Kade L. Twist 1202 E. Monte Vista Rd. [email protected] Phoenix, AZ 85006 www.nativelabs.com

Kade L. Twist, You Shall Pass Through the Water of Another, 2010 Three channel video installation with sound. Video still.

Teaching Portfolio: Introduction to Digital Media

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Contents

03 Curriculum Vitae 07 Teaching Philosophy 08 Syllabus: Introduction to Digital Media 15 Project Assignment: Rastor 18 Project Assignment: Vector 21 Project Assignment: Sound 23 Project Assignment: Video 26 Project Assignment: Stop-Motion Animation

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Kade L. Twist 1202 E. Monte Vista Rd., Phoenix, Arizona 85284 480.577.0627 / [email protected] / www.nativelabs.com

Kade L. Twist is a Cherokee multidisciplinary working with installation, media, sound and text.

Professional Experience • Teacher of Record, Introduction to Digital Media, Coordinator: Daniel Collins, Herberger Institute for Design and , Arizona State University, Tempe, AZ, Fall 2011.

Solo Exhibitions • Postcommodity (artist collective), The Night is Filled With the Harmonics of Suburban Dreams, Lawrence Art Center, Lawrence Kansas. October, 2011. • Postcommodity (artist collective), It Wasn’t the Dream of Golden Cities, Museum of Contemporary Native Arts, Santa Fe, NM, Fall 2010. • Postcommodity (artist collective), Worldview Manipulation Therapy, Ice House, Phoenix, AZ, December 2009. • Our Land Your Imagination, Stark Gallery, Phoenix, AZ, September 2008. • Postcommodity (artist collective), 4+4+4 Days in Motion Festival, Prague, Czech Republic, May, 2007. • Postcommodity (artist collective), Intersections, Institute Slavonice, Center For the Future, Slavonice, Czech Republic, May 2007. • Hunter and Buzzard, Monorchid Gallery, Phoenix, AZ, March, 2007 Art Detour.

Group Exhibitions • Postcommodity (artist collective), Here, Pennsylvania Academy of Museum, Philadelphia, PA, October 2011. • Postcommodity (artist collective), Nuit Blanche, Toronto Canada. October, 2011. • Postcommodity (artist collective), Contour 2011, 5th Bienniel of Sound and Image, Mechelen, Belgium. August, 2011. • Postcommodity (artist collective), Half Life, Patterns of Change, Santa Fe Art Institute, Santa Fe, NM, June, 2011. • Postcommodity (artist collective), Close Encounters, Plug In Institute of Contemporary Art, Winnipeg, Canada, Winter 2011. • Postcommodity (artist collective), Muorrajurdagat, The National Museum of Art, Architecture and Design, Oslo Norway, Fall 2010 • In/Sight, Chelsea , New York, NY, Winter 2010. • Postcommodity (artist collective), Native Confluence: Sustaining Cultures, Arizona State University Art Museum, Fall, 2009. • Chaos Theory 10, Legend City, Phoenix, AZ, October, 2009. • I Never Saw So Clearly, Arizona State University Art Museum, Tempe, AZ, Summer 2009. • Remix: New Modernities in a Post-Indian World, of Ontario, Toronto, Canada, Summer 2009.

3 • Outsiders Within: Contemporary Work from Regional Latino/a and Native American , Tempe Center for the Arts, Tempe, AZ, April, 2009. • Chaos Theory 9, Legend City, Phoenix, AZ, October, 2008. • Without Limits: Contemporary Indian Market Exhibition, Chiaroscuro Contemporary Art Santa Fe, NM, August/September, 2008. • Remix: New Modernities in a Post-Indian World, Smithsonian Institution, New York City, NY Spring 2008. • Chaos Theory 8, Legend City, Phoenix, AZ, October, 2007. • Remix: New Modernities in a Post-Indian World, Heard Museum, Phoenix, AZ, Fall 2007. • New American City, Arizona State Museum, Tempe, AZ, September, 2006.

