CATERING is the service of providing food and drinks in a conducive environment (Hotel management) for a particular set of people at special events and at specific times.

The resources below on Catering Craft Practice have been provided by WAEC to assist you understand the required standards expected in Catering Craft.

Despite the author’s distinguishable experience with each material, the viewers’ experience seemed to be the same with all materials. When Seeing Paper was exhibited in a modernist gallery, the majority of filled feedback forms (Figure 5a) showed the same word given for all three artifacts produced with the same technique. This implied that the different materials hardly had influence on the viewers’ interpretation of the exhibits or the differences between the materials were not as apparent to the viewers as they were to the author since touching is generally prohibited in exhibitions. The viewers’ interpretations contradicted the author’s. This was considered a weakness of the craft practice that required some actions to be made in order to prevent it to reappear in subsequent creative productions. The author’s “reflection-on-action”7 was that Seeing Paper’s visitors experienced the exhibition as a whole rather than each individual exhibit and its details. Moreover, the modernist gallery or “the white cube” did not actually give the neutral effect to the artifacts, but instead influenced the visitors’ experience while contemplating them (O’Doherty, 1999). The reflection was confirmed by Merleau-Ponty (1962, pp. 3-9, 77-83) and Heidegger (1988, pp. 69-70) who assert that people experience a thing within a spatial ephemeral context, as “the thing in the world” in Heidegger’s term. In other words, an artifact is seen together with coexisting artifacts in the same space, all referring to one another and creating a significant whole.

The overlooked variations of the materials used in Seeing Paper introduced the question of the influence of an exhibition space on its exhibits. This contributed to a reformulation of the research problem for the fourth phase to include the exhibition context as part of the exploration.


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