Parsons for Design Fine Arts COLLAB: SexEd PSAM 3710A CRN 5133 Spring 2014 Wednesdays: 9am-2:40pm, 2 West 13th St., Room 1102

Professors: Norene Leddy + Liz Slagus [email protected] [email protected] 212-229-8942 (Fine Arts Department) Office hours are by appointment only. If you need to reach us outside of class please email both faculty members: [email protected] and [email protected]. If you don’t hear from us within 24 hours, please resend it. Norene also has a mailbox in the Fine Arts office, 25 E. 13th St. 5th Floor.

Bios Norene Leddy's work examines how technology is used in relationship to marginalized populations. Projects include working with sex workers, inner-city girls, LGBTQ youth, and others to explore ways that high and low technology can be used for protection and self expression, from the latest in GPS and mobile software to simple DIY kits. In addition to drawing, video, sculpture and installation; related performances and workshops are frequently part of her artistic practice. Her work has been shown internationally at venues including Eyebeam (), Henie Onstad Kunstsenter (Norway), and Sarai Media Lab (India). She has been the recipient of numerous grants, awards and residencies including a Fulbright Fellowship, two Eyebeam residencies, and funding from NYSCA, Bronx Council for the Arts, and the Experimental Television Center. In September Leddy was nominated for a 2011 World Technology award. Leddy earned her B.F.A. from Boston University in 1994 and a M.F.A. from Parsons The New School for Design in 2000, where she is now a Part-time Assistant Professor. In 2008, Leddy started an ongoing curatorial collaboration with Liz Slagus. Together they have curated exhibitions for Cuchifritos, City Without Walls, Kean University, and Gallery Aferro among others.

Liz Slagus Liz Slagus is the Director of Public Programs for the NY Hall of Science, a part-time adjunct faculty member of Parsons-The New School, and founder/co-curator of the SexEd Project. She consults in the areas of art and technology education, public programming and community engagement. In 2009, the State Library of Queensland awarded her the Creative Fellowship for Art & Technology to develop the programming and outreach strategy for Brisbane’s new digital culture center, The Edge. During 2008, she produced the youth component for the 01SJ Biennial (San Jose, CA), and co-curated “1800 Frames” for City Without Walls (Newark, NJ)—beginning a curatorial partnership with Norene Leddy. Between 1998-2008, Slagus developed and managed Eyebeam’s education programs, exploring new teaching and learning techniques and models for engagement. As Director of Education and Public Programming, she co-curated and oversaw large-scale exhibitions, and Eyebeam’s public presentations. She holds a BA in Art History and Anthropology from Bucknell University and an MA in Visual Arts Administration from NYU.

Course Description SexEd (http://sexedproject.org) is an ongoing quest to expose the current state of sexual education in the US, encourage a public discourse around the topics of sexual health and education, and develop a sex education curriculum that is artist-inspired and community-

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based—something currently not in existence in the United States.

Through a series of collective and individual assignments, the SexEd: Chapter 2 Collab will engage students as collaborators in developing sex education content for use online and in classrooms. We will be working in concert with the students and school-based health center at the Washington Irving Campus (WIC). Artwork, PSAs, role-playing exercises, performances and games will all be explored as proposals for new ways of thinking and re-thinking sex education.

Throughout the semester, students will contribute to the course blog (and on occasion invited to contribute to the SexEd blog) via assignments that require them to write, draw, review and document current sex education resources and offerings; creating a new and continually updated survey of public sex education information. A weekly journal-sketchbook will be used to develop a method of diagramming and planning projects; responding to class lectures and screenings; recording notes and reviews of exhibitions and educational workshops; and discussions in class and out in the world. Through the practice of drawing, writing and documenting with sketchbooks and the blog, students will understand how the topic of sex education can reach the public via a myriad of artistic methods and outcomes. All content will be credited and belong to the students who created it.

Screenings of video art, performance art, actions and films made by artists and filmmakers throughout the 20th century and the present, will help students to analyze various forms of media, which artists and activists have employed to explore social topics and effect change with the public. Students will learn about the theoretical issues particular to social practices and engagement. Additionally, students will read a variety of short texts to further their understanding of the topics of sex and sex education, social engagement and the relevance of documentation and the impact of technology on perception, art and cultural development. Throughout the semester, students will be introduced to academics, contemporary artists, technologists and designers who work in and/or are making projects to related fields via guest speaking engagements and invited critiques. Students will also visit exhibits, talks/happenings, and workshops throughout to further their knowledge of the uses of various tools and media by contemporary artists for public engagement.

