ART COURSES AT SUDAC AND ELECTRONIC MEDIA LAB

STANFORD UNIVERSITY DEPARTMENT OF ART + ART HISTORY
2004 2005
 

 

FALL 2004


still from Michael Trigilio's Untitled Book Series, ("Book 2") (2001 - 2004) ,

 Experimental Video I

Students create single-channel video works. A variety of conceptual, formal, and performance-based approaches to the medium are explored. Screenings and readings introduce the history of experimental video since the 70's, how it has been influenced by various strains of experimental film which preceded it, and by minimalism, conceptual art, and performance art. Technical topics: camera movement, lighting, non-linear digital editing.

Fall, MW 10:00-11:50, Cummings Art Building, Room 127, Trigilio

Excerpt from web page Media Microtext: An Anthropological Study, Jo Khamky, 2003		 Digital Media I

Introduction to contemporary electronic art, focusing on digital media. Students create works exploring two-dimensional, three-dimensional, and time-based uses of the computer in fine art. Readings, discussions & viewings address contemporary electronic art and its history and theoretical underpinnings, as a means of creating a common discourse and as an informative resource for material and inspiration. Technical topics: imaging and sound software, hypertext, hardware concerns, and peripherals will be addressed.

Fall, TTh 1:15-3:05, Cummings Art Building, Room 127, Wight
  Electronic Art I

Introduction to the use of analog electronics in contemporary art practice. Course builds familiarity with essential electrical components and their practical use in artworks. Students will create art that employs simple electronics. Readings, viewings, and field trips establish a context for contemporary electronic art.
Technical topics: soldering, construction of simple circuits, elementary electronics theory.

Fall, TTH 4:15-6:05, Cummings Art Building, Room 127, Wight
  Sound Art I

Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art.

Fall, MW 1:15-3:05, Cummings Art Building, Room 204, DeMarinis
 

 

 

WINTER 2005

Untitled (once), oil on 5' x 6' canvas with 13min video projection in loop, Claudia X. Valdes 2002

Experimental Video II
Advanced work in video practice, criticism and contemporary media theory investigating the time-image. Students in the 2005 session will create multi-channel works, explore architecturally site-specific responses, the integration of video with traditional art media such as sculpture and painting, and employ live streaming video for a collaborative closed-circuit network performance. Prerequisite: Experimental Video I or consent of instructor.

Winter, time TBA, Cummings Art Building, Room 127, Valdes

Excerpt from web page My Name is Jonathan, Jonathan Vorm, 2003		 Web Projects

Students will create art works using the Internet as a medium. Examining ways the web has been conceptualized during its brief history-- as a mutable archive, as a multitude of communities, as a performance space, and as a medium through which one may perceive, act, and understand at a distance. Interactive artworks will be created using tools such as Dreamweaver, Flash, HTML, and PHP.

Winter, MW 1:15-3:05, Cummings Art Building, Room 127, Wight
 

Interactive Art I: Objects (formerly Inscription Technologies)

An introduction to making responsive artworks that incorporate sensors, electronics microprocessors,   motors, light and sound. Students will learn to apply a variety of technologies including Lego Mindstorms,   Basic Stamps, and the MAX programming environment to create standalone interactive objects. A number   of assignments and individual projects will be used to advance skills and promote a theoretical curiosity   about the consequences of requiring a work of art to do something.

Winter, time TBA, Cummings Art Building, Room 204, DeMarinis
  Media Archaeologies

A hands on exploration of the nether regions of media technologies from their origins to the edge of the   obsolete. Student will create artworks based on Victorian era discoveries and inventions, early   developments in electronic media and orphaned technologies from the recent past. Students are   encouraged to research, rediscover, invent and create various devices of wonder and impossible objects.   Readings in history and theory will serve as our Baeddeker to discover how, and what, our media   technologies mediate.

Winter, time TBA, Cummings Art Building, Room 204, DeMarinis
 

 

 

SPRING 2005

screenshot from Doug McCune's Political Friendster, 2004		 Digital Art in Public Spaces

This class examines interventions in public space with a focus on social networks on and offline. It will look at how individuals can become both distributed and localized participants in shared experiences that can exist city-wide or on a personal scale. Both digital and non-digital interventions that allow members of the public to participate will be surveyed. The objective is for students to critique social systems in dialog with readings, visiting artists, and field research. Students will be asked to put this understanding into action in projects which collectively question or challenge the role of accepted forms and uses of technology in public spaces. We will also survey new technologies and tools which can increase the ease of shared resources and provoke collective practice.
Spring, time TBA, Cummings Art Building, Room 127, Franceschini

Images of spiritual leaders drawn with salmonella in petri dishes. Kris Treanor, 2004		 Art & Life Forms

This studio course looks at the relationship between biology and art. Rather than addressing the ways in which art has assisted the biological sciences (as in medical illustration), we'll focus on the ways in which biology has influenced the art-making practice. Course material will address new technologies and experimental directions, historical shifts in artists' relationships to the living world, the effects of research methods on the development of theory, and changing conceptions of biology and "life". Students will create artworks that address these themes and others that emerge from class discussions and presentations.

Spring, MW 1:15-3:05, Cummings Art Building, Room 127, Wight
  Interactive Art II: Environment (formerly 'Sensitive Spaces')

This class will apply interactive technologies to create large scale installations that are responsive.   Students will learn to combine appropriate sensors, programming techniques, media production and   insights into the nature of social boundaries to create situations and environments that respond to,   extend or call into question the relation between the occupant and the space. Students will acquire   proficiency in the application of MAX/MSP/Jitter in realtime applications and learn how to use it to   combine video cameras, motion and proximity sensors, global positioning, sound and household appliances   into playful constructed worlds. Prerequisite: Interactive Art I or Inscription Technologies

Spring, time TBA, Cummings Art Building, Room 203, DeMarinis