PHI 4930-003: Philosophy of Images TR 9:30-11:00, Spring 2018 Dr. Robert Leib ([email protected]) Florida Atlantic University Office Hours: T 11-1 (and by appointment) in SO 281B or by email 3 Credits (Approx. 6 hours of homework/week)

Texts: ·The Photographer’s Playbook, edited by Jason Fulford and Gregory Halpern (abbreviated ‘PP’) ·On Photography, Susan Sontag ·Visual Thinking, Rudolf Arnheim ·A Primer of Visual Literacy, Donis A. Dondis ·Camera Lucida, Roland Barthes ·Pandora’s Camera, ·Art in the Age of Mechanical Reproduction, Walter Benjamin ·Photography After Frank, Philip Gefter

Amazon Booklist: http://a.co/hSsVrtN ($70-$80 used)

You will also need: Camera (analog, digital, smartphone, etc.) and $40 to produce your own photo book at the end of the semester.

Course Blog: https://philosophyofimages.wordpress.com

Course Description: A camera is an extension of our memories, a powerful tool if we understand its grammar. It is also a material force that is reshaping the way we live and look at one another. And many of us have them with us at all times. We act in conversation with them. We see that a camera at the right place and the right time is potentially world altering. Given the relative newness of photography as a technological practice, but at the same time, recognizing the strength of its influence in our increasingly image-driven social worlds, this is a course on philosophy and photography that is needed. Of design, it is equal parts theoretical, visual, and actively productive.

1 This syllabus aims to produce students who are better able to think, express themselves, and understand others in images, while rigorously coming to grips with the best photographic theory philosophy has to offer thus far. This class is unique in the country, and I personally believe it is important for today’s philosopher, literary theorist, or visual artist. We are all photographers now, one could argue. Beyond the course texts, this syllabus incurs no additional expense for those with camera phones. The practical component of the syllabus is built upon The Photographer’s Playbook, edited by Jason Fulford and Gregory Halpern. Students will complete seven photo assignments throughout the semester, posted to this blog, and produce one physical photo book as their final project, to be donated to FAU’s new Lester Embree Memorial Philosophy Library at the end of the term.

Course Objectives: • In readings and lecture, students will survey works on the nature of the world’s diverse religious traditions, and the philosophical arguments that arise from these, including the challenges of pluralism, the arguments for God, gods, or another impersonal ultimate reality, the nature of religious experience, and the problem of evil, among other topics. • Through class discussion, students will practice: • effectively and concisely summarizing arguments, • evaluating an argument with evidence from relevant texts, • respectful dialogue, which includes listening as well as speaking. • Through drafting and revising reflection papers and essay exams, students will refine their writing skills.

Course Evaluation: (1) Preparation, attendance, and participation account for 20% of the overall grade. • Preparation and Participation are not limited to, but understood to include: 1) obtaining the texts ahead of time; 2) bringing texts to class; 3) carefully reading assigned materials such that one is able to respond accurately and thoughtfully in class discussion; 4) completing daily or weekly assignments based on reading ahead of time; 5) participating in classroom activities, working well with others, including respect for other classmates’ and professors’ effort, time, and persons; 6) turning off communication devices, and 7) staying awake. Laptops, phones, tablets, or lab computers (etc.) are not permitted unless specifically allowed by the professor, and then for specific times. • Note: I do not give permission to record classroom interactions in any form, unless required by SAS, and then only for the student’s own use pursuant of a grade in this course. Publication of recordings in any form (online or physical) without the professor’s explicit permission will be grounds for University sanction to the fullest extent possible. I believe that students’ free expression depends upon maintaining the uniqueness of the physical space in which philosophical inquiry takes place. • Students who are unprepared may be given partial credit for attendance. Students should expect two hours of preparatory work outside of class for every credit hour. For this class, you should be allotting 6 hours of time for reading/writing per week (on average).

