COVER SHEET Arch 3211 BDA: The Camera in Your …design.umn.edu/about/intranet/governance/committees/...your background photography and journal work. Your pictures and words will bind

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Use this form to propose a new course.

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□ Libraries□ Computer Lab□ Digifab Lab□ Goldstein□ Imaging Lab□ Other Technology□ Workshop□ ASR Support not needed.

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III. Consultation is required by the University Curriculum Committee. Before submitting, verify there are nocomparable courses at the University of Minnesota. The course proposer should send the proposed syllabusto the department head(s) of any unit in other college(s) that may already offer courses with overlappingcontent, as well as the undergraduate associate dean(s) of those college(s). Request that the consulted partiesidentify any concerns regarding content overlap.

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Fall 2017

ARCHITECTURE

ARCH 3211

BDA: The Camera in Your Pocket

2/2/2017

Bachelor of Design in Architecture (BDA)

Gayla Lindt,program director

This course is a successful BDA design workshop offered 2x under the ARCH 3250 topics designator. Because we intend to continue offering it, we are asking for curricular review in order to offer this BDA workshop under a regular course designator. Course is for BDA students only; one of several choices as core design courses. Enrollment is typically 16-20 students; there is no change to FTE.

No consulatation required per ECAS. The course adds to the number of design workshops that BDA students can take as part of their program plan. The course is only open to BDA students. BDA students do not take courses in other units for the fulfillment of their design workshop requirement.

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Arch 3211 BDA: The Camera in Your Pocket

University of Minnesota

College of Design

School of Architecture

Arch 3211 BDA: The Camera in Your Pocket

2 credits

A/F grading

Thursday 2:30-5:30 pm

Rapson 251 (BDA lab)

Fall Term, 9/5-12/14, 2016

There is no final exam for this course.*

Prerequisites: this course is open to BDA students only

Christian M Korab <[email protected]> 612-729-2907

Gayla Lindt, faculty sponsor <[email protected]>

COURSE PREMISE

“And what is the use of a book,” thought Alice, “without pictures or conversation?”

— Lewis Carroll, Alice's Adventures in Wonderland

The processes of image formation are unconscious and, for many, so too is the use of photography in a

manner of a fragmented, "speak only" literacy. With cameras in our pockets and publicity at our fingertips,

we add streams of photography to ubiquitous visual culture, often without conscious command in all the

literate modes of visual speaking, symbolic reading and illustrative writing. As design is distinguished from

accident by intent, professional photography is distinguished from amateur by conscious and literate

authorship in reading, writing, speaking and communication. The processes of image formation through the

medium of photography begin with looking and become a way of seeing .

How do you look at the world outside you? How do you see worlds inside yourself? This workshop will use

the camera in your pocket to bring your visual streams of consciousness to active conversation. We will

explore the relationship between acts of looking and the use of photography as a way of seeing meaningful

patterns in your worlds of daily experience. From an outpouring of your photos made without technical

constraints, you will converse with your peers to explore visual literacy and begin a conversation with

yourself about your authorship of vision.

We will examine the distinction between looking and seeing through reflective practices of photography

applied to your weekly delivery of imagery into the classroom; selection, arrangement, peer review and

critical discourse. Our workshop will build upon the unconstrained visual exploration we tend to engage

when snap shooting. We'll repeat cycles of photographic looking with exploratory focus toward seeing.

Using imaginative notes to caption your photography, we'll explore the imaging power of words.

A picture is worth a thousand words, and words themselves are an imaging medium. Visual thinking and

graphic communication underlie design talent in most every design profession. A holistic narrative of

pictures and words bridges the ecology of your mind and the worlds of your audience, transporting and

transposing meaning greater than the sum of its parts.

This workshop will be your experimental opportunity to discover signs of authorship in your photography

and begin to invent your visual literacy. Your photography can be about anything at all. As awareness of

your vision grows, together we may share insight to the mysteries of image formation.

“The medium is the message.”

