Youtube Documentation Upload Account:
Username: MARWumn
Password: #MARWumn
account URL - http://www.youtube.com/user/MARWumn
classroom doorcode: 999339
#MARW Class Schedule
11-4 M/F & 6-10 W
Meeting
Small Assignment
Big Assignment
Reading
Artists
Visiting Lecturer
Screenings
Day 1 - 5/21
Logistics
Meet @ Regis
Meet up & introduction to facilities at regis, NiceRide, blog/follow, dropbox/playlist
migrate > Bohemian Flats
Syllabus/Schedule
Artist - Workingman Collective - 5 mile line
Icebreaker / # exchange
Introduce Tumblr Project
assign border intersection project (to be presented to class 5/23)
Discuss
Discuss work presented: Erwin Wurm, Francis Alÿs, blog - http://www.woostercollective.com/
Discuss Readings: How to Read Academic Texts Critically & The Creative Act
Make
Masking Tape Roll / Grass Tagging / Sign Making
I Am For An Art > Group Reading
1 Minute Sculptures for Video > Post on Blog
Night 2 - 5/23
Logistics
Meet @ Mississippi river amphitheatre (west side near cedar bike trail entrance)
Migrate > screening location TBD
Discuss
Discuss: Tumblr Project ideas
Intro big project #1: Public Intervention / Collaborative Leadership - due 5/28
Discuss work presented: Steve Lambert, Julien Berthier, Evan Roth, FloatingLabCollective,
Learning to Love You More (Harrell Fletcher/Miranda July)
Discuss Readings: Creative Art Ensemble
Screening: Exit through the Giftshop - invite your friends!
Make
Performance For Photography: Border Intersections
Day 3 - 5/25
Logistics
Meet > MPLS Public Library Exterior 11am
Migrate > inside MPLS Public Library 12:30-2pm
Migrate > Coffee Shop
Discuss
Present Large Project Idea
Performance/Archive/Cultural Material/Public-Private Space
Discuss Readings: Dispersion & John C. Welchman Global Nets....
Discuss Works Presented: Young-Hae Chang, Cory Archangel, Daniel Eatock, Public Movement
Assign Make An Encouraging Flyer Project
Make
Library/Archive as Material
Made You Look - Public Performance/Intervention
Day 4 - 5/28
Logistics
Memorial Day (NO CLASS)
Night 5 - 5/30
Logistics
Meet @ Roving - based on Large Projects
Migrate > TBD
Discuss
Review EVERYTHING done in class so far, projected, blog,vids, etc.
Discuss Work Presented: John Ruben, Rirkrit Tiravanija, Conflict Kitchen (Jon Rubin), Lori
Gordon,
Piotr Szyhalski, Assaf Hasham
Discuss Readings: Sure, Everyone Might be an Artist But... , Affectivist Manifesto
Make
Presentation / action for/of big project #1: Public Intervention / Collaborative Leadership
Assign Big Project / Final Project #2 due 6/8
Day 6 - 6/1
Logistics
Meet @ Regis center - Conference Room
Migrate > Midway Library via downtown
Discuss
Find a relevant book in the midway collection, present to class
project 2 written proposals/share
Discuss Readings: Art Activism Reader: Democracy is a good idea: on politics, art ,and activism,
idealism and pragmatism (pgs 90-94)
Discuss Work Presented: Nikki S. Lee, Joseph Bueys, Roman Signer, Ana Mendieta, Tehching
Hsieh, Michael Rakowitz, http://www.raumexperimente.net/
Make
Distribute Encouraging Flyers
Interview a stranger about the outfit they’re wearing (iPads)
Day 7 - 6/4
Logistics
Meet @ Boneshaker Books conf room 11am
Migrate > Downtown Skyways
Discuss
dissect final project
Visiting Lecturer: John Kim - Derive - Skyways
Discuss Readings: Theory of the Derive (linked form blog) & Sadie Plant’s The Most Radical
Gesture, pgs Preface, Chap 2 (Chap. 1 for more background info on Situationists)
Discuss Work Presented: TBD by John Kim
Make
Derive Activity
work on final project
Night 8 - 6/6
Logistics
Meet @ TBD by Guerilla Cinema
Discuss
Tumblr Reviews
Discuss Readings: Holes In Our Pants
Discuss Work Presented: GraffitiResearchLab, http://www.urban-projection.com/, the MAW
Make
Guerilla Cinema, location & Film TBD Invite your friends!