Performances • Postcommodity (artist collective), Your New Age Fantasies Contain More Blood Than You Imagine, sound performance and happening, Museum of Contemporary Native Art, Santa Fe, NM, August 20, 2011. • Postcommodity (artist collective), Sound performance, Ende Tymes Festival of Noise and Experimental Liberation, Brooklyn, NY, June 24, 2011. • Postcommodity (artist collective), Piles of Cougar Pelts, sound performance and happening, Museum of Contemporary Native Art, Santa Fe, NM, June 17, 2011. • Your New Age Fantasies Contain More Blood Than You Imagine, sound performance and happening, Lawrence Art Center, Lawrence, KS, December 2010. • Your New Age Fantasies Contain More Blood Than You Imagine, sound performance and happening, Arizona State University, Tempe, AZ, April 2010. • Your New Age Fantasies Contain More Blood Than You Imagine, sound performance and happening, Tucson Museum of Contemporary Art, March 2010. • Poetry Reading, Heard Museum, Phoenix, AZ, February 2010. • Poetry Reading, Fiction Without Borders, Center for the Future, Slavonice, Czech Republic. September 22, 2007. • Broom Shaman Ritual, Tucson Museum of Contemporary Art, Tucson, AZ, July 2007. • Poetry reading, Coyote Gallery the Chicago Indian Center, Chicago, IL, September, 2006. • Poetry reading, Heard Museum, Phoenix, AZ, March, 2004. • Poetry reading, City of Tempe Poetry in April Series, Tempe, AZ, April 2003. • Poetry reading, Hirrshorn Museum of Contemporary Art, Washington D.C. November, 2000.

Publications Anthologies • The End of the Trail is a Moving Target,” Pine Meoquane, Digitalis Industries, 2005. • “Urban Indian Equity,” “Gail Norton Was Practically An Indian Princess Herself,” April, City of Tempe Poetry in April Series, 2003.

4 Journals • Selected work from “Marginal Equity,” Kenyon Review, December 2009. • “Subdivisions,” “Suburban Storms,” Artcite, 2006. • “Doublewides,” “Cornhusks and Grape Leaves,” South Dakota Review, 2000. • “There are Some Things and Indian Just Shouldn’t See,” Tempus, 2000. • “The Oilfields Are Beautiful At Night,” “Truxtun Extension,” How Come Buck Owens. Never Sang About Cherokees?” Windmill, 1999. Books • Manifestations, Museum of Contemporary Native Arts, 2011. • Amazing Grace, 2007, Book-length narrative poem. Exhibition Catalogs • Here, Pennsylvania Academy of Fine Art, 2011 • Defining Sustainability, Arizona State University Art Museum, 2009. • New American City: Artists Look Forward, Arizona State University Art Museum, 2006. • Remix: New Modernities in a Post-Indian World, Heard Museum and the Smithsonian Institution National Museum of the American Indian, 2007.

Speaking Engagements • Panel Discussion, Cracking up an alligator: Video, Anthropology and Irony, • ASU Art Museum, November, 2011. • Panel Discussion, Native Voices on the Practice and Future of Native Writing, Tucson Pima Arts Council, November, 2011 • Artist talk and presentation, Pennsylvania Academy of Fine Arts, October 2011. • Artist talk and presentation, Lawrence Art Center, October 2011. • Artist talk and presentation, Santa Fe Art Institute, June 2011. • Artist talk and presentation, Museum of Contemporary Native Arts, August 2010. • Artist talk and presentation, Plug In Institute of Contemporary Art, Winnipeg, Canada, May 2010. • Artist talk for Dr. Daniel Collins, Intermedia, Arizona State University, November 2009. • Artist talk, Heard Museum, September 2009. • Artist talk for Gregory Sale, Intermedia, Arizona State University, August 2009. • Artist talk for Dr. Michelle Hale, American Indian Studies, Arizona State University, August 2009. • Artist talk and panel discussion with James Luna, Native Creative, presented by the Tucson Pima Arts Council at the University of Arizona Poetry Center, June 2009. • Artist talk for Gregory Sale, Intermedia, Arizona State University, April 2008. • Artist talk for Dr. Traci Morris, American Indian Studies, Arizona State University, February 2008. • Presentation, Indigenous Narratives and the Cultural of Sustainability, Fiction Without Borders, US Embassy, Prague, Czech Republic. September 19, 2007.