— Marshall McLuhan

This workshop is not about how to use tools of camera or software to make photographs technically or

formally. Instead, since everyone knows how to take pictures, we'll explore the difference between taking

pictures and making imagery. By setting aside questions of how , we'll focus on why to expose in relief what

is photography to you.

The media of mechanical reproduction progresses toward ever greater automation, but automation risks

emptiness. Our workshop will challenge you to articulate your awareness of formal values and intentional

messages gathered from the camera in your pocket and your daily perceptions. You will apply your stream

of photos to conscientious, confident and creative dialog about the messages of your imagery. You'll be

encouraged to use your own language in reflection upon your photography. From your reflexive habits of

picture taking you will learn about how to make imagery of meaning by identifying patterns of your own

visual dispositions and preoccupations with aspects of our world everyone can look at in plain view.

Whenever you take the camera out of pocket, something made you look! Can you take the leap from

looking to seeing as surely as you take the shot? Having looked, can you tell what the stimulus means and

matters to you? Then can you speak of your vision to others, that they may add meaning to what you've

taken and begun to make?

Of what , when , where , why , and how , we'll focus on why and what to provoke consciousness of your own

authorship in the way you see the world. You and your audience are the who . Your ability to articulate

awareness and appreciation of why and what is vital to mastery in the craft of the medium or design of the

message. This workshop is about first steps toward making meaning from pictures and hopes to illuminate

personal hallmarks of your imagery.

COURSE METHODOLOGY

This workshop is organized in three conceptual phases: looking, awakening and seeing.

About Looking

We will begin with demonstration of the difference between imagery of the mind's eye and photographic

records of things anyone could look at in plain view. If it can be recorded with a camera, surely anyone can

see it, but two people looking at the same thing can never actually share the same perception. Authorship

may be a bridge between our perceptual experiences. You will propose for your study an operational

definition of authorship in imagery; what do you think it means to you?

About Awakening

Halfway through the workshop you will report your growing awareness about authorship of imagery. Your

findings from inquiry about yours and your classmates' authorship will be applied as a lens to focus the

remainder of your workshop shooting and may become a looking glass through which you explore your ways

of seeing. In the spirit of Lewis Carroll, we invite you to step through the looking glass into a world ever

curiouser and curiouser.

About Seeing

The final project of this workshop shall be public presentation of a captioned visual theme set in contrast to

Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 1

your background photography and journal work. Your pictures and words will bind and amplify a report of

your findings from your adventure through the looking glass.

Individual and Workgroup Reviews

Throughout the term, you will be responsible for five deliveries of photography and journal notes to the

collective dialog. These deliverable include:

● 25 images, thoughtfully made and selected

● minimum 75 or upwards of 200 images in background from which the 25 are drawn

● unconstrained process notes, questions and reflections, prosaic or poetic journaling

Your individual and workgroup reviews of yours and your classmates' work will filter the collective work

product toward classroom screening presentations and critical discourse. Your process work of “noodling”

and notes shall be resource and reference to your personal and collective photo selections. Timed

workgroup reviews will bring your author-selected portion of your weekly shooting quota to critical test and

validation. Only a vetted fraction of your weekly work will screen in the classroom for our appreciative

audience and reflective conversation. Your medium and message will be illuminated with 6-8 images from

each of your weekly submissions and 6-8 minutes of critical discourse.

The journal component of your weekly work shall expose your reflexive reflections. Thoughtful consideration

of yours and your classmates' photography will include a public log to gather comments from your

classmates. Likewise, you will periodically offer written comments to some of your classmates. Like

photographs, words represent images from the mind's eye, and they, too, create the imagery flowing

through our heads. Writing is another way of looking, so your notes are to practice conscious conversation

with yourself and audience about what you see when you look at the things photos are supposed to

represent. The challenge of titling and caption composition in the final exhibit is a synthetic exercise of

making imagery. Using words to present mental imagery that cannot be explicitly given by your pictures

alone can generate a third meaning in combination with your pictures.

