Intermediate New Media in Art • ART 340 (FIST 340) Advanced New Media in Art • ART 540 (FIST 540) Spring Term III 2018 • Monday & Wednesday 8:30-12:00 • Hurvis 013 http://www.digitalprocesses.blogspot.com CONTACT: Instructor: John Shimon, Associate Professor of Art Email:
[email protected] (best way to reach me outside of class) Office: Wriston Art Center 109, 920.832.6534 Office Hours: Tuesdays 10-12 AM or by appointment. ART 340 COURSE DESCRIPTION: A continuation of ART 240 and A RT 245 using new media within a contemporary art context. Digita l photography, experimental video, social media, performance, and installation are covered while using the Internet and campus spaces as venues for projects. Contemporary art discourse is examined through projects, readings, lectures, discussions, critiques, and visiting artist presentations. Mac-based. (6 units). PREREQUISITE: ART 240 or ART 245. Limit 9. ART 540 COURSE DESCRIPTION: A continuation of ART 340 using n ew media at an advanced lev el. Digital photogra phy, experimenta l video, social media , performance, and installation are covered while using the Internet and campus spaces as venues for projects. Contemporary art discourse is examined through projects, readings, lectures, demonstrations, discussions, critiques, and visiting artist presentations. Mac-based. (6 units). PREREQUISITE: ART 340. Limit 5. LEARNING OUTCOMES (students should be able to): 1. Understand how artists have used digital media since it first emerged in the late twentieth century. 2. Produce digital media works with solid concepts demonstrating a serious exploration of new media theory and history within a fine art context. 3. Use Web 2.0 platforms to make your art and ideas available online and establish an artist identity. 4. Explore modes of collaboration collaboration with peers. 5. Examine the proliferation of technology, information, and images while considering the ways perceptions of time, space, memory, and human experience have changed as a result. 6. Develop strategies for negotiating the constantly evolving digital environment by sharing your knowledge, collaborating collaborating with peers, using online discussions and tutorials, and dialoging with librarians, tech support staff and others. CRITERIA FOR EVALUATION: 1. Attendance (15%): Attend and be on time for ALL class meetings and PAY ATTENTION as a great deal of material is covered rapidly. Only ONE excused absence is allowed. Email instructor in advance of missing a class indicating reason and how you will handle missed class work. NOTE! Working at a computer during discussions; leaving the lab more than once per class; texting, playing video games, Facebooking or emailing; or arriving late/leaving early will cause you to be marked absent for the day. Repeated absences and habitual lateness adversely affect your attendance grade (e.g. an A gets lowered to a B if two (2) absences, to a C if three (3) absences, etc.). 2. Participation (15%): Participate in discussions and contribute to the ongoing dialog. Your ability to help others, lead a discussion, articulate your ideas and observations, and define your own work is important. Readings and discussions are designed to enhance your learning outside of class and give you the intellectual tools to produce, critique, and discuss works of art. Most class meetings include work time at the end of class. Always have raw material with you to facilitate your ability to work on projects during class time. Remember that no digital project is ever really finished and that the more you tweak it, the more effective it will be. "
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Projects (60%): Complete 3 projects, worth 10% each with the final project being worth 30% reflecting your creative, in-depth investigation of the digital medium and related debates, and the development of your digital skills. The three initial projects can be can be progress updates on a single final project. Projects must be finished and presented at the beginning of the class on due date along with a 150-word blog post reflecting on your process (including hyperlinks, visuals, video clips illustrating your text are mandatory), including comments posted on 2 classmates blogs. Late Projects receive a lowered grade for each class meeting they are late (e.g. an A gets lowered to a B if 1 class late, to a C if 2 classes late, etc.). NOTE: ART 540 students must exhibit more savvy and sophistication in their projects and must “raise the bar” for discussions and critiques to demonstrate growing knowledge of both historic and contemporary art. assigned/required ARTIST Reflection Blog Posts (10%): Write 2 REFLECTION POSTS on 2 assigned/required LECTURES worth 5% each. Posts will be graded !+ (A), ! (B), !- (C). Jot down notes to remind you of the points you found most compelling. Engage the artist in individual conversation if possible. Analyze how the artist presents issues related to their work and how their work relates to issues covered in this course. Posts should be finished and presented at the beginning of the class immediately following following the lecture. Late posts receive a lowered grade (see above). Honor Code: Please reaffirm the LU Honor Code in writing.
