cover sheet arch 3211 bda: the camera in your...
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NEW COURSE COVER SHEET
Use this form to propose a new course.
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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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 2
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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 3
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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 4
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.
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 5
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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 6
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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 7
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
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 8
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 9
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.
Arch 3201 BDA: The Camera in Your Pocket Syllabus per CCC format for curricular review, p 10