Wednesday, August 29, 2012

List of All Class Blogs



Carl Flygt -

Chohnny Sousa -

Elissa Ji -

Elizabeth Ingram -

Elo Chaparro -

Emma Hearn -

Erin McMahon -

Erin Meyering -

Jenie Villanueva -

Kaitlin Haugen -

Katie Dow -

Lena Ghiglieri -

Priscilla Ascuaga -

Serina Gonzalez -

Shay Malloy -

Stormy Lattimer -

Monday, August 27, 2012

Your In-Class Montages

...Bolding that word collaboration. Those seeking a career in the digital arts may need to get comfortable with the idea of collaborating. It happens a lot. :)

But you guys did it with flying colors so more power to you. Here are your images for reference. Click to enlarge.


Project 1, Examples

★ ★ 

Edited since original post! I did an example myself...

A play on Basho's famous "frog, pond" haiku.

I'll be using this to lead-in to our next assignment...

★ ★ ★ 

Just to help get the cogs jolting this week, here are examples of previous interpretations of the digital triptych montage task. In addition, questions that probed adequately and critically into the Walter Benjamin reading.

Example of a fine artist statement with this assignment.

Statement : The Title of this Triptych is "Epiphany".  I assembled it in Adobe Photoshop Elements CS3.  I used scans from the graphic novel Watchmen by Alan Moore, as well as scans of a sticker and my passport.  The rest of the images were culled from Google.

This piece is meant to illustrate the moment when one realizes that in the grand scheme of the universe, their existence is an infinitesimal blip.  What might seem to be earth-shattering is just as unimportant as anything else.  But even if the universe is cold and unreachable, there is still beauty in its machinations- unfolding slowly on an unimaginable scale, comfortably unconcerned by the entirety of life as we know it.

The personality very often comes out with digital media.
In an open sea of information, the most comfortable place is the self.

Keep in mind the link between "aesthetic" and "idea".

(In response to reading.)

1. In Section III, Walter Benjamin discusses our desire for reproduced art. Is our desire to "get hold of an object" and bring it closer "spatially and humanly"  symptomatic of our modern society or is it inherent in us as human beings? Would ancient artistic cultures have collected on the same scale as modern people if they had had the means?

2. Benjamin states "The greater the decrease in the social significance of an art form, the sharper the distinction between criticism and enjoyment by the public." Does his thesis hold true today with art produced for the masses? What are some examples?

1. Silent film actors had lost their voice for the sake of the new film technology. It was like they were just showcasing the new technology and not being artists. However, looking back on silent films we now see them as art. How is something that once "lacked" art transformed into art?

2. In the piece by Walter Benjamin, it is stated that "While facing the camera he knows that ultimately he will face the public... During the shooting he has as little contact with it as any article made in a factory. This may contribute to that oppression, that new anxiety which according to Pirandello "grips the actor before the camera." What is the difference between the "new anxiety" that a film actor experiences as opposed to anxiety felt by all other types of artists and performers?

Saturday, August 25, 2012

Project 1 "Triptych Digital Montage"

★ ★ ★ 

due on your BLOG by September 3rd, 10:00AM
In addition with, of course, your created blog for the
class to post the images on.

Due to LABOR DAY, the READING and
your FLASH/EXTERNAL drive will be
due the next time we meet on SEPTEMBER 10th.

★ ★ ★ 

Miscellaneous info. 




ON THE LAB COMPUTERS IS "pixelforms"****


•Friday August 30th 1:00 PM to 4:00 PM.
•Sunday September 2nd 1:00 PM to 4:00 PM.

★ ★ ★ 

Richard Hamilton montage (click to enlarge).

John Heartfield montage (click to enlarge).

Your first project will be to create a digital triptych montage! More directly, three separate images. A unique (and quite fashionable) way to grasp on core digital art mechanics while emulating masters of fine arts' past.

★ ★ ★ 

triptych (ˈtrɪptɪk) — n 1. a set of three pictures or panels, usually hinged so that the two wing panels fold over the larger central one: often used as an altarpiece 2. a set of three hinged writing tablets 

★ ★ ★ 

The dimensions at which your three images will be.
Locating this screen is as simple as finding on the
top bar IMAGE and then -> IMAGE SIZE.


