COURSE
DESCRIPTION:
This course is designed to introduce and
develop technical and theoretical skills to assist students in their
production, realization, analysis and critique of the art practices engaged
with Time Based Media. Four-dimensional fundamentals of Time Based Media will
be introduced in this course. Sound, animation and video, with emphasis on
non-narrative purpose, planning of action, and sequencing of
images will be discussed and practiced. Students will
complete a number of studio projects, together with some short written
assignments. Students will receive instruction in video camera operation and
digital editing and basic manipulation techniques. Classes will include the
screening of a number of key historical and contemporary film and video works.
Reading assignments will help students to understand and navigate the context
and history of film/video art practice, together with its complex relationship
to popular culture, from television and cinema to the Internet. Students
will learn to use Time Based Media as an
expressive and communicative art form to further accomplish
their own studio practice.
Prerequisite
course: ART 1803C
OBJECTIVES:
Students taking this course will learn:
- Concepts & Terminology in TBM
(Aesthetics, Motion, Duration, Pacing/Tempo, Montage, Sequence,
Interactivity)
- Basic video camera operation
- Digital, non-linear video production and
post-production techniques, using industry-standard software applications such
as Final Cut Pro
- To expand and develop their own visual
grammar and narrative possibilities, while exploring different approaches to
the moving image
- To study key artists within video and
electronic media arts
- To understand the broader context and history
of time based media
- To document and present their creative output
in a professional manner
- To develop a vocabulary in order to give and
receive constructive critiques
- To generate and develop ideas and concepts
from daily observation, personal experience and research topics
- To experience experimental collaborative
working practices within the creative working process
TOPICS:
• Historical references, background, and contemporary
concepts of Time Based Media
• Project planning (including storyboarding and
organizing clips)
• Basic video camera use
• Basic in-camera editing techniques
• Representation, image & culture, symbol,
concept & conceptual storytelling
• Framing & composition (including panning,
close-ups, landscape)
• Lighting
• Simple transitions
• Content and context
• Professional production techniques (fps, sizing for
output, video & audio capture, photo import and animation of still images)
• Narrative Theory
• Integration of video and animation
• Computer as a tool, not a means to an end
TOPICAL
COURSE OUTLINE (Tentative):
WEEKS 1–4
|
Time Based Media and Time Based Art;
Time and Media, Camera and the act of
looking;
Montage, storyboarding, scene, setting,
framing, sequence, motion, duration, rhythm, Choreography, Cinematography;
Basic use of video camera, in-camera editing;
Demos on Final Cut Pro (importing files,
setting up work space, timeline, etc.)
Developing critical thinking skills;
|
WEEKS 4–7
|
Introduction to Stop Motion Animation;
Video Art, key artists in history and
contemporary art;
Process video in Final Cut Pro, (basic
effects, texts and titles, basic transitions: cut, fade in/out, wipe,
dissolve, etc.);
Brainstorming, Conceptual Expansion;
|
WEEKS 7–10
|
Narrative and Non-narrative;
Sound Art; Audacity and sound editing,
manipulating sound;
Finding sounds, importing sounds, recording
Nature;
Audio as a message, sound as image, audio
texture;
|
WEEK 10–12
|
Installation Art & Performing Art, uses
of time and space;
Locations, Bases, Spaces, Boundaries
(physical and conceptual);
|
WEEK 13
|
Artist Presentations;
|
WEEK 14
|
Independent Time-Based Projects in-process
critiques;
Self-assigned problem solving;
|
WEEK 15
|
Reading/working week; working on final
project
|
WEEK 16
|
Final project presentation, final critiques.
