Art assignment
Course Code: MDIA 3230 -OL
Course Name: Ideas and Process
Semester/ Year: WINTER 2021
Day/ Time/ Room: ONLINE
Instructors Name: anna sprague
Instructors Contact Informa;on: (902) 223 5212
Office Loca;on/Hours:
Prerequisite(s)/Corequisite(s):
12 Credits chosen from: PHOT-2001, PNTG-2000, DRAW-2000,SCLP-2000, 2000 level PRTM, FILM-2501, MDIA-2701
6 Credits AHIS, including AHIS-2020
Credit Value: 6 credits
Course Descrip;on:
This studio class engages students in research, wriSng, collecSng, using inventories and
archives, generaSng sketch work, and collaboraSng. Students will examine contemporary art
pracSces and criScal and theoreScal wriSng, and will work across media on studio projects.
Working collaboraSvely within a virtual sphere, students will parScipate in a series of studio
based projects that explore language, performance, drawn or photographed imagery, video,
digital intervenSon, or sonic exploraSons.
Learning Outcomes*:
Upon successful compleSon of this course the student will demonstrate the ability to:
1. to pursue an open approach to art pracSce that crosses disciplines and media
MDIA 3230 – Ideas and Process
2. to view art pracSce as an area of play and experimenta;on
3. to emphasize ideas, performance, process and documenta;on
4. to situate intermedia art pracSces in an art historical context
5. to introduce key Canadian and interna;onal contemporary ar;sts using intermedia strategies
6. to insSl confidence to pursue an experimental art pracSce that is not confined by any one medium, category or discipline
*Please note that each Learning Outcome must be successfully achieved before a final grade for the course is assigned
Student Workload:
Total student workload for a 6 credit course is esSmated to be 18 hours/week.
Course Format:
To accommodate NSCADs decision to conSnue with remote learning for the Winter 2021
semester, the course content for MDIA 3230 Ideas and Process will be delivered enSrely on the
Brightspace Placorm. Brightspace Discussion Groups, weekly 2 hour virtual classroom sessions,
and bi-weekly small group tutorial sessions will provide students with an engaging and
interacSve learning environment. This course is designed with accessibility in mind – It promotes
resourcefulness and divergent thinking while being sensiSve to alternaSve modes of learning
and limited access to material/specialized resources. Projects are centred around language, idea
generaSon, and process driven art pracSces. The course will be structured so that assignments
can be done safely from arSsts homes/locaSon and will not require highly specialized supplies
or equipment.
MDIA 3230 Ideas and Process will be delivered through a blend of synchronous and
asynchronous teaching. Students will be grouped or paired for some class work in order to allow
them the opportunity to get to know their classmates and develop the important peer
interacSons that would happen naturally in face to face teaching. This course will be delivered
in weekly modules that mirror the pace of studio instrucSon and are appropriate to a 6 credit
studio course. Discussion forums and online criSque groups will be used to help students
develop skills for construcSve criScal discourse and encourage the integraSon of radical new
processes into their studio pracSces.
Course Requirements, Resources, Materials:
Anything. Everything. Nothing. Access to digital camera, tripod, basic video and /or audio
ediSng soeware, laptop
Anything. Everything. Nothing
The materials that you require will be dependant on your own unique studio pracSce. If you are
currently in Halifax you are free to borrow A.V equipment from MulS Media – InformaSon
about bookings and available resources can be found here: hgps://mulSmedia.nscad.ns.ca/
https://multimedia.nscad.ns.ca/
NSCAD AVendance Policy:
Class agendance at NSCAD is expected. Absences could result in lowered or failing grades.
Absences may require the student to make up the content missed before being allowed
entrance to future classes (e.g. safety knowledge for shop, studio). Any absences must be
addressed with the course instructor who may request supporSng documentaSon. Please refer
to Agendance Policy found on Page 14 of NSCAD Academic Calendar and NSCAD webpage.
Instructors may adapt a more specific agendance policy that could influence the final grade for
this course.
NSCAD University Occupa;onal Health and Safety Policy:
Here are some things that I keep on hand in my art toolbox:
digital camera & tripod
mobile phone
basic video/image/audio ediSng soeware
sketchbook/journal/post-it notes
coloured markers, pencils
a variety of different tapes
various sewing needles, threads
wire and pliers
cardboard, paper
drill
uSlity knife
hot glue gun and glue sScks
a wide ranging collecSon of strange salvaged materials
designated clean work space for arrangement, shooSng video and documenSng work.