5 Awards • Postcommodity (artist collective), 2011 Creative Capital Artist Grant • Postcommodity (artist collective), 2010 Foundation, Painters and Sculptors Grant • Postcommodity (artist collective), 2010 Elly Kay Fund Award for excellence in contemporary art. • Postcommodity (artist collective), 2009 Artist Project Grant, Arizona on the Arts. • 2008 Runner-Up, Best Fictional Narrative Screenplay for Heavy Metal Indians, co- written with Nathan Young, Tribeca Film Festival, All Access. • Postcommodity (artist collective), 2008 Common Ground Grant, First Nations Composers Imitative, American Composers Forum. • 2007 Native Writers’ Circle of the Americas First Book Award for Amazing Grace. • 2007 Professional Development Grant, Arizona Commission on the Arts. • 1998-1999 Sequoyah Scholarship Award, University of Oklahoma (for outstanding American Indian academic achievement).

Education • MFA Intermedia Candidate, Arizona State University, 2010-2013. • B. A. University of Oklahoma, 1999. Native American studies with emphasis in tribal policy. • American Indian Policy Seminar, American University, 1999.

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Kade L. Twist Teaching Philosophy

The classroom should be utilized as a sacred space for dialogical discourse that enables creative, conceptual and aesthetic exploration. The class should function as a micro artist community that emphasizing master artist mentorship, peer-to- peer mentorship, collaboration, reciprocity, respect and accountability.

The pedagogical framework for this community should focus on artmaking strategies, discipline, context and action – emphasizing artist capacity building, problem solving, critical thinking and creativity. This framework should be facilitated by seminar-styled talking circles that open each class meeting enabling the exploration of relevant concepts, processes, content, critique and lessons learned. These talking circles are essential for re-enforcing the identity and culture of the class-based artist community.

Students should focus their efforts on project-based learning. It is important that the processes of acquiring knowledge and skills, and attaining technical benchmarks are woven into the larger processes of artist project research, development and implementation. The emphasis here is to avoid having students produce work for the sake of a classroom assignment, or a letter grade. Instead, the focus should be enabling students to produce work that cumulatively defines their respective artist practices. The goal is for students to realize incremental success while they rationalize and appropriate new sets of knowledge and skills into their respective artmaking processes in a manner that builds upon and expands their critical thinking and problem solving capacities.

In addition to building knowledge and skills for efficient art creation, it is also important to build knowledge and skills for efficient project management. Therefore as students acquire and refine their skills and experience through the research, development and implementation of their respective projects it is important that they also produce project workplans, timelines, budgets and installation plans and become aware of the strategic relationship between art creation and project management.

Finally, it is essential that students utilize narrative forms of discourse (particularly artist statements, press releases, presentations, websites and biographies) to position their work within the contexts of contemporary art and the larger public sphere. Therefore, attention must be paid to strategic forms of communications and rhetoric. It is essential that artists have the capacity to appropriately contextualize their work and effectively communicate the intricacies of their work to artists, arts professionals and the general public.

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Syllabus: Intro to Digital Media

Instructor: Kade L. Twist Course Number: ART 194 #76089 Class Meeting: T/Th 7:40-10:30am Fall 2011 Location: ART 301 Credits: 3 Office Hours: T/Th 10:40-11:40 am (or by appointment) Office: Tower A, Room 121, School of Art / Arizona State University E-mail: [email protected]

Course Description ART 194, Intro to Digital Media, is a studio course that concentrates on the fundamentals of digital media, including imagery, sound, video, animation, and the web. Assignments are given to engage students in the technical, conceptual, and aesthetic aspects of digital media. Students will employ a diverse range of techniques and software, as they become familiar with contemporary artistic processes involving the use of the computer and/or other technologies. The class will consist of hands-on experimentation and production supplemented by slide lectures, videos, visiting artists, and academic research. This course may be substituted for the Art Major requirement of ART 113, Color, for Intermedia and majors. All other majors require a petition to substitute this course for ART 113, Color. If you have already taken ART 113, this course may be counted as an art elective. However, keep in mind it is a 100-level elective. Please see your academic advisor for more specific information.

