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Instructor:
Kathleen Ruiz
Associate Professor of Integrated Arts
email: ruiz@rpi.edu
office: West Hall 314c
office hours: Thursdays 11:00am to 1:00pm
please use sign up board on outside office door WH 314c or email ruiz@rpi.edu
* Required
Materials
* Required
Events
* Resources and Tools
* Overview Schedule and Discussions
* Box Folder Information
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Please check
our class website and your rpi email frequently
for any updates.
Please upload all works and reading reactions to your ADI Box folder
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Course
Assessment Measures
Assignments:
Studies, experiments and
incremental milestones are geared to lead the student towards their
independent thesis or dissertation development goals, culminating in a
final project.
week 1. Emotion Sketches:
due Jan 22 (3 points)
Create a series of 7 drawings
suggesting emotional states using any technique. For instance, digital
drawing with stylus or traditional drawing scanned into digital space, or
photographic drawing using time value exposure and gesture, or VR drawing
such as in the HTC Vive, or any combination.
Other Examples:
A.
Labgold
EmoGestureThree
Hope
Mixed
Jimmy
K
Memo
Repet
Ethan
Kaplan
Consider basic emotions or characteristics: i.e. Joy, Love, Jealousy, Anger, Sadness,
Depression, Happy, Peace, Fear, Sickness, etc. As you connect to the emotion you have
coming into mind, just let the pencil or stylus or camera or VR drawing
tool go where you feel it should as you progress. Let your feelings and
intuitions guide you. The main ideas of the exercise: to LET GO of
preconceived notions! Try not to use literal symbols or pictures: no
intentional tornadoes, hearts, clouds, fluffy bunnies, etc.
upload to
your Box folder and also print your best 7 drawings.
If using the Phaser laser printer in class:
In Studio 214:
Ensure you configure your computer to print to the printer in WH214:
Set up for
connecting to HASS printers:
http://hassinfo.rpi.edu/hass-student-printing/
Phaser 7760DX Laser
Printer
Suggested printing settings for printing on high quality laser card stock
semi-gloss paper 11x 17”:
Printer set up:
printer: manage colors
- tabloid
- tray 2 special paper (thick cardstock/glossy)
Image quality (automatic)
Print Settings on computer:
-use printer manger colors
-tabloid (11x17)
-tray 2 for special paper (thick glossy paper) set on computer and on
printer
- image quality (automatic)
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week 2, 3. Gesture Drawings
due Jan 31
(3 points)
Project: Select 7 finished small scale gesture drawings
or prints or emerging genre works
(approximately 11” x 17” on cardstock)
Reading: due Jan 22 Gesture
Drawing please create a short reading reaction paragraph
We will work with a live model in studio Jan 24 for
digital life drawing gesture studies. You can also work from other people
you observe, or objects or the landscape.
We will work with self-portraiture Jan 29 in
studio.
We will have another live model session
later in the semester, on March 26 for AR/MR works.
“digital action” drawings in
action of World-renowned dancer and choreographer
Bill T. Jones with Paul Kaiser and
Shelley Eshkar:
http://openendedgroup.com/artworks/gc.html
https://www.youtube.com/watch?v=aL5w_b-F8ig
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We will conduct a series of
modeling sessions in studio to help develop these skills further:
8 - 30 second poses = 240 seconds
(4 minutes)
8 – 60 second poses = 480 seconds
(8 minutes)
4 – 3 minute poses = 720 seconds
(12 minutes)
3 - 5 minute poses = 900 seconds
(15 minutes)
Request poses (please bring in
props, object, etc. for special requests)
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On your own try:
landscape studies: 2 at 30
seconds, 2 at 1 minute, 2 at 2
minutes, 2 at 3 minutes
object sketches: 2 at 30
seconds, 2 at 3 minutes; 60 + 360
seconds (7 minutes)
Pick your
best 7 and print them approximately 11” x 17”
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Week 4,
5. 6. Small Scale Works
due Feb 21 (3 points)
(7) high quality experimental works
using any traditional/digital or emerging genres
