location | Digital Editing Lab (Kerr Hall)
days/time |  MW 1:00-2:20pm
Professor Laila Shereen Sakr [vjumamel.com]
contact | email: ssakr AT filmandmedia.ucsb.edu | twitter:  @vj_um_amel
office hours | W 5:00-6:15pm in 2020 SSMS, or by appt.
PDFs for all Readings: https://goo.gl/RpwZgf

OVERVIEW

In this introductory course, students will learn methods and skills involved in designing and prototyping interactive systems. The course covers the design process from the initial formulation of a design problem to creation of digital prototypes. The class structure is a mix of classroom design activities, lectures, and design critiques of student work by peers and instructor.

The concept and creation of the glitch continues to engage artists and theorists working across a number of different arts disciplines, and in particular visual arts, digital art, music, and sonic art. Celebrated as a productive, generative figure within art practice, and also as a disruptive, destabilizing form with radical potential, the glitch celebrates faults, failures, malfunctions, disturbances, anomalies, bugs, errors and noise. As the repressed sounds and images of technology, glitches render audible and visible technology itself, as well as the normalized systems and codes that underpin representation, communication and language. Although the glitch has been closely associated with technology, it may nevertheless also have the potential to illuminate other areas of experience and understanding, and in particular, as a form of noise, brings a political dimension to arts practice.

For the final, students will submit collaborative projects (glitched moving images and sound), including 2-page paper and presentations addressing issues relating to the glitch within arts practice and theory. These presentations will be peer-critiqued. Alternatives to the traditional forms of presentation are welcome, and in particular presentations that seek to blur the boundaries between performance and formal presentation.

Topics for consideration might include (but are not limited to):

• the glitch in film, video and photography
• glitch dance, theatre and music
• the glitch in poetry and prose
• the history of the glitch and glitched history
• the politics and poetics of the glitch
• the glitch and materiality
• queer glitch
• hi-fi lo-fi
• glitch scat, sample, and scratch
• turntablism and glitch
• genetics, disease and the glitch

COURSE WEBSITE

The course will use WordPress (FAMST109GA.wordpress.com) as the main online platform to provide: weekly syllabus updates, PDFs for all readings, events and resources. Students must use the blog to regularly reflect on readings, share relevant projects and report on their ongoing group projects. Students will use UCSB Net ID to Box.net for file storage. Please regularly check the website for syllabus updates.

GUIDELINES

Please be respectful of one another’s opinions.
Be rigorous: do the readings thoroughly and carefully and bring all readings to class.
Be on time. Turn off and put away all cellular phones.

MATERIALS

No textbook is required for this class. Course readings are available either by online link or in this Google Drive Folder. Each week, you should bring to class a sketchbook and a dark pen, pencil, or other sketching tool(s) of your choice (e.g., an iPad or another tablet).

GRADING

The following grading rubric will guide the evaluation of student work for the course:

    • Assignments (20%)
      -Image Acquisition
      -Photo Glitch 1

      -3D Glitch
      -Soundscape                                        
      -Video Sequence
    • Blog posts (20%): all assignments must be posted to your blog page by 12 noon the day they are due. There are five assignments throughout the quarter.
    • Class discussion, attendance, and punctuality (20%)
  • Midterm (20%): Collaborative groups each submit and present “treatment” or “proposal” for final project. The Treatment includes storyboard, scripting, overheads, mood sheet for visual aid, a prototype, or design plans, wireframes, mock-ups for conceptual testing, and a 1,200 word co-authored description of project and student roles. The course expects students to engage critically and collaboratively (in small teams) to research, conceptualize and produce glitch video, image series, sound art or creative intervention that tackle a specific topic. The groups will present their midterm to the class in presentations with peer feedback in a studio critique format.
    Collaborative Projects: Students will collaborate in groups of two and three to produce one of the following. Deliverables includes Treatment at Midterm and webpage at Final.

-Series of Images
-Moving Image or Video Installation
-Sound or Performance Art

  • Final (20%): In addition to submitting your videos, your final grade will include assessment of presentation and documentation of the collaborative projects onto our class blog. Each group project will be featured on its own page. Students must design the page as a formal portfolio — well-designed, people roles defined, images, links, and the Treatments from the midterm. And final projects will be due finals week.

EQUIPMENT

Students will have access to technical materials needed from the Carsey-Wolf Center including HD and film cameras, a digital editing lab, private screening rooms and our soundstage. You are responsible for providing your own digital media storage using your university Box.net account, signing up for equipment access via Carsey-Wolf, and setting. FAMST 109GA has 3 NX5U Sony cameras reserved for students.


Week 1 – INTRO TO GLITCH ART

Mon, Apr 1 – Introductions; Class overview; Set up accounts on class website.

Wed, Apr 3 Interaction Design as Method

Sir Isaac Newton: Philosophize Naturalis Principe Mathematica, William Dawsone Sons, 1687 (also known as Newton’s Laws of Motion).

1. Objects at rest will stay at rest and object in motion will stay in a straight line unless acted upon by an unbalanced force.
2. Force is equal to mass times acceleration.
3. For every action there is always an opposite and equal reaction.

