual/personal experience and a social/institutional experience.
The current project is related to two concepts covered in class: cultural citizenship and the
youth. Make-up is one of the current cultures that are associated with majority of youths across
the globe. This is grounded on the fact that youths do share almost same norms, values and
practices. As opposed to old generations, millenials and generation z are known to be associated
with the following: beliefs, behaviors, styles, interests, clothes, sports, vocabulary and the manner
in which they date (Vandegrift, 2015). Indeed the culture of make-up is related to one of the topics
that were covered in week 1 & Week 5 of the course. Notably, make up is also associated with
cultural citizenship as fully discussed during week one and five of the course. During the World
War II, use of make-up among women was a suggestion that they were bound to sex, rape and
prostitution. On the other hand, make-up could signify a sign of female agency and sexual power.
In order to understand make-up as media artifact, data collection is very essential.
Secondary data will be collected by reviewing various scholarly articles in globally respected
online databases such as Google scholar. Information will be obtained from articles not published
more than five years ago. Primary data will be obtained by interviewing randomly sampled
university students to have a clear picture of patterns make up institutions of higher learning not
only in the United States of America but other regions of the world. In order to gather evidence
about the bridge between individual/personal activities or experiences and social/institutional
systems, this will be accomplished by sampling personal opinions of specific target audience such
as music artists known to have a culture of make-up and compare with views of religious societies.
Hong 5
This plan is necessary in helping me to refine my understanding and approach to democratic
practice since I will be supposed to interact with people from various diversified backgrounds
(social, economic and political among others) (Bennett, 2008). This will also provide an
opportunity for me to apply concepts learnt in classroom to electoral processes (KawashimaGinsberg & Levine, 2014). Data analysis will be accomplished by use of both qualitative and
quantitative techniques.
References
Azure. (2017). The evolution of ancient expression of beauty.
Bennett, W. L. (2008). “Changing Citizenship in the Digital Age.” Civic Life Online: Learning
How Digital Media Can Engage Youth. Edited by W. Lance Bennett. The John D. and
Catherine T. MacArthur Foundation Series on Digital Media and Learning. Cambridge,
MA: The MIT Press, 2008. 1–24. doi: 10.1162/dmal.9780262524827.001
Kawashima-Ginsberg, K. & Levine, P. (2014). Diversity in Classrooms: The Relationship
between Deliberative and Associative Opportunities in School and Later Electoral
Engagement. Analyses of Social Issues and Public Policy, Vol. 14, No. 1, 2014, pp.
394—414.
Vandegrift, D. (2015). “’We don’t have any limits’: Russian young adult life narratives through a
social generation lens”. Journal of Youth Studies. 19(2):221-236.
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