MATERIALS REQUIRED: 1. Book (required): Simulations Baudrillard (Semiotext(e), 1983, ISBN978-0936756028, $12.95), (required): Simulations by Jean Baudrillard Available at the campus bookstore (or online). 2. Mobile Hard Drive (required): LaCie or Seagate work well with Macs. Check Target, Best Buy, amazon.com, LaCie.com etc. for best prices. 3. Headphones with 1/8” mini-plug (required): Conventional light-duty or noise-canceling closed-type for high intensity listening (from $25). Available online or at Target, etc. 4. Smart Phone projects encouraged. HURVIS 013 & WRISTON MAC LABS: 1. LAB ACCESS: You will have access to 2 digital labs except for times used by other courses. LU student ID card will be activated and a building pass provided for term. Hurvis 013 and the Wriston Digital lab have 24/7 swipe card access. (Photoshop , InDesign, etc.), Premiere, Mac iLife 2. APPLICATIONS: Labs are equipped with: Adobe CS (Photoshop, (GarageBand, iMovie, iDVD), BookWright, Microsoft PowerPoint, etc. 3. HARDWARE: HURVIS LAB : 15-iMac computers and M-Audio Midi keyboards. WRISTON LAB : 3-iMacs, Wacom drawing pad, 3-Epson scanners (scans film/reflective art up to 13x17”), Epson photo quality inkjet printer. An Epson 44” wide-format photo quality inkjet printer are also available for advanced work. 4. CAMERAS/CAMCORDERS/VR GOGGLES: Canon Digital SLRs, Sony NEXs, VR gear and tripods available for check out via Siso. 5. EDITSHARE MEDIA SERVER: 1 TB storage space for class video and audio projects. situation work habits. Be considerate considerate of other students/faculty students/faculty 6. LAB ETIQUETTE: Maintain good group situation using facilities by working quietly and using headphones when editing sound/viewing video. No eating/drinking while working. Leave your workstation clean! INFO/RESOURCES: 1. Hardware/Software Educational Discounts: (10% off Macs and 50% or more off software) http://www.lawrence.edu/dept http://www.lawrence.edu/dept/ITS/servic /ITS/services/purchase es/purchases.shtml s.shtml 2. Supplies Locally: MURRAY PHOTO for cameras, media (10 College, 920-733-5885, murrayphoto.com), OFFICEMAX for cameras, DVDs, storage sleeves (4693W. College, 920-830-9300, officemax.com), TARGET for cameras, external drives, media (target.com, 4301 W. Wisconsin, 920-7315566) 3. Supplies Online: http://www.bhphotovideo.com/ for cameras, media, drives, eBay for for used equipment, props (ebay.com), APPLE STORE for Mac accessories, drives (800-692-7753 apple.com), FREESTYLE for cameras, media (800-292-6137 freestylecamera.com). 4. Services Online: GOTPRINT.COM for post cards, BLURB.COM for print on demand books, FLICKR.COM for sharing images, YOUTUBE.COM for sharing videos, ZAZZLE.COM and CAFEPRESS.COM for cards, posters, and merch, SHUTTERFLY.COM for color prints. 5. Art/Tech Info Online: wired.com, luminous-landscape.com, kenstone.net, Lynda.com, codeacademy.com, mediacollege.com, webofstories.com (see class blog for more suggestions) 6. Mudd Library Periodicals (Level A): Art A): Art Calendar, Art in America, Art Forum, Art News, Bust, Flash Art. #
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Academic Accommodations for Students with Disabilities: Students who have a disability covered by the Americans with Disabilities Act are entitled to academic accommodations. accommodations. Students must initiate all requests. Please contact the Office of Student Academic Services (ext. 6530) for info and advice.
