Student Learning Outcomes:
Upon successful completion of the course, students will be able to:
1.
Develop a deeper creative ability and depth of expression
using digital imaging, emerging, and mixed media art making methodologies.
2.
Understand more fully the interplay between the observer, the observed, and
the process of observation.
3.
Develop applied technical/aesthetic knowledge in the completion of a series
of visual art projects, culminating in a creative student directed final
project.
4.
Examine the work of several artists, theoreticians, and institutions who
engage in digital and mixed media art creation.
5. Design
and plan a detailed artist statement document which expounds upon
individual concepts, processes, creative exploration, technical
experimentation and documented references for the final project.
6.
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.
7.
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.
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Course Assessment Measures
& Grading Criteria:
These outcomes will be evaluated in a
series of short study projects at the intermediate level that include
studies in digital photography, raster, & vector based imaging, digital
painting/drawing, and emerging genres. Students will produce two and three
dimensional works utilizing digital output, high end archival digital
printing, mid-range digital printing, installation and experimental
methodologies. Students must demonstrate satisfactory achievement of course
objectives through fulfillment of course projects and by contributing to
class discussions and critiques
The short studies include the
following: 55% total in the
following increments:
* Surveillance: photo essay & text; 9.17%
* Hyperrealism: HDR High Dynamic Range Photography; 9.17%
* Panorama (VR, print, mixed media, experimental techniques); 9.17%
* Personal Geographies/Maps of the Imagination
(in vector or raster based imaging
in 2or3d mixed media); 9.17%
* Future Spaces/Future Places using biomimicry
montage/collage; 9.17%
* Fusion Media in Virtual & Ephemeral Images: experiments in using a
range of multimedia, blended/augmented reality & QR code art
experiments; 9.17%
The final project is a purposeful
installation work in Art Activating Public Spaces 30%
Participation in class, critiques &
reading reaction papers 15%
A final web portfolio of all perfected
works is handed in on DVD on the last day of class for final
grading purposes.
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 not
previously discussed with the instructor.
Grades:
A
Excellent: consistent effort, timely 4.00 - 3.68
A - 3.67 - 3.34
B + 3.33 - 3.01
B Good:
effort, timely 3.00 - 2.68
B - 2.67 - 2.34
C + 2.33 - 2.01
C
Satisfactory: some effort, timely 2.00 - 1.68
C - 1.67 - 1.34
D + 1.33 - 1.01
D
Passable: little effort 1.00 - .68
F Failure 0.67 – 0
Students
will be provided with assessment of their progress at the time of critique.
Projects needing further work will
be so declared. Students can then perfect the work within the next week
to change the grade. If you have any questions at any time about your
creative work trajectory or your grades please speak with your instructor
at your earliest convenience. Students receiving less than a grade of B
will be informed immediately.
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. Four or more unexcused absences will
result in expulsion from the class. Do the readings and tutorials and come
prepared to ask questions. Turn work in on time. Contribute to the
discussions.
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PROJECTS & READINGS:
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Short
Study Project 1 due Sept. 4, 6, 11
Surveillance
photo essay & text
Project: The idea of photography as a
research tool
You will increase your observational skills by looking at how
the world looks at you.
Create an original Photo-essay about
surveillance in 3 parts: (You
must use your own images here.)
1. Observations: due Sept 4 take at
least 24 photographs of various types of surveillance you see or are aware
of. Reflect on what you photographed and why your gaze or attention was
drawn to this particular type of surveillance. Try to become aware of the
roles of observer, observed, and the process of observation. Who is looking
at whom and why?
2. Statement: Sept 6 Next take a point of view on what you
observe. Do you like what you saw.. why? Or are you critical of what you saw…why? Go back to
the particular site or sites and take 24 more photographs with either an
empathetic or antagonistic eye towards the issue.
3. PDF Photo Essay: due Sept 11
Edit all of the images down into a clear statement piece of 10 images.
You can use just straight photography, or you may use photomontage, or text
to make a PDF photoessay that expresses your
viewpoint.
Some broad examples of straight photo essays are below; however, you are
encouraged to use your imagination and be creative with text and treatment!
* the
social life of wireless urban spaces
http://www.mysocialnetwork.net/downloads/WirelessPlacesPhotoEssay.pdf
* Photo
Essay - American Birding Association www.aba.org/nab/v65n2sparrows.pdf
* Situated Technologies Pamphlets http://archleague.org/category/publications/publications-situated-technologies/
Readings: due Sept 4
* He Served in
Silence by Igor Vamos Please write a short reaction
paragraph about your views and interpretations.