Create a series of three works of digital photographic montage in Adobe Photoshop from specific source material. You must use as your subject matter for each of the three works at minimum the same 25 scanned images. Yes 25 source images! These 25 source images are to be comprised from some combination of the following: scanned objects (flatbed scanned), images appropriated from books and magazines (flatbed scanned), and images downloaded from the Internet. At least one of the images you use must be of a word.

All images are to be found or otherwise appropriated (including the word – scan text from an original print source). Use Adobe Photoshop to creatively combine your image elements into three cohesive image compositions that will exist as a triptych. Remember, each of your images MUST include all of 25 of your source images in each composition! Consider the conceptual link between image, object and word that will be created by their combination.

Very important!
Save your images with layers intact as we will be further using your image for the next project. You achieve this by simply saving the file as a Photoshop file.


The content of your work is up to you. Consider the possibilities of Adobe Photoshop to cut, paste, resize, etc.. Scan photographs from family albums, magazines, etc.. Bring in various found objects to scan - junk, a meaningful keepsake, etc.. Pick a word or words, either scanned from text, handwritten or otherwise created outside of the computer, scan it and include the work in the image. Think about how the creative unexpected associations of disparate images and texts functions to establish new and multiple readings of the works.


Much of this you will learn by doing – some basics will be covered in class - Adobe Photoshop, image scanning, image sizes, resolution, etc. An open, help-you-as-you-arrive workshop run this week by myself (in wait for the future Digital Media Area Tech Staff). I will visit with individual issues.

•Friday August 30th 1:00 PM to 4:00 PM.
•Sunday September 2nd 1:00 PM to 4:00 PM.


1.) Completed triptych (three images) posted to your blog! Save your files in the above noted size and resolution. Save a second set of each image, first flattening each image in the layers palette, then SAVE AS at 50% at 72dpi for web resolution - then and only then upload the images to your blog. Be sure not to overwrite your originals! If for some reason you do, don't panic and keep the file open. Hit UNDO until the image is de-layered again and save.

For clarity : You'll essentially have 'six' images. Three Photoshop files you'll keep in tact for later and three online (flat files, ex. JPG) res files to post on your blog. Make sure you include a brief paragraph/artist statement for your work.

Again : Make sure to include your artist's statement with the three images you create!

2.) Create your blog on Blogger! Include your full name in the title please! 


1.) [CLICK LINK] Read - The Work of Art in the Age of Mechanical Reproduction - Walter Benjamin. This is a brisk but probing reading on the current state of contemporary art dealing with ART 245's practice. How to adjust when everything we want is a click away? How to appreciate when what we have is reproduced for millions on the planet?

Write two questions for discussion! Post these to your blog! Please write intelligent, probing questions that allow for deep discussion. By that, do not simply reiterate facts. Use that college brain. See this link for some helpful advice for creating good discussion questions :

2.) Your flash/external drive! At least 8GB in size. There have been that size found no more expensive than $20.

Helpful Photoshop Links 

Sometimes, simply Google searching "photoshop CS5/CS6" will earn you immediate results. Abuse this and learn all you can about the program!

Welcome (Syllabus)

Click to view Digital Media website.
Take a moment to survey student work!

Below is the syllabus.

ART 245-1001
Digital Media I
1:00-3:45, CFA 208

Instructor : Benjamin Poynter
Phone : (405)-410-5988
Email :
Office Hours : 12-1PM Monday or by appointment, CFA 208

Course Description

The primary objective of Art 245 is to provide an introduction to the critical studies of digital media. Students will learn how to analyze the foundations, cultural forces and context that are synthesized in contemporary media art and technology. This will be accomplished thorugh a balanced investigation of both the history and theory surrounding digital media while at the same time being involved in the creation of visual art through conceptual utilization of the computer and related technologies. This course emphasizes the personal development of critical thinking, artistic, and technical ability. You'll be challenged with controlled experiments using a variety of digital processes towards visual art production. This course presents students with opportunities to work with digital imaging, animation, video/sound/time-based media, the internet and social media as creative areas of discourse. This course is the introductory course to the Digital Media program and is a prerequisite for all other course offerings required for the studio major and minor.


