TMP III: TIME - Fall 2008

INTRODUCTION
Visual artists and makers of the last one hundred years have created profound viewer experiences through works that unfold over time. From performances, audio tours, and installations to interactive, electronic work, kinetic sculpture and animations (to name a few), makers have utilized a variety of means to communicate their ideas, expanding contemporary art to include these and many other time-based approaches. This introductory course will expose students to a variety of tools for creating time-based work, as well as its histories and practitioners.

COURSE DESCRIPTION
Time is the third in a series of three core studio courses, which provide introductory exposures to a wide spectrum of the physical materials, tools, and processes germane to contemporary art and design practices. These introductions establish a practical base for future creative work. TMP III: Time builds on skills from TMP I, TMPII, and Digital I along with continuing the conceptual challenges of CFCI and the contextual ideas from ADP I & II.

COURSE STRUCTURE
The following units will introduce students to a range of approaches to working with time-based concepts and tools.

Sequencing of Images (including keyframe/stop motion animation; motion graphics; still images on a timeline; flipbooks)
Sequencing of Sound (including experimental music and instruments, audio collage & storytelling, audio installation)
Sequencing of Action (performance, installation, book arts/creative writing-depending on particular faculty experience)
Objects in motion (kinetic objects, puppets, performative sculpture)

CORE CONCEPTS

Duration
Cycle
Transition
Development
Variation
Dynamics
Rhythm
Sequence
Pacing/ Tempo

Montage
Collage
Continuity
Linear and Non-Linear Narrative
Teleological vs Non-teleological
Structural forms in time
Motion and movement
Cultural attitudes towards time
Michigan Time.

CORE SKILLS
Non-linear editing and sequencing
Basic audio recording, editing and mixing
Simple keyframe animation / tweening
Kinetic type and simple motion graphics
Comics, Graphic Novels and Writing for sequential art
Storyboarding / pre-production visualization
Skills related to performance, kinetics, puppets

CLASS SESSIONS & ACTIVITIES
Class time will be used for:
-Viewing/listening to historical and contemporary examples of time-based creative work.
-Demonstrations and tutorials
-Workshops with Roman J. Witt Visiting artists.
-Presentations by faculty about their own time-based work.
-Discussions and readings
-Evaluation sessions and critiques.

TOOLS
Each student will be introduced to and work with digital tools including, Final Cut Express (which can be used both for simple image animation, motion graphics and sound work), Garage Band and FrameThief (www.framethief.com). Students will also engage with physical and analog elements for producing works including live performance, constructed objects, drawing/mark-making, or books.

ORGANIZATION
The class has been designed so that it is not dependent on any single faculty member. Rather, the teaching team works collaboratively to devise objectives, projects, skills and collective activities.

CLASS REQUIREMENTS:
1. Completion of all assignments
2. Written responses to articles, readings, screenings
3. Class participation includes participation in class discussions, critiques. Full and punctual attendance. Healthy attitude of engagement, self-motivation, and an interest in learning.

RECOMMENDATIONS
-Take the initiative to learn about work that is time-based--YouTube is great for this.
-Look at the work of your peers and others at the School on PLAYGALLERY.ORG
-Post your projects on PLAYGALLERY.ORG

CRITERIA for grading/evaluation of time-based projects:
1) Technical control: quality of images, sound quality and levels, if camera was used: attention to focus and exposure, overall
2) Choice and control of aesthetic elements: composition and framing, lighting, editing (pacing, continuity, experimental choices), juxtaposition of sound and image, etc.
3) Creativity: imaginative use and expressive control of the medium as an ART tool
4) Logistics: Project length, professional presentation of countdown, titles, credits
5) Content: A serious engagement with ideas and issues and the ability of the piece to communicate an idea to the viewer

LETTER GRADE STANDARDS:
A: Outstanding production work on all projects: a demonstrated excellence in production and editing skills; imaginative and inventive use of video as an art tool; clear and creative concept that is communicated to the viewer; all work finished on time; punctual and regular attendance; an ability to critique the strengths and weaknesses of other projects; outstanding participation in all aspects of the class.

B: Above average work: a proven ability in production and editing; project deadlines met; projects have good idea and/or basic editing but need further refining of either technical or conceptual issues;an excellent attendance record; strong participation in critiques and class.

C: Average production work: an acceptable grasp of editing and production technique; project deadlines met; projects are in need of much tighter editing control and/or clearer concept; 70% average on written materials; a reasonably good attendance record; a basic ability to critique productions and average participation in class.

D: Below average work with significant weaknesses in one or more areas: meeting deadlines; understanding production concepts; critiquing productions; 60% or lower average on written materials; poor attendance; little class participation.

E: Below acceptable requirements of the course.

ATTENDANCE POLICY
Attendance will be regularly checked. Excessive tardiness will not be tolerated.

To be considered “present” you must:
-Come to class on time,
-Come to class prepared to work, with materials in hand
-Speak at least once in class discussions about work other than your own.

3 LATES = 1 ABSENCE, 2 UNEXCUSED ABSENCES RESULT IN AN E GRADE, ABSENCE FROM CRITIQUES LOWERS GRADE BY ONE GRADE.

CTOOLS URL: Documents (course schedule, syllabus, assignments, links) are available on the “Ctools” site: https://ctools.umich.edu/portal
Click on “My Courses” to navigate to our site. You’ll need to check this site regularly for important announcements, downloadable readings, presentation schedules, assignments, calendar events, etc. If you are absent, it is your responsibility to check the “announcements” and “schedule” features on the site to confirm what is due and/or what you need to bring to class. Also, check the COURSE SCHEDULE part of the web site as this will be updated regularly.

READINGS
The University of Michigan Library now scans the articles and puts them online under COURSE RESERVES. To download the articles required for this class,go to the Mirlyn main page>Course Reserves (upper right corner)> then type in any information about the article OR our class: ArtDes 222 Sec. 03, or even my last name: Kumao. Articles and readings are listed online in the SCHEDULE part of this syllabus.