SexEd Mission: The SexEd project is an ongoing quest to expose the current state of sexual education and encourage a public discourse around the topic of sexual health through a series of artist commissions and community collaborations. Contemporary artists with a social practice tackle tough issues and take on multiple roles: artist, activist, community organizer, spotlight and microphone. With these abilities, such artists are able to challenge, raise consciousness, give voice to the disenfranchised, visualize alternatives, and galvanize efforts. For over 40 years, Krzysztof Wodiczko’s public and technical interventions with marginalized communities— from Poland to Mexico to Japan to the US—have served to give voice to specific issues and traumas, often not merely facilitating awareness, but also dialogue around solutions. Paul Chan’s work with and for the city of New Orleans to produce public performances of Samuel Beckett’s “Waiting for Godot” in the middle of the Ninth Ward reengaged the community and public in a conversation about a city and people devastated and in limbo. Mierle Laderman Ukeles’ “Touch Sanitation” had her shaking the hands of 8,500 of New York City’s sanitation workers to acknowledge unrecognized workers for their incredibly important role in the city, and raise awareness of labor issues and our relationship to waste in general. We witnessed how, during the height of the AIDS crisis in the late 80s and 90s, the galvanizing efforts and imagination of Act Up! changed forever the landscape and look of protest and social activism. Working closely with artists whose work has this social practice focus, we

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will commission work, grant residencies, and fund publications and community collaborations to develop a sex education curriculum that is art-inspired, community-based and does not currently exist in the United States.

Course Outline

01/29 Week 1 LET’S TALK ABOUT SEX (EDUCATION) Part 1-History, Facts & Personal Experiences Review: Studio/curatorial practices, SexEd, Syllabus, Collaboration, and Classroom as Safe Space: Comfort level, Respect and Maturity with this project, difficult topics, and the privacy of our peers. Flickr and blogging info. Topics: The politics of sex and sex education in the US. The history of sex education. Where are we with our sex education? The SexEd Project and class blog. Resources beyond the assigned readings. Strategies that artists have used to tackle sex education. Lecture/Demo: Act Up! and Gran Fury, ,Guerilla Girls, Barbara Kruger, Martha Rosler, Felix Gonzalez Torres, David Wojnarowicz, Dan Savage’s project: “it gets better” Assignment 1: Personal Sex Ed 1. Reading: “The Real Sex Ed: 11 Tips Experts Wish They’d Known Sooner”: http://www.alternet.org/sex-amp-relationships/real-sex-ed-11- sex-tips-experts-wish-theyd-known-sooner 2. Sketchbook: Write and draw about your personal sex education experience, including thoughts about what worked and didn’t for you. Be prepared to discuss in class. Norene & Liz will also share their own sex ed experiences. 3. Before leaving class, submit one or more questions or topics (anonymously) you would like answered and/or discussed regarding sexual health and/or behavior by the Nurse Practioner who will visit class on 02/05. 4. Go to the Brooklyn Museum to see the exhibition, “The Fashion World of Jean Paul Gaultier: From the sidewalk to the Catwalk.” Write and/or sketch your review. Please consider if/how Gautier tackles issues of gender and gender identity through fashion. Readings: Sexualities in Context, Chapter 1 “Why Sex Matters” and Yes Means Yes, Chapter 2 “Toward a Performance Model of Sex”

02/05 Week 2 LET’S TALK ABOUT SEX (EDUCATION) Part 2-Research & Interviews Discussion: Readings and topics in the news. Topics: The history of sex education and what is/where to get good sex education and information. Tools for public engagement: How artists have tackled sex and sex education. How to engage meaningfully with an audience or community to create something collaborative. Guest Speakers: Natalia Mehlman-Petrzela, New School Professor and founder of HealthClass2.0 @ 9:30am; Sexual health Q+A session with the New School Health Services Nurse Practitioner, Dr. Kristen Harvey @ 10:30am. Lecture/Demo: Public engagement: ”The Cunt Coloring book” history as tool for teaching about sex education and social engagement. Krzysztof

