MEMENTO

Memento is a 2000 American neo-noir psychological thriller film written and directed by Christopher Nolan.  Leonard Shelby, a man with anterograde amnesia, which impairs his ability to store new memories,  has developed a system for recollection using hand-written notes, tattoos, and Polaroid photos. Memento chronicles Leonard, an ex-insurance investigator as he attempts to find the murderer of his wife, which is the last thing he remembers.

Please write a response considering the narrative structure of the film as well as how it relates to the concepts of a temporal labyrinth. This is to be posted to your blog and be about one page long.

Linear vs. Non Linear Time

Linear Time-  A linear process or development is one in which something changes or progresses straight from one stage to another, and has a starting point and an ending point. 
English Dictionary

In other words, it can be seen as the direct forward relationship of the past turning into the present which turns into the future, all uninterrupted nor meandering. The beginning precedes the middle which precedes the end. Linear progression implies that the process builds off the previous stage in a clear development (it does not circle back!)

One artist to be aware of with this concept is Bill Viola. He works in video often presenting a slowed down perspective of an event. This incremental approach to speed lengthens the duration of the event, offering a fresh opportunity to experience it. Micro rhythms are made visible, a density and tectonic sensibility is given to minute gestures. Below are several links or videos relating to Bill Viola. 

"The Greeting"

Click here to hear Bill Viola talking about "The Greeting" from the San Francisco Museum of Modern Art.

For additional background on Bill Viola, please to listen to an interview- "Cameras are Soul Keepers"

Christian Marclay's "The Clock" is consider a masterpiece about Time. Using disparate clips from movies he organized them into a coherent linear progression of the the time displayed in each scene. Striping the scene of its context and purpose, he backgrounded them to highlight the passage of time on the screen- literally making a clock that ran in sync withe the 24 hour day. 

Please click here to read a New Yorker profile about the artist and the work.

Below is an excerpt of "The Clock"

NON- LINEAR TIME

Presenting non- linear time involves breaking from the single direction of time's arrow. Putting aside the logical progression from point A to point B in time, we break time by rearranging moments, going backwards, repetition, looping, changing durations and speeds and create multiple branch offs or progressions.

 The physical concept of a book is called a codex- a manuscript held together by stitching, essentially an arrangement of pages that reads in one direction. At one point in history these replaced scrolls, tablets, etc. As the nature of information, language, technology change, the format transforms. The examples below of artist books show a clear divergence or challenge to the normal scheme of a book. Its linear time nature is secondary to its physical make up, content is therefore chaotic and irregularly placed.

Artist Book

 Artist Book

Maya Lin

 Maya Lin

Painters have been engaging with time since the mediums inception. Within this frozen image is a world, there is a sequence of elements that we read, possible narratives or non- linear image based content. The sense of the passage can melt away as the viewer looks at a painting. The image could be 'without' time or make us keenly aware of our experience of time. Regardless, the act of looking accesses our time sensibilities and painting can orchestrate our perception of this.

 Di Chirico

DiChirico's paintings offer a sense of time that never changes, a moment that is endless, or a suspension of time.

Neo Rauch

By contrast Neo Rauch's Paintings, while having no narrative, give the sense that all time is happening simultaneously.

 Neo Rauch

Labyrinth with no Walls

Labyrinth-

1.

an intricate combination of paths or passages in which it is difficult to find one's way or to reach the exit. Synonyms: maze, network, web.

2.

a maze of paths bordered by high hedges, as in a park or garden, for the amusement of those who search for a way out.

3.

a complicated or tortuous arrangement, as of streets or buildings. Synonyms: warren, maze, jungle, snarl, tangle, knot.

4.

any confusingly intricate state of things or events; a bewildering complex: His papers were lost in an hellish bureaucratic labyrinth. After the death of her daughter, she wandered in a labyrinth of sorrow for what seemed like a decade. Synonyms: wilderness, jungle, forest; morass.

5. ( initial capital letter ) Classical Mythology . a vast maze built in Crete by Daedalus, at the command of King Minos, to house the Minotaur

Jorge Luis Borges -(1899 – 1986) an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the "character of unreality in all literature".^[1] His best-known books, Ficciones (Fictions) and The Aleph (El Aleph), published in the 1940s, are compilations of short stories interconnected by common themes, including dreams, labyrinths, libraries, mirrors, fictional writers, philosophy, and religion.
-Wikipedia

Please read the short story by Borges entitled "Circular Ruins" and "The Library of Babel". Click here to go to the PDF. The story begins on page 214 and 251 respectively. Please compose a short written response to the story considering the concept of a labyrinths (and the numerous forms of a labyrinth in the story).

In addition, consider the story of King Sisyphus from "The Odyssey". As Odysseus enters Hades to consult the blind prophet Tiresius, the first tormented soul he encounters is Sisyphus, punished by the gods for repeatedly tricking them and escaping death/ Hades.

