1. Thesis Preparation
... Rules for Engagement
WEEK 01

2. Week 01
Letters to the future
Thesis fictions
Having an experience
Thesis framework
Make a psuedo-structure (e.g., a framework)
Sample fiction

3. An experience

4. An experience
materials form purpose

5. An experience
materials form purpose
aesthetic intellectual practical
experiences experiences experiences

6. An experience
materials form purpose
patterns among traits in every
experiences experience

7. An experience
materials form purpose
interest & purpose experiences that rise above
separate experiences the threshold of perception

8. “Having an Experience,” John Dewey
An experience
1. What
p. 36
materials form purpose
2. How
p. 44
aesthetic intellectual practical
experiences experiences experiences
patterns among traits in every
experiences experience
interest & purpose experiences that lift above the
3. Why
separate experiences threshold of perception
p. 55

10. “Having an Experience,” John Dewey
An experience
1. What
p. 36
materials form purpose
2. How
p. 44
aesthetic intellectual practical
experiences experiences experiences
patterns among traits in every
experiences experience
interest & purpose experiences that lift above the
3. Why
separate experiences threshold of perception
p. 55
Diagram drawn from Richard Buchanan, Carnegie Mellon University, 1998

12. Defining an idea
What is it?
Who is it for?
Why do it?
What/Where will its effect be?
How will you do it?
Who will be involved?

13. Criteria for a thesis idea
Innovation: New knowledge?
Meaningfulness: Relevant and meaningful?
Impact: Larger than class project? Program?
Groundedness: Able to produce work? Feasible?
Viability: =Demonstratable?
Story: Tell a compelling story?
Aesthetic quality: Well designed?

14. Thesis committee
Subject matter expert
Thesis faculty
Department chair
Technical advisor (shared)

15. Frameworks

17. CREATOR
CONSUMER

18. CREATOR
CONSUMER

19. CREATOR
CONSUMER

20. We create frameworks
that allow people to improvise.

21. FRAMEWORK
Unstated rules implicitly set by the
character of some entity where the
interaction occurs

22. IMPROVISATION
Creating in the moment in response to
environment; results in invention of new
patterns, practices, structures, behaviors

23. Attributes
Present Involves the audience
Detectable Requires no pre-knowledge
Responsive Defines parameters
Additive Accepts all offers

24. “pseudo-structure”

25. “yes, and...”

39. “OVERTHINKING”

40. 1 Present: Involve the audience

41. STREET VENDORS

42. STREET VENDORS

43. 2 Responsive: Define parameters

44. hello health

45. PROJECT H, LEARNING LANDSCAPE

46. 3 Detectable: No pre-knowledge

47. LOCAL PROJECTS, JETBLUE STORY
LOCAL PROJECTS MEDIA DESIGN PROCESS 47

48. KICKSTARTER

49. 4 Additive: Accepting all offers

50. POP-UP LUNCH

51. ZERO ENERGY MEDIA WALL

52. MAKE A PSEUDO-STRUCTURE (e.g., framework)
Create a pseudo-structure based on your color.
(e.g., Write a song, create an alphabet, compose a
painting.)
Image: Frank Chimero

53. Thesis fictions

54. Fictitious thesis fiction

55. 1970s

56. NYC 1959

57. JOHN COLTRANE, MILES DAVIS, 1959

58. MILES DAVIS, 1959

59. MILES DAVIS, 1959

60. Classical notation:

62. Jazz notation:

63. GIANT STEPS

64. MUSIC FRAMES
Classical
Leaves no room for participation
Requires prior knowledge
Judged on “right way”
Evaluated as fixed in time
Viewed as sets of “original works”
Stability

65. MUSIC FRAMES
Classical Jazz
Leaves no room for participation Based on participatory methods
Requires prior knowledge Requires little prior knowledge
Judged on “right way” Judged on deviation from original
Evaluated as fixed in time Evaluated as interactive
Viewed as sets of “original works” Viewed as “interpreted works”
Stability Creative instability

66. DESIGN FRAMES
Closed
Required specialized knowledge
Judged on “right way”
Left no room for participation
Evaluated as fixed in time
Viewed as original work

67. DESIGN FRAMES
Closed Emergent
Required specialized knowledge Requires no specialized knowledge
Judged on “right way” Judged on deviation from original
Left no room for participation Based on participatory methods
Evaluated as fixed in time Evaluated as interactive
Viewed as original work Viewed as mediated content

68. SHIFTS
Closed Emergent
Artifacts Behaviors
Predetermined Present

69. ORAL TRADITION
Orality + Literacy

70. MILMAN PARRY

72. “modal jazz”

73. thank you.

74. next: week two

75. MAKE ANOTHER PSUEDO-STRUCTURE
Create a pseudo-structure (e.g., framework)
that inspires action. At least one person
must participate in it. Demonstrate
structure and participation in some way.
Image: Frank Chimero