GOAL AND LEARNING OBJECTIVES

Given the overarching goal of developing your understanding of visual literacy, communication and

authorship, students who are invested in this workshop should at its conclusion be able to:

● identify and characterize authorship of imagery

● critically evaluate and converse about authorship of imagery

● understand your own authorship and its potential for growth

● apply your authorship to exploration and expression of a visual theme

UNIVERSITY STUDENT LEARNING OUTCOMES

BDA workshops contribute especially to University of Minnesota student learning outcomes of:

➢ Can locate and critically evaluate information.

➢ Can communicate effectively.

➢ Understand the role of creativity, innovation, discovery, and expression across disciplines.

COURSE WORKLOAD and EXPECTATIONS


Students in this 2 credit, 7-week module workshop should expect 8-12 hours of effort outside of class to

meet minimal course requirements (grade of C). Very good work (B grade) and excellent work (A grade) will

necessarily require — both qualitatively and quantitatively — more effort. I expect you to be on time to

class, attend woodshop demonstrations, participate in class activities, turn in assignments on time and be

fully engaged in the making of your project. This course will require considerable self motivation and

discipline since each student will be framing their own issues and solutions to the problem.

As a student you may experience a range of issues that can cause barriers to learning. Please let me know as

soon as possible if you are having trouble with your goal of learning in this workshop so that we can address

your needs. See additional information in the policies section of this syllabus.

WORKLOAD, ASSIGNMENTS and GRADING

Students in this 2 credit, full semester design workshop should expect 4-6 hours of effort outside of class to

meet minimal course requirements (grade of C). Very good work (B grade) and excellent work (A grade) will

necessarily require — both qualitatively and quantitatively — more effort.

As a student you may experience a range of issues that can cause barriers to learning. Please let me know as

soon as possible if you are having trouble with your goal of learning in this workshop so that we can address

your needs. See additional information in the policies section of this syllabus.

4 Assignments — 50%

There are four assignments of equal value that collectively account for 50% of your final grade:

1. Speaking of Authorship (About Looking)

2. Pre-visualization / Imaging / Post-visualization (About Looking)

3. Findings and Thematic Direction (About Awakening)

4. Publication Exhibit (About Seeing)

You'll get provisional grades at the first review dates of the two assignments about looking. These

assignments may be re-worked for final grades along with your publication exhibit and final, oral

presentation. The provisional grade about awakening is to be a motivational benchmark toward your

editorial production about seeing. Provisional grades will not be considered numerically in assessment of

your final grades, but they are points of reference to characterize your process and progress.

Because this class is about pictures and conversation, your work and participation will be held to rigorous

checklist accountability of performance in your timely delivery of your weekly process work and your

attendance. Two (2) late, incomplete or missing units, as listed below, will weigh against your grade by 1/12

of the A-F scale.

The quality of your assignments will depend on weekly process work and will be evaluated relative to your:

● shooting quota minimum of 75 photos per week presented as 25 editorially selected images drawn

from the total group, uploaded to the Pocket Cameras server

● written entries to your journal and your classmates' public journals

● attendance and participation (UMN & BDA attendance policy attached)

Progress and Communicating Through Your Images — 50%

The remaining 50% of the course grade evaluates your progress throughout the workshop, as well as the

extent to which you have developed a communicative relationship with your audience. Our workshop aims

to communicate with an audience of designers. This framework is aesthetic and refers to qualitative


strength or weakness of our sensual experience in the reading of work. This framework does not refer to

quantifiable mechanics nor technicalities of the media we will engage: pictures and words.

Competent work merits a C grade and substantially meets the criteria listed below. For an A grade, add to

your craft and beauty any expression of deep insight extending from your experience with the workshop

process or your understanding of the ideas outlined in this syllabus.

About Looking:

● because the workshop is about visual exploration, your initiative toward defining your own

directions of inquiry matter

● because the workshop is about discovering authorship identity, your inventiveness in your modes

of expression matter

● because the workshop is about pictures and conversation, your classmates' response to your work

matters

About Awakening:

● does your work and participation in the class evidence your personal investment?

