Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.

Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.

Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.

Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.

Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.

Time In this class we will explore the “idea” of time. How do we track time? How is it experienced in the real world? How is it experienced in a piece of art? Throughout the semester, you will engage with the idea that time is a malleable concept. When you begin to consider the cultural and perceptual constructions of time, it becomes a material whose properties you can learn to manipulate and use in your work. You will be introduced to time-based media, including InDesign (time across the page) and Premiere Pro (time in motion). Through these programs and others you will learn to create layouts for print, as well as edit and shoot video. You will experiment with attention span, duration, linear and non-linear narratives. Studio projects, readings, writing and examples of many artists’ work are used to examine how our ideas about time have evolved. The course encourages a spirit of play and experimentation. How does time impact our sense of memory and identity in ways that can influence our art, design and strategic thinking processes? Class description This course introduces students to different models and ways to think about time. Studio projects, creative references and readings will explore notions of frame, duration, and speed, showing how such constructs have evolved over the course of centuries to impact our understanding of time. The course will have a number of sections each following a particular theme, as follows: Composition Composition implies structure, and it can take many forms. It is a way of organizing material into a coherent and engaging outcome. In terms of time, structure appears to come to us pre-packaged in linear increments as seconds, minutes and hours. But what new or unexplored structures can we use to view or perceive time? Embodied Time can be measured through the body in any number of ways: from physical aging, to kinetic movement, to the performance of everyday actions, to our own changing style. This class explores aspects of performance, ritual, identity and live-art, as expressed through the physical body and the impact it has on the space around it. Frame This section will begin with a single frame: a moment in time. From this starting point you will work with variables such as movement, progression or space to create experimental stories in a variety of forms such as graphic novels, montage, visual languages and book arts.