Makerspace and 3D Printing The main purpose of the Makerspace is for Lawrence students to gain handson learning experiences and have the opportunity to develop a concept from an idea to a physical object. http://guides.lib.lawr http://guides.lib.lawrence.edu/co ence.edu/content.php?pid= ntent.php?pid=676795&sid=56099 676795&sid=5609996 96 BIBLIOGRAPHY: (on reserve or available at the Mudd Library) The Films of Kenneth Anger 1&II by Kenneth Anger (2006, DVD) Simulations by Jean Baudrillard (1983) Relational Aesthetics by Nicolas Bourriaud (1998) The Pictures Generation, 1974-1984 by Douglas Eklund (2009) Faking it: Manipulated Photography before PhotoShop by Mia Fineman (2012) Color Rush: American Color Photography from Stieglitz to Sherman by Lisa Hostetler (2013) Art Safari series by Ben Lewis (DVD, 2005) Lance Loud! A Death in an American Family by Alan and Susan Raymond (2003, DVD) Learning from Las Vegas by Robert Venturi and Denise Scott Brown (1972) The New Media Reader by Noah Wardrip-Fruin & Nick Montfort (2002)
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“Even better than the real thing”— U2, U2, Achtung Baby, 1991
WEEK 1 MAR 26 (M)
INTRODUCTION: Surveys, prerequisite check, instructor/student introductions, syllabus review (key dates), course format, materials required (book, external drive, headphones) and camera. DIGITAL MEDIUM CAUTION: Computers are easier and more fun than ever, but be prepared for problems that can arise while working on large complex projects that could prevent you from meeting deadlines. Pro Tools, PhotoShop, and GarageBand can “unexpectedly quit” and you can lose your work. Accept this and begin employing good disaster-management strategies to spare frustration and disappointment: Save Often – Keep a back-up copy before making a radical change. – Save your file as follows: myProject01, myProject02, myProject03, etc. This way, Save Incrementally – if a file becomes corrupt or mysteriously vanishes, you can reload previously saved version. savin g to your external ex ternal drive, save sa ve to Back up saved files to more than one media – Besides saving DVDs or CDs especially raw data such as audio, video, and stills. p resentation or o r deadline, test tes t QuickTime files f iles to make sure s ure they’ll play pla y and Test video files – Before a presentation that the audio and visual components are designed. Make sure your PPTX videos are saved independently on same media. Always bring MATERIAL TO CLASS TO WORK on during WORK SESSIONS!!! SIMULATIONS PPTX: From the actor/president Ronald Reagan, Disney and the Village People to recent Rockabilly phenomena; constructing identity and simulating places became part of art and life. The culture fomenting French cultural theorist/philosopher Jean Baudrillard’s (1929-2007) Simulations will be covered. ASSIGN TERMS FROM BAUDRILLARD SIMULATIONS BOOK, SIMULATIONS BOOK, “Precession of Simulacra” chapter (p. 1-75): Simulacra, Unmasked, Referential, Nostalgia, Museumised, Hyperreal, Power, Capital, Desire, Realness, Kitsch, Reality, Panopticon. Contextualize your term per its use in the text and notes. READ Simulations p. 1-13 carefully for next time. PRESENT terms during discussions. BLOG UPDATE WORKSHOP: Re-Design - refine template, color palette, font, update profile/portrait, add Favicon, use hyperlinks, etc.