Course Text/References The recommended text is Launching the Imagination: A Comprehensive Guide to Basic Design, by Mary Stewart (Fourth Edition) and is available at the campus bookstore. In addition, we will be discussing terminology and concepts found in the School of Artʼs core website (a good reference for the entire semester): http://www.asu.edu/cfa/wwwcourses/art/SOACore

Adobe Tutorials Online (Photoshop & Illustrator): http://help.adobe.com/en_US/Photoshop/11.0/WS5441FC84-6A84-45f8-9041- C3EA3E357507a.html http://help.adobe.com/en_US/Illustrator/14.0/WS714a382cdf7d304e7e07d010019 6cbc5f- 6537a.html

Course Requirements The goal of this course is to give the students the basic skills necessary to create art using specific computer software. While this course is meant to give you new

8 technical skills, we will also consider the ways in which we can apply these useful technical abilities in the creation of strong, meaningful, and sophisticated art works. We will cover six units during the semester, each with a number of assignments and projects. Without exceptions, all assignments are due at the beginning of class on the due date specified by the instructor. Each due date is listed in the schedule and will be also included on the assignment sheets to be handed during class. Late assignments will not be accepted. If your assignment is unfinished, you will still have to present what you have to the class. All students are expected to participate in critiques, even if their work is unfinished.

Grading Criteria for grading are based on originality and successful execution of project assignments. More specific grading guidelines will be outlined in assignment handouts. In general, your assignments will be evaluated with three categories in mind: , technical merits, and conceptual content matter. Ergo, not only will your skills be evaluated, but your sense of artistic composition and conceptual underpinnings will also be deemed significantly important.

Overall, projects and critiques will be evaluated as follows: A- Work shows a strong sense of imagination and creativity with excellent execution, both technically and conceptually, participating openly and willing in class and during critiques, spending time on assignments. B- Work shows above average imagination and creativity with good execution, attending class regularly. C- Work shows some imagination, creativity, with fair execution, but it is not above average, last minute execution of assignments, being later for class, absences. D- Projects are weak, no participation, regularly late and/or absent. F- Failure to achieve the objectives of the class.

Attendance and punctuality are mandatory. 3 unexcused absences = one letter grade drop from final grade. 3 partial attendance (late arrivals and/or early class departures) = 1 absence. 7 or more unexcused absences will result in failing the class. Arriving more than 15 minutes after attendance has been taken and/or departing more than 30 minutes early from class will result in a partial attendance for that day. Class participation is an important and crucial part of this course. Being positive, present, engaged, and willing to participate with an open mind will help your final grade.

Classroom Conduct You are expected to behave in a responsible manner that allows everyone in the classroom access to resources and learning. Behavior that disrupts classroom learning will not be tolerated. If your actions are disrespectful to the instructor or to other students, you will be asked to leave and counted absent.

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The use of cell phones is completely prohibited (this includes texting). Please turn your cell phone off as soon as you walk into the classroom. If your phone rings during class, I will unsympathetically throw it against the nearest wall.

The computers in this lab can only be used for tasks strictly related to the classroom activities; ergo, checking your Facebook, Twitter, Myspace, personal email, etc is not allowed. If the instructor notices any of these sites on your computer screen during a lecture or on workday, you will be asked to leave the class and you will be considered absent for that day.

Lab Maintenance This lab contains expensive equipment. Students are not permitted to use any equipment with which they are unfamiliar. Food or beverages are not permitted. This is a shared classroom so it is important that you clean up after yourself. Proper lab maintenance will be monitored and evaluated. It is also expected that you will act in a safe manor. Unsafe or destructive behavior will not be tolerated and may result in expulsion from the class. A complete list of safety policies and procedures can be found at: http://www.asu.edu/cfa/wwwcourses/art/SOACore/safety.htm

Storage Each student is responsible for the storage and back up of their own files/projects. While there is temporary workspace available in the shared folder on each machine, this space is cleared regularly. Do not attempt to use the shared folder as a permanent storage solution. Again, you will need your own storage media device (external hard drive). Do not keep your projects in the desktop or else they will be deleted automatically.