At NSCAD safety is a priority. All students are required to obtain and maintain up-to-date safety
(WHMIS) cerSficaSon. An on-line Brightspace cerSficaSon process is available to all NSCAD
students.
Please note that your NSCAD ID card needs an up-to-date Health and Safety (WHMIS) sScker to
access shops and studios, and for Security to permit you access to the university campus sites
aeer hours. WHMIS training is provided online through students Brightspace account.
Evalua;on Criteria:
Grading System:
Leger Grade Numeric Equivalent Grade Point Score DescripSve
A+ 95+ 4.3 excellent A 90-94 4.0 excellent A- 85-89 3.7 very good B+ 80-84 3.3 very good B 73-79 3.0 good
ATTENDANCE 15%
PARTICIPATION engagement in mini tutorials
SKILL? ?SWAP + workshops
Discussion Groups
collaboraSve projects
15%
CALL/RESPONSE 5%
HYPOTHETICAL – BI-WEEKLY SUBMISSIONS 15%
TRANSLATION PROJECTS (x2) 15%
EXCHANGE MENTORship 5%
ART PARENTS 20%
Assembling visual materials + artist talk 5%
Final document 15%
COLLABORATIVE GROUP SHOWCASE 10%
B- 67-72 2.7 good C+ 63-66 2.3 saSsfactory C 59-62 2.0 saSsfactory C- 55-58 1.7 saSsfactory D 50-54 1.0 marginal F (fail) 49 or below 0.0 unsaSsfactory AUD n / a n / a Audit INC n / a n / a Incomplete
Academic Integrity:
A climate and culture of academic integrity is an expectaSon of everyone. Students at NSCAD
are required to comply with standard academic pracSces in acknowledging sources in all work
presented for academic credit. Please refer to the NSCAD Academic Calendar for the full
descripSon and regulaSons on Academic Integrity and Plagiarism.
Wri;ng Centre:
The NSCAD WriSng Centre in S403 offers professional tutoring for any kind of wrigen
assignment, at any level of study, at any stage of the work. Please see the WriSng Centre web
page for more informaSon and booking online at hgps://navigator.nscad.ca/wordpress/home/
studentresources/the-wriSng-centre/
Accessibility Policy:
AccommodaSons can be arranged for disability-related needs by consulSng Bill Travis, Disability
Resource Facilitator, in the Office of Student Experience (902-494-8313) within the first two
weeks of class. Please refer to the NSCAD Academic Calendar for full details in AccommodaSons
for Students Experiencing DisabiliSes, or visit the NSAD Wellness Centre at: hgps://
wellness.nscad.ca.
Spiritual/ Religious Observance:
Requests for accommodaSons for spiritual or religious observances must be presented in
wriSng to the instructor within the first two weeks of class.
https://navigator.nscad.ca/wordpress/home/studentresources/the-writing-centre/
https://navigator.nscad.ca/wordpress/home/studentresources/the-writing-centre/
https://wellness.nscad.ca
https://wellness.nscad.ca
*Please note that each Learning Outcome must be successfully achieved before a final grade for
the course is assigned
PROJECT DESCRIPTIONS
ART PARENTS (20%)
This will be the first and most significant document to be generated from this course. In order
to understand where you are going, it is important to understand where you have come from.
In an agempt to locate the creaSve impulses and influences in your studio pracSce, each arSst
will give a 30-40 minute presentaSon of their work to date – footnoSng each work to a
significant moSvaSng influence. These footnotes may be from art history, pop culture, visual
research, or lived experiences. They can be images, collected data, citaSons, musical
composiSons, choreography, etc. The idea being that by the end of the term each person will
have a kniged web of connected influences that physically chart the importance of referencing
and inadvertent collaboraSon. It is a way of highlighSng and locaSng the smallest of elements
in the complex process of arSsSc decision making. It is a way of celebraSng both the complexity
and mundaneness of the creaSve act.
