Think about:
• Whether you embrace inherent collaboration in your work or whether you consciously resist it.
Collaboration is often something I resist. Being a bit of a control freak I find it is always good to maintain a handle on situations and keep things within my control. This only really goes as far as my own practice and I have collaborated several times with people in the past for projects and gallery installations.
• How you are learning from your subjects / collaborators / participants / respondents, or helping them, or both
I feel that my current practice on this MA does not apply to the questions however this weeks activity to collaborate towards a zine has been fun so far and I look forward to see where it goes.
• How you might be taking advantage of your subjects / collaborators / participants / respondents.
I feel this issue usually revolves around money. If there is money involved the people often start to become disgruntled at their apparent being ignored in the collaboration process. Unless of course it is something they are aware of from the beginning.
• Any other ethical concerns you may have.
An open approach to collaboration and clear written agreements can often ease ethical concerns. Where are the images to be used or displayed? Is there money involved? What is to happen with that money as a result?
In your CRJ, write a short summary about:
• Your experience of the week’s activities and any feedback received from peers and tutors.
This weeks activities have seen no webinars or tutorials. My contribution to the forum is yet to receive a reply. I have however established a team for the Zine task and look forward to where that is going.
• Any reconsiderations to the core methodology of your project.
I would like to explore further the way crowdsourcing could be more widely used in my still life scenarios. However, as things progress, if I feel that this might compromise the direction of my practice then it won’t be something I pursue further.
• The forms your project / photographs could potentially take moving forward.
Further crowdsourcing of items for still life scenes can be an effective more forward from here. More on this in coming weeks, maybe.
Andrews Masters Journey 