ARTE 201/A (Winter 2025): ART IN EARLY CHILDHOOD I

ARTE 330/A (Winter 2025): INTRO TO COMMUNITY ARTE

The course investigates the various issues and concerns related to community art education. Students develop skills in assessing community needs. After processes of research, open dialogue and studio research, students will work in groups develop and propose an art education curriculum for a specific community setting or population. This course includes a practicum component. 

Welcome to ARTE 330/AA (Winter 2025): INTRODUCTION TO COMMUNITY ART EDUCATION

Course Description

The course investigates the various issues and concerns related to community art education. Students develop skills in assessing community needs. After observation and studio research, students develop and propose an art education curriculum for a specific community setting or population. This course includes a practicum component.

 

Course Objectives

      Cultivate our identities, values, sensibilities and methods as artist-educators within a community of practice.

 

       Investigate “what makes a community” alongside inclusion, engagement, participation and collaboration questions.

 

       Explore different approaches to engaging communities through art education in local and international contexts.

 

      Gain first-hand experience in art teaching through peer-to-peer learning and community-based internships.

 

      Understand how to develop and implement lesson plans that are meaningful to the communities concerned while integrating our unique artistic voices.

 

     Engage in open and critical dialogue regarding social, ethical and political concerns while reflecting on our biases/limitations.

ARTE 340/AA (Winter 2025): ARTE FOR ADOLESCENTS/ADULTS

COURSE DESCRIPTION

Prerequisite/Corequisite:

Students must have completed 24 credits in the Major in Art Education or the Specialization in Art Education – Visual Arts. prior to enrolling.

Students are introduced to theories of adolescent and adult learning, and how these are practised as teaching methods. Students learn about different types of group management and support techniques appropriate for adolescent and adult students. The course presents ways to effectively build relationships with learners over the age of 13, as well as strategies to plan and deliver programming in community settings or curriculum in school settings.

 

COURSE OBJECTIVES

Students will explore theories, principles, methods, media, and materials for teaching adolescents and adults with the arts. Through process-oriented experiences, students will engage in creative strategies to foster self-expression, critical thinking, conceptual understanding and personal experiences.

 

LEARNING OUTCOMES

By the end of this course, students will:

·         Create artworks that express aesthetic, conceptual, and personal ideas.

·         Explore storytelling through identity, culture, and community-based art.

·         Design art-making activities for adolescent and adult learners.

·         Reflect critically on their own and others’ creative practices.

·         Collaborate effectively on inclusive and co-creative projects.

·         Address environmental and social issues through sustainable art practices.

·         Use art to create engaging and meaningful learning experiences.

·         Respond to contemporary social and cultural issues through artmaking.

ARTE 352/A (Winter 2025): LIGHT-BASED MEDIA

ARTE 354/A (Winter 2025): TIME-BASED MEDIA

ARTE 398/AA (Winter 2025): SPECIAL TOPICS IN ARTE: The Material, Media, and Technological Cultures of Teaching, Learning, and Creative Practice.

This course explores public pedagogy, teaching and learning philosophies, and art making as expressed and facilitated by material and digital media technologies. Students will research and discuss case studies, and engage in simple media production to better understand the material and technological conditions associated to the histories, ideologies and pedagogical frameworks of art education. The second part of the semester will focus on technological strategies for enacting collective knowledge, for promoting diversity and inclusion in learning and co-creation in art making.

ARTE 434/A (Winter 2025): PROF. PRACT./ART EDUCATORS

ARTE 660/A (Winter 2025): SELECTED TOPICS IN ARTE

ARTE 682/A (Winter 2025): RESEARCH PRACTICE

ARTE320.jpgARTE320.jpg

ARTE 320/A (Fall 2025): MULTI-DISC. APPR. ART/TEACH.

ARTE 320/AA (Fall 2025): MULTI-DISC. APPR. ART/TEACH.