[email protected] your your blog URL so it can be added to the class blog list. Email instructors
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MAR 28 (W)
DISCUSS BAUDRILLARD p. 1-13 & TERMS: Be prepared to present your term from Baudrillard and discuss the meaning in the context of the entirety of the book and post/present culture. culture. A LITTLE HISTORY OF COLOR COLO R IMAGING IMAGIN G PPTX: Everyday “reality” is now represented and idealized in supersaturated color. Review the technological evolution of color imaging from the earliest Autochromes (1907-1935) to Technicolor (1934-1955) and Kodachrome/Kodacolor to current inkjet prints. Discuss how artists such as William Eggleston, Stephen Shore, Jeff Wall and Andreas Gurksy Gurks y subverted commercial co mmercial uses of dye transfer, trans fer, light boxes, box es, color negative neg ative film, PhotoShop manipulations and cinematic scale prints to make artistic statements. View examples of color prints made with various techniques and technologies. READ Simulations p. 13-23 for next time
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PROJECT No. 1 –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imulations by Jean Baudillard p. 5-13. Respond to the issues covered in relation to your solutions for this project in your blog post, including quotes from the text. REQUIREMENTS CHECKLIST: 1. Contemplate a range of ideas for the project based on theories put forth in Simulations by Jean Baudrillard. 2. Consider working with subject matter you can re-visit re-visit with subsequent assignments or work on an ongoing project. 3. Post a 150-word reflection on your blog with links to your project and an analysis of your creative process along with detailed reflections on how your treatment relates to the assigned reading including quotations. Post 2 comments responding to classmate posts. DUE: APR 4 (W) MAR 29 (R) 6:00 PM
Artist lecture by Anna Campbell, Campbell, Associate Professor of Art & Design, Grand Valley State University Wriston Auditorium/Galleries – Attendance Required! Reflection Blog Post No. 1 due APR 2 (M)
WEEK 2 APR 2 (M)
DISCUSS Simulations p. 13-23 View/discuss the 1963 seminal experimental experimental film touching on the occult, SCORPIO RISING SCREENING: RISING SCREENING: View/discuss biker subculture and more by Kenneth Anger (30 min.) Reflection Blog Post No. 1 Due
APR 4 (W)
Presentations in class with blog post and 2 comments (by midnight) PROJECT No. 1 Due– Presentations WATERGATE PPTX: WATERGATE PPTX: Political moment w/presidential lies disguised as truth & Johnny Cash thrown in. READ Simulations p. 23-37 for next time
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PROJECT No. 2 – ROSE-COLOURED RESURRECTION I*".+" .0 .*+$)*9 +,.+ %1 "'("*%8"0+.& .0- *"/&"3+%;" )/ +," %-".1 %0 6.7-*%&&.*-< >!" .&& 4"3)8" &%;%0: 1("3%8"01 70-"* +," 1("3+*.& &%:,+ )/ "+,0)&):2@ )* )/ .0+%F"+,0)&):2 $,%3, %1 )0&2 +," (7*" /)*8 )/ +*%78(,.& "+,0)&):2@ 70-"* +," 1%:0 )/ -".-%//"*"03"1@ .0- )/ +," !"#$!!"%&'() (+ ,'++"!")%"? 6.7-*%&&.*- B(< CJD READ AND RE-READ: Simulations by Jean Baudillard p. 13-23. Respond to the issues covered in relation to your solutions for this project in your blog post. LEARNING OUTCOMES (students should be able to): 1. Deploy techniques such as brainstorming, improvising or old-fashioned planning. 2. Build skills in creating meaning and communicating ideas through sight and/or sound. 3. Experience presenting a project that transcends typical artistic conventions. REQUIREMENTS CHECKLIST: 1. Plan, strategize, or anti-plan. 2. Produce and present your artwork along with a 150-word reflection on your blog. Embed your project and reflect on the assigned readings, with quotations. Post 2 comments responding to classmate posts. DUE: APR 16 (M) WEEK 3 APR 9 (M)
