WRITING FOR ARTISTS - George Mason Universityart.gmu.edu/wp...WritingforArtists_Constantine.pdf · Writing can teach us the dignity of speaking the truth, and it spreads out from

AVT 395:001 Fall 2017 Syllabus 8/28/2017 Page 1 of 21

WRITING FOR ARTISTS AVT 395:001

MW 10:30 – 11:45 a.m., AB 1005 3 credits, Fall 2017

Prerequisite:ENGL302/ENGH302orpermissionofinstructor.Prerequisiteenforcedbyregistrationsystem.

ProfessorLynneScottConstantine 2017Art&DesignBuilding 703-993-8898(SOAoffice—messagesonly) OfficeHours:ByappointmentEmail:[email protected] MW9:00-10:30a.m.Blackboard:mymasonportal.gmu.edu W3:30-4:30p.m. Becomingawriterisaboutbecomingconscious. -AnneLamott,BirdbyBird:Some

InstructionsonWritingandLife Writingcanteachusthedignityofspeakingthetruth,andit

spreadsoutfromthepageintoallofourlives,anditshould. -NatalieGoldberg,WritingDowntheBones: FreeingtheWriterWithin COURSE DESCRIPTION WritingforArtistsistherequiredwriting-intensivecourseforstudentsintheSchoolofArt.InWritingforArtists,youlearntoapplythelessonslearnedinENGH302tothespecificwritingchallengesyouwillfaceinyourprofessionallife.Thissectionaccommodatesanyartordesignmajor;thereisaseparatesectionthatisspeciallytailoredfordesignmajors.Themostsuccessfulartiststodaytypicallyareskilledwrittencommunicators.Artistsusewritinginmultipleways;moreandmore,forexample,writingforthewebandforsocialmediaisaprimarywayforartiststolettheworldknowabouttheirwork.Inaddition,evenartistsrepresentedbygalleriesfindthemselvescalledupontowriteaboutthemselvesandtheirwork,andtosharetheirperspectivesontheworkofothers;Duringyourworkinthiscourse,youwillhavetheopportunitytoexploreseveralmodesofwritingcommonlypracticedbyartists,withhelpfulfeedbackfromyourinstructorandyourpeers.Furthermore,writingisaskillthatisneededinanykindofcareer—soifyourpathdrawsyouawayfromartmakingasthecenterofyourlivelihood,youwillstillhaveasolidfoundationforyourfuturepath.WHAT HAPPENS IN A WRITING INTENSIVE COURSE? Awritingintensivecoursehasfourprimarycharacteristics:1)whateverthespecificcontentofthecourse,theinstructorspendssignificantclasstimeteachingstudentsaboutwritingandgivesfeedbackonthequalityofstudentwriting(notjustonthecontent);2)courseassignmentsincludeatleasttwowritingassignmentsandtotalatleast3500wordsofgradedwriting;3)atleastoneofthewritingassignmentsmustrequirethestudentto


