facilitating agent: John Hopkins
e-mail: jhopkins (at) uiah.fi
office (Fine Arts N287): +1 303 492 4489
office hours: Mondays 15:30 - 17:30 open door -- other times by appointment
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date | content/structure |
essential links/references/resources |
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week 1 |
01.16 |
discussion: introductions, background, identifying people, roots, resources, and possibilities review basics of e-mail/mailing list etiquette...
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during the first few sessions I will be presenting a detailed and comprehensive point-of-view concerning creative practice and presence in the world. this worldview is a re-presentation of my creative practice and will inform many of the subsequent commentaries I will make in class. missing parts of this formative stage of the course is equivalent to missing the point of the course. ATTENDANCE IS MANDATORY, NO EXCEPTIONS |
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week 2 |
23.01
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discussion: a universal model for connection and interaction exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. |
The Importance of Meetspace: A Manual for Temporary Media Labs |
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week 3 |
30.01 |
discussion: history of technology |
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week 4 |
06.02 |
defining terms: VR and the history exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. |
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week 5 |
13.02 |
defining terms: interface, GUI
dialogue: foundations |
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week 6 |
20.02 |
defining terms: creativity, re-situating the discussion so far in a sample model of creative practice selection of case studies case studies will be selected from a list of possible projects (compiled by myself and participants). individuals will then decode the object of the case study -- proposals for possible case studies must be made to me by 22 February... exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. |
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week 7 |
27.02 |
discussion: developing a model |
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week 8 |
06.03 |
MID-TERM exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. |
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week 9 |
13.03 |
case studies |
society of spectacle ch8: negation and consumption within culture case studies: Joel - lev
manovich Gretchen - kidlink |
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week 10 |
20.03 |
case studies
exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. |
case studies: |
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week 11 |
03.04 |
exercise 3: create an event,
situation, or happening on- or off-line where you yourself have a focused
and attentive presence while seeking to engage others in a feedback loop.
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utopian plagiarism, hypertextuality, and electronic cultural production (paper) |
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week 12 |
10.04 |
exercise: with a single partner from the course, find a suitable two-hour time period and, minimizing distractions, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. maintain at least several neurons in a self-reflexive mode, but otherwise document/comment on the experience online. | temporary autonomous zone |
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week 13 |
17.04 |
architecture of dialogue | |
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week 14 |
24.04 |
final presentations, planning strategies for continuing action exercise: with a single partner from the course, at some two-hour period during the di*fusion event, engage the Other in a focused dialogue. there is no particular thematic requirement, only that both participants bring their Self into attentive and open contact with the Other. di*fusion 0900:26:April--0900:27:April - happening |
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week 15 |
01.05 |
closing dialogues, planning for future activities, reflections on May Day | |
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week 16 |
monday |
final examination |
| top |
| name | web | ||
| Blake J. Nolan | ![]() |
http://ucsub.colorado.edu/~nolanb | Blake.Nolan@Colorado.EDU |
| Brian Wood | ![]() |
http://ucsu.colorado.edu/~woodbs | Brian.Wood@Colorado.EDU |
| Ian Bauer | Ian.Bauer@colorado.edu | ||
| Ian Kennedy | ![]() |
ian.kennedy@colorado.edu | |
| Jessica Leber | ![]() |
dablondy@aol.com | |
| Joel Swanson | ![]() |
Joel.Swanson@Colorado.EDU | |
| Elisabeth Roorbach | ![]() |
elisabeth.roorbach@colorado.edu | |
| Katherine Schwerin | ![]() |
Katherine.Schwerin@colorado.edu | |
| Nicole Bechaka | ![]() |
nicolebechaka@yahoo.com | |
| Gretchen Jones | ![]() |
Gretchen.Jones@Colorado.EDU |
Grading will be based on the folloowing criteria:
The timely and successful completion of all projects.
Full PRESENCE in class (i.e., not just body attendance) is an absolutely essential element. Each student will be allowed one unexcused absence. The final grade will be lowered by one grade for each unexcused absence beyond one.
Participants will be expected to take an active role in class discussion and on the mailing list.
Projects and other work must be finished and presented on the due date. Any project turned in after those dates will be downgraded for each class day it is late.
Project grading will emphasize the creative and aesthetic qualities of the projects over any formalist/technical chrarcteristics.
An advisory grade based on work-to-date, participation, and attendance will be assigned at mid-semester. The final grade will be based on completion of the assigned projects, active participation in class and on the mailing list, and attendance.
The Department of Fine Arts is committed to upholding the University Uniform Grading System. Grades will be assigned according to this system, which reads:
A superior/excellent
B good/better than average
C competent/average
D minimum passing
F failing