● have you made personal discoveries and shared your experience of finding things out?

● are you willing to share your ignorance and risk failures by asking questions, engaging arguments

and venturing conclusions?

● are your material work products and their presentations well crafted with evidence of your

personal intentions?

● do your compositional explorations of objects and subjects exhibit thoughtful variety

● do your photos show evidence of visual preoccupation with objects and subject such as repeated

visitation study or personal shtick

About Seeing:

● can your imagery arrest or invite an audience to linger? with hooks of contemplative beauty, playful

surprise, inventive novelty?

● is there a clear relationship between your background imagery in contrast to your editorial

presentation of selected imagery?

● does the contrast evidence development and convergence toward a thematic focus?

● how clearly illustrative is your imagery of pictures and words?

● can your pictures stimulate emotion?

● can your picture illuminate imaginative propositions in a manner not easily reduced to words?

● do your images use literary devices such as juxtaposition, simile, metaphor…

● does your use of words evoke images?

● do new images emerge from the convergence of your pictures and words?

● how few pictures and words of intentional effect do you need to illustrate your thought?

Grading Standards : The nature of design work is highly dependent on evaluations that can only be done

when the work is complete. While every attempt will be made to identify and warn students who are

working at a level below that required for a passing grade, passing review grades imply only the expectation

of a passing final grade, not a guarantee. Grading criteria are based on the following standards, which are

described more fully in the shared policies and statements section of this syllabus:

A — Excellent work

B — Very good work

C — Adequate work that demonstrates stated objectives

D — Deficient work that does not demonstrate the stated objectives


READINGS

The following required readings are available online and/or will be on reserve in the Architecture Library.

McLuhan, Marshall. “The Medium is the Message,” in Understanding Media: The Extensions of Man , 1964.

Benjamin, Walter. excerpts from The Work of Art in the Age of Mechanical Reproduction , 1935.

Cartier-Bresson, Henri. The Decisive Moment, 1/60 of a second in 1959, Rome; A Guide For Looking

Adams, Ansel’s theory of visualization (summarized by others)

Optional recommended readings about perceptual process and epistemology include:

Bateson, Gregory. Excerpts from "Every Schoolboy Knows," in Mind and Nature: A Necessary Unity. New

York: Hampton Press, 1979.

Bateson, Gregory. Metaphor as the Logic of Nature & Commentary

BDA Design Workshop

Shared Statements and Policies

Bachelor of Design in Architecture

School of Architecture

Questions or concerns should be directed to:

Gayla Lindt , BDA program director

The overarching objective of the BDA major is to expose students to a broadly based approach to the design process

as it relates to architecture, but not necessarily tying the process to traditional building scale or building systems. This

academic program is in response to the evolving role of architects as design professionals who require new types of

expertise, including:

— synthesizing knowledge gained from analytic research

— incorporating data from various other disciplines

— generating knowledge specific to an architectural issue, question or project.

BACKGROUND

While there is a growing interest in architecture as a discipline, there is also an emergence of two types of students.

The first and most traditional student is one who wants to become an architect. The second is the student who is

keenly interested in design, design thinking and creative arts, but whose interest tends to bridge architecture with

another design discipline (architecture and digital fabrication/film/furniture design/graphic design/etc.) or as an area

of focus marginal to or within architecture (fabric structures, portable structures, prefabrication). The excitement that

follows these less-traditional applications of architectural thought has fueled the development of the Bachelor of

Design in Architecture program in the School of Architecture. The design workshops are the backbone of this unique

program.

GENERAL OBJECTIVES FOR DESIGN WORKSHOPS (ARCH 3250)‑

BDA design workshops are organized to develop an essential, experimental, collaborative and critical discourse within

the School of Architecture. Workshops encourage students and faculty to step outside the rigors of the very precise

discipline of architecture in order to research specific issues, test professional boundaries and experiment with

emerging practices. Future design professionals must be prepared to collaborate through networks and to bring

sufficient knowledge to bear on these important contemporary and emerging issues. They must be able to critically

assess the viability of that knowledge and be able to employ that knowledge. The design workshops provide hands-on

introduction to the processes, conditions and principles of design as it relates to these issues that permeate the field

of architecture.