These citaSons should be considered like a drop down menu. There may be many references
for one specific piece, or certain influences that apply to an enSre suite of works. Alongside of
these references you will also be asked to include a short series of connected lucid thoughts.
This text need not be academic in tone; it may be more creaSve or poeSc in nature. If done
with honestly and close reflecSon, this final text will serve to document this parScular moment
in your art pracSce – In years to come, this document will funcSon as a way to define the iniSal
arch of your own personal growth and arSsSc voice.
CALL AND RESPONSE (5%)
Select one art piece from a colleagues body of work. Provide a variaSon on this work change the medium, alter the context, appropriate imagery, but maintain the senSment and fundamental components of the work as an homage. Is there a way that your voice can enter into the work of another?
TRANSLATION PROJECTS (15%)
Write a haiku or sesSna, hand it to an another arSst. They will agempt to translate the content
of the haiku and rhyme scheme into a digital or visual format.
HYPOTHETICAL – BI-WEEKLY SUBMISSIONS (15%)
The class will be divided into two groups; AlternaSng bi-weekly, arSsts from groups A or B will
submit hypotheScal project proposals for specific locaSons/contexts. Illustrated through
collaged imagery, background historical research, drawn sketches, wrigen descripSons,
Marqueges, or fabricated documentaSon, arSsts will proposed projects that free are from
restricSons of access, budgets, or skill/material limitaSons. These sketches will be shared in
Discussion Groups that will allow others to view and comment on these hypotheScal (perhaps
even preposterous) proposals.
Each week you will be asked to either submit a proposal or respond to those made by your
colleagues. You are encouraged to really extend, bend, (re)interpret, and stretch your ideas in
search of alternate meanings and conceptual (in)significance. The works may take any shape or
form and may use any number of blended arSsSc/nonarSsSc approaches. These projects are
designed to challenge the scope of your art pracSce while also preparing you for future grant
wriSng or project proposals.
EXCHANGE MENTORship (5%)
Throughout the semester Ideas and Process arSsts will be partnered up with EXPANDED
MEDIA 1000 arSsts mentors will work with small groups of FoundaSon students (1 I&P
student per 3 or 4 MDIA 1000 students depending on class sizes). The nature of these
mentorships will be negoSated and defined at the start of the semester.
COLLABORATIVE GROUP SHOWCASE (10%)
At the crux of a significant moment of global and insStuSonal shie, arSsts will collaboraSvely
embrace the radical spirit of Dada. Dada sSmulates a very basic human desire for protest. It
rejects circumstance. It quesSons. It disrupts from within in a way that those who are being
quesSoned do not recognize. It unleashes its power through play while disguised as a fool. It is
lautgadicht. It is nonsense. It is direcSonless ridicule aimed at everything.
dadahobbyhorse, dadanurse, dadagood-bye, dadayes, indeed, you are right, that’s it. But of course, yes, definitely, right, dadadads, dadasyntax, dadaspecifics, dadadirecSon, dadaoutcomes, dadapictorial, dadaacceptance, dadadialecScs dadaplasSc, dadaplanning, dadafootnotes, dadacuraSon, dadadocumentaSon, dadatrauma, dadacompleSon dadacontentment, dadaacceptance, dadahistory, dadanothing
Dada resonates in anS-anything: resistancedada, fuSledada, empSnessdada, nowdada, protestdada, chancedada, damagedada, rupturedada, rapturedada, grotesquedada, cutandpastedada, inconsistentdada, desiredada, resigndada,
todaydada is a poem wrigen with jetsam from the internet:
finite banana curse ambivalent headlock system circuitry blubber trauma beefcake annihilate fancy page bang hazard arbitrary
anybody data daddy dust gimmick killjoy maximum eraser ache empathic process curious parade collision
enter
enter
reverse berserker public ant empty system zipper baron modern fluent series fracture destrucSve bruSsh futurisSc pork levitaSng magic
end
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Business & Finance
Chemistry
Computer Science
Geography
Geology
Education
Engineering
English
Environmental science
Spanish
Government
History
Human Resource Management
Information Systems
Law
Literature
Mathematics
Nursing
Physics
Political Science
Psychology
Reading
Science
Social Science
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MDIA3230-IdeasandProcessW2021.pdf
Home>Architecture and Design homework help>art assignment
Course Code: MDIA 3230 -OL
Course Name: Ideas and Process
Semester/ Year: WINTER 2021
Day/ Time/ Room: ONLINE
Instructors Name: anna sprague
Instructors Contact Informa;on: (902) 223 5212
Office Loca;on/Hours:
Prerequisite(s)/Corequisite(s):
12 Credits chosen from: PHOT-2001, PNTG-2000, DRAW-2000,SCLP-2000, 2000 level PRTM, FILM-2501, MDIA-2701
6 Credits AHIS, including AHIS-2020
Credit Value: 6 credits
Course Descrip;on:
This studio class engages students in research, wriSng, collecSng, using inventories and
archives, generaSng sketch work, and collaboraSng. Students will examine contemporary art
pracSces and criScal and theoreScal wriSng, and will work across media on studio projects.
