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NORTHUMBRIA UNIVERSITY

UNDERGRADUATE PROGRAMME SPECIFICATION


(see guidance notes for completion1)

Please note that from January 2005


Where a programme is delivered in more than one mode:
o a full Programme Specification is completed for what is deemed to be the main mode
o details of other modes (part-time, franchise deliveries etc.) are entered onto a Delivery Supplement which is attached to the main document
o one or more delivery supplements may be included at the time of validation, or added when an additional mode of delivery is subsequently
approved.
Any changes made to an approved Programme Specification are indicated on a Log of Changes sheet, and appended.
Sections 1-10 below indicate all modes of delivery and attendance, with the main mode highlighted by the use of bold type; sections 11-20 refer to the main
mode of delivery.
1.

Programme Title and Award

BA (Hons) Contemporary Photographic Practice

2.

UCAS or other Admissions Code

E640

3.

Northumbria Programme Code

21FFNA-N CPP1

ie SITS route code

4.
5.

Classroombased

Distance Learning

Blended

of delivery in bold

Mode(s) of Attendance please indicate the main

Full-time

Sandwich

Part-time

Mode(s) of Delivery please indicate the main mode

delivery in bold

Other please specify


6.

Location(s) of Delivery if other than Northumbria

7.

Collaborative Provision if applicable

Franchised

Validated

Joint

Partner Institution(s)
8.

Date(s) of Approval/Review

9.

QAA Subject Benchmark Group

10.

PSRB accreditation if applicable

Art and Design

The Programme Specification should be completed in accordance with the guidelines available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/progspecs/

Dual

NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
Sections 11 20 relate to the main delivery as indicated in bold above.
11.

Educational Aims of the Programme Specified in terms of the general intentions of the programme and its distinctive characteristics; these should be consistent
with any relevant benchmark and with the Mission of the University.

The overarching aim of this programme is to produce graduates who are critical thinkers and reflective practitioners, who are well prepared to apply
their acquired practical and theoretical skills in a range of potential career paths and who will make significant contributions in their chosen fields.
The philosophy of the Contemporary Photographic Practice Programme is to guide students towards establishing an independent contemporary art
practice that is critically informed and technically proficient. This means developing high levels of self-motivation, intellectual curiosity, speculative
enquiry, imagination and divergent thinking skills.
The distinctiveness of the Contemporary Photographic Practice subject at Northumbria lies in its provision of a dynamic and creative learning
environment which is dedicated to supporting students in the achievement of their full creative potential. This distinctiveness pivots on the essential
acknowledgement that each student is an individual, the learning and teaching therefore focusing on guiding the student through a process that is
experiential and progressively self-determined. The student-centred curriculum is designed to stimulate the development of an enquiring, analytical and
creative approach, and to encourage the acquisition of independent judgement and critical self-awareness. Students learn to recognise the interactive
relationship between materials, media and processes, between ideas and issues, and between producer, mediator and audience. A rigorous
mechanism of continuous formative feedback provides the essential support for individual achievement. Additionally, the provision of excellent studios
and workshops offers a substantive learning environment in which a creative art practice can be tested, challenged and developed. The course is
further distinguished by its purpose built gallery provision. Gallery North is a primary teaching and research resource that enriches the curriculum and
complements other gallery provision in the region. The exhibition programme is diverse and exciting and showcases work by international artists,
visual arts staff and student groups. The distinctiveness of the programme is also manifested in the success of its graduates, many of whom have
moved on to make substantial contributions in a diversity of creative and cultural industries. Many graduates continue their practice as artists and
achieve critical acclaim; they may support their practice through the sale of work, commissions, grants and residencies and/or other employment.
Some graduates find an application for their learning through post-graduate study or teaching, or within the cultural sector that includes community arts
work, curating, arts management and administration, web design, artists' assistants, gallery or exhibition organisation. The programme therefore
distinctively equips students with a range of intellectual, practical and transferable skills that enable them to achieve their ambitions, and to become lifelong learners. The Fine Art staff are committed to providing a teaching and learning experience that is excellent in all aspects of its delivery and that is
relevant to the contemporary world. The programme is further enriched by its academic staff who are all practising artists with national and international
exhibition profiles. The diverse research interests and specialist knowledge offered by staff ensures that the teaching is informed by a dynamic
research culture that is connected to current practices, is regularly updated and that is delivered by highly motivated lecturers.
A unique feature of the programme is that students have the opportunity to work and to show their work at BALTIC 39, a professional studio
environment in the heart of the city that is shared with professional artists and with BALTICs experimental gallery. BALTIC 39 is a product of
Northumbrias groundbreaking partnership with BALTIC (BXNU) and allows students an opportunity to mix with Postgraduate students, artists and
curators.
The programme is designed to be responsive to different student needs and to provide a learning environment that is both challenging and supportive.
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The first year aims to build student confidence, develop foundational knowledge and embed essential skills and competences. The second year
develops student knowledge and understanding of the discipline with a focus on connecting practice to a critical understanding of contemporary
contexts. The third year encourages reflective and critical evaluation of diverse models of visual thinking that culminates in a public exhibition and
formal examination.
Students produce a body of work that reveals skill aptitudes and that positions their art practice within a critical and contextual framework. A project
essay underpins and compliments studio practice and theory. The production of a Personal Development Portfolio (PDP) is featured throughout the
course. The PDP is embedded in a professional practice module at each level, therefore emphasising its strategic relationship to personal
development, skills acquisition and employability from the very outset of the course.
The programme aims:
1. To support students to take ownership progressively of their creative practice through a curriculum that moves from an emphasis on example and
direction to one based on independent experiential learning and decision-making.
2. To enable the students to situate the understanding of an independent photographic practice within an historical, comparative and contemporary
context.
3. To provide students with knowledge and understanding of diverse theories of historical and contemporary photographic practice
4. To offer students learning experiences which develop an awareness of cognitive, aesthetic and creative models of fine art practice.
5. To provide a stimulating learning environment which can maximise the students potential and that promotes the capacity for independent, critical
and imaginative creative enquiry.
6. To instruct students in practical, technical and formal skills relevant to the Fine Art subject area that enables the student to develop an independent
visual language that is self-directed, and that convincingly expresses their personal creative and conceptual ideas.
7. To provide students with appropriate practical and intellectual skills that can be developed and transferred to a range of career opportunities.
8. To provide students with appropriate skills for realising their creative ambitions and that meet professional standards of production.
Informed by the Art and Design Subject Benchmark Statement, the specific educational aims of the course :
1. Are encompassed within the core modules of the programme, which culminate in a public exhibition of artworks and the production of a
professional practice file that is the consolidation of the students Professional Development Portfolio (PDP). Both the exhibition and the
professional file are a testament to the students continuous creative, academic and professional development throughout the programme. It is not
intended that students will cover the aims individually, but rather that they will be integral to the programme and will be developed throughout the
period of study.
2. Are founded on the Universitys mission to provide challenging and innovative learning and teaching that empowers the active learner, and the
Facultys Learning and Teaching strategy, which supports this by means of the development of a stimulating learning environment that engages
actively with creative research and scholarly activity. The underpinning philosophy is to engage in critical, analytical and creative study and to
develop visual practical skills that meet professional standards. The programmes core interests focus on contemporary photographic practice
practice and theory, which are underpinned by, and take full cognizance of benchmarks for the Fine Art subject area.
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3. Are consistent with the University Learning and Teaching Strategy for strengthening the economic, environmental and cultural life of the region
through opportunities in higher education, creating partnerships, integrating with communities and generating and disseminating valuable
knowledge and providing opportunities for work-based learning, corporate learning and continuing professional development.
4. Are consistent with the strategic objectives of the Faculty and the Facultys Academic Development Plan, in relation to working with external
agencies to provide opportunities for work-related opportunities and learning within the curriculum.
12.