ARTE 354/2 Time-based Media

Fall 2025

 

TV Interruption Piece, David Hall 1971

 

Instructor: Aaron Pollard (he/him, they/them)

Independent interdisciplinary artist and cultural worker

 

Thursdays 5:45pm - 9:45pm

EV2.645 undergraduate studio (with punctual access to the EV5.709 computer lab)

Department of Art Education

Concordia University

 

Contact Information

 

Email contact: aaron.pollard@concordia.ca

 

Office Hours: By appointment only. Please send me an email to fix a time for us to meet.

 

Territorial acknowledgement:

I would like to begin by acknowledging that Concordia University is located on unceded Indigenous lands. The Kanien’kehá:ka Nation is recognized as the custodians of the lands and waters on which we gather today. Tiohtià:ke/Montréal is historically known as a gathering place for many First Nations. Today, it is home to a diverse population of Indigenous and other peoples. I respect the continued connections with the past, present and future in my ongoing relationships with Indigenous and other peoples within the Montreal community.

 

For more information (pronunciation, history, rationale and FAQs), visit https://www.concordia.ca/indigenous/resources/territorial-acknowledgement.html

 

Calendar Course Description

Students develop proficiency in a variety of time‐based media, including video and multi‐media

installations that are suitable for school or community art education programs. Students

investigate related approaches to teaching and curriculum.

 

NOTE: Students are expected to have basic computing skills or to have completed INTE 290 before registering for this course. Students who have received credit for ARTE 430 may not take this course for credit.

 

What is time-based media?

Time-based media is a term that encompasses artworks that offer an experience over a passage of time or over a specific duration. The term media refers to a way of doing something. Within contemporary cultural discourse, the word media often refers to the mechanical (print, photography, phonograph) or electronic reproduction of text, imagery or sounds (video or audio).

 

Within visual arts, “mixed media” is a term often used to describe installation practices that combine multiple traditional disciplines, such as painting, sculpture and drawing. Mixed media combining static objects will not be a focus of this course. However we will be studying practices that mix media where there is a time-based element to some or all of the components.

 

Multimedia refers to a wide set of electronic and digital practices, often but not always disseminated online. We will look at an array of works and practices that fall into the multimedia category.

 

What is time-based media for the purposes of this course?

For ARTE 354 this semester, we will focus on various forms of digital electronic media and, on occasion, study examples of legacy, analog and mechanical forms such as cinema and analog audiovisual formats and tools. Our readings and discussions will cover a wide array of forms, including Audio, Video, Animation, Virtual Reality, Circuit-Bending, Robotics and Artificial Intelligence. Practical exercises and skill-sharing will be focussed on acquiring some basic toolsets that are easily adaptable to a variety of art education contexts. Due to the breadth of practices that comprise time-based media, this course is not intended to provide in-depth technical instruction. However the course will offer up best practices for video and audio recording, along with some instruction covering file management, the editing of sound and image, and some pointers concerning projection and live manipulation of audiovisual materials. Certain processes, such as virtual reality authoring or robotics, would simply be too time-consuming to teach within the scope of a survey course such as ARTE 354/2, though there will be some time to examine examples of these practices.

 

Detailed Course Description

This course is designed to develop your observational skills and to broaden your technical, artistic and pedagogical palettes across a variety of creative processes involving technology, space and time. Throughout this course, you will encounter various approaches to time-based media with an eye to their relevance and limitations within a diversity of educational settings. ARTE 354/2 encompasses experiential and sensorial artforms with a specific focus on mechanical and electronic reproduction, generation and/or amplification of sounds and images in a wide variety of forms and contexts. Through presentations, hands-on workshops, assignments, readings and discussions I will introduce you to an array of current and historical practices that deploy time-based media along with some ideological and cultural frameworks to contextualize them. I encourage you to share your perspectives on works that you encounter in and out of the classroom as you connect the dots between things that we discuss together and the immense cultural offerings found outside the university setting. Time-based media is as ubiquitous as it is labour intensive. We are all soaking in it every day and much of the media we consume is developed, owned and distributed by vast networks with access to resources that dwarf the capacities of individual artists and educators. While we will cover a diversity of ideas and approaches, this course is by no means exhaustive. I will hone in on certain practices that I find relevant to teaching art, that are accessible to students who may be relatively new to working with certain technologies, and that foster confidence in initiating and engaging with creative processes involving (mostly digital) technologies. As an artist, my aim is to offer up a perspective on works and ideas that resonate with me, that are foundational to my own practice and that seem pertinent to you, the group of students who will share this classroom with me over the next 3 months. Together as a group we will explore a wide array of approaches and ideas designed to foster curiosity and to crack open new avenues for learning. As individuals I encourage you to look for a particular process or form that resonates with your own artistic and teaching ambitions when you engage with both midterm and time-based media creation assignments.