rewritethepaperbasedontheinstructor’scomments;and4)gradesonwritingassignmentsmustmakeupasubstantialportionofthestudent’sgradeforthecourse.Ourcoursetakeswritingasitsprimarysubject,andassuchitwillmeetandexceedtheseminimumrequirements.Youwillwriteregularlythroughouttheterm,andallassignmentsof500wordsormorewillbecompletedthroughadraft/feedback/revisionprocess.Allwrittenworkisexpectedtogetsubstantivelyandnoticeablybetterwitheachdraft.A FEW WORDS ABOUT REVISION AND THE VALUE OF “CRITICAL FRIENDS”Revisionisthemostimportantpartofthewritingprocess.Morewordsarerewrittenthanareeverwritteninthefirstplace.Revisionnotonlyallowsyoutohonethecommunicativepointofyourwriting,butitallowsyoutogetclearerforyourselfaboutwhatthatpointis.Writingisathinkingprocess,notjustamechanicalintermediarybetweenbrainandpaper.AsthenovelistJohnUpdikeoncewrote,“Writingandrewritingareaconstantsearchforwhatoneissaying.”Whenyoureceivecommentsonyourdrafts,itwon’tbeenoughto“fix”whatisn’tworkingorwhatisspecificallypointedout;youwillneedtobringthoughtandattentiontoeachstepintherevisionprocess.Irecallmanytimesduringmyprofessionalcareerasaconsultantandwriter-for-hirewhenaclientwouldsaysomethingvague,like,“Thispartjustdoesn’tflow.”AsirritatingasIoftenfoundsuchcomments,andasuninformativeastheywereaboutwhatIneededtofix,Ilearnedtobegrateful.Theclientwas,infact,alwaysright—ifnotabouttheproblem’scause,thenatleastaboutitslocation.Oftenthelackof“flow”wascausedbyadifferentproblementirelythanthatthewordssoundedclunky.PerhapsIwastryingtoslidepastanuncomfortablefactoraholeinmyresearch,orperhapsIhadn’tworkedthroughthelogicoftheparagraphorpage.Tohelpyoubuildastrongrevisionpracticeduringthiscourse,youwillhavemorethanjustmetohelpyou.Eachstudentwillbeassignedoneormore“criticalfriends,”withwhomyouwillbesharingyourfirstdraftofeachassignmentthroughouttheterm.Acriticalfriendisapeerwhowillofferyoutwomuch-neededwritingaids:supportandfeedback.Whysupport?Becausewritingishard.It’shardforeveryone.Writingishardbecausethinkingishard,becausecreativitytakeswork,andbecausetellingwhatyouknowtakesgritandpersistence.Andwhyfeedback?Becauseyouhavetogetoutsideyourownhead,yourownperspective,toseewhetherwhatyouwritecommunicateswhatyouintend.Sometimesyourcriticalfriendwillhaveveryspecificsuggestionsforyou,andthatwillbenice.(Youaren’trequiredtotakethemwordforword,butyouarerequiredtoconsiderthem.)Sometimesyourcriticalfriendwillbelikemyclient—heorshewon’tknowwhat’swrong,butwillknowonlythatsomethingisn’tquiteright;nonetheless,thatless-than-specificfeedbackwillgiveyouanimportantclueaboutwhereyouneedtoworkharder.Yourcriticalfrienddoesn’thavetobeabetterwriterthanyouare—allsheorheneedstodoistogiveyourwritingseriousattentionandtakepainstogiveyouusefulandhelpfulfeedback.FullinstructionsforyourcriticalfriendworkareincludedonBlackboard.


Ifyouknowthatyouhavesignificantissueswithwriting,youmayneedhelpbeyondwhatyourcriticalfriends,yourinstructor,andyourownresourcescanprovide.Insuchcases,IencourageyoutocontacttheWritingCenterearlyinthesemester.TheWritingCentercanprovideyouwithanyhelpyoumayneedrelatedtotheassignmentsinthiscourse,orwiththeongoingchallengesofwritinginEnglishthatsomestudentshavewhenEnglishisnottheirfirstlanguage.ContacttheWritingCenterearlyintheterm,andusethemoften.Theirwebsiteexplainstheirservices:http://writingcenter.gmu.edu.COURSE LEARNING OBJECTIVES Studentswhoactivelyparticipateinthiscoursewill:§ Improvetheirwrittencommunicationsskills§ Continuetheirdevelopmentofcriticalthinkingskills§ Strengthentheircriticalreadingandeditingskills§ Buildneededskillsforaccomplishingday-to-daywritingtasksintheartworld,allof

whicharetranslatableintoskillsforothertypesofjobsbeyondtheartworldCOURSE TEXTS

REQUIRED TEXTS Notextbooksarerequiredforthiscourse.IwillmakeallrequiredreadingsavailabletoyouviafilesorlinksonourBlackboardsite.AnyPDFfilesdistributedinthiswaymaybepasswordprotected—Iwillprovideyouwiththepasswordinclass,anditisalsoprovidedinaPDFfileatthetopoftheCourseContentpageonourBlackboardsite.Fromtimetotime,Imaysubstituteorsupplementtheassignmentsontheschedulewithothermaterials(articles,websites,etc.),astheneedarisesormaterialsbecomeavailable.IfandwhenIdoso,youwillreceiveinstructionsforaccessingthematerialbye-mailandonBlackboard.RECOMMENDED SUPPLEMENTARY TEXTS ON WRITING Booksonwritingabound.Ifyouhaveagoodbookonwritingthathashelpedyou,keepitanduseitoften.Ifyouhaven'tfoundanyfavorites,Ihighlyrecommendtheoneslistedhere,availableintheMasonlibraryandfromonlinebooksellers.Manyareavailablease-books.Theywillhelpyouimproveyourwritingand(inseveralcases)maymakeyouabetterpersonaswell.AndrewAbbott,DigitalPaper:AGuideforResearchandWritingWithLibraryandInternet

Materials.UniversityofChicagoPress,2014.Abbottprovideshelpandguidanceforwritingwithwhathecalls“foundmaterials”(books,articles,Internetmaterials)ratherthan“gathereddata,”suchasinterviewdata,polls,orscientificexperimentaldata).Ifyoufindtheartofworkingwithothers’wordsdifficultormysterious,Abbottdemystifiesitandhelpsyouunderstandhowtouseitcreatively.

