location | Digital Editing Lab (Kerr Hall)
days/time |  TH 8:30-9:50pm
Professor Laila Shereen Sakr [vjumamel.com]
contact | email: ssakr AT filmandmedia.ucsb.edu | twitter:  @vj_um_amel
office hours | Wed 1-3pm in Wireframe, or by appt.
PDFs for all Readings: https://goo.gl/RpwZgf

OVERVIEW

This production course surveys the field of contemporary glitch practice and glitch studies, while exploring the ways in which the concept might be applied to new areas of arts practice and theory. By translating a twentieth-century industrial cinema model of pre-production, production, and post-production into a twenty-first-century fluid and persistent non-linear workflow, this course offers students a solid foundation in basic film production skills, including camera work, managing digital assets, visual effects, color, sound design, and codecs/aspect ratios.

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.

Students will work in groups of two or three (no more than three) to create installations exhibited at Wireframe studio in the Music Bldg. Each collaborative group will make and install one of the following: (1) a series of glitched images; (2) a moving image glitch (video); (3) sound art. For the final, students will submit collaborative projects including 2-page paper and 10-minute 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.

COURSE REQUIREMENTS AND GRADING

Grading: 50% of the course grade reflects the conceptual design, production and presentation of the collaborative work. The remaining 50% of the grade involves an assessment of students’ individual participation and contributions to the course both in and outside of class. All grades are final and are not subject to change. The following grading rubric will guide the evaluation of student work for the course:

  • Assignments (20%): all assignments must be posted to your website page BEFORE class to count as credit. There are five assignments throughout the quarter.
  • Wireframe Exhibition Participation (10%):  Works in progress are due May 13 and installation week of May 22.
  • Midterm (Two parts: (1) Each student will submit a 5-page research paper based on a research question about glitch; and (2) Collaborative groups each submit and present Treatment for final WIREFRAME installation. The Treatment includes storyboard or wireframe, and mood boards or style sheets, and a 1,500 word description of project and student roles) 25%: 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 short presentations with peer feedback.
  • Final (Submit all class work onto individual page on the blog) 25%: Your final will be a presentation and documentation of the collaborative installation 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 documents.

From Amazon: Nunes, Mark, Ed. (2011) “Error, Noise, and Potential: The Outside of Purpose,” Error: Glitch, Noise, and Jam in New Media Cultures. London: Bloomsbury Academic.

EXPECTATIONS: STUDENT RESPONSIBILITIES

  • Collaborative Projects: Students will collaborate in groups of two and three to produce one of the following installations for Reel Loud. Work includes Treatment at Midterm and webpage at Final.
  1. Series of Images
  2. Moving Image or Video Installation
  3. Sound or Performance Art
  • Assignments: Students individually submit assignments to the class website..
  • Midterm: 5-page individual papers; and collaborative project treatment and presentation of the treatment for formal peer-critique.
  • Final: Your final will be a presentation and documentation of the collaborative installation projects onto our class blog. Each group project will be featured on its own page. Each project must design the page as a formal portfolio — well-designed, people roles defined, images, links, and the Treatments from the midterm, related blog entries by anyone in class, and a 2-page final written critique of the project. And final projects and portfolio page 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.

ASSIGNMENTS

Exercises
YouTube/Vimeo                           20%
Image Acquisition                       20%
Photo Glitch 1                               20%
Soundscapes                                20%
Sequence                                       20%

ATTENDANCE AND LATE POLICY

Do not be late. Do not miss class without speaking with me first. Every late arrival/departure and missed class will be deducted from your grade.


Week 1 – Introductions

Tues, Apr 4 – Introductions: Class overview, Mechanics

Thu, Apr 6 – Video and Remix Culture

Assignments Due: (1) Create a YouTube or Vimeo account and post it to our class blog. Explore the two platforms and be ready to discuss the difference between YouTube and Vimeo and why you chose one. Also provide five links to video, film, or video-based art projects which you consider creatively, and technically exceptional, and be prepared to explain why in class. And (2) set up your profile “page” on the class website — include links or actual posts of all your assignments and blogs.


Week 2 – Glitch Studies

Tues, Apr 11 – Image acquisition and organization Cameras, 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. 

-Menkman, Rosa (2011). “Glitch Studies Manifesto,”The Glitch Moment(um), p. 11.

Thu, Apr 13 –  Glitch Theory in Practice

-Zizek, Slavoj (2016). “The Subversive Use of Theory,” Demanding the Impossible. Cambridge: Polity Press, 52-55.
-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.

Screenings:
Rosa Menkman
Kim Asendorf


Week 3 – Error: Databending the Image


Tues, Apr 18 
 – Hex Editor, Chroma and Pixel Sorting

Assignment Due: Databending the Image

-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.

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

In Class Processing 2.0 Lesson:
Download Code


Thu, Apr 20
  – 3D Glitch and Triangulation Mesh: Finding a Single Diagonal

Screen Shot 2016-03-28 at 12.28.13 PM

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


Week 4 – Noise and Sound


Tues, Apr 25
 – 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.

Post blog reading response and come to class with ideas about final/group project.

Screenings
:
Jessica Westbrook
The Glitch Mob
Lucxke

Thu, Apr 27
 – Sound Production

Assignment: 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: Create a Soundcloud account. 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 5 – Sound Glitch and Projects


Tues, May 02
 – DUE 2-minute Soundscapes. Come prepared to present.

Thu, May 04 – NO CLASS (Work on projects)
 


Week 6 – Midterm Presentations


Tues, May 09
 – MIDTERM: Individual 5-page papers and treatments of group projects  present to class for peer-critique.

Wireframe tool: https://gomockingbird.com

Google: Storyboard, Mood Board, or Style Sheet

Thu, May 11   – MIDTERM: Individual 5-page papers and treatments of group projects  present to class for peer-critique.


Week 7 – Production Planning


Tues, May 16
 – Error Affect

-Mako Hill, Benjamin (2011) “Revealing Errors,” Error: Glitch, Noise, and Jam in New Media Cultures, Ed. Mark Nunes. London: Bloomsbury Academic. pp. 27-41.

Post blog reading responses.

Thu, May 18 – Open Lab


Fri, May 19
 – SUBMIT PROJECT PROPOSAL TO WIREFRAME

Submit prototype and treatments via email to professor at ssakr@filmandmedia.ucsb.edu by 5pm Friday, May 19.


 Week 8 – Glitch and Composition


Tues, May 23
 – Glitch and the Body, Hardcore Glitch

– Russell, Legacy, “Digital Dualism And The Glitch Feminism Manifesto,”  Cyborgology, December 10, 2012.
-Parkhill, Chad and Jessica Ridgers (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.

Post blog reading response

Screenings:
Temas y Variaciones (subtitulado) MATURE by Miroslava Tovar
Estudio1 (work in progress) by Miroslava Tovar

Thu, May 25 – Works in Progress Presentation

 


Week 9 – Installation Week


Tues, May 30
 – Prepare for Installation. Meet in Wireframe.

Thu, Jun 01 – Prepare for Installation


Week 10 – Final Presentations

Tues, Jun 06 – FINAL EXAM

Thu, Jun 08 – FINAL EXAM

Your final will be a presentation and documentation of the collaborative installation projects onto our class blog. Each group project will be featured on its own page. Each project must design the page into a formal portfolio — people roles defined, images, links, and the Treatments from the midterm, related blog entries by anyone in class, and a 1,500 final written critique of the project. Final projects and portfolio page will be due last day of class.