cctspring2017-blog

[cctspring2017-blog]

Final Paper - Due 4/19 @ 5pm

Final Paper, Due April 19th at 5PM

For your final paper, analyze and discuss one of the following performances, documented on OTB TV: Young Jean Lee’s The Shipment, Mariano Pensotti’sEl Pasado es un Animal Grotesco, Okwui Okpokwasili’s Bronx Gothic, Tina Satter’s Seagull (thinking of you), Lagartijas Tiradas Al Sol’s El Rumor del Incendio.

Your paper should identify the artist’s relationship to one of the themes that we have examined this semester (observation and awareness, presence, duration, process, identity, theater as political response, site, or text) as you find it evidenced in the work.

Your paper should assert a coherent and compelling thesis that expounds on this theme of interest to you in the performance. Your paper should include any relevant information on the artist and their intention. Your paper should use specific detail in your analysis of the work: in what elements or moments of the performance do you see the theme resonating, describe your observations as part of your analysis. Finally, your paper should discuss the relevancy or vitality of the work.

Your paper should use two sources. Your sources can be biographical or background information on the artist, writings pertaining to the theme you are discussing, or writings that support your argument of relevancy or vitality.

The final paper should be a minimum of 1500 words (approximately 6 pages in length; double spaced, standard 12 point font). Your paper should be paginated, stapled, and include a bibliography with at least two (2) sources in addition to the play. The bibliography page does NOT count towards minimum word count.

Papers will be collected digitally online using the TurnItIn website. Please see the email sent to you with instructions on how to log in or create an account. Papers will not be accepted via email or hardcopy.

Papers are due WEDNESDAY APRIL 19th at 5PM

++

Here is some further information and FAQ’s about what is expected for your end of term paper.

Guidelines

Watch the complete performance video at least once. We recommend that you watch it twice, and it might be helpful to refer back to it as your write.

This paper is not simply your “review” of the performance. There is a difference between criticism and critique, this paper focusing more on the latter. Your own judgement on the success/failure of the play is relevant if it serves the argument of your thesis.

Support your arguments with specific examples of moments from the play.

Avoid general summaries and statements of judgement, i.e. “I think this play was really great and is a masterpiece.”

Want some refreshing on what makes a strong paper thesis? This resource page from UNC does a good job summarizing the qualities of a well-developed thesis topic: http://writingcenter.unc.edu/handouts/thesis-statements/

Want a reminder about how to format your works cited page?https://owl.english.purdue.edu/owl/resource/747/05/

OTB TV:

http://www.ontheboards.tv/performances#.WNLC-hLyvEb

[cctspring2017-blog]

Thesis Proposal - Due 4/5 in class

Assignment Due April 5th

Thesis Proposal

Submit your proposed thesis for your final essay. Your proposed thesis should reflect your intended focus for the paper.

In addition to your proposed thesis statement, briefly describe what specific topics, issues, and/or questions you wish to explore in your paper, and their importance.

Also, describe what additional sources you may need to research.

(No word minimum but around 200 words is an advisable to create a sizable launch pad)

*If you would like feedback so that you can revise before April 5th you can email your thesis to Zoe by March 29th for feedback. zmoore@calarts.edu

[cctspring2017-blog]

Pecha Kucha Part 2 - Due 4/5 @ 10AM

Pecha Kucha Assignment Due April 5th via Google Drive by 10AMand to be presented in class. Find one contemporary theater artist or group whose process or practice you respect or admire. Find five images of their work that resonate with you. Write 20 seconds worth of original text per image that articulates what drew you to this artist. Log your artist, your text, and the link to your images on our shared google doc. Note: Do not repeat an artist, if you had an artist in mind and someone has already chosen them, choose someone else. (Hint, if you feel passionately about an artist, do this assignment ASAP to be sure someone else doesn’t beat you to it!)

