“ CL” by Sami Hanson, IDI Fall 2015

Intermediate Digital Imaging:
Fall 2016
ARTS 2040-01  

Credits: 4
Prerequisite: ARTS-1020 Media Studio Imaging or permission of instructor
Tuesday/Thursday 6:00 -7:50, with extended studios  
West Hall 214 Digital Imaging Studio (home studio)

Kathleen Ruiz, abd, Ph.D.
Associate Professor of Integrated Arts
email: ruiz@rpi.edu  
office: West Hall 314c
office hours: Thursdays 11:00am to 1:00pm by appointment
(please use sign up board on office door WH 314c or email ruiz@rpi.edu )

Intermediate Digital Imaging is a second level studio projects course exploring the use of digital technologies for augmenting and expanding creative thought in making visual art. The interplay between the observer, the observed, and the process of observation is explored. Concepts in modes of expression, contemporary issues, history/theory, and technique are interwoven through a series of short studies that explore: surveillance, hyperrealism in high dynamic range photography, panorama, portraiture, and augmented reality murals. Emphasis is placed on creativity, critical thinking, and conceptual and aesthetic decision making relating to expressive content. The final work is a project that uses the potency of visual art and installation to activate public spaces. Students complete a web portfolio of all studies and projects.

Innovation and experimentation are highly encouraged as we discover, explore, and investigate digital imaging as a tool, as a medium, and beyond, dialoging with the physical world, using in-depth photographic, raster and vector imaging techniques, archival printing, and fusion media. Students expand their understanding of contemporary digital arts practice through readings, short lectures/discussions, and critiques.

Goals: To develop creative ability and depth of expression using raster and vector based imaging, photographic, mixed media, and emerging genres. To heighten awareness of the interplay between the observed, the observer, and the process of observation and apply technical/aesthetic knowledge in the completion of a series of visual art projects, culminating in a creative student directed final project.

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 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.


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.

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.



* Associated tutorials: we have Lynda tutorial CDs that can be used to learn at an individualized pace. Please avail yourself of this resource. They are also at the front reference desk of the library.

* Helpful Resources and Tools

* Class Exchange Drop Information

* Art Sites and Reference Resources



Please attend at least 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 critique if needed.
EMPAC http://empac.rpi.edu/ 

The Sanctuary for Independent Media
(Please carpool together if going as The Sanctuary is beyond walking distance from campus.)


Please upload all assignments to your folder on our Class Exchange Drop

Short Study Project 1 due Sept. 1, 6, 8
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, 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 1
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. Photo Essay: due Sept 8
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 a your photo essay expressing 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 
* Situated Technologies Pamphlets
Download the pamphlets there and study the use of image/text/layout

Readings: due Sept 6
* 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 Tradeoff Fallacy by Turow, Hennessy, Draper skim and see what you make of this

* 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:
we have Lynda tutorial CDs that can be used to learn at an individualized pace. Please avail yourself of this resource. They are also at the front reference desk of the library.


Short Study Project 2 due Sept 20
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.

due Sept 13
* technical readings and research about HDR
* Associated tutorials


Short Study Project 3 due Oct 4
MIDTERM EVALUATIONS (please upload all work to date, including panorama your study, to class exchange drop box)
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 27
* Techniques of the Observer by Jonathan Crary
create a short reaction paragraph
* Associated tutorials

Short Study Project 4 due Oct 25
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 safety, and the future of chem/bio engineering to be permanently exhibited in the environs of the labs. You can use images of the lab, safety gear, design elements, etc. 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 for use in the actual lab.

Please note:
This study could be enlarged up later on for the final project culminating in the creation of an actual permanent mural in the lab.

Readings: Due Oct 11
* 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


Oct 27 Install 4-6pm IDI Exhibition in SAGE Dean’s Lounge & Vertical Galleries

Nov 1 Opening 4 to 5pm IDI Exhibition SAGE Dean’s Lounge (refreshments will be served)


Short Study Project 5 due Nov 8
The Human Body: Physicality and the Ephemeral:

(vector/raster based imaging, 2 or 3d mixed media with AR

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 10
* research readings


Final Project due Dec 6
Art Activating Public Spaces

Project: Activating public spaces with digital images, installations, and art delivery systems

Final Project pre-REVIEWS: Nov 15

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.

Dec 6

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 15)

Critical Issues in Public Art: Content, Context, and Controversy  by Harriet F. Seni, & Sally Webster, eds.


