Design History Society Essay Prize

Essay Prize 2013

Call for Entries

Submissions are invited for the Design History Society Essay Prize, established in 1997 in order to maintain high standards in design history in higher education. Two prizes are awarded annually; one to an undergraduate student and the other to a postgraduate (MA or PhD).

Competition requirements:

  • The entrant must have been a full- or part-time student within the academic year 2012/2013.
  • The essay should be written in English.
  • The length of the essay should be between 6,000 words and 10,000 words, including footnotes (for postgraduate students this may take the form of a free-standing essay or a thesis chapter re-worked into a free-standing essay). A word count must be provided with the essay and on the submission form.
  • The essay (including illustrations) should be submitted electronically as a PDF.
  • The essay should not have been previously published.
  • The essay must be accompanied by an academic nomination. Copies of these guidelines can be forwarded to tutors on request.

The Prize includes:

  • A bursary of £300 given by the Design History Society
  • One year’s membership of the Design History Society (includes subscription to The Journal of Design History)
  • Free place at the Design History Society conference Towards Global Histories of Design: Postcolonial Perspectives 5 - 8 September 2013, National Institute of Design, Ahmedabad, India
  • £100 worth of Oxford University Press publications
  • 5 Paperbacks in the Oxford History of Art series

Application forms are available from the DHS Essay Prize Officer:
Dr Annebella Pollen

The closing date is 14th June 2013

Essays received after the deadline will not be considered.

Submission Guidelines

In order to obtain the highest standards for the Design History Society Essay Prize, each submission must be nominated by a professional in the field.

Consideration should be given to the following selection criteria:

1. Initial selection criteria should reflect the internal assessment requirements of the nominating institution: for example, an essay graded First Class Honours, or of MA or PhD standard.

2. The following attributes should be present in every essay selected for submission, both at undergraduate and postgraduate level.

Originality

The essay should demonstrate a mature and novel approach to issues, themes, and discourses currently relevant in the field of design history.

Research

The essay should demonstrate excellence in terms of breadth of research and should combine a good balance of primary and secondary sources.

Method

Methods of research and delivery should reflect good practice in design history. For example, an ideal essay would demonstrate one or more of the following:

    • detailed, object-focused description and analysis
    • the application of appropriate historical approaches (social, economic, cultural, etc.)
    • a sophisticated approach to interpretation, utilising relevant theoretical perspectives (Marxism, feminism, etc.)
    • correct use of discipline-specific methodologies (archaeology, anthropology, etc.)

3. Finally, the essay should:

  • be well structured and well written
  • include an excellent standard of critical evaluation of the source material
  • have a balanced and logical argument
  • have an articulate and well-evidenced conclusion.
10:14 PM
contrabrand | numbers project

MY GOAL WITH THIS CHALLENGE IS TO QUICKEN MY MENTAL PROCESS OF THINKING THROUGH EXECUTIONS AS WELL AS TO CREATE DAILY. TECHNICALLY THE GOAL WAS TO KEEP IT CONCEPTUALLY SIMPLE, WHICH IS WHY NUMBERS BECAME THE SUBJECT MATTER. TO BE EXACT 0- 365 CONSECUTIVELY, 1 A DAY FOR 2013. THE GUIDELINES THAT I HAVE IMPOSED ON MYSELF ARE TO ONLY USE THE SINGLE COLOR OF BLACK, A NOD TO CLASSIC LOGO DESIGN AND I LIMIT MY TIME, 30 MINUTES SKETCHING, 30 MINUTES ON THE COMPUTER, SO AFTER AN HOUR IT GETS POSTED, DONE OR NOT. I’M SURE SOME WILL BE TERRIBLE..HA, BUT THE PURPOSE IS PROCESS NOT NECESSARILY THE OUTCOME.