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Wodiczko projects in Mexico City and Union Square. Merle Laderman Ukeles “Touch Sanitation” project. Assignment 2: Sex Ed Stories 1. Sketchbook: Using the “Cunt Coloring Book” as a starting point, perform a sex education interview with a person of your choosing—using questions developed during class, and documenting the process via voice, video, and/or photography. Come to class prepared to present the results, and the tools and tactics used to hold the conversation. 2. Blog Entry 1: Document your interview in preparation for posting to the blog (without naming your interviewee). Readings: America’s War on Sex-Chapter 2 “Battleground: Sex Education- Where Children Come Second,” NY Times Magazine article, “Teaching Good Sex”:http://www.nytimes.com/2011/11/20/magazine/teaching-good- sex.html?pagewanted=all&_r=0

02/12 Week 3 GENDER, GENDER IDENTITY & PERFORMANCE Topics: How do we define gender? What is performing gender? How do we develop and normalize our gender? Building a safe space for this dialogue. SexEd commissioned videos (bios, websites) Guests: ; Cory Silverberg “What Makes A Baby” http://corysilverberg.com/what- makes-a-baby @ 9:30am; Tamara Oyola-Santiago (co-director of the New School Health & Wellness Center): Safe Zone Program @ 1pm Assignment 3: Public Sex Ed: “What do you wish someone had taught or told you about sex?” 1. Sketchbook: Write/sketch/storyboard ideas for SexEd project YouTube video call http://sexedproject.org/youtube-video-calls. 2. Drawing/Video: Develop your ideas for making YouTube videos for the public. Come prepared to present drawings, video samples, and discuss in class next week. Readings: Health and Wellness Center Resource: “The Genderbread Person V2.0;” Sexualities in Context, Chapter 5, “Finding a Playboy Under a Rock in the Woods”; Gender Stories: Negotiating Identity in a Binary World by Sonja K. Foss,Mary E. Domenico,Karen A, “Introduction: pages 3-16;” Whipping Girl by Julia Serano, “Trans Woman Manifesto,” “Chapter 4: Boygasms and Girlgasms: A Frank Discussion About Hormones, and Gender Differences,” and “ Chapter 16: Love Rant;” Excluded by Julia Serano “Chapter 3: On Being Woman,” and “Chapter 11: Performance Piece”

02/19 Week 4 HEALTHY RELATIONSHIPS Discussion: Readings re: Gender & Identity Topics: How do we define healthy relationships? How do we develop/achieve healthy relationships? What is the role of culture, upbringing, race, class, education, and politics in our collective definition of a healthy relationship? What do we choose? Guests: The New School’s SexE Collective: Healthy Relationships Critique: In-class critique of YouTube Video ideas/works in progress. What questions/topics do you want to raise with your video? What is your video communicating about sex education? Assignment 3: Public Sex Ed: “What do you wish someone had taught or told you about sex?”

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1. Sketchbook: Clarify based on the in-class critique: What questions/topics do you want to raise with your video? What is your video communicating about sex education? 2. Video (in class): Work on YouTube videos. Check-in with Liz and Norene. Final videos due next week, uploaded to YouTube by 10am 02/26. Reading: Yes Means Yes, Chapter 16, “Hooking Up with Healthy Sexuality;” and Health and Wellness Center Resources posted to the blog: “Sex Positivity Workbook” and “Sex Toy and Pleasure Resources”

02/26 Week 5 CONSENT Topics: Is consent complicated? Who needs our permission? What is explicit consent? Rape culture. Guest: TBA Discussion: Readings re: healthy relationships Critique: Screening and critique of YouTube videos Assignment 4: Picturing Consent 1. Poster: Create a poster that re-examines the theme of consent, use the readings and class discussions as a starting point. 2. Place: Think about where and how this poster could be displayed. Be prepared to discuss in class. Reading: Yes Means Yes selections, Prose & Lore Issue 2 “No Restrictions” by Dee Dee Behind; Yes Means Yes, Chapter 18, "Shame is the First Betrayer" and Health and Wellness Center Resources posted to the blog: Consent zine and comic strips and zine, “As if They Were Human.” Video: TBA

