Syllabus

Visual Art 110 “Foundation Studio:  Digital Media”

Sample Fall 2017 – Christine D’Onofrio 


TITLE & DATES
VISA 110 001 – Foundation Studio:  Digital Media Term Runs from September 5 –  December 1, 2017 There is no final exam for this class The first lecture is September 5th and labs start September 12th

OFFICIAL CALENDAR DESCRIPTION
Foundation instruction in techniques and approaches to digital practice. The nature of digital technologies and their role in contemporary culture will be examined.

EXTENDED COURSE DESCRIPTION
Images have become a pervasive way of life.  In the last 40 years we’ve gone from seeing 500 to as many as 5000 images in a single day, how many have you seen so far today?  We also take more images than ever, photographing everything from selfies to sunsets, food to feet on the beach.  This class brings attention to the intuitive act of recording and consuming images, with a little thoughtfulness, you will see that the process of making images is a way of knowing and understanding.  This course unravels the big idea that with making images, there is more than meets the eye! The course covers historical, political, theoretical, practical and technical issues in art and image making through studio production of artwork. The focus of mechanical and electronic practices through to current digital media is examined by dissecting the machine’s role in the creation and reception of representation, and how it has changed through history.  Strategies that inform art making are central to the course; technical skill building will be practiced in execution, but not central to the course content.

LEARNING OBJECTIVES
This course is primarily about art making, and the structures that influence studio practice.  A successful student, and successful course, is defined by the reaching of the outcomes. By the end of this course, students will be able to:

  • Activate the process of making, as a way of knowing.
  • Technically execute a work of digital art, and apply formal decisions that communicate ideas visually.
  • Identify the characteristics of medium towards the interpretation of an image, in order to make informed material choices for their own work.
  • Identify personal inspirations and interests as a way to see their own artistic agency as self-reflective practitioners.
  • Enact a critical outlook as visual readers, recognizing how meaning is cultivated and perpetuated through representation.
  • Produce ethical, informed, multi-dimensional, work that is situated in contemporary concerns.
  • Practice poiesis in an artwork that demonstrates sensitivity of intuition transferred to intellect.

Course Structure

COURSE COMPONENTS
VISA 110, Foundation Studio:  Digital Media has various teaching structures.  They are:

  • A weekly one-hour lecture from 5-6pm on Tuesday’s that you must be enrolled in
  • A weekly two-hour lab/studio time that you are enrolled in, you cannot attend other lab times
  • An (almost) weekly 1 hour online technical learning demonstration (in Connect), and/or optional in-lab workshop (schedule provided) for those who need in-person guidance through the technical tutorials

LECTURE + LOCATION
Every Tuesday from 5-6pm in Buchanan A101

INSTRUCTOR
Christine D’Onofrio, christine.donofrio@ubc.ca

CHRISTINE’S OFFICE HOURS
Drop in time Tuesday’s 2-4pm in Somerset 206 (or by appointment, feel free to email me)

LABS
Labs are facilitated by your Teaching Assistant, all labs are located in Buchanan B L01 – Tuesday 9-11am (B204) – Christopher L02 – Tuesday 11-1pm (B204) – Ramey L03 – Tuesday 1-3pm (B204) – Christopher L04 – Tuesday 3-5pm (B204) – Brian L05 – Tuesday 6-8pm (B204) – Steven L06 – Wednesday 9-11am (B202) – Candice L07 – Wednesday 11-1pm (B202) – Candice L08 – Thursday 9:30-11:30am (B204) – Jessica L09 – Thursday 11:30-1:30pm (B204) – Jessica L10 – Thursday 3-5pm (B204) – Brian L11 – Thursday 5-7pm (B204) – Brian

TA GUIDANCE
Your TA will run the lab component of the course and will bring their own research specialization to the classroom.  As a result, the labs may differ from each other, and play out in their own special way.  This is a sign of passionate, professional teaching.  The Teaching Assistants are professional Visual Artists who are dedicated to the field.  Therefore, be open to what they can offer you and the specialized learning they have themselves worked through.  Teaching assistants may also have separate rules for their sections, and extended schedules from the syllabus, so please take note of the expanded rules and procedures for your lab component.  Your Teaching Assistant will notify you of their specific office hours, please take note of this time as it is a great time to ask for individual personal help on a project or to answer any questions you may have about the course.