Epson Archival Prints on your choice of substrate and size
info needed for printing to the Epson Archival printer by appointment only
in Sage 2410:
* use high
end monitors to view your image, (please do not rely on your laptop monitor
alone for high end file proofing for this printer)
http://www.hass.rpi.edu/pl/teaching-facilities-s17/large-format-printer-suite
Aeroclub by Pastorino
Diaz
Portrait Photography
Table Top Photography
Toy Technique
3D Roundtable Photography
Landscape Photography
ECU Photography
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week 7,
8, 9, 10 Large Scale montage, collage, drawings,
photographic works, processing or emerging genre works, or combinations
due: March 21 (20 points)
(3) Large Format Archival Epson
archival 9800 Prints
(minimum size 42” x 36”, max size 84” x 42”)
(at least one on canvass)
HÖCH, Hannah, Sans titre, 1920
You can use any set of themes from
class, or from your own set of concerns and work them into highly
developed, finished large scale works using techniques of montage, collage, drawings or photographic works or
combinations thereof
Photographic Sculpture
Montage & Collage
Printing and Painting on Digital Canvas
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week 11,
12. Augmented / Virtual Reality
due April 4 (10 points)
Fine Arts usage of augmented reality/
interactive print/augmented sculpture. Using augmented reality apps like LayAR https://www.layar.com/ and others we will experiment with ways
we can use the technology for expression in public spaces
Grand Center, the Art and Life Alliance and MOMO, Re+Public
has completed a digital, immersive, and interactive mural on the Moto
Museum (Steve Smith, Owner) wall (85' x 21') in St. Louis @ Grand Center.http://www.republiclab.com/projects
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Week 13
ADI Class Exhibition:
Installing work April 9, 6 to 8PM in the SAGE Dean’s Gallery, Vertical
Gallery, and outside Sage 2411 in the Corridor of Creativity
Exhibition opening Thursday April 11 6:00-7:00pm Dean’s Gallery
Exhibition de-install April 25 8pm
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Week 14 Chose one of the following: either
Assemblage, Stencil Art, or Projection
due April 18 (3 points)
Assemblage:
using digital
and/or analog techniques, found objects, textures, etc. for 1 expressive 3d
mixed media
minimally 17”x 11” x 10”
Joseph Cornell
Assemblage: a sculptural technique of
organizing or composing into a unified whole a group of unrelated and often
fragmentary or discarded objects.
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Stencil Art:
(Please be considerate and responsible by stenciling on approved surfaces
only!)
Experiment with the techniques learned in studio create and create (1)
stencil artwork that dialogs in site.
You can use either hand cutting techniques or laser cutting technique.
Graffiti depicting graffiti
removal by Banksy.
Created in May 2008 at Leake Street in London,
painted over by August 2008
Hand
Techniques
http://www.instructables.com/id/Creating-Complex-Spraypaint-Stencils-by-Hand/
Full-Color-Stencil-Art-with-Halftoning:
http://www.instructables.com/id/Full-Color-Stencil-Art-with-Halftoning/
Kyle McDonald : http://kylemcdonald.net/
http://vimeo.com/kylemcdonald
All work must be in
exact and proper format before laser cutting:
Laser Cutting Technical Info
Laser
Format Template
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Projection:
create 1 projection or 1 sequential art
work for installation, or performance, or impact
Marcel Duchamp
Rotoreliefs 1935
 http://www.urbanscreen.com/
Reading:
Chrissie Iles: Between
the Still and Moving Image
Lev Manovich: The Poetics of Augmented Space http://www.streamingmuseum.org/articles-and-essays/lev-manovich-the-poetics/
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Week 15
Final Project
due April 25 (43 points at the 4000
level) (35 points at the 6000 level)
Étienne-Jules Marey
A large,
challenging, well thought out, and technically perfected and installed
final work.
This project should be about a topic of personal interest to you quite
possibly using the techniques, issues and ideas learned during the semester
and beyond.