Materials and Supplies Materials for each assignment will vary, and you are expected to purchase materials as the class progresses. You have access to the Coor 150 Computing site, the Main Computing Commons, and Art 301 lab. However, there are some mandatory materials that you must own or have immediate access to: · A Mac compatible external Firewire hard drive (7200 RPM, 250 Gig minimum) is highly recommended. At the very least you must have a flash/thumb drive (1 Gig minimum). Be warned, armed with only a thumb drive you will have a very hard time completing your projects. · A digital camera with appropriate data cord. · A pair of headphones for lab use. · Multiple blank CDʼs and DVD-R · Multiple mini DV tape · A valid and current Sun Card for access to lab · A bit of extra cash for purchases and expenses that may come up for projects

10 · An ASU e-mail account and regular access to Black Board system · A notebook to take notes during class

The following would be helpful, but not mandatory: · Lap-top with personal editing software · Digital camcorder (different than camera) · Lighting equipment · Tripod · A computer microphone

ASUʼs Honesty Policy The highest standard of academic integrity is expected of all students. The failure of any student to meet these standards may result in suspension or expulsion from the university and/or other sanctions as specified in the academic integrity policies of the individual colleges. Violations of academic integrity include, but are not limited to, cheating, fabrication, tampering, plagiarism, or facilitating such activities. The university and college academic integrity policies are available online at http://www.asu.edu/studentaffairs/studentlife/judicial/academic_integrity.htm All use of non-original materials is discouraged. However, if non-original material is used, you are responsible for the proper citation and legal usage of the resource. Violations are punishable by assignment failure, class failure (E), or failure due to academic dishonesty (XE) depending on the severity of the infraction.

Accommodation of Disabilities: Rights and Responsibilities of Students. To request academic accommodations due to a disability, please contact the ASU Disability Resource Center – Phone: (480) 965-1234. This should be done in a timely manner because accommodations cannot be made retroactively. If you have a letter from their office indicating that you require particular academic accommodations, please present the letter to the instructor no later than the end of the second week of the semester so we can discuss our options.

Grading: Unit One: Raster Project - 100 points Unit Two: Vector Project - 100 points Units Three: Audio – 100 points Unit Four: Video – 100 points Unit Five: Animation & Audio - 100 points Unit Six: Web – Mandatory P/F Total: 500 points

Calendar (tentative) The instructor has the right of changing the dates and/or projects content at any point during the semester.

11 Wk 1 Thursday 8/18 Meet & greet, syllabus review, general Introduction to the class, etc. Introduction to Unit 1&2: Raster & Vector

Wk 2 Tuesday 8/23 Raster & Vector Discussion Demo#1 Photoshop basics, importing images, and photo correction. Discuss and assign Raster Exercise.

Thursday 8/25 Discussion: Content and Conceptual Framework Review Project 1 Guest Lecture: Raster

Wk 3 Tuesday 8/30 Vector Demo: Illustrator basics Discuss and assign Vector Exercise.

Thursday 9/1 (VECTOR) Exercise DUE at the end of class Lab Day – check-in Discussion of Unit 1 Project

Wk 4 Tuesday 9/6 UNIT 1 PROJECT DUE 7:40am Critiques UNITS 1&2 Lecture

Thursday 9/8 Vector Project #2 progress check-in Lab Day Demo #3

Wk 5 Tuesday 9/13 UNIT 2 PROJECT DUE 7:40am Critiques UNIT 3 SOUND: Introduction From text to sound.

Thursday 9/15 Demo #4 The basic of Sound Recording audio, mixing, etc. Garage Band, ProTools

Wk 6 Tuesday 9/20 Discussion of Unit 3 project Lab Day, progress check-in

Thursday 9/22 Mini demo- sound and images in one file Lab Day, final touches

Wk 7 Tuesday 9/27 UNIT 3 (SOUND) PROJECT DUE 7:40am UNIT 4 VIDEO: Introduction to various video editing software applications and story-types: narratives, experimental, etc.

12 Thursday 9/29 Demo # 5 Editing techniques, importing, exporting. Storyboarding for project. Final Cut, IMovie Discussion for Unit 4 project

Wk 8 Tuesday 10/4 Lab Day

Thursday 10/6 Lab Day, progress check-in – Storyboard Exercise Due.

Wk 8 Tuesday 10/11 Lab Day Construction completed, individual meetings, importing images etc.

Thursday 10/13 Lab Day – Trailer Exercise Due (on blog)

Wk 9 Tuesday 10/18 Lab Day

Thursday 10/20 UNIT 4 (VIDEO) PROJECT DUE 7:40am Critiques. UNIT 5: ANIMATION discussion: Introduction, stop-motion, image sequencing

Wk 10 Tuesday 10/25 Continue Animation lecture. Brainstorming. Demo #6 Editing animation basics. Sequencing.