TECHNICAL MODULES
This is a blended learning classroom, therefore some learning is done in class, and other learning (mostly technical) is done online via demonstration videos and assessment questions. The online component should be done in a timely manner in order to allow practice time and enough time to complete your assignment.  Due dates for which the self-assessment quiz questions will count towards grades are located on the course schedule.  There are quiz questions after each video to help isolate where you will find the answer.  If you are fluent with the programs already you can answer quiz questions without watching the video, if you are not answering them correctly you may want to watch the videos!  The videos will take you through basic training of the programs to execute your specific project, they will be accessible to you throughout the class, and you may watch them however many times you like even after quiz due dates.  The modules also contain summaries and extra resources, including links to advance the resources.  If you feel you need further one-on-one help through the programs, I encourage you to attend the various technical workshops provided by the course.  Attendance at these workshops are not required and are purely voluntary. TECHNICAL WORKSHOPS Please refer to the official workshop schedule as they are not held every week, and each workshop contains very specific demonstrations.  You may also come into a workshop time to use the computers. The workshops are run by TA’s and held in in Buchanan B, most Monday’s and Thursday’s.  Please see schedule below for exact days & topics.

Monday’s 12-1pm Thursday’s 1:30-2:30pm

WORKSHOP SCHEDULE

  • September 11-15 Module 1:  Fundamentals OSX, Workflow, Formatting your drive, Software, Raster & Vector Imaging, Output, Input
  • September 18-22 1/2 Module 2:  Introductory Photoshop Part 1 Introduction, Bits and Bits, Histogram, Density, Resolution, Getting Started & Workspace
  • September 25-29 1/2 Module 2:  Introductory Photoshop Part 2 Channels, Tools, Layers, Adjustment Layers, Exporting
  • October 2-6 Module 3:  Advanced Photoshop Selection Tools, Additive and Subtractive Manipulation, Refine Edge, Masking
  • October 9-13 (Thanksgiving Holiday, Monday UBC is not open) How to use ComPAIR & Photoshop Troubleshoot
  • October 23-27 1/2 Module 4:  Introductory Premiere Part 1 Video Terminology, Codecs, Formats, Workspace, Tools, Scratch Disks, Media, Starting a Project
  • October 30-November 3 1/2 Module 4:  Introductory Premiere Part 2 Sequences, Clips, Timeline, Tools, Trimming, Exporting
  • November 6-10 Module 5:  Advanced Premiere Sequence and Clip Techniques, Audio, Effects, Transitions, Keyframe, Image Movement
  • November 13-17 (Remembrance day Statutory Holiday, Monday UBC not open) Premiere Review/Troubleshoot

OPEN LAB HOURS
Drop in lab hours for you to use the programs on the computer to complete your project are available.  There is always someone there to help you with the programs during this time as well.  Open lab hours are held in Buchanan B, they are: Monday – 11-12pm, and 1-2pm (B202) Wednesday – 1-1:50pm  (B204) Thursday – 2:30-3pm and 7-8pm  (B204) Friday – 1-2pm (B204)

MATERIALS
You will need: Zip/Flash/USB drive, at least 32 gigabytes in size.  As well, you will need access to a digital point and shoot camera for still or video or audio recorder or disposable camera. You may also use your camera on your phone if it is of a decent quality, which most are nowadays. You will be using Adobe Photoshop and Premiere to create your projects. You are not required to purchase these programs, and they are available for you to use on campus computers.  There will be open lab times held in the Buchanan labs, and the IK Barber Library has many workstations with these programs.