Your inspirations, art historical
referencing, philosophical influences, theoretical background, and
technical documentation will be articulated in an artist statement properly cited
and footnoted in The
Chicago Manual of Style
Exhibition
de-install April 25, 8pm all work must be removed
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Web Portfolio & Documentation
due
April 29
of all works in standalone format submitted on a thumb drive or dvd and also uploaded to your class exchange folder
See portfolio
samples:
Andrea
Labgold
Kayla Baltunis
Ethan Kaplan
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Course Texts
Excerpts from:
Nicolaides, Bridgeman, Vanderpol
Gesture
Drawing
Choice of one or specific research
readings:
Galileo Galilei The
Starry Messenger
Martin Luther King I
Have A Dream
George Saunders
Escape
from Spiderhead
Robert L. Solso Visual
Perspective Cognition and the Visual Arts
Roland Barthes Barthes 15,16
Barthes
46-48, Camera Lucida
Oliver Sacks SPEED
Hito Steyerl In
Defense of the Poor Image
Robert L. Solso Context,
Cog., & Art
Lev Manovich: The
Poetics of Augmented Space
MoHoly-Nagy Contributions
of Arts to Social Reconstruction ,
Make
a Light Modulator
Chrissie Iles: Into the Light: Between
the Still and Moving Image
Students taking the course at the 6000 level will have additional reading selections from their own research readings
reviewed previously in discussions with the instructor, or from more
in-depth readings of the full texts above, or from selections from the
following:
- Culture as Weapon: The Art of Influence in Everyday Life by Nato Thompson
- The Poetics of Space by
Gaston Bachelard
- Ecological Metapolitics: Badiou and
the Anthropocene by Am Johal
- Research Desiree Förste, https://uni-potsdam.academia.edu/DesireeFoerster
- Nonhuman Agents by Desiree Förster, https://www.youtube.com/watch?v=CPnFosB_yRg
- Out of Our Heads: Why You Are Not Your Brain, and Other Lessons
from the Biology of Consciousness by Alva Noë,
and listen to WNYC conversation https://www.wnyc.org/story/58063-i-am-therefore-i-think/
- Melentie Pandilovski https://umanitoba.academia.edu/MelentiePandilovski
- The Hidden Life of Trees by Peter Wohlleben
- Art, Animals and Experience
by Elizabeth Sutton
- In Cuba by Ernesto Cardenal 1972
- Cultural Analytics
by Lev Manovich
- Visualizing
Temporal Patterns: Computer Graphics as a Research Method by Lev
Manovich and Jeremy Douglass
- Cultural
Analytics at Work by Tara Zepel
- What is Visualization?
By Lev Manovich
- How to
Compare One Million Images? By Lev Manovich, Jeremy Douglass
- Processed Lives: Gender and Technology in Everyday Life, edited
by Jennifer Terry /Melodie Calvert
- Resisting the Virtual Life by James Brook &
Ian Boal
- Techniques
of the Observer by
Jonathan Crary
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Class
Schedule:
Week 1.
Jan 15
Intro to the course
Review best works
Questionnaire of goals review
Jan 17
In studio Expression from within:
Freeing up the digital artist: Emotion Drawings: Create a series of 7
drawings suggesting emotional states using either of the following
techniques: digital drawing with stylus or traditional drawing scanned into
digital space, or photographic drawing using time value exposure and
gesture or any combination.
review of works and related artists in the field
Materials to bring to class:
Please bring a sample of your best work,
traditional or digital drawing implements, and substrates, or cameras
Week 2.
Jan 22
Emotion Drawing review of works
Related readings: Gesture Drawing in prep for live model
Jan 24
In studio: Gesture Drawing and portraiture from the live model
Materials to bring to class: your
favorite expressive instruments (whether they be drawing/ painting/ drawing
tablet/ camera & tripod / Kinect / paper cutting / sculpting / 3d
applications / other), substrates
and any props or table top items for the request time
Week 3.
Jan 29
In studio:
Gesture Drawing II and portraiture from the self-portraits
overview of the history of portraiture, review of Rembrandt, butterfly and
edge lighting techniques
experiments with portraiture &
lighting techniques short studio
Related readings: Barthes 15,16 and Barthes 46-48
Smithsonian
National Portrait Gallery explore portraits that speak to you:
http://npg.si.edu/portraits
http://npg.si.edu/blog
Materials to bring to class: your
favorite expressive instruments (whether they be drawing/ painting/ drawing
tablet/ camera & tripod / Kinect / paper cutting / sculpting / 3d
applications / other), substrates
and any props or table top items for the request time
Jan 31
Critiques of Gesture works
into to next set of studies
Week 4.
