Plagiarism, Cultural Appropriation, and Racial Plagiarism in Product Design, Arts, and Fashion World

I would like to write my essay on plagiarism vs paying homage and cultural appropriation vs appreciation and racial plagiarism in the product design, arts and fashion world. I would like to touch upon everything right from laws about intellectual property to falsification, infringement, piracy, appropriation, borrowing, and fraud (if applicable). I would also like to talk about intention when it comes to plagiarism and knowledge about the design or idea existing or can 2 people really have the same idea at different points in time without copying from each other and where the role of ethics and morals come into play. on how art can be plagiarized and the intent behind the action and if we should be held responsible for the consequences of our action. Also the role of contextual behavior consisting of write or wrong. develop and understanding between the culture and self consciousness it the ability of understanding the role of our actions and the implication they play in our lives. intent behind action, and should we be held responsible if we lacked the knowledge of what was right and wrong in that particular context, this is when the state of knowledge of a person comes into play as one questions if the designers were aware of the already existing design? Or did the celebrity knowingly choose to wear one designer’s original work over another one’s copy? Or was it the stylist that suggested to wear the copy? or if the designer who created the piece was to blame? or everyone involved? it is difficult to draw clear ethical boundaries of right and wrong in the arts. Under what circumstances is it permissible or ethical to plagiarise? Fashion is supposed to be unique but only when one adapts to a trend is one said to be “in fashion” Understanding when borrowing of work is appropriate and when not becomes an important skill for people in the arts. Skill development includes copying from masters works: examPLE: Michelangelo's David (copy of which is in piazzale Michelangelo) this is not viewed as plagiarism in the arts. Another example of when plagiarism is considered to be ethical and respectful is when the original creator of the art is acknowledged by paying homage to that person. for example the song Urvasi originally created by AR Rahman has been used as in inspiration in the will I am "Birthday"; Culture has a huge impact on plagiarism examples of research from (put researcher names here) example: In our culture we don’t see copying by our personal tailor as plagiarism similarly in link to academics in Fashion itself: high street brands and the licenced copying of high fashion example Zara & H & M (show pictures) So how then does one decide right or wrong? if one wasn’t aware that it was a copy Under what conditions would it be legitimate for a person to plead ignorance? Are people responsible for finding out as much relevant information as possible? Haidt and Joseph suggest that we make our moral decisions at a gut level, using INTUITION as a Way Of Knowing I will examine the examples using two ethical perspectives Mill’s theory of maximum happiness for the maximum number (zara reaches far more people and is more affordable as compared to the original designers) vs Kantian Ethical absolutism (copying is always wrong) I would like to bring in theories like Mill's maximum happiness vs Kantian ethical absolutism. and also theories about hairy and Joseph. Understanding when borrowing of work is appropriate and when it’s not becomes an important skill for people in the arts. Ethics play an important role in determining the difference between right and wrong when it comes to the context behind the situation. Like copying another designers original work is considered to be unethical, while Michelangelo’s David created by his students/drawing of sponge bob is ethical as it is considered to be part of the learning curve. Just like it relates to the academic point of view and how in the ICSE (in India) board plagiarism could get you the best grades as we are taught to rote learn while in the IB plagiarism could cause you to lose your diploma (talk about turn it in and how ib is understand concepts and citing sources). talk about wayfair and how it has been accused of copying multiple times. Tiffany & Co and Pharrell Williams accused of ‘copying’ 17th-century diamond glasses. talk about how people always want to be in trend and fit in with fashion or even with furniture that is it really wrong to have aspirations and buy cheap knock offs or plagiarised version created by other brands like Wayfair and Zara instead of the real deal as they would also like to have the same things but will spend according to what they can afford and is that so wrong? should designers make their pieces more affordable? will it stop any plagiarism? talk about Andy Warhol plagirasisng Jeff koons etc. racial plagiarism Minh ha t pham. from the sources I will provide please use examples of cultural appropriation like Victorias secret, Gucci, Isabel maranta, Dior and Valentino. Use pictures for examples and analyse them and give pictures for the Zara example for sure beacause they copy so many like Balenciaga. All resources for citations and all content to be used in the paper are attached:
Inflection: Constructed Environments
Final Project Guide, Fall 2023
FINAL PROJECT DESCRIPTION
The final project is a combined 8-10 page paper and visual portfolio that presents an intersection of the student’s creative, practical process with the advanced research strategies learned in this course. Students are expected to broaden the scope of their existing research interests and aesthetics by locating specific problems or practices and generating questions that set the (preparatory) groundwork for a senior thesis. The final project will require the demonstrated ability to form a thesis statement which will be systematically examined through the use of learned methodologies, critical analyses and a coherent narrative that is supported by scholarly sources in tandem with the student’s reflexive voice. The result will be a project that conveys a robust interpretation and articulation of the student’s ethos, proposing possible futures for the constructed environments field (ex. product design, interior design, architecture, integrated design strategies, etc).
Final projects can be retrieved once they have been graded at the end of the semester.
OUTCOME: EVIDENCE OF RESEARCH, CRITICAL THINKING AND DEVELOPMENT OF ONE’S CREATIVE PRACTICE
Students will be assessed on their development and demonstration of the following:
• Research Interest & Strategies: A synthesis and analysis of primary and secondary sources as it pertains to the discovery of research interests and avenues of design practice. Through in-class mind mapping, class discussions and isolated research, what stories can you tell through your research? What question(s) have you developed to pursue your research and design interest? How might your question(s), research discoveries and ethos contribute to the field of design, based upon what already exists? What methodologies have you engaged to substantiate your work?
• Critical thinking: Building upon substantial research (surveying history and theory as it pertains to your research interest), this project should convey critical analysis towards your research topic and overall project–what problem can you identify in your field that your research (and future thesis work) seeks to resolve? What is the rationale for your approach to design?

