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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.
Articulate and be more fully aware of 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 works
utilizing multiple outputs, 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: 50% total in the following increments:
* Surveillance: photo essay 10%
* Hyperrealism: HDR High Dynamic Range Photography 10%
* Panorama (VR, print, mixed media, or experimental techniques) 10%
* AR Augmented Mini Mural 10%
* The Human Body: Physicality and the Ephemeral 10%
The final project is a purposeful installation work in Art Activating Public Spaces 35%
Participation
in class, critiques & reading reaction papers 15%
A
final web portfolio of all perfected
works is handed in on labeled DVD or non-returnable thumb drive 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 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
* Box
Info (you first need to register for a Box and then you will then be
invited to join our IDI class box)
* Art Sites and Reference Resources
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Provost’s info for on
and off campus support for students:
Click
here
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EVENTS:
Please try to attend 3 events at EMPAC or the Sanctuary for
Independent Media 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 short 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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Syllabus subject to change. Please
check online often.
PROJECTS & READINGS:
Please upload
all assignments to your folder on our IDI BOX (please
see above)
Short Study Project 1 due Sept. 9, 14, 16
Surveillance photo
essay
Project: The
idea of photography as a research tool
You will increase your observational skills by looking at how
the world looks at you, or how you look at the world
Create an original Photo-essay about
surveillance in 3 parts: (You
must use your own images here.)
1. Observations: due Sept 9 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 14 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. Photo Essay: due Sept 16
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, with or
without text to make your photo essay express your viewpoint. Consider the placement of your images
and your layout design for maximum impact.
Some broad examples of straight photo essays are below; however, you are
encouraged to use your imagination and be creative! Trust your intuition!
* 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/
Download the pamphlets there and
study the use of image/text/layout
Readings: due Sept 2
* He Served in
Silence by Igor Vamos
* The Panopticon by
Jeremy Bentham skim though his
letters http://cryptome.org/cartome/panopticon2.htm
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 paragraph about each (your views and interpretations)
* Associated tutorials: Please utilize the
Adobe CC embedded tutorials to expand your skill sets
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Short Study Project 2 due Sept 28
HDR High Dynamic
Range Photography: Hyperrealism
Project: After
our lecture/discussion 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 100 or 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.
Use you tripod! Any shake in
your exposures will create ghosting in HDR post processing.
Use auto-bracketing if your camera has this function: Auto Exposure Bracketing (AEB) and select exposure increments
for bracketing: +2EV, 0EV, -2EV
(EV=Exposure Value).
Make sure your camera is set to Aperture
Priority (AV).
Also select the Continuous Shooting
mode to enable one press of your shutter button, per your three AEB
exposures. This will ensure each image exposure is registered to each other
seamlessly.
(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.)
Bring the images into Photoshop: File > Automate > Merge to HDR Pro
(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 Photomatix
or Dynamic Photo-HDR.
Utilize the techniques learned to help you express your message through a
mood or tone.
Experiment with different subjects, objects, environments, landscapes,
skyscapes, lighting conditions (outdoor/indoor/studio).
(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.)
Create
at least 15 excellent, in-focus, high quality HDR images that utilize the technique
and software for creative impact. Show the works on the large monitors in
class and we will select one of your images to print on the Epson 9800
archival printer.
Readings: due Sept 21
* technical
readings and research about HDR
* Associated tutorials
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Short Study Project 3 due Oct 5
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 or graphic elements, object scans, textures,
etc. which work together to give visual form to your ideas. Text can be
used if desired, 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, or a VR panorama. Experiment with ideas including
polar panoramas, cycloramas, or encompassing dioramas. You can use straight
photography or digital and/or physical photomontage, collage or assemblage
techniques. Discover new forms of panoramic vision!
Readings: Due Sept 28
* Techniques
of the Observer by Jonathan Crary
create a short reaction paragraph
* Associated tutorials
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Short
Study Project 4 due Oct 21
Mini AR Mural: form
meeting function
(creating image ideas with augmented reality art
experiments)
Project: Experiment with
potential mural images that could inspire and ignite the imagination about
the history, the future, the socio-cultural resonances (hidden and overt)
that specific places have for you. Your still image will also contain an AR marker for augmented reality
experiences that amplify your idea further through the use of either
animation/audio/video/film/IT digital/code/processing, etc. Your image
could be printed, painted or stenciled, but must be applicable to your
message and intent. (please do not deface any illegal surfaces)
Please
note:
This study could be enlarged
up later on for the final project culminating in the creation of an actual
mural.
Readings: Due Oct 12
*
Simulations by Jean Baudrillard
* 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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Short Study Project 5 due Nov 11
The Human Body: Physicality
and the Ephemeral:
(vector/raster based
imaging, 2 or 3d mixed media/or AR)
Project: Using a choice of tools such as
digital drawing, vector, photography, or traditional drawing or painting,
we will work in studio with live models to explore the body as the zero
point of experience, its physicality, its architecture, its strength and
its weakness. You will generate one image that will serve as an AR marker
image that will open up to amplify your idea using animation/audio/video/film/IT digital/code/processing, etc.
