Parsons Paris

Parsons Paris.



Course Description

(as of January 2013)

This course is an introduction to the cultural and perceptual constructions of time. Learning to work with time involves more than editing video and sound into linear sequences. It entails the consideration of time as a designed idea that can function as a tool to understand how objects can function, environments can be perceived, and experiences can be shared.

Studio projects, readings, writing, and examples of many artists’ work are used to examine how ideas such as frame, duration, and speed have evolved to impact our understanding of time. A variety of methods and media, from digital video to drawing to performance, are used to explore and represent different cross-disciplinary notions of time found in the fields of art, design, science, and industry. Students will leave the course with a basic knowledge of creating digital sequential layouts and audio-visual sequences.

The course will have a number of sections, each following a particular theme. These themes or keywords are as follows:

  • Metropolis — New York City is a kind of theater. In the Metropolis section of the Time studio, students investigate the passage of time though the cycles of urban growth and decay and the way that city dwellers "perform" their cities as they move through their everyday lives.
  • Embodied — Time can be measured through the body in any number of ways: the physical aging of our bodies, our kinetic movements, the performance of our everyday actions, and our changing outward personal 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.
  • Cycles — How can time can be recorded and expressed through the half life of different materials, the composition of physical objects, and how things fall apart? The class will explore the life span of objects, discussing cycles of source mapping and material acquisition, construction, and decay, to show how materials can be encoded with physical memory.
  • Frame — This class will begin by looking at how time can be expressed with the iconography of a single frame and then, by combining it with variables of movement, progression, or space, how it can be used to tell experimental stories through a variety of forms, such as graphic novels, montage, visual languages, and book arts.
  • Composition — This class will study variables that inform experimental writing and multimedia composition, such as rhythm and counterpoint; theme and variation; improvisation and scripting; silence, noise, and harmony, to investigate how new audiovisual forms affect our perception, understanding, and rendering of time.

Spring 2012 Information Session

April 19, 2012