Thursday 10/27 Lab day, all audio and animation footage done and ready to import. Editing begins.

Wk 11 Tuesday 11/1 Lab Day

Thursday 11/3 Lab Day

Wk 12 Tuesday 11/8 Lab Day

Thursday 11/10 Lab Day

Wk 13 Tuesday 11/15

UNIT 5 (ANIMATION) Project DUE 7:40am

Thursday 11/17 UNIT 6 WEB: Introduction Demo #7 HTML, Dreamweaver, Web basics

Wk 14 Tuesday 11/22 Web Exercise Due. Lab Day

Thursday 11/24 Thanksgiving.

13 Wk 15 Tuesday 11/29 Lab Day

Thursday 12/1

UNIT 6 (WEB): Final Web Portfolios DUE 7:40am

Tuesday 12/6 Review / Exhibition

Thursday 12/8 Reading Day

Final Exam (Just Kidding!)

INFORMATION TECHNOLOGY MEDIA SERVICES / Rent Media Devices Location: Basement of Lattie F. Coor Hall Monday-Friday, 8am-5pm Phone: (480) 965-9011

Equipment check-out procedures (All ASU Students) 1. ASU Sun Card 2. Need to hand in an “Authorization Form” to reserve equipment 3. Students can check out equipment only after the form has been confirmed with the professor. The following equipment is available: Slide projector, dissolve unit, slide tray Overhead projector Video camera, tripod (24 Hour check-out) Digital camera (24 Hour check-out) 16mm projector Screen- portable Cassette recorder Microphone, microphone system, speaker, floor stand, table stand Extension cord, miscellaneous adapters and cables.

14 Raster Project: Self-Portrait DUE: Tuesday 9/6

Objective: Develop a strong conceptual narrative through a self-portrait.

Project: Utilize a digital camera -- and/or digital images from your personal photo collection -- and Photoshop to create a self-portrait that can be interpreted traditionally, or metaphorically. You may also use appropriated images, in addition to your original images, to develop your self-portrait. You may also use Photoshop to "paint" your self-portrait, or use a combination of digital images and "." Please size your image at 72dpi and 300dpi at approximately 11 inches x 14 inches. Please export and save your images as JPG and TIFF.

Please write a 250 word artist statement (in a Word document) that contextualizes your work and your intention. For your artist statement please be sure to address the following: 1) your conceptual framework; 2) your aesthetic and technical choices; 3) your desired impacts aesthetically, conceptually, socially and culturally. At the top of the page please provide the following information: -Name (year of birth and location) -Title -Description of medium -Dimensions

Discussion: A self-portrait is a representation of an artist, drawn, painted, photographed, or sculpted by the artist. -- For the purposed of this project you will be using Photoshop. -- A self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. The self-portraits of many Contemporary artists and Modernists often are characterized by a strong sense of narrative, often but not strictly limited to vignettes from the artists life-story. Sometimes the narrative resembles fantasy, role-playing and fiction. Typically these narratives provide important cultural, social, political and economic commentaries. Andy Warhol, Lucas Samaras, Jenny Saville, Cindy Sherman, Kent Monkman and Wendy Red Star are examples of recent and contemporary artists that utilize self-portraits exceptionally well.

Submission Guidelines: Please load your 72dpi and 300dpi images and Word document onto an external hard drive, or thumb drive, and bring it to class. The project is due at 7:40AM. Late submissions will not be accepted.

Grading:

Technical: Did you use the resolution, 20 points bit- depth, and color mode assignment called for? Are your photographs

15 properly exposed? Are there examples of poor digital craftsmanship?

Aesthetic: Is your final piece 40 points compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Conceptual: Did your piece successfully 40 points convey your intended narrative? Did your piece successfully communicate your conceptual framework? Did your piece utilize medium, process, aesthetics and concepts in a balanced manner that made the work stronger as a whole than the sum of its individual parts?

