61 - 70 of 134 results for: ARTSTUDI

This class will cover creative, historical and theoretical aspects of sited artworks based in sound. We will create, install and critique new works that use sound with special attention the ways that sound intersects with time, space and architecture. Attention will be given both to sound as immaterial signal and to sound in its relation to visual environments and objects. The class is intended for artists, composers and others who want to explore the spatial, social and aesthetic dimensions of sound. Assigned readings will cover sound practices in the contexts of art, music, sound studies and anthropology. Experience in sound recording or production, signal processing and spatialization, or installation are valuable but not required. Curiosity and attention to sounds are.

Video holds the ability to bear witness and reconstruct realities of space and time. In this class we study the development of the medium in the 1970s and how artists have since used it as an experimental apparatus. Projects involve creating short video works through narrative, performative, and abstracted approaches. This class explores conceptual possibilities of recording and editing video by utilizing camera technique, lighting, sound design, found footage, and nonlinear digital editing. (lower level)

Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level)

Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level)

The focus of this class is to create an artwork that explores the relationship between creators and the `monsters¿ they create. The course explores the role of the artist as an innovator, experimenter, inventor, entrepreneur, and creative researcher. Students will perform a robust dissection and mapping of a modern technology and then emerge an artwork incorporating the constituent parts and informed by the dissection. n nAlmost anything that we create can become monstrous. One hopes for the best, but never knows just how it might play out. The story of humankind is partially a history of the twists and turns posited by technological innovation. The complex relationship between intention and context sometimes converge in mysterious and unpredictable ways resulting inn corruption in creative strategies, machines, architecture, designs and creative expression. n nThee class is inspired by the classic Gothic literature, Frankenstein, by Marry Shelly., a tragic story about Victor Frankenstein¿s failure to accept responsibility for the consequences of bringing new life into the world.

What does it mean to `queer' something? Expanding this term's meaning beyond gender and sexuality, `to queer' is to question, challenge, subvert, and reimagine social norms and structures of power. In this course, we build from queer theory to consider invisible assumptions and biases in everyday objects, then design technologies that propose new ways of being. For example: What would a clock look like if it were designed for a world without capitalist notions of productivity? Students will create three electronic artworks using Arduino micro-controllers, sensors, light, motors, and sound. Tutorials will provide fundamental instruction in electronics and programming. This is an introductory art course with no prerequisites.

Through experience-based exercises this class will build upon students understanding of conceptual art. Student will be guided in the exploration of their ideas beginning with the parameters set by the camera and later by specific place(s) and space(s) in and around campus. Throughout the quarter students will learn to process and poetically interpret their ideas as well time, space, the self and current sociopolitical issues in a manner that best suites each idea. In class activities will address curiosities to invoke a deeper investigation of each student's relationship to art and/or their individual field of study. This seminar will include a survey of art historical examples to help stimulate ideas, discussions and activities. Visiting artists as well as off-campus studio visits will further inform the course.

Sport and Art are generally viewed as the polar opposites. You are either interested in art or sport. You can't be both.nThis course examines and questions this generalization and begins with a historical overview of artworks and artists, who uses sport, physical activity, and games as inspiration in their work.nWhether in the form of figurative representations of athletes, to inventing new games, and experiments in order to create artworks that comments on issues as broad as identity, race, gender as well as provoke audience participation through interactive installations and other playful strategies.nBesides from the historical overview and examples presented in the class, the students will be given 4 different assignments, which will allow the students to explore the concept of art in sport and vice versa and produce their own projects in response. The course is interdisciplinary in its form, but students will be introduced to a variety of disciplines and media such as Digital Video and Photography, Performance, Sculpture, and Installation Art.nOne of the goals of this course is to demonstrate the many commonalities between art and sport and to encourage a dialogue about this topic as well as bring the two seemingly divergents more together.nSome artist that will be discussed are:nDavid Hammons, Collier Schorr, Paul Pfeiffer, Anne Imhof, Camille Henrot, Gabriel Orozco, Allora & Calzadilla, Chi Kai-Yuan, Hank Willis Thomas, Ana Soler, Jørgen Leth, Cassils and Lee Walton to mention a few.

The aim of this course is to use the tools of art as a means to actively engage with the natural world. Students will be required to go beyond surface representations and dig deep with their work to uncover conceptual, ecological and historical meaning. Whether the focus is on a plant, animal, mineral, or an ecological system, students will be encouraged to investigate and interact with their subjects. Scientists who experiment in the field will be brought in to discuss their research and working processes. Collaborations are welcome. We will examine the work by artists, from past to present, who address the environment in a critical way. Students will work on creative projects with the goal to open new avenues of dialogue between culture and nature.