Select your Artist on this sheet:

https://docs.google.com/a/alum.calarts.edu/spreadsheets/d/1P_UFaXJlImHylaz3kOwPDQQ6L5mt_JawPU0SV1198Uw/edit?usp=sharing

Either upload a powerpoint to the drive or create a google slides presentation. 

Google Drive for Upload: https://drive.google.com/drive/folders/0B1gpB2Yk89NTc2dySFVQYU5SQkU?usp=sharing

[cctspring2017-blog]

Assignment 9 - Due 3/21 @ 11:59:pm

Assignment:

Your next assignment is to create your own audio performance score. Create a performance score that anyone can perform. The style of your score is up to you to decide (poetic, instructional, literal, etc.) but consider how your language will translate into stage action, i.e. does your language communicate what you want the performance to be.

Create an audio recording of your performance score so that someone can follow the instructions wearing headphones. Your score should include the following elements:

The score should be for one or two performers, or for a group.

At least 10 steps, or instructions

It should incorporate your stage direction from last week’s assignment in some way (You don’t need to literally include the stage direction in your score; it can inform your performance or be source material for it)

A moment of revelation

A moment of simultaneous action

Something repeated

A staccato movement

A sustained or suspended movement

Something whispered

Something shouted

Upload your file with your Name to the following site : https://drive.google.com/drive/folders/0B1gpB2Yk89NTaXQzWlVhSThlNDQ?usp=sharing 

[cctspring2017-blog]

Assignment 8 - Due 3/8

Assignment due March 8th

As discussed in class, a play text can be thought of a series of instructions, provocations, or stimulations. Choose a theatrical text that is new to you (something you haven’t read or worked with before) and select at least one stage direction that fascinates you, intrigues or challenges you.

Playwrights can have radically different approaches to how they use (or don’t use) stage directions. In your selection, choose a direction that you feel presents an interesting creative challenge to the play.

Bring in your example in hardcopy to class next week, 3/8. If the formatting or layout of the text is significant to the direction, photocopy the page(s). If formatting is not relevant to the direction, you can re-type and print.

Note on selecting a play: If you’re having trouble finding a text, consider asking your friends or instructors for recommendations. You could also look up a theater or theater company that you admire and see what plays they have produced. Another great resource for discovering contemporary playwrights and new plays is New Dramatists, newdramatists.org.

[cctspring2017-blog]

Assignment 7 - Due 2/28 @ 8PM

Collectively we will create a Pecha Kucha that will be an aggregate of site-based/specific works. Your Task: Find one artist or group or project that is dealing with site as an essential component of the(ir) work. Find one image of their work that resonates with you. Write 20 seconds worth of original text that articulates what drew you to this work. Log your artist, your text, and the link to your image on our shared Google Doc. (You must be logged in to your CalArts email address to do this) Note: Do note repeat an artist, if you had an artist in mind and someone has already chosen them, choose someone else. (Hint, if you feel passionately about an artist, do this assignment ASAP to be sure someone else doesn’t beat you to it!) 

https://docs.google.com/a/alum.calarts.edu/spreadsheets/d/1rEpPNdZO7GezGSiALEnZvEZ49pn-bjtsGMnBGsOMPdQ/edit?usp=sharing

[cctspring2017-blog]

Assignment 6 - Due 2/22

Assignment #6

Site-responsive Performance

Due February 22nd  

Now that we’ve discussed different ways of observing and experiencing a site, we invite you to imagine how you would work to engage with a space. Your assignment for next week is as follows:

Part A) Reflect on the site that you visited in class and the questions that you asked of the space in your group. Describe your experience of the space, it’s formal qualities, who inhabits it, and how it behaves. What makes the space distinct?

100 word minimum.

Part B) Now imagine a site-responsive performance in the space. This can be a performative installation, and can use object, audio, video, text and/or embodied performance. Describe in specific detail how you would occupy the space, what would your performance look like and why are you interested in interacting with your space in this way. What qualities in the space are you responding to and how do you intend or expect the audience to experience the site and your performance.

400 word minimum.