Working collaboraSvely within a virtual sphere, students will parScipate in a series of studio
based projects that explore language, performance, drawn or photographed imagery, video,
digital intervenSon, or sonic exploraSons.
Learning Outcomes*:
Upon successful compleSon of this course the student will demonstrate the ability to:
1. to pursue an open approach to art pracSce that crosses disciplines and media
MDIA 3230 – Ideas and Process
2. to view art pracSce as an area of play and experimenta;on
3. to emphasize ideas, performance, process and documenta;on
4. to situate intermedia art pracSces in an art historical context
5. to introduce key Canadian and interna;onal contemporary ar;sts using intermedia strategies
6. to insSl confidence to pursue an experimental art pracSce that is not confined by any one medium, category or discipline
*Please note that each Learning Outcome must be successfully achieved before a final grade for the course is assigned
Student Workload:
Total student workload for a 6 credit course is esSmated to be 18 hours/week.
Course Format:
To accommodate NSCADs decision to conSnue with remote learning for the Winter 2021
semester, the course content for MDIA 3230 Ideas and Process will be delivered enSrely on the
Brightspace Placorm. Brightspace Discussion Groups, weekly 2 hour virtual classroom sessions,
and bi-weekly small group tutorial sessions will provide students with an engaging and
interacSve learning environment. This course is designed with accessibility in mind – It promotes
resourcefulness and divergent thinking while being sensiSve to alternaSve modes of learning
and limited access to material/specialized resources. Projects are centred around language, idea
generaSon, and process driven art pracSces. The course will be structured so that assignments
can be done safely from arSsts homes/locaSon and will not require highly specialized supplies
or equipment.
MDIA 3230 Ideas and Process will be delivered through a blend of synchronous and
asynchronous teaching. Students will be grouped or paired for some class work in order to allow
them the opportunity to get to know their classmates and develop the important peer
interacSons that would happen naturally in face to face teaching. This course will be delivered
in weekly modules that mirror the pace of studio instrucSon and are appropriate to a 6 credit
studio course. Discussion forums and online criSque groups will be used to help students
develop skills for construcSve criScal discourse and encourage the integraSon of radical new
processes into their studio pracSces.
Course Requirements, Resources, Materials:
Anything. Everything. Nothing. Access to digital camera, tripod, basic video and /or audio
ediSng soeware, laptop
Anything. Everything. Nothing
The materials that you require will be dependant on your own unique studio pracSce. If you are
currently in Halifax you are free to borrow A.V equipment from MulS Media – InformaSon
about bookings and available resources can be found here: hgps://mulSmedia.nscad.ns.ca/
https://multimedia.nscad.ns.ca/
NSCAD AVendance Policy:
Class agendance at NSCAD is expected. Absences could result in lowered or failing grades.
Absences may require the student to make up the content missed before being allowed
entrance to future classes (e.g. safety knowledge for shop, studio). Any absences must be
addressed with the course instructor who may request supporSng documentaSon. Please refer
to Agendance Policy found on Page 14 of NSCAD Academic Calendar and NSCAD webpage.
Instructors may adapt a more specific agendance policy that could influence the final grade for
this course.
NSCAD University Occupa;onal Health and Safety Policy:
Here are some things that I keep on hand in my art toolbox:
digital camera & tripod
mobile phone
basic video/image/audio ediSng soeware
sketchbook/journal/post-it notes
coloured markers, pencils
a variety of different tapes
various sewing needles, threads
wire and pliers
cardboard, paper
drill
uSlity knife
hot glue gun and glue sScks
a wide ranging collecSon of strange salvaged materials
designated clean work space for arrangement, shooSng video and documenSng work.