How Students are Supported in their Learning/Employability/Career Development eg curriculum design, personal development plans, placements,
fieldwork, practical projects.

The Contemporary Photographic Practice curriculum has been established upon a continuous process of staff and student review in response to
subject benchmark statements, course team discussions, external examiner comments, module reviews, annual programme reviews and student
feedback and consultation. Students are able to contribute their opinions and experiences of the course through their student representatives at course
committee meetings and staff student liaison meetings, and individually through Fine Art module feedback forms, university module questionnaires and
university questionnaires. This feedback is used by staff to review, and where appropriate make changes to, the delivery of the curriculum or the
programme resources. Course committee meetings and staff student liaison meetings together with the annual review and module review provide a
robust mechanism to consider and support the student experience.
The Faculty of Arts, Design and Social Sciences has an established framework for student support which has been adopted for this course. The
principal objectives of this framework are to assist students in gaining knowledge of what is expected of them on the course and to assist them in the
planning, management and review of their own learning. A central principle of the Facultys policies on student support is to encourage student
autonomy so that, on graduation, students can function independently in diverse fields of graduate employment. The development of such skills is an
essential part of this course, and this is supported through the personal guidance tutors, the course team and module tutors.
The Fine Art team acknowledges that supporting student learning is crucial to the design and delivery of the course. Emphasis has been placed upon
the development of autonomous learning and the acquisition of key / core skills, and these are constantly monitored by the constructive use of
formative feedback. Regular formative feedback assists the students to plan, research, reflect and prepare the assessed academic elements of the
course. To facilitate this, study skills and personal development more generally are integral to the curriculum design and content. To match this
philosophy, transferable study skills and other aspects of student personal development are fully embedded into all levels and every module across the
degree course.
This is further supported by the guidance tutoring system. The personal guidance tutor plays a key role in all courses across the Faculty. Year 1
Contemporary Photographic Practice students are allocated and introduced to their guidance tutor at induction. Personal guidance tutors can refer a
student to other relevant sources of support. For example, in the case of personal problems/issues, students can be referred to the University
Counseling Service or, in the case of financial difficulties, to the Student Union or Finance Section of the Students Union Advice Centre. In cases where
skills need enhanced development above and beyond course provision, students can be referred to the Study Skills Centre and to the skills section on
the e-learning portal. The personal guidance tutoring system is integral to student support, retention and individual attainment and provides a structure
to monitor student academic achievement and personal development. It is recognised that a high proportion of art and design students are dyslexic
and the Fine Art staff work closely with the University disability advisers to ensure that students with dyslexia are fully supported. All year 1 students
are invited to take part in a short voluntary dyslexia test early in the course, which can help to identify individuals that are as yet undiagnosed and to
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direct them towards acquiring further support from Student Services and at course level. In line with the Universitys equal opportunities statement, all
students that present with a disability are given every support to enable them to meet their full potential on the course.
An academic profiling and planning system contributes towards the achievement of personal goals, and the introduction of the PDP (Personal
Development Portfolio) is designed to facilitate student reflection on and awareness of their progress, achievements and potential as a learner. The
PDP also outlines skills that are essential for lifelong learning and which form an integral part of the student experience. By encouraging students to
engage in self-reflection, development and profiling they will become more aware of their acquisition and progression of essential skills. From level four,
with support from their personal guidance tutor, students are encouraged to engage in processes of self-review, assessment of progress and the
identification of future ambitions. As such they will build up a personal profile via their PDP, which will identify academic strengths and weaknesses and
delineate activities employed to develop the students academic and vocational profile.
An induction programme introduces new students to university life, the department and the programme. Meetings are scheduled in the early weeks of
the course to introduce the student hand book, the Fine Art staff and the course structure, and information is followed up and reinforced at strategic
points during the first semester to ensure that students are offered the necessary guidance and support to engage with the demands of undergraduate
study. In the first 2 weeks of semester 1, all level four students work together in adjacent studios. This enables the students to get to know each other
and facilitates the settling-in process. A programme of support including orientation inductions, guidance and mentoring is also offered to students who
progress to level six from Fine Art Foundation Degree programmes.
Students are supported in their learning through lectures, critiques, subject specific small groups, written and verbal tutoring sessions and assessment
feedback, inductions into study skills and technical methods and guidance tutoring sessions. As a practical and studio-based subject, the
Contemporary Photographic Practice programme offers continual individual and group tutoring session support. Subject-specific small groups form the
core of the learning and teaching strategy and are allocated at regular and timely intervals. They provide frequent dialogue between staff and students
and are recorded in writing by the student. The tutoring reports form the basis of the students PDP and, as well as monitoring academic development
and understanding, they are a useful and constructive tool that can be used with the students Guidance Tutor to identify where support and advice is
needed.
Transferable study skills and other aspects of student personal development are fully embedded into all levels and every module across the
programme. Academic study skills are addressed as part of the induction process at level four within the art history module History and Theory of Fine
Art 1. In collaboration with Student Wellbeing, support is given to students with learning disabilities such as dyslexia. From week 1, study skills
seminars introduce students to the learning resources available in the library and demonstrate how to access and use data-bases and information
available on-line. The online-line facility of Turnitin is used in formative and summative assessment to enable students to develop skills in writing and
confidence in their ability to articulate their ideas. In seminars and written work, students are encouraged to develop skills of visual analysis supporting
the students intellectual and practical development. At level five, students continue to develop their skills of research, the analysis and presentation of
information and ideas in written form through directed and independent learning, and thus continue to enhance their proficiency in carrying out
academic research. Level five students work in experimental groups and collaborate to show their work. At level six, workshops and individual tutoring
address study skills specific to the research and production of a dissertation that supports and directs the students in the research and presentation of a
written assignment appropriate to this level.
Study skills related to practice are embedded in the curriculum at each level. At level four, this is particularly focused in one 40 credit module,
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Introduction to Art School Culture: Skills and Materials, which introduces research methods and establishes the studio environment as the primary
location for study, reflection, the practice and testing of skills and personal development. The two forty credit studio-based modules at level five
specifically address research study skills and their interdependence upon creative development. Level six modules continue this process of enhancing
study skills that support students towards becoming skilled autonomous learners and flexible and capable practitioners.
The programme is designed to develop the students practical, intellectual and transferable skills base and to equip them to access a wide range of
employment opportunities, as well as continued practice as creative artists. The nature of the Contemporary Photographic Practice course means that
the progression of skills is continually addressed within the programme and across all modules, but professional practice and employability skills are
specifically delivered within a year-long twenty credit module at each level (Professional and Personal Skills and Development 1, 2 and 3). These
modules progressively introduce skills appropriate to personal development and career aspirations and are closely linked to the PDP throughout the
programme. The presence of a professional practice module in each year of study develops a steady and staged awareness of professional
considerations and its correlation to practice, enabling students to make expedient connections to practice and potential career choices as they
progress through the programme. Students from all three years attend fortnightly professional practice lectures. Visiting Lecturers, with a variety of
expertise in the field, are invited to discuss their own professional experiences and thereby provide students with an insight into the potential of working
and practicing in the creative industries. These lectures may be delivered by high profile practising artists, recent graduates, Arts Council
representatives and gallery directors and curators and offer first hand, authentic information that is relevant and current. Exposure to a wide range of
possibilities and alternatives for practice nurtures ambition and understanding, and is significant in enabling the student to establish an independent and
confident sense of their own artistic identity progressively.
At level four, students are introduced to a broad understanding of professional practice through participating in the preparation of the degree show and
building on their knowledge and understanding of the aesthetic and practical considerations that relate to exhibiting artworks in the public arena. At
level five, the professional practice module focuses on the enhancement of practical and transferable skills that address individual needs. A Learning
Contract is agreed with the tutor to establish a programme of learning and technical training. At level six, the professional practice module aims to help
the student plan for employment, further study or independent practice. Activities undertaken may range from additional technical training to enhance
skills, to undertaking specific external projects or placements in, for instance, schools or galleries. The programme has established links with local
schools and with high profile galleries in the area, such as BALTIC, BALTIC 39 and Vane, which often extend opportunities to students to work directly
with artists and school and community groups. These projects enable students to gain valuable and authentic external experience in putting skills and
knowledge into practice outside the institution. Professional practice seminars and workshops at level six support students in preparing to present
themselves professionally to potential employers, grant agencies or for postgraduate study. Writing a CV and artists statement, photographic
documentation of work, making applications for grants and residencies and accessing the University Careers Service are among the topics covered.

