Student
Learning Outcomes:
Upon successful completion of the course, students will be able to:
1. Demonstrate a deeper creative ability
and depth of expression
using digital imaging, emerging, and mixed media art making methodologies.
2. Understand and articulate 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: 46%
total in the following increments:
* Surveillance: photo essay 9.17%
* Hyperrealism: HDR High Dynamic Range Photography 9.17%
* Panorama (VR, print, mixed media, or experimental techniques) 9.17%
* Personal Geographies/Maps of the Imagination (in vector or raster based
imaging in 2 or 3d or 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 experiments; (optional)
The final project
is a purposeful installation work in Art Activating Public Spaces 39%
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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RESOURCES:
* Helpful Resources and Tools
* Drop Box Information
* Art Sites and Reference Resources
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EVENTS:
Please attend at least 3 events at EMPAC or the Sanctuary or
an approved event elsewhere and write a short critique for each, print, and
hand in on the first class after the event.
Click here for
a guideline for writing a critique if needed.
EMPAC http://empac.rpi.edu/
The Sanctuary for Independent Media http://www.mediasanctuary.org/
(Please carpool together if going as The Sanctuary is beyond walking
distance from campus.)
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PROJECTS & READINGS:
Short
Study Project 1 due Sept. 2, 4, 9
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 2 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 4 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 9
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 2
* 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: we have tutorial CDs that can be
used to learn at an individualized pace. Please avail yourself of this
resource.
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Short Study Project 2 due Sept 23
HDR High Dynamic
Range Photography: Hyperrealism
Project: After our lecture in class on HDR,
take your handout, (found here)
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 7 MIDTERM EVALUATIONS (please upload all work
to class dropbox)
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 Sept 30
* Techniques
of the Observer by Jonathan Crary
create a short reaction paper
* Associated tutorials
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Short Study Project 4 due Oct 28
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: Due Oct 21
* 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 11
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: Due Oct 28
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 optional or can be used as studies
toward the final project
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 2
Art Activating Public Spaces
Project: Activating public spaces with digital images,
installations, and art delivery systems
Final Project pre-REVIEWS: Nov 18
Artist
Statement & Digital Ideograph –
The artist
statement and digital ideograph begin the development of your individual
ideas and starts the trajectory towards the final project. It utilizes the
techniques, theory and history learned in class and in individual research.
It is, in essence, a digital ideograph of your art delivery system in
action, virtually. Create a web page that illuminates your idea and its
location in terms of what you want to reconstruct in it. Photograph the
exact location and then digitally create your ideas within it. You are
required to articulate your final project in an artist statement of from
one to two paragraphs whereby your concept, methodology and at least 5
bibliographic references/influences are stated.
FULLY REALIZED FINAL PROJECTS DUE (IN SITE) – Dec 2
The actual project manifested as an original (billboard, large poster
series, drive by car art, aerial art, photo projection, data projection, etc.)
art system device that carries your message to those who may not have the
opportunity to see your work inside a normal gallery environment. Your work
must be realized physically and you must photograph the work in the site
for inclusion in your final project CD web site file.
Readings: (Due Nov 18)
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 3 6:30pm (in my
office)
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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Class Schedule:
Week 1 Aug 26, 28
* Introduction to the course,
* Lecture & discussion overview on digital imaging, the power of
images, “truth” and images
* See best works to date and articulate aspirations
* Technique overview on composition, form, perspective, light, color,
proportion, motion
* Lecture & discussion on Surveillance
Week 2 Sept 2, 4
* Review & discussion of short study projects: Surveillance part 1
* Technique overview: working in Camera Raw, Image file formats
* Review & discussion of short study projects: Surveillance part 2
* Technique overview: Rembrandt, butterfly, edge and other lighting
techniques in portrait photography
* studio practice in lighting the subject (bring in cameras,
tripods, lighting kits)
Week 3 Sept 9
* Critiques of short study projects: Surveillance Photo Essays
* Technique overview: handouts on studio set ups: going off automatic:
using aperture, shutter and ISO
* studio practice in tabletop photography with objects using
Aperture/ Shutter / ISO.
Practice being able to demonstrate in your studies an understanding of:
~ Aperture (Av), lens and subject distance to show depth of field
~ Time Value (Tv) Shutter priority in freezing
action or in blurring action
~ Manual
(Bring in cameras, tripods, lighting kits, a collection of small objects,
and one that moves or a ball)
Week 4 Sept 16
* Lecture & discussion on High Dynamic Range photography and how these
lighting techniques are used in games, cinema, ads, and beyond)
* Technique overview: HDR photography (distribute HDR technique
handouts)
* Field studies in HDR landscape photography
* studio practice in HDR AEB (Auto
Exposure Balance) with continuous shooting, lowest ISO & less grain
possible, Raw,
(Bring in cameras & tripods)
Week 5 Sept 23
* Critiques of short study projects: HDR
* Technique overview: printing & high end archival printing on multiple
substrates (archival printing class reserved for Sept 24, 25 & Oct 8, 9
for class exhibition installing Oct 21, opening Oct 22, de-install Nov 4)
* Discussion of the Techniques of the Observer by Jonathan Crary and contemporary viewing techniques and begin
discussion on Panorama
* studio practice (Bring in all images for review and approval
for archival printing)
Week 6 Sept 30
* Lecture & discussion on Panorama, Cyclorama, VR, Oculus
Rift, Immersion, Caves, Polar Panorama, HDR & Panorama,
Stereo Imaging
* Technique overview: panorama, stitching, content aware selection
tools
* studio practice panorama (Bring in cameras & tripods,
images for panorama)
Week 7 Oct 7
* Critiques of short study projects: Panoramas
* MIDTERM EVALUATIONS (please ensure all perfected work is in your
drop box)
Week 8 Oct 14 off (Institute schedule follows a Monday schedule)
Week 9 Oct 21
* Lecture & discussion on Cartography & Mapping in art and industry
in 2 and 3 D, Brian Holms’ “Cartography of Excess”, Assemblage
* Technique overview: vector imaging, assemblage
* studio practice (Bring in various maps, globes, objects and
materials to help you chart your map)
Week 10 Oct 28
* Critiques of short study projects: Personal Geographies: Maps of the
Imagination
* Lecture & discussion on bio mimicry, art and nature
* studio practice creating a texture library from nature (Bring
in cameras & tripods and items from nature)
Week 11 Nov 4
* review bio-mimicry works in progress
* start discussions about final project ideas
* studio practice experiments in photographing and scanning
items from nature
(Bring in cameras & tripods)
Week 12 Nov 11
* Critiques of short study projects: Bio-mimicry
* Lecture & discussion Art Activating Public Spaces
Week 13 Nov 18
* Discussion of the reading Critical Issues in Public Art: Content,
Context, and Controversy by Harriet F. Seni,
& Sally Webster* intensive studio & field practice scouting out
locations for final projects (Bring in cameras
& tripods)
Week 14 Nov
25 (Thanksgiving recess after last class on
this day) Second to last day of class
* final project pre-reviews
Week 15 Dec 2
Last Day of Class
* Critiques of works in site Final Projects: Art Activating Public Spaces
* photographing documentation of your works in site (Bring in cameras & tripods)
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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
Printing: please
see Helpful Resources
and Tools for much more detail.
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.
please setup appointment with operator Brian Mertik
via email at mertib@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)
|