* The Panopticon
by Jeremy Bentham skim though and see some of the history of surveillance
thinking
* The Creative Process by Alan Hurlbert
The Design Concept pgs. 10-15 how to get your creative juices
flowing
create
a short reaction paper
* Associated tutorials
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Short Study Project 2 due Sept 25
HDR High Dynamic
Range Photography: Hyperrealism
Project: After our lecture in class on HDR,
take your handout, camera and tripod out into the field to explore ways of
making HDR (High Dynamic Range) photography.
Set your ISO to the lowest value possible,
as the HDR technique creates additional noise.
Take a number of shots using Camera Raw
(with an accompanying high resolution JPEG) of the same scene. In each shot
use the different exposures: -2EV, 0EV, and +2EV. (EV=Exposure Value). Also
experiment!
You can use auto-bracketing if your camera has this function: Auto Exposure Bracketing (AEB)
select the Continuous Shooting
mode, make sure the camera is set to Aperture
Priority, and select exposure increments for bracketing: +2EV, 0EV,
-2EV (EV=Exposure Value). (However, if you do not have Auto Bracketing you
can exposure manually, but do not change your Aperture as that would change
the depth of field of the photos. Simply change your speed: for example if
your EV 0 photo taken at 1/60 second with f/8, the lighter one (+2EV)
should be shot at 1/15 second with f/8, and the darker one (-2EV) should be
shot at 1/250 with f/8.)
(You can also experiment with taking only
one Raw image of the same scene and compare the amount of shadow or
highlight detail after processing. Using one image will have much less
richness of details.)
Bring the images into Photoshop File >
Automate > Merge to HDR
(or an HDR program such as Photomatix or Dynamic
Photo-HDR).
Tone Map In Photoshop (Image > Mode > choose either 8-bit or 16-bit)
or in Phtomatix or Dynamic Photo-HDR.
Utilize the techniques learned to help you express your message through a
mood or tone.
Create
at least 15 excellent HDR images that utilize the technique and
software for creative impact. Experiment with different subjects, objects,
environments, landscapes, sky scapes, lighting
conditions (outdoor/indoor/studio). Show the works on the large monitors in
class and we will select one image to print on the Epson 9800 archival
printer.
Readings:
* technical readings and research about HDR
* Associated tutorials
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Short Study Project 3 due Oct 9
Panorama (QTVR,
print, mixed media, experimental techniques)
Project: Using
the idea and technique of panorama, tell a story or narrative through the
use of various photographic and/or graphic elements, object scans,
textures, etc. which work together to give visual form to your ideas. Text
can be used, either incorporated as part of the image or as captions. Print
your work on the large format printer at the VCC or on the Epson 9800
archival printer in sizes that utilize panoramic vision. You could instead
create a virtual panorama a VR panorama. Experiment with ideas including
polar panoramas, cycloramas, or encompassing diorama. You can use straight
photography or digital and/or physical photomontage, collage or assemblage
techniques. Discover new forms of panoramic vision!
Readings: (Due Oct 2)
* Techniques
of the Observer by Jonathan Crary
create a short reaction paper
* Associated tutorials
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Short Study Project 4 due Oct 23 MIDTERM EVALUATIONS
Personal Geographies: Maps
of the Imagination
(vector or raster
based imaging/2 or 3d mixed media)
Project: Create a map which shows your
relationship to your world, your experiences and your personal journey
using either vector based imagery, raster imagery, 3dimensional objects in
assemblage or any combination thereof. This can be a “true map” or an
imaginative expressive map, but it should aim for an understanding
the world around us and our place in it.
Readings:
* Cartography of Excess http://brianholmes.wordpress.com/2012/02/23/cartography-of-excess/#more-3031
create a short reaction paper
* Associated tutorials
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Short
Study Project 5 due Nov 6
Future Spaces/Future Places (bio mimicry
montage/collage)
Project: Using biomimicry
visualize new futures. Extensive
observing (and photographing) nature and then proposing a potential
solution to a perplexing problem. A great exercise that might turn up some
real-life technical solutions that are
self-sustainable and not harmful! Create 4 original, interrelated sequential
level designs, maps, or set designs which tell a story by creating a
background or landscape upon which some kind of action could take
place. Pay careful attention to
color, lighting, texture, symbolism, allegory. You can use any digital
process or application as well as scanned objects (such as crumpled paper,
sticks, leaves, etc.), or digital paintings or textures to create an
imaginary landscape. Project or print the resulting works.
