|
Instructor:
Kathleen Ruiz
Associate Professor of Integrated Arts
email: ruiz@rpi.edu
skype: kathleen.ruiz
office: West Hall 314c
office hours: Thursdays 2:30pm to 4:30pm
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
Upload Info (you will then be invited to join our ADI class box)
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Course in a Nutshell
Emotion Sketches
due Jan 21 (3 points)
self-portraiture in studio Jan 23
live model in studio Jan 28
Gesture
Drawings
due Jan 30 (3
points)
Works
Inspired from the Written Word
due Feb 6 (3 points)
Small Scale Works
due Feb 20 (3 points)
live model in class studio March 17
Large Scale Works (more highly formulated works)
due: March 19 (20 points)
Motion Capture sessions for ADI will be in Russel
Sage Lab Room 2510 ,
Wednesdays 5 to 7pm on:
March 18:
March 25:
April 1: (professional dancer will be
available that eve from 5:45 -7:45pm)
Augmented / Virtual Reality / MoCap
due April 2 (10 points)
one of the following: either
Assemblage, Stencil Art, or Projection
due April 16 (3 points)
Final Project
due April 28 (40 points)
Web Portfolio &
Documentation
due April 30 (for final evaluation of all perfected work)
Participation in class 10% = 10 points
Event & Reading reaction papers 5% = 5 points
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Course Assessment Measures
Projects and 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 21 (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.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
week 2, 3. Gesture Drawings
due Jan 30
(3 points)
Project: Select 7 small scale gesture drawings/ prints/ or emerging genre
works
(student selected size and scale )
Reading: due Jan 21 Gesture
Drawing please create a short reading reaction paragraph
We will work with self-portraiture Jan 23 in studio.
We will work with a live model in studio Jan 28 for digital life
drawing gesture studies. You can also work from other people you observe,
or objects or the landscape.
We will have another live model session
later in the semester, on March 17 for AR/MR works.
Additionally, we will have a motion capture sessions. (Please see above.) 
“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
…………………………………………………………
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)
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, print them
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Week 4. Works inspired from the written word
due: Feb 6 (3 points)
Create one digital drawing, or painting,
photograph, or emerging genre work that illustrates a concept, environment,
event or character from the written word. Use your imagination and let
go. This work could be
either realistic or abstract.
Reading: due Jan 21
Please
pick one below / or use a
pre-approved reading from your own on-going research
Galileo Galilei The Starry
Messenger
Martin Luther King I
Have A Dream
George Saunders Escape
from Spiderhead
Richard
Powers The
Overstory (pick a short chapter, full text in Folsom library if
desired)
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Week 5. 6. Small Scale Works
due Feb 20 (3 points)
(7) high quality experimental works
using traditional/digital/or emerging genres
Print with the Epson Archival printer on your choice of substrate and
size, by appointment only in Sage 2410: http://www.hass.rpi.edu/pl/teaching-facilities-s17/large-format-printer-suite
*
Please use high end monitors to view your image, do not rely on your laptop
monitor alone for high end file proofing for this printer.
Aeroclub by Pastorino Diaz
Portrait Photography reading:
Roland Barthes Barthes 15,16 Barthes 46-48,
Table
Top Photography
ECU Photography
Tilt/Shift Toy Technique
Transient
Media: reading: Oliver Sacks SPEED and Hito Steyerl In
Defense of the Poor Image
Landscape Photography
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
week 7, 8, 9, 10 Large Scale highly formulated completed
works
due: March 19 (20 points)
(3) Large Format Archival Epson archival prints
(minimum size 24” x 36”, max size 84” x 42”)
(at least one on canvass)
HÖCH, Hannah, Sans titre, 1920
Here you can use any
set of themes from class, or from your own set of creative research
concerns and work them into highly developed, large scale works using techniques covered in class or in
individual creative research.
Photographic Sculpture
Montage & Collage
Printing and Painting on Digital Canvas
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
week 11, 12 Augmented / Virtual Reality
due April 2 (10 points)
Fine Arts usage of
augmented and virtual reality.
Using wither augmented reality apps, QR links to film/sound content, or VR,
we will experiment with generating expressive works and new spatial
discoveries that resonate “real” and alternate experiences.
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
readings: Lev Manovich: The
Poetics of Augmented Space
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Week 13
ADI Class Exhibition:
Installing work April 7, 6 to 8PM in the SAGE Dean’s Gallery, Vertical
Gallery, and outside Sage 2411 in the Corridor of Creativity
Exhibition opening Thursday April 9 6:00-7:00pm Dean’s Gallery
Exhibition de-install April 23 8pm
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Week 14 Chose one of the following: either
Assemblage/ Stencil Art/ or Projection
due
April 16 (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.
::::::::::::::::::::::::::
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
::::::::::::::::::::::::::::::::::::::
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
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Week 15 16
Final
Project
due April 28 (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 deep personal interest to you,
quite possibly using the techniques, issues and ideas learned during the
semester, or as part of your own creative research.
Your inspirations, art
historical referencing, philosophical influences, theoretical background,
and technical documentation will be articulated in a 5 page artist
statement properly
cited and
footnoted in The
Chicago Manual of Style .
(Please note: Students at the 6000 level have
papers of 10-15 pages.)