 

Course Learning Objectives for Students

  • To gain perspective on various historical and contemporary artistic disciplines and practices that deploy time-based media.

  • To identify time-based media practices and techniques that resonate with you as a student, as an artist and as a teacher and to learn how to articulate why they are of interest to you.

  • To identify the strengths and limitations of particular time-based media tools and processes within an educational environment and to adopt strategies that address this for your teaching.

  • To acquire observational skills and analytical capacities that allow you to identify the impact of various forms of time-based media on the cultural sector and on society at large.

  • To develop working methods and technical skills that allow you to learn, practice and teach time-based media.

  • To adopt and adapt a set of best practices for file management along with the care and maintenance of equipment and tools (mindfulness is key here).

  • To gain insight into questions of authorship and copyright that are specific to the mechanical and electronic reproduction of sounds and images.

  • To recognize and foster joy for yourself and others in the process of making and teaching time-based media.

 

Student responsibilities

Attendance and promptness to all classes (Thursdays, 5:45pm - 9:45pm)

 

Regular engagement; includes

  • In-class responses and discussions

  • Solo and group in-class activities

  • Weekly sketchbook entries

 

On-time completion of all:

  • Readings/viewings/responses (see course schedule and Moodle)

  • Weekly e-sketchbook entries

  • In-class activities

  • Assignments (see course schedule for due dates)

 

Class Structure

The course is 4 hours. Most classes will be divided into 2 blocks: 

 

  • The first 2 hours (in EV 2.645) are earmarked for in-class responses to readings, presentations, reviewing time-based media examples and discussions.

  • The 2nd 2-hour block is dedicated to practical exercises and studio time where we will also have access to the computer lab (EV5.709).

  • There are some classes that stray from this structure, notably classes 7, 9, 11 and 12. For class 7 (Oct 23) after reading break, we will maintain the 2-part structure however the first half of class will be dedicated to the presentations of your proposals for your time-based media creations. The second half will consist of a discussion of the weekly reading, along with an introduction to some performance practices. For class 9 (Nov 6) I am offering you a 4-hour block of studio time where we can work together in EV2.645 and in EV5.709 to help you advance with your respective final time-based media creations. Despite its loose structure this is a very important class. I encourage you to prepare for it carefully. Classes 11 and 12 are set aside for presentations and critiques of your final time-based media creations. Half of you will present your works during class 11 (Nov 20), the other half will present during class 12 (Nov 27). Each of you will be paired with another student. Those who present on Nov 20 will be responsible for leading the critique with one of your peers on Nov 27 and vice versa.

  • Class 10 (Nov 13) will maintain the 2-part structure though I have arranged for us to visit the Artist-run Centre, OBORO where we will attend a presentation by Nelly Mironchuck. For the second half of class, I will welcome you to my studio in the Mile End to offer you a look into the workings of a shared artist studio and to present you with a small sampling of things that I have been working on.

 

Be prepared to spend additional time outside of class time to complete assignments, readings, and to participate on the Moodle course site.

 

Academic Integrity

Consult Concordia ‘Academic Integrity’ for detailed definition of and penalties for plagiarism—these apply to you: http://www.concordia.ca/students/academic-integrity.html

 

Plagiarism

https://www.concordia.ca/conduct/academic-integrity/plagiarism.html

  • Avoid plagiarism in written submissions by providing citations for all your sources for quotations and ideas (ie: direct quotes and paraphrasing). 

  • You must also cite sources for images as a caption (include original date of the work, title, etc. and the source of the photo).

