How is it possible to define the meaning of "experimental" in the context of high-end media
such as 3D animation? The goal of this class is for each student to form their own individual
answer to this question. In search of an answer, students are encouraged to take creative
risks, to break the rules, to identify personal modes of expression and – above all – to negate
standard approachesto digital media.

Requirements
A self-directed and self-motivated work ethic are essential to this course as students are
expected to work independently. Also important is a strong interests in the printed word as
there will be a good deal of reading and discussions.

There are no technical prerequisites for this class. It is crucial that students are technically
competent and able to master technical problems on their own. Students must have access
to a VCR and video membership.

Class Text: Literary Theory: A Very Short Introduction
by Jonathan D. Culler; Paperback (Available at Amazon.com for $9.95)


Additional Readings:

Critical Art Ensemble, Flesh Machine, Cyborgs, Designer Babies,
and New Eugenic Consciousness,"Evolution is a Theory, Not a Fact",
Automedia, New York, 1998.

Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge,
"The Pragmatics of Narrative Knowledge," trans. by Geoff Bennington and Brian Massumi,
University of Minnesota Press, 1999.

Michel Fourcault, "What is an Author?," in Art in Theory 1900-1990,
ed. by Charles Harrison and Paul Wood,Blackwell Publishers, Massachusetts, 1993.

Peter Convery and Roger Highfield, The Arrow of Time, "Images of Time",
Fawcett Columbine, New York, 1990.

Peter Convery and Roger Highfield, The Arrow of Time, "The Rise of Newtonian Physisc:
Time Loses its Direction," Fawcett Columbine, New York, 1990.

Espen J. Aaseth, "Nonlinearity and Literary Theory," in Hyper Text Theory, ed. by
George P. Landow,John Hopkins University Press, Baltimore, 1994.

Jean Baudrillard, The Hyper-Realism of Simulation, Art in Theory 1900-1990,
ed. by Charles Harrison and Paul Wood, Blackwell Publishers, Massachusetts, 1993.

Jacques Lacan, "The Mirror Phase as Formative of the Function of the I," in Art in Theory
1900-1990, ed.by Charles Harrison and Paul Wood, Blackwell Publishers,
Massachusetts, 1993.

Laura Mulvey, "Visual Pleasure and Narrative Cinema," Art in Theory 1900-1990,
ed. by Charles Harrison and Paul Wood, Blackwell Publishers, Massachusetts, 1993.

Critical Art Ensemble, The Electronic Disturbance, "Video and Resistance:
Against Documentray,"Automedia, New York, 1998.

Lev Manovich, "Cinema and Digital Media", Perspectives of Media Art, eds. Jeffrey Shaw
and HansPeter Schwarz, Cantz Verlag Ostfildern, Germany, 1996.

Lev Manovich, "The Labor of Perception," presented at ISEA, International Symposium
on Electronic Art,Helsinki, 1994.


Selected Items from the Screening List:
"Nice Girls Don’t…" (Emily Hubley, Ann Marie Fleming, Joan Stavely, et al)
Digital Media Show Reel, AFTRS, Australia, 1999
SIGGRAPH
Final Fantasy (3D animation)
Jan Svankmajer
The Brothers Quay
La Jette
Waking Life vs. Mind Walk
Run Lola Run
Memento
Schizopolis
et al.

Attendance
Students are expected to attend all classes unless excused. Unexcused
absences will affect the final grade. Two instances of lateness will be
considered equal to one absence. Three unexcused absences will result
in course failure.

Methods of Assessment
Participation, creativity, and professionalism are the criteria for grading in this class;
each counts in equal measure:

Participation = 33%
Creativity = 33%
Professionalism = 33%


1) Participation: Students are expected to actively participate during discussions of
previously assigned readings as well as screenings. Each student should come to class
prepared and be able to actively contribute.


2) Creativity: Creative risk taking and the seeking out of new approaches to time-based
media are what this class is all about. A creative risk should be informed by an original or
individualistic approach. A student should further be able to place his or her idea within a
historical context and be able to identify relevant texts that have informed his or her ideas.
Lastly, students are expected to communicate the evolution of their ideas clearly. Thus,
a creative exploration is deemed successful when it

a) involves an original and/or individualistic approach
b) when a student can place ideas and concepts within a historical context
c) when a student is able to communicate the evolution of his/her ideas effectively


3) Professionalism: Risk taking involves the possibility of failure. In this class students are
encouraged to take risks; projects are allowed to" fail." (If it was a new idea, it didn't fail.)
While the final success of a project is not a grading criteria, professionalism counts!
Students are expected to work in a concentrated manner, to come to class prepared,
and to hand in assignments on time.



Definition of Grades:

A = Extraordinary work, far beyond the expectations of the assignments.
Work that shows an extraordinary understanding and use of processes.
Work rich in form and content.

B= Good work showing a better then average understanding and use of
process in executing the assignment.

C= Fulfills the requirements of the assignment in a satisfactory, but not in
a distinctive way.