2 • School-wide Attendance Policy Statement: Students are expected to attend all of their scheduled University classes and to satisfy all academic objectives as outlined by the instructor. The effect of absences upon grades is determined by the instructor, and the University reserves the right to deal at any time with individual cases of non-attendance. Students are responsible for arranging to make up work missed because of legitimate class absence, such as illness, family emergencies, military obligation, court-imposed legal obligations or participation in University-approved activities. Examples of University-approved reasons for absences include participating on an athletic or scholastic team, musical and theatrical performances and debate activities. It is the student’s responsibility to give the instructor notice prior to any anticipated absences and within a reasonable amount of time after an unanticipated absence, ordinarily by the next scheduled class meeting. Instructors must allow each student who is absent for a University-approved reason the opportunity to make up work missed without any reduction in the student’s final course grade as a direct result of such absence. • Class Attendance Policy: Attendance in this course is mandatory. Four unexcused absences will result in a lowering of the overall grade by five points, and five unexcused absences will lower it by ten points. If one is counted absent for six classes without an approved reason, one will not pass the course. Arriving in class more than 30 minutes late may count as absence.

(2) Students will produce seven (7) photo projects, worth a total of 50% of the final grade. Projects will respond to the list of possible prompts given in the syllabus, completed in the spirit of the prompt, and submitted in a form acceptable to the professor, making use of assigned and optional texts, class notes, and the professor’s PowerPoint presentations. More information will be given at the time of the assignment(s). Late projects without an official excuse will be penalized one half a letter grade for each day they are late (including weekend days).

(3) Students will produce a number of smaller, regular assignments by posting online or writing in a journal, worth 15% of the final grade. Number TBD. Smaller assignments may include 1) posting to an Instagram feed regularly in response to micro-prompts, 2) keeping a weekly physical photo journal, 3) peer critiquing classmate’s photo journals, 4) submitting original photos for, or in response to, classroom activities, and 5) essays at midterm and finals time, as necessary, to assess progress toward learning outcomes.

(4) Students will complete one final photobook in physical form, worth 15% of the final grade. Photobooks will be image-text projects, at least 20 pages in length, created in Blurb’s free Book Wright publication software and uploaded to Blurb for printing. Students will be responsible for the printing cost (approx. $40) as part of the cost of required texts for the course. Books due in hand by finals period, so plan ahead. Projects may contain text that is properly cited at the end; projects may not contain any visual material for which they do not have official permissions.

Participation: 20% / Photo Projects 50% / Smaller Assignments: 15% / Final Photobook: 15%

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Grading Rubric for Projects:

A Excellent. Thesis is well defined and original; insightful; solid and coherent 93-100 reasoning throughout; aware of subject’s complexities; sources used properly and effectively; excellent format and presentation; no errors in fact or formatting A- One or more minor errors among the above criteria for an A; failure to use gender 90-92 inclusive language B+ Strong. Thesis is clearly defined; valid reasoning through most of the project; 87-89 perhaps contains ambiguities; conventional or limited in originality; several minor grammatical errors or one minor error in formatting B One or more errors among the criteria for a B+; more than one minor error in 83-86 formatting and more than three minor errors in grammar B- Adequate but flawed by minor errors in grammar, major error in fact; awkward 80-82 but consistent formatting C+ Average. Thesis is somewhat clear, perhaps too general; supporting evidence can 77-79 be repetitious and unfocused; reasoning is at times vague; inconsistent formatting; irrelevance or limited scope; multiple errors in grammar C Thesis is over-general, ambiguous, or undefended with textual or photographic 73-76 evidence; argument is unfocused, trite, repetitive, or vague; multiple grammatical and syntactical errors; if you receive a C or below, please meet with me C- The criteria for a C, plus major interpretive/grammatical errors 70-72 D Central idea is confusing; supporting evidence is underdeveloped, repetitive; 60-69 reasoning is often inaccurate / flawed; poor presentation and/or interpretation, to the point of hindering the instructor’s ability to read; submission relies on non- inclusive (racist, sexist, bigoted, hateful) ideas or images; a revision toward a C may be requested by the student F Thesis is wholly unclear; supporting evidence may be absent; chaotic Below 60 organization and formatting structure; largely deficient grammar; does not answer prompt(s); or no assignment received; submission is driven by non- inclusive (racist, sexist, bigoted, hateful) ideas or images

4 Late Work, Absences, Excuses: All graded work will explicitly state the due date and time; most assignments will be submitted through Canvas. Some require physical submission in a form to be determined by the professor; physical submission in such cases is a necessary component of its completion. Digital submission in cases where physical submission is required may receive partial credit at the professor’s discretion. All late work may be penalized one-third of a letter grade per day or portion thereof that it is late. Assignments completed more than one week late will not be accepted. Students with excused absences may be free from penalty if the excuse is received promptly. There are NO MAKE UPS for any part of this course without an excused absence.