READINGS
Reading text will be available online through connect in pdf format, or thought an external link. Further (recommended but not required) reading on historical and theoretical issues of the assignment, as well as links to artworks, will be available in the course resources section in CONNECT.  Please check often.

COMMITMENT
This course gives student the opportunity to enter into the mindset of an artist, an active way of looking and being in the world.  Engaging in this way will create habits of critical creativity and influence your ability to create strong work for the course. You must go beyond conventions and activate creativity, new ways of thinking, try new things and be experimental, and allow yourself to grow – even if that means you might contradict yourself. Your creative growth as an artist, in all its ups and downs, (there is no right way to do it, but engaging in this process is always valuable) is viewed as important to your individual process and is looked at as a positive experience towards your development.

ACADEMIC FREEDOM
Art making is a complex and often controversial practice that covers a range of topics from various perspectives. The classroom is a place for the open discussion of ideas and issues. The points of view expressed by the instructor represent a professional perspective on art historical or contemporary issues. If at any time you wish to discuss an issue, please feel free to contact your TA or Christine.


Course Content

COURSE BREAKDOWN The Course Breakdown is as follows:

Exercises                                                                        16% total,
16 hrs Love (3%) Make/Take (4%) Your Perspective (7%) Poiesis (2%)

Artworks Project #1 (Trickery) Still Image                      18% (18 hrs)

Project #2 (Appropriation) Moving Image                       20% (20 hrs)

Peer Reviews & Critiques
Online Project #1 (Trickery)                                               5% (5 hrs)
Online Project #2 (Appropriation)                                       5% (5 hrs)
In-Lab Critiques      2 per project to equal 4 classes @ 2 hrs each        8%

Reading Discussions      2 readings @ 3 hrs prep & 1 hr in-class discussion    8%

Online Technical Quizzes      Quiz questions follow each demonstration video        6% (6 hrs)

Lecture Participation                                                 7% (Throughout) Lab Participation                                                                                                    7% (Throughout)
Artistic Growth                                                         + or– 5% on top of grade TOTAL                                                                                   100%

EVALUATION/ASSIGNMENTS

  1. Workshop Exercises – There will be four exercises that require pre-work preparation to be activated in class for learning. The first lab workshop will work with images along the theme of “love” for an in-class discussion.  The second workshop will be to dissect documentary vs. theatricized set-ups, and how they relay differently in how stylistic changes can influence the way we interpret an image in a “make or take” argument.  A poster presentation on an artist with whom you share disciplinary or personal interests as topics will be presented in lab as a way to work through how an artist approaches certain topics, and how that may differ than how you are used to approaching topics.  The final small in-class workshop will be on poetic moments, and you must bring in a moment that you find poetic in order to participate in the workshop.
  2. Artworks/Projects – Two artwork projects will be assigned with online technical, and in-class conceptual and aesthetic instruction. Project #1 is to allow practice and understanding of digital imaging properties of manipulation in a still photographic image. Project #2 functions in further developing skills into visually complex, critical and creative ways of revealing meaning in the complicated use of borrowing from external sources to create new meaning -appropriation.  The second project is a moving image project.  All project files and flash drives must be labeled by your name, failure to do so will result in a 0 on that project.  Project information and requirements will be provided in the Projects section of Connect, they are worth a total of 38% of your final mark.
  3. Peer Review – A total of 10% (5% per project) of your grade will be dedicated to online peer-review. An online portal in which you are to contribute, and then participate in critique, will be made available to you with pointed specific questions to help yourself and your colleagues achieve greater success in the project, with enough time to make revisions before it is due.
  4. Critique Participation – You will be required to critique your fellow colleagues work in class oral and written, as well as present your own work for critique. This is worth 3% per class for a total of 12% of your final grade.
  5. Reading Discussions – Considers the activity of the student during reading discussions and conversations. This will grade will account for proven and displayed understanding, and to what depth, of readings assigned for the class.  A respectful attitude towards other’s in the class, active engagement in the class work, individual progress and response to challenges put forth by the instructor. Attendance is not enough for participation or discussion grades, you must be actively contributing and proving your knowledge.  There are 3 readings valued at 4% per discussion for a total of 12% of your final grade.
  6. Technical Demonstrations – This course uses online modules, there are small quizzes after every video module that you are required to complete to test your understanding of the video content, the quizzes account for 8% of your final grade. You are to perform in and articulate your self-learning process of using the modules and learning gained in class, in the form of an online survey or other activities that will be offered throughout the course, this will account for a total of 3% of your grade.  More information will be described in lecture and on Connect when the survey is released.
  7. Lecture Activities – Surprise polls, debates, questions and activities will be given during lecture to a cumulative lecture grade of 7% total. We will be using “Top Hat” (https://tophat.com/) to interact, which is currently free to UBC students.   You can always visit your grade sum in top hat to see how you are doing on this component.
  8. Lab Participation – This part of the grade accounts for an overall evaluation of your participation in lab-related work, including classroom climate exercise, workshop exchanges, general discussions and generative feedback sessions including individual meetings with TA’s and group work with peers.
  9. Artistic Growth – Evaluates artistic challenges taken and overcome throughout the duration of the course, towards artistic growth. As art-making has elements of ‘risk’ that when starting out to make art, can go awry, this part of your grade accounts for the fact that you went beyond your comfort level, and made something that mattered.  Overall, this class tries to get you beyond the predictable, conventional, boring, general or even shallow ways in which we represent, into exciting new territories we’ve never been before.  While this is accounted for in most of the rubrics for the course, this component of the breakdown is to further emphasize that this course is about doing something different. This can raise or lower your overall grade to a maximum 5%.