Day 9 - 6/8
Wrapup
Meet @ Walker Open Field (invite your friends)
Course Evals
Final Projects Due @ Walker Open Field
makingartintherealworld@gmail.com
pass - #MARWumn
READINGS:
Theory of the Derive, Guy Debord
I am For an Art, Oldenberg
BAD-ASS NEW CLASS
radical democratic art
FORMAT - Meet everywhere and anywhere; the best places for dialogue, project happenings, and events
Meeting in places like:
MPLS Public Library
Coffeeshop
Convention Center
Weisman Museum
Powderhorn Park
Barbershop
Artists & Examples
Cory Archangel
Lori Gordon
Evan Roth
Graffiti Research Lab
Guests - Studio visits
Piotr Szyhalski
John Kim
Activities:
project for Northern Spark
make a radio station
street art/intervention
flash mob
going viral
zines
Public Performance
Urban Architecture & Public Territories
Links to review:
http://publicmovementenglish.blogspot.com/
http://www.storefrontnews.org/exhibitions_events/events?t=318
http://archidose.blogspot.com/2009/04/ae13-inflatable-enclosures.html
http://www.informationactivism.org/en/toolkitsandguides
http://www.raumlabor.net/?cat=18
Lynn
A series of questions that frame the weeks discussions
course descriptions
university policies
section?
remind kids how to find it
list different class times
must attend every class
very active course description
texts
in-class reviews of tumblr blogs
Too esoteric
who’s our audience?
use better language
integrate theory into practice
what do we want to teach
context - summertime - students are going to want to leave.
more practice based.
social digital spaces
how meaning is created
physical vs digital
community engagement - university push.
natural cultural digital
THEORY>DEVELOPMENT>EXECUTION
Course Description:
MAY TERM WORKSHOP PROPOSAL Form
ARTS 5490 and ARTS 3490
Instructor’s name: Ben Moren and Daniel Dean (co-teach)
Title of course:
○ The Enduring Ephemeral, or the Future Is a Memory
○ Social art in practice: looking at the less explored
○ Get Famous Quick: or how to use the Internet, and (explore?) other socially engaged
artforms
○ social playgrounds, mobile playgrounds, digital playgrounds
○ breaking the rules, get arrested before lunch.
○ Microblogging Art
○ Facebooking and other ways to Make Art
○ Friending as Art
○ Friending as Art: Internet Thinking in the Real World
○ Using Social Collaboration & The Internet in Art Making
○ Democratic technology, using whats in your pocket and your community to make art.
○ in your pocket, in the cloud, in your community: alternative approaches to
artmaking
○
○ -----> #makingartintherealworld
○
○
○
○
○
Hashtagging the Real World: Making Democratic Art Today
Democratic art in practice
The Death of the White Cube: Where Art is Now
The Internet and Democratic Art Making through social collaboration
social collaboration: the internet and democratic art makingCourse level:
Beginning, Intermediate Workshop ArtS 3490
Number of credits: 3 ( 3 credits = 15 contact hrs/week)
Class meeting schedule: MWF, 11am - 4pm or 10-3 (ask about different meeting times for different
days)
List preferred classroom and required facilities: E123 REGIS, Laptops from Checkout insrurance
issues/ diane
List prerequisites if any: none
Materials fee: $60
entrance fees OK
artists talks - talk to Evonne 1/semester? 100$?
Attach syllabus. The course description must include:
1. A Student Learning Outcomes
f. Understand the role of creativity, innovation, discovery, and expression across disciplines
g. Have acquired skills for effective citizenship and life-long learning.
Through texts, presentations by visiting artists, illustrated lectures, and artistic practice,
students will apprehend the conceptual framework of technologically focused, social art making and
it’s relationship to the social commons, media, technology and cultural production. The proliferation of
mobile technologies like laptops and cellphones, alongside the globalisation of corporations and the
democratization of knowledge have allowed for the evolution of social practices in art. Participatory
democratic actions, social media driven revolutions, flash-mobs, cultural memes, and remixing provide an
immense field of practice for today’s artists.
In a similar fashion to the way conceptual art expanded the field of art production in the 60’s
and 70’s, the Internet and accessible technologies have further expanded the tools and methods by
which artists can become cultural producers in a global arena. From techno-utopian visions to the hypermediation of culture, these ultra-accessible mediums have created an opposing desire for the creation of
tangible relationships to your neighbor, your community, your food, and the social commons. Students will
discuss their personal relationship to these ideas and explore how creative strategies can enhance their
understanding and modify cultural ownership within existing power structures.
