Request for New Course
EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL:
ART
COLLEGE:
ARTS & SCIENCES
CONTACT PERSON: Ryan Molloy
CONTACT PHONE: 7.1268
CONTACT EMAIL: MRYAN7@EMICH.EDU
REQUESTED START DATE: TERM
WINTER
YEAR 2015
A. Rationale/Justification for the Course
Currently graduate sections of courses in Time-based Media are offered only as electives (ARTS 592) co-listed with corresponding
undergraduate courses or independent study. The purpose of this proposal is to create graduate course numbers of regularly offered classes in
lieu of electives.
B. Course Information
1. Subject Code and Course Number:
ARTS 555
2. Course Title:
Time-based Media
3. Credit Hours:
3
4. Repeatable for Credit? Yes
X
No
If “Yes”, how many total credits may be earned?
12
5. Catalog Description (Limit to approximately 50 words.):
This course is an exploration of concepts and methods commonly used in the production of time-based media as it is employed in an art
context. The course provides a technical foundation for subsequent time-based media courses by introducing students to a variety of techniques
used for the creation of screen-based works of art such as non-linear video editing, sound, and video compositing. The course also introduces
students to historic and contemporary practitioners. Intended for graduate students not concentrating in time-based media.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) X
On Campus
X
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Miller, New Course
Sept. 09
Normal (A-E)
X
Credit/No Credit
New Course Form
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
Basic computer literacy and familiarity with software utilized in the creation of art and design.
9. Concurrent Prerequisites: Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
Code, Number and Title.)
NA
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course.
(List by Subject Code, Number and
Title.)
NA
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent
course has already been taken. (List by Subject Code, Number and Title)
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
College of Education
Yes
No
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes
No
X
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
Graduate
All undergraduates_______
All graduate students X
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor________
UG Degree Pending_____
Post-Bac. Tchr. Cert._____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses
d. Restriction by Permission. Will Departmental Permission be required?
Miller, New Course
Sept. ‘09
Yes
X
No
Page 2 of 5
New Course Form
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program?
Yes
No
X
If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community
form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this
course is NOT approved for inclusion in the General Education program, will it still be offered? Yes
No
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes
No
X
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
Program
Required
Restricted Elective
Program
Required
Restricted Elective
15. Will this course replace an existing course? Yes
No
X
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
NA
b. Will the course to be replaced be deleted?
Yes
No
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program Development office for
assistance if necessary.
18. Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes
No
X
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of
support, if available.
Miller, New Course
Sept. ‘09
Page 3 of 5
New Course Form
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
b.
c.
d.
e.
f.
g.
h.
Course goals, objectives and/or student learning outcomes
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in Estimated Resources for the
sponsoring department(s). Attach separate estimates for other affected departments.)
There is no expected change in cost of the course. Course is currently offered as ARTS 592.
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty:
For
23
Against
0
Abstentions
2
(Enter the number of votes cast in each category.)
Department Head/School Director Signature
Date
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Miller, New Course
Sept. ‘09
Date
Page 4 of 5
New Course Form
G. Approval
Associate Vice-President for Academic Programming Signature
Miller, New Course
Sept. ‘09
Date
Page 5 of 5
ARTS 555 TIME-BASED MEDIA
Pre-req: Basic computer literacy and familiarity with software utilized in the creation of art and design
Sample syllabus
COURSE DESCRIPTION
This course is an exploration of concepts and methods commonly used in the production of time-based
media as it is employed in an art context. The course provides a technical foundation for subsequent timebased media courses by introducing students to a variety of techniques used for the creation of screen-based
works of art such as non-linear video editing, sound, and video compositing. The course also introduces
students to historic and contemporary practitioners. Intended for graduate students not concentrating in
time-based media.
COURSE OBJECTIVES/OUTCOMES
This course will:
 Explore image/video/sound/performance and digital production tools as an artistic medium of
production.
 Enable students to explore and articulate the connection between traditional art practices and the
practices of emerging genres.
 Introduce students to historic and contemporary discourses and practitioners of time-based media.
 Provide students the basic software knowledge (non-linear editing, audio editing, video
compositing) necessary to produce video works.
COURSE STRUCTURE
This course is a studio-based course supplemented by occasional demonstrations, lectures, and readings.
This course will require a great amount of commitment on your part. You will be required to spend at least
as much time working outside of class as we spend in class, if not considerably more. Class meetings will
be devoted to:
 Group critique, demonstrations, reading discussions, and lectures
 Studio time for developing projects
 Individual meetings with instructor to discuss work in progress
ASSIGNMENTS
PROJECTS: Longer-term assignments present a mix of technical and conceptual challenges. Periodic
discussions review project concept and direction; final results are evaluated in critique sessions. Students
present in-progress reviews in class when developing a project. Review requirements include several initial
ideas/directions, evidence of recent progress, and current direction of the project. Work on projects takes
place both in and outside of class.
WORKSHOPS: These mini-projects offer small challenges that encourage low-stakes, independent
experimentation with new techniques and ways of thinking. Workshops may be completed in or outside of
class.
Suggested projects and workshops:
 Workshops
content varies with instructor, typical workshop content includes:
• Shooting and editing video using non-linear editing software.
• Traditional/ hand-created animation.
• Performance and recording/documentation of performance.
• Video montage, collage, and compositing.
• Use of sound and creation of soundscapes.
 Pojeccts
content varies with instructor, typical workshop content includes
• Creation of videos centered on methodologies and conceptual frameworks
drawn from historical and contemporary practitioners.
• Exploration in translating/re-interpreting existing static works of art into a
time-based medium.