+At least one art studio course
(visual foundations, beginning photography, drawing, etc.)
+No computer experience required.

Required Texts, Course Materials

Readings: Specific Xeroxed articles, tutorials, and other online source material will be assigned in progression. Materials : Portable flash/external hard drive.

Course Philosophy

The Digital Media program exists as part of the larger Art Studio program for the Department of Art – all studio programs currently focus on the development of a contemporary approach to studio art practice and theory. Digital Media emphasizes an artistic, experimental, and technical approach to learning to utilize media systems for the creation of art.

The intent is to provide an intensive learning environment that considers the computer as a broadly flexible tool much like the paintbrush available to the contemporary artist. Specific project assignments will also push you to consider the conceptual use of such tools. This is a thoroughly hands-on course. You will be expected to learn how to use the tools at your disposal – this is not a software-training course. 

You will learn in this class by doing – students will be given broad introductions to a variety of applications and devices as incorporated into project assignments. Learning to use these complex graphics programs, online technologies, and computer peripherals takes much dedication of time and a flexible attitude towards experimental practice and learning.

Learning to become proficient utilizing new technologies is accomplished through both individual and shared experience. What you derive from this class in terms of technical learning will largely be defined by the amount of time you spend exploring and experimenting and taking advantage of the support resources available to you through the Digital Media Studio, the Dynamic Media Lab (@ One) in the KC, and via online tutorials. Bearing that in mind, classes that are not Digital Media I will be occupying the lab on Tuesday 1-3:45 and Wednesday 4-6:45. Manage your time around this.

Finally, you will be challenged constantly to consider just what you are doing with these new tools - the true challenge of this course is to engage in the creation of critical, challenging, thoughtful, meaningful, and conceptually sound creative experiments. 


You will be introduced to the following basic programs and systems: Adobe Photoshop Soundtrack and/or Audacity Final Cut Pro/iMovie Website/Blog Development Flatbed scanners Digital cameras Laser printer Color inkjet printers, small and large format, and more... 

Course Requirements: 

1) Each student will complete a total of 7 regular class projects followed by the creation of a general studio atmosphere for the investigation of individual and/or group projects. All projects will be uploaded and accessible to the Professor and students on individual student blogs that will be created in the first week of the course. Each project posted online will also feature a brief artist statement describing your approach to the specific assignment.

While you will have your individual blog, below is the address of the official blog which will be continually updated with relevant assignment information and useful artifacts-

2) Critiques. Selected projects will be discussed and critiqued in open sessions. Talking about your work and others is a crucial aspect of creating art. Learning to articulate verbally and in writing, just what your work is about, is just as important as the actual making of the work. Think of the separation between "form and concept" (what it looks like/what it "is") or especially if they can be the same. The ideas shared in an open critique will help us all learn from each other and greatly increase our ability to understand our creative practice. 

3) For each non-tutorial reading you are required to create two questions for discussion based on that week's reading. These are to be posted to your blog prior to that day’s reading discussion. Do not simply reiterate facts. Strive for critical thinking in questions!
4) Attendance is mandatory at all class sessions. The policy behind unexcused absences beyond 2 : you will begin losing points to final grade. Emergencies require documentation.

5) Each student will require a minimum 8 gb FLASH DRIVE to transfer their files. Other supplies will be individualized for each student. THIS IS REQUIRED BY THE SECOND WEEK OF CLASS.

(Note : If external hard drive is acquired, make note to properly "partition" it for both Mac and PC sides for operation on both. A tutorial may be given to help explain.

