![]() Drafts and questionnaires showed improvisation and keen engagement interviews (loosely following Bryman’s ‘unstructured’ model) considered content, form, convention, risk and transferability of writing to practice. Four themes emerged from the qualitative data: provisional meaning, risk, practice parallels and project process. ![]() ![]() The grades show the 128-word essay students slightly outperforming the others. Quantitative data was taken from all essay and presentation grades qualitative data from essay drafts, questionnaires and interviews with selected 128-word essay students. Practice-based presentations took place shortly after the essays, and students were advised of potential connections between the tasks. Both groups had the same essay topic choices both were taught in the same way as far as possible both assignments were individual. Half the group was assigned a short essay as above, the other half a 1,000-word, conventional essay. I experimented with essays by Foundation visual arts students at Coventry University in 2011. I hypothesise that very short, tightly-structured essays will foster risk by combining radical format, content demand and writing’s esteem. Much UK Quality Assurance Agency and Higher Education visual arts documentation recommends risk, as do many practitioners. ![]() ![]() In this study I aim to see if writing can enhance visual arts practice. ![]()
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