Fashion Design course among fall electives

UntitledIn response to many requests from IUPUI students, Herron School of Art and Design is happy to offer “Fashion Design” this fall. The three credit-hour elective will be held on Tuesdays and Thursdays from 6:00 p.m to 8:30 p.m. in room 261 of Eskenazi Hall.

 Jo Dean Tipton, a fashion and textiles designer, entrepreneur and professional in the fashion industry, will instruct. Tipton has designed costumes for dance, gymnastics and cheerleading, as well as textile prints. She has taught fabric painting in a workshop

in Taos, New Mexico, and worked with textiles as a fine art medium. Tipton just completed her master’s degree Apparel Design from Ball State University. She studied as an undergraduate at the Fashion Institute of Technology and Purdue University. Most recently,

she exhibited last April in the group show Shaping Visions in the Cultural Arts Gallery in IUPUI’s Campus Center.

The course will explore design principles that are the foundation of creating marketable ideas and designs for the fashion industry.  Students will learn how designs are transformed into products, apply design principles and elements to solve design problems and communicate creative concepts effectively. Students will also produce technically accurate and aesthetically pleasing designs that communicate their ideas visually, investigate and select resources to support the design and solve a given problem independently.

 Enrollment is limited to the first 18 students.

HER-E 220  EXPLORING ART (3 CR)  32809

Variable Title course: FASHION DESIGN

Tuesdays and Thursdays 6:00 p.m. to 8:30 p.m.

Herron School of Art and Design room 261

 

For questions, please contact Anita Giddings, agidding@iupui.edu or 278-9492

Summer course takes students into the world of Parisian Impressionism

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Paul Signac (French, 1863 to 1935), Opus 217. Against the Enamel of a Background Rhythmic with Beats and Angles, Tones and Tints, Portrait of M. Felix Fénéon in 1890, 1890-1891, oil on canvas, 29 x 36-1/2 in. Fractional gift of a private collector, The Museum of Modern Art, New York. Digital image © The Museum of Modern Art/Licensed by SCALA/Art Resource, NY. | PHOTO COURTESY INDIANAPOLIS MUSEUM OF ART

A summer II session history course in the School of Liberal Arts at IUPUI will take students out of the classroom and into the Indianapolis Museum of Art to study firsthand the impact urban Paris played on Impressionist artists and the artists’ role in Parisian society.

Cultural History of Modern France-Impressionism begins Tuesday, July 1, and runs through Thursday, Aug. 7. The class meets Tuesday and Thursday evenings from 6 to 9:15 p.m. and will include visits to the Indianapolis Museum of Art for guided tours of relevant galleries and the print vaults.

“The beauty of the French galleries at the IMA is you can watch French modern art evolve,” course instructor Kevin Robbins said. “By turning your head 90 degrees you can watch four decades of French culture go by.”

The course focuses on the origins and developments of Impressionism as a broad cultural movement based largely in Paris. The class begins with a look at Paris’ development under imperial urban renewal and the development of a leisure economy within the city. From there, the class expands to examine the many artists, patrons, and critics assembled in the Impressionist movement.

Students will examine Impressionist works from artists such as Monet, Degas and Renoir for evidence of how the artists saw and understood the Parisian urban world.

“Students are empowered as detectives,” Robbins said. “It turns every painting into a readable document that needs to be decoded. This makes paintings into a much more accessible, malleable subject matter for history students. You can read the images critically, you can read them using documentary analytical strategies developed in other classes and it makes the course more accessible to many people who don’t have training in art history or art.”

The class does not require any previous background in art or art history study and is open to all IUPUI students and students from other colleges and universities.

Robbins said the course will be beneficial to students with an interest in urban history, modern history and politics.

“This is not a standard art history course,” he said. “This is more about asking relentlessly: ‘Where does Impressionism come from as an urban historical phenomenon and an urban visual phenomenon?’ The emphasis is on how Paris becomes the essential incubator of Impressionisms.”