“And I saw Sisyphus at his endless task raising his prodigious stone with both his hands. With hands and feet he' tried to roll it up to the top of the hill, but always, just before he could roll it over on to the other side, its weight would be too much for him, and the pitiless stone would come thundering down again on to the plain” (Homer).

SHOOTING VIDEO

Some things to consider:

Get a closing shot.
Get an establishing shot.
Shoot plenty of video.
Adhere to the “rule of thirds.”
Keep your shots steady.
Follow the action.
Use trucking shots.
Find unusual angles.
Lean forward or backward.
Get wide shots.
Get tight shots.
Shoot matched action.
Get sequences.
Avoid fast pans and snap zooms.
Shoot cutaways.
Don’t break the 180 degree “plane.”
Use lights.
Grab good “bites.”
Get plenty of natural sound.
Plan your shoot.

STORYBOARDS

Storyboards are essentially the blueprint for your video or movie creations. They are a series of sequential art frames in which your story or concept is told. Storyboarding is the foundational stage of the process in which the creative vision is first layed out IN time.  They are more than merely a planning stage (although crucially important!) they give form to the the visual mechanics of video, literally how the scene looks, what type of shot, camera angle, composition and transitions etc. While they have a similarity to comic book frames (whose narrative content is carried out through the frames) their main purpose is to direct the camera, animators or editors etc. It is much more an informational tool than a finished artwork, yet heavily influences what the finished video will look like.

Some examples below may help clarify.

Spiderman

Irk Spector

In these examples above, all frames are the same format, follow chronologically and even contain notes or symbols to assist in planning. It is not imperative to be an excellent draftsmen, only that the information be expressed clearly. Stick figures can get the job done! Each scene should be planned out from beginning to end. This includes the establishing shots, character close ups, truck in or out, pans and transitions. This will be used to aid in your filming, timing, and expression of your content. It is expected that you will not shoot your video in linear format but rather in sections and reconfigured during the editing process.

The following is a presentation of terminology and examples of camera shots.

Example taken from the floobynooby.com

A few things to consider:

Rule of Thirds- basically a compositional awareness. The frame is divided horizontally AND vertically to make 9 boxes. These lines demarcate the location the eye natural tends to focus on. It also serves as a quick way to consider the positive and negative space in the composition.

The 180 Degree Rule (Line of Action)- When showing a character, the filmmaker must consider how the viewer identifies this character through vantage point. Simply consider the the left and right side of the character each consisting of 180 degrees of the full 360. If we view the character from the left side, we would be confused, if immediately following, we were then presented with the character from the right side. We can show the character from any angle within those 180 degrees in different shots or close ups etc, without confusion. Breaking that 180 degree plane and crossing over MUST be shown or the viewer is lost.

For homework, I am expecting you to collaborate with your partner to create the storyboards for your documentary. This should address the issues mentioned above and aid in the planning and execution of the filming/ editing. Fully rendered storyboards are to be presented (one per partnership) at next class.

DOCUMENTARY 101

Considering you are about to embark on making a documentary, the following is a short but succinct documentary on time and setting it properly. Click here to view the short documentary on "Where Does Time Come From."

As we begin the process of creating a documentary, it is important to understand the scope of the project and breaking it down into manageable parts.

Below is a short starter list of things to plan and be aware of:

1- Create a Statement or Treatment .
         This must address-  What the theme/ or question is?
                                         What is your perspective of this theme?
                                        What is your vision?
                                         Background research, aesthetic content…

2-Create a list of Priority Elements in the documentary
          This should include opening, context of theme, interviews, supporting information, moment of culmination and ending.

3- Make a list of video shots needed
           This must include establishing shots, environmental background shots, close-ups, transition shots, visual textures, etc.

4- Storyboard
           Storyboards should be made for all Priority Shots. They provide a sketch of all the camera angles, close ups, transitions, setting shots, interviews, etc all in order. It serves as organization to the video process.

5- Schedule
          Planning is important, to maximize our limited time organization will be key. This should include video shots, coordinating actors/ interviews, editing, etc.

6- Prep all questions or dialogue
          Preparation and focus are instrumental in obtaining good footage for the documentary. If there is an interview, plan the questions to illuminate the theme accordingly.


Please write a blog post about your Statement. It should include or address the issues mentioned above, namely #1 -3 plus a working title for the documentary.

The Fictional Documentary

A documentary film is a nonfictional motion picture intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record

-Wikipedia

Ken Burns is a documenatry filmmaker creating works about aspects of American Culture and history, most notably "The Civil War", "Baseball" and "Jazz". He is associated with the editing style that favors panning over still photographs with interviews and voice actors complimented with direct interviews of historians etc. In all his films, there is ample amounts of verifiable information- witness accounts, newspaper articles, historical research, etc. His organization of all these elements lends to an informative educational experience.

Click here to view a small portion of Ken Burns' documentary "The Civil War".

In contrast, there are many documentaries that stray toward the edge of believability. Namely the documentaries alleging the existence of mythic creatures (Big Foot, Loch Ness Monster etc.) These works clearly are not intentionally comical but stem from the filmmakers true urge to explore or capture evidence. While the subject often remains elusive, the actual process of the search lends credibility to the film.