ARTWORK EVALUATION
There are two major artworks expected of the class, they will be assigned throughout the course.  We will monitor comprehension and applications of methodologies used in completing assignments as well as level of challenges the student undertakes.  There will be an evaluation of the assignments on the basis of quality, originality, appropriateness, presentation, creativity, attention to subject matter and credibility as an artist.  As well, formal aesthetics such as composition, framing, technical proficiency, and adequate use of materials and their implications will be assessed. The breakdown for artwork projects are: 10% Technical Execution/Proficiency 30% Presentation, Formal Delivery, Handling & Craftsmanship 35% Conceptual Framework, Risk-Taking, Originality & Creativity 25% Meeting of Project Goals & Overall Success

UBC GRADING

  • 90-100% = A+ Distinguished work
  • 85-89% = A   Original thinking, superior grasp of subject matter
  • 80-84% = A-   Evidence of extensive knowledge base
  • 76-79% = B+  Evidence of critical capacity and analytic ability
  • 72-75% = B   Reasonable understanding of relevant issues
  • 68-71% = B-   Familiarity with subject matter, competent performance
  • 64-67% = C+ Understanding of the subject, and solve simple problems
  • 60-63% = C   Not seriously faulty, but lacking style and vigor
  • 55-59% = C- Acceptable but uninspired work
  • 50-54% = D   Adequate work
  • 0-49%   = F    Inadequate work for credit value (Fail)

UBC + EXTENDED CLASS GRADING GUIDELINES
The first point is written in the UBC Calendar, the second point is an extension of the description by your instructor, this follows in the extended description below as well.

  • From the UBC calendar: The following guidelines offer a broad-brush characterization of the type of work that might be associated with various ranges of grades. The intent here is to encourage general consistency across the faculty rather than to provide precise specifications. UBC’s Arts Grading Policies can be found here: http://legacy.arts.ubc.ca/faculty-amp-staff/resources/courses-and-grading/grading-guidelines.html
  • The following are guidelines towards studio work grading. They are not followed as rigid regulations and there are times that they may be adjusted as is appropriate for specific circumstances, project challenges, and other factors.  More definite rubrics or comments will be given specific to the studio project assignment and level.