2. A paragraph describing how you will assess the students' learning related to this outcome.
This class is a combination of lecture, discussion and studio practice. Students will be responsible
for reading theoretical texts and discussing these texts together in class. Students will be expected to
actively engage with these texts, lectures and the practices they describe by actively contributing via the
Internet to social media sites, micro-blogging sites, and other online archives of media such as YouTube.
Students will be immersed in a variety of technologies, upon which they will draw on technical skills
learned in class to complete their conceptually founded projects. Students will work independently and
collaboratively on projects that take form in public spaces and on the Internet, that are socially engaged,
and interact with the public and the social commons. Students will be required to visit locations off
campus that allow them to re-imagine where and the ways that art can engage the public.
Syllabus
Course and university Policies:
Section 1 - Strategies: lectures and looking
Day 1 - Re-Mix
○ Re-Mix Screenings
○ Appropriation, Sampling, & Mash-ups + Bourriard’s “Post-Production”
Day 2 - Get Famous Quick (or how to use the Internet)
○ Social Media: twitter, facebook, blogs, forums
○ Memes: gifs, youtube, and the “I’m feeling lucky button”
○ Democratic Technology and accessibility
○ Personal Tagging: the # and the @
Day 3 - Subverting the System / Social Collaboration
○ Guerrilla Art / Architecture & Street Art
○ Public Intervention - HOTTEA
○ Social Engineering & Crowd Control: Flash mobs / robs
○ Radio / TV / News / Magazines / Flyers: public media outlets
Section 2 - Mobile Playgrounds : testing and developing
Day 1 - Mobile Technologies
○ Cell Phones / Cameras / Democratic Technology
○ Mobile Computing: Arduino & micro controlling / Electronics as accessibility
○ Mobile Sound / Projections / Light
○ On the Ground: MAW
Day 2 - Public Space and Intermediate Territory
○ Corporate vs Public Ownership
○ The Social Commons and Government Structures
○ Urban Architecture & Public Territories
○ Public vs Private Space
Day 3 - Democratizing & Sharing Knowledge
○ Wikis / copyleft / free software / opensource / linux revolution
○ personal file sharing / free access to the institution
○ alternative education models / free schools
Section 3 - Social Art in Practice: Exploring the Less Explored
Day 1 - Installation: In Between Territories and Placemaking
○
○
○
○
Inflatables
Public Sculpture
Invisible ‘objects’ - Information / Measuring / Architecture/ Borders
Subtle Installation & Im/Permanence
Day 2 - Public Performance
○ Social Sculpture - Crowd Control
○ Public ‘Actions’
○ Northern Spark - Mobile Projections / Sound
○ Amplification, one to many
Day 3 - DIY & Documentation as the artform
○ Zines & Blogs: Analog & Digital Publication
○ Video Documentation
○ VVVVVVersions / re-mix and falsifying your own work
○ The Archive
***************************Entire Syllabi & Ideas*********************************
Syllabus
Course and university Policies:
Section 1 - Strategies: lectures and looking
Day 1 - Re-Mix
○ Media - Re-Mix Docu (http://films.onf.ca/rip-a-remix-manifesto/)
○ http://www.humanities024.com/?page_id=84 / http://newsreel.org/video/BLACKING-UP
○ http://learcenter.org/images/event_uploads/DemersNotes.pdf
○ appropriation - Sherry Levine, Rolling Stones, Bourriard’s “Post-Production”
○ http://www.jeanfrancoischarles.com/2011/11/beyonce-is-one.html
○ Sampling - Cory Archangel
○ mash-ups: Cubism & DangerMouse
Day 2 - get famous quick (or how to use the Internet)
○ Social Media: twitter, facebook, blogs, forums
○ memes: gifs, youtube, and the “I’m feeling lucky button” - Evan Roth
○ Democratic Technology
○ Technology as accessability
○ personal tagging: the # and the @
Day 3 - subverting the system/collaboration
○ Guerrilla Art/Architecture & Street Art
○ Public Intervention / Stickers & Wheatpasting / Posters / Graffitti & Spray Chalk
○ Gaming the System
○ Social Engineering
