Select Filters and then click Apply to load new results
Select Filters and then click Apply to load new results
The course will be for sustained work on an animation or projection design project, and should be a space for both experimentation, ambition and consistent endeavor. The first half of the semester will be concerned with conceptualizing and framing the world of the animations or projections, by research, drawings, investigation, imagining. The second half will be creating the animation or projections.
The class will be both looking at abstraction as well as more figurative based work. The class will include a mixture of creating assemblages in a variety of means and materials, and using both digital and analogue means from paint, to sand to animated forms. Objects will be cut out with scissors or the laser cutter, animated with pins or digital pins in software (After Effects), layers will be used to create depth in three dimensions, a multiplane or using the Z axis.
The class will be concerned with animating inanimate objects by primarily stop motion. Locations will be constructed, objects to animated formed, and lighting explored in order to create the imaginary world. A variety of filmmakers and techniques will be looked at during the course of the semester, with individual research undertaken and presented. Students will be expected to produce a variety of short projects over the first seven weeks based on current affairs and future worlds, followed by a longer more sustained project.
A 鈥渞igorous study of art鈥 became the goal of Philosopher and Cultural Critic Walter Benjamin (1892-1940) when his growing distaste for the outlook and methods of his art history professor鈥攖he famous and foundational Heinrich W枚lfflin鈥攃aused him to consider publishing an account of 鈥渢he most disastrous activity I have ever encountered at a German university.鈥
Westworld (Season 2) HBO鈥檚 鈥渟cience fiction western thriller鈥 television series, drives a broadly-conceived visual culture/cultural studies course in which we identify and analyze various aesthetics and genres, histories and visions, typologies, theologies, and allegories on screen and off鈥攂oth inside and outside the show鈥檚 narrative.
In this course, we will be uncovering, re-positioning, and affirming historical legacies and traditions that stand the risk of being lost forever, and explore how to use them to fight discrimination, racism and hate today.
Since its inception, film has been used for propaganda - disseminating information with a particular slant, whether subtle or obvious - by regimes and independent players across the political spectrum. As the means of production and circuits of distribution become ever more accessible to individuals, we have moved from an era of focused agitprop into a new era of diffused disinformation.