13.

Learning Outcomes of Programme Specified in terms of performance capabilities to be shown on completion of the programme/pathway. Please identify
numerically to correspond to the map of learning outcomes in section 18.

a) Knowledge and Understanding

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1. A coherent knowledge and understanding of key historical and contemporary Fine Art/Photography practices and theories, some of which are at the
forefront of the discipline.
2. The ability to consolidate, extend and apply their knowledge and understanding in the production and initiation of artworks, and the ability to employ
this knowledge to make discriminating decisions in their own practice.
3. The potential to apply subject specific knowledge and understanding to a range of professional contexts.
4. A critical understanding of an individual Contemporary Photographic practice that is articulated in a written statement and an end of year public
exhibition of visual work.
5. An understanding of the interconnectivity between creative and intellectual research strategies that support the establishment of a professional
artistic practice.
6. Knowledge and understanding of the requirements of preparing for and presenting a public exhibition, and an awareness of appropriate
presentation methods, audience reception, communication with professionals in the field, and health and safety issues.
b) Intellectual Skills
1. Synthesise and critically analyse visual and theoretical information, some of which may reference ideas and techniques that are at the forefront of
the Photography discipline.
2. Apply reflective, visual and intellectual thinking processes to their own knowledge and practice.
3. Conceptually and practically identify connections between intention, process, context, outcome and display, within their own practice and the work
of others.
4. Critically evaluate, compare and interpret historical and contemporary models of Fine Art/Photography practice.
5. Analyse and articulate, with appropriate use of specialist terminology, intellectual rationales and research methods connected to the subject.
6. Reflectively evaluate individual creativity, methods of expression and technical competence.
c) Practical Skills
1. The ability to apply and connect methods of practice with appropriate creative and cognitive skills.
2. The ability to employ materials, techniques, methods, technologies and tools associated with the discipline with skill and imagination.
3. The ability to communicate information, ideas, problems and solutions to both specialist and non-specialist audiences (in verbal, visual and written
form).
4. The ability to utilise specialised practical and conceptual skills that address individual outcomes and ambition and contribute to the production of
publicly exhibited and resolved visual artefacts.
5. The ability to research, gather and review information from a range of sources.
6. The ability to establish a self-motivated studio practice and a professional studio working ethos.
d) Transferable/Key Skills

