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COM401 Weekly works

Week 1

Reading part:

Haseman, B. & Mafe, D. (2009). Acquiring know-how: Research training for practice-led researchers. In H. Smith and R. T. Dean (Eds.), Practice-led research, research-led practice in the creative arts (pp. 211-228). Edinburgh University Press.
Haseman and Mafe argue that practice-led research is not just about applying theory to art, but about generating new knowledge through artistic practice itself.In this chapter, they discuss research methodologies and fundamental quality assurance measures, reflexive habits, and the overall research process.I feel this is quite similar to the steps I followed in my own project (though I may be misunderstanding, so please correct me if I’m wrong):

Research problem = target
Controlling variables = challenges or difficulties encountered
Disciplining data = collecting information (e.g., technology, images, references)
Specifying findings = presenting the final work and writing a reflexive account.

The part I really liked and agreed with was this line:
"As a writer my process/practice has always been messy; three parts hunch to one part science."I understood three parts hunch as ideas, feelings, and meaning, and one part science as technology and reflexivity.

Reference

Week 2

Reading part:
– Concannon, K. (2008). Yoko Ono’s cut piece: from text to performance and back again. Paj: A Journal of Performance and Art, 30(3), 81-93.
{Cut Piece} that presented are test of Ono commitment to life as an artist, as a challenge to artistic ego, as a gift, and as a spiritual act. But I think what she do is like test of human nature. Think about this The audience is given total freedom with the scissors. They could cut gently, take only a small piece, or they could be rough, greedy, even violent. In this sense, the artwork is also an experiment: What will people do when they have power over a vulnerable person, with no clear rules or limits?

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- Intersubjectivites: Mary Kelly's Post Partum Document
Mary Kelly’s Post-Partum Document (1973–79) documents her son’s early development through objects, texts, and records (feeding charts, diapers, first words, drawings, comfort objects, etc.).
The work challenges Freudian and Lacanian psychoanalysis, which often positioned the mother as passive, by showing the mother as an active subject with agency and thought.
Each “Documentation” reflects a stage in growth:
I: Feeding and feces → anxiety, care, loss of breastfeeding.
II: Early speech → mother observes language development.
III: Drawings + diary → overlapping perspectives.
IV: Comfort objects → separation, mourning, joy.
V: Natural specimens + body diagrams → child’s curiosity about the mother’s body, repression of women’s sexuality.
VI: Pre-writing → child enters language, but mother’s presence remains.
By mixing art, autobiography, theory, and humor, Kelly redefined motherhood as creative, intellectual, and relational rather than sentimental or passive.​

Reference

Week 3

 Reading

  1. Jones, D. (2014). Introduction. In Dada 1916 in theory: Practices of critical resistance. Liverpool University Press.

Its practices were both creative and destructive: breaking norms while inventing new forms.

    2. Hughes, J. (2025). A Disruptive Innovation.
By emphasizing experimentation and learning from mistakes, students are guided to see failure as a natural and valuable part of the creative journey. Assessment criteria are designed to prioritize the documentation and presentation of the creative process rather than the final outcome.The approach aims to cultivate resilience, adaptability, and innovative thinking—qualities essential for success in the ever-evolving creative industries.

 

​​Dada Art

- What is it

Dada was an art movement and the founder of dada was a writer, Hugo Ball. (Tate, n.d.). It performance produced by dada artists is often satirical and nonsensical in nature. (Tate, n.d.). It aim was to destroy traditional values in art and to create a new art to replace to the old. (Tate, n.d.). You won’t find paintings, sculptures or drawings among the artworks here, because it was not about the visual product, but the idea behind it, and the way it’s made. (Artsper Magazine, n.d.).

 

- My Dadat Art​ ​​

You can see here:　Chia-yu Chang - Graduate Studio 2

References:

Week 4

So this week We learning about Poetic Inquiry

What is poetic inquiry 
It is an arts-based research methodology which treats poetry as a 'vital way to express and learn' by incorporating original poetry into academic research. (Brown & Irby, 2021)
It's use for preservation of participant voice, explore the relationship between language and meaning, deepen researcher reflexivity, increase the emotive impact. (Brown & Irby, 2021)

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Ok, Now I know that what is poetic inquiry. Next is about how to use it and what it can bring for my work.

As an arts-based method, poetic inquiry uses the literary techniques of poetry as a method of analysis and knowledge generation, for example: line breaks, imagery, metaphor, stanzas, enjambment, alliteration and narrative. (Wetton, 2025)
About to use the Poetic inquiry:

  1. Think about topic, or Memoris. 

  2. Write down the words that fit you feel of the moment. 

  3. Think about how to say out with the emotion and right sound. To let audience can feel you feeling or  storys.

(Queensland University of Technology, n.d.)

Reference

Week 5

Concept
Creat a fantasy 3d model, and in the procss learing new skill.

 

Deliverables
My idea are creat a fantasy 3d model arts with a some effect. And now still the same.

 

What has happened since the experimentation weeks?
um, not thing happened, just slow progress and find way to get the effect I want.All the model has be comeout, just the Crystal chandelier and 3D creature modle not done yet.

 

Has your idea changed, if so how?
My ideas is not change. I have some new ideas or thme of it, but not going to change any thing in this plan.

