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1 ATCM 4326 | Mediated Textuality | Fall 2017 Course Information Class No. 87763 Meets: M 4pm -6:45pm Location: ATC 2.918 Credit Hours: 3 Contact Information Instructor: Laura Beltz Imaoka Email: [email protected] Office Hours/Location: M 6:45-7:45pm / ATC 1.909 Course Workspace: http://atcm4326001.pbworks.com Course Description As Lev Manovich noted, “New media may look like old media, but this is only the surface.” If we drill down far enough into any form of the digital we arrive at the level of binary code: 1s and 0s. This material commonality draws our attention to the layers digital objects possess from the surface, where text almost always coexists with images, links, and sound, to the source code. This production-intensive class tasks students with multimodal, multimedia composition. The class focuses on understanding the signifying strategies of and relationships between different media formats in their analog and digital forms while taking note of their historical contingencies along the way. It introduces the theoretical and material connections between text, image, sound, and moving image, detailing the unique affordances of each while considering how these layers play out atop a foundation of binary code, or that common materiality that makes the text object both digital and mediated. Students will learn to convey narratives and ideas in multiple media formats completing a portfolio composed of four separate digital media objects and a short paper, each of which foregrounds certain modes of making meaning. Prerequisite: ATCM 3320. Course Goals 1. Become familiar with the historical, theoretical, and material connections between analog and digital forms of text, image, sound, and moving image. 2. Investigate the social and cultural implications of new forms of text, image, sound, and moving image. 3. Investigate a variety of tools of digital production and utilize these tools to communicate ideas. 4. Explore new models of digital production, including short forms and collaboration. 5. Engage in the processes of feedback and revision to improve their work.

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Page 1: ATCM 4326 | Mediated Textuality | Fall 2017

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ATCM 4326 | Mediated Textuality | Fall 2017

Course Information

Class No. 87763

Meets: M 4pm -6:45pm

Location: ATC 2.918

Credit Hours: 3

Contact Information

Instructor: Laura Beltz Imaoka

Email: [email protected]

Office Hours/Location: M 6:45-7:45pm / ATC 1.909

Course Workspace: http://atcm4326001.pbworks.com

Course Description

As Lev Manovich noted, “New media may look like old media, but this is only the surface.” If we drill

down far enough into any form of the digital we arrive at the level of binary code: 1s and 0s. This

material commonality draws our attention to the layers digital objects possess from the surface, where

text almost always coexists with images, links, and sound, to the source code. This production-intensive

class tasks students with multimodal, multimedia composition. The class focuses on understanding the

signifying strategies of and relationships between different media formats in their analog and digital

forms while taking note of their historical contingencies along the way. It introduces the theoretical and

material connections between text, image, sound, and moving image, detailing the unique affordances

of each while considering how these layers play out atop a foundation of binary code, or that common

materiality that makes the text object both digital and mediated. Students will learn to convey

narratives and ideas in multiple media formats completing a portfolio composed of four separate digital

media objects and a short paper, each of which foregrounds certain modes of making meaning.

Prerequisite: ATCM 3320.

Course Goals

1. Become familiar with the historical, theoretical, and material connections between analog and

digital forms of text, image, sound, and moving image.

2. Investigate the social and cultural implications of new forms of text, image, sound, and moving

image.

3. Investigate a variety of tools of digital production and utilize these tools to communicate ideas.

4. Explore new models of digital production, including short forms and collaboration.

5. Engage in the processes of feedback and revision to improve their work.

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Required Textbooks and Materials

McCloud, Scott. Understanding Comics. ISBN-10: 006097625X

Various chapters and articles available online or through course reserve.

UTD email account that is checked frequently.

Individual account on the course workspace.

Assignments/Grading Breakdown

Participation (25%): Participation is not just about being present, but coming to class on time and

prepared, and having completed the assigned reading and writing in advance, ready to contribute to

class discussions, and to participate in in-class activities. Participation includes attendance, weekly

written think-pieces addressing the assigned readings for that week, reading quizzes, in class activities,

participation in discussion, and preparation. Preparation includes bringing the materials requested of

you to class.

Tool Review (25%): Students will conduct a 15-20 minute review of a digital tool that can be used in

the new models of media production.

Portfolio (50%): Each student will produce a multimedia portfolio in which the same

idea/story/argument is made in different media formats. The portfolio will be composed of four media

objects (text, image, sound and moving image), and one short research paper. Each media object will be

completed as a first version at various due dates throughout the semester. First versions will receive

peer and instructor feedback and will be revised for the final portfolio.

Course Policies

Attendance: Missing more than three classes will impact your grade, and more than five could result in

failing the course. If you need to miss class for religious or academic/school sponsored extracurricular

reasons, please inform me ahead of time. If prior notification is given, these absences will not count

against the permitted number. In addition, absence due to illness will not count against the permitted

number if a written doctor note is provided. Please note, attendance will be taken at the start of each

class period. Punctual attendance for the full meeting time is expected. In addition to not showing up

for class, the following also count as unexcused absences: sleeping in class, being more than 20 minutes

late at the beginning of class or when returning from break, or leaving class early.