Assignment Due: Add a one paragraph biography of yourself to your web page. Include your prior education, work experience if you have it, and your background in interaction design if you have any. This could be particular skills you have or any software tools you know how to use related to design, prototyping, etc. If you have developed any kind of interactive system before, please note that too.


Week 2 – ERROR

Mon, Apr 8 – Glitch Theory

-Nunes, Mark. (2011) “Error, Noise, and Potential: The Outside of Purpose,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 3-26.
– Mako Hill, Benjamin (2011) “Revealing Errors,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 27-41. (SCROLL TO CHAPTER 1, p. 27)

Screenings:
Mark Klink
Uğur Engin Deniz
Failure as a Generative Process: Expanded Cinema Experiments of Stan VanDerBeek at the Hammer

In class: https://www.openprocessing.org
login: lailashereensakr@ucsb.edu p/w: glitchart

Wed, Apr 10 – Image acquisition and organization, rasterized and vector graphics

Assignment Due: (1) Image acquisition. Take pictures, find pictures, makes pictures. Collect or take up twenty images and add to a folder in your UCSB Box.net account. Share the link with everyone in class and professor. 

In Class Processing 2.0 Lesson:
Download Code
Install Processing 2.2.1


Week 3 – DATABENDING THE IMAGE

Mon, Apr 15  – Glitch Theory in Practice

-Zizek, Slavoj (2016). “The Subversive Use of Theory,” Demanding the Impossible. Cambridge: Polity Press, 52-55.
Menkman, Rosa (2011). “Glitch Studies Manifesto,The Glitch Moment(um), p. 11.}
-Betancourt, Michael (July 2014) “Critical Glitches and Glitch Art” HZ Journal #19

Screenings:
Rosa Menkman
Kim Asendorf

Wed, Apr 17 – Hex Editor, Chroma and Pixel Sorting

-Barker, Tim (2011) “Aesthetics of the Error: Media Art, the Machine, the Unforseen, and the Errant,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 168-186.

Assignment Due: Databending the Image


Week 4 – 3D GLITCH

Mon, Apr 22 – GUEST LECTURE BY MARK KLINK

Wed, Apr 24
 – Triangulation Mesh: Finding a Single Diagonal

Screen Shot 2016-03-28 at 12.28.13 PM

Get through first two tutorials: 3D Glitch Effects Tutorials 1-4
This is not an easy assignment. Will take some time.

Also, google the following: Storyboard, Mood Board, Style Sheet


Week 5 – 3D GLITCH

Mon, Apr 29 – Glitched Things

Emory, Sami (Nov 24 2016) “These 8 Artists Bring Glitch Art into the Real World: From fashion to furniture, check out the makers taking inspiration from the glitch” Medium.

Wireframe tool: https://gomockingbird.com

Wed, May 01 – 3D Glitch

Assignment Due: 3D Glitch Effects Tutorials 1-4
This is not an easy assignment. Will take some time


Week 6 – MIDTERM PRESENTATIONS

Mon, May 07 Studio Critique

Wed, May 09 – Studio Critique

Assignment: Create a Soundcloud account.


Week 7 – GLITCH SOUND


Mon, May 14
 – Noise and Signal

-Krapp, Peter (2013) “Noise Floor Between Tinnitus and Raw Data,” Noise Channels: Glitch and Error in Digital Culture. Minneapolis: University of Minnesota Press. pp. 53-74.
-DJ Pangburn (June 20, 2018) 5 Artists Who Are Masters of Glitch Music” iZotope
Music Glitch Archive

Wed, May 16 – Soundscapes

Assignment due: Using a single image from the set you acquired or created in our previous assignments, you will create a two-minute audio soundscape that integrates sound effects, voiceover, and music. The goal is to bring the picture to life, enhancing the world represented through the photographer’s lens. Feel free to be as experimental as you want. You may download creative commons content from Soundcloud or other sources. You can record sounds, noise, or music as you see fit.

Instructions to hand in: Upload your sound file to your Soundcloud account. Paste the embed code from the uploaded Soundcloud file  into your “page” on the class website. On your page, make sure to properly title the assignment, add the single image you used in the assignment, and add a few sentences or more describing your process, concepts, and intent. I will look at your pages for the assignment.


 Week 8 – QUEER AND THE BODY


Mon, May 20 
– Queercore, Hardcore

– Russell, Legacy, “Digital Dualism And The Glitch Feminism Manifesto,”  Cyborgology, December 10, 2012.
-Parkhill, Chad and Jessica Rodgers (2011). “Queer/Error: Gay Media Systems and Processes of Abjection,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 210-226.

Screenings:
Temas y Variaciones (subtitulado) MATURE (07:33:00) by Miroslava Tovar
Dirty Computer [Emotion Picture] (48:00:00) by Janelle Monáe
Queer Technologies by Zach Blas

Wed, May 22 – Moshing Techniques

TUTORIAL


Week 9 – DATA MOSHING


Mon, May 27
 –  MEMORIAL DAY – NO CLASS

Wed, May 29 – Sequence

Assignment due: Video Sequence Glitch


Week 10 – FINAL

Mon, Jun 03 – Final Critique

Wed, Jun 05 – Final Critique


DOCUMENTATION DUE EXAM WEEK

Advertisements