Set the approximate completion time for the project. 
3D model Work list:

- gem pool (Week 6) 

- tree (Week 6)

- crystal chandelier (Week 7)

- Energy stone or water ball (Week 7-8）

- a cute creater (Week 8-9) 

 

Effect work list:

- a water come out form the magic stone (week 7-8)

- firefly (week 9)​

Week 5 work

Your short poetic creative sprint

A fantastical scene.
Let them collide—
softly, or like lightning.
Don’t fix it. Don’t judge it.
Just follow the inspiration
that pulls you forward,
as if the world is opening
one impossible door at a time.

Week 6

It is generally accepted that the creative process involves several steps.

 

  • Preparation - This is the stage where you explore the problem, gather information, and build background knowledge.
    You research, brainstorm, and collect ideas so your mind has material to work with (Wallas, 1926).

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  • Incubation - Here, you step back and let ideas rest.
    Even when you’re not thinking actively, your subconscious continues working, connecting ideas silently (Wallas, 1926).

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  • Illumination - This is the “aha!” moment.
    A sudden insight, new idea, or creative spark appears—often unexpectedly or during rest (Wallas, 1926).

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  • Evaluation - You critically examine the idea:
    Is it good? Does it fit the purpose? Should it be changed?
    This stage helps refine or adjust the initial insight (Wallas, 1926).

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  • Verification -   You turn the idea into something real.
    This includes drafting, designing, editing, and testing until the final creative work is complete (Wallas, 1926).

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Reference (APA 7)

  • Wallas, G. (1926). The art of thought. Harcourt, Brace and Company.

 

 

Week 8

This week is doing  and show my "Focus Project".


Thinks those qustion as a responder.   
- what the work evoked for you

The work evokes a strong sense of mystery and fantasy.
The glowing gem pool immediately suggests that this place has magical or spiritual importance.
The chandelier hanging above the lake adds an unexpected and surreal feeling—mixing indoor elegance with outdoor nature creates a dream-like atmosphere.
The surrounding trees make the space feel hidden and sacred, like a secret place waiting to be discovered.


- your opinions on the work

Overall, the concept is imaginative and visually striking.
Combining natural elements (trees, lake) with a refined artificial element (chandelier) creates an interesting contrast.
The work has strong potential for storytelling: it makes me wonder who built this pool, what power the gems hold, and why a chandelier is suspended in such a remote place.
With careful attention to lighting, colour blending, and material design, this scene could become very immersive.


- how you may word your neutral qusestions.

  • What inspired you to combine natural and magical elements in this environment?

  • How do you imagine the gem pool functions in the story world?

  • What kind of mood do you want the lighting to express?

  • How do you see the chandelier contributing to the atmosphere of the scene?

  • Are there particular references or artworks that influenced your design choices?

  • How do you want viewers to feel when they see this environment?

  • What challenges did you face while designing materials like water, gems, or trees?

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Research question prompt (here begin defining the research qusestion of project.)

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- Inquiry Question 

​How can I create a visually striking and atmospheric 3D environment—featuring a gem pool on a lake, surrounding trees, and a chandelier—using design principles, lighting techniques, and environmental storytelling to evoke a sense of fantasy and wonder?

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- Comments 

This project explores how environmental elements (water, gems, lighting, and natural surroundings) work together to communicate mood and narrative.
The key challenge is combining natural objects (trees, lake) with fantastical objects (gem pool, chandelier) in a way that feels balanced and believable.
The research will help guide decisions about colour, material, composition, and how the viewer emotionally responds to the scene.​

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- Areas to investigate

  • ​Lighting techniques in 3D modelling

         How different light sources (e.g., chandelier glow, gem reflections, environmental light) create atmosphere.

  • Material and texture creation
    How to make gems, water surfaces, and natural textures realistic or stylised.

  • Environmental design and composition
    How to position trees, water, and structures to guide the viewer’s eye.

  • Fantasy visual language
    How fantasy artworks use colour, contrast, and magical elements to communicate mood.

  • Chandelier design in non-traditional settings
    How objects normally found indoors can be integrated into outdoor fantasy spaces.

  • Case studies of similar 3D environments
    Looking at games, animations, or concept art with mystical pools, floating lights, or enchanted forests.    ​

- Sources

​YouTube / ArtStation tutorials on water shaders, gem materials, or forest environments

Week 9

Look the section in this article on Annotated Bibliography, Prop one.

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Another important part of the chapter is the explanation of the three main objectives of a literature review: (1) to summarize key publications, (2) to explain how these works relate to each other, and (3) to identify gaps in knowledge where new insights are needed (Young & Shanahan, 2017, p. 8). 


The chapter also clarified the difference between a literature review and an annotated bibliography. An annotated bibliography lists sources individually, while a literature review is written as a coherent narrative with connections and transitions (Young & Shanahan, 2017, p. 8). This helped me realize that synthesis is more important than simply summarising each source.

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Reference

- Young, G., & Shanahan, J. O. (2017). Undergraduate research in music: A guide for students (Chapter 2: Literature reviews). Taylor & Francis.

Week 10

 we discussed last week will assist in informing how you choose to present your portfolio

Some options are
* Google Site
* PDF document with links to all materials
* Online Portfolio tool or blog

I choose to use the online portfolio (WIX). 

 

Reading: 

How to present creative work. Tips to succeed in communicating your… | by Max Palyvoda | UX Collective

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 - I think the article offers very practical and important advice. In creative work — especially visual or 3D — it’s easy to get lost in technical execution (models, textures, lighting) and forget about why you’re making something. This guidance brings the focus back to meaning, intention, and communication.

I also appreciate that it treats presentation as a skill on its own: not something trivial, but something that deserves planning and care — because even great work can fall flat if poorly presented.
 

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