NatalieGoldberg,WritingDowntheBones:FreeingtheWriterWithin.Expandededition,Shambhala,2005.Goldberginspireswriterstofindanauthenticvoiceandtoviewallwriting—eventhemostmundanebusinesstask—asanopportunityforself-transformation.


DianaHackerandNancySommers,APocketStyleManual.SeventhEdition,2016MLAUpdate.Bedford/St.Martins,2016.MLA,APA,Chicago,AP—younameit,thislittleguidecanhelpyouwithpropercitationsandtheimportantdistinguishingcharacteristicsofthesemajorstyleguides,includingconcisehelpwithpunctuationandwritingissues.Despiteitscompactsize,thebookcoversmostofthesituationsthatwriterswillwanthelpwith.

NancyHendrickson,TheVisualWriter:HowtoUseImagestoSparkCreativity.GreenPonyPress,2014.Ashortbookofpracticalideasforhowimages(photographsyoutakeorfind,digitalversionsofartworks,orjustaboutanythingthat’snotverballyconstructed)canbeusedasawaytosteeraroundthemanyobstaclestocompletingawritingproject.

AnneLamott,BirdbyBird:SomeInstructionsonWritingandLife.Anchor,1994.Althoughwrittenforaspiringcreativewriters,theadviceinthisguidecanhelpanyonebecomemoreconfidentandresourcefulwhenfacedwithawritingtask.

AndreaMarks,WritingforVisualThinkers:AGuideforArtistsandDesigners,2ndedition.NewRiders,2011.Marksofferswritingstrategiesforpeoplewhodon’tusuallythinkofthewrittenwordastheirnaturalcommunicativemedium.Somehelpfulideas,especiallyforstartingapieceordealingwithobstacles.

SimonMorley,WritingontheWall:WordandImageinModernArt.UniversityofCaliforniaPress,2005.Notaguidebook,butaninterestinghistoryofhowmodernartistshaveusedtextasamediuminvisualartwork.

PatriciaT.O’Connor,TheGrammarphobe’sGuidetoBetterEnglishinPlainEnglish,3rdedition.RiverheadTrade,2010.Ifyoudon’tknowyourparticiplesfromyourprepositions,thisbookwillhelpyou.Veryuser-friendly.

StevenPinker,TheSenseofStyle:TheThinkingPerson’sGuidetoWritinginthe21stCentury.Penguin,2015.Apsycholinguistandcognitivescientist,Pinkersuggestsnewwaystothinkabouttheoldrulesthatmakeupthebulkoftraditionalwritingguides.Hepresentsasaneandbalancedapproachtodevelopinga“classicstyle”thatcommunicateswellwhileavoidingoverlyfussy,unnecessary“correctness.”

WilliamStrunkJr.andE.B.White,TheElementsofStyle.IllustratedbyMairaKalman.Penguin,2005.Thisisanelegantlittlehandbookthathasgonethroughmanyeditions.Irecommendthiseditioninparticularbecauseofthedelightful,cleverandhelpfulillustrationsbythewondrousMairaKalman.

LynneTruss,Eats,Shoots&Leaves:TheZeroToleranceApproachtoPunctuation.Gotham,2006.Abookonpunctuationthatwillsimultaneouslymakeyoulaughandsetyoustraightonthemysteriesofcommas,semi-colonsandtheirfriends.Veryreadableandhelpful.

WilliamZinsser,OnWritingWell.30thAnniversaryEdition.HarperPerennial2006.AcompaniontoStrunkandWhite,thisbookaddressesthemundanedailywritingtasksweallfaceandgiveshelpfuladviceformakingthembetter.


COURSE REQUIREMENTS ATTENDANCE: REQUIRED DON’T MISS CLASS, DON’T BE LATE, DON’T LEAVE EARLY. Muchofthelearninginthiscoursetakesplaceintheclassroomandcannotbegleanedmerelyfromreadingtextsorcompletingassignments.Therefore,eachabsencebeyondTHREEoverthecourseofthetermwillloweryourfinalgradeby5points;hence,significantlymorethanthreeabsencesmaycauseyoutofailthecourseregardlessofyourgradesonparticularassignments.Eachlatearrivalorearlydeparturewillcountas½absence.LatearrivalmeansarrivingafterIhavetakentheinitialroll.Earlydeparturemeansleavingbeforethescheduledendtimeoftheclass.Ifyouarrivelate,itisyourresponsibilitytosignthe“latearrival”sheetthatIwillsetoutintheclassroomwhenIhavecompletedtheinitialtakingoftheroll.Incaseofabsence,youareresponsibleforfindingoutwhathappenedinclassbyconsultingaclassmate.Ifwehavein-classassignmentsorpresentationswhenyouarelateorabsent,thisworkcannotbemadeup.Ifyouareabsentonthedaythatwedoour“criticalfriend”workinclass(i.e.,thedayonwhichdraft1ofeachassignmentisdue),yourfinalgradefortheprojectwillbereducedby5points.Theonlyexceptiontothecriticalfrienddeductionisintheeventofillnessdocumentedbypresentationofadoctor’snote.