Part C) You can choose to either:

1)    Execute your idea – try out your performance at the site – and document it. This can be photo, video, audio or illustration/text documentation. Please only choose this option if you can safely and responsibly execute your idea on site.

2)    Score or script your idea for performance in a detailed manner that could be passed on to someone else to execute. This can include stage directions, instructions, text or audio directions and diagrams.

Due at the start of class next week.

[cctspring2017-blog]

Assignment 5 - Due 3/1

Your assignment is to compose your own manifesto.

Your manifesto is your public declaration of your beliefs, intentions and motives.

Your manifesto should express: what you believe in, why you do what you do, your vision for your art, your vision for your life, the arts, or the world.

"I believe..." and "I want to live in a world where..." are two ways you can start your thinking about it.

Extension: Due in class, Wednesday March 1st.

(note: please take this extra time to focus on making up any missing work for partial credit)

A few examples from class:

The Living Theater:

http://www.livingtheatre.org/about

Bread and Puppet, Why Cheap Art Manifesto

http://breadandpuppet.org/cheap-art/why-cheap-art-manifesto

Taylor Mac, I Believe http://livestre.am/4i8F3 (starts at 37 minutes in) http://www.taylormac.org

And:

RAT Manifesto http://www.ratconference.com/ratmanifesto1.htm

[cctspring2017-blog]

Assignment 4 - Due 2/8

Assignment #4

Dahlak Brathwaite is a spoken word and theater artist whose work Spiritrials (at RedCat next week!) responds to his personal experience with the criminal justice system, and his own place in what appears to be a “cultural rite of passage”

This week we ask you to reflect on and respond to Dahlak’s in class presentation.

Please consider the following:

What was your experience of being audience to Dahlak’s presentation?

Consider our classroom as a site. How did the space affect your role as audience?

What, if anything, surprised you about your experience of Dahlak’s presentation?

How do you understand Dahlak’s artistic process?

How do you see Dahlak’s process revealed in his work?

What connections might you find between his process and his artistic intentions?

How might Dahlak’s process be relevant to your own theatrical practice?

(500 word minimum)

[cctspring2017-blog]

Assignment 3 - Due 2/1

Assignment: Documentary Viewing (due 2/1)

Your assignment for next week is to watch one of the following documentaries. Each artist works with awareness, site, body, and performance in a unique way.

Observation and awareness are essential to the work of Abramovic and Goldsworthy (as well as their audiences). After watching a documentary, write a 500 word minimum response reflecting on the artist’s relationship to observation and awareness, as well as how those processes are relevant to your own theatrical practice.

How to access the movies:

Consider setting up a group screening with classmates. Also, make sure you see it on a proper screen size (TV or larger, no phones) with good audio quality.

CalArts Library (free) - Both movies are on reserve on DVD in the Film/Video library under Zoe Aja Moore. You can’t check out the movie, however you can screen it in the library.

Rivers and Tides: Andy Goldsworthy Working with Time (DVD 1207)

Marina Abramović: The Artist Is Present (DVD 4828)

Online Streaming -Rivers and Tides: This film can be purchased or rented on multiple online platforms. Note: full-length videos of this movie can be found on YouTube, however the image and sound quality is very poor and you should not experience it that way.

Online Streaming -The Artist Is Present: This film has more limited online distribution. It is currently on Netflix and HBO streaming (subscription required), and possibly other platforms.

[cctspring2017-blog]

Assignment 2 -Due 1/25

Assignment #2: 

Sensation Procession

Due 1/25

For this next assignment we invite you to exercises your powers to sense and observe. Select a public location of your choosing and do a slow “sensation procession.” This is a very slow walking “meditation” through a space that can heightens one’s senses, awareness, presence, and attention. This walk should last at least 10 minutes.

After the procession, write a one-page reflection on your experience (500 word minimum). In addition to your general description of the experience, touch upon the following questions:

How was this procession different from your usual experience of moving through the space? What did you notice? Did anything surprise you?

What changed in your experience of that space?

