Monday, September 14, 2009

syllabus


FAS349: PERFORMANCE-BASED ART
Times: Monday 2-5 / 6-9

Prerequisites: Any two second year FAS courses, one of them can be CCT 353 or CCT357
Corequisites: In addition to the completion of the required pre-requisites, the student must receive approval of the Art & Art History Program to register in this course.

COURSE DESCRIPTION

In this studio course, students investigate issues of identity, gender, activism and the body within public and private space. Fieldwork will be emphasized, since the locus of the classroom becomes part of the critical inquiry of every day life or specific public events. Assignments will take into consideration the temporal nature of performance or the performative aspect of the work, and explore the various means of recording these temporal events, including memory itself. Students will be exposed to a range of interdisciplinary and trans-media approaches such as video and installation to utilize in the execution and recording of their work. In addition, students will be encouraged to explore the interactive dimension of the media they use.

CRITICAL PERFORMANCE AND LEARNING OUTCOMES

CRITICAL PERFORMANCE
 By the end of this course, students will have demonstrated the ability to:

>Independently produce critically, informed performance-based work

LEARNING OUTCOMES
To achieve the critical performance, students will:

> Demonstrate how the locus of the body is generative in making art
> Demonstrate competence in using video and sound recording equipment
> Demonstrate an ability to use software editing programs such as Final Cut Pro, Soundtrack Pro, Photoshop
> Repurpose traditional and new media to uncover performative dimensions
> Demonstrate creative application of learned techniques in projects
> Place their work within a theoretical and historical framework.
> Verbalize the performative and interactive dimension of the art work and the role of the viewer in creating meaning
> Demonstrate an awareness of how the student's personal philosophy of art relates to contemporary Canadian and
> International art production as well as historical precedents in each discipline

This course will respect all aspects of ethics, morality and health and safety

EVALUATION PLAN

Students demonstrate their learning in the following ways:

> Evidence of technical accomplishment
> Evidence of inventiveness and imagination
> Intellectual approach to problem-solving and appropriate resolution of work
> Ability to critique own work within context of contemporary art practice

EVALUATION BREAKDOWN

Participation: 10 % of overall grade
Reading responses: 6 % of overall grade
Major projects: 7 x 12% each for a total of 84% of overall grade (4 each semester)

EVALUATION SCHEDULE


> Assignment 1: Body Art Performance
Due: Term 1, Week 6
> Assignment 2: Document An Intervention of Space
Term 1, Week 9
> Assignment 3: Sound
Term 2, Week 2
>Assignment 4: Movement and Symbols
Due: Term 2, Week 1
> Assignment 5: Relational and Dialogical Projects--Community
Term 2 , Week 3
>Assignment 6: Live Performance Using Technology
Term 2 , Week 6
> Assignment 7: Documenting the Virtual Performance
Term 2, Week 9
> Assignment 8: Self Directed Performance Work
Term 2, Week 12

FACTORS CONSIDERED FOR PARTICIPATION

> Sustained engagement with and thorough grasp of course material
> Students should anticipate spending the appropriate amount of time outside of class working on their projects -- if a class is three hours each week, at least three hours each week should be spent working on out-of-class assignments
> Engagement in research: execution of preparatory studies, follow up on suggestions by visiting the library and exhibitions, learning new techniques
> Arrival in class prepared to work with the appropriate tools and materials
dedication to a sustained body of research
> Openness to discussion and to the perspectives of others, and an ability to invest in the work of peers in critiques and in the studio environment
> Evidence of a sustained commitment to the timely execution and revision of assignments and self-directed work

Late assignments will be penalized 10% per week unless arranged with instructor. An assignment more than 2 weeks late may not be accepted.

TOPICAL OUTLINE
Some details of this outline may change as a result of circumstances such as weather cancellations, College and student activities, and class timetabling.

Textbook
Schechner, Richard. (2006) Performance studies: an introduction . (Second Edition). New York : Routledge, 2006.
This textbook is available at the Sheridan Bookstore.