80% to 100% (A- to A+)  “Exceptional”

  • Exceptional performance: strong evidence of original thinking; good organization; capacity to analyze and synthesize; superior grasp of subject matter with sound critical evaluations; evidence of extensive knowledge base.
  • Artistic work shows significant originality, ambition and a distinguished degree of critical thinking. A sophisticated analysis of complex theoretical and conceptual thinking towards proven execution and active engagement with project goals.  Preparation, research, engagement with process and outcomes of the project are exemplary.

68% to 79% (B- to B+) “Competent”

  • Competent performance: evidence of grasp of subject matter; some evidence of critical capacity and analytic ability; reasonable understanding of relevant issues; evidence of familiarity with the literature.
  • The work engages the viewer and the project goals at an above average attempt. There is a demonstrated reference to research and comprehension of the challenges set up by the project goals.  Process in execution has been sufficiently developed and demonstrates knowledge of technique towards a successful and impressive outcome.

50% to 67% (D to C+) “Adequate”

  • Adequate performance: understanding of the subject matter; ability to develop solutions to simple problems in the material; acceptable but uninspired work, not seriously faulty but lacking style and vigour.
  • The project demonstrates a less than satisfactory engagement, or simplistic comprehension with process and outcome of the project goals.

00% to 49% (F) “Inadequate”

  • Inadequate performance: little or no evidence of understanding of the subject matter; weakness in critical and analytic skills; limited or irrelevant use of the literature.
  • The work does not meet the minimal requirements of the assignment and fails to prove comprehension of project goals.

Resources

ANNOUNCEMENTS
There are many wonderful talks and events set up for your extended education at University of British Columbia and in the local art community.  I will be listing weekly events on the Announcements board in CONNECT as well as highlighting a few in lecture time that I highly recommend that you try and attending.

MAGAZINES/BOOKS
Another way to keep up with the art world is through contemporary art magazines.  Even if you just look at the pictures! There is a great section on the third floor of IK Barber book stacks that houses a large amount of art magazines and renews them monthly, spend at least one day each month looking at what is going on in the art world through these sources.  Magazines can also be found for purchase at bookstores and specialty magazine shops, and many have quite a lot of material online.  My recommendations are as follows. • Canadian Art • Artforum • C Magazine • Border Crossings • Parachute • Frieze • NY Times Art Section (online as well) • October • Fillip • Art in America • ArtNews  **There is a great art bookshop in front of the Charles H Scott Gallery on at Emily Carr.

GALLERIES
If you are passionate about art, or new to it, need inspiration or further guidance, my main recommendation for this class (or any art class) is to see how it is done at a professional capacity.  We are very lucky to live in an active art city, where openings, events, talks and exhibitions are happening all the time.  Here are some of my recommendations for galleries, (most of which are free or by donation) that you should make a point of visiting sometime during the term. •Vancouver Art Gallery (Robson & Hornby) •Belkin Art Gallery (on campus, in front of Lasserre building) •MOA (on campus @ 6393 N.W. Marine Drive)•Charles H Scott (1399 Johnston St., Granville Island)•CAG (555 Nelson St.)•Presentation House Gallery (333 Chersterfield Ave, North Van) •Richmond Art Gallery (7700 Minoru Gate, Richmond)•Anvil Centre New Media Gallery (777 Columbia St.  New Westminster)•Surrey Art Gallery (13750 88th Ave,Surrey)•Burnaby Art Gallery (6344 Deer Lake Ave, Burnaby)•Simon Fraser (8888 University Dr, Burnaby)•Access (222 East Geogria St.)•Artspeak (233 Carrall St)•221A (221 East Georgia) •Burrard Arts Foundation (108 E Broadway) •Field (17 West Broadway)•Centre A (229 E Georgia)•CSA (2414 Main St, ask for key from Pulp Fiction Books) •Western Front (303 East 8th Ave)•VIVO (2625 Kaslo)•Or (555 Hamilton) •Audain (SFU 149 West Hastings)•Catriona Jeffries (274 1 East Ave)•Macaulay & Co (293 East 2nd)•The Nest AMS (gallery located in the SUB @ UBC)•Gallery 295 (295 East 2nd Avenue)•Equinox & Monte Clark (525 Great Northern Way)•AHVA Gallery (1001 Audain Art Centre, 6398 University Blvd)