• Self-directed projects stemming from written proposals.
EXPECTATIONS OF GRADUATE STUDENTS
As graduate students you are expected to demonstrate a high level of commitment to your coursework and
research. This commitment is demonstrated through in-depth research and the development and
incorporation of a strong conceptual framework with each assignment.
Art majors should form connections of the work produced in this class to their larger body of work. Nonmajors should draw inspiration and form connections to their own disciplines.
For those students who have previously taken the course or who have previous experience with time-based
media students, you may opt to complete two large projects directly related to your artistic development in
lieu of the exercises and assignments. If you choose to do so please notify the instructor in writing with a
proposal of the work you plan on accomplishing.
GRADING PROCEDURES
The course will be divided into several assignments. All assignments must be finished and ready to be
viewed at the beginning of class on their scheduled due date. Any assignment submitted after that date will
be considered late and will be graded down a full letter grade. A breakdown of how each project will affect
your final grade is below:
Workshops
20%
Projects
70%
Class Participation and Critiques 10%
Being prepared for assignments and critiques is a crucial part of a studio course. Emphasis will be placed
on a sense of investigation and curiosity, dedication to the understanding of your own artistic and personal
pursuits, and a willingness to participate in the class community. Knowledge is gained from individual
investigations as well as collaborative exercises.
For each assignment you will be assigned an alphabetic grade, these translate to the following on a 100 pt.
scale:
A = 95
A- = 92.5
A-/B+ = 90
B+ = 87.5
B = 85
B- = 82.5
B-/C+ = 80
C+ = 77.5
C = 75
C- = 72.5
C-/D+ = 70
D+ = 68.5
D = 65
D- = 62.5
F =< 60
Grading of assignments is typically based on the following criteria:
 Process: did you do enough work, did you meet intermediate deadlines, did you revise the work,
did you do the proper amount of research and preparation?
 Execution: is the work formally resolved, does it have good craft, does it meet the requirements
and guidelines of the assignment?
 Idea/Concept/Method: the creativity of the approach/solution to the project, the appropriateness of
the solution, the depth of questioning, does it push boundaries?
Late Work
There will be a reduction in the final project grade, equivalent to dropping a whole letter grade, for each
week assignments are received late. It is the responsibility of the student to make arrangements in advance
to hand in work for excused absences. If you are absent when homework is assigned, or it is not received
on the due date because of an absence, it will still be recorded as a late assignment. Work that is more than
two weeks late will be recorded as a zero.
ATTENDANCE POLICY
Attendance is required: if you are not in class you are not able to participate or show progress. Anything,
for any reason, beyond 3 absences will significantly reduce your final grade (1/2 letter grade each offense).
It is understood that at times a student is faced with extreme circumstances that may prevent a student from
attending class, in the event of this and only at the discretion of the instructor an absence may be waived.
THE ISSUE OF TALENT
Art making is a learned activity. The more effort and commitment one puts into it, the more evident and
rewarding the learned experience will be. It is important for you to acknowledge and accept your own pace
of development as well as what your strengths and weaknesses are.
MATERIALS
Materials will vary and be specified with each project. The cost of materials can be effected somewhat by
decisions you make. If you are looking to reduce personal costs discuss alternative methods such as
resource pooling or bulk ordering with your peers. Be prepared to spend what is required to effectively
execute your work.
At minimum you will need basic art supplies (pencil, sketchbook/paper, pen, xacto knife, etc.). In addition
to basic art making materials you will need a digital storage device; my recommendation is purchase a
device with at minimum 16GB of memory.
EQUIPMENT/CLASSROOM/LAB
The art department computer labs will accommodate most of your software needs. Log-in using your emich username and password, log-off when finished. Any computer mistreatment, vandalism, or theft may
result in disciplinary actions from the Art Department. Students are not to perform repairs; please report
any malfunctions to a faculty member or the lab monitor. Lab rules are posted in the lab.
Camera equipment, digital video and digital still, is available for overnight student use. You may check out
camera equipment at the Visual Resource Library in Ford Hall. You may also use the copy stand to
document your work.
ACADEMICS
Academic policies can be found in the University Catalogues available through the Office of the Registrar
and online at: http://catalog.emich.edu/. Be sure to review the University’s policy on academic dishonesty
if you have not already. Academic dishonesty may result in an ‘E’ in the course and referral to Student
Judicial Services. The policy can be found at the Student Judicial Services web site at:
http://www.emich.edu/sjs/. In addition to plagiarism as defined by University guidelines, work used or
created for other classes will not be counted towards your grade.
BIBLIOGRAPHY
Bishop, Claire, ed. Participation. London: Whitechapel , 2006.
Campany, David, ed. The Cinematic. London: Whitechapel, 2007.
Doherty, Claire, ed. Situation. London: Whitechapel, 2009.
Evans, David, ed. Appropriation. London: Whitechapel, 2009.s
Hall, Doug, ed.. Illuminating Video: An Essential Guide to Video Art. New York: Aperture in association
with the Bay Area Video Coalition, 2005.
Manovich, Lev, The Language of New Media. Cambridge, Mass.: MIT Press, 2001.
Meigh-Andrews, Chris, A History of Video Art: The Development of Form and Function. Oxford: Berg,
2006.
Rush, Michael. Video Art. London: Thames & Hudson, 2007.
Reese, A.L., A History of Experimental Film and Video, London: British Film Institute, 2008.
Sollins, Susan, curator/producer. ART:21 Art in the 21st Century. Seasons 1-5. New York : H.N. Abrams,
PBS Home Video. 2001.