SPECIAL NOTE: MASON CLOSURES AND UNFORESEEN INSTRUCTOR ABSENCES

MASON CLOSURES PleasebesureyouaresignedupforMasonAlertstoreceivenotificationofunanticipateduniversityclosuresordelayscausedbycampusemergencies,weatherissuesorotherunforeseeableproblems.Intheeventofsuchanalert,wewillfollowtheuniversity’sdecisionsforwhetherourclasswillmeet.IwillalsosendanannouncementassoonaspossibleviaBlackboardtoconfirm,andwillfollowthatassoonaspossiblewithasecondannouncementtoletyouknowhowwewilladjustourscheduleandassignments.EvenifMasondoesnotcloseordelayitsopening,pleaseusegoodjudgmentifyouliveinanareawhereiceandsnowmaketraveltooriskyonaparticularday

UNFORESEEN INSTRUCTOR ABSENCES IfIeverhavetocancelclassbecauseofillnessorapersonalemergency,IwillsendanannouncementviaBlackboardassoonasIamawareoftheissue.Ifyoumisstheannouncement,youwillseeanoteontheclassroomdoorwhenyouarrive.Iwillfollowmyannouncementassoonaspossiblewithasecondannouncementtoletyouknowhowwewilladjustourscheduleandassignments.


Pleaseunderstand:thereareno“excused”absences.Ipermitthreeabsencesthatwillnotcountagainstyou,sobesurethatyoupreservethemforuseduringillness,unavoidablepersonalissues,orothersituationsthatrequireyounottobepresent.Ifaseriousissuearisesthatmayaffectyourpresenceorparticipationforalongerperiodoftime(seriouspersonalillness,familyillness,etc.),consultwithmeimmediatelyandwewilldeterminewhatyoushoulddo. PREPARED PARTICIPATION Consistentclassparticipationisexpectedofallstudents.Iexpectyoutoreadand/orviewcarefullyallassignmentsandcometoclasspreparedtodiscusstheday’smaterials.OndraftreviewdaysIwillalsoexpectcourteousbehaviorindiscussions;thatis,respectfulexchanges(eveninheateddisagreements)andenoughself-awarenesstokeepyourselffrommonopolizingthediscussion.Yourparticipationwillbeconsidered“adequate”(C-level)ifyouarepayingattention,addingacommentnowandthen,andfollowingmyinstructionsforin-classactivities.“Good”(B-level)participationincludesalloftheC-levelexpectationsplusactiveinteractionwithteacherandstudentsonaregularbasisabouttheworkswereadortheprojectswe’vedone.“Excellent”(A-level)participationincludesalloftheB-levelexpectationsplusout-of-classenrichmentactivities,suchasbringingtoclasstheURLforawebsitethatisrelevanttotheclassdiscussion.D-levelparticipationgradesresultfromdisruptivebehavior,textingorusingsocialmediaduringclass,discourtesy,inattentionorsleepinginclass,orlackofinvolvementingroupwork.F-levelparticipationgradesresultfromexcessiveabsenceand/oregregiousD-levelbehaviors.REQUIRED COMMUNICATION VIA MASON EMAIL AND BLACKBOARD Pleasenotethatbecauseofuniversitypolicies,IcanonlycommunicatewithyouviayourMasone-mailaddress.YouwillbeexpectedtocheckyourGeorgeMasonUniversitye-mailandtheBlackboardsiteforthiscoursefrequentlyduringtheterm.UpdatestothesyllabusandothervitalcourseinformationwillbesenttoyouatyourGeorgeMasonUniversitye-mailaddressandviatheBlackboardsite.YouwillberesponsibleforhavingreadwhateverIsendyouviathesemeans. ABSOLUTE BAN ON ELECTRONIC COMMUNICATION AND NON-CLASS-RELATED

COMPUTING DURING CLASS Itisextremelyrudetobeengagedoutsidetheclassroomwhileclassisinsession—especiallyinasmallroomwhereweareallpackedtogetherandcanseeeachothers’actions.Phonesandsocialmediadistractotherstudents,andtheydistractmetoo.PUTYOURPHONEAWAYanddeactivatesocialmediaappsonyourtabletorcomputerduringclasstime.ComputersandtabletsmayONLYbeusedduringclasstimeiftheworkisDIRECTLYrelatedtowhatwearedoingatthemoment.NEVERworkonassignmentsforotherclasses


duringourclasstime.Oneviolationwillresultinawarning;morethanoneviolationwillaffectyourgrade,becauseIwillmarkyouabsentforthatclass.