HYSTERIA OF PRODUCTION PPTX DISCUSS Simulations p. 23-37
APR 10 (T) 4:45 PM
Roth fuss,, independent writer and curator based Jordan Fun d for the Arts Visiting Speaker Sp eaker Joan Rothfuss in Minneapolis. Wriston Auditorium. – Attendance Attendan ce Required! Reflection Ref lection Blog Post P ost No. 2 due d ue APR 18 (W) (W )
APR 11 (W)
Paul Shambroom visit Paul Shambroom is a photographer who explores American power and culture. For over twenty years he has documented subjects ranging from industrial and office environments, the U.S. nuclear arsenal, small town council meetings, and post-9/11 "Homeland Security" preparations. preparations. His recent work expands his practice beyond straight documentary practice, involving involving found images, text and performance. Paul's work is in the collections of the Whitney Museum of American Art, the Museum of Modern Art (New York), the San Francisco Museum of Modern Art, the Art Institute of Chicago, the Walker Art Center, and many others. His photographs were included in the 1997 Whitney Biennial and he has had solo exhibitions at many institutions including the Walker Art Center, the Museum of Contemporary Photography in Chicago, and galleries in NY, Chicago, San Francisco and London. His work has been published in three monographs: “Paul Shambroom: Picturing Power“(2008), Power“(2008), “Meetings“ (2004), and “Face to Face with the Bomb: Nuclear Reality After the Cold War“(2003). Paul has received fellowships fellowships from the Guggenheim Foundation and the Creative Capital Foundation, and the Bush Foundation, among others. He was born in Teaneck, NJ and lives in Minneapolis. Paul is currently on the faculty of the Department of Art, University of Minnesota, Minneapolis. READ Simulations p. Simulations p. 38-49 for next time
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WEEK 4 APR 16 (M)
Presentations in class with blog post and PROJECT No. 2 – ROSE-COLOURED RESURRECTION Due. Presentations 2 comments (by midnight) DISCUSS Simulations p. Simulations p. 38-49 overvi ew of the American Am erican Family doc and aftermath. afte rmath. LOUD FAMILY BACKGROUND PPTX BACKGROUND PPTX – Brief overview READ Simulations p. 49-58 for next time
APR 18 (W)
DISCUSS Simulations p. Simulations p. 49-58 LANCE LOUD! A DEATH IN AN AMERICAN FAMILY SCREENING: View the 2003 documentary by Alan & Susan Raymond about the 1st reality TV star, Lance Loud, and his family. (60 min.) Talk by Joan Rothfuss. Include visual, links, links, and post 2 comments by Reflection Blog Post No. 2 due– Talk midnight. READ Simulations p. 58-75 for next time
WEEK 5 APR 23 (M)
APR 25 (W) 1:30 PM – 2:00 PM
DISCUSS Simulations p. 58-75 Are You a Commie? PPTX Commie? PPTX RESEARCH METHODS: Review project requirements, run through artists, review PPTX design issues. VISUAL RESOURCES/MUDD LIBRARY WORKSHOP: VRL librarian Colette Lunday Brautigam will instruction on finding high-quality digital images. Reference librarian Gretchen Revie will provide information on library resources (online journals, videos, and books).