To help students gain a better grasp of Impressionistic influences, the course will also explore popular cultural events like ballet, opera and music.

“One of the things the Impressionists had in common was they were all passionate devotees of music in one form or another — be it dancehall music, popular song or classical music of the era,” Robbins said. “These were individuals who reveled in all the musical possibilities Paris presented.”

“This really is an intensive tour of all the various expressive art forms of Paris at the time.”

For more information about the course, contact Robbins at krobbin1@iupui.edu or 317-274-5819.

Humanities Intensive Teaching and Learning (HILT) Institute

HILT logo

 

August 4-8, 2014

University of Maryland

 

We’ve got an exciting slate of classes taught by incredible instructors.

 

Courses for 2014 include:

Project Development
led by Simon Appleford, Clemson University and Jennifer Guiliano, MITH
This course will explore the fundamentals of project planning and design including, but not limited to: formulating appropriate disciplinary questions for digital humanities research, investigating digital humanities tools and resources, structuring your first project, critical path scheduling, understanding roles and responsibilities, risk management, documenting your project work, writing your first grant proposal, budget setting and controls, building the project team, and selecting and implementing project management tools and software. This is an advanced course and, as such, you are expected to have an understanding of the definition of digital humanities. Materials will be covered through lectures, discussions, presentations, and hands-on activities. Participants will get the most of the course if they arrive with at least some sense of a potential digital humanities project that they would like to develop throughout the course.

Introduction to Web Development, Design, and Principles
led by Jeremy Boggs, Scholars’ Lab, and Jeri Wierenga, George Mason University
This course introduces students to best practices and techniques for standards-based, accessible web design and development including, but not limited to: Current trends and issues in web design/development; Responsive design for a variety of platforms and devices; HTML, CSS, and JavaScript; Managing code using the Git version control system. By the end of the course, students will be familiar with steps and skills to conceive, design, develop, and publish a web site. Topics will be covered primarily through hands-on activities, with some supplementary lectures and discussions. By the end of the course, students will have a modest web site published on the Web. Prior experience with web design or development could be useful, but is not required.

Humanities Programming
led by Wayne Graham, Scholars’ Lab, and Brandon Walsh, University of Virginia
This course focuses on introducing participants to humanities programming through the creation and use of the Ruby on Rails web application framework. This course will introduce programming and design concepts, project management and planning, workflow, as well as the design, implementation, and deployment of a web-based application. Technologies covered in this course will include git, HTML, CSS, JavaScript, Ruby, Rails, and relational (and non-relational) data stores. Over the course of the week, we will work through the practical implementation of a developing and deploying a small-scale web application.

Games in the Humanities Classroom

led by Anastasia Salter, University of Baltimore
Games can be a great way to add experiential and playful learning to the humanities classroom by integrating learning objectives with game mechanics. We’ll look at three main ways to integrate games into learning objectives: teaching and debriefing existing games, making games for students to play, and building games with your students. Along the way, we’ll discuss what makes an effective learning game and how integrating games can offer a gentle way to learn from failure while offering the opportunity for exploration, collaboration, and the probing of ideas through new lenses. Participants will engage in “critical play” of several examples of humanities board games, text games, and graphical games and learn simple tools for making games in these genres while building simple games. No programming experience is required or assumed.

Large-Scale Text Analysis with R
led by Matt Jockers, University of Nebraska
Text collections such as the Google Books have provided scholars in many fields with convenient access to their materials in digital form, but text analysis at the scale of millions or billions of words still requires the use of tools and methods that may initially seem complex or esoteric to researchers in the humanities. Large-Scale Text Analysis with R will provide a practical introduction to a range of text analysis tools and methods. The course will include units on data extraction, stylistic analysis, authorship attribution, genre detection, gender detection, unsupervised clustering, supervised classification, topic modeling, and sentiment analysis. The main computing environment for the course will be R, “the open source programming language and software environment for statistical computing and graphics.” While no programming experience is required, students should have basic computer skills and be familiar with their computer’s file system and comfortable with the command line. The course will cover best practices in data gathering and preparation, as well as addressing some of the theoretical questions that arise when employing a quantitative methodology for the study of literature. Participants will be given a “sample corpus” to use in class exercises, but some class time will be available for independent work and participants are encouraged to bring their own text corpora and research questions so they may apply their newly learned skills to projects of their own.