  • Guides and samples for formatting citations are here:

Chicago: http://www.chicagomanualofstyle.org/tools_citationguide.html

MLA: http://library.concordia.ca/help/howto/mla.php

 

The most common offence under the Academic Code of Conduct is plagiarism, which the Code

defines as “the presentation of the work of another person as one’s own or without proper

acknowledgement.” (Article 19 a). This could be material copied word for word from books,

journals, Internet sites, professor’s course notes, etc. It could be material that is paraphrased but closely resembles the original source. It could be the work of a fellow student, a note, a comment or an answer to a question that the person next to you has written down. It might be a paper purchased through one of the many available sources or an answer to a question that you input into ChatGTP or another AI service.

 

Rule of thumb: Do not copy, paraphrase or translate anything from anywhere without indicating where you obtained it. (Source: The Academic Integrity Website)

 

Questions of plagiarism within the scope of ARTE 354/2

On a more personal note, I would simply point out that there is no shame in copying within certain contexts. There is a long tradition of copying within visual arts and, indeed, many other cultural practices. In fairness to yourselves and your classmates, it is important that you cite your sources and acknowledge when you have been copying, rather than pretending otherwise. In the case of writing for this class, I challenge you to try to write on your own terms, to try to assimilate and articulate ideas, rather than relying too often on citations or paraphrasing. Naturally, you may turn to spellchecks and other tools to help out in the editing process. I encourage you to do so. As your instructor, I am obliged to follow up and to alert the university administration if I encounter plagiarism or cheating. I would rather not be placed in the position of having to police anybody on this. At the end of the day, if you cheat, you are really just cheating your classmates. Moreover you are depriving yourself of the opportunity to learn something that may be important to your development as an artist and a teacher.

 

Attendance and Professional Conduct

 

Code of Rights and Responsibilities

All individuals participating in courses are expected to be professional and constructive throughout the course, including in their communications. Concordia students are subject to the Code of Rights and Responsibilities which applies both when students are physically and virtually engaged in any University activity, including classes, seminars, meetings, etc. Students engaged in University activities must respect this Code when engaging with any members of the Concordia community, including faculty, staff, and students, whether such interactions are verbal or in writing, face to face or online/virtual. Failing to comply with the Code may result in charges and sanctions, as outlined in the Code.

 

Content belonging to instructors shared in online courses, including,but not limited to, online lectures, course notes, and video recordings of classes remain the intellectual property of the faculty member. It may not be distributed, published or broadcast, in whole or in part, without the express permission of the faculty member. Students are also forbidden to use their own means of recording any elements of an online class or lecture without express permission of the instructor. Any unauthorized sharing of course content may constitute a breach of the Academic Code of Conduct and/or the Code of Rights and Responsibilities. As specified in the Policy on Intellectual Property, the University does not claim any ownership of or interest in any

student IP. All university members retain copyright over their work.

 

Langues officielles

Vous avez le droit de soumettre vos travaux écrits en français ou en anglais. Je serais ravi d'interagir avec vous en français et de vous aider à traduire les concepts dans la mesure du possible.

 

Code of conduct for ARTE 354/B

I expect you to be punctual and to attend classes. Please contact me if you are not able to attend class. I expect professional and constructive conduct from you. Participation is key. This includes active listening, respect and consideration for the points of view of others as well as a willingness to contribute your own observations to a given discussion, so that together we may all contribute to an inclusive, collaborative and mutually supportive learning environment.

 

Extraordinary Circumstances

In the event of extraordinary circumstances and pursuant to the Academic Regulations, the University may modify the delivery, content, structure, forum, location and/or evaluation scheme. In the event of such extraordinary circumstances, students will be informed of the changes.

 



Assignments

Percentage

Due Date

In-class, verbal response to readings presentations and audiovisual materials: Aside from some in-class readings that we will do together, you are responsible for reading the materials that I post for you on the Moodle or through the Course Reserve. For each class, I will call on a select number of you to present your responses verbally, within class on an ongoing basis. 