○ Krowd Kontrol: Flash mobs / robs
○ Radio / TV / News / Magazines / Flyers: public media outlets
Section 2 - Mobile Playgrounds: testing and developing
Day 1 - Mobile Technologies
○ Cell Phones/cameras/democratic media outlet
○
○
○
○
○
○
Mobile Computing
Arduino & micro controlling / Electronics as accessability
mobile projections/sound/power/light/ ipod orchestra
http://www.madridabierto.com/en/artistical-interventions/2008/fernando-llanos.html
megaphone - one to many amplification
Documentation as work - the vehicle - preserving the ephemeral
Day 2 - Public Space and Intermediate Territory
○ Corporate vs Public Ownership - Apple Store - Target
○ The Social Commons and Government Structures -9foot rule - bridge flag hanging - city
hall - parks - occupywall. st
○ audience - passive and engaged
Day 3 - Democratizing Knowledge
○ Wiki
○ copyleft / free software / opensource / linux revolution
○ aaaaarg.org / personal file sharing / free access to the institution
○ alternative education models / free schools - AJ warnick / free makers school / exsco
○ Ustream - LiveStream
Section 3 - social art in practice: exploring the less explored
Day 1 - Installation in the Intermediate Territory and Placemaking
○ Inflatables
○ Public Sculpture
○ Invisible ‘objects’ - Information/ Measuring / Architecture/ Borders
○ subtle installation & permanence
Day 2 - Public Performance
○ Social Sculpture - Wurm / Endress / One-Minute Sculptures
○ Krowd Kontrol
○ Chalking on campus & in public
○ Mobile Projections
Day 3 - DIY & Documentation as an artform
○ Zine - make one Analog & Digital Publication
○ Blog / Tumblr
○ Video Documentation
○ VVVVVVersions / re-mix and falsifying
○ Documentation as work - the vehicle - preserving the ephemeral
______________________________________________________________________________
12/4/11
THEORY>DEVELOPMENT>EXECUTION>HOMEWORK !
TDEH
Syllabus
Course and university Policies:
Section 1 - Re-Mix and Appropriation
Day 1 - Theory: Discussion about Class Expectations (create manifesto?)
○ T: Re-Mix Docu, Have a discussion about sampling, remixing, and appropriation, show
that this is common and part of every one's life today. Presentation of a few artists
(yesmen, cory arcangel, ron english, kutiman, oliverlaric, daniel eatock, Mario Amaya)
Exploitation (rolling stones, elvis), Blaxploitation, Cultural Theft/Colonialism, Dutch
patterning in S.Africa, Robert Ruschenberg, TJ
○ D: Re-Mix your environment: urban landscape - signs and newspapers. Go out into the
world collect items from your surroundings, create a re-mix, paper poems via redaction
○ E: Work on assignment, photoshop, cut and paste, photocopier, in pairs.
○ H: Reading: Bourriard/ Appropriation Book/ post examples of online appropriation and remix to class blog.
○ Introduce section 1 project: Find subject on Internet, re-photograph. make a set (3-5
photographs). Real Life and Internet Mashup/Re-Photography.
Day 2 - Development:
○ T: Discussion of Readings
○ D: Discuss Project/Ideas for section 1 project
○ E: Social Media, create blog/tumblr and social media tools, logo/ identity design for class.
this class as an appropriation of knowledge.
○ H: Finalize project ideas, gather any necessary materials for project (cameras, etc)
complete if not performance based, ready for critique and discussion next class.
Day 3 - Execution:
○ Show Section 1 Project(s)
○ Critique and theory discussion mashup.
○ Make Zines of everyone’s projects, distribute in newspaper boxes.
Section 2 - Democratic technology, Social Structures and Collaboration
Day 1 - Theory:
○ T: Discussion ~ Urban Screen Reader, Conversation Pieces (John Hester), Learning to
Love You More (Harrell Fletcher/Miranda July), Rirkrit Tiravanija, Conflict Kitchen (Jon
Rubin)
○ D: Culture jamming in-class project, pick a business type, go to that business
(coffeeshop)
○ E: Create a place, be it online and in the world, generate collateral for that place, Yelp,
fliers, Google maps etc., use the power of the class to leverage legitimacy - Barbershop?