ASSIGNMENTS Studentswilldemonstratetheirmasteryofthecourselearningobjectivesbycompletingtheassignmentslistedbelow.Detailedinstructionsforeachproject,includingthemultipleduedatesassociatedwiththeproject,willbepostedonaprojectassignmentsheetonBlackboardandexplainedthoroughlyinclass.Duedatesarealsoincorporatedintothescheduleinthissyllabus.

• Project#1:Ekphrasis:richdescriptionofanartobject(approx.500words) • Project#2:ImmersiveProcessDescription:richdescriptionofthematerialprocess

undertakentobringaboutanartwork(approx.500words)• Project#3:ArtistStatement/ArtistProfile:Insightintothereasonsaparticular

workofartyoucreatedcameintobeing,followedbyabriefintroductiontoyou,theartist(approx.500-750words)

• Project#4:CuratorialProposal:Ifyoucouldcommandeeragallery,whatwouldyoushowtheworld?(approx.1500words)

• Project#5:EpistolaryArtConversation(3exchangesoverthecourseoftheterm,startinginWeek4,plusaculminatingblogpost)–500gradedwordsintheblogpost,plustheexchanges(countedbutnotindividuallygraded).

TURNING IN YOUR WORK AllworkformyreviewwillbeturnedinviaBlackboard.Duedatesforeverydraftandstageintheprocessforeachprojectarespecifiedintheindividualproject’sassignmentsheetandinthescheduleappendedtotheendofthissyllabus. • Ontheduedateforthefirstdraftofanyproject,postthefiletotheappropriate

assignmentdropboxonBlackboardandbringTWOprintedcopiestoclass.• Ontheduedatefortheseconddraftofanyproject,postthefiletotheappropriate

assignmentdropboxonBlackboard.Noprintedcopyisrequired.• Ontheduedateforthefinaldraftoftheassignment,postthefiletotheappropriate

assignmentdropboxonBlackboard.Noprintedcopyisrequired.

PleaseDONOTuseOperaasyourbrowserwhenusingBlackboard,asitdoesnotreliablyuploadfiles.Forbestresults,useFirefox,Chrome,orSafari.

NOTE:IfyourdeadlineisapproachingandBlackboardisexperiencingproblems,sendyoursubmissiontomeviae-mailsothatyoucanmeetthedeadline,andthenpostittoBlackboardatyourfirstopportunity.


DRAFT FEEDBACK: WHAT TO EXPECT

Allassignmentsforthiscourse(exceptyour3interactionsintheepistolaryartconversation,andthefinalblogpost)arebuiltona3-draftprocess.Oneachofthesedrafts,youwillreceiveasomewhatdifferentformoffeedback:ForDraftOne,youwillrespondprimarilytoreader-perspectivefeedbackfromyourCriticalFriend(s)andtotheinstructionthatemergesduringmyopenreviewofselecteddraftsduringclass.YourCriticalFriend(s)willprovidefeedbackduringthefirstpartofclassduringtheDraft1workshop.IfyourCriticalFriend(s)is/areabsentfromclassonthatday,IwilltemporarilyplaceyouinadifferentCriticalFriendpairingsothatyouwillhaveimmediatefeedback.Iwillscanallfirstdraftsonthedaytheyareposted,checkingtheminandmakingsuretheymeettheoverallrequirement.IfIfindthatyouaregoinginadirectionthatIthinkwillbeproblematic,orifIdeterminethatyouhavenotuploadedagood-faith-effortdraft,Iwillcommentontheseissues.Note:forProject4,thecuratorialproposal,Iwillbeprovidingsubstantivefeedbackontheresearchanddevelopmentofyouridea.ForProject5,youwillturninonlyonedraftbeforethefinishedproject;Iwillcommentsubstantivelyonthatdraft.ForDraftTwo,Iwillprovideyouwithsignificant,formalformativefeedbackviaBlackboard,alongwithadditionalgeneralcommentsthatemergeduringmyopenreviewofselecteddraftsduringclass.Thetimeframeforreceivingmycommentsisspecifiedintheassignmentsheetandinthescheduleofassignmentsinthissyllabus.DraftThreewillreceivemyrelativelybriefsummativeresponseandalettergradeviaBlackboard,takingintoaccountboththequalityofthefinalproductandthequalityofyourparticipationinthedevelopmentprocess.Typically,Iwillpostmysummativeresponseandyourgradewithinaweek.Ifforanunforeseenreason(ifIamill,forexample)Ineedtodeviatefromthisprocessandscheduleforfeedback,Iwillinformyouandwillgiveyouarevisedschedulewithampletimetocompletetheassignments.ASSIGNMENT LATENESS PENALTIES Latefinaldrafts:Anyfinalversionofanassignmentthatisturnedinaftertheannouncedduedateandtimewillbemarkeddownonelettergradeasalatenesspenalty,withanadditionalonelettergradedeductedforeachsubsequentdayuntiltheassignmentisturnedin.Workthatismorethantwoweekslatewillnotbegraded,butitistoyouradvantagetoturnitinanyway:apaperorprojectthatisacceptedbutungradedcountsintoyourtermgradeasanF,whileapaperorprojectnotreceivedatallcountsintoyourtermgradeasazero.