|
REQUIRED
MATERIALS:
Required Textbook: Launching the Imagination Comprehensive (2-D, 3-D and 4-D) with
CD-ROM,
by Mary Stewart
-
10 GB External Hard Drive (Mac
Compatible) for storage of materials
-
CD-R Media with plastic cases
-
DVD-R Media with plastic cases
-
Flash Drive (Mac Compatible) for storage
of materials
-
Headphones
-
Access to Software: Final Cut Pro,
Audacity (open source), and Adobe Photoshop (note that most software is
available in the UF CIRCA Computer Labs)
Recommend
Readings:
-
Walter Benjamin, The Work of Art In the Age of Mechanical Reproduction, 1969
-
Catherine Elwes, Video Art, A Guided Tour, 2005
-
A. L. Rees, A History of Experimental Film and Video, 1999
-
Michael Rush, Video Art, 2007
-
Jackie Hatfield, Experimental Film and Video: An Anthology, 2006
-
Roland Barthes, “The Death of the Author”(1977), Image, Music, Text
-
Diana Weynand, Apple Pro Training Series: Final Cut Pro 7, 2009
GRADING BREAKDOWN:
70% (70 pts) Projects Grades
|
Project 1
Project 2
Project 3
Project 4
Project 5
Final Project
|
Montage Project 10% (10
points)
Stop-Motion Project 10% (10
points)
Sound Project 10% (10
points)
Experiment Video 10% (10
points)
Artist Presentation 10% (10
points)
Final Project 20% (20
points)
|
15% (15 pts) Course Blog
|
Responses to
reading/screening/materials, project in-process reports on blog
|
|
15% (15 pts) Attendance
|
Attendance and Class
Participation
|
|
PARTICIPATION AND ATTENDANCE:
Participation,
support, and respect in all phases of this course are imperative. The class
dynamic depends on your energy, initiative, attitude, productivity, and
willingness to get involved in group discussion and critiques. Participate in a
responsive manner during critique and class discussion. Safe and thoughtful use
of equipment and facilities is required. Participate by preparing questions in
advance, soliciting responses, and encouraging constructive criticism during
group discussions, class workdays, and critiques. Consider comments received to
gauge the effectiveness of your work. Examine the way your ideas change,
evolve, and influence formal and conceptual choices in your work. Your
development as an artist hinges on your ability to make effective choices and
express ideas clearly.
· All grades are tabulated based on your assignment numerical
grade, critical essay/presentation and your participation and attendance. You
must speak with your instructor within one week of receiving a grade in order
to dispute an assignment grade. You may speak to your instructor at any point
during the semester to discuss your participation grade.
Attendance Policy
•
Attendance is required. More than Three absences will reduce your final grade by one full
grade. Six absences will result in a failing grade.
•
Arrive to class on time, with the appropriate materials and work. You are late
if you arrive after your name has been called when role is taken. Attending
class unprepared for a discussion, critique, workday, or presentation will be
considered an absence
•
Three early self-dismissal will count as one absence.
•
Announced changes to the course calendar, demonstrations, or general classroom
critiques demand your presence; compensatory work of another kind will not be
accepted in lieu of missed instruction.
A
missed class does not constitute an extension of an assignment!
Late Policy
•
Assignments are due when indicated by the instructor at the beginning of class.
•
Late assignments will drop one letter grade per class period late.
•
An assignment more than 3 days late will receive an F!
Grade Explanations
A= Superlative work: Careful attention to craft and
presentation. Intent and execution of the piece work together in significant and
original way. Goes beyond merely solving the problem- one performance at this
level is visibly outstanding.
B= Above average: Solution to the problem and idea
are well planned. Execution is well done. This is an honorable grade.
C= You solved the problem: The requirements of the
problem are met in a relatively routine way.
D= Inadequate work: The requirements of the problem
are not addressed. The piece represents careless and/or incomplete effort. Some
criteria met, work substandard.
E= Unacceptable work and effort
(A
“C” represents satisfactory work, regular attendance, and successful
accomplishment of the course.)
Note:
Overall effort and general attitude towards your work, and improvement during
the semester will factor into your grade.
Assignments
will be evaluated on the following criteria:
1.
Successful resolution of the assigned problem including all technical,
compositional, and aesthetic requirements.
2.
Full development of conceptual ideas and technical skills evidenced in the
finished work and the Process Blog.
3.
Inventiveness, experimentation and risk taking. (Initiative, scope of
undertaking. Did you challenge yourself?)
4.
Craftsmanship, presentation of work, timeliness, overall professionalism.
GRADING SCALE (instructor decides % equivalents)
A
95–100, A- 94–90, B+ 89–87, B 86–84, B- 83–80, C+ 79–77, C 76–74, C- 73–70, D+
69–67, D 66–64, D- 63–60, E 59–0 (Note: A grade of C- or below will not count
toward major requirements)
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