6) Grading: Students will be graded according to how well their participation in reading discussions and creative projects reflect an understanding and willingness to engage with the techniques, issues, and practices covered in class. Students should expect to spend at least six hours a week outside of class on their work. The final grade is broken down as follows: 

•40% Studio Projects - 700 pts (7 projects x 100 pts ea) 
•10% Questions for reading discussion on blogs. - 175 pts (7 readings x 25 pts ea) 
•9% Participation/critiques, discussions, attendance. - 150 pts (15 weeks x 10 pts per week) 
•10% Written lecture and exhibition reviews. - 180 pts (3 reviews x 60 pts ea) 
•14% Final Paper - 245 points 
•17% Final Project - 300 points 



7) Each student is REQUIRED to attend three out of five (physical) events of the Prospectives 2012 Digital Media festival. Prospectives will be given extensive announcements leading up to the exhibition date of October 18th-19th. The events that may be attended are PRESENT, EXHIBIT, STREET, PROJECT/SOUND, or PERFORM. You are required to write a short two page critical analysis over your three selections and discuss each in detail pertaining to your current practice. (extra credit given to those who actually ask questions at the event!)

In addition, one more art event will be required attendance in the semester. Several optional events for this will be given shortly into the semester. A one page critical analysis of that selected event will be required.

8) Blog Participation: All assignments, large or small, MUST be documented weekly on the class blog! In addition, share links and discuss pertinent issues. Website portfolio: Each student will be creating a website/portfolio blog as an archive of all projects created in this course – this site will serve as the repository for all of your class projects and writing assignments created in this course and any future courses taken through the Digital Media Program. We will go over the creation of your blog on the first day of the class.
9) Laboratory Workshops: A Digital Media lab technician in the process of hiring will be scheduling one-hour workshops outside of class time related to specific technical issues surrounding individual projects. It is highly recommended that students take full advantage of these workshops! Availability of the lab technician will be given upon department hiring.

10) Cell phones and PDA's - please do NOT use your cell phones for texting or any other purposes during class times - please put them away. If a snapshot is needed badly enough in lecture, ask me first. If I see you texting or surfing with it in class, I will confiscate your phone.

11) Course communications. I will be using e-mail extensively to communicate important information to the class. I will be using the email that is available to me through the MyNevada system. If you do not know or are not sure which e-mail the University has posted to this system, please check and be sure you have an email that you check regularly so you will receive all class messages! Check the primary Art 245 blog as well for updates.

Computer Access

Fortunately, in the aftermath of an ongoing financial crisis with budget cuts to the University, the Digital Media Studio has a better selection of hardware to work with in the facility. It is up to date and ready (with patience and care) to be used by the student body. This is a streamlined, neutral sized laboratory with a healthy number of student workstations.

In recognition of the fact that we cannot provide a workstation for each student during scheduled class times, we will be working from a lecture/lab model that requires all student work to be completed outside of our scheduled class period. All student projects are to be completed during available lab hours in the Digital Media Studio, on your own computers or in the Knowledge Center’s Dynamic Media Lab. The media lab of the Knowledge Center’s Dynamic Media Lab as well has capable staff on site to assist students. You will be assigned a digital access code for after-hours access to the Digital Media Studio by the end of the second week of the term.

Statement on Academic Dishonesty: For example, "Cheating, plagiarism or otherwise obtaining grades under false pretenses" constitute academic dishonesty according to the code of this university. Academic dishonesty will not be tolerated and penalties can include canceling a student's enrollment without a grade, giving an F for the course or for the assignment. For more details see

Statement of Disability Services: For example, "Any student with a disability needing academic adjustments or accommodations is requested to speak with me or the Disability Resource Center (Thompson Building, Suite 101) as soon as possible to arrange for appropriate accommodations."

Statement for Academic Success Services: For example, "Your student fees cover usage of the Math Center (784-443 or ), Tutoring Center (784-6801 or ), and University Writing Center (784-6030 or These centers support your classroom learning; it is your responsibility to take advantage of their services. Keep in mind that seeking help outside of class is the sign a a responsible and successful student."

Statement on Audio and Video Recording: Surreptitious or covert video-taping of class or unauthorized audio recording of class is prohibited by law and by Board of Regents policy.  This class may be videotaped or audio recorded only with the written permission of the instructor.   In order to accommodate students with disabilities, some students may have been given permission to record class lectures and discussions.  Therefore, students should understand that their comments during class may be recorded.