The Monster of Loch Ness Documentary

HOMEWORK:

Please view Banksy's "Exit through the Gift Shop". On your blog write a post of about three paragraphs analyzing the work and consider these issues- 

Which elements are believable? (Specific examples)

Which elements are not believable? (Specific examples)

What is the morale/ purpose of this fictional documentary?

Additionally, after meeting with your partner and briefly discussing your collaboration, for homework brainstorm 5 ideas for the fictional documentary topic. Bring to class on Wednesday so we may review in partners.

SOUND

What would the formation of the universe SOUND like? 

Scientist Marke Whittle created sound clips of various stages in this process and compressed them down so we could experience them in our particular temporal existence. 

He took information from the Cosmic Microwave Background (CMB) and applied it to sound creation as another perspective of engaging with the process of the cosmos formation. The CMB is the relic radiation from the Big Bang and provides a window into the structure of the universe. Variations of density in the CMB could be seen as sound waves. This of course is not possible to hear in human perception (occurring at 55 octaves below what we can hear) so he shifted it to the audible spectrum allowing us to experience this formative process as a sound clip.

Click Here to listen to visit the page of Mark Whittle for more information and listen to the sound of the birth of the cosmos.

Playing for Time- Jim Fenner

"Longplayer is a one thousand year long musical composition. It began playing at midnight on the 31st of December 1999, and will continue to play without repetition until the last moment of 2999, at which point it will complete its cycle and begin again. Conceived and composed by Jem Finer, it was originally produced as an Artangel commission, and is now in the care of the Longplayer Trust.

Longplayer can be heard in the lighthouse at Trinity Buoy Wharf, London, where it has been playing since it began. It can also be heard at several other listening posts around the world, and globally via a live stream on the Internet.

Longplayer is composed for singing bowls – an ancient type of standing bell – which can be played by both humans and machines, and whose resonances can be very accurately reproduced in recorded form. It is designed to be adaptable to unforeseeable changes in its technological and social environments, and to endure in the long-term as a self-sustaining institution."

From the Longplayer website

Trinity Buoy Wharf, London

Click Longplayer to hear a sample of the longest score ever created.


"Soundings: a Contemporary Score"

MoMA recently had an exhibition dedicated to presenting a diversity of artists working in this medium. Click here to visit the exhibition site and here samples.   

Musician Joe Zawinal created "Arrival in New York" as an experimental Jazz piece. It can be seen as capturing or mimicking the sounds of this experience. Note the heaviness of sounds, juxtapositions of durations as he weaves them altogether.  

All things leave impressions. We are seeking to record sound impressions of a Person, Place or Thing. Please collect multiple sound fossils that relate to your chosen concept. These sound fossils will then be recombined in Premiere Pro to create a distinct experience of this idea

SEQUENTIAL MOVEMENT

With the advent of photographic technologies, there was a revolution in the way we see movement, especially movement at great speed. The artist accustomed to creating the singular images of a moment and displaying them on painted canvas now had access to an portion of time outside of normal perception- the movement the occurs faster than the eye can register  (let alone draw or paint.) Artist and scientists now had access to the ability to slow down or stretch a quick moment for further study. The following two photographers led the change. Notice the different approach to displaying the information.

Eadweard Muybridge

Etienne- Jules Marey

In turn, these studies of movement influenced many artists in painting and sculpture-Duchamp, Bacon, down to animators such as Walt Disney, etc.

Francis Bacon

Marcel Duchamp

In time this knowledge of sequential movement came to appear in animation, and developed into is own language for better communication. Using exaggerations, curves, dynamic balance, etc., animators were able to imbue their creations with more personality and distinction. Using the concept closer to Muybridge's approach (individual cells with one distinct portion of an action) they were able to reproduce this sequence and put it to greater speed. Essentially slowing down the motion to study and draw it to speeding it up to display the activity closer to our expectations. 

Examples from  animation resources 

(a great site for animation know- how!)

In recent years, there has been a revival of animation fine arts world in the form of palimpsest style drawings. The concept is exemplified by William Kentridge. He essentially keeps erasing and redrawing a portion of the movement on the same paper, photographing it each time. This differs from the cel- shaded animation in which each frame is a separate drawing. His process archives the drawings underneath and builds upon them, leaving behind ghost images and marks from the previous. This effect creates a history, sense of memory and time passage through out the work. Another artist using this approach is Blu, although the scale and location of his projects are quite different!

William Kentridge "Pain & Sympathy"

Blu- "Muto"

For our project, you will choose a subject to study its basic movement and create a palimpsest style animation. It is best to find video reference or multiple images of the movement to draw from. Once chosen it is important to make a basic storyboard for the major changes- markers in the movement we can organize around. The drawing is to be done on 18 x 24 in.  paper in vine charcoal, photo'd, and erase and redrawn. This will be then be edited in Premiere to create a 10 second animation. For next class, bring your paper, drawing materials, camera, tripod, references and basic storyboard. If you plan on standing up to draw on the wall, which is encouraged, bring tape and tacks. I will try and have tacks as well.  The drawing must be completed and photographed (loaded on computer) for Monday's class.