D= Barely fulfills requirements of the assignment. Reflects poor understanding
of the tool applied, lack of content.

F= Does not satisfy the requirements of the assignment.



Mid-Term
Students will be advised of their grades in writing.


Weekly Outline

Week 1
Explanation of syllabus and course overview.
Independent Animation: The Brothers Quay, et al.
Homework: Watch "Final Fantasy"
Reading: Jean Baudrillard, "The Hyper-Realism of Simulation,"
Art in Theory 1900-1990

Week 2
Preferred senses: The role of vision in Western culture
Cult of the visual...
Review of SIGGRAPH tapes
What is hyper-realism? What are the rules of 3D?
Homework:
Generate ideas for animation breaking the rules of 3D (three week project, due week 5)
Reading: Lev Manovich, "Cinema and Digital Media", Perspectives of Media Art, eds.
Jeffrey Shaw and Hans Peter SchwarzLev Manovich, "The Labor of Perception,"
presented at ISEA, International Symposium on Electronic Art

Week 3
Discussion of readings
Review ideas/progress of animation projects
Concepts of time
Watching: Run Lola Run
Homework:Continue animation project
Reading:
Peter Convery and Roger Highfield, The Arrow of Time
"Images of Time"
"The Rise of Newtonian Physisc: Time Loses its Direction"


Week 4
Interconnectedness of language and temporal concepts
Watching: La Jette
Homework: Watch "The Twelve Monkies"
Write comparison between the two films
Finalize animation project


Week 5
Review of animation projects
Digital Media: Code and concepts of time
Animation project: create an animation exploring conventional concepts of time
(three week project, due week 8)Homework: Espen J. Aaseth, "Nonlinearity and
Literary Theory,"in Hyper Text Theory,ed. George P. Landow
Write a response: What do technology's languages (scripting, programming languages,
MEL, etc.) have to do with storytelling?


Week 6
Review of ideas/project in progress
Watching: Animation shorts
Homework: Continue aniamtion project
Reading: Michel Fourcault, "What is an Author?," in Art in Theory 1900-1990, ed. by
Charles Harrison and Paul Wood Write a response: When writing technology,
are you an author?

Week 7
Review of ideas/project in progress
Watching: Schizopolis
Homework: Barry Smart, Postmodernity: Key Ideas, Routledge, New York, 1993
Write a summary: What is Postmodernism? What are the key questions?


Week 8
MID_TERM
Reviewing animation projects
Announcing final project
Discussion: Postmodernism - key points, key terms
Reading: Jacques Lacan, The Mirror Phase as Formative of the Function of the I,
in Art in Theory 1900-1990,ed.by Charles Harrison and Paul Wood
Generate ideas for final project


Week 9
Discussion of project ideas
Watching "Walking Life"
Homework: Watch "Mind Walk
Write comparison between the two films


Week 10
Review of projects in progress
What is knowledge?
Reading: Critical Art Ensemble, Flesh Machine, Cyborgs, Designer Babies, and
New Eugenic Consciousness,"Evolution is a Theory, Not a Fact", Automedia, New York, 1998.
Critical Art Ensemble, The Electronic Disturbance, "Video and Resistance:
Against Documentray," Automedia, New York, 1998.


Week 11
Discussion about reading
Review of projects in progress
Jean-Francois Lyotard, The Postmodern Condition: A Report on Knowledge,
"The Pragmatics of NarrativeKnowledge", trans. by Geoff Bennington and Brian Massumi,
University of Minnesota Press, 1999.Write a breif response: What is the role of technology
in the forming of "truth"?

Week 12
Discussion about reading
Review of projects in progress/work day
Reading: Laura Mulvey, "Visual Pleasure and Narrative Cinema," Art in Theory 1900-1990,
ed. by Charles Harrison and Paul Wood
Homework: Write a brief summary outlining Mulvey's key points


Week 13
Discussion about reading
Preparing for the end of the semester
"Speaking about my work"
Professional presentations - how to...


Week 14
Study week


Week 15
Present your work and ideas of the semester to the class
Finals due (hand in animations on tape/still images on CD-ROM; clearly label all materials)



Plagiarism

Digital Copyright and Intellectual Property Protection
When you copy work that was actually created by another person, without giving credit to the original author, you are implying that you yourself did the work. This is called plagiarism. It is dishonest and is not acceptable at Pratt Institute.

It is the policy of DDA and Pratt to emphasize respect for the creative works of others. Infringement takes place when -- without permission -- a substantial part of a work is copied, made available to others, or adapted into a new form. Images, text, logos, software, sounds, film/video clips, email, postings to newsgroups, and other works distributed electronically are protected by copyright, just as they are in traditional media. Appropriate use of the internet and digital storage media implies responsibilities and is encouraged. Protection technologies such as watermarking and encryption are supported and must be respected. DDA does not condone copyright infringement and disciplinary action will be taken if this policy is violated.