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Instructor:
Kathleen Ruiz
Associate Professor of Integrated Arts
email: ruiz@rpi.edu
skype: kathleen.ruiz
office: West Hall 314c
office hours: please email for an appointment at ruiz@rpi.edu
* Required
Materials
* Required
Events
* Resources and Tools
* Overview Schedule and Discussions
* BOX
Upload Info (you will then be invited to join our ADI class box)
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Course in a Nutshell
Emotion Sketches
due Jan 28 (3 points)
Gesture Drawings
due Feb 4 (3 points)
Works Inspired from the Written
Word
due Feb 11 (3 points)
Small Scale Works
due Feb 25 (3 points)
Large Scale Works (more highly formulated works)
due: March 18 (20 points)
Augmented /
Virtual Reality / MoCap
due April 1 (10 points)
one of the following: either
Assemblage, Stencil Art, or
Projection
due April 15 (3 points)
Final Project
due April 29 (40 points)
Web Portfolio & Documentation
due May 4 (for final evaluation of all perfected work)
Participation in class 10% = 10 points
Event & Reading reaction papers 5% = 5 points
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Please check
our class website and your rpi email frequently
for any updates.
Please upload all works and reading reactions to your ADI Box folder
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Course Assessment Measures
Projects and Assignments:
Studies, experiments and
incremental milestones are geared to lead the student towards their
independent thesis or dissertation development goals, culminating in a
final project.
week 1. Emotion Sketches
due Jan 28 (3 points)
Create a series of 7 drawings
suggesting emotional states using any technique. For instance, digital
drawing with stylus or traditional drawing scanned into digital space, or
photographic drawing using time value exposure and gesture, or VR drawing such
as in the HTC Vive, or any combination.
Other Examples:
A.
Labgold
EmoGestureThree
Hope
Mixed
Jimmy
K
Memo
Repet
Ethan
Kaplan
Consider basic emotions or characteristics: i.e. Joy, Love, Jealousy, Anger, Sadness,
Depression, Happy, Peace, Fear, Sickness, etc. As you connect to the emotion you have
coming into mind, just let the pencil or stylus or camera or VR drawing
tool go where you feel it should as you progress. Let your feelings and
intuitions guide you. The main ideas of the exercise: to LET GO of
preconceived notions! Try not to use literal symbols or pictures: no
intentional tornadoes, hearts, clouds, fluffy bunnies, etc.
upload to
your Box folder and also print your best 7 drawings.
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week 2 Gesture Drawings
due Feb 4
(3 points)
Project: Select 7 small scale gesture drawings/ prints/ or emerging genre
works
(student selected size and scale )
Reading: due Feb 4 Gesture
Drawing please create a short reading reaction paragraph
We will work with gesture from dancer Michelle Ellsworth https://vimeo.com/299529491
other dance resources, safely with other people in our pods that you can
observe, animals, objects, or the landscape.
“digital action” drawings in
action of World-renowned dancer and choreographer
Bill T. Jones with Paul Kaiser and
Shelley Eshkar:
http://openendedgroup.com/artworks/gc.html
https://www.youtube.com/watch?v=aL5w_b-F8ig
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We will conduct a series of
modeling sessions in studio to help develop these skills further:
8 - 30 second poses = 240 seconds
(4 minutes)
8 – 60 second poses = 480 seconds
(8 minutes)
4 – 3 minute poses = 720 seconds
(12 minutes)
3 - 5 minute poses = 900 seconds
(15 minutes)
Request poses (please bring in
props, object, etc. for special requests)
On your own try:
landscape studies: 2 at 30 seconds,
2 at 1 minute, 2 at 2 minutes, 2 at 3 minutes
object sketches: 2 at 30
seconds, 2 at 3 minutes; 60 + 360 seconds (7 minutes)
Pick your
best 7, scan them or print them
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Week 3. Works inspired from the written word
due:
Feb 11 (3 points)
Create one digital drawing, or painting,
photograph, or emerging genre work that illustrates a concept, environment,
event or character from the written word. Use your imagination and let
go. This work could be
either realistic or abstract.