Critical Issues in Public Art: Phillips Temporality and Public Art  by Harriet F. Seni, & Sally Webster, eds.

create a short reaction paragraph

* Associated tutorials & your personal research readings

Browse: browse through and see other artists and ideas you are interested in:
* New Media Art by Mark Tribe
* Imagery-in-the-21st-Century http://www.scribd.com/doc/90812469/Imagery-in-the-21st-Century-Figures



Final Web Portfolio due Dec 12
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 final grading purposes.
* Associated tutorials & website creation research


Class Schedule:

Week 1 Aug 30, Sept 1
* 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 6, 8
* 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, The Tradeoff Fallacy, and The Creative Process
* Critiques of short study projects: Surveillance Photo Essays
* 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 13, 15
* 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), Aperture priority (Av), continuous shooting, low ISO for the least grain possible, merge for tone mapping, experimentation for creative expression using the techniques learned
 (Bring in cameras & tripods)

Week 4 Sept 20
* Critiques of short study projects: HDR
* Lecture & discussion on Panorama, Cyclorama, VR, Oculus Rift,  Immersion, Caves, Polar Panorama, HDR & Panorama, Stereo Imaging, and contemporary viewing techniques
* Technique overview: intro
studio practice panorama: stitching, content aware selection tools 
(Bring in cameras & tripods and wear sturdy shoes.)

Week 5 Sept 27 MODEL in Studio
4 to 5:30pm:
* Technique overview: studio practice in lighting the subject:
Rembrandt, butterfly, edge lighting 
(Bring in cameras, tripods, lighting kits, and/or drawing implements of choice)
5:30 TO 7:30PM MODEL in Studio:
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.
7:30- 7:50
* Technique overview: printing & high end archival printing on multiple substrates
* 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 exchange drop box for midterm review next week.

Week 6 
Oct 4
(please ensure all perfected work to date is in your class exchange drop box)
* Critiques and discussion of short study projects: Panoramas
* Technique overview: compositing, masking, histograms, levels
* Introduction to the AR, Fusion Media, Virtual & Ephemeral Images study
using high end archival printing with seamlessly embedded markers for AR experiences using a range of multimedia and sound
* studio practice: initial experiments with a range of multimedia, blended/augmented reality/code art
(Bring in cameras, tripods)

Week 7 
Oct 11 off (Institute schedule follows a Monday schedule)
(Continue work on your AR project ideas, inspiration, and technical research.)

Week 8 Oct 18
* 4-5:45pm 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 

*6-7pm Dr. Joel Plawsky lab field visit in Ricketts
(Bring in cameras & tripods for field recording in Ricketts for inspiration and reference.)

Week 9 Oct 25
*4-5:50 AR Mural reviews Dr. Joel Plawsky in studio

*5:50 TO 7:50PM
MODEL in Studio (Paul)
* Technique overview: studio practice in composing an augmented experience using video, image sequencing and stop-action animation, using the live model
(Bring in cameras, tripods, lighting kits)

Oct 27 Install IDI exhibition in SAGE Dean’s Lounge & Vertical Galleries

Week 10 Nov 1
* 4 to 5pm IDI Exhibition Opening to the public SAGE Dean’s Lounge
* 5 to 7:50 work in studio on Human Body: Physicality and the Ephemeral AR studies

Week 11 Nov 8
* critique of Human Body: Physicality and the Ephemeral
* discussions about final project ideas and research trajectories

* teams formulate for mural projects
(Bring in cameras & tripods)

Week 12 Nov 15
* refining of final project ideas and research trajectories
* teams gather visual sketches and on-site ideations and materials and begin mural projects
* 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

(Bring in cameras & tripods)

Week 13 
Nov 22
* Discussion of the readings in Critical Issues in Public Art: Content, Context, and Controversy  by  Harriet F. Seni, & Sally Webster
* studio in creating initial ideations and field practice scouting

Week 14 Nov 29
(Second to last day of class)
Intensive work studio for individual final projects: ideation creations in virtuality from field image recordings.
Visitor from industry.

Week 15 Dec 6 Last Day of Class
* Critiques of Final Project works in situ: Art Activating Public Spaces
* photographing documentation of your actual works on site 
(Bring in cameras & tripods)

Dec 12 Final Web Portfolios due in West Hall 314c before 1PM
Please drop off your web portfolio of all your perfected works for the entire semester, 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 (labeled with Your Full Name, and the words: IDI Fall 2016) with your website address. This will be used for final grading.

All final web portfolios must additionally be uploaded to your class share drop box folder.


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

Printing: please see Helpful Resources and Tools for much 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 operator well in advance to your printing due dates.