At NSCAD safety is a priority. All students are required to obtain and maintain up-to-date safety
(WHMIS) cerSficaSon. An on-line Brightspace cerSficaSon process is available to all NSCAD
students.
Please note that your NSCAD ID card needs an up-to-date Health and Safety (WHMIS) sScker to
access shops and studios, and for Security to permit you access to the university campus sites
aeer hours. WHMIS training is provided online through students Brightspace account.
Evalua;on Criteria:
Grading System:
Leger Grade Numeric Equivalent Grade Point Score DescripSve
A+ 95+ 4.3 excellent A 90-94 4.0 excellent A- 85-89 3.7 very good B+ 80-84 3.3 very good B 73-79 3.0 good
ATTENDANCE 15%
PARTICIPATION engagement in mini tutorials
SKILL? ?SWAP + workshops
Discussion Groups
collaboraSve projects
15%
CALL/RESPONSE 5%
HYPOTHETICAL – BI-WEEKLY SUBMISSIONS 15%
TRANSLATION PROJECTS (x2) 15%
EXCHANGE MENTORship 5%
ART PARENTS 20%
Assembling visual materials + artist talk 5%
Final document 15%
COLLABORATIVE GROUP SHOWCASE 10%
B- 67-72 2.7 good C+ 63-66 2.3 saSsfactory C 59-62 2.0 saSsfactory C- 55-58 1.7 saSsfactory D 50-54 1.0 marginal F (fail) 49 or below 0.0 unsaSsfactory AUD n / a n / a Audit INC n / a n / a Incomplete
Academic Integrity:
A climate and culture of academic integrity is an expectaSon of everyone. Students at NSCAD
are required to comply with standard academic pracSces in acknowledging sources in all work
presented for academic credit. Please refer to the NSCAD Academic Calendar for the full
descripSon and regulaSons on Academic Integrity and Plagiarism.
Wri;ng Centre:
The NSCAD WriSng Centre in S403 offers professional tutoring for any kind of wrigen
assignment, at any level of study, at any stage of the work. Please see the WriSng Centre web
page for more informaSon and booking online at hgps://navigator.nscad.ca/wordpress/home/
studentresources/the-wriSng-centre/
Accessibility Policy:
AccommodaSons can be arranged for disability-related needs by consulSng Bill Travis, Disability
Resource Facilitator, in the Office of Student Experience (902-494-8313) within the first two
weeks of class. Please refer to the NSCAD Academic Calendar for full details in AccommodaSons
for Students Experiencing DisabiliSes, or visit the NSAD Wellness Centre at: hgps://
wellness.nscad.ca.
Spiritual/ Religious Observance:
Requests for accommodaSons for spiritual or religious observances must be presented in
wriSng to the instructor within the first two weeks of class.
https://navigator.nscad.ca/wordpress/home/studentresources/the-writing-centre/
https://navigator.nscad.ca/wordpress/home/studentresources/the-writing-centre/
https://wellness.nscad.ca
https://wellness.nscad.ca
*Please note that each Learning Outcome must be successfully achieved before a final grade for
the course is assigned
PROJECT DESCRIPTIONS
ART PARENTS (20%)
This will be the first and most significant document to be generated from this course. In order
to understand where you are going, it is important to understand where you have come from.
In an agempt to locate the creaSve impulses and influences in your studio pracSce, each arSst
will give a 30-40 minute presentaSon of their work to date – footnoSng each work to a
significant moSvaSng influence. These footnotes may be from art history, pop culture, visual
research, or lived experiences. They can be images, collected data, citaSons, musical
composiSons, choreography, etc. The idea being that by the end of the term each person will
have a kniged web of connected influences that physically chart the importance of referencing
and inadvertent collaboraSon. It is a way of highlighSng and locaSng the smallest of elements
in the complex process of arSsSc decision making. It is a way of celebraSng both the complexity
and mundaneness of the creaSve act.
These citaSons should be considered like a drop down menu. There may be many references
for one specific piece, or certain influences that apply to an enSre suite of works. Alongside of
these references you will also be asked to include a short series of connected lucid thoughts.