Reading: due Feb 9
Please
pick one below / or use a
pre-approved reading from your own on-going research
Galileo Galilei The Starry
Messenger
Martin Luther King I
Have A Dream
George Saunders Escape
from Spiderhead
Richard
Powers The
Overstory (pick a short chapter, full text in Folsom library if
desired)
Amanda Gorman The
Hill We Climb
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Week 4. 5. Small Scale Works
due Feb 25 (3
points)
(7) high quality experimental works
using traditional/digital/or emerging genres
Reading: due Feb 16
Roland Barthes Barthes 15,16 Barthes 46-48
Solso Visual Perspective
Reading: due Feb 18 Oliver Sacks SPEED and Hito Steyerl In
Defense of the Poor Image
Print with the Epson
Archival printer on your choice of substrate and size, by
appointment only in Sage 2410: http://www.hass.rpi.edu/pl/teaching-facilities-s17/large-format-printer-suite
* Please use high end monitors to view your image, do not rely on your
laptop monitor alone for high end file proofing for this printer.
Aeroclub by Pastorino Diaz
Portrait Photography
Table Top Photography
ECU Photography
Tilt/Shift Toy Technique
Transient Media
Landscape Photography
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Week 6, 7, 8 Large Scale highly formulated works
due: March 18 (20 points)
(3) Large Format Archival Epson archival prints
(minimum size 24” x 36”, max size 84” x 42”)
(at least one on canvass)
Reading: due March 16
Solso Cognition in the Visual Arts in Context, Cog.,
& Art
HÖCH, Hannah, Sans
titre, 1920
Here you can use any set of themes from class, or from your own set
of creative research concerns and work them into highly developed, large
scale works using techniques covered in class or in individual creative
research.
Photographic Sculpture
Montage & Collage
Printing and Painting on Digital Canvas
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Week 9, 10 Augmented / Virtual Reality
due April 1 (10 points)
Fine Arts usage of augmented and virtual reality.
Using wither augmented reality apps, QR links to film/sound content, or VR,
we will experiment with generating expressive works and new spatial
discoveries that resonate “real” and alternate experiences.
Grand Center, the Art and Life Alliance and MOMO, Re+Public
has completed a digital, immersive, and interactive mural on the Moto
Museum (Steve Smith, Owner) wall (85' x 21') in St. Louis @ Grand Center.http://www.republiclab.com/projects
Reading: due March 25
Lev Manovich: The
Poetics of Augmented Space
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Week 11
April 6 & 8
ADI Class Exhibition:
Class creates a virtual online exhibition
For potential inspiration please see ADI 2020
online virtual gallery: https://sites.google.com/view/adi-2020-the-mind-palace/home
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Week 12 Chose one of the following: either
Assemblage/ Stencil Art/ or Projection
due April 15 (3 points)
Assemblage:
using digital and/or analog techniques, found
objects, textures, etc. for 1 expressive 3d mixed media
minimally 17”x 11” x 10”
Joseph Cornell
Assemblage: a sculptural technique of organizing or composing into a unified
whole a group of unrelated and often fragmentary or discarded objects.
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Stencil
Art:
(Please be considerate and responsible by stenciling on approved surfaces
only!)
Experiment with the techniques learned in studio create and create (1)
stencil artwork that dialogs in site.
You can use either hand cutting techniques or laser cutting technique.
Graffiti depicting
graffiti removal by Banksy. Created in May 2008 at Leake
Street in London, painted over by August 2008
Hand
Techniques
http://www.instructables.com/id/Creating-Complex-Spraypaint-Stencils-by-Hand/
Full-Color-Stencil-Art-with-Halftoning:
http://www.instructables.com/id/Full-Color-Stencil-Art-with-Halftoning/
Kyle McDonald : http://kylemcdonald.net/
http://vimeo.com/kylemcdonald
All work must be in exact and proper format before laser cutting:
Laser Cutting Technical Info
Laser Format Template
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Projection:
create 1 projection or 1 sequential art work for installation, or performance,
or impact
Marcel Duchamp
Rotoreliefs 1935
 http://www.urbanscreen.com/
Reading:
Chrissie Iles: Between
the Still and Moving Image
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Week 13 14
Final
Project
due April 29 (43 points at the 4000 level) (35 points at the 6000 level)
Étienne-Jules Marey
A large, challenging, well thought out, and
technically perfected and installed final work.
This project should be about a topic of deep personal interest to you,
quite possibly using the techniques, issues and ideas learned during the
semester, or as part of your own creative research.
Your inspirations, art historical referencing, philosophical
influences, theoretical background, and technical documentation will be
articulated in a 5 page artist statement properly cited and
footnoted in The
Chicago Manual of Style .
(Please note: Students at the 6000 level have
papers of 10-15 pages.)