Incompletes (‘I’) are reserved for students who are passing a course but have not completed the required work because of exceptional circumstances. If approved by both the Professor and Department Chair, one can fill out an ‘Incomplete’ form in the department office (SO 283), which will specify terms and deadlines for course completion. Students who do not submit this form after six months automatically drop from an ‘I’ to an ‘F’, according to University policy.

Code of Academic Integrity Policy Statement: Students at Florida Atlantic University are expected to maintain the highest ethical standards. Academic dishonesty is considered a serious breach of these ethical standards, because it interferes with the university mission to provide a high-quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the university community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, see University Regulation 4.001.

Plagiarism applies to any work purported to be your own, which is not; this unambiguously includes the submission of another person’s images as your own, or the use of such images without proper citation. The professor reserves the right to make a formal report of plagiarism for any such incident, whether “intentional” or not.

• An MLA citation guide can be found at: https://owl.english.purdue.edu/owl/resource/747/02/ • How to cite a photograph: http://www.easybib.com/guides/citation-guides/mla-format/how-to-cite-a-photo-digital-image-mla/ • How to cite a digital image: http://www.easybib.com/guides/citation-guides/mla-8/cite-digital-image-mla-8/

Disability Policy Statement: In compliance with the Americans with Disabilities Act (ADA), students who require special accommodation due to a disability to properly execute coursework must register with Student Accessibility Services (SAS) and follow all SAS procedures. SAS has offices across three of FAU’s campuses – Boca Raton, Davie and Jupiter– however disability services are available for students on all campuses. SAS is located in SU 133 (ext. 3880) and at http://fau.edu/sas/ .

5 Inclusive Language: I ask that students avoid negative or contemptuous language about women and/or marginalized persons in their writing, and that students think critically about their usage of gendered pronouns (i.e. ‘he/him/his’ to stand for the abstract individual; ‘man’ to signify humanity). This does not mean students should avoid ‘he’ when referencing male authors or when giving concrete examples, nor does it mean students should avoid talking about race, sexuality, and other ways in which we are implicated in various identities and histories; rather, such a policy simply asks that we think about the meaning(s) of what we say and write.

Course Outline: The professor reserves the right to modify this syllabus including assignments and due dates. No changes will significantly alter course requirements or reading load. The professor also reserves the right to give quizzes and small assignments without notice. Students should expect two hours of preparatory work outside of class for every credit hour. For this class, you should be allotting 6 hours of time for reading/photographing per week (on average).

Reading and Assignment Schedule: PP= Photographer’s Playbook; CV= Available on Canvas

The question of the photographic image can be explored under the following designations, practices, and frames:

Week Readings, Viewings, Links Possible Photographer’s Playbook Assignments Week 1: Images as Jan 9) Orientation Day; Plato’s Allegory of the Cave, Republic: Note: The week a photo set is listed Images https://web.stanford.edu/class/ihum40/cave.pdf is the week in which we will begin talking about that set of PP: getting started, read all: assignments. Sets A, B, and C will nd • Unintended consequences by Asha Schechter, pp. 300 – be due by Feb 22 . Sets D, E1, E2, th • What Matters by Thomas Roma, pp. 293 – starting out and F will be due by Apr 17 . • Forgetting the Game by Dan Abbe, pp. 2 • What to Photograph? by David Company, pp. 45 Overall, you will choose seven • Rules for Students in Intro to Photography by Lois Conner, pp. 59 projects to complete; I recommend • Sister Corita’s Rules by Yolanda Cuomo, pp. 70 you stay on pace because you will • Don’t Do Anything Subversive by Tim Davis, pp. 75 revise one of these into a physical photo book, due in hand by our • The Basics by James Estrin, pp. 98 finals session, Thursday April 26th. • Suggested Suggestions by Justine Kurland, pp. 186

• Two assignments by Jessica Lancaster, pp. 192

6 • Intentionality by Stephen Shore, pp. 317 Planning ahead is important. You should plan to order your photobook • In class activity: PP: Devil’s Advocate by Sam de Groot, pp. 77 – by Tuesday, April 10th in order to criticism receive it in time.