Policies

LATE ASSIGNMENTS
Projects and Workshop assignments are due at the start of the studio class, if it is 10 minutes or more into class time, it is considered late.  Workshop assignments, reading discussions, in-class activities and critiques do not have eligible extensions beyond academic advising concessions.  Large artistic project assignments (Trickery and Appropriation) are accepted up to four business days after the due date with a letter grade deduction for each day, (unless arrangements with the instructor has granted an extension, or an academic advising concession).  This means that a B+ work handed in 2 days late will be downgraded to a B-. You may hand the assignment into either your TA’s or my mailbox in Lasserre 403, but if you are putting it in our mailbox, be sure to put your drive in an envelope with your name on it, and have an official date stamped or written, or else it will be dated when it is picked up.  We do not accept projects that are more than three days late. Not participating in a critique is detrimental to your critique grade, as well as your own personal growth and education, therefore, even if you do not have something to show you are expected to join in critiques.

ATTENDANCE & PUNCTUALITY
If you must miss a class, you must approach your TA or Christine at least eight days in advance to set up other arrangements for what you will miss.  If you miss a class, you are responsible to find out what you have missed.  You can only attend the specific lab you are enrolled; you cannot attend the other sections or freely ‘drop’ in to another lab without specific permission.  Students with more than 3 unexcused absences are subject to a 3% deduction on their final grade per absence thereafter.  Being late three times results in an absence.  Late arrivals or early departures from class are disruptive and should be avoided and may result in a registered absence.  If a student has missed more than 50% of lab time, it will be considered that not enough of the material has been covered and the student will be subject to failing the course entirely.  In general, it is not wise to miss or be late for this class as it heavily depends on active learning workshops, discussions and in-class learning, and so you should make every effort not to miss it at all.  Of course, if there are emergency or extenuating circumstances, I advise that you go to Academic Advising, it is a useful tool the University has set up to deal with special circumstances. Academic advising for Faculty of Arts can be found here:  www.arts.ubc.ca/students/student-support.html

PREPARATION
For every class you are expected to have required reading or projects done, have workshop material ready, and are ready to participate in discussions, take notes, and be a productive member of the classroom.  As this is an art-making class, you are expected to act as an artist, and your lifestyle should encompass an artistic headspace.  This means that you should visit, read and view artworks, films, literature, music events, and immerse yourself in the creative world.  Understanding and experience of the creative fields by being part of them, is required as preparation for this class.

ACADEMIC HONESTY
All UBC students are expected to behave as honest and responsible members of an academic community. Breach of those expectations or failure to follow the appropriate policies, principles, rules, and guidelines of the University with respect to academic honesty may result in disciplinary action.  It is the student’s obligation to inform himself or herself of the applicable standards for academic honesty, and information can be found in the Academic Calendar under “Academic Honesty and Standards” and “Academic Misconduct” as well as the “Student Code of Conduct”.

CLASS CONDUCT
We practice a class environment that is comfortable for all students, and all students are respectful.  A highlight of the visual arts is that we may not always agree with each other, however, it is important we respect and listen to other’s viewpoints.  Discriminatory or disruptive behaviour will not be tolerated.  Codes of conduct in regards to class discussions, workshops and critiques will be created specific to each lab.  It is the responsibility of the student to read the Code of Student Conduct for all UBC classes, and familiarize themselves with its contents.

ACCOMMODATIONS
Students with disabilities or students who require accommodation in course requirements or scheduling should talk with the instructor as soon as possible during office hours or by appointment.  This will allow for any accommodations for certain components of the course to be made.