Feb 5
Expression from the literary source
and the imagination
In studio: Table Top Photography:
lighting techniques & set ups
EZ cube soft light tent
3D Roundtable Photography
Materials to bring to class: camera
(with the ability to do aperture control)
& tripod / new genre expressive instruments and any props
or table top items
Related readings: Escape
from Spiderhead by George Saunders,
or The
Starry Messenger by Galileo Galilei, or I
Have A Dream by Martin Luther King, or approved personal reading
for inspiration for work related to the written word
Feb 7
ECU Photography
Printing techniques for the large format Epson 9000 Archival printer
Critiques of works inspired from the
written word
& review of works in progress and related artists in the field
Materials to bring to class: camera
(with the ability to do aperture control)
& tripod / new genre expressive instruments and any props
or table top items
Week 5.
Feb 12
Transient forms
In studio: Photographic and
other techniques of transient media
Related readings: Oliver Sacks SPEED
and Hito Steyerl In
Defense of the Poor Image
Materials to bring to class:
Cameras, tripods, lighting kits, a small
item that moves, and relevant props or table top items
Feb 14
Landscape Photography and Landscape of the Heart (It’s St. Valentine’s Day)
Printing and Painting on Digital
Canvas
Week 6.
Feb 19 no class (the Institute follows a
Monday schedule on this day)
Feb 21
Critique
of small scale works
Week 7.
Feb 26
midterm assessment
please have all perfected studies, reading reactions, and works in your
folder in the class drop box
In Studio: experiment in class
with landscape photography and the Body, and photographing transient bodies
Critique of works in progress with reference to related artists in the
field
Related readings: Solso Visual Perspective
Feb 28
Early introduction to the augmented reality project: Space: Re-imaging Public Space/Revitalizing
Parks/ Making Parks / Geoparks and Geocaching. Do
fieldwork over the break, photograph your local park or public space, and
imagine ways to enliven these spaces, take photographs and video of a few
of these spaces and see which one speaks to you. Do research on augmented
reality and preliminary experiments over Spring Break
Related readings: Lev Manovich: The
Poetics of Augmented Space and
Open source ImagePlot http://lab.softwarestudies.com/p/imageplot.html?m=1
Materials to bring to class:
mobile devices, cameras, tripods, and any props or table top items, ideas
for working with the body as landscape…or canvas
Week 8. March 5 & 7 Off for Spring Break
Week 9.
March 12
In Studio:
Photographic Sculpture
Montage & Collage
March 14 (pending
availability)
3D Printing review with Mike Rosado email: rosadm@rpi.edu Phone: 518-276-6652
2201 Russell Sage Laboratory
Woodshop review with Abe Ferraro email: ferraa7@rpi.edu Phone: 518-276-2898
1107 Russell Sage Laboratory
(please take and pass the online test beforehand and have taken the Safety
Training Sessions)
Week 10.
March 19
In Studio: Augmented reality
research review and experiments
Materials to bring to class:
cameras, tripods, and any props or table top items, and your formulating
ideas on your augmented reality park
March 21
Critiques of large scale
works
Materials to bring to class: your 3 completed large format archival
prints for critique (one on canvas), or comparable large scale works
Week 11.
March 26
In Studio: live model
Materials to bring to class: your
favorite expressive instruments (whether they be drawing/ painting/ drawing
tablet/ camera & tripod / Kinect / paper cutting / sculpting / 3d
applications / other), substrates
and any props or table top items for the request time
March 28
Catch up class and Students at the 6000 level
present their Audio Visual presentation of artistic research development
and resonance of selected readings
Week 12.
April 2
In studio: brief historical and
technique review of assemblage, stencil and projection art
chose one and experiment.
Related Readings:
MoHoly-Nagy Contributions
of Arts to Social Reconstruction
and Make
a Light Modulator or
Chrissy Isles: Between
the Still and Moving Image
Materials to
bring to class:
for assemblage: objects, small box,
images
for stencil: images and ideas (exactos, suitable substrates, cutting board if working
via hand)
for projection: data projectors,
objects
April 4
Critiques of Augmented Reality:
Re-imaging Public Space/Revitalizing Parks/ Making Parks / Geoparks and Geocaching
Week 13.
April 9: Installing art work, 6 to 8PM in the SAGE Dean’s Gallery, Vertical
Gallery, and outside Sage 2411 Corridor of Creativity
April 11: Exhibition opening Thursday 6:00-7:00pm Dean’s Gallery
Then back to studio for individual meetings to discuss final project
ideas
Materials to bring to class: experiments
and ideas/materials for final projects
Week 14.
