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71 - 80 of 153 results for: ARTSTUDI

ARTSTUDI 175: Sound Installation (MUSIC 192F)

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.
Last offered: Spring 2019

ARTSTUDI 175A: Video Installation

Video Installation is a hybrid studio critique and seminar class that explores the potential of cinematic arts within the context of spatial dynamics and formal configuration. The emphasis will be on the conceptual and experimental, rather than a conventional application of film narrative as a way to convey meaning, and considers video as a sculptural material. Screenings, lectures, and class projects will focus on installations that transform film and video into sculpture, architecture, and site-specific forms.
Terms: Spr | Units: 4
Instructors: Weefur, L. (PI)

ARTSTUDI 176: Installation: Sensorial Concepts

This course considers the history of installation art to develop an expanded understanding through sensorial practices. Students will explore the process and work of contemporary artists working in installation art and discuss the various approaches to installation art. Assignments will consist of projects that reflect class lectures & discussions, site visits, and visiting artists. There will be directed readings and viewings with a focus on installation works that consider the 5 basic human senses as we have come to understand them.
Terms: Win | Units: 4 | UG Reqs: WAY-CE
Instructors: Weefur, L. (PI)

ARTSTUDI 177: Video Art

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)
Terms: Aut, Win | Units: 4 | UG Reqs: WAY-CE
Instructors: Bornhoft, K. (PI)

ARTSTUDI 177M: DIY Movies

Using a 'do it yourself' approach, we will create short films in response to key concepts in cinema. In this course, we will experiment with unconventional and traditional methods of filmmaking that employ a diverse range of media. Together, we will devise strategies to work around resource limitations and consider how simple technologies can be tools for making thought-provoking cinematic experiences. Through workshops, discussions, and film screenings, we will explore the possibilities and significance of filmmaking in the 21st century.
Terms: Win | Units: 2 | UG Reqs: WAY-CE
Instructors: Moreno, J. (PI)

ARTSTUDI 178: Art and Electronics

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)
Last offered: Spring 2021 | UG Reqs: WAY-CE

ARTSTUDI 179: Digital Art I

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)
Last offered: Spring 2021 | UG Reqs: WAY-CE

ARTSTUDI 180: Media Art in the Age of Surveillance (ARTSTUDI 280)

How can media art practices effectively interrogate our data environment? This studio course investigates systems that collect personal data, such as video and consumer databases, by turning their regulatory, contractual and legislative frameworks onto the systems themselves. Techniques include the `legal readymade¿, `tactical fiction¿, and algorithmically-driven discourse. A field trip will introduce drone mapping and choreographing. Assignments include individual projects, and class collaboration on a video that assembles our various approaches into a hybrid fiction-documentary. No prerequisites; basic video skills helpful.
Terms: Aut | Units: 4 | UG Reqs: WAY-CE
Instructors: Luksch, M. (PI)

ARTSTUDI 180M: Creating Public Art: Concept to Commission

This course introduces the skills needed for creating Public Art. The course develops an appreciation and understanding of public artwork, but focuses on the process of applying to and creating work for public spaces. Students develop an understanding of public art through readings and discussion, while learning important skills to develop professional proposals to submit for open calls. These assignments culminate in a completed proposal students can submit to a call for public art at the end of the quarter.
Terms: Spr | Units: 2
Instructors: Catanese, A. (PI)

ARTSTUDI 181: From Dissection to Monster

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.
Last offered: Autumn 2017
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