Description
The following is to be considered as an outline only, and may change to reflect lab availability, new directions, timelines agreed upon by the instructor and the class or an individual student:

TERM 1

Semester 1 Week 1 Sept. 14
Introduction to course and course materials
Main topic: principles of the body active in space

Week 2 Sept. 21
Main topic: creating movement within structure
Lecture: teaching rock
Review homework

Week 3 Sept. 28
Overview of equipment and software used in the course
Lecture: Body Art and Video Performance
Play/Performance: Response to What Is Performance?
Demo: Video camera handling
Assigned reading for next week: Performance Studies, Constructions of gender & race, p. 151-163
Assigned Play/Performance for next week: Addressing Gender/Identity.
Record on mini dv tape with in- camera editing Continuation of creating movement within structure

Week 4 Oct. 5
Basic introduction to FCP
Play/Perform: Addressing Gender/Identity recorded on mini dv
Lecture: Feminism and the Performance of Gender
Assigned reading for next week: Time Pieces: Alan Kaprow by Glenn Phillips
Lab

Week 5 Oct. 19
Lecture: Fluxus and Happenings
Continuation of Basic introduction to FCP

Week 6 Oct. 26
Major Assignment #2 Due: Body Art Performance
Assigned Reading: Deep play, dark play ≠ R Schechner 118-122.
Optional reading: Play, 89-122
Assigned Play/Perform for next week: A performance utilizing Dark or Deep Play

Week 7 Nov. 2
Lecture: Interventions/Institutional Critiques + Monument and Space
Discuss Reading: Deep play, dark play ≠ R Schechner 118-122.
Optional reading: Play, 89-122 Play/Perform: Deep or Dark Play
Demo: Shooting with 2 or more cameras
Assigned reading for next week: article by Suzanne Lacey

Week 8 Nov. 9
Lecture: Sound Performance
Discuss reading: article by Suzanne Lacey
Lab

Week 9 Nov. 16
Major Assignment #3 Due
Document an intervention of space Demo on Digital Sound recorders and Sound Editing
Assigned Play/Perform for next week: bring in sound tape of something you have recorded over the week using a mini DV tape or a digital recorder.

Lab Week 10 Nov. 23
Play/Perform: bring in sound tape of something you have recorded over the week using a mini DV tape or a digital recorder. Demo: Sound Editing
Lab

Week 11 Nov. 30
Guest speaker/audio workshop
Lab

Week 12 Dec. 7
Lab

TERM 2

Week 1 Jan. 11
With Richard and SJ Major Assignment #4 Due: Movement and Symbols

Week 2 Jan. 18
Major Assignment #3 Due: Sound
Assigned Play/Perform for next week: Observing Old/New Rituals

Week 3 Jan. 25
Lecture: Technology and Disembodiment
Play/Perform: Observing Old/New Rituals
Demo: Live feed with video, sound, photography, podcasts and blogs
Lecture: Relational and Dialogical ProjectsãCommunity
Assigned Reading: Cultural Interventions in the Public sphere by Bruce Barber Lab

Week 4 Feb. 1
Lecture: Global Connectivity Discuss assigned reading: Cultural Interventions in the Public sphere by Bruce Barber
Individual discussions with students regarding projects
Lab

Week 5 Feb 8
Lab

Week 6 Feb. 22
Major assignment #6 Due: Live Performance Using Technology

Week 7 Mar. 1
Virtual Performance in a Virtual World A Brief History of the Metaverse
Get a Second Life-The Immigrant Experience Formation of Identity in the Virtual World
The Engines of Creation

Week 8 Mar. 8
Virtual Performance in a Virtual World Performance Art in VR Bebop Reality From Script to Screen
Machinima

Week 9 Mar. 15
Virtual Performance in a Virtual World
Major Assignment #7 Due: Documenting the Virtual Performance Lights-Camera-Interaction

Week 10 Mar. 22
Lecture: Collaborative performance In class collaborative project
Guest speaker
Assigned Reading: ¨¨¨¨¨¨¨¨¨Jubal Brownπs blague: The sovereign consciousness of in/subordination by Bruce Barber Lab

Week 11 Mar. 2
Lecture: Myth Discuss Reading: ¨¨¨¨¨¨¨¨¨Jubal Brownπs blague: The sovereign consciousness of in/subordination by Bruce Barber
Individual discussions with students
Lab

Week 12 April 5
Major Assignment #8 Due: Self-Directed Performance Work


Please note: The syllabus may be subject to change to adapt to class needs. All changes to the syllabus will be announced in class with fair advanced warning.


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