Readings: Due Nov 4
* research readings
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Nov 30 6pm-8pm install IDI Exhibition in SAGE
Dean’s Lounge & Vertical Galleries
Dec 2 6 to 7pm Opening IDI Exhibition SAGE Dean’s Lounge & Vertical
Galleries
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Final
Project due Dec 7
Art Activating Public Spaces
Project: Activating public spaces with digital images,
installations, and art delivery systems
Final Project pre-REVIEWS: Nov 14, Nov 23
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 7
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 16)
Critical
Issues in Public Art: Content, Context, and Controversy by Harriet F. Seni,
& Sally Webster, eds.
And
Critical
Issues in Public Art: Phillips Temporality and Public Art by Harriet F. Seni,
& Sally Webster, eds.
And
Malraux, André. Museum Without Walls. Translated
from French by Stuart Gilbert and Francis Price. Garden City, NY:
Doubleday, 1967.
short essay about https://culturalvirtualspaces.wordpress.com/2014/06/17/malraux-and-the-musee-imaginaire-the-museum-without-walls/
And
On the Museum's Ruin
by Douglas Crimp
https://selforganizedseminar.files.wordpress.com/2011/11/crimp-museums-ruins.pdf
create a short reaction paragraph
* Associated tutorials & your
personal research readings
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Final Web Portfolio due Dec 13
in West Hall 314c
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 your presentation and for final grading purposes.
Readings:
* Associated tutorials & website creation research
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Class Schedule:
Week 1 Aug 31 & Sept 2
* Introduction to the course,
* Lecture & discussion overview on digital imaging, the power of
images, “truth” and images
*
See best works to date and articulate student aspirations
* Technique overview on composition, form, perspective, light, color,
proportion, motion
* working in Camera Raw, Image file formats
* Lecture & discussion on Surveillance
Week 2
Sept 7 NO
CLASS Institute follows a Monday Schedule.
Sept 9
* Review & discussion of short study projects:
Surveillance part 1
* Technique overview: handouts on studio set ups: going off automatic: the
triangle of using aperture, shutter and ISO
* Brief discussion of readings: the history of
surveillance thinking: He Served in
Silence, The Panopticon, and The
Creative Process
* Critiques of initial short study Surveillance Observations Photos
* Technique overview:
*
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, panning
~ Manual
(Bring in cameras, tripods, lighting kits, a collection of small objects,
and one that moves or a ball)
Week 3
Sept 14
Brief review of Surveillance studies in
progress, work in studio
(Bring in cameras & tripods)
Sept 16
Critiques of Surveillance studies
Week 4
Sept 21 & Sept 23
* Lecture & discussion on High Dynamic Range photography and how these
lighting techniques are used in games, cinema, ads, architecture, and
beyond
* Technique overview: HDR photography (distribute HDR technique
handouts)
* Field studies in HDR landscape photography
* studio practice in HDR: Raw,
tripod, AEB (Auto Exposure Balance, -2, 0, +2), Aperture priority (Av),
continuous shooting, low ISO for the least grain possible, bring your 3 AEB
images into Photoshop>File>Automate>Merge to HDR Pro . merge for
tone mapping and experimentation for
creative expression using the techniques
(Bring in cameras & tripods and wear
sturdy shoes.)
Week 5
Sept 28
Critiques of short study
projects: HDR
Sept 30
* Lecture & discussion on Panorama, Cyclorama, VR, Immersion, Polar
Panorama, HDR & Panorama, Stereo Imaging, and contemporary viewing
techniques
* Technique overview: studio practice panorama: stitching,
content aware, and selection tools
(Bring in cameras & tripods and wear sturdy shoes.)
* Technique overview: compositing, masking, histograms, levels
* Discussion of the Techniques of the Observer
by Jonathan Crary & viewing
conventions over time
Please ensure all perfected work to date is in your class Box folder for
midterm review next week.
Week 6 Oct 5
* Critiques and discussion
of short study projects: Panoramas
* Technique overview: high end archival
printing on multiple substrates
(please ensure all perfected work to date is
in your class Box folder for midterm review)
Oct 7 MIDTERM REVIEWS
* Introduction to the mini AR
Virtual & Ephemeral Images study
using high end archival printing with seamlessly embedded markers for AR
experiences using a range of multimedia and sound compositions
* studio practice: initial experiments with a range of multimedia,
blended/augmented reality/code art
Week 7
Oct 12
Continued work on AR project ideas, inspiration, experiments, and technical
research.
(Bring in cameras & tripods for field recordings for inspiration and
reference.)
Oct 14
Please bring a good camera or drawing implements
for life studies and
movement studies
*
Technique overview: studio practice in composing an augmented experience
using video, image sequencing and stop-action animation, using the motion
of people.