Lateprocessdrafts:Latesubmissionofyourfirstorseconddraftsorofanyotherpreliminaryassignmentwillresultina5-pointpenaltyagainstyourfinalgradefortheassignment,foreachinstanceoflateness.Pleasenote:noworkwillbeacceptedforagradeafter11:59p.m.onWednesday,12/6.NOEXCEPTIONS.WEIGHTING OF ASSIGNMENTS Courseassignmentsandrequirementswillbeweightedasfollowsindeterminingyourfinalgrade:• Project1:Ekphrasis 15%• Project2:ImmersiveProcessDescription 15% • Project3:ArtistStatement/ArtistProfile 20%• Project4:CuratorialProposal 20%• Project5:EpistolaryArtConversation/BlogPost 15%• Attendance&Participation 15% Notethatexcessiveabsenceorfailuretoturninanyofthemajorassignmentsmayresultinfailureofthecourseregardlessoftheseweightings.Forfurtherexplanation,pleaseseethesectionsaboveon“Attendance”and“AssignmentLatenessPenalties.”EVALUATION CRITERIA FOR WRITTEN ASSIGNMENTS AND PROJECTS Projectgradeswillbedetermineduponpresentationofthefinaldraft,usingthefollowingcriteria:• CONCEPTANDCONTENT:Evidenceofengagementwiththetopicandanattempttofind

personalsolutions;clearengagementwithideasaboutvoice,audience,andcommunicativeeffectiveness;anefforttocarrytheassignmentasfaraspossible;evidenceofdrawinguponthematerialsstudiedinclass,additionalresearchandotherresourcestoexpandunderstandingandenrichcontent;overallqualityofthinkingandwriting.(50%)

§ PROCESS:Evidenceofaclearunderstandingoftheassignment;timelinessateachstageoftheprocess;fulfillmentofstatedrequirements;responsivenesstotheexpectationsforeachstageoftheprocess;opennessinrespondingtoconstructivecriticismfromyourinstructorandfromyourfellowclassmembers;evidenceofimprovementfromdrafttodraft;engagementwithcriticalfriendwork(35%)

• TECHNICAL:Aconcernforcraftandformasteringtechnicalchallengesoftheassignment;attentiontogrammar,spellingandmechanics;generalcareinmanuscriptpreparation;appropriateuseofcitations.(15%)

Forsomeassignments,Imayissuearubricthatfurtherspecifiesthesecriteria.Ingeneral,apaperintheArangeshowsSUPERIORmasteryofthesecriteria(exploringthepossibilitiesoftheassignmentwellbeyondwhat’srequired,withsignificantsuccess);apaperintheBrangeisSTRONG(showingambitionandeffortbeyondthebarerequirements,withsomesuccess);aCorC+paperisCOMPETENT(meetsallcriteria


adequately);aC-orDpaperisFLAWED(missingthemarkonseveralimportantcriteria);anFpaperisSEVERELYFLAWED,INCOMPLETE,orMORETHANTWOWEEKSLATE.Apaperthatisnotsubmittedreceivesazero.

COURSE GRADING CRITERIA Finalgradesreflecthowwellyouaccomplishtheobjectivesofthecourse.PossiblegradesforthisclassareA+,A,A-,B+,B,B-,C+,C,C-,D,F.Incalculatingyourfinalgrade,Iwillapplythefollowingequivalencies:A+: 98andabove B+: 88-89 C+: 78-79 D:60-69A: 95-97 B: 85-87 C: 75-77 F:59andbelowA-: 90-94 B-: 80-84 C-: 70-74Note:Scoresareroundedonedecimalplacetothenearestwholenumber.Thus93.5=94;88.467=88.