Jan 11) Susan Sontag, “In Plato’s Cave”, On Photography, pp. 3-24

Week 2: Photography Jan 16) Rudolf Arnheim, Visual Thinking, Chs 2, 3, 4 pp. 13-79 Set A, Read All, Complete One: as a kind of • Interpreting Light, by Gary Perception Donis A. Dondis, A Primer of Visual Literacy, Chs 1-3, pp. 1-66 Schneider, pp. 308 – optics • The Real Nature of Space by James Elkins, “How to Look at Color”, pp. 202-211, and “How to Andreas Feininger, pp. 104 – Look at a Map”, pp. 126-130, How to Use Your Eyes photograph space • Photographing Atmosphere “This Photographer Messes with Your Perspective on Purpose by Larry Fink, pp. 107 – (Without Photoshop)”: learning to see https://www.visualnews.com/2016/03/04/these-room- • Dondis, Visual Primer, illusion-photographs-will-mess-with-your-head-its-not- exercise #1, pg. 38- complete photoshop/ three times with original photographs In class viewing: “Visual Grammar” by Christian Leborg • Dondis, Visual Primer, exercise #4, pg. 66- complete Jan 18) “This Equals That” Guide: https://www.aperture.org/wp- three times with original content/uploads/2014/09/2014_09_12_This_Equals_That_EDU_ photographs Guide.pdf • Dondis, Visual Primer, exercise #1, pg. 84- complete In class viewing: “This Equals That” by Jason Fulford with original photographs sharing a common subject In class viewing: “The Nature of Photographs” by Stephen Shore • Dondis, Visual Primer, exercise #2, pg. 127 • In class activity: No Answers Allowed by Judy Natal, pp. 242 – critique

7 Weeks 3-4: Imagery as a Jan 23) Arnheim, Visual Thinking, Chs 8 & 13 Set B, Read All, Complete One: kind of • Slow Down by Tina Barney, Literacy Dondis, Chs 4, 6 & 9 pp.18 – learning to see • The Coal Thieves by Ute • In class activity: PP: Two-Minute Drill by Christopher McCall, pp. Behrend, pp. 20 – learning to 215 – criticism see • Our relationship to the Jan 25) Daniel Chandler, “Textual Interactions”, Semiotics: The Basics, windshield by Jeff Brouws, Ch 6, pp. 175-209 (CV) pp. 34 – learning to see • Preconceived Notions by Umberto Eco, “Critique of the Image”, Thinking Photography, pp. Michael Schmelling, pp. 306 32-38 (CV) – learning to see • Insecurity by Jeffery Ladd, PP: Rockaway Beach by Able Brown, pp. 35 pp. 189 – learning to see PP: Photos Not Taken by Rein Jelle Terpstra, pp. 340 • What Cannot Be Seen by Gerry Badger, pp. 12-13 – In class reading: “Photographs Not Taken” edited by Will Steacy visual literacy • Extract the Magic by Elspeth Jan 30) Micro-presentations on Roland Barthes, Camera Lucida, part 1 Diederix, pp. 85 – learning to (sections 1-24) see/ visual literacy • Sequence and Series by Feb 1) Workshop day Nathan Lyons, pp. 201 –

visual literacy/editing • In class activity: Blind Jury by Jim Dow, pp. 87 – editing/criticism • Sequential or Serial by Tom Patton, pp. 265 – visual literacy/editing

Week 5: Photography Feb 6) Joan Fontcuberta, “The Eye of God” and “Eugenics Without Set C, Read All, Complete One: as a means of Borders” and “Documentary Fictions”, Pandora’s • Assignment 96 by John Documentation Camera Baldessari, pp. 14 - scientific documentation