Workshops will be generally offered to cover all areas of the School of Architecture curriculum, and are organized

around five practice communities: Conceptual/Spatial Practices, Material Practices, Digital Practice, Community

Design Practices and Global Practices. Students are encouraged to curate workshops that both support their interests

and challenge their development as a young designer and critical thinker.

Workshops are based in the studio model but are more flexible in both content and curricular structure than a

traditional building-focused class. All workshops involve hands-on, project-based learning through an iterative design

process. Students are required to develop a rigorous way of thinking and inventive graphic means of communicating

their explorations.

By the end of each workshop, students should have:

➢ developed critical thinking skills, including an ability to ask meaningful questions, to investigate from

multiple perspectives, and to discern relevance and value as a framework for decision-making

➢ practiced the design process as a dialogue between divergent and convergent making and thinking, and

between explorations and propositions

➢ developed both verbal and visual skills of representation and presentation

➢ a greater awareness of how operating through a lens of architectural design can address a broad range of

issues within architecture and as a bridge with other disciplines

➢ a greater awareness of their own skills and interests, and areas of challenge that improving

COMMUNITY AND STUDIO SPACE

The designated space for the BDA Design Workshop is in 251 Rapson Hall. This is a community space (also known as a

"hot seat" studio) that requires students to share workspace, pin-up space and storage. There are working surfaces

and storage areas that allow students to work in the studio while other workshops are in session. Students must take

responsibility for cleaning up after each work session and leaving the area welcoming for other students. BDA

students have 24-hour access to the studio and working in studio is highly encouraged. Studies show that students

who work in studio are more likely to embed the tacit knowledge of others, and the studio space can operate like a

small city, where the diversity of ideas and serendipitous meetings enhance creativity. During, and certainly at the

end of each workshop, your process and final work should be documented for your portfolio, and—unless retained by

the instructor— should be removed from the studio. Anything left in studio from a half-semester workshop will be

discarded one week after grades have been issued.

SCHOOL of ARCHITECTURE STATEMENTS and POLICIES

LATE WORK POLICY

No late work will be accepted, except in the case of bona fide emergencies. Granting work extensions raises issues of

fairness all students. Perceptions of unfair treatment should be directed to the instructor and/or the program

director.

ATTENDANCE POLICY

There is a zero tolerance for unexcused absence in studios and workshops, and students are expected to be on time

at the beginning of class even for scheduled work days. The final course grade will be lowered for even one

unexcused absence, or for repeated late arrivals/early departures. Absence from any scheduled review is very serious

and should be avoided. Any students with three or more unexcused absences may be asked to withdraw from the

course if the instructor feels they are falling too far behind. This decision will be left to the discretion of the faculty

and the program director In case of an emergency, contact your instructor as soon as possible (ideally before the

class period missed.)

WORKLOAD

At the University of Minnesota, one credit represents 42-45 hours total (i.e., including lectures, recitations, field work,

assignments in and outside of class, and so on) for an average student to meet minimal course requirements and

achieve an average grade (C). Professional norms and the nature of design studio activities may require more than an


average three hours per week per credit to minimally meet course requirements. A good way to consider minimal

workload is to double the contact hours (class time). Thus:

2 credit, full semester workshop: 3 contact hours, 4-6 hours/week to minimally meet expectations (C grade)

2 credit, module workshop: 6 contact hours, 8-12 hours/week to minimally meet expectations (C grade)

3 credit, module workshop: 9 contact hours, 12-18 hours/week to minimally meet expectations (C grade)

4 credit, full semester workshop: 6 contact hours, 8-12 hours/week to minimally meet expectations (C grade)

