Fall 2013 Course Catalog - School of the Museum of Fine Arts

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Fall 2013 Course Catalog 50 2D Or Not 2D: Interm Sculpture/Interm Printmaking SCP 2006 01 (4 Credits) Peter Scott R 9:00 AM - 12:00 PM / 2:00 PM - 5:00 PM A104, A210 The objective of this course is to dispel the concept of the art piece (print or sculpture) as a static object and to explore the process of destruction as transformation. Individual course projects will evolve out of a program of class assignments that will take students work from the wood shop to the print shop and back again. Initial assignments will involve simple 3D wire “drawings” that are crushed and printed and then reconstructed in 3D from the print. Additional projects can involve pattern design that can be printed as “kits”, cut out and assembled into paper constructions, and the use of printed color and patterns for covering constructions to camouflage their shape and surface as with WW1 “Dazzle” techniques. Students will take their project through multiple destructions/transformations back and forth between 3D and 2D, challenging the concept of sculptural space and image making in both arenas.. Transformation procedures, whether destructive, deconstructive or reconstructive, are not seen as programmatic. Students will be introduced to exercises in orthographic projection, how to enlarge mechanically, pattern design, die cutting, various relief, intaglio and stencil printing procedures, as well as basic wood & print shop procedures and safety practices. Down, Dirty and Dimensional SCP 4083 01 (4 Credits) Ken Hruby T 9:00 AM - 12:00 PM / 2:00 PM - 5:00 PM A002, A011, A205 This all-day, one-semester course is absolutely essential to anyone interested in learning how to make sculpture. Students divide into three groups and rotate through three important technical processes every sculptor needs to know: basic welding, basic woodworking, and plaster mold-making and casting. Each group spends four weeks with each process, concentrating on acquiring technical skills as well as learning how to make materials speak a sculptural language of form, volume, mass, surface, and line. Attendance is mandatory because of the wide array of technical processes. Introduction to Sound SND 1039 01 (4 Credits) Nate Harrison W 9:00 AM - 12:00 PM / 2:00 PM - 5:00 PM A201A This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While covering separate “sound art” categories and then creating 3 assignments from them, you will explore basic audio principles, sound hardware, digital recording and mixing in ProTools and Live environments. Class is divided between lecture/discussion/presentation, and technical instruction and lab time. Through the course of the class, you will gain a solid foundation in the understanding of sound and a contemporary context for the field of sonic arts while developing a strong tool set for working within the medium. For individuals involved in multimedia work who desire a basic knowledge of working with audio. No experience is necessary. Silence SND 2015 01 (2 Credits) Seth Kim-Cohen F 2:00 PM - 5:00 PM A201A Silence, the course, interrogates silence the thing. Except that silence is not a thing. A sound is a sonic thing. Silence is no thing, which is to say, nothing. So, silence, the course, interrogates nothing. Which isn’t to say we don’t interrogate anything. We interrogate silence. As anyone who works with sound knows, the spaces, the pauses, the negative spaces, are crucial to the composition of sound. These silences, rests, and nothings, it could be argued, are as or more important than the sounds, notes, and noises. John Cage – arguably the most important sonic practitioner and theorist of the 20th century, made works of silence and wrote a book called Silence which we will read in this course called “Silence.” Silence, the course, will ask if there is such a thing as a good silence or a bad silence. We will also ask if silence means something or if it means nothing. Then we will ask if something that means nothing, actually means something.
Fall 2013 Course Catalog 51 History of Sonic Art SND 2052 01 (2 Credits) Nate Harrison T 2:00 PM - 5:00 PM A201A A History of Sonic Art examines the historical, theoretical and aesthetic bases of sound, noise and music in modernity. The course will take as its point of departure the development of mechanical media following the stages of industrialization in the early twentieth century. Roughly chronological, the course will trace the early European Avant-Garde through to postwar experimentation, and then onto postmodern sampling, laptop culture, and the acceptance and expansion of “sound art” within the institution of art. While following a timeline, topics, issues and theories presented will nonetheless often be transhistorical and interdisciplinary, addressing concerns that have persisted within the production of culture since the fundamental change to it through the development of recording technologies. Parts music history, sociology and aesthetic theory, History of Sonic Art will provide students the historical context and conceptual framework from which to articulate their own practices. Regardless of whether or not a student works with sound, it will be a very thought provoking class. A Tree Falls In The Forest: Philosophy and Sound SND 3016 01 (2 Credits) Seth Kim-Cohen F 9:00 AM - 12:00 PM A201A A Tree Falls In The Forest investigates the Continentsl philosophy as it relates to, informs, and describes artistic practice generally, and sound practice specifically. The age-old philosophical paradox asks “If a tree falls in the forest and there’s no one present to hear it, does it make a sound?” To answer the question we must first decide if we’re talking about sound as an ontological fact: something that exists in-itself regardless of its reception; or sound as an epistemological phenomenon: something that exists only as a result of reception. The artistic implications of such questions are immense. To grapple with them, we will dip into the history of Western aesthetics from Kant’s Critique of Judgment onward. We will think about Kant’s two categories of aesthetic experience: the beautiful and the sublime. We will investigate how more recent philosophers have rewritten Kant’s formulae to account for the art of the last fifty years. And we will look at and listen to examples of contemporary practice to see if philosophy can account for what’s happening today or if a new philosophical perspective must develop to match today’s art. Introduction to Sound SND 1039 02 (4 Credits) Seth Kim-Cohen R 9:00 AM - 12:00 PM / 2:00 PM - 5:00 PM A201A This beginning course explores the medium of sound and the ways in which visual artists have incorporated it into their practice. While covering separate “sound art” categories and then creating 3 assignments from them, you will explore basic audio principles, sound hardware, digital recording and mixing in ProTools and Live environments. Class is divided between lecture/discussion/presentation, and technical instruction and lab time. Through the course of the class, you will gain a solid foundation in the understanding of sound and a contemporary context for the field of sonic arts while developing a strong tool set for working within the medium. For individuals involved in multimedia work who desire a basic knowledge of working with audio. No experience is necessary. Senior Thesis Program - First Semester STP 3101 01 (4 Credits) David Davison T 2:00 PM - 5:00 PM / 6:00 PM - 9:00 PM A310 Senior Thesis is the culmination and transition between formal courses and assignments to a yearlong independent professional art practice. Students are given the time and support to explore personal, theoretical, or process-oriented themes, in the full richness and complexity of contemporary culture. The program is for students who are ready for an intensive, selfreflective year of research writing, art making, career building, and critques, with program faculty, visiting artists, and cultural art thinkers. vEach student participates in indiividual as well as group critiques, organized to foster community, dialogue, and collaboration. In addition to a rigorous critique schedule, students attend group meetings where benchmarks are set, ideas are exchanged, and students showcase their thesis proposals. Successful completion in the program requires continued progress with individual research, material explorations, attending group meetings, and critiques with Senior Thesis faculty. Students should be prepared to spend 15-20 hours a week working in their studios outside of the regular schedule. Senior Thesis Program Eligibility -- Students with 56 studio credits earned (BFA) or 84 studio credits earned (Studio Diploma). Complete the Senior Thesis Program application and obtain a signature from Senior Thesis Faculty prior to registration and in relationship to available space. It is highly recommended for students to also enroll in a 3000 level seminar course of their choice. If students need assistance with advising they should contact Senior Thesis Faculty and an Academic Advisor in Academic Affairs.
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