8 “Gregory Halpern on Documentary Ethics—Preoccupations, • Collaborating Across Subjectivity and Untruths” (2013): Disciplines by Richard http://www.americansuburbx.com/2013/05/asx- Barnes, pp. 17 – sci. interview-gregory-halpern-on-documentary-ethics- documentation 2013.html • The Camera Never lies by Sarah Pickering, pp. 270 – August Sander: “People of the 20th Century” documentation/fiction https://www.theguardian.com/culture/gallery/2015/jun/1 8/august-sander-at-moma-new-york-in-pictures

https://www.nytimes.com/slideshow/2016/11/15/blogs/a-new- look-at-august-sanders-people-of-the-twentieth- century/s/15-lens-sander-slide- SI4X.html?action=click&contentCollection=Blogs&entr ySlide=1&module=RestartSlideShow&pgtype=imagesli deshow®ion=Slideshow+Promo&slideshowTitle=A +New+Look+at+August+Sander%E2%80%99s+%E2% 80%98People+of+the+Twentieth+Century%E2%80%99 &version=EndSlate

Feb 8) Roland Barthes and Elisabeth Tonnard, The Death of the Photographer (CV)

Week 6: Photography Feb 13) Michel Foucault, Discipline and Punish, selections as a Surveillance Sandra Bartky, “Foucault, Femininity and the Modernization of Mechanism Patriarchal Power”, pp. 25-45 (CV)

“What does the Panopticon Mean in an Age of Digital Surveillance?”: https://www.theguardian.com/technology/2015/jul/23/pa nopticon-digital-surveillance-jeremy-bentham

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Robert Leib, “Appearing Unsuspiciously: Surveillance and Citizen Photography”: https://www.academia.edu/26931855/Appearing_Unsus piciously_Surveillance_and_Citizen_Photography

Feb 15) In class viewing: “The Terrorist’s Handbook” by David Schultz

In class viewing: “The New Town” by Andrew Hammerand

In class viewing: “X Marks the Spot” by Joachim Schmid

In class viewing: “Fifteen Minutes on Broadway” by Joachim Schmid

“Twenty-Six Gasoline Stations” by Ed Ruscha: https://www.youtube.com/watch?v=kP4peTvkThQ

In class viewing: “Another Twenty-Six Gas Stations” by Gregory Eddi Jones

Week 7: Images as Feb 20) Fontcuberta, “Archives Noises”, pp. 169-81 Set D, Read All, Complete One: archival • Feedback Loop by Steve Material “Conversation with Melissa Cantanese”, Conversations (CV) Fitch, pp. 110 – starting out/forming a project “Conversation with Joachim Schmid”, Conversations (CV) • Parameters by Christopher Anderson, pp. 5- forming a Brad Feuerhelm, “Archive of Decline: Social Media Photography project in the Anthropocene” (2017): • Storytelling With Pictures by http://www.americansuburbx.com/2017/07/archive-of- Jane Evelyn Atwood, pp. 9- decline-social-media-photography-in-the- forming a project anthropocene.html

10 • Open Mind by Dawoud Bey, Feb 22) In class viewing: “The Mushroom Collector” by Jason Fulford: pp. 24- forming a project https://www.youtube.com/watch?v=OYk8h284oGg • Last Seven Pictures by Michael Christopher Brown, “Other People’s Photographs” by Joachim Schmid: pp. 39 – forming a project https://otherpeoplesphotographs.wordpress.com/ • Roll a Day by Jessica Ingram, pp. 158 – forming a “Archiv” by Joachim Schmid: project https://schmid.wordpress.com/works/1986-1999-archiv/

Week 8: Imagery as Feb 27) Walter Benjamin, Art in the Age of Mechanical Reproduction reproducible Product “’s Race Riot, 1964”, 3 mins: http://www.americansuburbx.com/2014/04/asx-tv-andy- warhols-race-riot-1964.html

Philip Gefter, “Photography Reveals Itself Between Covers”, Photography After Frank, pp. 178-80

In class viewing: “American Photographs” by Walker Evans: https://vimeo.com/69333381