5:25 PM

Snap! - Motion to Light Wakeboarding - Red Bull Illume 2013 - Part 1/2 (by redbull)

2:49 PM
Edifícios e Vestígios | Buildings and Remnants | Projecto-ensaio sobre espaços pós-industriais | Essay-project on post-industrial spaces

2:39 AM
Pasifik’e Mektuplar ve Kurgusal Cevaplar « Didem Yazıcı
1:29 AM
TINTYPE Contemporary Art · About
7:34 PM
Spanish fashion designer Manel Torres invented the world’s first clothes-spray, which after application to the body can be removed, washed and worn again. Spray consists of special fibers mixed with polymers, so that the product obtained elastic and durable.
18 notes • REBLOG

Spanish fashion designer Manel Torres invented the world’s first clothes-spray, which after application to the body can be removed, washed and worn again. Spray consists of special fibers mixed with polymers, so that the product obtained elastic and durable.

http://ttbook.org/wprplayer/popup

Where’s the line between craft, art and design? The head of research at London’sVictoria and Albert Museum says, at heart, craft is about “showing your commitment to an idea.”

2:29 PM
Art on the Underground - David Batchelor - Ten Silhouettes
11:44 PM
Why Design Is Not - And Should Not Be Confused With - Art by Alice Rawsthorn , In Discussion With Emily King at Whitechapel Gallery

Listen / Why Design Is Not - And Should Not Be Confused With - Art by Alice Rawsthorn , In Discussion With Emily King at Whitechapel Gall…

11:07 PM
Reinventing School from A to Z33
2:47 AM
CUP: Designer Application
2:30 AM
Are nuclear trains and cars made of skin the future of travel?

United Micro Kingdoms, a new exhibition at London’s Design Museum, explores an alternative Britain governed by four extreme lifestyle tribes. Are you a Bioliberal or a Digitarian?

1:24 PM
268,923 notes • 4:39 PM
REBLOG

tastefullyoffensive:

Ryan Gosling won’t eat his cereal

[ryanwmchenry]

(Source: jensensations, via buzzfeedceleb)

A little over a year ago, Canadian producer Jacques Greene known for his Ciara-sampling/Cassie-remixing 2-step/house-influenced electronica on labels LuckyMe and Night Slugs launched his own label, Vase. Putting out the previously unknown likes of Arclight, Zodiac and vocalist Ango, the label’s tight curation earned Vase a commission from the Tate Modern this spring for anaudio/visual showcase in the South Tanks. The evening at Tate Modern saw Jacques Greene himself perform alongside Dorian Concept and Arclight to the haunting backdrop of an interactive visual production made by longtime collaborators Trusst. Having previously worked together on acuratorial night at XOYO, the teams brought together a one-off show as shot in the video premiered above.

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Dazed Digital: How did the event come off on the night itself?
Jacques Greene: It was great to have the opportunity to present something that sat outside of the club world, but still reference it in a few ways. It was important to that the event not feel quite like a regular music / club event, but not quite like something you would expect to see in a museum. We didn’t feel forced to pander to any type of mindset or preconception, as since the Tate Modern approached us to curate an evening in the South Tank, it was more an opportunity to not only bring our own vision and vibe to the space, but to allow it to be pushed to new places.

DD: How did you come up with the concepts?
Melissa Matos (Trusst): This is a new platform for Tate to engage with the public, so the concepts had to be approachable but fit within some theoretical parameters. Each installation was inspired by different works in Tate’s permanent collection which was also combined with some technical ideas that I had been wanting to explore. In the spirit of this event’s mandate, it was a great opportunity to create and test run some new interactive elements.

Most of the concepts were being developed for the first time, so it was a lot of trial and error. For instance, with the metaprojection jacket (a garment which has hidden cameras embedded in it. The cameras capture a live feed of the audience which projects themselves onto the walls of the space.) Becky had to hack into existing camera devices and software to create the prototype. The technology was temperamental and so the results were always a surprise. 

DD: Who were you working with throughout the process and how did they help?
Melissa Matos: I got in touch with a few new media artists and creative programmers who have experience working in textiles, video, physical computing, etc. All the works corresponded to one another but didn’t feel contrived. For the video works especially, the collaborative experience was really organic. I shot footage and sent it to the video artists (Sam Newell, Ed Leckie, Emmanuel Mauries, Ariane Leblanc) who took the material and created content using their signature digital and analog applications. 

DD: Have you got ideas from this on what you’d like to work on going forwards?
Jacques Greene: There was definitely new territory explored both in how the visuals could work within my live show and how I could perform and present my music within that context. The space made me feel more comfortable to play around within the structures of my songs and the risks paid off, so I the entire experience will end up having a big effect on how I approach the live shows from now on.

11:25 PM