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Web Portfolio & Documentation
due
May 4
of all works in standalone format submitted on a thumb drive or dvd and also uploaded to your class exchange folder
See portfolio samples:
ADI Spring 19
Portfolios
Andrea Labgold
Kayla Baltunis
Ethan Kaplan
Links to some web how to and designs
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Course Texts
Students taking the course at the 4000 level, excerpts from:
1.
Nicolaides, Bridgeman, Vanderpol
Gesture Drawing
2. Choice of one or pre-approved personal research readings:
Please pick one below
/ or use a pre-approved reading from your own on-going research
Galileo Galilei The
Starry Messenger
Martin Luther King I
Have A Dream
George Saunders Escape
from Spiderhead
Richard Powers The
Overstory (pick a short chapter, full text in Folsom library if
desired)
Amanda Gorman The
Hill We Climb
3. Robert L. Solso Visual Perspective
Cognition and the Visual Arts
4. Roland Barthes Barthes 15,16
Barthes
46-48, Camera Lucida
5. Oliver Sacks SPEED Hito Steyerl In
Defense of the Poor Image
6. Robert L. Solso Context,
Cog., & Art
7. Lev Manovich: The Poetics of
Augmented Space
8. One of the following: MoHoly-Nagy Contributions
of Arts to Social Reconstruction , Make a
Light Modulator
Chrissie Iles: Into the Light: Between
the Still and Moving Image
Students taking the
course at the 6000 level will read the above plus
have additional reading selections from their own research readings reviewed previously in discussions
with the instructor, or from more in-depth readings of the full texts
above, or from selections from the following:
- Culture as Weapon: The Art of Influence in Everyday Life by Nato Thompson
- The Poetics of Space by
Gaston Bachelard
- Ecological Metapolitics: Badiou and
the Anthropocene by Am Johal
- Research Desiree Förste,
https://uni-potsdam.academia.edu/DesireeFoerster
- Nonhuman Agents by Desiree Förster, https://www.youtube.com/watch?v=CPnFosB_yRg
- Out
of Our Heads: Why You Are Not Your Brain, and Other Lessons from the
Biology of Consciousness by Alva Noë,
and listen to WNYC
conversation https://www.wnyc.org/story/58063-i-am-therefore-i-think/
- Melentie Pandilovski https://umanitoba.academia.edu/MelentiePandilovski
- The Hidden Life of Trees by Peter Wohlleben
- Art, Animals and Experience by Elizabeth Sutton
- In Cuba by Ernesto Cardenal 1972
- Cultural
Analytics by Lev Manovich
- Visualizing
Temporal Patterns: Computer Graphics as a Research Method by Lev Manovich and Jeremy Douglass
- Cultural
Analytics at Work by Tara Zepel
- What is Visualization? By Lev Manovich
- How to
Compare One Million Images? By Lev Manovich, Jeremy
Douglass
- Processed Lives: Gender and Technology in Everyday Life, edited
by Jennifer Terry /Melodie Calvert
- Resisting the Virtual Life by James Brook &
Ian Boal
- Techniques
of the Observer by
Jonathan Crary
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Class Schedule:
Week 1.
Jan 26
Intro to the course
Review best works
Questionnaire of goals review
Jan 28
In studio Expression from within:
Freeing up the digital artist: Emotion Drawings: Create a series of 7
drawings suggesting emotional states using either of the following
techniques: digital drawing with stylus or traditional drawing scanned into
digital space, or photographic drawing using time value exposure and
gesture or any combination.
review of works and related artists in the field
Materials to bring to class: Please bring a sample of your best work,
traditional or digital drawing implements, and substrates, or cameras
Week 2.
Feb 2
Emotion Drawing review of works
Related readings: Gesture
Drawing in prep for live model
Feb 4
In studio: Gesture Drawing and self-portraiture in studio
overview of the history of portraiture, review of Rembrandt, butterfly and
edge lighting techniques
experiments with portraiture & lighting techniques short studio
Related readings: Barthes 15,16 and Barthes 46-48
Smithsonian National
Portrait Gallery explore portraits that speak to
you:
http://npg.si.edu/portraits
http://npg.si.edu/blog
Materials to bring to class: your favorite expressive
instruments (whether they be drawing/ painting/ drawing tablet/ camera
& tripod / Kinect / paper cutting / sculpting / 3d applications /
other), substrates and any props or
table top items for the request time
Week 3.
Feb 9
In studio: Discuss the readings
you have been inspired by and your evolving visual ideas
Materials to bring to class: your favorite expressive
instruments (whether they be drawing/ painting/ drawing tablet/ camera
& tripod / Kinect / paper cutting / sculpting / 3d applications /
other), substrates and any props or table top items for the request time
Feb
11
Critiques of works inspired by the
written word
Week 4.