The related university policy is available at:

http://policy.umn.edu/Policies/Education/Education/STUDENTWORK.html More information on BDA workload is

available at: http://arch.design.umn.edu/programs/bda/students.html

GRADES and GRADING

Grading Standards : The nature of design work is highly dependent on evaluations that can only be done when the

work is complete. While every attempt will be made to identify and warn students who are working at a level below

that required for a passing grade, passing review grades imply only the expectation of a passing final grade, not a

guarantee. Grading criteria are based on the following standards:

A — Excellent work that not only fulfills the stated objectives of the studio syllabus and project statements, but

extends them through new discoveries, insights and proposing issues beyond the stated scope. Students who earn

this grade demonstrate through their work a high degree of rigor, a love of exploration, open-mindedness and

resourcefulness. They also demonstrate that they have developed the ability to build upon a variety of feedback and

excel independently. The resultant sequence of work clearly shows educational progress, is rigorously

thought-through, well crafted and clearly communicates the breadth and depth of their daily investigations.

B — Very good that work not only fulfills the stated objectives of the studio syllabus and project statements, but also

further expands the stated issues by allowing those issues to direct the investigations and developments in the work.

Students who earn this grade demonstrate a medium degree of inquisitiveness, systematic rigor and limited

resourcefulness. They show that they are developing the ability to build upon a variety of feedback and their

emerging independent voice. The resultant sequence of work is competently thought through, well crafted and

clearly communicates the breadth and depth of their daily investigations of the issues presented in the projects.

C — Adequate work that fulfills and clearly demonstrates the stated objectives of the workshop syllabus and projects

statements. The school expects that everyone entering a BDA workshop is capable of this level of performance.

Students who earn this grade demonstrate less self-critical and self-motivated attitude and their work development

requires excessive guidance on what to do next. C work lacks personal authorship manifested through additional and

related contributions to the investigations of a project. The adequate student’s work demonstrates an understanding

of the problem but show deficiencies in basic design or communication skills, time management, or the lack of

breadth and depth of daily investigations.

D — Deficient work that does not demonstrate how the stated objectives of the studio syllabus and project

statements have been fulfilled. The work is fragmentary, not synthesized, incomplete, and does not show the ability

to learn from one’s own mistakes. D work may be the result of a lack of self-confidence, a closed-minded attitude, a

lack of time management skills, or not being able to prioritize academic work.

Incompletes: Per university policy, a grade of "Incomplete" can only be assigned "at the discretion of the instructor

when, due to extraordinary circumstances (as determined by the instructor), the student who has successfully

completed a substantial portion of the course's work with a passing grade was prevented from completing the work

of the course on time." In such a case, the instructor will specify the due dates and other conditions for resolving the

Incomplete. Grades of Incomplete automatically lapse to an "F" after one year from the end of the course, unless the

instructor agrees to an extension, which will be limited to no more than one year.

For more information on grading, see: http://policy.umn.edu/education/gradingtranscripts

SUBJECT TO CHANGE

Because the nature of design and design instruction can be unpredictable, some of the intended exercises and


assignments are subject to change with advance notice, as deemed appropriate by the instructor. Major deadlines,

grading standards and policies are not subject to change.

MENTAL HEALTH, WELL-BEING and STRESS MANAGEMENT

As a student you may experience a range of issues that can cause barriers to learning, such as strained relationships,

increased anxiety, alcohol/drug problems, feeling down, difficulty concentrating and/or lack of motivation. These

mental health concerns or stressful events may lead to diminished academic performance and may reduce your

ability to participate in daily activities. University of Minnesota services are available to assist you. You can learn more

about the broad range of confidential mental health services available on campus via the Student Mental Health

Website: http://www.mentalhealth.umn.edu .