Network Analysis and Visualization
led by Elijah Meeks, Stanford University
This course will cover the principles of network analysis and representation with an emphasis on expressing network structures and measures using information visualization. The tool we’ll be using will be Gephi, which is freely available at gephi.org, with some time spent on learning how to deploy your network visualization in a dynamic or interactive manner on the web using a variety of frameworks. This course will introduce and explain a variety of traditional network statistics, such as various measures of centrality and clustering, and explain the appropriate use of network statistics to various classes of networks. The workshop will consist of lectures followed by discussion and hands-on activities. If participants can bring a sample of their network data, the activities will usually be applicable to all manner of networks, but a variety of sample network datasets will be available to explore different network phenomena. This workshop will cover traditional social networks, geographic networks, dynamic networks, and n-partite networks and will deal with issues of modeling networks, formatting data, and using information visualization best practices in representation of your network.

Born-Digital Forensics
led by Kam Woods, University of North Carolina, and Porter Olsen, MITH
This course will introduce students to the role of digital forensics in the act of preserving, investigating, and curating born-digital culture artifacts. We will explore the technical underpinning and the physical materiality of the digital objects we frequently, in our screen-centric world, mistake as ephemeral. Using open source tools including Linux, The Sleuth Kit, and BitCurator, students will get hands-on training exploring a wide variety of digital media and learning how to look for deleted files, how to search and redact personally identifiable information, and how to produce information-rich metadata about a forensic disk image. In addition to practical skills, students will develop a theoretical understanding of digital storage media–and the forensics disk images produced from them–as objects of study in their own right and the importance of learning to read these objects as richly as we do more traditional texts. There are no essential prerequisite skills for this course; however, a working knowledge of Linux will be a great benefit. Students who have access to their own collection of born-digital materials to work with are encouraged to bring them to the course.

Crowdsourcing Cultural Heritage
led by Ben Brumfield, Independent Developer, and Mia Ridge, Ph.D. Candidate, Open University
Successful crowdsourcing projects help organizations connect with audiences who enjoy engaging with their content and tasks, whether transcribing handwritten documents, correcting OCR errors, identifying animals on the Serengeti or folding proteins. Conversely, poorly-designed crowdsourcing projects find it difficult to attract or retain participants. This class will present international case studies of best practice crowdsourcing projects to illustrate the range of tasks that can be crowdsourced, the motivations of participants and the characteristics of well-designed projects. We’ll study crowdsourcing projects from the worlds of citizen science, investigative journalism, genealogy and free culture to look for lessons which might apply to humanities projects. We’ll discuss models for quality control over user-generated projects, explore the cross-overs between traditional in-house volunteer projects internet-enabled crowdsourcing, and look at the numbers behind real-world projects. Finally, the course will give students hands-on experience with several different crowdsourcing platforms for image annotation, manuscript transcription, and OCR correction. Students are encouraged to bring their project ideas and some scanned material for the lab sessions.

Critical Race and Gender in the Digital Humanities
led by Jarah Moesh, Ph.D. Candidate, University of Maryland
The methods and tools used and produced by Digital Humanists function as organizing principles that frame how race, gender, sexuality, and ability are embodied and understood within and through projects, code-bases, and communities of practice. The very ‘making’ of tools and projects is an engagement with power and control. Through a critical theoretical exploration of the values in the design and use of these tools and methods, we begin to understand that these methods and practices are structures which are themselves marginalizing, tokenizing, and reductionist. By pairing hands-on learning/making with Critical Race Theory, Queer, and Gender Theories, we will interrogate the structures of the tools themselves while creating our own collaborative practices and methods for ‘doing’ (refracting) DH differently. To accomplish this, each day will focus on one tool or method. Mornings will be a combination of reading-based discussion and experimental structural/tools-based exercises, while afternoon sessions will focus on pulling it all together in collaborative analytical projects. While no prior technical experience is necessary, you will be experimenting with, and creating your own theoretical practice that incorporates key themes in critical race, gender and queer theories with digital humanities methods and tools. Therefore, the key requirement for this course is curiosity and a willingness to explore new ideas in order to fully engage with the materials. Students are also encouraged to bring their own research questions to explore through these theories and practices.

