DIGITAL 2 PROJECT PROPOSAL
INSTRUCTOR: PETER THOMPSON
Revised 1/28/01




This project proposal is a tool to help you to CLARIFY your ideas for a 
project, to COMMUNICATE those ideas to yourself, first of all, and then to 
others, and to DEFINE the actions to actually do your project.  The Narrative 
and Plan of Action must be completed using word processing software and 
must be spellchecked.  

The proposal has two main sections, a Project Narrative and a Plan of 
Action:

1.	PROJECT NARRATIVE  
	This section is divided into two smaller sections:  a Statement and a 
Description (minimum of one typed paragraph each).

	Problem Statement:  to begin writing this statement, answer for yourself 
the following kinds of questions: what is this project about, and why are you 
concerned with it?  Be specific!

	Project Description:  describe in detail what you think you know now 
about the final form of the project.  Be specific!  Refer to the Working 
Questions for ideas (next page).



2.	PLAN OF ACTION
	Address the following:

	Actions to be Done	Time Allotted     Human Resources    Cost     Deadline
	1.
	2.
	3.
	etc.



DIGITAL I: FINAL PROJECT PROPOSAL, p. 2


WORKING QUESTIONS

The following questions are offered to help you identify and articulate what 
you presently know, and donšt know, about your project.



FORMAL CONSIDERATIONS:
Structure:
A.	How might the pieces of the whole be strung together--what might be 
	the sequence.
B.	How might time be used within the piece--how might the piece 
	unfold in time.
C.	What is the central image or vehicle that carries the content.
D.	How does the form function.
E.	What is the shape or physicalness of the piece.

Technique:
A.	What is its method of construction.
B.	What is the quality or style that gives distinctive character to the piece.
C.	Execution--quality/care.


CONCEPTUAL CONSIDERATIONS:
A.	What is the mode of thought in which the artistic statement is presented: 
symbolic, rational, relativistic, etc.
B.	Define where your concerns are grounded: psychological,political, 
social, historical, fictional, autobiographical, etc.
C.	Examine the type of thinking predominant in both the forming andthe 
experiencing of the piece: meditative, calculative, relativistic, linear, etc.


CONTEXTUAL CONSIDERATIONS:
A.	The piece is formed for what kind of audience, what number of 
people,what place, time, circumstance, context.
B.	What is the belief system in which the piece is founded.
C.	Out of what historical tradition does this work come--what are the 
resources you have at your disposal to find out all you want about that 
tradition.