• Quality of Writing & Reflexive Voice: The research topic and related ideas are expressed in an organized, informed, confident and cogent manner. An incorporation of select images from the student’s “Image Archive” will further contextualize and articulate the research and personal reflections put to paper. TNS Academic Standards of Integrity and Honesty will apply towards the student’s final submission, and in the interim, it is strongly advised that the student take advantage of the Writing Center, review how to avoid plagiarism, understand formal citations and revise work to avoid needless grammatical and structural errors.
FINAL PROJECT FORMAT: A GUIDELINE CHECKLIST
The final project will be submitted via canvas. The final paper must adhere to the formatting guideline checklist listed below:
1. General Layout and Content Order a. Cover page
b. Table of Contents
c. List of Images (at least 8 thoughtfully selected images is encouraged) d. Introduction (roughly 3 pages in length)
i. A personal reflection of how/why you considered your research topic and what it means to you–what do you set out to do? (roughly 1 1⁄2 to 2 pages in length)
ii. Literature review that covers the research, writing and general knowledge that has already been established about your topic; this should include historical and theoretical
sources and suggest how your research can contribute to the field of design (at least 1 page in length)
iii. An explanation of your methodology–what research methods will you use (i.e. interviews, object/visual analysis, archival visits) and perhaps what coursework has
prepared you to explore your research topic? (roughly 1⁄2 to 1 page)
e. “Chapters” or sections of content, demarcated by heading (roughly 6 pages in length)
i. This content is largely at the discretion of the student. So long as the project is grounded in a conceptual framework, the research and reflections
may include, but not be limited
to: a “journal” section, interviews, the description of a site visit, the
historical research of a particular aspect of the topic, an object analysis,
the diary of a planned and carried-out social experiment, etc. f. Conclusion (roughly 1⁄2 to 1 page)
g. Bibliography cited in Turabian or Chicago Style format (roughly 10 sources, 5 of those sources a combination of history and theory)

2. Other Requirements
a. Content of the project (the writing) should be 8-10 pages in length, not including images
b. Content pages must be typed, double-spaced in a standard 12 point font c. 1-inch margins at top, left, right and bottom of content pages
d. Page numbers at the bottom right of all content pages
e. Footnotes at the end of each page (see chicago citation guides)
f. Images must be placed in an appendix at the end of the paper and shall be labeled as figures (“Fig. [#]”) with a brief description
In sum, your paper and presentation should demonstrate: a clear understanding of the history of your case study and its historical context, a rigorous analysis of the project itself, and a rigorous analysis of a text/theory (texts/theories).
3. Final Submission: Due no later than Thursday December 14th at 11:59pm EST (via canvas)
KEY RESOURCES
• The New School Libraries & Archives
• The New School Writing Center
• Turabian, Kate. A Manual for Writers of Term Papers, Theses and Dissertations. 7th ed. Chicago:
University of Chicago Press, 2007.
Some useful books for finding examples of short, theoretical texts by the architects/designers who feature in your research:
● Ulrich Conrads,ed.,Programs and Manifestoes on 20th Century Architecture
● Isabelle Frank,ed. The Theory of Decorative Art: An Anthology of European and American Writings, 1750-1940
● Joan Ockman,ed.,Architecture Culture,1943-1968
● Kawamura, Yuniya. Doing Research in Fashion and Dress: An Introduction to Qualitative
Methods. Oxford: Berg, 2011.