10 %

Ongoing

E-sketchbook: This sketchbook is an opportunity for you to put some of our in-class practical exercises to good use and to kickstart your final time-based media creation. I encourage you to reuse any material that you generate with your sketchbook. For the first few classes, I will direct you to upload specific media types. Beyond that you will have the freedom to work with the media of your choice for this assignment. 

20 %

Weekly

In-class engagement: Throughout the semester, I will take note of your attendance and your participation in class. Note that being a good listener is just as important as being a good talker within this context.

10 %

Ongoing

Midterm written assignment: During the first half of the semester, I will alert you to various events occurring throughout Montreal. Go to one of these events, exhibitions or performances, take a selfie on site and write a paragraph that answers the following questions: How does this work resonate with you? How could or would you adapt elements from this work into a lesson on creating time-based media? Is there anything about this work that you find difficult to reconcile artistically or pedagogically?

You are welcome to propose attending a TBM event that isn’t on my list provided that you clear this with me ahead of time.

10 %

Oct 9

Time-based Media Creation: For this course, each student is required to create a time-based work of art. I strongly recommend using elements from your e-sketchbook as a jumping off point for this work, rather than trying to dream something up from scratch. You may choose to make a piece of audio, music, video, an installation prototype, a performance with electronic elements, an animation, etc. Keep it simple. Think quality over quantity and consult me if you have any questions or concerns. There are 3 parts to this assignment:

  1. Project Proposal/Outline:

Draw up an outline of your project that includes a one-paragraph summary description of the proposed work, a point-form description of the necessary steps for its creation and a point-form list of its potential strengths as a pedagogical tool. This proposal is due after the Reading Week break when each student will present a verbal summary of their proposal and hand in the written assignment. (2-3 pages)

  1. Time-based Media Creation:

Time will be set aside within class for you to work on this project. That said, expect to work on elements of this assignment on your own time. The deadline for presenting your time-based Media Creation will be on Nov 20 or 27. Each of you will also be required to lead a critique of a project by one of your peers.

  1. Report/Lesson Plan:

For your Time-based Media Creation, you are required to hand in a 2-page Report/lesson plan summarizing the creation process and describing how you would adapt this process to your teaching. (2-3 pages)









10 %








20 %




15 %









Oct 23








Nov 20, 27




Nov 20, 27

Peer observation/discussion: Each of you will lead one one discussion concerning work by one of your peers..

5 %

Nov 20, 27

Total:

100 %

 

Calendar (subject to minor changes throughout the semester)

Week / date

Class topic

Activities

Objectives/assignments

1: Sep 4

Introduction to

ARTE 354/2

What is time based media?

Part 1:

-Introductions

-Review of syllabus

-Discussion of time-based media as it relates to Art Education






Part 2:

-Set up e-sketchbooks

- In-class reading exercise: Cotton and Iron, Trinh T. Minh-Ha

Objectives:

-To obtain a clear understanding of the course schedule

-To gain a basic overview of time-based media as it relates to the objectives of this course


Assignments due for Sep 11:

-Introductory page for e-sketchbook

-Weekly reading: The Sound of One Line Scanning (excerpt), Bill Viola

-Bring recording devices, headphones and/or earbuds and a pillow or cushion to next class!

2: Sep 11

Synaesthesia,

sound, field recording, audio art and music

Part 1:

-Responses to weekly reading

-Discussion of reading

-Listening session

-Discussion











Part 2:

-Introduction to sound recording, best practices

-Sound recording exercise

-In-class introduction to reading due for Sep 18

Objectives:

-To obtain a perspective on field recording within artistic practices and musical composition

-To explore listening and sound recording as a documentary tool and as a way of sketching out ideas and for artistic and pedagogical purposes


Assignments due for Sep 18:

-Upload in-class recording to e-sketchbook

-Generate and upload an additional entry to e-sketchbook (a second field recording)

-Weekly reading: Daring Documents: The Practical Aesthetics of Early Vancouver Video, Sara Diamond

-Bring video recording devices, headphones and/or earbuds to next class!