Total 100 points

Austin Chalk

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Jaime Tellez

17 VECTOR PROJECT: DESIGN A HEAVY METAL ALBUM COVER. Due: Tuesday 9/13, 7:40 AM ______

Objectives: Technical: To gain a basic understanding of vector based digital imaging software (Illustrator) and using raster images within it. Conceptual: To explore how images and text generate a nexus of ideas, experiences and emotions; and to better understand how design and text can be utilized to strategically communicate issues of contemporaneity, identity, value, idealism and nostalgia within pop culture. ______Overview: For this project your challenge is to create the album cover art for your favorite heavy metal band’s new album. Your work should encapsulate and advance the band’s music, vision, aesthetics and place in both metal culture and contemporary pop culture. You will combine images and typography – both must be used -- to contextualize and communicate the social, political and cultural identity of the band and its music to the broadest possible audience of metal enthusiasts new potential fans. Please be sure to thoroughly research metal music and cultural movements, as well as the work of other visual artists that utilize metal as subject matter in their art. It is also important that you listen carefully and obsessively to the band’s music that will be inspiring your album art. You should make every effort to allow the band to speak through you and your art! Please have fun with project (and please do not be afraid to be ironic). Image Size: 12 inches x 12 inches. Save your art on your external hard drive!

References http://truemetal.org/metalwallpaper/ http://www.heavymetalmusicnews.com/ http://www.metal-rules.com/ http://www.metalhammer.co.uk/ http://en.wikipedia.org/wiki/Heavy_metal_music

Grading:

Technical: Did you use the resolution, 20 points bit- depth, and color mode assignment called for? Are your photographs

18 properly exposed? Are there examples of poor digital craftsmanship?

Aesthetic: Is your final piece 40 points compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Conceptual: Did your piece successfully 40 points convey your intended narrative? Did your piece successfully communicate your conceptual framework? Did your piece utilize medium, process, aesthetics and concepts in a balanced manner that made the work stronger as a whole than the sum of its individual parts?

Total 100 points

Jordyn Pike

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Kari Thwaites

20 SOUND PROJECT: SOUND ART / COMPOSITION Due: Tuesday 9/27, 7:40 AM ______

Objectives: Technical: To gain a basic understanding of sound editing software (Audacity) and manipulating sound files derived from original signal generation, field recordings, appropriated samples, etc., to create a sound art composition. Conceptual: To explore how sound conveys a nexus of ideas, experiences, emotions and narratives; and to better understand how sound can be utilized to strategically communicate issues of contemporaneity, identity, value, idealism, etc. ______Overview: For this project your challenge is to create a sound art composition – not a pop song. Please do not feel obligated to adhere to Western notions of tonality, harmony, melody, texture and timbre. Remember, this is not a music composition project. It is a sound art project. Your work should be content driven and focus on advancing a narrative through sonic, emotional, psychological, architectural and sensory manipulation. I encourage you to engage sound as architecture, focusing on volume, mass, space and negative space. I encourage you to develop an ecology of sound to advance your narrative. Please don’t forget, as with all artistic endeavors, strive to achieve a balance between your technical, aesthetic and conceptual concerns. Utilize the medium of sound to communicate issues you already address through your art practice -- social, cultural, political, economic, sexual, etc.

______Requirements: 2.30 minutes minimum length. Export as wav file. Save your art on your external hard drive!

______Materials: Audio recording device (with necessary cables), signal generating devices, microphone, web and a computer with Audacity (which is free to download).

Grading:

Technical: Did you use the resolution, 20 points bit- depth, and color mode assignment called for? Are your photographs properly exposed? Are there examples of poor digital craftsmanship?

Aesthetic: Is your final piece 40 points compositionally balanced? Did you

21 make good use of value and color? Does your piece lead the viewer’s eye?

Conceptual: Did your piece successfully 40 points convey your intended narrative? Did your piece successfully communicate your conceptual framework? Did your piece utilize medium, process, aesthetics and concepts in a balanced manner that made the work stronger as a whole than the sum of its individual parts?

