EMAIL Communication (Required by week 2 for grade and
after that when you desire. You will receive class announcement
emails from me throughout the semester.) Each individual should
write a note to me (K.Keifer-Boyd@ttu.edu) that might:
(1) Ask a question about something mentioned or that occurred
in the class.
(2) React and reflect on what has occurred in class.
(3) React to a reading or Internet resource that relates or
was assigned to the class.
(4) Connect the class's session to a current social or personal
(5) Describe a concern related to the course or your degree
- Continue to Use Email Communication in this Course to:
(1) Connect with others: professors, students, listservs
(2) Collaborate on projects.
(3) Send resources to others and receive them too.
(4) Ask questions, get feedback, or give comments & feedback
(5) Network with a global community
- 2. 10% Preparation for
Each Class with Readings & Participatory Attendance:
Read Postmodern Currents ch. 1 (pp. 1-38) due 9/5;
ch. 2 & 3 (pp. 39-95) due 9/12; ch. 5 (pp. 154-211)
due 9/19; Hayles rdg. due 9/26; Garoian & Guadelius
rdg. & ch. 4 (pp. 96-153) due 10/3; ch. 6 (pp. 212-246)
due 10/31; ch. 7 (pp. 247-285) due 11/14.. Be prepared to
discuss the readings, refer to the readings, answer & ask
questions about the reading.
10% Artist Web site Critiques: Critique 3 artist
Web sites. Turn in a print out of the home page (make sure the
URL is on the printout) and a written description & critique
of each of the 3 Web sites. Due 9/19.
In your critique consider:
Artists using contemporary technological means for their
art practice can assume many stances in today's climate. On the
one hand they can engage in a modernist art practice that assimilates
technologically based work within the same conceptual framework
as drawing, painting, and sculpture without using it as a means
of cultural critique. It then becomes sublimated as a tool for
art-making. On the other hand, they can fully engage electronic
media in a practice which critically analyzes contemporary media-dominated
cultural contributions using the very tools which power it. Whether
they choose technology either as a medium or as a tool for their
work, contemporary artists have access to concepts, themes, and
methodologies for creating artworks which reflexively examine
the process of representation itself. (Lovejoy, 1997, pp.
Does the artist use the Web as the media of his or her art?
Is the art static, dynamic, or interactive?
Is the Web site linear or nonlinear?
Is there a central visual metaphor or concept that is evident
in the choices of colors, typography, textures, layout, images,
What view(s) of reality, knowledge, and values are embedded
in the Web site?
- 4. 10% Internet
Self-Scultpure: How would cyberspace construct your identity
by the info you give it?
- Project Steps:
- a. Select phrases, words, & ideas from looking into a
metaphorical mirror during our first class.
- b. List these concepts across the top of a page.
c. Begin your Internet self-sculpture by first doing the Internet Search Strategies
(click and follow activities)
- d. Then try different Search
Engines. Type your words into Search
Engines on the Internet.
e. List what you find under each heading--even that which does
not fit you.
f. Print one item from each heading that conveys something about
you. From these printouts create a self-sculpture. Or copy and
paste what you gather from the Internet (using your self-descriptive
keywords) into a collage. Assembly it in any way (see resources
for "how to" help) into a visual self-sculpture.
- g. Present your
self-sculpture on 10/10.
THEORIZING INTERNET SELF-SCULPTURES: A technocultural project
based in postmodern social theory that uses perpetual displacement
in the creation of postmodern art.
Social constructivist view: Context is not given but produced
(a key concept to understanding intertextuality, intervisuality,
VISUALIZATION (exploration of subject/object)
(see self) Mirror (Derrida's double mirroring)
(desired self) Positionality (Derrida's grafting)
(others see self) Perpetual Displacement (perpetually contesting
sites of meaning)
INTERNET SEARCH (exploration of inclusion/exclusion=Rhizomatic
Every position defined as much by what it includes as what it
SELF-SCULPTURE (exploration of deconstructing/constructing
New placement/position/identity. Identity in perpetual process
of construction--not a fixed entity.
- 5. 10% Video Practice
camera provided if needed. Refer to the demo and discussion on
9/20 concerning symbolic meanings of items selected. Due 10/3.