○ H: Phonetograph (mobile phone photography) post to blog, reading
Day 2 - Development:
○ T: John Ruben, center for the arts in society, Waffle Shop
○ D: Meet with business, find out what they need, make a commercial for YouTube, fliers,
hand painted signage, Internet Promotion
○ E: Split into teams and begin making, talks about approaches and tactics
○ H: Continue daywork with a focus on web and external based project aspects. Social
practice reading (short but relevant to this specific project)
Day 3 - Execution:
○ T:
○ D:
○ E: Working with the business. develop any and all needs that they need met.
○ H: Photograph public spaces that your interested in exploring in the public spaces
section. Reading (francis alÿs?)
Section 3 - Everything is political: Public Space, Performance, Sculpture, Installation
Day 1 - Theory:
○ T: Poetics of space (Gaston Bachelard), Joseph Bueys, Edgar Endress, francis alys
○ D: Highway signage, from protest, to campaigns, to the American flag. Breakout, small
groups, develop concept collaboratively.
○ E: create and place the sign/object/idea/action in the real world, document.
○ H: Reading, Plan next meeting location collaboratively
Day 2 - Development:
○ T: WHERE ARE WE GOING TO GO THIS DAY?
○ D: Public Performances, installations, and interventions, Document
○ E: Bring back to class, discuss
○ H: Reading
Day 3 - Execution:
○ T: Finish All projects!
○ D: Blogs + documentation all finished and up to date.
○ E: University Evaluations
○ H: Course Wrap-Up/Discussion/Group hi-5
■ how do you think about and understand art differently?
*************************************New Final Thing*****************************
Course Description:
MAY TERM WORKSHOP PROPOSAL Form
ARTS 5490 and ARTS 3490
Instructor’s name: Ben Moren and Daniel Dean (co-teach)
Course Title: #makingartintherealworld
Course level: Beginning, Intermediate Workshop ArtS 3490
Number of credits: 3 ( 3 credits = 15 contact hrs/week)
Class meeting schedule: M/F-11am - 4pm, Lab - W-6-10pm
List preferred classroom and required facilities: eStudio REGIS, Laptops from Checkout
List prerequisites if any: none
Materials fee: $20
1. A Student Learning Outcomes
f. Understand the role of creativity, innovation, discovery, and expression across disciplines
g. Have acquired skills for effective citizenship and life-long learning.
In a similar fashion to the way conceptual art expanded the field of art production in the 60’s
and 70’s, the Internet, and democratic technologies like cell phones and digital cameras have further
expanded the tools and methods by which artists can become cultural producers in a global arena. From
techno-utopian visions to the hyper-mediation of culture, these ultra-accessible mediums have created
an opposing desire for the creation of tangible relationships to your neighbor, your community, your food,
and the social commons. Students will discuss their personal relationship to these ideas and explore how
creative strategies can enhance their understanding and modify cultural ownership within existing power
structures.
Through theoretical texts, presentations by visiting artists, illustrated lectures, and artistic
practice, students will apprehend the conceptual framework of social art making and it’s relationship to
the social commons, media, technology and cultural production. The democratization of knowledge and
the Internet have allowed for the evolution of social practices in art. Participatory democratic actions,
social media driven revolutions, flash-mobs, cultural memes, remixing, and appropriation provide an
immense field of practice for today’s artists. Students will individually and collaboratively develop and
make art projects.
2. A paragraph describing how you will assess the students' learning related to this outcome.
This class is a combination of artists presentations, discussion, and studio practice. Students
will be expected to actively engage with assigned texts and the practices they describe by actively
contributing to in-class discussion and online. Students will be responsible for contributing media via the
Internet to social media sites, micro-blogging sites, and other online archives of media such as YouTube.
Students will be introduced to ways in which democratic technologies like cell phones and social media
websites can be used to create or extend conceptually engaging artworks in the real world. Students will
work independently and collaboratively on ephemeral projects that are socially or politically engaged.
These projects may take the form of inflatable sculpture, public performances, hand painted signs,
websites, online photo and video archives. Students will be required to visit locations off campus that
allow them to re-imagine where and what ways art can engage audiences. (*We will meet off campus
minimally ½ of the time.)
3. Course Description
In this may term workshop we will explore the conceptual framework of social art making and it’s
relationship to community, media, technology, and cultural production. The democratization of knowledge
and the Internet have fostered the evolution of social practices in artmaking. Participatory democratic
actions, social media driven revolutions, flash-mobs, cultural memes, remixing, and appropriation provide
an immense field of practice for today’s artists. For 3 weeks we will actively engage in discussing and
creating artworks, individually and collectively, that explore these new and exciting art opportunities. As
we create, we will traverse Minneapolis’ urban landscape, drawing from and adding to our surroundings
as a way to re-imagine where and what ways art can engage audiences. To do this we will meet off
campus most class sessions. A bicycle or Nice Ride is strongly encouraged.