3: Sep 18

Video, documentary, truth/fiction, auto-ethnography and Pocket Cinema

Part 1:

-Responses to weekly reading

-Discussion of weekly reading

-Introduction to some examples of short-form documentary video works, autoethnography and pocket cinema

-Discussion


Part 2:

-Introduction to the languages and syntax of film and video

-Best practices for shooting video

-Video sketching/recording exercise

-Overview of NLE non-linear editing systems

-In-class reading: From the Archives of Vidéo Populaire (excerpt), Anne Golden

Objectives:

-To obtain a perspective on documentary and auto-ethnographic video art practices, past and present, along with emerging pocket cinema practices and to explore ways in which these practices lend themselves to a learning environment

-To gain awareness of the peculiar relationship between video technology and perceptions of truth




Assignments due for Sep 25:

-Upload in-class video sketch assignment

-Generate and upload an additional entry to e-sketchbook (video sketch)

-Weekly reading

4: Sep 25

Collage, Mashups, Sampling and animation

Part 1:

-Response to weekly reading

-Discussion of weekly reading

-Introduction to some examples of works and practices involving collage, mashups and sampling






Part 2:

-Exercise in live manipulation of prerecorded and sampled audiovisual materials

Objectives:

-To gain insight into collage, sampling and mashup practices with regard to ideas of originality, authorship and intellectual property

-To obtain some perspective on a sampling of works that deploy collage, sampling and mashup strategies

-To explore techniques for introducing these practices within a learning setting


Assignments for Oct 2:

-Weekly reading

-e-sketchbook entry (audio, video, drawing or text)

5: Oct 2

Immersive media, robotics and VR

Part 1:

-Response to weekly reading

-Discussion of weekly reading

-Introduction to some examples of immersive media works robotics and VR






Part 2:

-Guest presenter

-Q & A

Objectives:

-To encounter a small sampling of artistic practices at the forefront of some developing technologies

-To find strategies for demystifying technologically complex artforms

-To find paths toward accessing the means of production


Assignments due for Oct 9:

-Weekly reading

-E-sketchbook entry (format of your choice)

-Midterm Written Assignment 

6: Oct 9

Hacking, Circuit bending and Artificial Intelligence

Part 1:

-Response to weekly reading

-Discussion of weekly reading

-Introduction to some examples of works and practices in hacking, circuit-bending and Artificial Intelligence





Part 2:

-In class creative exercise involving AI

-In-class reading: Updating to remain the same (excerpt), Wendy Chun

Objectives:

-To gain perspective on how some artists deconstruct, critique or otherwise spoil certain processes and technologies

-To identify facets of these practices that inspire students

-To deepen awareness of some of the ethical issues specific to these practices


Assignments due for Oct 23:

-weekly reading

-e-sketchbook entry (format of your choice)

-Time-based media creation proposal/outline

Oct 16

Reading Week

No class

Take time to complete your proposals!

7: Oct 23










7: Oct 23 (continued)

Presentations of proposal/outline




Time-based Media in Performance

Part 1:

-Presentations of proposals/outlines, time-based media creation (5 minutes each)


Part 2:

Time-based media in Performance

-Response to weekly reading

-Discussion of weekly reading

-In-class presentation of a variety of performance works that deploy projection and/or other media

-Discussion

Objectives:

-To present a verbal summary of your short, written proposal for a time-based media creation

-To gain knowledge of ways in which electronic media is used within contemporary performance practices


Assignments due for Oct 30:

-Weekly reading

-e-sketchbook entry (format of your choice)

8: Oct 30

Expanded Cinema, video mapping and Video Installation

Part 1:

-Response to weekly reading

-Discussion of weekly reading

-Introduction to some examples of works and practices in expanded cinema, mapping and video installation.


Part 2:

-In-class demonstration in developing a video installation prototype

Objectives:

-To learn about a variety of projection practices





Assignments due for Nov 06:

-Gather materials and advance with your time-based media creation

-Note any questions or problems your encounter while working

9: Nov 06

Studio Class

4-Hour block dedicated to your time-based media creations.

Objectives:

-To approach me and your peers with any questions or concerns you have over your time-based media creation.