Total 100 points

http://soundcloud.com/stevens-soun

Steven Wilson

http://soundcloud.com/stuffiaintproudof

Andrea Pratt

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VIDEO ART PROJECT: LAND TRANSFORMATION / SUSTAINABILITY Due: THURSDAY 10/13, 7:40 AM ______

Objectives: Technical: To develop the fundamental skills and strategies for shooting, editing and producing video art. This includes a basic understanding of consumer video cameras and editing software (Final Cut Pro 7). Conceptual: To explore how video can be utilized to convey a nexus of ideas, experiences, emotions and narratives; and to better understand how video can be utilized to strategically communicate relevant contemporary issues to a broad audience. ______Overview: For this project your challenge is to create a video art piece with sound. Remember, this is a video art piece, not a narrative feature length motion picture, or short subject film, or documentary. Your work should be content driven and focus on advancing your conceptual objectives through your own unique visual language and visual metaphors. Your video art should address the transformation of the natural desert landscape into commercially appropriated land used for purposes of commerce, manufacturing, transportation, tourism, residential, etc. In this regard your video art will examine important land use issues that pose significant challenges to sustainability within the desert southwest. Please don’t forget, as with all artistic endeavors, strive to achieve a balance between your technical, aesthetic and conceptual concerns. Also, please use this project to continue your exploration of sound. Please explore the relationship between video and sound.

______Requirements: 2.30 minutes minimum length. 5 minutes maximum length. Export as m4v file. Save your art on your external hard drive!

______Materials: Video camera (with necessary cables), audio recording device signal generating devices, microphone, web and a computer with Audacity (which is free to download) and Final Cut Pro 7.

Grading:

Technical: Did you use the resolution, 20 points bit- depth, and color mode assignment called for? Are your photographs properly exposed? Are there examples

23 of poor digital craftsmanship?

Aesthetic: Is your final piece 40 points compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Conceptual: Did your piece successfully 40 points convey your intended narrative? Did your piece successfully communicate your conceptual framework? Did your piece utilize medium, process, aesthetics and concepts in a balanced manner that made the work stronger as a whole than the sum of its individual parts?

Total 100 points

Hayden Lazano http://www.youtube.com/watch?v=LO6lMKrUi1E&feature=player_embedded

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Kyle Greenberg http://www.youtube.com/user/greenBOH#p/a/u/1/C1N6HSKR1yw

25 ANIMATION PROJECT: STOP-MOTION Due: THURSDAY 11/17, 7:40 AM ______

Objectives: Technical: To develop the fundamental skills and strategies for producing stop motion art. This includes a basic understanding of cameras, lighting and editing software for photographs (Photoshop CS5), video (Final Cut Pro 7) and sound (Audacity). Conceptual: To explore how stop motion animation can be utilized to create an imagined world that exists outside of the limitations of real time and place, and notions of cause and effect. ______Overview: For this project your challenge is to create a one minute stop motion animation art piece with sound. Your work should be content driven and focus on advancing your conceptual and aesthetic objectives through your unique visual and sonic language. Your animation should create an entirely imagined world that exists outside the limitations of real time and place, and notions of cause and effect. You should be creating an animated narrative driven by scenarios of un-reality where anything can happen at anytime. Please explore the unexpected, the irrational, the absurd. This is your opportunity to create your own world with your own systems of logic. Please, as with all artistic endeavors, strive to achieve a balance between your technical, aesthetic and conceptual concerns. Also, please use this project to continue your exploration of Photoshop, Final Cut and Audacity. Please continue explore and push the relationship between sound and moving image.

______Requirements: 1 minute duration. Post your projects to YouTube or Vimeo. Email the link to me by 7:40am, Nov. 17.

______Materials: Camera (with necessary cables), audio recording device, signal generating devices, microphone, computer with Audacity (which is free to download), Final Cut Pro 7 and Photoshop CS5.

Grading:

Technical: Did you use the resolution, 20 points bit- depth, and color mode assignment called for? Are your photographs properly exposed? Are there examples of poor digital craftsmanship?

Aesthetic: Is your final piece 40 points

26 compositionally balanced? Did you make good use of value and color? Does your piece lead the viewer’s eye?

Conceptual: Did your piece successfully 40 points convey your intended narrative? Did your piece successfully communicate your conceptual framework? Did your piece utilize medium, process, aesthetics and concepts in a balanced manner that made the work stronger as a whole than the sum of its individual parts?

Total 100 points

Andrea Pratt http://www.youtube.com/watch?feature=player_embedded&v=DxaUxr75JGQ

27

Brian Ganter http://vimeo.com/32250898

28