Readings:
Biomimicry: Innovation Inspired by Nature
By Janine M. Benyus
pages 1-32
http://books.google.com/books?hl=en&lr=&id=mDHKVQyJ94gC&oi=fnd&pg=PA1&dq=biomimicry+and+art&ots=wDuM5dfJU6&sig=YGNNylPSXsgPndVDK7Iy1TWEHWQ#v=onepage&q=biomimicry%20and%20art&f=false
create a short reaction paper
* Personal Research readings
* Associated tutorials
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Short
Study Project 6 due Nov 20
Fusion
Media in Virtual & Ephemeral Images:
(using a range of multimedia, blended/augmented reality/ QR code art
experiments)
Project: Experiment with blended reality techniques such as QR coding, augmented reality, etc.
to explore the ways you can
communicate an issue or idea you are passionate
about. You may use any combination of media (print, audio, video/film/IT
digital/cellphone) in conjunction with the blended reality experiment.
Readings:
*
Simulations by Jean Baudrillard
And
* Baudrillard and Hollywood: subverting the mechanism of
control and The Matrix by Jim
Rovira
create a short reaction paper
* Personal Research readings
* Associated tutorials
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Final
Project due Dec 4/6
Art Activating Public Spaces
Project: Activating public spaces with
digital images, installations, and art delivery systems
Readings:
Critical
Issues in Public Art: Content, Context, and Controversy by Harriet F. Seni,
& Sally Webster, eds.
create a short reaction paper
And
Critical
Issues in Public Art: Phillips Temporality and Public Art by Harriet F. Seni,
& Sally Webster, eds.
create a short reaction paper
* Associated tutorials
Browse: browse through and see other
artists and ideas you are interested in:
* New Media Art by Mark Tribe https://wiki.brown.edu/confluence/display/MarkTribe/New+Media+Art+-+Profiles
* Imagery-in-the-21st-Century http://www.scribd.com/doc/90812469/Imagery-in-the-21st-Century-Figures
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Web Portfolio due Dec 6
Project: Web
portfolio & documentation: create a simple website that features all of
your perfected works and
documentation of works in situ. This will be used for final grading.
Readings:
* Associated tutorials
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Academic Integrity
Trust: 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. Acts
that violate this trust undermine the educational process. The Rensselaer
Handbook of Student Rights and Responsibilities defines 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.
If you have any question concerning this policy before submitting an
assignment, please ask for clarification.
Plagiarism: All work produced in
this course must be original and created by the student. First infraction
will result in a failure for the course and a report to the Office of the
Dean.
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 work and images are required, except
if indicated otherwise. Projects are expected to reflect personal endeavor,
but may also be collaborative in nature as long as the collaboration is
clearly defined and approved by the professor previously.
Gender-fair
language: Because
the way we speak and write affects the way we think, everyone in this
course is expected to use gender-fair language in all discussions and
writing. A guide to gender-fair language is available from the Writing
Center and from the Library.
Other Course
Specific Information:
Required
materials:
* A laptop
computer (bring laptops to class every class)
* An active RCS account.
*High capacity external hard drive, or usb
drive (minimum 64GB), or approximately 20 dvds
* A camera (preferred: digital, 35 MM DSL, or the new mirrorless cameras, or high end point and shoot with
manual overdrive). A variety of cameras can be signed out from the
equipment room as well.
* Software for Intermediate
Digital Imaging: Adobe CS6
Design Edition (which includes: Photoshop, Illustrator, Dreamweaver
and Flash) suggested to purchase, but you can use the mac computers in
Studio WH 214 that have this software, or use the VCC North.
* Other materials on a project basis
* Journal: it is highly recommended that you keep a working journal of
ideas, drawings, photographs, dream records, etc. which will act a source
for your creative process. You should carry this with you at all times to
record your creative insights.
Fabrication
costs/materials:
You will be
making a number of digital prints/manifestations of your work. The costs of
digital printing vary, but be prepared to incur
approximately $50 to $100 in fabrication/material costs.
Assumed
Knowledge and Skills: Awareness of digital imaging and
interactivity concepts, skills, and topics in electronic arts from media
arts studio classes (ARTS-1020) and/or other personal achievement. These
include basic knowledge of formal topics (light, scale, color, composition,
form, motion, proportion), scanning; basic raster and vector imaging
skills; resolution; ppi; dpi; ability to draw
with a digital stylus and understand gesture, point, line, plane; basic
digital photography skills; and basic printing skills.
For Issues in Lab: Please contact hasshelp@rpi.edu
For high end archival printing: Location: West Hall-415
This suite
contains the Epson Pro 9800
large format archival printer operated by print coordinator available by
appointment only.
Open: Monday 12 - 5 and Friday 12 - 5, please setup appointment with
Malvina via email at daltem2@rpi.edu
Documentation
and Files | Scheduling
| Report a problem
Epson9800_RequestForm_SP2012(Open file)
Information on the other printer
in WH 415: EPSON STYLUS PHOTO 1400 USER MANUAL (Open file)
|