Exhibition
de-install April 23, 8pm all work must be removed
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Web Portfolio & Documentation
due
April 30
of all works in standalone format submitted on a thumb drive or dvd and also uploaded to your class exchange folder
See portfolio samples:
See portfolio samples:
ADI
Spring 19 Portfolios
Andrea Labgold
Kayla Baltunis
Ethan Kaplan
Links to some web how to and designs
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Course Texts
Students taking the course at the 4000 level, excerpts from:
1.
Nicolaides, Bridgeman, Vanderpol Gesture Drawing
2. Choice of one or pre-approved
personal research readings:
Galileo
Galilei The
Starry Messenger
Martin Luther King I
Have A Dream
George Saunders Escape
from Spiderhead
Richard Powers The
Overstory (pick a short chapter, full text in Folsom library if
desired)
3. Robert L. Solso
Visual Perspective
Cognition and the Visual Arts
4. Roland Barthes Barthes 15,16
Barthes
46-48, Camera Lucida
5. Oliver Sacks SPEED Hito Steyerl
In
Defense of the Poor Image
6. Robert L. Solso
Context, Cog., & Art
7. Lev Manovich: The Poetics of
Augmented Space
8. One of the following: 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
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Class Schedule:
Week 1.
Jan 14
Intro to the course
Review best works
Questionnaire of goals review
Jan 16
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 21
Emotion Drawing review of works
Related readings: Gesture Drawing in prep for live model
Jan 23
In studio: Gesture Drawing and self-portraiture in
studio
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
Week 3.
Jan 28
In studio:
Gesture Drawing II 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
Jan 30
Critiques of
Gesture works
into to next set of studies
Week 4.
Feb 4
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, shutter, and focus control) & tripod / new genre expressive
instruments and any props or table top items
Related readings:
Approved personal research reading for inspiration for work related to the
written word
or
Choice of one:
Galileo Galilei The Starry
Messenger
Martin Luther King I
Have A Dream
George Saunders Escape
from Spiderhead
Richard Powers The
Overstory (pick a
short chapter, full text in Folsom library if desired)
Feb 6
Critiques of
works inspired from the written word
In studio: ECU Photography
Printing techniques for the large format Epson 9000 Archival printer
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 11
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 13
Professor Ruiz in Chicago chairing
the CAA panel, “Resonating Reality: Artist in VR & AR”
Landscape Photography and
Landscape of the Heart
Printing and Painting on Digital
Canvas
Week 6.
Feb 18 OFF no class (the Institute follows a Monday schedule on this day)
Feb 20
Critique of small scale works
Week 7.
Feb 25
midterm assessment please have all
perfected studies, reading reactions, and works in your folder in your
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 27
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 3
In Studio:
Photographic Sculpture
Montage & Collage
Landscape studies
March 5
(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)
Related Readings: Solso Context, Cog.,
& Art
Week 9. Off for Spring Break
March 10 & March 12
Week 10.
March 17 (St. Patrick’s
Day)
In Studio: live model 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 18,
Wednesday eve
motion capture session in Sage Lab room 2510, 5-7pm
March 19
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 24
In Studio:
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 25, Wednesday eve
motion capture session in Sage Lab room 2510,
5-7pm
March 26
Catch up
class
Students at the 6000 level present
their Audio Visual presentation of artistic
research development and resonance of selected readings
Week 12.
March 31
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
1, Wednesday eve
motion capture session in Sage Lab room 2510,
5-7pm
April 2
Critiques of Augmented Reality: Re-imaging
Public Space/Revitalizing Parks
Week 13.
April 7: Installing art work, 6 to 8PM in the SAGE Dean’s Gallery, Vertical
Gallery, and outside Sage 2411 Corridor of Creativity
April 9: Exhibition
opening Thursday 6:00-7:00pm
Dean’s Gallery
discuss final project ideas
Week 14.
April 14 introduction to the very short experimental studies in
assemblage, stencil or projection
Intensive work studio
April 16 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 21
Final Project Trajectory: works
in progress and artist statements informally reviewed
Related readings: Personal research readings
April 23 (2nd to last class) intensive work studio
Exhibition de-install April 23, 8pm
Week 16.
April 28 Last Class
Critiques of Final Projects in class
April 30 Web Portfolio & Documentation Professor Ruiz’s office West Hall 314c 2:30 to 4:30pm:
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 bring to Professor Ruiz’s
office West Hall 314c 2:30 to 4:30pm.
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
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Student 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.
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
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 (also
includes a 10-15 page creative research paper)
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 Advising & Learning
Assistance Center https://info.rpi.edu/advising-learning-assistance/
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.
Generally
We're a mix of many people
with many backgrounds with many levels of experience. We'll use the Django Code of
Conduct which breaks down to the following
list; although, I would encourage following the link to read the details.
It's a common practice in many FLOSS and similar
software communities.
- Be
friendly and patient
- Be welcoming
- Be considerate
- Be respectful
- Be careful in the words that we
choose
- Try to understand why we disagree
This was developed by the TODO Group which
has many more useful links for futher
information, for example, Geek Feminism.
Another thing to be aware of
- the be a reasonable person as described at Carnegie Mellon's CS site: Reasonable Person
Principle
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, please 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.
Helpful tips on how to take the course
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: Greg Palmer, Media Engineer
palmeg2@rpi.edu Office number: SAGE
2406, Phone number: 518-256-7925
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.
|