#MARW
Ben Moren - 612-327-7844 - moren151@umn.edu
Daniel Dean - 202-306-5643 - leex5373@umn.edu
Primary Meeting Location at Regis: eStudio/Room W206
Class Website: makingartintherealworld.wordpress.com
Class YouTube account: user: MARWumn / Pass: #MARWumn
Course Description
In this may term workshop we will explore the conceptual framework of social art making and it’s
relationship to community, media, technology, and cultural production. The democratization of knowledge
and the Internet have fostered the evolution of social practices in artmaking. Participatory democratic
actions, social media driven revolutions, flash-mobs, cultural memes, remixing, and appropriation provide
an immense field of practice for today’s artists. For 3 weeks we will actively engage in discussing and
creating artworks, individually and collectively, that explore these new and exciting art opportunities. As
we create, we will traverse Minneapolis’ urban landscape, drawing from and adding to our surroundings
as a way to re-imagine where and what ways art can engage audiences. To do this we will meet off
campus most class sessions. A bicycle or Nice Ride is strongly encouraged.
Course Objectives ::
To develop a personal relationship to digital media and contemporary art by:
1. Introduce students to relevant artists and their participation and influence in contemporary culture
2. Students are expected to make good faith efforts at brainstorming, collective discussions and
agreement and collaboration on in-class projects.
3. Experiencing, discussing, and critically writing/reflecting on socially engaged art, Internet art and
strategies for merging the two.
4. Learning methods and criteria for evaluation and critique of contemporary art practices, as well as an
awareness of global conversations and social issues
5. Conceptualization, development, and realization of art works that are responsive to the realities of the
Internet, social media, and global and local relationships
Some Thoughts on Learning ::
Self-instruction is strongly encouraged as every aspect of what is covered in class is covered more
widely and in more detail on the Interwebs and may also be gleaned in work sessions with your fellow
humans. Curiosity, attention to detail and sharing of information that may assist colleagues is also
strongly encouraged. We will learn from each other in this class and your instructor will work diligently to
create an atmosphere amenable to these endeavors. Collaboration is an effective way to work quickly
and experimentally with other human beings, practice this and remember that everyone can share
ownership of a project and everyones ideas are legitimate, but allow for others to edit your contribution
to an idea. This instructor does not advocate illegal activity such as the use of pirated software, copyright
infringement, or unlawfully obtaining personal data. Similarly, this instructor encourages ethical behavior,
particularly in relation to proper attribution of source material, plagiarism, etc. This instructor does
advocate for experimental use of software, hardware, hacking, and using software, tools or resources in
ways other than the maker intended.
Participation:
1. All Projects are due completed at the beginning of class on due date.
2. The intention of this course is to produce art and to foster open conversations about art and ideas!
There are no "DUMB" comments or questions. It is crucial to the intellectual and artistic atmosphere of the
class that each student participate vocally and add to the knowledge pool of the class. Please feel free to
engage more reserved classmates in discussions and to give others a chance to talk!
3. Though it is not expected that every student is an art major, it is expected that students explore ideas
and process of making art.
4. Students are expected to draw conceptual relationships and connections between their art work and
the ideas they are exploring in other art processes.
Materials:
●
●
●
Cellphone w camera/Smartphone
Digital Point & Shoot Camera
Bicycle
*A Laptop or smartphone is Strongly Encouraged.
Course Requirements:
1. On critique days noted on syllabus, each student must verbally present their work and thoughtfully
discuss it in a critical context with classmates.
2. Students may be required to upload completed projects online to destinations directed by the instructor
(e.g. Soundcloud, media mill, vimeo, etc.) and share the project link with the instructor via email, or as a
link in your reflection on the project posted on the class blog .