-To benefit from the space and facilities to test out your project, refine certain elements or otherwise advance with the creation of your work

10: Nov 13

Time-based Media in Artist-run Culture and in the Montreal Community

Part 1:

-Visit to OBORO, 4001, rue Berri

-Attendance at artist presentation by Nelly Mironchuck







Part 2:

-Studio visit, 5425, avenue Casgrain, suite 322

-Discussion concerning artist-run centres and artist studios

-Discussion concerning final presentations

Objectives:

-To gain insight into ways in which artist-run centres support time-based media instruction, production and presentation.

-To encounter working artists and cultural workers within the Montreal community

-To witness time-based media practices in process


Assignments due for Nov 20 & 27:

-Time-based media creation

-Written report/lesson plan (2-3 pages)

-Take time to think about how you will animate the critique assigned to you

11: Nov 20

Final Presentations and Critiques

+/- ten presentations and discussions over a four-hour period.

Objectives:

Each student will have the opportunity to present their time-based media creation, offer a verbal summary of their report/lesson plan and lead a discussion over the work of one of their peers.

12: Nov 27

Final Presentations and Critiques

+/- ten presentations and discussions over a four-hour period.

Objectives:

Each student will have the opportunity to present their time-based media creation, offer a verbal summary of their report/lesson plan and lead a discussion over the work of one of their peers.

 

Course Materials

 

Readings

There are no textbooks for this course nor is there a coursepack. I will place readings on reserve through the libraries where possible and I will upload them to the Moodle where necessary. Though I have a list of readings in mind for this course, I will be adapting it as the semester progresses. I will post each one within a reasonable time-frame.

 

Facilities

Along with access to the undergraduate studio, EV2.645. This class has access to the computer lab, EV5.709, from 6:45 to 9:45 on Thursdays.

 

Equipment, supplies and Software

I encourage you to bring your favorite tools with you to class, such as a phone for recording audio and video, laptops or other devices. If you do not have your own recording devices, or if you do not wish to use your own devices within class, you may borrow equipment from CDA. There are days when you will require additional equipment such as headphones. Check the calendar to find out what you will need for each class. I also encourage you to bring a dedicated notebook and pens. I have requested access to the Adobe Creative Cloud suite for the duration of this course. As part of the creative exercises and technical skills development in this course, I will offer you some pointers and best practices for recording audio and video using compact devices such as phones, cameras or audio recorders, along with introductions to certain facets of Adobe Creative Cloud. You may explore other software or tools for the purposes of your final time-based media creation with the understanding that it would require some self-directed learning.

 

Generative Artificial Intelligence

In this class, writing assignments and submitting outputs that contain incorrect information related to class concepts, inappropriate responses to assignment prompts, or details that you are unable to explain or discuss in detail is considered a misuse of GenAI.

If you decide to use GenAI for any assignments you must acknowledge how GenAI inputs were created by documenting your workflow as well as prompts used.

 

Department of Art Education Grading Criteria

“A+” (outstanding) is for demonstrating exceptional overall achievement in the required areas of understanding and /or skill. The work reflects student initiative and learning that far surpasses the basic assignment requirements.

 

“A” level grades (excellent) are for demonstrating excellent overall achievement in the required areas of understanding and /or skill, and also reflects student initiative and learning that goes well beyond basic assignment requirements.

 

“B” level grades (very good) are for work that fulfills all the components of the assignment and demonstrates very good competencies in all the required areas of understanding and skill, and/or some initiative and learning beyond the basic requirements.

 

“C” level grades (satisfactory) are for work that completes all the assignment requirements, and demonstrates satisfactory competencies in all required areas of understanding and/or skill.

 

“D” level grades (weak/minimum for pass) are for work that does not satisfactorily meet the basic assignment requirements and/or demonstrates a significant lack of competency in a required area of understanding and/or skill.

 

An “F” grade (failing) is for work that does not complete the basic assignment requirements, or demonstrates a serious lack of competency in a required area of understanding and/or skill.



A+

98-100

B+

88-89

C+

78-79

D+

68-69

F

<59

A

93-97

B

83-87

C

73-77

D

63-67

   

A-

90-92

B-

80-82

C-

70-72

D-

60-62

   





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