Grades

Course grades are based on a 100-point scale. There is no curve. There is no extra-credit or re-take

options. Grades are assigned on the following scale:

A Range: Excellent B Range: Good C Range: Fair D Range: Needs

Improvement

F Range: Failing

Excellent performance,

demonstrates mastery

of material, surpasses

Above-average work,

achieves goals of

assignment in a

Satisfactory, meets

assignment

expectations in an

Assignment

requirements and

expectations not met.

*

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expectations thorough, solid fashion adequate fashion

A, A- B+, B, B- C+, C, C- D+, D, D- F

*F-grades are given to students who fail to meet the expectations and requirements of an

assignment, who have submitted plagiarized work (see below), who fail to complete much or all

of the assigned work for the course, or who have missed more than five classes.

Classroom and Online Etiquette

Any successful learning experience requires mutual respect on behalf of the student and the instructor.

The instructor, as well as the fellow students, should not be subjected to any student's behavior that is

in any way disruptive, rude, or challenging to the instructor's authority in the classroom. A student

should not feel intimidated or demeaned by his/her instructor and students must remember that the

instructor has primary responsibility for control over classroom behavior and maintenance of academic

integrity. The instructor can order the temporary removal or exclusion from the classroom of any

student engaged in disruptive conduct or conduct violating the general rules and regulations of the

institution (see https://www.utdallas.edu/oiec/title-ix/). Online participation requires the same

atmosphere of respect. Name calling, harassing, flaming, trolling, etc. is antithetical to the coarse goals

and will not be tolerated.

Lecture and Technology Policy

All mobile devices and personal media devices must be turned off before class begins and left off and

out of sight for the duration of each session. Violation of this policy will result in either surrendering the

device until the end of class or a request to leave the lecture. While students may use laptops to take

notes, other activities during lectures is strictly forbidden.

Due Dates and Late Work

All online assignments are due prior to class on the date listed, unless otherwise noted. Work associated

with participation, in class exams, or the knowledgebase will not be accepted late. There are no make

ups for missed reading quizzes or in-class exams.

Inclement Weather

In the event of inclement weather, all coursework is still due online by the posted times. Students are

responsible for checking their email for instructions regarding activities that may be scheduled during

the regular class meeting time.

Email

Monday through Friday I check email regularly and will respond to your message within 24 hours. If it

surpasses 24 hours, check your email and resend it. Use UTD email only. Write your name and the class

number in the subject line. I will not respond to course matters that are listed in the syllabus or to

questions about what you missed in class. Please make sure you have the email or phone number of a

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fellow classmate or two to serve this purpose. Also, I will not respond to emails about assignments or

exams 24-hours or less before the due-date or exam administration so plan accordingly.

Office Hours

Students are strongly encouraged to visit office hours to ask any questions or discuss any concerns with

the assignments or course. If you have a reasonable conflict with the scheduled office hours, please

email to arrange for an appointment.

Student Services and Support

Students with disabilities who believe they may need formal accommodations in this class are

encouraged to register with the Office of Access Ability within the first week of class. The office is

located in SSB 3.200, and can be contacted at 972-883-2098 or [email protected].

Academic Honesty

A failing grade will automatically be assigned to any student who violates the academic integrity policy

of the University of Texas, Dallas. All work submitted must represent your own, individual effort. Use of

sources or others' ideas must be acknowledged with proper citations. Please familiarize yourself with

the UT Dallas’ policy on Academic Honesty at http://www.utdallas.edu/conduct/manage-dishonesty/.

Comet Creed

This creed was voted on by the UT Dallas student body in 2014. It is a standard that Comets choose to

live by and encourage others to do the same:

“As a Comet, I pledge honesty, integrity, and service in all that I do.”

Disclaimer

The descriptions and timelines contained in this syllabus are subject to change at the discretion of the

Professor.

Course Schedule

Unit 1: Introduction

Week 1 - Introduction

August 21:

Syllabus overview

Think Piece assignment criteria

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Week 2 – Semiotics + Narrative Across Media

August 28:

BEFORE CLASS

Read: Saussure, “The Nature of the Linguistic Sign” from Course in General Linguistics http://faculty.smu.edu/nschwart/seminar/Saussure.htm Bolter and Grusin, “Immediacy, Hypermediacy, Remediation” and “Remediation”

Ryan, “Introduction” from Narrative Across Media

Review: “Semiotics,” from Media Studies 101: A Creative Commons Textbook

https://mediatexthack.wordpress.com/category/semiotics/

Register for PBWorks and request access to the course workspace

Bring one or more magazines that you have lying around. If you have zero magazines, don't go

out and buy one.