This text need not be academic in tone; it may be more creaSve or poeSc in nature. If done
with honestly and close reflecSon, this final text will serve to document this parScular moment
in your art pracSce – In years to come, this document will funcSon as a way to define the iniSal
arch of your own personal growth and arSsSc voice.
CALL AND RESPONSE (5%)
Select one art piece from a colleagues body of work. Provide a variaSon on this work change the medium, alter the context, appropriate imagery, but maintain the senSment and fundamental components of the work as an homage. Is there a way that your voice can enter into the work of another?
TRANSLATION PROJECTS (15%)
Write a haiku or sesSna, hand it to an another arSst. They will agempt to translate the content
of the haiku and rhyme scheme into a digital or visual format.
HYPOTHETICAL – BI-WEEKLY SUBMISSIONS (15%)
The class will be divided into two groups; AlternaSng bi-weekly, arSsts from groups A or B will
submit hypotheScal project proposals for specific locaSons/contexts. Illustrated through
collaged imagery, background historical research, drawn sketches, wrigen descripSons,
Marqueges, or fabricated documentaSon, arSsts will proposed projects that free are from
restricSons of access, budgets, or skill/material limitaSons. These sketches will be shared in
Discussion Groups that will allow others to view and comment on these hypotheScal (perhaps
even preposterous) proposals.
Each week you will be asked to either submit a proposal or respond to those made by your
colleagues. You are encouraged to really extend, bend, (re)interpret, and stretch your ideas in
search of alternate meanings and conceptual (in)significance. The works may take any shape or
form and may use any number of blended arSsSc/nonarSsSc approaches. These projects are
designed to challenge the scope of your art pracSce while also preparing you for future grant
wriSng or project proposals.
EXCHANGE MENTORship (5%)
Throughout the semester Ideas and Process arSsts will be partnered up with EXPANDED
MEDIA 1000 arSsts mentors will work with small groups of FoundaSon students (1 I&P
student per 3 or 4 MDIA 1000 students depending on class sizes). The nature of these
mentorships will be negoSated and defined at the start of the semester.
COLLABORATIVE GROUP SHOWCASE (10%)
At the crux of a significant moment of global and insStuSonal shie, arSsts will collaboraSvely
embrace the radical spirit of Dada. Dada sSmulates a very basic human desire for protest. It
rejects circumstance. It quesSons. It disrupts from within in a way that those who are being
quesSoned do not recognize. It unleashes its power through play while disguised as a fool. It is
lautgadicht. It is nonsense. It is direcSonless ridicule aimed at everything.
dadahobbyhorse, dadanurse, dadagood-bye, dadayes, indeed, you are right, that’s it. But of course, yes, definitely, right, dadadads, dadasyntax, dadaspecifics, dadadirecSon, dadaoutcomes, dadapictorial, dadaacceptance, dadadialecScs dadaplasSc, dadaplanning, dadafootnotes, dadacuraSon, dadadocumentaSon, dadatrauma, dadacompleSon dadacontentment, dadaacceptance, dadahistory, dadanothing
Dada resonates in anS-anything: resistancedada, fuSledada, empSnessdada, nowdada, protestdada, chancedada, damagedada, rupturedada, rapturedada, grotesquedada, cutandpastedada, inconsistentdada, desiredada, resigndada,
todaydada is a poem wrigen with jetsam from the internet:
finite banana curse ambivalent headlock system circuitry blubber trauma beefcake annihilate fancy page bang hazard arbitrary
anybody data daddy dust gimmick killjoy maximum eraser ache empathic process curious parade collision
enter
enter
reverse berserker public ant empty system zipper baron modern fluent series fracture destrucSve bruSsh futurisSc pork levitaSng magic
end
Applied Sciences
Architecture and Design
Biology
Business & Finance
Chemistry
Computer Science
Geography
Geology
Education
Engineering
English
Environmental science
Spanish
Government
History
Human Resource Management
Information Systems
Law
Literature
Mathematics
Nursing
Physics
Political Science
Psychology
Reading
Science
Social Science
Home
Homework Answers
Blog
Archive
Tags
Reviews
Contact
twitterfacebook
Copyright © 2021 SweetStudy.com
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