What changed in your social relationships to that environment?

Optional Enhancement 1: Wear earplugs

Optional Enhancement 2: Instead of walking through a space, crawl (safely).

Optional Enhancement 3: Deepen your reflection by doing it multiple times in different spaces. Compare.

Note on location: The public space can be somewhere on campus, indoors or outdoors. If you choose a space off campus, please be mindful about safety.

Print out writing and bring copy to class.

Due at the start of class, next week.

[cctspring2017-blog]

Production Viewings

Required Productions

 School of Theater, Spring 2017

 The Hendrix Project

Written and Directed by Roger Guenveur Smith (Guest) E407 Theater

Preview     2/16, Performances 2/17-2/22

  TBD - Acting Workshop Production #3

Directed by Julie Bour (Dance Faculty) Coffeehouse Theater

Performances     2/17-2/20

 Peer Gynt

By Henrik Ibsen Directed by Jonghee Woo (MFA Directing) E400 Theater

Preview     3/31, Performances 4/1-4/9

 TBD - Acting Workshop Production #4

Directed by Anthony Nikolchev (Faculty) Coffeehouse Theater

Performances     4/14-4/18

  Medea

By Euripides Directed Scarlett Kim (MFA Directing) E407 Theater

Preview     4/14, Performances 4/15-4/23

   OUTSIDE OF CALARTS

  God Bliss (In the Name of Semelah)

Eko Nugroho and Wayang Bocor

RedCat

Janurary 22nd

 With a whirlwind of shadows, humor and iconic visual images from street art, popular culture and traditional Javanese forms, provocative artist Eko Nugroho riffs on the story of how Islam first came to Java in the 15th century, eventually resulting in Indonesia becoming the world’s largest Muslim-majority country. After gaining notice with his controversial ‘zine Daging Tumbuh(Rotting Flesh) in the moments after the end of president Suharto’s reign, Nugroho has gained international fame for work that uses found materials, graffiti techniques and hip hop music forms with the rich traditions of Indonesian shadow puppetry while confronting vital socio-political issues. Nugroho and his team of 10 collaborators use a distinctive blend of high and low art in the work of Wayang Bocor, in which puppets and actors weave together traditional elements of Indonesian wayang (shadow puppets) with live theater and scripts that cast 

 Spiritrials

Dahlak Brathwaite

RedCat

Thursday, February 9th to Saturday, February 11th

  A young African American man is stopped by the police without clear cause. Again and again and again. The 10th stop leads to entanglements with the courts, jail, and attorneys with potentially life-changing results. Dahlak Brathwaite’s incisive humor and poetic wisdom transforms this chilling personal story into a vivid theatrical event in collaboration with celebrated DJ Din Decibels and gifted director Marc Bamuthi Joseph. A virtuosic and timely exploration of the criminal justice system, Spiritrials chronicles the journey of Dahlak’s own criminalization along with his struggle to be vindicated and decriminalized in the eyes of the law and society. The piece works through the personal shame of criminal stigmatization to examine the factors — both internal and external — that have misplaced him in what appears to be a cultural rite of passage. 

   Chiflón, el Silencio del Carbón

Silencio Blanco

Freud Playhouse, UCLA

Fri, Mar 3 at 8PM Sat, Mar 4 at 2PM & 8PM 

 Mass dismissals following a mine shaft collapse force a young miner to head for the Chiflón del Diablo mine—the most deadly pit of all. As he toils in danger deep underground, his family faces a day-to-day struggle of uncertainty and anxiety. This exquisitely eloquent retelling of a story by the distinguished Chilean author Baldomero Lillo is played out in silence using simple marionettes fashioned from newsprint and chopsticks. Silencio Blanco creates their own language through gesture, making the audience’s imaginations active participants in the interpretation of the story. The emotional and dramatic impact of this adaptation takes puppetry to new levels as Silencio Blanco confronts the black silence of Chile’s mining history.

