PGY 2101 - Visual Literacy
Fall 2014
3
credits
Section A
Instructor:
Sergio Vega
Hours:
Tuesday period 8-9 (3 to 5 PM)
Classroom:
FAC 120
e-mail:
veryvega@ufl.edu
Office
hours: Mondays 1 to 3 and Wednesdays 5 to 6 PM (by appointment only)
Office:
FAD 229 / phone: 352-273-3035
Section B
Classroom:
FAD 329
Course Goals
and Objectives
This
an introductory course to photography that focuses on the critical processes by
which visual imagery acquires meaning. The objective is to provide students
with a comprehensive overview of the history of the medium that will facilitate
their understand of the critical issues involved in the production,
distribution and reception of photographic images. In addition to think about why we make photographs, the goal is for
students to learn how to make
photographs by learning basic camera techniques, composition, processing film,
and printing images.
Course Outline
/ Methods of the Course
Section
A is conducted by the main instructor and consists in lectures, class
discussions of the assigned readings, screenings and presentations. It is
mandatory to complete the assigned readings every week. Slide lectures and
screenings will feature an introduction to the work of some of the main photographers
in the history of the medium. Class discussions will address the evolution of
theoretical ideas that influenced the production and reception of photographs
at different key historical moments. There will be a final quiz on April 25th.
The content of the quiz will summarize the slide lectures, readings and content
of class discussions. For this reason it is crucial to take notes during
lectures and discussions on a notebook. If you miss more than two lectures you
will not be able to pass the exam and probably get a failing grade.
Topical
outline for section A
Since
Louis Daguerre in 1838 invented the photographic process known as
Daguerreotype, the multiple uses and meanings ascribed to photographic images
became a field of endless contestations. Most people agreed that photographs
provided objective reproductions of reality that could be used to identify
people and things. Following that interpretation of the medium some sustained
that its primary purpose should be to use them in the courts of law as
evidence, by the police in archives of criminals (or potential criminals) and
to provide proof or documentation for scientific research on a vast array of
fields. Others believed it would best replace paintings at depicting large
social and historical events, and portray people and their families in order to
preserve their memories. Others thought it would be the ideal tool to replace
painting at representing the imaginary, the world of mythology, fantasy, and
past history.
The
lecture series will explore various still contested interpretations of
photographic images to arrive at the perspective on photography provided by
semiotic studies. Semiotic interpretations of photography distinguish two
simultaneous operations of signification: 1) as presence or embodied meaning (a
message without a code) that derives its denotation
2) as linguistic-literary message or the manner in which society to a certain
extent communicates what it thinks of it, or its connotation.
1)
Introduction to nineteenth century photography
2)
Photography in the Soviet Avant-garde
3) Photography
during the depression
4)
Surrealism
5)
Photography during and after World War II: Humanism and Neorealism
Case
studies
a)
Camera Work, a photography journal by Stieglitz
b)
The photographic archive: Eugene Atget and August Sander
c)
The Farm Security Administration project
d)
"Paris de nuit" a book by Brassaï
e)
Lee Miller: from Surrealist to war correspondent.
f)
Steichen's exhibition "The Family of Man"
Section
B is conducted by the Teaching Assistants and is where students discuss,
conceptualize and produce their assignments in close collaboration with their
instructors. In this section, students will have the opportunity to flesh out
their ideas, learn techniques, show their work, and receive feedback from
classmates and instructors on regular basis. There will be one main assignment
due on the third week of April (16-20). In addition, there will be several
technical assignments throughout the semester.
Books
Sontag
Susan, On Photography
1990
edition, Anchor Books.
ISBN
0-385-26706-1 (required)
Horenstein
Harry, Black and White Photography
Little,
Brown and Company (multiple editions)
ISBN
978-0316373050
Barthes
Roland, Image-Music-Text,
Hill
and Wang a division of Farrar, Straus and Giroux, New York
ISBN
0-374-52136-0
Barthes
Roland, Camera Lucida, Reflections on
Photography
Hill
and Wang, a division of Farrar, Straus and Giroux, New York
ISBN
0-374-52134-4
Critical Dates
Quiz on December 9th
Main
assignment due on Friday December 5th
Grading
Criteria
Percentage
Points/ Letter Grades (*):
100-93
A: Present at all class/ lab meetings-Significant engagement with course
material and excellent results-both technical and conceptual. Significant
contribution to group discussions and presentations.
92-90
A- : Present at all class/ lab meetings-Significant engagement with course
material. Good technical development. Significant contribution to group
discussions and presentations.
89-88
B+ : Present at all class/ lab meetings-Very good engagement with the course
material and group discussions.
87-80
B: Present at all class lab meetings-Good engagement with the course materials
and group
discussions.
79-78
C+: Present at most or all of class/lab meetings-Good engagement with the course
materials and group discussions.
77-70
C: Present at most or all of class/lab meetings-Satisfactory engagement with
the course materials and group discussions.
69-60
D: Student has missed class/ lab meetings and has not engaged the course
material in a satisfactory manner. Student’s engagement with discussions is
minimal. Additionally, this mark may reflect excessive absence from class and
lab meetings.
59-0
E: Student has not satisfactorily engaged nor met the class criteria.
Additionally, this mark may
reflect
excessive absence from class and lab meetings.
(*)This
course follows University of Florida grading regulations and guidelines:
UF grading policy website:
http://www.registrar.ufl.edu/catalog/policies/regulationgrades.html
Counseling
University
Counseling Services/ Counseling Center
301
Peabody Hall
P.O.
Box 114100, University of Florida
Gainesville,
FL 32611-4100
Phone:
352-392-1575
Web:
www.counsel.ufl.edu
If
you are experiencing problems or difficulties with the academic requirements of
this course
you
may also contact the Departmental Advisor in Fine Arts: +1 (352) 392-0207.
Further,
the Dean of Students Office can assist you with a range of support services.
http://www.dso.ufl.edu/supportservices/
Students with Disabilities:
If
you require accommodations because of a disability, please make an appointment
during my
office
hours so that we may discuss your needs in accordance with the UF official
policy:
“Students
requesting classroom accommodation must first register with the Dean of Students
office.
The Dean of Students office will provide documentation to the student who must
then
present
this documentation to the instructor when requesting accommodation.”
Academic
Honesty
The
university’s policies regarding academic honesty, the honor code, and student
conduct
related to the honor code will be strictly enforced. Full information regarding
these
policies is available at the following links:
-
Academic Honesty:
http://www.registrar.ufl.edu/catalog/policies/students.html#honesty
-
Honor Code: http://www.dso.ufl.edu/sccr/honorcodes/honorcode.php
-
Student Conduct: http://www.dso.ufl.edu/sccr/honorcodes/conductcode.php
Health and
Safety
1)
The link below includes information and policies regarding health and safety in
the
School
of Art and Art History at UF. http://www.arts.ufl.edu/art/healthandsafety
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