Practice the following processes with a Camcorder:
Put the battery on, put a tape in, turn camera on, practice
shot, then record shot, then view.
||Capture a "clean
entrance and exit" shot.
||Do a full (almost
360 degree) pan shot.
||Do a full circle around an object/person/site
with the camera on the rolling tripod.
||People Sequence: Do a full view,
zoom in to first speaker, pan to second speaker, zoom out to
a full view.
||Practice shots from below, above,
||Practice three quarter shots to
||Practice "rule of thirds"
||Object Sequence -set up still
life, tripod still shoots (don't move the camera between shots),
move a few things and record, move some things and record-zoom
in and then out to something else and stop recording, repeat
this part of moving things and recording as many times as you
are interested in seeing what it will look like as a sequence
of objects moving. Objects animated take on sign, symbol,
& metaphorical meanings of humanness. (Eraser, tape, electrical
adapter -- How might these inanimate objects when animated represent
|Turn camcorder off, remove tape, remove battery
and recharge battery for the next person to try exercises.
- Things that Can Ruin Your Video:
- 1. Did not use tripod.
- 2. Did not use external mic.
- 3. Did not turn off flourescent lights or other buzzing
- 4. Did camera moves too quickly (what seems slow,
i.e., pans, zooms, tilts--do slower unless the jerkiness is important
to your message).
- Things that Improve Your Video:
- 1. Write treatment and script first!
- 2. Stay focused to get concept across (no need to
sell editing facilities).
- 3. Set up good lighting (watch out for backlight
shadows unless you want that effect).
5% Video Treatment & Script: Complete the
information following the model below which is based on professional
video treatment and script formats & contents. Due
TREATMENT for VIDEO PRODUCTION
- Page ___ of ____
- Proposed Title:
- Proposed Length:
- Proposed Shooting Date(s):
- Proposed Completion Date:
Describe action + concept in one or two sentences. State the
title, length, what or who the video is about, why it;s important,
and how it will be conveyed. Media catalogues of films are listings
of production statements that may be helpful to look at for examples.
Communication Goals and Objectives:
In no more than 5 sentences state your goal (i.e., your purpose)--what
do you want to communicate? Include in this purpose statement:
(a) What perspective are you going to take? (b) Who is the target
audience(s)? (c) What do you want the audience members to get
from your video? (d) Why is it important to communicate (what
benefits, insights, etc.) will the audience receive? (e) How
(what strategies) are you going to use to communicate this?
This section is not a shot by shot list but it does describe
in general the kind of action the audience will see. Be more
specific on the opening and conclusion. Break the video down
into basic sequences that will make up the program. Briefly describe
This section is an outline of the kinds of visual shots, audio,
and transition techniques you will use (see script "action
tips," "shot descriptions," and "transitions."
Break this into 5 parts:
Opening (grabs attention, tone & mood set, hints
of what is to come)
Beginning (context set: who, what, when, where; a leading
sequence tied to the content, goal, or concept of the video;
something happens: a conflict encompasses both the events of
the plot itself & the tension that creates interest)
Middle (Action is sustained or built up. Possibly develop
further intrique/complications. The event of the story occurs.)
End (climax--resolution of the conflict(s)
Conclusion (Relates to the opening and often leaves
the viewer wanting more.)
- Examples of Film Treatments:
- Montage (quotation & fragmentation) (Eisenstein)
- (montage film theory triad: innovation, reaction,
reinnovate based on reaction--i.e., consolidation)
- Rapid cuts or camera movement (Paik)
Layered texture (Lahire)
Fixed camera/long takes (Warhol)
Out of focus (Brakhage)
Serial, centered, or overlapped views
Fixed, destabilized or symbolic space
Single or Multiscreen projection
Grid or matrix (undefineable shape)
for VIDEO PRODUCTION
- Page ___ of ____
- Shooting Date(s):
- Completion Date:
Visualize your video shot by shot:
- Describe in abbreviated form:
- (1) the composition,
- (2)camera angle,
- (3) lighting (natural daylight, spots, interior lamps, etc.),
- (4) camera movement (if any),
- (5) movement on part of subject (if any), and
- (6) duration.
- (1) L.S. Exterior. Yard in front of maple tree. Early autumn
afternoon. Downward angle from roof. Two boys enter leaping playfully
on screen right.