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1. Exercise initiative and personal responsibility in the self management of goals and tasks, this will include meeting deadlines, setting priorities,
working independently, and time management.
2. Reflect in and on their own knowledge, practice and skills and use processes of review, planning and evaluation in relation to personal and
professional development planning.
3. Demonstrate the ability to present themselves professionally, including good image documentation; preparing a CV; preparing a personal
statement; archiving material and exhibiting artworks in a gallery or site specific context.
4. Demonstrate practically and intellectually the potential to undertake appropriate further training or professional employment. This could take the
form of postgraduate study, as a practising artist, as an arts manager or in other forms of personal and career development.
5. Demonstrate competent use of relevant technical and workshop facilities including IT, machinery and lens based equipment, with full regard and
observance of appropriate health and safety issues.
6. Communicate ideas and information fluently in visual, oral and written forms.
7. Apply intellect, analysis, reflection and creativity to a range of contexts.
14.

Learning, Teaching and Assessment Strategy Specified to enable learners to achieve and demonstrate the above learning outcomes.
In accordance with HEFCE guidelines and the subject benchmarking statements, the BA (Hons) Contemporary Photographic Practice Programme has
been designed to incorporate fully the principle aims of the University's Learning and Teaching and Assessment Strategy, which has been implemented
by the Faculty of Arts, Design and Social Sciences. The objectives of the learning and teaching strategy are therefore to support all students on the
course to develop the key subject specific, cognitive and creative skills essential to becoming successful, self-motivated and autonomous learners.
Additionally, the course aims to ensure that all students gain the essential professional, personal and transferable skills required to provide them with
the best opportunities to succeed in their studies and their chosen careers.
The Contemporary Photographic Practice learning and teaching strategy is designed to empower students as independent learners. The increasing
degree of specialisation and self-direction as the student progresses ensures a level of expertise in the subject that builds confidence and critical
awareness. By the end of their programme of study, students should feel secure in their knowledge, understanding and skills, enabling them to
approach the world of employment, continued practice or further training, with self-assurance and a realistic sense of their own ability. The teaching
offers a diversity of learning opportunities through an appropriate balance of individual tutoring, group critiques, lectures, workshops, staff and student
led seminars, guest lecturers, technical inductions, and directed and independent learning.
The individual studio space forms a critical part of the learning experience. It is where creative skills and subject knowledge can be tested and
reflected upon, and where progress can be effectively discussed with staff and student peers. Students choose, or are allocated, spaces at the
commencement of each academic year and this location is where their work is developed and discussed throughout the year. It is essential that

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students identify with their individual studio as a site of experimentation, learning and personal discovery and this is established from year 1 in the
Locating Practice year long module, which focuses the student towards locating their explorations within their designated studio space. Taught sessions
support the students participation in, and understanding of, the value of the studio as the primary learning environment. This, and the diversity of
teaching methods, provides a supportive infrastructure in which students' knowledge, confidence, basic analytical and creative skills can grow.
Individual tutoring and small group critiques are important and distinguishing characteristics of the Contemporary Photographic Practice learning and
teaching strategy, and they occur at regular intervals throughout the course. Since the programmes philosophy, aims and outcomes focus upon the
students ability to establish an art practice that is self-directed, it is essential that students are exposed to frequent dialogue that critically engages with
the specific practical and contextual concerns of the individual student. Subject specific small groups provide the means in which the development of
intellectual maturity, curiosity, personal innovation, risk-taking, independent enquiry and effective self-management can be properly supported and
monitored. One to one tutoring sessions and group critiques address common and individual concerns and support the students' engagement with
creative and speculative enquiry. Additionally, regular discussion of work in progress enables the students to engage with a reflective and active
learning process, and to participate in an interactive critical discourse between the tutor and the student and the student with his or her peer group.
Subject-specific small groups, with different core staff and visiting artists, provide alternative perspectives on work that support the students acquisition
of critical and reflective skills. Individual tutoring sessions take place in the studios and engage directly with work in progress, thereby encouraging new
practical and theoretical strategies to be directed and planned as work is developed. Tutoring sessions provide continuous and timely feedback,
enabling the student to reflect upon their learning and progress and to respond to advice given. The role of the tutoring session and group critique is to
encourage the student to reflect, review, discuss, make decisions, undertake research, or test out creative or intellectual propositions. Where possible,
group critiques take place in specified generic spaces that are pre-booked and that create an objective and professional approach to presentation and
interpretation. Group critiques provide students at each level with a supportive structure for peer and individual evaluation, as well as a platform for
practical and theoretical comparison of learning and practice.
Lectures may examine broad historical or contemporary themes or explore the specific research interests of a particular artist. Lectures, therefore,
support the students acquisition of fundamental knowledge and understanding of their chosen discipline and provide key material that can be followed
up in the studio and in library-based research. Lectures also provide a forum for subject specific language and terminology to be introduced and
discussed. Practising artists, with national and international reputations, make valuable contributions as visiting tutors and facilitate important links to
professional and creative practice. Lectures by visiting artists are open to students at all levels and provide valuable connections to the wider potentials
and alternatives for Contemporary Photographic Practice practice and offer knowledge and experience that is current and relevant.
The Art History component of the course is delivered by specialist Art History staff through weekly lectures and seminars at level four and five. Study
skills are incorporated into the programme at all three levels enabling students to develop transferable skills of writing and visual analysis, encouraging
and supporting them in the articulation and expression of their ideas in oral and written form. The content of year 1 and year 2 Art History modules
(History and Theory of Fine Art 1 & 2) aims to broaden the students knowledge and understanding of the history, context and theory of art and visual