Upon completion of the animation project, upload the animation to your blog and please write a post that compares the two processes of time at work in the project- The drawing (Palimpsest) vs. the video (Documentation). 

"Understanding Comics- The Invisible Art", Scott McCloud

Scott McCloud gives us a thoroughly brilliant explanation of the unseen workings within the comic book. Graphic Novels are not just the pyro-technics of the draftsmanship, they also embody a history of visual perception and time sense. This time sensibility is not just related to the narrative arc but moreso in the relationships of frames, interactions of words and imagery, compositions, etc.

As we begin our own graphic novel, a reading of chapters 3 (Blood in the Gutter) and 4 (Time Frames) will prove useful. Please read those two chapters and create bullet points of 3 concepts he discusses that intrigue you and may arise in your own novel. Post this writing to your blog.

Long vs. short

With the increasing "quickness" of life (speeding of technological advances,  social media exposure, communications, etc) some attention most be given to our shifting perceptions of time. Once governed by the seasons,  lunar cycle, sun movements our lives are increasingly directed by digital clocks with smaller increments of measure, constant e-mail and smart phones. Technology has brought us to a deeper connectivity that moves at the speeds of digital connections. We expect immediate replies, texts at any time, photos of my family and friends instantaneously from anywhere. This increase in the immediacy of the moment has possibly brought us to a narrowing focus on this small sliver of the present and our immediate personal spaces. A challenge when considering time as a creative individual is to also contemplate the deep past and the deep future.   These time references offer a comparative macro view to balance the micro of our daily lives. Some examples below may help illustrate these time qualities.

Clock of the Long Now

Clock of the Long Now

Hubble Telescope seeing back in Universal time

Pillars of Creation

Andes Mountains

Old Growth Forest

iPhone Models

Skinny Jeans VS Bell Bottoms

 

Caves of Lascaux- paint 

Michal Rovner- Stone and video projection

James Turrell- architecture in/ framing nature

James Turrell- Rodan Crater

Esther Traugot

In this project, create a singular object (2D or 3D) that embodies both Long Time and Short Time. There must be an element of each that are juxtaposed in the object. It is this interplay of the two that creates dynamic energy of ideas.

Some student examples below:

Time Maps

TIMELINE

(Linear Sequence)

 Bar Graph

(Quantitative)

Pie Chart

Calendar

Web/ Branch

Ripple

Christian Marclay- The Clock excerpt

(Cycle)

Course Syllabus

First Year- Time

Course Description

This course is an introduction to the cultural and perceptual constructions of time. Learning to work with time involves more than simply editing video and sound into linear sequences. It entails the consideration of time as a designed idea that can function as a tool. How does this tool, in turn, affect how objects function, how environments are perceived, or how experiences are shared? Studio projects, readings, writing, and examples of many artists’ work are used to examine how ideas such as frame, duration, and speed have evolved to impact our understanding of time. A variety of methods and media --  from digital video, to drawing, to performance -- are used to explore and represent different cross-disciplinary notions of time in the fields of art, design, science, and industry. The course will have a number of sections each following a particular theme: Composition, Embodied, Frame, and Metropolis.

Class Description: FRAME

This class will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression, or space, to create experimental stories in a variety of forms such as graphic novels, montage, visual languages, book arts, animation and video. Philosophical and personal concepts of time will be addressed. Projects will require students to examine time from a lens of imagination, documentation and metaphysics. Students will become comfortable with formal techniques of composition, speed, sequence, duration, repetition, and perspective.

Learning Outcomes

By the successful completion of this course, students will be able, at an introductory level, to:

 1. Both give and respond to critique productively in different forms, such as anonymous written critique, small group critique, outside critics etc.

 2. Demonstrate how design principles and notions relating to time, such as frame, duration, speed, simultaneity, linearity, life cycles, evolutions and performativity relate to the fields of art and design, and can be expressed through time based forms.

 3. Demonstrate an understanding of the representation of abstract ideas in time-based forms

 4. Demonstrate an understanding of the iterative making process, using incremental methods such as prototyping and testing to build toward more advanced work

 5. Write clear and cogent analysis of art work in a variety of forms, both formal and informal, such as research, process, analysis, reflection and evaluation text.

 6.  Be able to archive and document work in a reflective manner for learning portfolio

 7.  Demonstrate an ability to recognize the importance of innovation, creative thinking, risk-taking, and experimentation

 8. Demonstrate a comprehension of skills, materials and processes to convey notions of time using analog tools (i.e. storyboards, visual narrative, pre-cinematic sculptures etc.)