- Action Tips:
- 1. Keep the activity unfolding. Change angle and image
size. Use about 7 shots for a sequence--like entering
a space and sitting down rather than a continous shot.
- 2. Try to capture the specific action most telling
of the larger picture. Action can happen in each frame (subjects
move), or by the camer movements (pans, zooms), or by the sequence
of the shots that came before and after (cut-ins, cut-aways).
- 3. Long wide shots have the affect of slowing
a program down. Going from a smaller image (wide/medium) shots
to larger (close-ups) speeds up the pace. Cut-ins keeps
action moving, it supports the action, and pace seems faster.
Cut aways are in relation to the action. They extend
action, and slow the tempo down creating suspense and heightening
interest. Close-ups or zoom-ins should be of something relevant
to the program. Action is most likely seen (in USA films) in
the upper right side of screen.
- 4. Cut on the action not a still shot.
- 5. Avoid jump cuts by following the 180 degrees rule
of thumb--that is imagine a line that cuts through the action
and stay on one side of the line. If you need to cross the line
take a front on or tail end shot as a transitional device. Changing
image and angle by 30 degrees helps to avoid jump cuts too.
- 6. Don't confuse with too much information in a shot
be clear about what you want the audience to see. Pace
the detail. Video is an intimate, close-up medium. Shots in and
of themselves say nothing--they are meaningful by what was before
and what follows.
Corresponding to each shot describe what is on the audio tracks.
There are two audio tracks so music, ambient sounds, and/or primary
audio can fade in, out, up, or down. Be specific. Instead of
"girl talks" write what she says. Or for ambient sounds
write what it is of, or from (e.g., "footsteps coming closer").
Or describe title of music used, what section, or what it sounds
like (e.g., rhythm, fast paced, lyrical). You can draw a vertical
line to indicate that it continues through several shots.
- Pan (lt. to rt. or rt. to lt.) for horizontal
- Tilt up (for vertical)
- Tilt down
- Zoom in
- Zoom in
- Zoom M.S.(medium shot) to C.U.(close up)
- Fade out or fade in
- L.S. (long shot)
- W.S. (wide shot)
- C.U. (close up)
- M.C.U. (medium close up)
- X.C.U. (extra close-up)
- Upward angle (gives emphasis & strength)
- Downward angle or top shot
- Exit left, enter right or exit botton, enter top
- Exit straight to camera--reenter straight on
- Focus/defocus or dissolve or fade out or in
- Swish pan same direction (pan fast-cut-pan fast)
- Zoom in on color surface/cut/zoom out on same color surface
in a new location.
- Use cut aways (Person throws paper down outside, cut to person
picking up paper in a new location).
- Sound can bridge visual cuts so the editing is more harmonious.
Audio before video or video before audio.
- 7. 10% Video: 1-minute
edited video. Due 11/7.
- While the School of Art computer lab has 2 AVID Cinema
stations for digital editing that you will learn how
to use in Art 5366, you may opt to edit video at Region 17.
- On Oct. 25 from 12:30-2:30 p.m. you may visit Region
17 (go west on 19th street and turn right just prior to the
loop, on your left, 792-5468) to see the video editing services,
lamination, slide copystand & other resources .
These resources are intended for teachers or those preparing
- At Region 17 contact Joe Johnston, 792-5468*ext. 860
to set up a time to edit video. Joe will help the first time
(it takes him about 10 min. to teach you) and then charges $5
per hour to use the low-end digital video editing facilities.
You can send PhotoShop images formatted as gif or
jpeg to his email <email@example.com> as attachments
prior to the editing session so they are ready to insert in your
video. He has a music library of about 128 cuts of copyright
free music to add to your video. Script narrative, music, sound
effects, and visuals before working with Joe to edit your video.
- Joe Johnston, 792-5468*ext. 860 will do the editing
with and for you and will charge $35 per hour. He will use
AVID ProTools to create a broadcast quality video. Bring raw
footage on VHS tapes 2 days prior to the editing session and
he'll digitize in advance of working with you. Come prepared
- 8. 15% Presentation: Use the
topical bibliography as a starting place to find research
to develop your presentation. Due 11/7.