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culture in ways that inform and illuminate the students studio practice. At level four, lectures and seminars provide an overview of some of the principal
movements in 20th century painting and sculpture and introduce theoretical concepts that have been historically influential in the study of art practice
and criticism. While lectures provide a structure which gives the student knowledge and understanding of the factors influencing the development and
reception of art, seminars are more closely aligned with the Contemporary Photographic Practice syllabus and are supportive of practice based
modules at key points. For example, at this level, the delivery of lectures on colour, the body, landscape and the environment is correlated with related
activities in the Locating Practice and Methods and Materials modules. At level five, the syllabus encourages analytical reflection through the
exploration of theoretical and historical approaches to Modernism and Post-Modernism, focusing on issues of recent and contemporary relevance such
as gender and ethnic identity, consumption and the relationship between high art and contemporary mass culture. Art History lectures and seminars
complement practice-based modules (Professional Practice, Studio Practice and Research into Practice), all of which enable students to acquire
contextual knowledge and understanding and to situate their own practice. At level four and five, students submit two essays per year; one at the end of
each semester. Of these one is formative and the other is summative. At all three levels, use is made of the University's IT learning facilities, including
Turnitin, so that students are supported in their directed and independent learning and the development of skills of research and communication. At
level six, students present a dissertation of 4,000 words in length that reflects on an historical, contextual and theoretical aspect of fine art practice in a
way that enables them to situate and reflect upon their own practice and to demonstrate skills of written communication and critical and visual analysis.
This enables the student to consolidate and synthesise their acquired art historical knowledge and understanding with the specifics of their independent
studio concerns.
Seminars act as a forum for the discussion of ideas and methods relating to fine art photographic practice. The intention is to introduce theoretical ideas
for wider group discussion, to challenge opinions and to clarify concepts.
Workshops and technical inductions provide opportunities to introduce new skills, to expose students to the full potential of the subject, and to discover
previously unrecognised strengths.
Directed learning is offered in tutoring sessions, critiques and group workshops and will indicate research to be undertaken, methods that may be tried,
as well as direction given in groups such as life classes. At level four, direction is more prescriptive than at subsequent levels. At level five, direction
will be focused on supporting the student in contextualising their work but will include a significant proportion of practical and technical guidance. At
level six, with its emphasis on independent practice, directed learning will offer suggestions for creative development and research, which encourages a
reflective and questioning response.
The regional galleries such as BALTIC, BALTIC 39, Vane, NGCA and Gallery North provide a supplementary but integral learning resource to students.
Through formal visits, or directed and independent visits, students are able to access a wide range of contemporary exhibitions that enhance their
knowledge and understanding of the Fine Art subject and frequently inform individual studio practice.

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The principles of 'assessment for learning' underpin the assessment strategy of the Contemporary Photographic Practice Programme. This means that
assessment is not simply a measure of student progress but is used as the means of enhancing and enabling student achievement. The range of
assessment tasks is designed to provide a varied and coherent assessment programme that compliments the experiential nature of the learning
process, which therefore reflects the progressive attainment of knowledge, skills and critical reflection. Assessment is closely linked to module learning
outcomes and the relevant levels of achievement at each stage of study. Marking criteria are issued to students both with the module guide and within
the assessment guidelines. The range of assessment strategies employed includes student self-assessment, peer assessment, formative feedback
from staff and summative assessment at key points in the academic year. The majority of both formative and summative assessment tasks are centred
on the production of artworks, but also include essays, individual and group presentations, reports, research files etc.
Formative Assessment is a continuous process. The tutoring session report is the mechanism by which formative assessment and feedback and
student self-evaluation is recorded. At the conclusion of a tutoring session, a report form is given to the student. Students write a response that is selfevaluative and that identifies the key points of the discussion, so they may therefore need to consider advice given in terms of (i) practical and creative
development; (ii) research/artists/exhibitions/reading; (iii) ideas or philosophy. The form is then returned to the tutor. This is then signed with comments
added by the tutor and a copy is kept by both parties. One copy is also kept on the student academic file. By giving the student the initial responsibility
for recording the tutoring session discussion, the student is encouraged to become actively and directly engaged with their own learning and
assessment.
Tutoring session feedback reports form the basis of the Professional Development Portfolio (PDP) and provide a continuous and authentic record of the
student's ability to evaluate their individual progress across modules and from level to level. The PDP is also used within the Guidance Tutoring
session system as a constructive tool to review individual academic achievement and skills development.
Responses to tutoring sessions at level four are expected to be largely descriptive in nature, concerned with basic evaluation and recognition of the
learning process. As the course progresses, students are supported and encouraged to begin to reflect more upon the tutoring session discussion, to
begin to make more discriminating decisions and to begin to develop a more critically aware approach in preparation for level five studies. At level five,
students are encouraged to conceptualise and critically assess their learning in the light of tutoring session discussion and to demonstrate and
understanding of emerging contexts for their work. As students progress through levels five and six, the ability to reflect in (while they are doing
something) and reflect on (after they have done something) becomes increasingly important and more complex. They will gradually take more
responsibility for the direction their practice takes, both creatively and theoretically, and be able to assess and articulate their creative and intellectual
understanding and development formally in the tutoring session report. At level six, students take a greater responsibility in setting and evaluating
objectives within their practice, together with the ability to synthesis and independently assess information, and to demonstrate independent thought. At
level five and six, a formative assessment at the end of semester 1 is integral to the overall assessment strategy of the programme and provides a
robust and structured mechanism to support learning. These formative assessment points are designed to encourage students to take risks and to
speculate on creative possibilities, without unduly penalising them for experimenting and testing new ideas that, in the short term, might fail. After staff