03/05 Week 6 HIV/AIDS and STIs Topics: The history of HIV/AIDS. Where are we with this disease now? What are the myths and misconceptions about AIDS and STIs ? STI facts and figures. Guests: STIs, Katayoun--HPV: from science to the personal; Dechen Albero: Designed a campaign for HIV AIDS Discussion: Review/discuss posters re: Consent Demo/Lectrue: The next 2 classes will be used to create a public engagement piece about one of the 4 themes covered: Gender diversity/performance; Healthy Relationships, Consent, HIV/AIDs and STIs. During the first class, students will get into groups and devise a mobile/pop-up structure that can stand alone in an exhibition and/or out on the street and allow the public to contribute to the project with minimal facilitation. Project 3: PUBLIC ACTION In groups of 3-4, design/build a mobile/pop-up booth and/or mechanism for public engagement about one of the aforementioned four topics and a plan for implementation during Week 7 class, 3/12. For consideration: Where will you deploy your booth or public engagement system? Who’s your audience? What will participants do, make, learn? What can you do to make people feel comfortable? Do you need release forms? Is your content is age/community-appropriate? Sketchbook: Use sketchbook to document ideas. Readings: Health and Wellness Center Resources posted to the blog: Chart, handouts, workbook

03/12 Week 7 PUBLIC ACTION & DOCUMENTATION

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Topics: Public intervention (without the context of an exhibition or other) and different forms of documentation and its relevance, particularly to performance, participatory and/or public action pieces. Demo/Lecture: Presentation/examples of public interventions. Class time used to finalize mobile units and test in real time/space (with support and documentation from the class). Guest Artist/Critic: Carrie Dashow regarding her work as a visual and performance artist and the importance and fragility of documentation, as well as the different forms and techniques of documentation to explore. Assignment: Compile documentation and create a blog post re: your mobile unit for use in presentation next week.

03/19 Week 8 CRITIQUE OF PUBLIC ACTION & CURRICULUM Critique of Project 3: PUBLIC ACTION Topic: Creative sex education curriculums. Examples: Not Your Mothers Meatloaf comics, HC2.0, student projects from last Collab, Washington Irving Campus (WIC) school-based health center curriculum Guest Speaker: Karen B. K. Chan http://www.fluidexchange.org Introduce Final Project: SEX ED 2.0: CREATIVE CURRICULUM For your final project you and a team of like-minded collaborators will create a three-session arts-based sex education workshop for high school students using a specific topic and medium (i.e., AIDS and video-making). You will then lead this workshop with students at Washington Irving High School. Embedded in the project will be your creative ideas/protocol for how to document the workshops, any artwork that is produced, and your curriculum in order to share these with others for exhibitions and education. Assignment: Select 1 of the 4 topics covered in class that you feel most strongly about and would like to spend the remainder of the semester covering. Create a preliminary workshop idea. Document the idea in your sketchbook, and be prepared to discuss in class. Reading: New Yorker/ August 2013: “Trial By Twitter;” NY Times article TBD

03/26 SPRING BREAK

04/02 Week 9 SexEd: ORIENTATION Discussion: Readings from break Guest Speaker: Caitlin Hanson, Director of the School-Based Health Center at Washington Irving Campus (WIC): What is the school-based health center? Who are the students of WIC? What are their concerns, issues, and topics of interest? Assignment: Organize into teams with similar interests. With your team, develop at least 2 possible ideas for the workshop, mapping out each of the 3 sessions, and be prepared to present them for critique at the end of class. Reading: TBD

04/09 Week 10 SexEd: FINAL PROJECT DEVELOPMENT: PROPOSALS Guest Speaker/Critic: Sex educator from Washington Irving School-Based Health Center Assignment: Create a 10-minute presentation of your final project idea. Map out each of the 3 sessions, including specific assignments, visual samples (i.e. diagrams, drawings, comics--if you are doing a comic book project) and a materials list for what you will need in order to run your sessions and make projects with the

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students (You will need to bring and provide ALL project supplies/materials.). You will be presenting these to the WIC sex educator for preliminary feedback. Reading: TBD

04/16 Week 11 SexEd: FINAL PROJECT DEVELOPMENT: FINISHED CURRICULUM Final presentations of finished curriculum Guest Critics: Caitlin Hanson, Cory SIlverberg and/or Tamara Oyola-Santiago Topics: Tips & tricks for public engagement. SexE Collective: Tips for interacting with and deploying sex education to peers and/or younger students.