Prepare a 15 min. presentation on:
- Theorizing Your Room
- (PowerPoint linear or DreamWeaver
nonlinear presentation--insert video)
- Guest Glenn Hill, Associate
Prof. of Arch.
- Evaluation Criteria: (met all criteria) = 15% (full credit):
Used time effectively and did not go over the time limit.
Used electronic &/or digital technology in presentation.
*Prepared with content, visuals, & process (Research
and preparation obvious)
Sought evidence of student learning (i.e., an assessment
- *Instructional presentation evaluation criteria based
in Information Processing Theory: (a) gain students attention,
(b) activate student prior knowledge, (c) use advanced organizers
& organize content information, (d) employ active learning,
i.e., present information so it is acted upon or responded to
by students in some way, (e) provide meaningfulness, (f) use
visual imagery, and (g) allow for individual differences among
- Ideas for integrating technology in your teaching presentation:
- 1. Create
a PowerPoint linear presentation. Project creation
combines skills of scanning slides or flatbed images, use of
digital camera, use of PhotoShop,
& PowerPoint. (Check out the 2 hour videos a the ATLC
to teach yourself how to use PowerPoint and PhotoShop
- 2. Create a WebQuest in
DreamWeaver and have students use it (going to different Web
sites you have preselected) and complete the task or ask students
to use the WebQuest
rubrics to evaluate the WebQuest.
- 3. Insert your video you have edited or an animation you
have created presenting your research.
- 4. Describe an exemplar program using computers in visual
education by showing some of the uses of technology in the program
that could be integrated into the virtual house project. (See
Web site hotlist
- 5. Create a active learning, nonlinear hands-on activity
(using a program such as HyperStudio or DreamWeaver) to
teach about the concepts in your room.
- 6. Present your exploration of the insights and consequences
to individuals that occur when online users pretend to be a different
gender or age in online chat situations. Or present your own
psychological effects when entering a chat space (or analyze
discourse) or engaging in an interactive art site or conversing
with a chatterbot or interacting in a listserv or discussion
- 7. Other?--suggest something else than listed in 1-6.
- 9. 3% Peer Formative Critiques
& Interpretations in-class of your room on 11/28.
Collaborative Web House (your room):
Formative critique of your room on 11/28 with final version
Collaborative Interactive Web House
- "Interactivity offers important new avenues to cognition
to take place, where works can begin to flow with the more psychological
internal associations of the individual viewer's make-up and
identity in mind" (Lovejoy, PM Currents, p. 167).
- House Symbol: "Our structures are extensions
of our world order and are viewed as living beings with life
and death cycles" (Text by Tesse Naranjo, Santa Clara Pueblo
in the Here, Now, & Always Exhibit at the Museum
of Indian Arts & Culture in Santa Fe, July, 2001).
- House Allegory: Household in Spanish cinema is an
allegory of the nation's politics. In the words of filmmaker
Manuel Gutiérrez Aragon) "a microscopic state . .
. a summary of the tensions and structures' of the nation"
(quoted by Hopewell, J. (1986). Out of the Past: Spanish Cinema
After Franco, London, BFI, p. 194). John Hopewell perceives
the Spaniard's home as "an arena in which spectacles of
gender, nationality and sexuality are represented, in which both
fully social and unconscious drives are played out." (Quoted
in Smith, P. L. (1996). Vision machines: Cinema, literature
and secuality in Spain and Cuba, 1983-1993, p. 33. New York:
House Analogy: "In the context of feminist research
methodology, "ecology" suggests that feminist research
is housed in various contexts. Most feminist researchers acknowledge
that they are housed in particular academic disciplines and theories,
and in criticism of the disciplines" (Reinharz, 1992, p.
241). Part of the house includes connections to feminist scholarship,
the women's movement, their body, and personal relationships.
"I came to see that what I had thought previously was separate
items, was actually an ecological system of people, institutions,
and ideas, connected to each other in complex ways" (Reinharz,
S., 1992, Feminist methods in social research, p. 241. New York:
In this semester (fall 2001) collaborative art venture you
scan objects no smaller than a "James Watkins' vessel"
to place into our interactive Web virtual house created by TTU
Architecture Professor, Glenn Hill who will help us move ideas
into the virtual house that will be added to and accessed globally
with user directed views. The focus of the house will be to revisit
questions raised by Judy Chicago's 1972 Womanhouse. Key
questions are: (1) How are individuals inscripted in spaces?