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NORTHUMBRIA UNIVERSITY
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have reviewed their display of artwork, students attend a formative assessment tutoring session, which provides personalised verbal and written
feedback. Students, therefore, are given the opportunity to reflect on their experience so far critically, to identify areas for improvement and to be more
aware of their strengths. This mechanism enables students to review progress realistically and critically, to act upon advice, and to take responsibility
for their learning before the body of work is summatively assessed.
All modules are summatively assessed at strategic points in the academic year. This summation of achievement provides the opportunity to assess
different skills and to reflect more fully on the module learning outcomes. Summative assessment gives a clear indication of how the student has
applied knowledge and integrated learning, and where a number of modules are assessed at the same time, offers an overview of progress that is
holistic and coherent, from which future strategies can be usefully planned. Summative assessment plays a key role in providing feedback in terms of
the students personal development, and in informing staff of progress and the extent that the learning outcomes have been achieved. Students
receive prompt written and verbal feedback from staff following each major assessment point. The feedback tutoring session is used to clarify issues
and to discuss problems, strengths and future directions. A copy of the assessment feedback form is kept by the student and is included in the PDP
file.
At level four the learning experience is focused on the acquisition of fundamental techniques and processes, combined with an introduction to
essential aesthetic and philosophic perspectives that inform artistic practice. Students are encouraged to test out methods and techniques, to
experiment with new methods of visual enquiry and to engage with a process that progressively extends their practical and intellectual understanding.
At this level, the proportion of directed learning is necessarily greater than at subsequent levels of the course.
A structure of two 40 credit year-long modules and two 20 credit year-long modules provides a broad and inter-related programme of research and
creative experimentation that leads to more individual strategies of exploration. This diet of modules provides an integrated programme that enables
the learning process to unfold experientially and promotes the acquisition of cognitive, formal and practical skills that will support and inform work at
subsequent levels. The year one programme is designed to increase the students' skills portfolio, to encourage the application of new subject
knowledge and understanding to their studio practice, and to identify strengths that may lead to further specialisation at level 5.
In Introduction to Arts School Culture: Studio Practice, students begin the process of engaging in an art school environment and locating their practice
within a broad cultural framework. Students will investigate process and potential subject matter that can inform and support the development of an
individual artistic practice. A body of practical work and supporting research will be developed through a continuous process of visual exploration. With
tutorial support, students will manage a line of personal enquiry in terms of content, materials and method and will be encouraged to experiment with
new ways of thinking and working. Lectures will discuss a wide range of formal and conceptual approaches that will provide reference points for further
study. Introduction to Art School Culture: Skills and Material focuses on equipping students with the basic skills that will enable them to identify further
the techniques relevant to their specialist area. It is also designed to introduce students to research methodologies that are rooted in the act of
observation and the interrogation of both subject matter and material. Through a programme of workshops, students will develop skills in speculative
enquiry that engage both the senses and the mind and to use drawing and lens-based media to record their findings. Academic and technical staff lead
an intensive programme of technical workshop and students are introduced to University Risk Assessment Policies and Health and Safety Procedures.
At the end of level four, students will have progressed skills associated with the technical, creative and intellectual production works. They will have
begun to establish areas of independent concern and to engage with basic levels of reflective and critical visual enquiry. Additionally, students will have
developed transferable skills associated with time-management, professional practice, listening and contributing, writing essays, oral and written
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communication, library and research based activities, directed and independent learning, planning, doing, looking and reviewing.
The role of assessment at level four is formative and diagnostic. The overall grade at the end of the first year of study does not count towards the final
degree classification. Coursework receives a mark but feedback focuses on a diagnosis of problems and an identification of strengths. The use of
Personal Development Portfolios underpins the formative function of level four assessment, providing students with the opportunity to discuss their
overall performance with Guidance Tutors.
Students at level 5 build on the knowledge and experience gained in level four. They are encouraged to continue to experiment with new methods and
concepts, whilst also being aware of, and making connections with, earlier stages of learning. The two-year long studio-based modules, Studio
Practice and Research into Practice help the student to contextualise their developing practice and to make informed connections with their practical
development and a broader cultural and theoretical framework. Students are introduced to more advanced research study skills and culturally
significant theory that supports their developing knowledge and understanding of the subject, and of themselves, in becoming increasingly independent
practitioners. This understanding has to be based around the experiential activities within the studio and takes time and reflection for it to unfold for the
student in a meaningful way. Students are encouraged to use their deepening theoretical knowledge to illuminate their speculative visual enquiry in the
studio and to enhance their imaginative and creative endeavours. The forty credit weighting of the two year long studio modules allow students time
and space to progress their practice realistically. The Professional and Personal Skills and Development 2 module aims to identify technical needs that
will enhance the students developing studio practice and will enable the student to increase their subject-related transferable skills in a way that also
addresses individual professional goals and requirements.
Assessment criteria at this stage focus on the students ability to assimilate theory with practice and to identify research that consequently underpins
and elucidates their studio work. A formative assessment tutoring session at the end of semester one provides the student with the opportunity to
reflect on their experience so far critically and to evaluate strengths and weaknesses that can be addressed in semester 2. This is important in that it
enables a structured and focused review of progress without unduly penalising the students need to explore visual ideas and methods creatively, and to
be able to see mistakes as an integral part of the learning process that enhance technical proficiency and that are just as valuable as successes. This
process fosters a deep and authentic learning experience that is student-centred. External Examiners sample module submissions for moderation at
the semester 1 and 2 assessment points.
Through the Socrates Art Exchange Scheme, second-year students are offered the opportunity to undertake a period of study at a European university.
The Contemporary Photographic Practice programme has a number of well-established links with institutions in Europe, including Holland, Finland and
Spain. Exchanges are usually for a period of 12 weeks and can be taken in either semester 1 or 2.
At level six, students develop and build on the acquired learning of level four and five. On entering level six, students begin the process of
consolidating and refining an independent programme of theory and studio practice, leading towards a more finalised resolution and a public exhibition.