 9. Demonstrate a comprehension of skills, materials and processes to convey notions of time using digital tools (proficiency in sequencing stills in InDesign and making moving image sequences in Final Cut Pro or Premier)

Course Outline

	week	date	activity	due
Time Map (2 wks)	Week 1	1/27- 1/29	-Intro to course, syllabus, -Lecture: Time and Frame Brief Discussion In sketchbooks, students will draw several time maps experimenting with visual compositions and juxtapositions. Additionally students will decide on an action to document for the homework. Students will begin to create their own blog for Time Class. -Lecture: Time Mapping “Cartographies of Time” 3-D Maps, -Students will sketch possible compositions for their photos assemblage (ie.- Book, Branching, Web, Circular etc.) -Begin laying out project considering subject and 2d vs. 3D.	HW- Take a minimum of 20 digital photos of an action Bring printed photos and materials  to Wednesday class to begin creating your object or installation map. HW- Complete Time Map Project for Monday Class.
	Week 2	2/3 2/5	-Group Critique of Time Map Lecture: Long Vs. Short analogue materials, Earthworks, Cultural Representations of Time Discussion Students choose a small event. Brainstorm and sketch how it can be depicted temporally using irregular analogue materials and installation. Students will work to construct their “Long vs Short”.	HW- Sketch Final Idea and Collect Materials to bring to Wednesday Class. Additionally, students will write a small proposal for their concept explaining, material choice, temporal content, and process- uploaded to blog. HW- Complete "Long vs Short”, photograph and print out at high quality (minimum 11 X 14in.)
Still To Moving (4 wks)	Week 3	2/10 2/12	Group Critique of “Long Vs Short” Lecture: Speed and Duration in Time Depiction, Stillness vs. Sequence. Intro to Time Lapse Photography assignment. Intro to Premier Pro- Interface, Importing, Editing and Organizing in Timeline, Sequence Creation, Clip Speed, Exporting Students will work in Premier and create a Time Lapse video focusing on 3 speed changes and two long durations within the sequence. Students will write a description of their project, describing subject and relation to time passage and speed changes. Post to blog.	HW- Students identify and photograph a subject (place, object in time, etc.) Using a tripod, photos must be taken at one minute intervals for 2 hrs. HW- Students will brainstorm ideas for a graphic novel including character, setting, and narrative structure. Must include bullet points of ideas, several rough sketches, and reference images.
	Week 4	2/17- Presidents Day Holiday 2/19	NO CLASS Lecture:  The Graphic Novel Layouts, Scale, Sequencing, Cover vs. Interior spread. Discussion of “Time Frames”-Scott McCloud. Students will work from their sketches to layout a 3 page spread of the graphic novel. Students may draw, collage, create photo stills, ink, watercolor, Illustrator, Photoshop etc. to execute project. Material should be based on familiarity.	HW- Students will continue working on Graphic Novel Project.
	Week 5	2/24 2/26	Students will continue working on 3 page spread. Intro to InDesign- Interface, Guides, Image Manipulation, Text, Exporting Students will complete Graphic Novel Project in InDesign.	HW-Students will complete images for spread and brainstorm a final sketch for the cover image and layout. HW- Take Graphic Novel file to have printed. Additionally bring in material to work on animation project, camera, tripod, tape, and a short storyboard of the movements for animation
	Week 6	3/3 3/5	Pair Critique of graphic novel project. Written constructive criticism. Lecture: Animation Short, stop motion, William Kentridge, “89 seconds in Alcazar”- Eve Sussman Students will create an 8 second animation of the cover or a scene of importance in their graphic novel. Each cell will be drawn on the same paper, overwriting or editing the previous cell. Each cell will be photographed keeping the order. Students will Continue Animation Project.	HW- Continue animation drawings and have photos uploaded to computer. HW- Students will complete all animation and have photos uploaded to computer.
Linear Progression (4 wks)	Week 7	3/10 3/12	Students will import images to Premier and create a video animation. Group Critique of animations Lecture: Sound in Time “Birth of the Cosmos” “Playing for Time” Order versus Chaos Students will record multiple sound fragments from their surroundings, upload to Premier and edit to create two compositions- Order and Chaos. Manipulation of sound files is encouraged.	HW- Students must reserve hand held sound recorders from AV Dept or have personal one available for class. HW- Complete sound project and write a reflection on the two pieces and the nature of sound and time. Upload ALL files to blog
	Week 8	3/17 3/19	Small Group Critiques of Order vs. Chaos project Lecture: Linear Progression in Time Marclay- “The Hours” Paul Phieffer, Bill Viola, Discussion Intro to Fake Documentary Project Explore the nature of frame and viewpoint, witness vs, subject, authenticity vs. fabrication. Ken Burn’s “Baseball”, “Exit through the Gift Shop”, Lockness monster and Bigfoot documentaries. Students will form a two person teams and brainstorm ideas for a documentary of a fake event/ subject to create. Video documentary must include usage of still images, video, and  at least one interview or voice over. Lecture: Storyboarding Essentials Practice storyboard of a movie scene. Students will create a final story board for the video documentary, compile lists of shots, locations, people, equipment etc. and make reservations for AV equipment.	HW-  Students will continue to work with teammate to finalize concept for Fake Documentary. HW- ENJOY THE BREAK!!!!
	SPRING BREAK	3/24-3/30
	Week 9	3/31 4/2	Students will collect video footage for Documentary Project. Students will collect video footage for Documentary Project.	HW- Students will write a reflection on the role of framing, repetition, veiwpoint and authenticity. Upload to blog. HW- Students will complete all shooting for documentary.
	Week 10	4/7 4/9	Students will import all footage and create a two minute video in Premier. This will include an opening, middle, and closing sequence and title and credits. Group Critique of Fake Documentary	HW- Complete documentary and upload to blog. HW- Students will read Borges Short Stories “Library of Babel” and “Circular Ruins”, write a response considering the nature of infinity and repetition. Upload to blog.
Open Works (5 wks)	Week 11	4/14 4/16	Lecture: Time Unbounded Breaking time, reversal, circular, repetition, perspective. View several examples from Cinema history. Intro to Labyrinth Project. Students will brainstorm materials and format for engaging with the concept of labyrinth (could be a digital graphic novel, an artist book, sculpture, garment, installation, video, etc.) Group Discussion of “Memento” and the function and experience of unorthodox time and narrative. Students will finalize idea and write a small presentation of their concept, including sketches.	HW- Students will watch “Memento” by Christopher Nolan and write a response to the narrative structure and how it deals with of time. Upload to blog. HW- Students will prepare for presentation.
	Week 12	4/21 4/23	Students will present their concepts to the class. Presentation must include reference images, sketches, material examples and proposal text. Class will respond in short written feedback for each student project. Students will begin work on Labyrinth Project	HW- Students will gather all materials to begin work on their Labyrinth project. HW- Students will continue work on Labyrinth Project and document early stages for Blog post.
	Week 13	4/28 4/30	Fieldtrip TBA Students will continue working on Labyrinth Project.	HW- Students will continue work on Labyrinth Project and document middle stages for Blog post. HW- Students will continue work on Labyrinth Project and document middle stages for Blog post.
	Week 14	5/5 5/7	Studio Visit TBA Students will continue working on Labyrinth Project.	HW- Students will continue Labyrinth Project. HW- Students will complete Labyrinth Project.
	Week 15	5/12 5/14	Final Screening/ Formal Presentation Final Review	HW- Students will prepare semester’s work for Final Review.
		5/19	Final Review