We will conduct a series
of modeling sessions in studio to further develop
drawing/imaging/photographic skills with the human body with an eye towards
obtaining high quality still and moving images for use for panorama and/or
AR studies.
Model (if available) in class for life studies and movement studies
*
Technique overview: studio practice in composing an augmented experience
using video, image sequencing and stop-action animation, using the live
model
We will conduct a series
of modeling sessions in studio to further develop
drawing/imaging/photographic skills with the human body with an eye towards
obtaining high quality still and moving images for use for panorama and/or
AR studies:
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 (15 minutes)
Break, then repeat as time allows.
lighting kits
(Bring in cameras or drawing implements, tripods, lighting kits)
Week 8
Oct 19
* Review of AR works in-progress,
suggestions, technique sharing
* Intensive studio in development and printing of high end archival AR
print works containing incorporated AR markers, multimedia and sound
production.
* Review and discussion of Simulations by Jean Baudrillard, and Baudrillard and Hollywood: subverting
the mechanism of control and The Matrix by Jim Rovira
Oct 21
* AR Mural critiques
prep for our upcoming exhibition
Week 9
Oct 26
in
studio work on Human Body: Physicality and the
Ephemeral studies
Oct 28
in studio work on Human Body: Physicality and the
Ephemeral studies
Week 10
Nov
2
in studio work on Human Body: Physicality and the
Ephemeral studies
Nov 4 in studio work on Human Body: Physicality and the Ephemeral
studies
Week 11
Nov 9
in
studio work on Human Body: Physicality and the
Ephemeral studies
Nov 11
Critiques of the Human Body: Physicality and the
Ephemeral studies
Week 12
Nov 16
* overview of the final project, lecture/discussion/video on Public Art
and discussion of readings
Critical
Issues in Public Art: Content, Context, and Controversy by Harriet F. Seni,
& Sally Webster, eds.
And
Critical
Issues in Public Art: Phillips Temporality and Public Art by Harriet F. Seni,
& Sally Webster, eds.
And
Malraux, André. Museum Without Walls. Translated
from French by Stuart Gilbert and Francis Price. Garden City, NY:
Doubleday, 1967.
short essay about https://culturalvirtualspaces.wordpress.com/2014/06/17/malraux-and-the-musee-imaginaire-the-museum-without-walls/
And
On the Museum's Ruin
by Douglas Crimp
https://selforganizedseminar.files.wordpress.com/2011/11/crimp-museums-ruins.pdf
* studio in creating
initial ideations and field practice scouting
*refining of final project ideas and research trajectories
* for those working in teams or on individual projects: gather visual
sketches and on-site ideations and materials and begin mural projects
* Site photography and in class studio ideation
development
(Bring in cameras & tripods)
Nov 18
Final Project Pre-Reviews A
Intensive work studio for
individual final projects: ideation creations in virtuality
from field image recordings.
Week 13
Nov 23
Final Project
Pre-Reviews B Private scheduled virtual meetings
Please note:
All work for final projects must have a pre-review
signoff from Professor Ruiz before leaving for Thanksgiving
break
That is, an artist
statement & research trajectory: that includes the following:
- an articulation of the idea,
- the artistic influences,
- the technical research, and
- the ideation.
* final project pre-reviews
Nov 25 * off for Thanksgiving
Week 14
Nov 30
Nov 30 6pm-8pm install IDI Exhibition in SAGE
Dean’s Lounge & Vertical Galleries
Dec 2 6 to 7pm Opening IDI Exhibition SAGE Dean’s Lounge & Vertical
Galleries
Dec 2
7-8pm Intensive work studio on final projects
Week 15 last week of classes
Dec 7
* Critiques of Final Project works in situ A: Art Activating Public Spaces
* photographing documentation of your actual works on site
(Bring in cameras & tripods)
Dec 9 Last Day of Class
* Critiques of Final Project works in situ
B: Art Activating Public Spaces
* photographing documentation of your actual works on site
(Bring in cameras & tripods)
Dec 13 ALL Final Web Portfolios due West Hall 314c
web
portfolio of all your perfected short study works for the entire semester
due, including your reading and event reactions, and your Art Activating
Public Space final project ideation, artist statement/research, and in situ documentation on a
(non-returnable) DVD or thumb drive (Please label with Your Full Name, and
the words: IDI Fall 2021) with your website address. This will be used for
final grading.
Also, all final web portfolios must be uploaded to your
class box folder.
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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 and The 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. 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.
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)
* 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.
* 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
Corridor of
Creativity
https://hass.rpi.edu/corridor-creativity
Printing: please
see Helpful
Resources and Tools for more detail.
For high end archival printing: Location: Sage 2410
This
suite contains the Epson Pro
9800 large format archival printer operated by a specialized print
coordinator available by appointment only.
Please setup appointment with Michael Rosado rosadm@rpi.edu well in advance to your
printing due dates.
Info:
http://hassinfo.rpi.edu/large-format-printing-information/
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