TIME: 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

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.

TIME

Sunday, January 26, 2014

Course Syllabus

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