In class viewing: “The Americans” by : https://www.youtube.com/watch?v=TY3LnroHcNc

Mar 1) Guest Lecture: Justin A. Audet, MFA in Image Text Studies, Ithaca College

In Class Activity: Making Photobook Dummies

11 Spring Break (as in ‘Break Set E, Read All, Complete two: out the Cameras!’) • Daily Destination by Ari Marcopoulos, pp. 211 – learning to see/editing/forming a project • Limitation, Routine, and Repetition, pg. – forming a project/photography as time • Depicting Consumption by Jacqueline Hassink, pp. 142 – forming a project • A Beautiful Mistake by Katia Mater, pp. 213 – forming a project • Mistakes by Massimo Vitali, pp. 362 – forming a project/learning to see • Shadow Diary by Lynn Saville, pp. 299 – composition/forming a project/editing • The Seven-Minute Game by Mike Slack, pp. 320 – forming a project • Composing in Color by Sara Terry, pp. 341 - forming a project • The Land Speed Record by Nicholas Muellner, pp. 233 – forming a project

• Lose an Eye by Melinda Gibson, pp. 122 – learning to see • Expose Yourself by , pp. 149 – learning to see • The Boundaries of Imitation by Takashi Homma, pp. 152 – learning to see • The Body as a Site of Perception by Sharon Harper, pp. 139 – learning to see • Small Ideas by Robin Maddock – learning to see/editing/fiction • Photograph Something Invisible by Arthur Ou, pp. 259 – learning to see

• Ventriloquism by Linda Fleming, pp. 111 – forming a persona (work in pairs)/fiction

12 • Alter Ego by Susan Lipper, pp. 200 – developing a persona (Borges)

• Mother’s Nightmare by Mirana July, pp. 167 – studio photography • Beautiful from Nothing by Denis Defibaugh, pp. 76 – studio photography • Find Your Reflection by Shelby Lee Adams, pp. pg. 4- portraiture

Week 9: Photography Mar 13) Marianne Hirsch, “Surviving Images: Holocaust Photographs and as the the Work of Postmemory”, pp. 5-37 (CV) production of collective Fontcuberta, “Archaeologies of the Future” Memory Mar 15) Gefter, “Travels with Walker, Robert, and Andy: On Stephen Shore”, pp. 17-20

Review of Robert Adams’ “What We Bought”: http://www.americansuburbx.com/2011/07/robert- adams-missing-criticism-what-we.html

Review of Stephen Shore’s “Uncommon Places”: http://www.americansuburbx.com/2010/12/stephen- shore-uncommon-places-2004.html

In class viewing: “The New West”, Robert Adams: https://www.youtube.com/watch?v=PHTSm7sgAYQ

In class viewing: “Uncommon Places” by Stephen Shore: https://www.youtube.com/watch?v=Fl2b1rWjkFI

13 Week 10: Images as a Mar 20) Fred Ritchin, “A Dialectical Journalism”, Bending the Frame: news Medium Photojournalism, Documentary, and the Citizen, pp. 8- 45

Véronique Vienne, “Page One: A Conversation with Philip Gefter, Picture Editor of the New York Times’ Front Page

In class viewing: “Magnum Manifesto” by

In class viewing: “Gordon Parks”

Mar 22) Self-Guided Workshop Day- prompts will be given ahead of time

Week 11: Imagery as a Mar 27) Joan Fontcuberta, “I Knew the Spice Girls” Set F, Complete one: source of • Image Construction by collective Gefter, “The Staged Document”, Photography After Frank, pp. Leslie Hewitt, pp. 148 – Fiction 50-72 forming a persona • Editing (Is) Everything by “How Fake News Goes Viral: A Case Study”: Doug Rickard, pp. 290 – https://www.nytimes.com/2016/11/20/business/media/h editing/found imagery ow-fake-news-spreads.html?_r=0 • An Altogether Different Lesson by Abner Nolan, pp. “Can you Spot What’s Different about These Civil War 245 – fiction Daguerrotypes?”: • Truth or Dare by Gregory https://www.visualnews.com/2016/02/05/can-spot- Halpern, pp. 135 – whats-different-civil-war-daguerrotypes/ documentation/visual expression/fiction Mar 29) Gefter, “Why MoMA Is Giving Its Largest Solo Photography • Words and Ideas by Aline Exhibition Ever to Lee Friedlander” Smithson, pp. 322 – starting out/image text