IN CLASS

Portfolio assignment overview

Tool Review overview & date assignment

Week 3

September 4:

NO CLASS – Labor Day

Identify 3-5 possible sources that you might adapt for your portfolio. It can be a work of fiction,

a speech, a song, etc. List in homework section of course participant page by 4pm on Sept. 4th.

Unit 2: Text

Week 4 – Text I

September 11:

BEFORE CLASS

Read: Barthes, “Death of the Author”

Mod, “The Digital Death of the Author”

http://www.newscientist.com/blogs/culturelab/2010/11/storytelling-20-the-digital-death-

of-the-author.html Fenzel, “The Death of the Author and of Katy Perry”

https://www.overthinkingit.com/2012/01/31/death-author-katy-perry/

IN CLASS

Tool Reviews

Week 5 – Text II

September 18:

BEFORE CLASS

Read: Manovich, “The Principles of New Media”

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Jerz, “Somewhere Nearby is Colossal Cave”

http://www.digitalhumanities.org/dhq/vol/001/2/000009/000009.html

Stefans, “Language as Gameplay” at electronic book review

http://www.electronicbookreview.com/thread/electropoetics/gameplay

Play Colossal Cave Adventure

http://www.amc.com/shows/halt-and-catch-fire/colossal-cave-adventure/landing

Browse Electronic Literature Collection, Volume II

http://collection.eliterature.org/2/

o Identify one to discuss in class. Post link to the homework section on the workspace.

IN CLASS

Tool Reviews

Week 6 – Portfolio Workshop – Text Object

September 25:

BEFORE CLASS

Text object, version 1 due

IN CLASS

Review Workshop

Unit 3: Still Image

Week 7 – Still Image I

October 2:

BEFORE CLASS

Read: McCloud, Understanding Comics

Bring your favorite comic book, webcomic, or graphic novel

IN CLASS

Watch “The Rise of Webcomics”

https://www.youtube.com/watch?v=6redB3Xev14

Tool Reviews

Week 8 – Still Image II

October 9:

BEFORE CLASS

Read: Cruz & Meyer, “Creation and Control in the Photographic Process: iPhones and the

emerging fifth moment of photography” from Photographies

Hochman and Shwartz, “Visualizing Instagram: Tracing Cultural Visual Rhythms” from

Association for the Advancement of Artificial Intelligence Technical Report WS-12-03:

Social Media Visualization

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Manovich, “Watching the World” from Aperture

http://aperture.org/blog/watching-world/

IN CLASS

Tool Reviews

Week 9 – Portfolio Workshop – Image Object

October 16:

BEFORE CLASS

Still image object, version 1 due

IN CLASS

Review Workshop

Unit 4: Sound

Week 10 – Sound I

October 23:

BEFORE CLASS

Read: Douglas, “The Zen of Listening” from Listening: Radio and the American Imagination

Altman, “TV Sound” from Studies in Entertainment: Critical Approaches to Mass Culture

Chion, trans Brewster, “Quiet Revolution...and Rigid Stagnation” from October

Watch “The Foley Artist”

https://vimeo.com/124053378

IN CLASS

Tool Reviews

Week 11 – Sound II

October 30:

BEFORE CLASS

Read: Hosokawa, “The Walkman Effect.” Popular Music Vol. 4 (1984).

Behrendt, “Playing the iPhone” In Snickars, Pelle and Vonderau, Patrick, eds. Moving

Data: The iPhone and the Future of Media.

Listen / browse Phil Kline’s Unsilent Night

http://unsilentnight.com/index.html

IN CLASS

Tool Reviews

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Week 12 – Portfolio Workshop – Sound Object

November 6:

BEFORE CLASS

Sound object, version 1 due

IN CLASS

Review Workshop

Unit 5: Moving Image

Week 13 –Moving Image I

November 13:

BEFORE CLASS

Read: Eisenstein, “A Dialectic Approach to Film Form”

Bazin, “Evolution of the Language of Cinema”

IN CLASS

Tool Reviews

Week 14 – No Class

Week 15 – Moving Image II

November 27:

BEFORE CLASS

Read: Bogost, “The Rhetoric of Video Games” from The Ecology of Games

Muller, “Where Quality Matters: Discourses on the Art of Making a YouTube Video”

from The YouTube Reader

Horwatt, “A Taxonomy of Digital Video Remixing: Contemporary Found Footage Practice

on the Internet” from Cultural Borrowings, ed. Iain Robert Smith

Watch 3 – 5 selections of your choice from Recycled Cinema Playlist

http://www.youtube.com/view_play_list?p=D52BD242C8855525

IN CLASS

Tool Reviews

Week 16 – Portfolio Workshop - Moving Image Object

December 4:

BEFORE CLASS

Moving image object, version 1 due

IN CLASS

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Review workshop

Finals Week

Monday, December 11th before 5pm:

Portfolio due