EARLY ALERT
During the term, we will do our best to reach out and offer support if we are concerned about your academic performance or wellbeing. We also encourage you to come and speak with us if you need assistance or direction in where to go. In addition, we may identify my concerns using Early Alert, a UBC program that allows academic, financial, or mental health concerns to be identified sooner and responded to in a more coordinated way. This provides you with the earliest possible connection to resources like academic advising, financial advising, counselling, or other resources and support to help you get back on track. The information is treated confidentially and is sent because we care about your wellbeing and academic success. For more information, please visit earlyalert.ubc.ca.


Schedule

Week Lecture Lab Online
1 September 5th Lecture:  Introduction to Digital Visual Arts Assign:  Love Exercise September 12-14th Introduction to the class Love Exercise Module 1 & Quizzes Fundamentals Topics:  OSX, Workflow, Formatting your drive, Software, Raster & Vector Imaging, Output, Input Due:  September 18th
2 September 12th Lecture: Indexical vs. Fabricated Assign: “Make and Take” September 19-21st Love Exercise Continued… Classroom Climate Exercise ½ Module 2 & Quizzes Introductory Photoshop Part 1 Topics:  Introduction, Bits and Bits, Histogram, Density, Resolution, Getting Started & Workspace Due:  September 21st
3 September 19th  Lecture: Practice as Research Assign:  “Your Perspective” September 26-28th Activity: Viewing of “Make and Take” images, “Perspective” Individual Meetings Other ½ Module 2 & Quizzes Introductory Photoshop Part 2 Topics:  Channels, Tools, Layers, Adjustment Layers, Exporting Due:  September 28th Basic Design/Layout Videos
4 September 26th   Lecture: Digital Photography Assign:  Trickery Project (Due week 6) Assign:  Reading #1  October 3-5th Discussion: “Perspective” Poster Session Discussion:  Reading #1 Module 3 & Quizzes Advanced Photoshop Topics:  Selection Tools, Additive and Subtractive Manipulation, Refine Edge, Masking Due:  October 5th Manipulation Video
5 October 3rd  Lecture:  Manipulation October 10-12th Open Studio time to discuss projects Online Peer Critiques Workshop Topics:  How to use ComPAIR & Photoshop Review/Troubleshoot Draft due October 9th, 11:59m
6 October 10th Activity:  Critiquing Work October 17-19th Mid-Term Critiques (10) Online Peer Critiques Critique Due:  October 14th, 11:59pm
7 October 17th  Lecture: Authorship/Agency Assign:  Reading #2 (Appropriation) Assign: Final (Appropriation) Project October 24-26th Mid-Term Critiques (10) ½ Module 4 & Quizzes Introductory Premiere Part 1 Topics:  Video Terminology, Codecs, Formats, Workspace, Tools, Scratch Disks, Media, Starting a Project Due:  November 3rd
8 October 24th  Lecture:  Digital Appropriation October 31-November 2nd Activity:  Debate Map Discussion: On Reading #2 Other ½ Module 4 & Quizzes Introductory Premiere Part 2 Topics:  Sequences, Clips, Timeline, Tools, Trimming, Exporting Due:  November 3rd
9 October 31st   Lecture:  Where is the Poetic? November 7-9th Activity:  Poesis Workshop (Optional) Module 5 & Quizzes Advanced Premiere Topics:  Sequence and Clip Techniques, Audio, Effects, Transitions, Keyframe, Image Movement Chronology Video Due:  November 3rd
10 November 7th Lecture: Appropriation Continued/Critique? November 14-16th Open Studio time to discuss projects Online Peer Critiques Draft due November 13th, 11:59pm
11 November 14th Guest Lecture:  Josh Hite November 21-23rd Final Critiques (10 students) Online Peer Critiques Critique Due:  November 18th, 11:59pm
12 November 21st Artist Talks:  Brian, Steven & Jessica November 28-30th Final Critiques (10 students)
13 November 28th Artist Talks:  Christine, Candice & Christopher

This outline may change at the discretion of the instructor or TA, you will be notified if so.

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