04/23 Week 12 SexEd: IMPLEMENTATION WEEK Students lead 3 session workshops at Washington Irving 04/21-04/25

04/30 Week 13 SexEd: DOCUMENTATION & EXHIBITION Assignment: Assemble your documentation and artwork into both a 10-minute presentation and mini-exhibition (online or in the classroom).

05/07 Week 14 SexEd: LAST CLASS Final critiques of projects Wrap-up Guest Critic: Caitlin Hanson

05/14 Week 15 FINE ARTS DEPT. FINAL REVIEWS-NO CLASS

Learning Outcomes By the successful completion of this course, students will: 1. Be familiar with the basics of social practice and engagement. 2. Have basic knowledge of how to use short-format video for social action. 3. Develop their creative ability to think visually within the medium of video and public intervention. 4. Understand how to develop and facilitate a public program for adult and youth audiences. 5. Effectively document (via photo, video, and blog) for the purposes of developing and expanding a project. 6. Understand artists’ use of conceptual methods to develop ideas for projects in video and public intervention and programming. 7. Develop research methods relevant to project ideas. 8. Deepen their ability to observe and identify, describe and analyze ideas and aspects of their work in order to expand the possibilities of exploration and experimentation.

Assessable Tasks Basic proficiency in using video, blogging and public intervention and programming as artistic mediums. Evaluation based on three long-term studio projects and blogging assignments:

Project 1: YouTube video (due 02.26.14)-Individual

Project 2: PUBLIC ACTION (due 03.19.14)-Collaborative

Project 3: Sex Ed 2.0: CREATIVE CURRICULUM (proposal due 04.09.14, presentations due 04.16.14, implementation week of 04.23.14, final presentations 05.07.14)-Individual and collaborative components

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Blogging: Each student will be responsible for populating the class blog and occasionally the SexEd project blog with reliable and current information and resources related to sex and sex education. As a result, each student will produce 6 blog posts by the end of the semester: 2 assigned and 4 of their choosing. Appropriate blog posts are: reviews of articles, books, exhibitions, organizations/institutions and workshops about sex and sex education; interviews with individuals/groups working in the field of sex education; researched essays/reactions to the aforementioned.

Final Grade Calculation Participation /Attendance 20% Project 1: YouTube Video 20% Project 2: Public Action 20% Project 3: Creative Curriculum 30% Blog Posts/Sketchbook 10% TOTAL 100%

Source Readings Boyle, T.C. The Inner Circle. Chen, Constance M. The sex side of life: Mary Ware Dennett's pioneering battle for birth control and sex education. New York : New Press, c1996. Duggan. Lisa. Sex Wars: Sexual Dissent and Political Culture (10th Anniversary Edition) . Fields, Jessica. Risky Lessons: Sex Education and Social Inequality (Rutgers Series in Childhood Studies). Fosss, Sonja K., Domenico, Mary E., and Foss, Karen A. Gender Stories: Negotiating Identity in a Binary World. Foucault, Michel. The History of Sexuality, Vol. 3: The Care of the Self. Foucault, Michel. The History of Sexuality, Vol. 1: An Introduction. Foucault, Michel. Sexuality, Vol. 2: The Use of Pleasure. Freeman, Susan Kathleen. Sex goes to school : girls and sex education before the 1960s. Urbana : University of Illinois Press, c2008. Friedman, Jaclyn and Valenti, Jessica Eds. Yes Means Yes. Grossman, Miriam. You're teaching my child what? : a physician exposes the lies of sex education. Washington. D.C. : Regnery Pub., 2009. Irvine, Janice M. Talk about sex : the battles over sex education in the United States. Berkeley : University of California Press, 2002. Klein, Marty Ph.D. America’s War on Sex: The Attack on Law, Lust and Liberty. Lord, Alexandra M. Condom Nation: The U.S. Government's Sex Education Campaign from World War I to the Internet. Moran, Jeffrey P. Teaching Sex: The Shaping of Adolescence in the 20th Century. Plante, Rebecca F. Sexualities in Context: A Social Perspective. Savage, Dan and Miller, Terry. It Gets Better: Coming Out, Overcoming Bullying, and Creating a Life Worth Living. Serano, Julia. Excluded. Serano, Julia. Whipping Girl: A Transsexual Woman on Sexism and the Scapegoating of Femininity Stombler, Mindy. Sex Matters: The Sexuality and Society Reader (2nd Edition). “The education of Shelby Knox: sex, lies & education / Incite Pictures presents” ; producers, Marion Lipschutz, Rose Rosenblatt ; directors, Dennis Lee, Marion Lipschutz, Rose Rosenblatt, Tiffany Shlain. New York : Docurama : Distributed by New Video Group, c2006. [videorecording] Waxman, Jamye. Getting Off: A Woman's Guide to Masturbation.