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PROJECT No. 3 – MORE REAL THAN THE REAL THING RESEARCH THING RESEARCH REPORT Produce an illustrated 8-minute report on one of the artists listed who came of age during mass media's first years and whose work reflected divergent experiments with Pop, minimal and conceptual art with a common concern with social commentary, including race relations, sexuality, feminism and consumerism put in the context of Jean Baudrillard’s Simulations. Before our meeting, get familiar with the following artists: Vito Acconci, John Acconci, John Baldessari, Barbara Bloom, Chris Burden, Ja ck Goldstein, Robert Gober, Mike Kelley, Louise Lawler, Liberace, McDermott & McGough, Dolly Parton, Ru Paul, Norman Rockwell, Laurie Simmons. LEARNING OUTCOMES (students should be able to): 1. Conduct research on an artist using an academic library and online resources. 2. Present an illustrated talk on an artist with a clear, focused thesis and appropriate images. 3. Think critically about how art practice, art history, pop culture, and contemporary theory intersect. REQUIREMENTS: 1. DEVELOP A THESIS & CONDUCT RESEARCH: Conduct research online and at the library to gather enough material to develop a thesis or argument about the nature of your artist’s practice, ideas, and work in relation to Baudrillard’s Simulations. Check out books from the Mudd Library (some are shelved in oversize area [q]). Search the Internet and periodicals for recent articles and critical essays. Present a brief overview then present your argument helping viewers understand how your artist relates to Simluations. Include how your artist used “new media”. 2. FIND IMAGES: Select digital images or videos using ARTstor or other credible online image sources (small .jpgs about 1000 pixels work best). Use about 10 examples to illustrate points. “READ” each image you show, have a talking point for each. 3. DESIGN SLIDE SHOW: Use PowerPoint to design your 8-minute slide show. The background should be neutral (black, white or gray) with basic, non-distracting fonts. Start by stating your title and thesis and end with your bibliographic sources. Include title, size and medium of artworks. Key bullet points or quotes are okay, but avoid reading off the screen. When including .mov files, .pptx and .mov files must be kept together in a folder. Embed inks to videos and web sites. 4. PREPARE OUTLINE: Write a 2 pg. outline including your thesis and key points for use during presentation with a listing all your sources to include: 1 book, 3 print periodicals, 5 online journals/websites (to be handed in 1 pg. bibliography listing to instructors after presentation). Post a 150-word reflection on your artist with pertinent links and images. Post 2 comments responding to classmate posts on this project. Present PPTX from external drive, email to self. DUE: FEB 10 (W) NOTE: Late presentations will not be accepted and will receive an F.
WEEK 6 APR 30 (M)
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CONTEMPORARY NEW MEDIA PROJECTS PPTX – Consider the range of possibilities based on contemporary art practice ranging from the manipulation of authority by Ai Weiwei to kitschy installations by Lise Haller Baggesen to post-history critique of Iris Haussler.
PROJECT No. 4 – SELF-DESIGNED NEW MEDIA WORK Develop a new media project that works as art based on a new or previously developed idea. Possibilities include: a video (either a 4-5 minute piece or a cohesive series of two or three shorts, soundscape, internet site, photo book, portfolio of inkjet prints, drag show, music group, altruistic cooperative, group meal/radical hospitality, video/performance/installation piece, etc. Collaboration among students in the class is encouraged. Projects should be more AMBITIOUS for ART 540 students. READ: Simulations by Jean Baudillard p. 83-92, 92-102, 103-115, 115-152. Respond to the issues covered in relation to your solutions for this project in your blog post. LEARNING OUTCOMES (students should be able to): 1. Conceptualize, research, and plan then cultivate the skills necessary to work independently on a self-designed project. 2. Use a computer and readily available software and free online platforms to produce a digital object as art. 3. Understand digital media and how they can be used in your art practice. REQUIREMENTS CHECKLIST: 1. Write a 2-page typed project proposal (with workflow/timeline and bibliography) then create a PPTX presentation explaining your idea and approach (include 2 alternate ideas if uncertain). Describe your concept then quantify it (e.g. stating exactly how many and what kind of art you’ll make). Address how project builds on prior skills, interests, and work. List weekly goals with individual action steps in a timeline. Be as specific and realistic as possible. List theory/history, articles/books, and one contemporary artist related to your work to research and examine. DUE: MAY 7 . 2. Meet individually with instructor at your workstation to discuss your progress. DUE: MAY 14. 3. Present your work-in-progress project to the group for critique in a form appropriate to your project (e.g. PowerPoint overview, rough cut video, draft layout, etc.). DUE: MAY 21. 4. Post a 150-word reflection on your blog with links to your project (in appropriate form) and visuals visuals along with your selfevaluation and discussion of your working process. Post two (2) comments responding to classmate projects. Present your work in the Warch Campus Cinema. Be prepared to introduce yourself yourself and your project and conduct a discussion afterward. DUE: JUN DUE: JUN 4 (M) @ 9: 00-11:30 PM P M @ Warch Campus C ampus Center Ce nter Cinema Cine ma MAY 1 (T) 4:30 PM
Mussmann, artist; co-director, Greymatter Gallery; faculty, MIAD; Visiting Artist Lecture Zina Mussmann, artist; and curator, 365 Artists 365 Days. Wriston Auditorium. – Attendance Attendan ce Optional! Reflection R eflection Blog Post Makeup
MAY 2 (W)
PROJECT No. 3 – Research Presentations Due. Presentations will take the entire class period. Prepare to listen and ask relevant questions. Required hard copy materials in class. Post a 150-word reflection on your artist with pertinent links and images. Post 2 comments responding to classmate posts by midnight.