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
The two forty credit year-long studio-based modules; Studio Outcomes and Synthesis encourage the student to make independent and discriminating
choices, to engage with speculative enquiry and with a process of trial and error that will collectively contribute to a deep and meaningful learning
experience.
At the end of the year, students produce a body of self-directed work that sustains a critical dialogue and that reveals skills aptitudes and incorporates a
convincing personal standpoint for their practice. Most importantly students will have developed their knowledge and understanding, so that, by the
time they graduate, they own their own practice. They will be able to communicate their ideas both in written, oral and visual form and they will be
able to synthesise and evaluate advanced and diverse models of visual thinking in the discovery of new concepts and methods of production. The
emphasis of the students learning at this level is towards sustaining a programme of self-managed study that equips them to prepare for critical
examination and continued practice in their chosen career. At this level, directed learning enhances independent learning through tutoring session
dialogue that is both supportive and challenging.
A formative assessment tutoring session at the end of semester 1 acts as a review of progress so far and supports students in identifying and planning
strategies for the consolidation of their individual creative practice that can be presented in the context of a professional exhibition format in semester 2.
The invention and development of an artistic practise is a continuous process, but presentation of the results needs to be undertaken regularly. The
formative assessment acts as a rehearsal for the major presentation at the end of the year in a way that promotes learning and does not unduly
penalise the students final level of achievement. This tutoring session enables the student to reflect upon the intellectual and practical complexities of
their practice realistically and to continue to ask questions and take risks to enable them to achieve their full potential at the end of the year. Reaching
this potential is contingent on the student feeling they have space to continue to speculate, to test out and refine visual propositions throughout the
year.
The module Dissertation: History and Theory of Fine Art, requires students to present a 4,000 word dissertation that encourages reflection on the
historical and theoretical context of their studio practice. Dyslexic students, who may find the conventions of academic essay writing problematic, may,
on agreement with their tutor, submit an essay of reduced length.
The Personal and Professional Skills and Development 3 module at level six is geared towards helping the student plan for employment or further
study. The learning opportunities may range from a workshop on the preparation of a CV, to the acquisition of specific technical skills to work
experience placements in schools or galleries. In semester 1, students prepare a presentation that articulates their ideas and understanding of their
practice. This acts as a rehearsal for the preparation of an artists statement that is displayed with practical work in the degree show exhibition. At the
final assessment point, students prepare a Professional Practice File that reflects the students ability to present themselves and their achievements in
a professional context. This file also represents a consolidation of the students PDP.
At the final stage of assessment in semester 2, students prepare a display of the major practice-based modules which are assessed in exhibition

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NORTHUMBRIA UNIVERSITY
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format. External Examiners review work at this and the semester 1 submission point. This procedure confirms parity of marking across the subject and
ensures that internal marking mechanisms are robust and commensurate with national standards for Honours Degree classification.
The cumulative impact of learning at levels four and five usually results in students reaching higher levels of attainment at level six. Degree
classifications are, therefore, usually judged on the basis of level six marks only. In certain cases, a forty/sixty percent aggregate of year two and three
marks may be used to calculate the final classification. The full procedure for awarding degree classifications is detailed in ARNA.
15.

Programme Structure This section should be completed with reference to the Modular Framework for Northumbria Awards.2. Diagrams can also be used to
demonstrate the structure.

Programme Structure Refer if necessary to appended diagrams

Level 4

VA0412 History and Theory of Visual Arts 1 20 credits year-long


VA0410 Professional Practice 1 20 credits year-long
VA0421 Establishing Studio Practice 40 credits year-long
VA0422 Developing Methods and Enquiry 40 credits year-long

Level 5

VA0517 History and Theory of Visual Arts 2 20 credits year-long


VA0518 Professional Practice 2 20 credits year-long
VA0519 Studio Practice 40 credits year-long
VA0520 Research into Practice 40 credits year-long

The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
Level 6

VA0620 Dissertation 20 credits year-long


VA0621 Professional Practice 3 20 credits year-long
VA0622 Studio Outcomes 40 credits year-long
VA0623 Synthesis 40 credits year-long

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
16.

Lower Level Awards Credit Structure and Programme Learning Outcomes for Lower Level Awards.
Please delete or add rows as appropriate, with reference to the Assessment Regulations for Northumbria Awards3 Learning outcomes should be specified for each
lower level award in accordance with the QAA Framework for Higher Education Qualifications4 which also provides generic qualification descriptors for each level. The
standard credit structure for each award is given below. The ModularFramework for Northumbria Awards2 indicates permitted variations and allows programmes to be
validated with some lower or higher level credit (e.g. the Certificate of Higher Education (120 credits at Level 4) can be validated with up to 30 Level 3 credits).

Award

Programme Learning Outcomes may be completed with reference to section 13.

Certificate of Higher Education


At level 4 students will demonstrate an understanding of fundamental visual techniques and processes combined
with appropriate intellectual skills in relation to the stated programme learning outcomes.
120 credits at Level 4
Diploma of Higher Education
At this level students will demonstrate evaluative skills that connect theory to practice in relation to the stated
programme learning outcomes.
240 credits:
120 credits at Level 4;
120 credits at Level 5.

32 The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/3 The Assessment Regulations for Northumbria Awards available
from http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/

4
2

There is a link to the QAA Framework for Higher Education Qualifications at http://Northumbria.ac.uk/sd/central/ar/lts/approval/

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION

17.

Variation from Assessment Regulations or the Modular Framework Provide details of any approved variations from the Assessment Regulations for
Northumbria Awards (ARNA)3 or the Modular Framework for Northumbria Awards2.

None

18.

Mapping of Learning Outcomes


This section shows how the individual modules (with module learning outcomes as written in the module descriptor) together contribute to programme learning
outcomes. It should be presented as a matrix of programme learning outcomes (as identified numerically in section 13), against modules. Where a module contributes
to a programme learning outcome it should be flagged. Standard practice will be for a single symbol to indicate a learning outcome addressed in the module. See
guidance notes for discussion of alternative practices.
The following matrix is for a programme structure with 6 learning outcomes in each of the categories of section 13, with rows for 6 modules in each of levels 4 and 5,
and 9 modules including some options in level 6. See guidance notes for a discussion of the treatment of option modules. The matrix should be extended as required.
The matrix will show how some learning outcomes are developed at particular stages in the programme, while others may be developed through the three levels.