April 16 introduction to the very
short experimental studies in assemblage, stencil or projection Intensive work studio
April 18 Intensive work studio
and Critiques of experiments in either assemblage,
stencil or projection art
Related readings: Personal research readings for preparing
your artist statement and references
Week 15.
April 23
Final Project Trajectory: works
in progress and artist statements informally reviewed
Related readings: Personal research readings
April 25 Last formal class
Critiques of Final Projects
Exhibition de-install April 25, 8pm
Week
16.
April 29
Web Portfolio & Documentation
of all
perfected works in standalone format submitted on a non-returnable thumb
drive or dvd labeled with your name, contact info
and ADI semester and year.
please put this under office door West Hall 314c.
Additionally, please upload all your work to your class Box folder.
Students at the 6000 level please include your Audio
Visual presentation of artistic research development and resonance of
selected readings
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Learning Outcomes:
Upon successful completion of the course
students will be able to:
1. demonstrate the ability to conceptualize,
design, produce, and express ideas through one or more of the following:
advanced gesture drawing, digital painting, emerging genres,
montage/collage, digital photography, VR, assemblage, high end archival
digital printing, mid-range digital printing, augmented reality, stencil
art, or projection projects as demonstrated through short study projects,
final project and web portfolio documentation of all works.
2. develop art making strategies which
merge concept, process and form - encouraging approaches that are at once
inquisitive, analytical, creative, experimental and articulate.
3. examine and build references to the
work of several artists, theoreticians, and institutions who engage in
digital and physical art creation.
4. design and plan a detailed artist
statement document which expounds upon individual concepts, processes,
creative exploration, technical experimentation and references for the
final project.
5. compare, contrast, describe and
critique the strengths and weaknesses of their own artwork and that of
their fellow classmates relating to formal, aesthetic, and content
attributes.
6. successfully articulate informed,
philosophically and socially aware ideas relating to art, technology, and
culture as demonstrated in class discussions and critiques and in short
written reaction papers to the relevant readings and events.
7.
Students taking the course at the 6000 level demonstrate breadth and depth
of conceptualization, process, technique, production, and reiteration based
on critical feedback.
8.
Students at the 6000 level demonstrate independent mastery of artistic
research and development towards the development of their body of work.
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Evaluation
Students must demonstrate satisfactory
achievement of course objectives through fulfillment of course projects and
by contributing to class discussions and critiques.
Grading Criteria
At the
400 level:
Experiments I: 9% short studies (3% each set of 7
studies x 3): emotion sketches, gesture drawings, small scale works = 9 points
Completed works: 20% (3 at 6.6
points each) large scale works or high end archival digital prints = 20 points
Augmented Reality Studies: 10% = 10 points
Experiments II: 3% short study in one of the following:
assemblage, stencil, or projection = 3
points
Final Project 43% = 43 points
Participation in class 10% = 10
points
Event & Reading reaction papers 5% = 5 points
Letter
grade equivalents for the course are as follows:
At the 4000 level:
A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-=
1.67, D+=1.33, D=1.0, F=0.0
At the 6000 level:
Experiments
I: 9% short studies (3% each set of 7
studies x 3): emotion sketches, gesture drawings, small scale works = 9 points
Completed works: 20% (3 at 6.6
points each) large scale works
or high end archival digital prints = 20
points
Augmented Reality Studies: 10% = 10 points
Experiments II: 3% short study in one of the following:
assemblage, stencil, or projection = 3
points
Final Project
30% = 35 points
Participation in
class 10% = 10 points
Event & Reading reaction papers 5% = 5 points
Audio Visual
presentation of artistic research development and resonance of selected
readings 8% = 8 points
At
the 6000 level:
A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-=
1.67
If you are concerned about your creative
trajectory or your grade at any point during the semester, please do not
hesitate to contact your Instructor and schedule an appointment during
office hours. You will have a midterm review where your current grade will
be given to you.
Participation: you
are invited, encouraged, and expected to engage actively in discussion,
reflection and activities.
Class Attendance Policy
As an enrolled student, you have made a commitment to this class and
your attendance is a significant part of that commitment. Attendance will
be taken at every class. An absence is considered excused if the student has
informed the course instructor by phone, email or in person before the
beginning of the class and the excuse is considered reasonable by the
instructor. All students are required to be on time and in attendance for
each and every class. Students arriving to class more than 10 minutes late
may be counted as absent. Two (2) unexcused absences will result in a
reduction of one entire letter grade.