SCHOLASTIC CONDUCT

Academic dishonesty in any portion of the academic work for a course shall be grounds for awarding a grade of F for

the entire course. See information and help defining and avoiding dishonesty, see University Office of Student

Conduct and Academic Integrity: http://oscai.umn.edu/avoid-violations/avoiding-scholastic-dishonesty/

DISABILITY SERVICES and ACCOMMODATIONS

Every effort will be made to accommodate students with diagnosed disabilities. Please contact the instructor to

initiate a discussion about how we can best help you succeed in this class. This syllabus can also be made available in

alternative formats upon request. Further information is available from Disabilities Services (230 McNamara) or at

University Disability Accommodations Statement: https://diversity.umn.edu/disability/

SEXUAL HARASSMENT

"Sexual harassment" means unwelcome sexual advances, requests for sexual favors, and/or other verbal or physical

conduct of a sexual nature. Such conduct has the purpose or effect of unreasonably interfering with an individual's

work or academic performance or creating an intimidating, hostile, or offensive working or academic environment in

any University activity or program. Such behavior is not acceptable in the University setting. For additional

information, please consult Board of Regents Policy:

http://regents.umn.edu/sites/regents.umn.edu/files/policies/SexHarassment.pdf

EQUITY AND DIVERSITY

The university provides equal access to and opportunity in its programs and facilities, without regard to race, color,

creed, religion, national origin, gender, age, marital status, disability, public assistance status, veteran status, sexual

orientation, gender identity, or gender expression. For more information, please consult Board of Regents Policy:

http://regents.umn.edu/sites/regents.umn.edu/files/policies/Equity_Diversity_EO_AA.pdf

RETENTION OF WORK

The College of Design has the right to retain any student project for display, accreditation, archive, documentation or

any other educational or legal purpose. In addition, the college reserves the right to reproduce and publish images of

any such student work in collegiate publications, printed or electronic, for the purposes of research, scholarship,

teaching, publicity and outreach, giving publication credit to the creator/student. Students may be requested by the

instructor or program director to submit materials (including process work) for course/program archives. For

additional information on copyright ownership of student work, see: https://policy.umn.edu/research/copyright

ADDITIONAL UNIVERSITY OF MINNESOTA POLICIES

University of Minnesota policies — including:

Student Conduct Code Use of Personal Electronic Devices

Scholastic Dishonesty Makeup Work for Legitimate Absences

Appropriate Student Use of Class Notes/Course Materials Grading and Transcripts

Sexual Harassment Equity/Diversity/Affirmative Action

Disability Services and Accommodation Mental Health and Stress Management

Academic Freedom and Responsibility

— can be found posted in the studio and with more detail at:

http://www.policy.umn.edu/Policies/Education/Education/SYLLABUSREQUIREMENTS_APPA.html



COURSE SCHEDULE

Week Date Assigned, due and/or in-class work

Week 1 Thursday 7 September Course introduction Begin Assignment 1: Speaking of Authorship

(About Looking)

Week 2 Thursday 14 September Review and discussion of authorship

Week 3 Thursday 21 September Review and discussion of authorship

Week 4 Thursday 28 September Shooting Quota 1 DUE

Begin Assignment 2: Pre-visualization / Imaging /

Post-visualization (About Looking)

Week 5 Thursday 5 October Review and discussion of pre-/post-visualization

Week 6 Thursday 12 October Shooting Quota 2 DUE Review and discussion of pre-/post-visualization

Week 7 Thursday 19 October Review and discussion of pre-/post-visualization

Week 8 Thursday 26 October Shooting Quota 3 DUE

Begin Assignment 3: Findings and Thematic Direction

(About Awakening)

Week 9 Thursday 2 November Review and discussion of findings and themes

Week 10 Thursday 9 November Shooting Quota 4 DUE Begin Assignment 4: Publication Exhibit (About Seeing)

Week 11 Thursday 16 November Review and discussion of draft exhibit material

Week 12 Thursday 23 November Holiday, No Class Meeting

Week 13 Thursday 30 November Installation of Exhibition

Week 14 Thursday 7 December FINAL Review and discussion of exhibit with guests

Week 15 Final Exam Time determined by University Policy/Calendar

All final submittals due.


Documents

COVER SHEET Arch 3211 BDA: The Camera in Your …design.umn.edu/about/intranet/governance/committees/...your background photography and journal work. Your pictures and words will bind