The costs to attend HILT are:

Non-student/Regular: $950
Student: $500

Group discounts are available by contacting dhinstitute@umd.edu

—-

The Keynote Speaker for Humanities Intensive Learning + Teaching 2014 will be Tara McPherson.

Tara McPherson is Associate Professor of Critical Studies at the University of Southern California’s School of Cinematic Arts. She is a core faculty member of the IMAP program, USC’s innovative practice based-Ph.D., and also an affiliated faculty member in the American Studies and Ethnicity Department. Her research engages the cultural dimensions of media, including the intersection of gender, race, affect and place. She has a particular interest in digital media. Here, her research focuses on the digital humanities, early software histories, gender, and race, as well as upon the development of new tools and paradigms for digital publishing, learning, and authorship.

Her Reconstructing Dixie: Race, Gender and Nostalgia in the Imagined South (Duke UP: 2003) received the 2004 John G. Cawelti Award for the outstanding book published on American Culture, among other awards. She is co-editor of Hop on Pop: The Politics and Pleasures of Popular Culture (Duke UP: 2003) and editor of Digital Youth, Innovation and the Unexpected, part of the MacArthur Foundation series on Digital Media and Learning (MIT Press, 2008.) Her writing has appeared in numerous journals, including Camera Obscura, The Velvet Light Trap, Discourse, and Screen, and in edited anthologies such as Race and Cyberspace, The New Media Book, The Object Reader, Virtual Publics, The Visual Culture Reader 2.0, and Basketball Jones. The anthology, Interactive Frictions, co-edited with Marsha Kinder, is forthcoming from the University of California Press, and she is currently working on a manuscript examining the digital transformation of the archive as it mutates into the database.

She is the Founding Editor of Vectors, www.vectorsjournal.org, a multimedia peer-reviewed journal affiliated with the Open Humanities Press, and is a founding editor of the MacArthur-supported International Journal of Learning and Media (launched by MIT Press in 2009.) She is a widely sought-out speaker on the digital humanities, digital scholarship, and feminist technology studies. Tara was among the founding organizers of Race in Digital Space, a multi-year project supported by the Annenberg Center for Communication and the Ford and Rockefeller Foundations. She is on the advisory board of the Mellon-funded Scholarly Communications Institute, has frequently served as an AFI juror, is a core board member of HASTAC , and is on the boards of several journals and other organizations. At USC, she co-directs (with Phil Ethington) the new Center for Transformative Scholarship and is a fellow at the Center for Excellence in Teaching. With major support from the Mellon Foundation, she is currently working with colleagues from leading universities and with several academic presses, museums, scholarly societies, and archives to explore new modes of scholarship for visual culture research. She is the lead PI on the new authoring platform, Scalar, and for the Alliance for Networking Visual Culture, scalar.usc.edu.


For more information on HILT, visit http://www.dhtraining.org/hilt

IU to offer free Information Visualization MOOC designed to illustrate data

FOR IMMEDIATE RELEASE
Jan. 10, 2013

BLOOMINGTON, Ind. — Indiana University’s Katy Börner, the Victor H. Yngve Professor of Information Science at the School of Library and Information Science and an international leader in information visualization, will offer a free massive open online course on the topic beginning Jan. 22.

Börner is curator of the internationally traveled Places & Space: Mapping Science exhibit and author of the Atlas of Science: Visualizing What We Know, published in 2010 by The MIT Press. She specializes in the study of the structure and evolution of scientific disciplines, the analysis and visualization of online activity, and the development of cyberinfrastructures for large-scale scientific collaboration and computation.