Adherence to deadlines is expected. It is
the individual student's responsibility to keep track of deadlines and to
present the work to the class and instructor on the specified dates. 15%
per day will be subtracted from late assignments.
If a student needs an official excuse for
medical or other reasons, please go to the Student Experience office – 4th
floor of Academy Hall, x8022, se@rpi.edu
Academic
Integrity Statement for all courses at the 4000 level or above
The Rensselaer
Handbook of Student Rights and Responsibilities and The Rensselaer Graduate
Student Supplement define various forms of Academic Dishonesty and
procedures for responding to them. All forms are violations of the trust
between students and teachers. Student-teacher relationships are built on
trust. For example, students must trust that teachers have made appropriate
decisions about the structure and content of the courses they teach, and
teachers must trust that the assignments that students turn in are their
own performance. Acts that violate this trust undermine the educational
process.
The Rensselaer
Handbook of Student Rights and Responsibilities and The Rensselaer Graduate
Student Supplement define various forms of Academic Dishonesty and you
should make yourself familiar with these. In this class, all assignments
that are turned in for a grade must represent the student’s own work. In
cases where help was received, or teamwork was allowed, a notation on the
assignment should indicate your collaboration. Submission of any assignment
that is in violation of this policy will result in a penalty. If found in
violation of the academic honesty policy, students may be subject to two
types of penalty. The instructor administers an academic [grade] penalty
and the student is reported to the Dean of Students or the Dean of Graduate
Education as appropriate. The first violation results in 0 grade for that
assignment. The second violation results in failure of the course. If you
have any questions concerning this policy before submitting an assignment,
please ask for clarification.
Class Specific
Collaboration and discussion about class
projects is actively encouraged, and is in no way considered cheating. This
is a studio course, and personal ownership of information is not deemed to
be appropriate. Original works such as drawings, photographs, images,
montage, collage, experimental works, augmented reality, assemblage,
projections, stencil art and final project art are required. If
appropriated imagery is sought to be used, it must be expressly cleared by
the professor first in a personal meeting where the potential appropriated
imagery is shown and discussed. Projects are expected to reflect personal
endeavor.
Students
with Disabilities
Rensselaer
Polytechnic Institute strives to make all learning experiences as accessible
as possible. If you anticipate or experience academic barriers based on a
disability, please let me know immediately so that we can discuss your
options. To establish reasonable accommodations, please register
with The Office of Disability Services for Students. After
registration, make arrangements with me as soon as possible to discuss your
accommodations so that they may be implemented in a timely fashion. DSS
contact information: dss@rpi.edu; 518-276-819; 4226 Academy Hall.
How to take the course (in a nut shell)
Show up prepared with all materials and
supplies needed to work in studio. Attendance is mandatory every week. Do
the work and the assignments. Do the readings and come prepared to ask questions. Turn work in on time. Contribute to the
discussions. Check the course website for the latest information about
assignments and activities.
Electronic Communication
Email: All students are expected to have
an active electronic mail account, and should check mail at least four
times a week for class information. Some essential class information is
communicated by email only.
Work Habits
Always back-up your work frequently; that
is, every time you make something you think is worth keeping. Systems
crash when least expected and you could lose all your work. It
is a good idea to make three backups (on different media), as storage media
are sometimes unstable. Always save onto your own media or into your
account as files left on hard drives will be removed.
Also, please keep in mind the highly
addictive aspects of working with computers. Many people lose track of time
and later wonder why they have severe back, neck and eye problems. It
is a good idea to take a rest every 15 to 20 minutes. Look up or
beyond your computer or, better still, at a long distance to relax your
eyes. Take a walk or stretch. Fatigue can lead to frustration.
Stay in touch with your body's needs.
Try not to harm or deface any equipment in
any way or lose files and folders belonging to our class or other
classes.
For problems in the studio please be
specific and contact: http://www.hass.rpi.edu/pl/helpdesk?siteid=28&pageid=553&Room=West%2520Hall214
Please follow the guidelines for working
in each studio very carefully, as you will be held personally responsible
for problems you incur. At all times please keep the lab clean after each
use.
Reserve all gear beforehand at
http://www.arts.rpi.edu/pl/iear-studios-facilities/equipment-room
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