  Antigonón, un contingente épico 

Teatro El Público

RedCat

Wednesday, March 15th to Friday, March 17th

 Havana’s leading provocateur in the underground counterculture of fashion, spectacle, cabaret, theater and drag confronts the tyrannical themes ofAntigone with sharp humor and shocking currency in this internationally acclaimed production direct from Cuba. Two myths collide in one epic explosion of poetry and heroics crafted by audacious director Carlos Díaz and inventive young playwright Rogelio Orizondo. Old and new figures from Cuba’s tumultuous history populate this brave work in which icons are reborn and others are abandoned — in particular, the myth of renowned poet José Martí, considered the founder of Cuban revolutionary thought. Five highly physical performers don exotically absurd costumes at a rapid-fire pace as they guide us poetically and fitfully through a series of flashbacks, all set against a backdrop of archival news footage that connects the past with the present in unnerving and profound ways. 

  THE TOWN HALL AFFAIR

The Wooster Group RedCat

Wednesday, March 22nd to Saturday, April 1st

 The Wooster Group’s newest work THE TOWN HALL AFFAIR delves into the revolutionary fervor of feminist thinking and art “happenings” of 1970s New York. The piece is based on the Chris Hegedus and D.A. Pennebaker film Town Bloody Hall, a documentary of a 1971 panel that featured feminist thinkers and activists— including Germaine Greer, Jill Johnston, and Diana Trilling — with Norman Mailer serving as an immoderate moderator. Special focus is given to radical lesbian Jill Johnston, who attempted to subvert the event. THE TOWN HALL AFFAIR features performances by Ari Fliakos, Greg Mehrten, Erin Mullin, Scott Shepherd, Maura Tierney, and Kate Valk, and is directed by Elizabeth LeCompte. 

  Longing Lasts Longer

Penny Arcade

Freud Playhouse, UCLA

Sat, Apr 8 at 8PM Sun, Apr 9 at 7PM 

 Penny Arcade is a force of nature. From NYC’s undisputed queen of the underground, CAP UCLA welcomes Penny Arcade in her multi-award winning monologue Longing Lasts Longer, which turns contemporary stand-up on its head to create a crack in the post-gentrified landscape. Driven by her magnetic rock n’ roll energy, Arcade’s razor sharp satire is mixed live to euphoric soundscapes inspired by four decades of pop culture. A blow against the golden age of stupidity, this is a passionate and exuberant performance anthem where you can think, laugh and dance at the same time!

   The Walking Forest

Christiane Jatahy

RedCat

Thursday, April 20, 2017 to Saturday, April 22, 2017

 What if Macbeth ruled modern-day Brazil? After her impressive Strindberg adaptation Julia at REDCAT last year, Christiane Jatahy returns to Los Angeles with The Walking Forest. Inspired by Shakespeare’s Macbeth, she explores the impact of our greedy political and economic power systems on ordinary people. The audience is free to roam around this video and theater installation screening various documentaries recounting the stories of young Brazilians who were crushed by the system. At the same time, a group of actors record a film— a modernized Macbeth. Breaking down the boundaries between fact and fiction, and between theater and film, Jatahy brings the tragedy of everyday life to the surface. 

Manual Cinema—Lula del Ray

Saturday, February 11, 8:00 p.m., Sunday, February 12, 2:00 p.m.

http://www.skirball.org/programs/performance-lab/manual-cinema-lula-del-ray

GOD BLISS (IN THE NAME OF SEMELAH)

Thursday, January 12- Saturday, January 14

God Bliss (In the Name of Semelah) tells the story of how Islam came to Java, and became absorbed as a part of Javanese culture that included elements of Hinduism, Buddhism and animism. Street art, comic characters, folk art, traditional culture and video game culture collide to create a multimedia meditation on the issues of everyday life. Simultaneously playful and penetrating, this insightful work cuts across disciplines and cultures.