Feb 16
In studio: learning and prepping
for upcoming small works studies
Table Top Photography:
lighting techniques & set ups
EZ cube soft light tent
3D Roundtable Photography
Materials to bring to class: camera (with the ability to do
aperture, shutter, and focus control)
& tripod / new genre expressive instruments and any props or
table top items
Feb 18
In studio: learning and prepping
for upcoming small works studies
ECU Photography
Printing techniques for the large format Epson 9000 Archival printer
review of
works in progress and related artists in the field
Materials to bring to class: camera (with the ability to do
aperture control) & tripod / new genre expressive instruments and any
props or table top items
Week 5.
Feb 23
In studio: learning and prepping
for upcoming small works studies
Photographic and other techniques of transient media
Related readings: Oliver Sacks SPEED
and Hito Steyerl In
Defense of the Poor Image
Materials to bring to class: Cameras, tripods, lighting kits, a small item that moves, and relevant props or
table top items
Feb 25
Small Scale Works critique
Week 6.
March 2
In studio: learning and prepping
for upcoming large works studies
3D Printing review with Mike Rosado email: rosadm@rpi.edu Phone: 518-276-6652
2201 Russell Sage Laboratory (pending availability)
Woodshop review with Abe Ferraro email: ferraa7@rpi.edu Phone: 518-276-2898
1107 Russell Sage Laboratory
(please take and pass the online test beforehand and have taken the Safety
Training Sessions)
March 4
In studio: learning and prepping for upcoming
large works studies
Week 7.
March 9
midterm assessment individual
meetings
please have all perfected studies, reading
reactions, and works in your folder in your class drop box
In Studio: experiment in class
with landscape photography and the Body, and photographing transient bodies
Critique of works in progress with reference to related artists in the
field
Related readings: Solso Visual
Perspective
March 11
Early introduction to the augmented reality
project: Space: Re-imaging Public
Space/Revitalizing Parks/ Making Parks / Geoparks and Geocaching. Do
fieldwork over the break, photograph your local park or public space, and
imagine ways to enliven these spaces, take photographs and video of a few
of these spaces and see which one speaks to you. Do research on augmented
reality and preliminary experiments over Spring Break
Related readings: Lev Manovich: The Poetics of
Augmented Space and
Open source ImagePlot http://lab.softwarestudies.com/p/imageplot.html?m=1
Materials to bring to class: mobile devices, cameras, tripods, and any props or table top items,
ideas for working with the body as landscape…or canvas
Week 8.
March 16
In studio: learning and prepping for upcoming large works studies
Photographic Sculpture
Montage & Collage
Landscape studies
Related Readings: Solso Context,
Cog., & Art
March 18
Large Scale Works (more highly
formulated works)
critiques
Week 9.
March 23 Augmented Realities
March 25 Augmented Realities
Week
10.
March 30
Augmented reality research review and experiments
Materials to bring to class: cameras, tripods, and any props or table top items, and your formulating
ideas on your augmented reality park
April 1
Critiques of
Augmented Reality works
Week 11.
April 6
In Studio: Class creates a Virtual
on line exhibition
Materials to bring to class: your favorite expressive
instruments (whether they be drawing/ painting/ drawing tablet/ camera
& tripod / Kinect / paper cutting / sculpting / 3d applications /
other), substrates and any props or table top items for the request time
April 8
Catch up class
Students at the 6000 level present their Audio
Visual presentation of artistic research development and resonance of
selected readings
Week 12.
April 13
In studio: brief historical and
technique review of assemblage, stencil and projection art
chose one and experiment.
Related Readings:
MoHoly-Nagy Contributions
of Arts to Social Reconstruction
and Make
a Light Modulator or
Chrissy Isles: Between
the Still and Moving Image
Materials
to bring to class:
for assemblage: objects, small box, images
for stencil: images and ideas (exactos, suitable substrates, cutting board if working
via hand)
for projection: data projectors,
objects
April
15
Critiques of Assemblage/Stencil Art/or Projection works
Week 13.
April 20: Installing Exhibition
April 22: Exhibition opening
Thursday 6:00-7:00pm
Final Project Trajectory: works in progress and
artist statements informally reviewed
Related
readings: Personal
research readings for preparing your artist statement and references
Week
14. LAST CLASS
April 27 Intensive
work studio and individual meetings
April
29 Final Project Critiques
Related readings: Personal research readings for
preparing your artist statement and references
Week 15.