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Resources Class blog: http://sexedprojectch2.blogspot.com/ SexEd project: http://sexedproject.org/

Web Resources, Libraries, and Archives for film and video: • , Bobst Library, Avery Fischer Media Center, 2nd floor: http://library.nyu.edu/ (Film and Videos available for viewing at the center.) • Parsons Adam and Sophie Gimbel Library: http://library.newschool.edu/gimbel • Anthology Film Archives: www.anthologyfilmarchives.org • Film Forum: www.filmforum.com • Electronic Arts Intermix: www.eai.org and www.artincontext.org • Franklin Furnace: www.franklinfurnace.org • Paper Tiger TV: www.papertiger.org • “Video collectives,” “Sex Education” by Google search engine. • Ubu Films: http://www.modernfeed.com/show/UBU_FILMS/ • You tube: www.youtube.com • Newsreel films: www.newsreel.org • www.sexualintelligence.org • www.babeland.com • www.martyklein.com • www.plannedparenthood.org • www.exxcit.org • http://www.masakhanecenter.org/ • Sexuality Information and Education Council of the United States: http://www.siecus.org/ • http://schools.nyc.gov/Academics/FitnessandHealth/StandardsCurriculum/sexeducation. htm

Materials and Supplies Video Tools 5+ DVD-R DVDs (not –RW / re-writable) Portable FireWire hard drive 400/800, Mac compatible, 100GB + (if the drive is FireWire 400, you will need an adapter: http://www.bhphotovideo.com/c/product/438446- REG/Sonnet_FAD_824_6_Pin_FireWire_400_to_9_Pin.html ) Digital SLR camera Video camera *If you have cameras please bring them, if not you will be able to check them out from the New School. General Supplies Journal/sketch book (approx. 8 x 10 in.) Push pins Masking tape Exacto-knife or single-edge razor blades Straight edge or ruler

**You will need to purchase other supplies throughout the semester – these will be determined by your individual projects.

Recommended supplies: Tripod

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Photo lights Minidisc recorder Shotgun mic Gaffer’s tape and/or camera tape

Grading Standards

Grading: Your final grade will be based on 3 projects as well as your growth and your portfolio of work from the entire course. Your attendance, involvement in class discussions and critiques, effort and successful completion of all assignments are also factors in your grade. Assignments and homework must be completed on time. Late homework will not be accepted.

An A is the grade given for excellence – the highest quality work and participation, and effort above and beyond the requirements of the course. This involves:

• Contributing to all group discussions, and having constructive comments for all of your peers. • Self-motivation, working consistently and following through on the development of all projects. • Looking for inspiration through art related experiences such as exhibitions or books. • Seeking constructive solutions and improvements for each work. • Always on time with all materials and meeting all deadlines. • Seeking information in and out of the classroom.

A Exceptional quality. A- Work of high quality. B+ Work that indicates above average commitment. B Good work that satisfies the goals of the course. B- Good work not satisfying all requirements. C+ Satisfactory work. C Passable, adequate work. C- Passing work, but below average. D Marginal. Below average work. F Failing grades are given for required work that is not submitted, or for incomplete final projects. Make-up work may be permitted only with the approval of the instructor and the program director.

I A grade of I (Incomplete), signifying a temporary deferment of a regular grade, may be assigned when coursework has been delayed at the end of the semester for unavoidable and legitimate reasons. Incomplete grades are given only with the written approval of the instructor and the program director. The Request for an Incomplete Grade form must be filled out by the student and instructor prior to the end of the semester.