Eko Nugroho is one of Indonesia’s most provocative and original young artists whose style is a unique mix of Indonesia’s rich traditions and popular culture tinged with dark humor. Using a distinctive blend of high and low art, Nugroho’s Wayang Bocor is a contemporary form of theater in which puppets and actors weave together traditional elements of Indonesian wayang (shadow puppets) with live theater and scripts that cast a satiric view on contemporary subjects.

http://publictheater.org/Tickets/Calendar/PlayDetailsCollection/UTR/2017-UTR/In-the-Name-of-Semelah/

[cctspring2017-blog]

Spring 2017 Syllabus

California Institute of the Arts

School of Theater

Conversations on Contemporary Theater

Course Number: TAIC-100-01

Semester: Spring 2017

Course Credit: 2

 Meeting Time: Wednesday 4-5:50

 Room: E197

 Instructor:

 Zoe Aja Moore: zmoore@calarts.edu

 Office Hours: Email to schedule an appointment

 Teaching Assistants:

 Yonit Olshan: yonitolshan@alum.calarts.edu

 Brian Gilmartin: briangilmartin@alum.calarts.edu

 Morgan Camper: morgancamper@alum.calarts.edu

   Course Purpose and Learning Goals

 The CalArts theater program is by nature experimental and embodies a polyphony of experiences, aesthetics, and approaches. The primary goals of this course are

to bring each student into dialogue with CalArts’ unique design, performance, and production ecosystem; to critically and creatively examine foundational principles in one’s creative practice; to survey the diverse artistry and aesthetics within the contemporary theater landscape; to inspire an idea of the theater that has the capacity for great possibility and relevance.

 Using the CalArts School of Theater productions and a series of core themes (inquiry, attention, context, collaboration, and technique) as a shared lens, this course will engage all incoming BFA 1 Theater students in conversation, contextual research, writing, critical response, and artistic practice.

 The course will be highly interactive. Each session will be structured around the massive artistic energy brought forth by the School of Theater and REDCAT season productions and related themes.

 Students will engage in direct conversations with those involved in the creation of the shows, including students, faculty and guest artists.

     Learning Outcomes

 Students will develop the tools and vocabulary to engage in critical and thoughtful response to the work in the CalArts community and beyond. Students will cultivate a deepened understanding of various theatrical forms, aesthetics, and creative processes within a larger contemporary performance landscape and how those apply to one’s own theatrical practice.

 .

Methodology

 Students will be asked to creatively, critically, and thoughtfully respond to the productions and related topics in multiple modes, including full class discussions, small group discussions, readings, and small projects/exercises. This approach is intended to give the students multiple tools for expressing their point of view, as well as to build a peer-to-peer dialogue within the BFA 1 class.

 Additionally, the class will act as a laboratory for developing critical vocabulary and writing practices. Readings will occasionally be assigned. Students will be required to regularly submit written responses to topics covered in class.

 Assignments

 Assignments for this class will be given regularly throughout the semester, and will include a combination of short-form response, both analytical and creative, and one longer form essay due towards semester's end. To receive credit, assignments must be submitted by the date and time specified. After grading, all assignments will be returned to you via your student mailboxes.

 Theater School Productions

 Students are required to see at least THREE (3) of the School of Theater season productions (see complete list on course website). Seating is often limited, so it is your responsibility to reserve tickets early before the shows are sold out. Crew assignments count towards your production viewing credits.

 In order to receive credit for seeing the required performances, you must turn in the program from the show with your name and date of attendance clearly written on the front. Please turn these into TA’s for credit. Programs will be returned to you via student mailboxes.

 Institute Performances

 Students are also required to see at least ONE (1) official Institute performance happening outside of the School of Theater (Dance, Music, Art, Film/Video, Critical Studies, Integrated Media).

 Off-campus Productions

 Students are also required to see at least ONE (1) off-site production, i.e. at REDCAT. The course website includes a list of all shows eligible for credit. This list is carefully curated to contribute to the dialogue in class, and while we encourage you to see as much theater as possible in the greater Los Angeles area, the viewing requirement for this class must come from the list of approved productions. You must turn in your program to receive credit for these productions as well.