Academic Policies Asacourtesytoothersintheclass,andinaccordancewithGeorgeMasonUniversitypolicy,pleasesilenceallcellphonesandotherwirelesscommunicationdevicesatthestartofclass.TheinstructorwillkeephercellphoneactivetoassurereceiptofanyMasonAlertsinatimelyfashion. Commitment to Diversity Thisclasswillbeconductedasanintentionallyinclusivecommunitythatcelebratesdiversityandwelcomestheparticipationinthelifeoftheuniversityoffaculty,staffandstudentswhoreflectthediversityofourpluralsociety.Allmayfeelfreetospeakandtobeheardwithoutfearthatthecontentoftheopinionstheyexpresswillbiastheevaluationoftheiracademicperformanceorhindertheiropportunitiesforparticipationinclassactivities.Inturn,allareexpectedtoberespectfulofeachotherwithoutregardtorace,class,linguisticbackground,religion,politicalbeliefs,genderidentityandexpression,sex,sexualorientation,ethnicity,age,veteran’sstatus,orphysicalability. Resource for University Policies TheUniversityCatalog,http://catalog.gmu.edu,isthecentralresourceforuniversitypoliciesaffectingstudent,faculty,andstaffconductinuniversityaffairs.Otherpoliciesareavailableathttp://universitypolicy.gmu.edu/.Allmembersoftheuniversitycommunityareresponsibleforknowingandfollowingestablishedpolicies.Important Deadlines LastDaytoAdd/LastDaytoDropwithnotuitionpenalty September5LastDaytoDrop September29SelectiveWithdrawalPeriod October2-October27IncompleteworkfromSpring/Summer2017dueto instructor October27


Oncetheadd-and-dropdeadlineshavepassed,instructorsdonothavetheauthoritytoapproverequestsfromstudentstoaddordrop/withdrawlate.Requestsforlateadds(upuntilthelastdayofclasses)mustbemadebythestudentintheSchoolofArtoffice(orintheofficeofthedepartmentofferingthecourse),andgenerallyareonlyapprovedinthecaseofadocumenteduniversityerror(suchasaproblemwithfinancialaidbeingprocessed).Requestsfornon-selectivewithdrawalsandretroactiveadds(addsafterthelastdayofclasses)mustbeapprovedbytheacademicdeanofthecollegeinwhichthestudent’smajorislocated.ForAVT/SchoolofArtmajors,thatistheCVPAOfficeofAcademicAffairs,CollegeHallC211.Official Communications via Mason E-Mail Tocomplywithuniversity,Virginiaandfederalstudentprivacyrequirements,Iamonlypermittedtoexchangee-mailcommunicationswithyouviayourMasonLivee-mailaccount.YouareresponsibleforthecontentofalluniversitycommunicationsenttoyourMasonLivee-mailaccount,sobesuretoactivateandcheckitregularly. Statement on Ethics in Teaching and Practicing Art and Design Asprofessionalsresponsiblefortheeducationofundergraduateandgraduateartanddesignstudents,thefacultyoftheSchoolofArtadherestotheethicalstandardsandpracticesincorporatedintheprofessionalCodeofEthicsofournationalaccreditationorganization,TheNationalAssociationofSchoolsofArtandDesign(NASAD).Academic Integrity MasonisanHonorCodeuniversity;pleaseseetheUniversityCatalogforafulldescriptionofthecodeandthehonorcommitteeprocess.Theprincipleofacademicintegrityistakenveryseriously,andviolationsarehandledasgravematters.Whatdoesacademicintegritymeaninthiscourse?Essentiallythis:whenyouareresponsibleforatask,youwillperformthattask.Whenyourelyonsomeoneelse’sworkinanaspectoftheperformanceofthattask,youwillgivefullcreditintheproper,acceptedform.Anotheraspectofacademicintegrityisthefreeplayofideas.Vigorousdiscussionanddebateareencouragedinthiscourse,withthefirmexpectationthatallaspectsoftheclasswillbeconductedwithcivilityandrespectfordifferingideas,perspectives,andtraditions.Whenindoubt(ofanykind),pleaseaskforguidanceandclarification.NogradeisimportantenoughtojustifyHonorCodeviolations,forwhichthereareseriousconsequencesthatwillfollowyoufortherestofyourlife.Ifyoufeelunusualpressureaboutyourgradeinthisoranyothercourse,pleasetalktomeortoamemberoftheMasonCounselingandPsychologicalServicesstaff.Students with Disabilities and Learning Differences Ifyouhaveadiagnoseddisabilityorlearningdifferenceandyouneedacademicaccommodations,pleaseinformmeatthebeginningofthesemesterandcontacttheOfficeofDisabilityServices(703-993-2474).Youmustprovidemewithafacultycontactsheet