For undergraduate students, if a grade of incomplete is approved, outstanding work must be submitted by the seventh week of the following Fall semester (for Spring and Summer courses) or by the seventh week of the following Spring semester (for Fall courses). Otherwise, a grade of I will automatically convert to a permanent unofficial withdrawal (WF) after a period of four weeks. For graduate students, the maximum deadline for completion of an incomplete is one year though a shorter period may be imposed at the discretion of the instructor.

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Department and Class Policies

Student Responsibilities 1. Treat class time as an opportunity. 2. Arrive to class on time, with all materials, ready to work steadily throughout the session. 3. Be prepared with all your required materials for every class. 4. Complete all assignments on time. 5. Participate in all class discussions and critiques. 6. Confront difficulties in your work in the spirit of learning, creative exploration and personal growth. 7. Ask for help from your instructors when needed. 8. Respect your fellow students at all times. 9. Disruptive behavior is not tolerated. 10. You are responsible for cleaning up after yourself at the end of each class. 11. No radios, players, walkmans, beepers or cellular phones are allowed in class. 12. NO SMOKING ANYWHERE IN THE BUILDING.

Divisional, Program and Class Policies

● Responsibility Students are responsible for all assignments, even if they are absent. Late papers, failure to complete the readings assigned for class discussion, and lack of preparedness for in-class discussions and presentations will jeopardize your successful completion of this course.

● Participation Class participation is an essential part of class and includes: keeping up with reading, contributing meaningfully to class discussions, active participation in group work, and coming to class regularly and on time.

● Attendance Faculty members may fail any student who is absent for a significant portion of class time. A significant portion of class time is defined as three absences for classes that meet once per week and four absences for classes that meet two or more times per week. During intensive summer sessions a significant portion of class time is defined as two absences. Lateness or early departure from class may also translate into one full absence.

● Blackboard Use of Blackboard may be an important resource for this class. Students should check it for announcements before coming to class each week.

● Delays In rare instances, I may be delayed arriving to class. If I have not arrived by the time class is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event that I will miss class entirely, a sign will be posted at the classroom indicating your assignment for the next class meeting.

● Academic Integrity

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This is the university’s Statement on Academic Integrity: “Plagiarism and cheating of any kind in the course of academic work will not be tolerated. Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students). These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).”

It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.

Every student at Parsons signs an Academic Integrity Statement as a part of the registration process. Thus, you are held responsible for being familiar with, understanding, adhering to and upholding the spirit and standards of academic integrity as set forth by the Parsons Student Handbook.

Guidelines for Written Assignments Plagiarism is the use of another person's words or ideas in any academic work using books, journals, internet postings, or other student papers without proper acknowledgment. For further information on proper acknowledgment and plagiarism, including expectations for paraphrasing source material and proper forms of citation in research and writing, students should consult the Chicago Manual of Style (cf. Turabian, 6th edition). The University Writing Center also provides useful on-line resources to help students understand and avoid plagiarism. See http://www.newschool.edu/admin/writingcenter/.

Students must receive prior permission from instructors to submit the same or substantially overlapping material for two different assignments. Submission of the same work for two assignments without the prior permission of instructors is plagiarism.

Guidelines for Studio Assignments Work from other visual sources may be imitated or incorporated into studio work if the fact of imitation or incorporation and the identity of the original source are properly acknowledged. There must be no intent to deceive; the work must make clear that it emulates or comments on the source as a source. Referencing a style or concept in otherwise original work does not constitute plagiarism. The originality of studio work that presents itself as “in the manner of” or as playing with “variations on” a particular source should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized photograph or paste-up is not plagiarism in the educational context. In the commercial world, however, such appropriation is prohibited by copyright laws and may result in legal consequences.

● Student Disability Services

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In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately. All conversations will be kept confidential. Students requesting any accommodations will also need to meet with Jason Luchs in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me. At that point I will review the letter with you and discuss these accommodations in relation to this course. Mr. Luchs’ office is located in 79 Fifth Avenue, 5th floor. His direct line is (212) 229-5626 x3135. You may also access more information through the University’s web site at http://www.newschool.edu/studentservices/disability/.

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