Assessable Tasks
Assessable Tasks are activities, assignments, projects that satisfy the course's learning outcomes.

Introduction–Time map

critique (learning outcome 1);

represent abstract ideas ( 3 ), experiment ( 7 );

comprehension of analog tools ( 8 )

investigate different models of time ( 2 )

archive and document work in class blog ( 6 )

Project 2: Still to Moving

critique (learning outcome 1);

understanding of aesthetic design principles that relate to time ( 2 ),

represent abstract ideas ( 3 ), iterate ( 4 ), experiment ( 7 );

written analysis ( 5 ), visual documentation ( 2 );

comprehension of analog tools ( 8 )

comprehension of digital tools ( 9 )

investigate different models of time ( 2 )

archive and document work in class blog ( 6 )

3. Linear progression

critique (learning outcome 1);

understanding of aesthetic design principles that relate to time ( 2 ),

represent abstract ideas ( 3 ), iterate ( 4 ), experiment ( 7 );

written analysis ( 5 ), visual documentation ( 2 );

comprehension of digital tools ( 9 )

investigate different models of time ( 2 )

archive and document work in class blog ( 6 )

4. Open works

critique (learning outcome 1);

understanding of aesthetic design principles that relate to time ( 2 ),

represent abstract ideas ( 3 ), iterate ( 4 ), experiment ( 7 );

written analysis ( 5 ), visual documentation ( 2 );

comprehension of digital tools ( 9 )

archive and document work in class blog ( 6 )

References

Archive.org  - Video, Music, Audio,Text and Software: (Some have restrictions on bulk re-use and commercial use, please see the collection or the sponsor of a book.)

Copyright accessible materials: searching on this site assures you that the material you are using in a project has a Creative Commons Copyright agreement attached to it: Creative Commons Search

Download Video from any site: KeepVid.com. Beware that there are ads that confuse on this page. The download button you want is JUST to the right of the URL input area, then you will find MP3, FLV, options BELOW.

SOUND: Archives: Freesound, Free Music Archive
Upload and Share: Soundcloud (You will want an account so you can upload and store recordings.)
Free Audio Editing and Recording Software: Audacity

Youtube – This will be our default upload space as it is well integrated with Canvas. Set up your own channel and have Tom’s Time Playlist as a reference.

Vimeo – you can upload video here as well, but it is less integrated (not recommended.)

Google Drive – please familiarize yourself with this drive as you may need to use it.