(2) What are their embodied experiences? Feminist research methodologies
inform the house's rooms. Critical inquiry into the interdependence
of the nature of reality (metaphysics), the nature of knowledge
(epistemology) and the nature of value (axiology) will also inform
the collaboratively created interactive Web house.
- Three guests to the fall 2001 course (i.e., Glenn Hill, Oliver
Herring, & Esther Parada) will provide inspiration and guidance.
For inspiration on the video and performative aspect, German-born
artist Oliver Herring (with exhibitions at NYC's Guggenheim Museum
SoHo in 1997 and at Biennale di Firenze in Florence) will present
about his video and performance art in class on Sept. 26, 2001
following a performance the weekend prior. Each student will
create a 1-minute video to explore different concepts of time
& reality and place this in their "room" in the
house. Esther Parada will visit November 2, 2001. She is an artist
whose work explores historical and contemporary relationships
between visual representation and power, and the complexities
of cultural hybridity. She has exhibited extensively in the United
States, Latin America, and Europe. Through digital interweaving
of photographs and text, she creates images which challenge traditional
landscape icons to re-vision an environment of cultural/horticultural
diversity. A field trip to the Reese Virtual Reality theater
with Esther Parada and Glenn Hill will enhance our exploration
of illusion and multi-dimensionality. Esther Parada will inspire
you to create meaningful landscapes with image and text that
animate and uncover surface layers. Bring words, phrases and
visual images which may express the multi-dimensionality of a
personal landscape. Parada will demonstrate and discuss a number
of strategies for digitally blending, juxtaposing, or sequencing
these elements. These landscapes can become a part of your "room"
in the virtual house. Additionally your self-sculpture may become
part of your "room" in the virtual house. Besides accessible
on the Internet, each student will burn their own CD-ROM containing
the finished project.
Technology involved: camcorder, digital cameras, scanners,
PhotoShop, AVID Cinema, 3D Studio, DreamWeaver,
& CD-ROM creation. (Some students may also want to use MacroMedia
Director, Adobe Premiere, & Graphic Converter or other
Pedagogical approach: a postmodern multicultural orientation
involving intertextuality, intervisuality, and intersubjectivity.
Nonlinear/interface design criteria:
1. Continuity between visuals, sound, and concept.
2. Users feel free to create their own interpretation.
3. User can easily navigate through the piece.
4. The project is visually and conceptually engaging.
10% Final Essay on embedded
ideologies in selected digital programs--due 12/12 6:30 p.m.
Use the textbook (i.e.,
Postmodern Currents), course handouts, your notes,
and individual research for this course to write a final take-home
essay exam. The essay is worth 10% of your course grade and is
due 12/12/2001 at 6:30 p.m. Please place a copy of your essay
in my mailbox or in the box by my office door or sent as email
| Full credit will be based on meeting
the following criteria:
STYLE: Used APA (4th edition) style and citation format-including
citing on-line sources.
Has no spelling or grammar problems (used a grammar and spell
No less than 2000 words and no more than 3000 words (give a word
count at the bottom of your last page).
SPECIFICS: Essay addressed several (at least 3 of the 8) topic questions listed on the
course syllabus. And the essay discussed
the view(s) of reality, knowledge, and values embedded
in the Web site?
OVERVIEW: Essay discussed the artist's examination of representation
using concepts drawn from course readings, class presentations,
and research conducted for your course presentation. Essay analysis
supported with citations.
Select a Web artist(s)
and interpret how his/her/their Web site reflexively examines
the process of representation.
|Artists using contemporary
technological means for their art practice can assume many stances
in today's climate. On the one hand they can engage in a modernist
art practice that assimilates technologically based work within
the same conceptual framework as drawing, painting, and sculpture
without using it as a means of cultural critique. It then becomes
sublimated as a tool for art-making. On the other hand, they
can fully engage electronic media in a practice which critically
analyzes contemporary media-dominated cultural contributions
using the very tools which power it. Whether they choose technology
either as a medium or as a tool for their work, contemporary
artists have access to concepts, themes, and methodologies for
creating artworks which reflexively examine the process of representation
itself. (Lovejoy, 1997, pp. 260-261)