May 4 Web Portfolio
& Documentation
please upload all your work to your class Box folder for final review
Students at the 6000 level please include your Audio-Visual presentation of
artistic research development and your analyses of selected readings
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Student Learning Outcomes:
Upon
successful completion of the course students will be able to:
1.
Demonstrate the ability to conceptualize, design, produce, and express
ideas through one or more of the following: advanced gesture drawing,
digital painting, emerging genres, montage/collage, digital photography,
VR, assemblage, high end archival digital printing, mid-range digital
printing, augmented reality, stencil art, or projection projects as
demonstrated through short study projects, final project and web portfolio
documentation of all works.
2.
Develop art making strategies which merge concept, process and form -
encouraging approaches that are at once inquisitive, analytical, creative,
experimental and articulate.
3.
Examine and build references to the work of several artists, theoreticians,
and institutions who engage in digital and physical art creation.
4.
Design and plan a detailed artist statement document which expounds upon
individual concepts, processes, creative exploration, technical
experimentation and references for the final project.
5.
Compare, contrast, describe and critique the strengths and weaknesses of
their own artwork and that of their fellow classmates relating to formal,
aesthetic, and content attributes.
6.
Successfully articulate informed, philosophically and socially aware ideas
relating to art, technology, and culture as demonstrated in class
discussions and critiques and in short written reaction papers to the
relevant readings and events.
7.
Students taking the course at the 6000 level demonstrate breadth and depth
of conceptualization, process, technique, production, and reiteration based
on critical feedback.
8. Students
at the 6000 level demonstrate independent mastery of artistic research and
development towards the development of their body of work.
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Evaluation
Students
must demonstrate satisfactory achievement of course objectives through
fulfillment of course projects and by contributing to class discussions and
critiques.
Grading Criteria
At the 400 level:
Experiments I: 9%
short studies (3% each set of 7 studies x 3): emotion sketches, gesture
drawings, small scale works = 9 points
Completed works: 20% (3 at 6.6 points each) large
scale works or high end archival digital prints = 20 points
Augmented Reality Studies: 10% = 10 points
Experiments II: 3%
short study in one of the following: assemblage, stencil, or
projection = 3 points
Final Project 43%
= 43 points
Participation in
class 10% = 10 points
Event & Reading reaction papers 5% = 5 points
Letter grade equivalents for the course are as follows:
At the 4000 level:
A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-=
1.67, D+=1.33, D=1.0, F=0.0
At the 6000 level:
Experiments I: 9%
short studies (3% each set of 7 studies x 3): emotion sketches, gesture
drawings, small scale works = 9 points
Completed works: 20% (3 at 6.6 points each) large
scale works
or high end archival digital prints = 20 points
Augmented Reality Studies: 10% = 10 points
Experiments II: 3%
short study in one of the following: assemblage, stencil, or
projection = 3 points
Final Project 30%
= 35 points (also includes a 10-15 page creative research paper)
Participation in
class 10% = 10 points
Event & Reading reaction papers 5% = 5 points
Audio Visual presentation of artistic research development and resonance of
selected readings 8% = 8 points
At
the 6000 level:
A=4.0, 100 points A-=3.67, B+=3.33 B=3.0, B-= 2.67, C+= 2.33, C=2.0 C-=
1.67
If
you are concerned about your creative trajectory or your grade at any point
during the semester, please do not hesitate to contact your Instructor and
schedule an appointment during office hours. You will have a midterm review
where your current grade will be given to you.
Participation: you are invited, encouraged, and
expected to engage actively in discussion, reflection and activities.
Class Attendance Policy
As
an enrolled student, you have made a commitment to this class and your
attendance is a significant part of that commitment. Attendance will be
taken at every class. An absence is considered excused if the student has
informed the course instructor by phone, email or in person before the
beginning of the class and the excuse is considered reasonable by the
instructor. All students are required to be on time and in attendance for
each and every class. Students arriving to class more than 10 minutes late
may be counted as absent. Two (2) unexcused absences will result in a
reduction of one entire letter grade.
Adherence
to deadlines is expected. It is the individual student's responsibility to
keep track of deadlines and to present the work to the class and instructor
on the specified dates. 15% per day will be subtracted from late
assignments.