Project Naming Conventions

Min:
Student Name_Professor Name

Max:
Student Name_Week and/or Project Name_Course abbrev. (Time.Emb), Professor_Semester and Year (F13)
IE: John Doe_Week 2_Mapping_Time.Emb_Bosket_F13

Narrative

Genres of Film: Action, Adventure, Pirate, Animation, Avant-garde, Biographical, Children's, Christian, Comedy, Crime, Disaster, Documentary, Drama,  Historical, Economics, Erotic, Fantasy, Horror, Eco, Independent short, LGBT, Mockumentary, Monster, Clowns, Toys, Musical, Mystery, Noir, Neo-noir, Religious, Romantic comedy, Science-fiction, Sports, Superhero, Teen, Thriller, War, Western, Spaghetti

Filmic References

WriterDuet – realtime collaborative script writing software

Camera Shot Types a quick visual demo of shot types, also covers camera angles and movement.

Camera Angles and Shots with short video demos of each – not great, but useful.

Basic Film Editing Terms.

Concise Premiere Worksheet.

Dependent Films - Go to the Media tab: Files and Tools as well as Links. You will find all the forms you need, storyboarding templates, etc… under Files and Tools. The links tab is just a great resource.

Equipment Checkout for Students

Students have access to equipment that may be checked out on the 9th floor of 55 West 13th Street. Items available include DSLR kits, audio recorders, lighting kits, wireless mics, etc. A visual inventory can be found here: www.newschool.edu/WorkArea/linkit.aspx?LinkIdentifier=id&ItemID=80137

Access is available to all degree- or credit-seeking students, based on current term enrollment.
The site for equipment and checkout can be found here:

http://www.newschool.edu/information-technology/at/agreements/s_eqc_agreement.html

·       Students may use the online checkout system, or take their chances and try for a walk in checkout.

o   Walk-in checkouts of available field equipment can be made daily on a first-come, first-served basis.

o   Walk-in checkouts may be made for up to 48 hours. Only one walk-in checkout can be processed at a time.

o   Reservation checkouts will take priority over walk-ins.

o   24 hours notice is required to create, modify or cancel a reservation. This is so the Equipment Center staff has time to properly prepare orders.

o   Reservation time is up to four days for all reservable equipment.

o   Students must provide their own SD card, batteries, etc. for all equipment.

·       Instructions for using the checkout system: https://reservation.newschool.edu/webcheckout/manual.pdf

o   Please note that equipment must be returned on time.

o   The fines for late returns are $20/hour or $100/day fee. Your reservation access will be restricted until all outstanding fines are resolved. Please allow two business days for processing of fine payments.

o   Not showing for your reservation results in $40 fee per incident.
Your reservation access will be restricted until all outstanding fines are resolved. Please allow two business days for processing of fine payments.

Online Learning

Lynda.com

The New School Libraries have purchased a site wide license that is available to all faculty and students at the New School. Lynda is an online learning platform with video tutorials in a number of disciplines: 3D, video, business, photography, web design, graphic design, and more.

·       To access content, first create a personal profile at:
http://wwwlyndacom.libproxy.newschool.edu/IPProgram/IPLogin.aspx?view=create

Grading and Evaluation

Students’ ability to meet the course’s learning outcomes will be evaluated based on the following criteria:

●      evidence of the ability to solve problems, both creative and technical;

●      evidence of the understanding of the project assignments and course material;

●      the correct use of materials and formats specified;

●      quality of work as evidenced in in-class exercises, final projects, sketchbook exploration and the learning portfolio;

●      participation in class and online;

●      improvement in technical, creative, and problem solving abilities;

●      attendance in class and the timely completion of projects.

Final Grade Calculation

15%      Participation /Attendance                                                                                                                             

10%      Work in Progress reviews                                                                                                                             

15%      In class exercises sketches, digital studies, group projects, etc                                       

 50%     Final Projects finished drawings, digital layouts, photography, etc                                      

10%      Sketchbook - Process Folio                                                                                                                                          

100%   TOTAL                                                                                                                                                                                      

Grading Standards

[What follows is Parsons’ grading standards. You should articulate your own policy for work taking other forms (e.g. presentations, critiques, visuals.) Use clear criteria, specifying how both you and your students will know whether they have achieved the learning outcomes].

A  [4.0; 96–100%]

Work of exceptional quality, which often goes beyond the stated goals of the course

A- [3.7; 91 –95%]

Work of very high quality

B+ [3.3; 86–90%]

Work of high quality that indicates substantially higher than average abilities

B  [3.0; 81–85%]

Very good work that satisfies the goals of the course

B- [2.7; 76–80%]

Good work

C+ [2.3; 71–75%]

Above-average work

C  [2.0; 66–70%]

Average work that indicates an understanding of the course material; passable

Satisfactory completion of a course is considered to be a grade of C or higher.