14 Gefter, “The Marketplace”, pp. 190-210 • Words and Photographs by , pp. 324 – image In class viewing: “Winograd: Figments of the Real World” by text John Szarkowski • Sequencing and Bookmaking by Darius Himes, pp. 151 – In class viewing: “Friedlander” by Peter Galassi editing/finishing • Sum of the Parts by Carlo In class viewing: “Guide” by William Eggleston: Van de Roer, pp. 355 – https://www.youtube.com/watch?v=-5p7zJgIdH4 editing/composition • Inspired by the News by In class viewing: “Andreas Gursky” by Peter Galassi Suzanna Opton, pp. 256 – image text/documentation/fiction • The Meta-Photographer by Fred Ritchin , pp. 291 – editing/found photography/journalism • Create an Image Virus by Tate Shaw, pp. 315 – visual literacy/ meme culture

Week 12: Photography Apr 3) Sontag, On Photography, Ch 3 as looking at Others I Wisconsin Death Trip Excerpts: http://www.americansuburbx.com/2012/01/wisconsin- death-trip-excerpts.html

In class viewing: “: An Aperture Monograph” by Diane Arbus: https://www.youtube.com/watch?v=rW6Qy6K6OMk

In class viewing: “America” by Zoe Strauss

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In class viewing: “Sleeping by the Mississippi” by Alec Soth

Apr 5) Sontag, On Photography, Ch 2

Massimiliano Rezza, “Diane Arbus, Imaginary Lives, Subjective Projections”: http://www.americansuburbx.com/2017/07/diane-arbus- imaginary-lives-subjective-projections.html

Week 13: Photography Apr 10) Susan Sontag, Regarding the Pain of Others, Chs 1, 2, 5, 7 as looking at Others II Apr 12) Judith Butler, Frames of War, Ch2

In class viewing: “The Veterans Book Project” edited by Monica Haller: http://www.veteransbookproject.com/the-books/

In class viewing: “Citizen” by Claudia Rankine

Week 14: Photography Apr 17) Ariella Azoulay, The Civil Contract of Photography, Chs 2&3 All seven Photographer’s Playbook as social (CV) assignments (Sets A-F) due to blog Practice by April 19th Apr 19) Palmer & Whyte, “‘No Credible Photographic Interest’: Photography restrictions and surveillance in a time of terror, pp. 177-95

Final Projects Photobooks due in hand on Finals Day: Thursday, Apr 26, 7:45am - 10:15am (time of finals session may be adjusted by unanimous agreement)

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Beginning Have a Nice Book: Exploratory https://www.youtube.com/channel/UCmlYUcl5z0O4cnDNfjcNaTA Links Self-Publish Be Happy: http://selfpublishbehappy.com/library/

Walker Evans’ American Photographs: https://www.youtube.com/watch?v=2qJcjujUEtM

Christian Patterson’s Redheaded Peckerwood: https://www.youtube.com/watch?v=PIT-64LfnFw

Gregory Halpern’s A: https://www.youtube.com/watch?v=SqC-vdS8a8c

Jason Fulford Lecture: https://vimeo.com/101445671

Jason Fulford Can’t Be Contained: https://aperture.org/blog/jason-fulford- conversation-ashley-mcnelis/

Jason Fulford’s Raising Frogs for $$$: https://www.youtube.com/watch?v=zT_3IKfyJO0

ASX Henri Cartier-Bresson: http://www.americansuburbx.com/2012/01/interview-henri-cartier- bresson-famous.html

Alex Soth’s The Last Days of W: http://alecsoth.com/photography/?page_id=205

Q& A with Mike Slack: http://blakeandrews.blogspot.com/2015/06/q- with-mike-slack.html

17 Arthur Mole: http://www.americansuburbx.com/2015/12/arthur-mole- living-photographs.html

Talk: New Documents: Fifty Years Later: https://www.youtube.com/watch?v=HethsSD0jyM

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