3. Attendance, both mental and physical, and thoughtful participation in all aspects of class discussions
and critiques
4. Completion of all assigned projects, reading and writings on respective due dates, this includes wany
writings requested or contributions to online websites as assigned by your instructor
5. Be resourceful and share knowledge with your classmates
6. Be civil and curious because it’s human
7. Be thoughtful & respectful to others in this class - because we’re all learning here
Communications:
All out of class communications (eg... cancelled classes, meetings, announcements) will be done via the
address you provide on the first day of class, you are responsible for checking this email, as well as other
modes of class communication frequently (more than once per day). This will be the primary way to tell
you what is going on, where we are meeting, and if there is a special circumstance that effects class. eg.
rain, with a location change, class cancellations, etc. remember you are required to attend all classes ~ I
didn’t know where I was supposed to go is not a valid excuse.
Attendance:
1. You must attend all class sessions. Each day missed will equal one letter grade lost. ie. 1 missed class
= drop from A to B (Due to the compressed nature of may term, realize that missing 1 class period is
really like missing 3 classes during the regular semester.)
2. There are no unexcused absences (If you are seriously ill, or an family member dies, we will excuse
you. (Documentation, documents, or proof is required for make-up credit opportunities)
3. Due to the mobile nature of this class, if you are tardy, you may not be able to catch up to the class.
We will provide you with our phone numbers in case extenuating circumstances prevent you from
meeting us at the appointed time/place. You must contact us!
4. no pain, no gain
Grading breakdown:
50% projects
50% in-class work (discussions, in-class exercises, readings, etc.)
University Grading Standards:
A: Achievement that is outstanding relative to the level necessary to meet the course requirements.
B: Achievement that is significantly above the level necessary to meet the course requirements.
C: Achievement that meets the course requirements.
D: achievement is worthy of credit even though it does not meet the course requirements.
S: Achievement that is satisfactory and equivalent to a C- or higher.
F/N: Represents failure (no credit) and signifies that the work was either (1) completed but at a level of
achievement that was not worthy of credit or (2) was not completed and there was no agreement between
the instructor and student that the student would be awarded an “I”.
“I”: Incomplete – assigned at the discretion of the instructor when due to extra-ordinary circumstances,
e.g. hospitalization, a student is prevented from completing the work on time. Requires a written
agreement between the instructor and the student.
For more details on the University Grading Policies, visit http://policy.umn.edu/Policies/Education/
Education/GRADINGTRANSCRIPTS.html
Academic Dishonesty:
Academic dishonesty for any portion of the academic work for a course shall be grounds for awarding a
grade of F or N for the entire course. When another academic, creative or copyrighted work is used in
whole or part of your artistic production, it must be noted to your instructor.
Frequently Asked Questions pertaining to scholastic dishonesty: http://www1.umn.edu/oscai/integrity/
student/index.html. If you have additional questions, please clarify with your instructor for the course. Your
instructor can respond to your specific questions regarding what would constitute scholastic dishonesty
in the context of a particular class-e.g., whether collaboration on assignments is permitted, requirements
and methods for citing sources, if electronic aids are permitted or prohibited during an exam.
Student Conduct Code:
http://www1.umn.edu/regents/policies/academic/Student_Conduct_Code.html)
For additional information, please see:http://policy.umn.edu/Policies/Education/Education/
INSTRUCTORRESP.html.
Student Conduct Code:
The University seeks an environment that promotes academic achievement and integrity, that is
protective of free inquiry, and that serves the educational mission of the University. Similarly, the
University seeks a community that is free from violence, threats, and intimidation; that is respectful of the
rights, opportunities, and welfare of students, faculty, staff, and guests of the University; and that does not
threaten the physical or mental health or safety of members of the University community.
As a student at the University you are expected adhere to Board of Regents Policy: Student Conduct
Code. To review the Student Conduct Code, please see: http://www1.umn.edu/regents/policies/academic/
Student_Conduct_Code.html
Disruptive Conduct:
All activities in the University, including this course, are governed by the University of Minnesota Student
Conduct Code. Students who engage in behavior that disrupts the learning environment for others may
be subject to disciplinary action under the Code. In addition, students responsible for such behavior may
be asked to cancel their registration (or have their registration cancelled).
Credits and Workload Expectations:
For the undergraduate courses, one credit is defined as equivalent to an average of three hours of
learning effort per week (over a full semester) necessary for an average student to achieve an average
grade in the course. Students taking a four credit Studio Art course that meets for 6 hours a week would
expect to spend 12 hours per week outside of the classroom. For your own safety and that of others, do
not prop doors or open the door for anyone after hours.