WEEK 7 MAY 7 (M)
Prese ntations and an d Proposal Due D ue along with wit h Required hard h ard copy materials. ma terials. PROJECT No. 4 – PPTX Presentations
MAY 9 (W)
pain ter turned filmmaker f ilmmaker whose who se vision transcends tran scends specificity specific ity of media. DAVID LYNCH DAY! – The painter READ Simulations p. 83-92 for next time ASSIGN TERMS FROM BAUDRILLARD SIMULATIONS BOOK, SIMULATIONS BOOK, “Orders of Simulacra” chapter (p. 83-132): Counterfeit, Theatre, Technology, Concrete/stucco/plastic, Progress, Robot/Automaton, Series/Production, Series/Production, Industrial Revolution, Reproduction, Equivalent, DNA, Tested/Testing, Tested/Testing, World Trade Center/Verticality. Provide context of use of the term within the book. Present terms during pertinent discussion.
WEEK 8 MAY 14 (M)
DISCUSS Simulations p. 83-92: Be prepared to present your term from Baudrillard and discuss the meaning in the context of the entirety of the book and post/present culture. culture. FRED SMITH and JUDITH SCOTT PPTX: Discuss the profound output of these two self-taught, isolated artists who created surrogate beings. Progres s Meetings with w ith instructor instructo r PROJECT No. 4 – Work Progress *
READ Simulations p. Simulations p. 92-102 for next time MAY 16 (W)
DISCUSS Simulations p. Simulations p. 92-102 WARHOL DAY! Discuss the influence of this All-American artist.
WEEK 9 MAY 21 (M)
PROJECT No. 4 - PPTX work-in-progress presentations to group Due/Critique READ Simulations p. Simulations p. 103-115
MAY 23 (W) DISCUSS Simulations p. Simulations p. 103-115 LEARNING FROM LAS VEGAS PPTX: VEGAS PPTX: Discuss the ramifications of this iconic tome from 1972 by Robert Venturi and Denise Scott Brown. WORK SESSION READ Simulations p. 115-152 MAY 25 (F) 6:00 PM
Senior Show Opening
WEEK 10 MAY 30 (W)
DISCUSS Simulations p. 115-152 PAUL McCARTHY DAY! Discuss the influence of this LA video/performance artist. CREATE FINAL CRITIQUE PROGRAM: Have your project title and one sentence synopsis ready!
WEEK 11 JUN 4 (M) 9:00-11:30
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PROJECT No. 4 – SELF-DESIGNED NEW MEDIA WORK DUE/FINAL CRITIQUE @ WARCH CAMPUS CENTER CINEMA: Present your piece with a polished, practiced verbal introduction. Your presentation should last no more than 8 minutes total! Plan to stay for all presentations! Independent Study students to join us. Public welcome. © JS 3.16.2018