The course will run seven weeks from the start date, with a target audience of graduate students able to work three to six hours per week. Anyone interested in generating temporal, geospatial, topical or network analyses and visualizations from either personal or professional data would benefit from the course.

Personal data like bank statements, email activity and friendship networks, or business data like Twitter activity, funding statistics and return-on-investment data, can each provide the information needed to then identify trends, geospatial distributions, topical coverage and previously unrecognized informational links, Börner said.

“The visualization framework I teach and the tools that students will use in the course help answering ‘when,’ ‘where,’ ‘what’ and ‘with whom’ questions,” she said. “The resulting visualizations aim to improve daily decision-making; they are not just eye candy. One goal of the course is to empower a large audience to design insightful visualizations.”

The homepage for the Information Visualization MOOC offers an introductory video, a course schedule, biographies of Börner and the other instructors, and a registration link. Everybody who registers gains free access to the Scholarly Database (26 million paper, patent and grant records) and the Sci2 Tool (100-plus algorithms and tools).

It is one of the first MOOCs offered by IU and the first to offer an opportunity for students to work in teams with actual clients like researchers interested in understanding data patterns and trends, government agencies developing visual interfaces for data holdings, industry representatives looking to maximize return on investment, medical doctors seeking cures, and not-for-profit organizations hoping to communicate impacts and achievements.

“Data mining and visualization skills are best acquired by working on projects that make a difference,” Börner argues. “To be successful, students must care about and understand a client’s needs, become intimately familiar with the data available to address this need, and apply the best algorithms and tools to design effective workflows that render data into insight.”

Information visualization continues to broaden its reach from computer science and human-computer interaction into fields like drug discovery, financial analysis and scientific research. Later this month, Börner will attend the World Economic Forum Annual Meeting in Davos-Klosters, Switzerland, to give a talk titled “Visualizing What We Know” using a 26-foot-wide display wall. She will also speak on the topic “Dangerous Visualizations: Big Data Is Watching You” as part of a panel session on “Reinforcing Critical Infrastructure With Cyber Experts.”

For more information or to speak with Börner, please contact Steve Chaplin, IU Communications, at 812-856-1896 or stjchap@iu.edu.

NEW COURSE: 20th-Century African Fiction

ANNOUNCING FOR FALL 2012:
L382: 20th-Century African Fiction
(Fiction of the Non-Western World)

David Hoegberg, Associate Professor of English
Tuesday evenings 6:00 – 8:40 PM
Course number 12988

The decolonization of Africa in the 1950s and 1960s sparked an explosion of African literature that continues to this day. This literature is vibrant, skillful, and deeply concerned with the social issues facing African nations. This course will introduce students to an exciting range of African fiction written in English from Nigeria, Kenya, Zimbabwe, and South Africa. Emphasis throughout the course will be on making the works accessible and interesting to students, relating them to historical contexts, and working on important reading and writing skills.

Course instructor David Hoegberg is a three-time winner of the Trustees Teaching Award in the IU School of Liberal Arts.

For non-English majors, L382 fulfills the requirement for 300-level courses outside the major. Students in English, History, Anthropology, Political Science, Religious Studies, Sociology, and other departments will find much that is enjoyable and relevant to their work.

L382 is on the list of approved course for the Africana Studies major and minor.
Further questions?

Please contact Prof. David Hoegberg, 274-9823, dhoegberg@aol.com

Course Announcement: Public Art Painting, Fall 2012.

Super Bowl artist Pamela Bliss will teach this comprehensive class on Public Art Painting for fall, 2012.

Topics include:

  • Site selection
  • Interior and Exterior applications
  • Wall preparation and Material selection
  • Insurance
  • Design Scaffolding, boom lift and rappelling options

Course number: Her E220 33026
Title: Exploring Art/Mural Painting
Day Time: TR 9-11:30
Location: Herron 205 and off site locations