Regis Center Info ~
BUILDING HOURS, SECURITY AND GENERAL POLICIES ::
[+] The Department of Art’s Regis Center is open to undergraduate students Monday through Friday, 7 am to 11
pm and Saturday 7 am to 8 pm. The building is closed Sundays. A security monitor patrols the Regis Center from
11 pm to 2 am, Monday through Saturday. Undergrads needing to work beyond 11 pm must be in the building
at 11 pm with a signed after-hours pass. At least 2 students must work together in the same area to obtain an
after-hours pass. Undergrads are not allowed in the Regis Center after 2 am or on Sundays. The security monitor
enforces this policy.
Computer based things and Info:
Connecting to Server In the finder menu bar > Go > Connect to Server > artserve.cla.umn. edu > affiliate1
NEVER WORK DIRECTLY OFF OF THE SERVER, ALWAYS DOWNLOAD FILES TO YOUR DESKTOP,
THEN OPEN THEM. If you do not do this, there is a good chance the server will crash on you and you will
lose all of your work.
Art Department Equipment Checkout: https://secure.cla.umn.edu/checkout/art/index.php Theater
Department equipment checkout/studio reservation: http://studios.cla.umn.edu/ Media Mill: http://
mediamill.cla.umn.edu/mediamill/
umn personal file, storage server: http://www1.umn.edu/adcs/guides/accounts/ filetransfer.html umn
personal website guide: http://www1.umn.edu/adcs/help/webpage.html
Equipment Checkout locations and online resources. *Doublecheck hours as they are
subject to change as the semester gets underway
Art Department Equipment: http://checkout.art.umn.edu
Digital Service Bureau Printing: http://checkout.dsb.umn.edu
CLA Rarig Equipment: https://claoit.umn.edu/checkout/studios/index.php
Art Dept. Checkout – Hours & Rules
Equipment Checkout: W139 Regis Art Center – 612.625.9532
Hours of Operation
Monday – Thursday
9:00am – 9:45pm
Friday:
9:00am – 5:45pm
Saturday:
10:00am – 4:45pm
Reservation Restrictions
Checkouts must be at least 30 minutes long and no longer than 2 days.
There must be at least 15 minutes between reservations for processing.
Reservations can be submitted up to 2 weeks in advance.
You can have at most 5 reservations scheduled per day and a maximum of
5 active reservations at a time.
Items must be checked out within 1 hour of the scheduled pickup time or
the reservation will be canceled.
Users are limited to 1 camera per checkout.
User Responsibility
+Users are financially responsible for equipment that is lost, stolen, or damaged, while
checked out in their name. Replacement or repair cost may be placed on the user’s
student account.
+Users are responsible for returning their equipment at their scheduled return time.
Overdue Equipment Policy
+Users who are habitually late returning equipment or return equipment more than 24
hours late may be banned from using equipment checkout.
CLA Equipment Checkout at Rarig Center
In addition to the video equipment available from the Art Dept, there are cameras and
other equipment available from the College of Liberal Arts. The gear is located in CLA
TV studios on the 5th floor of Rarig Center. Browse the available equipment and make
reservations at
https://claoit.umn.edu/checkout/studios/index.php
Printing at the Digital Service Bureau (DSB)
DSB Online Workstation Reservations
checkout.dsb.umn.edu
W 138 Regis Center for Art
612-626-4196
****Hours of Operation
There are currently NO office hours.
Reservation Restrictions
• User may book a piece of equipment up to 10 hours per week.
• Reservations can be booked online up to 2 weeks in advance.
• 15 minutes is required between reservations for processing.
• Reservations can be made in 30min, 45min, and 1 hour slots, with up to 2
reservations back-to-back for small format or 3 for large format printers.
• Users must be present within 10 minutes of their reservation time or their
reservation will be canceled.
User Responsibility
• Users are responsible for finishing using the workstations at their
scheduled reservation end time, this includes prints being completed by
the printers. The larger the print the longer the printer takes to print it.
• All prints will be paid for at the time of printing, either by a class fee (for
students in photo classes) or pay-as-you-go. For pay-as-you-go the DSB
technicians will supply students with a bill that must be paid at the photo
crib before the prints can be taken from the DSB.
The DSB makes every effort to make sure the equipment is running properly. If
there is a problem please bring it to the attendant’s attention immediately.
See our blog to answer all your questions and more:
http://blog.lib.umn.edu/dsb/dsb/
Or contact your DSB team:
612-626-4196
dsb@umn.edu