C- [1.7; 61–65%]

Passing work but below good academic standing

D  [1.0; 46–60%]

Below-average work that indicates a student does not fully understand the assignments;

Probation level though passing for credit

F  [0.0; 0–45%]

Failure, no credit

Grade of W

The grade of W may be issued by the Office of the Registrar to a student who officially withdraws from a course within the applicable deadline. There is no academic penalty, but the grade will appear on the student transcript. A grade of W may also be issued by an instructor to a graduate student (except at Parsons and Mannes) who has not completed course requirements nor arranged for an Incomplete.

Grade of WF

The grade of WF is issued by an instructor to a student (all undergraduates and all graduate students) who has not attended or not completed all required work in a course but did not officially withdraw before the withdrawal deadline. It differs from an “F,” which would indicate that the student technically completed requirements but that the level of work did not qualify for a passing grade. The WF is equivalent to an F in calculating the grade point average (zero grade points), and no credit is awarded.

Grades of Incomplete

The grade of I, or temporary incomplete, may be granted to a student under unusual and extenuating circumstances, such as when the student’s academic life is interrupted by a medical or personal emergency. This mark is not given automatically but only upon the student’s request and at the discretion of the instructor. A Request for Incomplete form must be completed and signed by student and instructor. The time allowed for completion of the work and removal of the “I” mark will be set by the instructor with the following limitations: [You should include one the following standards, depending on the level of your course].

Undergraduate students: Work must be completed no later than the seventh week of the following fall semester for spring or summer term incompletes and no later than the seventh week of the following spring semester for fall term incompletes. Grades of “I” not revised in the prescribed time will be recorded as a final grade of “WF” by the Office of the Registrar.

Divisional, Program and Class Policies
[You should include the following headings with the recommended text. In addition, you should include any other policies you may have.]

● Responsibility

Students are responsible for all assignments, even if they are absent.  Late assignments, failure to complete the assignments for class discussion and/or critique, and lack of preparedness for in-class discussions, presentations and/or critiques will jeopardize your successful completion of this course.

● Participation

Class participation is an essential part of class and includes: keeping up with reading, assignments, projects, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

● Attendance

Faculty members may fail any student who is absent for a significant portion of class time. A significant portion of class time is defined as three absences for classes that meet once per week and four absences for classes that meet two or more times per week. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.

● Blackboard or Canvas

Use of Blackboard may be an important resource for this class. Students should check it for announcements before coming to class each week.

● Delays

In rare instances, I may be delayed arriving to class.  If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival.  In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

● Academic Integrity

This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated.  Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students).  These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”

It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others.  Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.

Every student at Parsons signs an Academic Integrity Statement as a part of the registration process.  Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6^th edition). The University Writing Center                also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/admin/writingcenter/.

Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments.  Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments

Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

● Student Disability Services

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately.  All conversations will be kept confidential.  Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me.  At that point I will review the letter with you and discuss these accommodations in relation to this course.  Mr. Luchs’ office is located in 80 Fifth Avenue, Room 323 (3^rd floor). His direct line is (212) 229-5626 x3135.  You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/.

Parsons Learning Domains

Domains are general areas of learning, or broad guidelines that frame the learning outcomes of both degree programs and individual courses. What follows are the learning domains that are specific to Parsons. These learning domains are to cut across and be applied to all Parsons degree programs (BFA, BBA, BS) and their particular disciplines.

Under each of the following domain headings are a series of illustrative examples; these are neither exhaustive nor exclusive. In other words, users of this learning domains matrix must use the headings as organizing principles for learning outcomes that may not appear in the current document.

Intra/Interpersonal skills & Competencies:	General Education Skills & Practices:
The following examples of this domain represent a series of developmental events crucial to an undergraduate education; beginning from the self, moving out to the world, and ending by assimilating the two. Examples: ●      Mind/body relationships: mental and visceral experiential learning and knowing; ●      Relation of Self to Context ●      Cultural awareness, respect, adaptability; ●      Collaboration; ●      Self reflection and assessment; ●      Peer to Peer learning; ●      Organization and Executive Skills.	The following examples of this domain represent skills and practices essential to all forms of undergraduate education, including art and design degrees, but also the humanities, natural sciences and mathematics, and social sciences. Examples: ●      Writing; ●      Information literacy; ●      Systems thinking; ●      Critical reading; ●      Research; ●      Communication and Rhetorical skills; ●      Qualitative & quantitative reasoning; ●      Problem Solving; ●      Historical knowledge; ●      Disciplinary vocabulary.
Materials, Tools, Skills	Art/Design Methodologies
The following examples of this domain are a variety of skills and practices essential to a student working in an art and design context. Examples: ●      Use of Digital tools; ●      Use of Analog tools; ●      Input & Output methods: 2D/3D/4D/5D; ●      Haptic / tool relationships; ●      Material literacy.	The following examples of this domain represent design-centered methodologies intended to foster the kind of empathy, introspection and tenacity necessary for all Parsons students. Examples: ●      Experimental process; ●      Iterative process; ●      Sustainable / Resilient Design; ●      User-centered design process; ●      Perception and Visual Awareness; ●      Observational research; ●      Visual and Perceptual thinking; ●      Thinking through Abstraction.