 Due Dates

 All assignments are due by the dates and times specified. Late assignments will be accepted, however with a 50% late penalty.

 Final Paper

 Students will write a longer form final essay reflecting their measured critical reaction to text, context (research), and performance. The essay prompt and due date will be announced mid-semester.

 Readings

 All required texts must be read before the specified class meeting. Always come to class prepared to discuss and share your response to the readings. There are no required texts you must purchase for this class. All readings will be provided in the form of downloadable PDF’s, online links, or paper copies distributed during class. Select readings may also be placed on reserve in the library.

  Grading Policy:

 Small Assignments: 30%

 Essay Paper: 20%

 Attendance: 25%

 Participation: 25%

  CalArts assigns High Pass (HP), Pass (P), Low Pass (LP) and No Credit/Fail (NC) grades.

 Units

 For undergraduate students, one semester unit is assigned on the basis of 3 hours of work each week. “Work” is the sum of in-class and out-of-class work. This does not include time seeing shows.

 Your workload will vary over the course semester depending on assignments.

 Preparation

 Come to each class with a notebook and pen/pencil to write with. When readings are assigned, come prepared to participate in discussion with a copy of the text and your notes.

 In Class Etiquette

 No food

 No cell phones

 No headphones

 No laptops, tablets, etc. (unless permitted by instructors)

 Attendance Policy

 Show Up.

 Come to each class ready to learn, discover, and consider.

 More than TWO (2) unexcused absences automatically results in an NC for the semester. Absences due to illness can be excused only if you submit a note from your mentor, doctor, or the CalArts nurse's office to a TA. If you cannot make it to class for any reason, please make every effort in advance to notify the instructors via email.

 If you miss a class it is your responsibility to find out what happened and to make up any work that was assigned.

 Arriving to class late, or returning from breaks late will count against your participation grade

  Institute Policies

 Plagiarism: Plagiarism is the use of ideas and/or quotations (from the Internet, books, films, television, newspapers, articles, the work of other students, works of art, media, etc.) without proper credit to the author/artist. While the argument in a paper can be enhanced by research, students are cautioned to delineate clearly their own original ideas from source material. Students should introduce source material (either quoted or paraphrased); note when the source material ends; and provide citations for source materials using standard documentation formats.

 According to CalArts policy, students who misrepresent source material as their own original work and fail to credit it have committed plagiarism and are subject to disciplinary action, as determined by the faculty member, the dean of the student’s school and the Office of the Provost. If you have questions regarding plagiarism or would like direction on how to credit source material, there are reference guides on permanent reserve in the CalArts library. Please contact one of the CalArts reference librarians for more information.

 Students with Disabilities: Students who have documented disabilities and who want to request accommodations should first go to the Student Affairs office in A207. The Dean of Students will meet with students and communicate with their faculty about appropriate classroom accommodations. Students are encouraged to use these procedures early in the semester, so that the proper arrangements can be in place throughout the course.

 Resources

 Writing Tutors are available on a drop-in basis in the Writing Center in the Library. The Institute

 Academic Advisor can help you understand your academic progress and Critical Studies requirements: http://calarts.edu/academics/academic-advising

[cctspring2017-blog]

Assignment: Elements of Experience (due 1/18)

For your first assignment we invite you to consider how the following

basic elements can create an experience:

Light

Architecture

Sound

Clothing

Movement of People

Think of moments from your own life when each element defined and

transformed your experience in a powerful way. For example, what is an

experience where the light completely shaped the moment for you?

Part A: Write at least one paragraph for each element describing a

moment in your life where that element transformed your experience.

Minimum 500 words total.

Part B: Choose one of those five elements and select (or create) a still

image that communicates your experience of the moment. Bring a

hardcopy of this to class and hand in with the written portion. If color is

important, print in color. In the case of sound, bring in an audio clip no

longer than 15 seconds.

Due at the top of class.