3
22 The Modular Framework for Northumbria Awards available from http://Northumbria.ac.uk/sd/central/ar/lts/approval/framework/3 The Assessment Regulations for Northumbria Awards available
from http://Northumbria.ac.uk/sd/central/ar/lts/approval/assess/

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
MODULE
CODE

Core/
option

a) Knowledge &
Understanding

C/0

b) Intellectual Skills
4

c) Practical Skills
5

d) Transferable Key Skills


5

Level 4
VA0412
VA0410
VA0421
VA0422

C
C
C
C

C
C
C
C

C
C
C
C

x
x
x
x

x
x
x

x
x
x

x
x
x
x

x
x
x
x

x
x
x

x
x
x

x
x
x
x

x
x
x

x
x
x
x

x
x

x
x
x

x
x
x
x

x
x
x

x
x
x
x

x
x
x

x
x

x
x
x

x
x
x

x
x
x

x
x
x

x
x

x
x
x
x

x
x
x

x
x

x
x
x

x
x
x
x

x
x
x

x
x
x

x
x
x
x

x
x
x
x

x
x

x
x
x
x

x
x
x

x
x
x

x
x
x
x

x
x

x
x
x
x

x
x

x
x
x

x
x
x
x

x
x

x
x

x
x
x
x

x
x

x
x
x
x

x
x
x

Level 5
VA0517
VA0518
VA0519
VA0520

x
x
x
x

x
x
x

x
x

x
x
x

x
x
x

x
x
x
x

x
x

Level 6
VA0620
VA0621
VA0622
VA0623

prog_spec_ug_nov08.doc

x
x
x

x
x
x
x

x
x
x
x

x
x
x
x

x
x
x

x
x
x
x

x
x
x
x

x
x
x
x

x
x

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NORTHUMBRIA UNIVERSITY
UNDERGRADUATE PROGRAMME SPECIFICATION
19.

Admission Requirements including approved arrangements for admission with advanced standing, where appropriate.
The ability to benefit from Northumbria University programmes is assessed on a combination of academic and personal qualities which can be
demonstrated in a number of ways. Successful completion of a GCE or VCE Advanced level course of study (or some other equivalent qualification) is
just one way. Students who can in other ways demonstrate their ability to benefit from a Northumbria University programme, in particular mature
students without formal qualifications, will always be considered and are invited to contact the admissions tutor to discuss their application.
Applicants should use the personal statement on their application to illustrate their abilities, aptitudes, skills, qualifications and experiences which might
be taken into account as well as or instead of any of the formal qualifications listed below. It is University policy to recognise a wide variety of evidence,
and potential applicants may wish to discuss this aspect of their application with the admission tutor.
The following standard entry requirements are shown for guidance. A students particular combination of qualifications (including key skills) will
always be taken into account in making an offer.
Please amend as appropriate (and delete this instruction).
GCSE grade C or above in Mathematics and English Language, plus one of the following:
GCE and VCE Advanced Level
300 UCAS tariff points, with (subject) at A2 minimum grade C.
Scottish Highers
BCCC
Irish Highers
CCCCC
HEFC Access
One credit and two merits
Other
EB 64%; IB 24 points.
Interviews
Interviews will be held where

the suitability of a candidate is in doubt and further evidence is sought

candidates present an unusual set of qualifications taken or pending, and an appropriate conditional offer needs to be determined

candidates may need advice on the appropriateness of a programme, or on the appropriateness of a proposed preparatory course of study

Applicants invited for an interview will always be told its purpose.

20.

Application Procedure Amend as appropriate


Applications are processed by the Universities and Colleges Admissions Service (UCAS).

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Appendix 1: BA (Hons) Contemporary Photographic Practice


21FFNA-N
FNA1

Yr 1 SEMESTER 1
Yr 1 SEMESTER 2
VA0412 History and Theory of Visual Arts 1 - 20 credits
VA0410 Professional Practice 1 - 20 credits
VA0421 Establishing Studio Practice 40 credits
VA0422 Developing Methods & Enquiry 40 Credits
Yr 2 SEMESTER 1
Yr 2 SEMESTER 2
VA0517 History and Theory of Visual Arts 2 - 20 credits
VA0518 Professional Practice 2 - 20 credits
VA0519 Studio Practice 40 credits
VA0520 Research into Practice 40 credits
Yr 3 SEMESTER 1
Yr 3 SEMESTER 2
VA0620 Dissertation 20 credits
VA0621 Professional Practice 3 20 credits
VA0622 Studio Outcomes 40 credits
VA0623 Synthesis 40 credits

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Appendix 2: Assessment Matrix

Assessment Matrix: BA (Hons) Contemporary Photographic Practice


Formative assessment occurs throughout all modules. Key formative and summative assessment points are detailed below.
Year 1 Level 4
Module

Module code

Assessment type

History and Theory of Visual Arts 1

VA0412

Semester 1 Summative Essay, 1000-1500 words, 25%


Semester 2 Summative Essay, 2000 words, 75%

Professional Practice 1

VA0410

Semester 1 Formative Portfolio/PDP


Semester 2 Summative PDP, 60%
Semester 2 Summative Documentation/Diary, 40%

Establishing Studio Practice

VA0421

Semester 1 Formative/Summative Presentation of Practical Work, 25%


Semester 2 Summative Presentation on Visual Artworks, 75%

Developing Methods & Enquiry

VA0422

Semester 1 Formative/Summative Presentation of Practical Work, 25%


Semester 2 Summative Presentation of Body of Work inc Documentation, 75%

Module code

Assessment type

History and Theory of Visual Arts 2

VA0517

Semester 1 Summative Essay, 1500 words


Semester 2 Summative Essay, 1500 words
Above Combined into Portfolio 100%

Professional Practice 2

VA0518

Semester 1 Formative Reflective Record of Activities


Semester 2 Summative Personal Development Portfolio (PDP), 100%

Studio Practice

VA0519

Semester 1 Formative Ongoing Process Through Group Taught Sessions


Semester 2 Formative Ongoing Process Through Group Taught Sessions
Semester 2 Summative Exhibition, 100%

Research into Practice

VA0520

Semester 1 Formative Artist Statement


Semester 2 Summative Assessment Presentation of Visual Work, 100%

Module

Module code

Assessment type

Dissertation

VA0620

Semester 1 Formative Essay Submitted to Turnitin


Semester 2 Summative Extended Essay, 4000 words, 100%

Year 2 Level 5
Module

Year 3 Level 6

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UNDERGRADUATE PROGRAMME SPECIFICATION
Professional Practice 3

VA0621

Semester 1 Formative Seminar Presentation and Statement on Own Work


Semester 2 Summative PDP and Placement Learning Contract, 50%
Semester 2 Summative Professional Portfolio, 50%

Studio Outcomes

VA0622

Semester 1 Formative Display of Artwork


Semester 2 Summative Major Exhibition, 100%

Synthesis

VA0623

Semester 1 Formative Display of Artwork


Semester 2 Summative Major Exhibition, 100%

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