If a
student needs an official excuse for medical or other reasons, please go to
the Advising & Learning Assistance Center https://info.rpi.edu/advising-learning-assistance/
Academic Integrity Statement for all
courses at the 4000 level or above
The Rensselaer Handbook of Student Rights and
Responsibilities and The Rensselaer Graduate Student Supplement define
various forms of Academic Dishonesty and procedures for responding to them.
All forms are violations of the trust between students and teachers.
Student-teacher relationships are built on trust. For example, students
must trust that teachers have made appropriate decisions about the
structure and content of the courses they teach, and teachers must trust
that the assignments that students turn in are their own performance. Acts
that violate this trust undermine the educational process.
The Rensselaer Handbook of Student Rights and
Responsibilities and The Rensselaer Graduate Student Supplement define
various forms of Academic Dishonesty and you should make yourself familiar
with these. In this class, all assignments that are turned in for a grade
must represent the student’s own work. In cases where help was received, or
teamwork was allowed, a notation on the assignment should indicate your
collaboration. Submission of any assignment that is in violation of this
policy will result in a penalty. If found in violation of the academic
honesty policy, students may be subject to two types of penalty. The
instructor administers an academic [grade] penalty and the student is
reported to the Dean of Students or the Dean of Graduate Education as
appropriate. The first violation results in 0 grade for that assignment.
The second violation results in failure of the course. If you have any
questions concerning this policy before submitting an assignment, please
ask for clarification.
Class
Specific
Collaboration
and discussion about class projects is actively encouraged, and is in no way
considered cheating. This is a studio course, and personal ownership of
information is not deemed to be appropriate. Original works such as
drawings, photographs, images, montage, collage, experimental works,
augmented reality, assemblage, projections, stencil art and final project
art are required. If appropriated imagery is sought to be used, it must be
expressly cleared by the professor first in a personal meeting where the
potential appropriated imagery is shown and discussed. Projects are expected
to reflect personal endeavor.
Generally
We're
a mix of many people with many backgrounds with many levels of experience.
We'll use the Django Code of
Conduct which breaks down to the following
list; although, your can read the link to its
details. It's a common practice in many FLOSS and similar
software communities.
- Be friendly and patient
- Be
welcoming
- Be
considerate
- Be respectful
- Be careful
in the words that we choose
- Try to
understand why we disagree
This
was developed by the TODO Group which
has many more useful links for further information.
Another
thing to be aware of - the be a reasonable person as described at Carnegie
Mellon's CS site: Reasonable Person
Principle
Students with Disabilities
Rensselaer
Polytechnic Institute strives to make all learning experiences as
accessible as possible. If you anticipate or experience academic barriers
based on a disability, please let me know immediately so that we can
discuss your options. To establish reasonable accommodations,
please register with The Office of Disability Services for
Students. After registration, please make
arrangements with me as soon as possible to discuss your
accommodations so that they may be implemented in a timely fashion. DSS
contact information: dss@rpi.edu; 518-276-819; 4226 Academy Hall.
Helpful tips on how to take
the course
Show
up prepared with all materials and supplies needed to work in studio.
Attendance is mandatory every week. Do the work and the assignments. Do the readings and come prepared to ask
questions. Turn work in on time. Contribute to the discussions. Check the
course website for the latest information about assignments and
activities.
Electronic Communication
Email:
All students are expected to have an active electronic mail account, and
should check mail at least four times a week for class information. Some
essential class information is communicated by email only.
Work Habits
Always
back-up your work frequently; that is, every time you make something you
think is worth keeping. Systems crash when least expected and you
could lose all your work. It is a good idea to make three
backups (on different media), as storage media are sometimes unstable.
Always save onto your own media or into your account as files left on hard
drives will be removed.
Also,
please keep in mind the highly addictive aspects of working with computers.
Many people lose track of time and later wonder why they have severe back,
neck and eye problems. It is a good idea to take a rest every 15 to
20 minutes. Look up or beyond your computer or, better still, at a
long distance to relax your eyes. Take a walk or stretch.
Fatigue can lead to frustration. Stay in touch with your body's needs.
Try
not to harm or deface any equipment in any way or lose files and folders
belonging to our class or other classes.
For
problems in the studio please be specific and contact: Greg Palmer, Media
Engineer
palmeg2@rpi.edu Office number: SAGE
2406, Phone number: 518-256-7925
Please
follow the guidelines for working in each studio very carefully, as you
will be held personally responsible for problems you incur. At all times
please keep the lab clean after each use.
From
our Dean:
Rensselaer
Polytechnic Institute On- and Off-Campus Support Resources: Spring 2021
Remember, seeking help is a strength, not a weakness
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