fromODSoutliningtheaccommodationsneededforyourdisabilityorlearningdifference.AllacademicaccommodationsmustbearrangedinadvancethroughODS(http://ods.gmu.edu). The Collaborative Learning Hub (CLUB) LocatedinJohnsonCenter311(703-993-3141),thelaboffersin-personone-on-onesupportforAdobeCreativeSuite,MicrosoftOffice,Blackboard,andothersoftware.Dual-monitorPCsmakethelabidealforcollaboratingongroupprojects.Macsarealsoavailable,aswellasadigitalrecordingspace,collaborativetables,andaSMARTBoard.Freeworkshopsarealsoavailable(AdobeandMicrosoft)throughTrainingandCertification;visitittraining.gmu.edutoseethescheduleofworkshopsandtosignup. Other Useful Campus Resources • Forhelpwithwriting:TheWritingCenter,A114RobinsonHall;(703)993-1200or

http://writingcenter.gmu.edu• Forhelpwithresearch:UniversityLibraries“AskaLibrarian”service;sendatext

messageto703-291-1468orgotohttp://library.gmu.edu/ask• Forhelpwithacademicproblemsorwithpersonalproblemsaffectingacademic

performance:CounselingandPsychologicalServices(CAPS);(703)993-2380orhttp://caps.gmu.edu

School of Art Enrichment Opportunities ArtsBus ThedatesforFall2017ArtsBustripsareSeptember23,October21,andNovember18.TheArtsBusisanall-daytriptoNewYorkCity’sartdistrictsviacharteredbuses.SchoolofArtfacultymembersaccompanythetripandoffer2-hourguidedtoursofvariousmuseumsandgallerieswhenyouarrive.Ifyouchoosetojoinoneofthetours,youwillhaveseveralhoursoffreetimeonyourownafterwards(typicallystartingatabout1p.m.)tohavelunch,tovisitadditionalartvenuesortoexplorethecity.• AVT300isa0-creditcourseopentostudentsinanymajor;thecoursehasnotuition

chargebutdoeshaveacoursefee.Thecoursefeecoversthecostofyourseatonthebus,plustheadministrativecostsofrunningtheArtsBusprogram.Thefeeislessthanthecostofaticketpurchasedatthegeneralboxofficerate.

• EachSOAmajormusthaveuptofiveAVT300/ArtsBuscreditsbeforegraduation.Forcredittoappearonyourtranscript,youmustenrollinAVT300,completetherequiredtripandwork,andreceivean“S”(satisfactory).ThesecreditrequirementsalsoapplytoanyonewhointendstotraveltoNewYorkindependently,ordotheDCAlternateAssignment.AlternatetripsmustbeapprovedbytheinstructorofthecoursethatisrequiringanArtsBustrip.


• Ifyouplan/needtogoonmultipleArtsBustripsduringasemesterandneedthemtowardsyourtotalrequirement,youmustenrollinmultiplesectionsofAVT300.

• Non-AVTmajorstakingartclassesdonotneedArtsBuscreditforgraduationBUTmayneedtogoontheArtsBusforaclassassignment.YoucaneithersignupforAVT300orbuyaticketforthebustripattheCenterfortheArts.

PleasegototheArtsBuswebsite:http://artsbus.gmu.edu"StudentInformation"foradditional,veryimportantinformationregardingArtsBuspolicy.Visual Voices Lecture Series VisualVoicesisayearlongseriesoflecturesbyartists,arthistoriansandothersaboutcontemporaryartandartpractice.VisualVoiceslecturesareheldonThursdayeveningsfrom7:20-9:00p.m.inHarrisTheater.TheFall2017scheduleincludesfivelectures:August31 SimonSchwartz,“TheOtherSideOfTheWall:RememberingandRe- TellingGermanHistory”September14 AndyBichlbaum,“MakingMeaningfulMischief”[YesMen]October5 PatriciaBellon-Gillen,“WillfulWonderingandDisorderlyNotions”October19 SadieBarnette,“APlaceCalledCompland”November16 WalterKravitz,“ArtisWhatIsn’t–StudioPursuits” Publishing Work Completed for This Class in The George Mason Review TheGeorgeMasonReview,Mason'sjournalofundergraduatestudentscholarship,publishesexcellentundergraduatescholarshipandcreativeresearchfromacrossthedisciplines.EveryyearTheGeorgeMasonReviewrecognizesoutstandingstudentworkwithatotalof$900inawards.Formoreinformation,talktomeorvisittheGMRwebsiteathttp://gmreview.gmu.edu/


AVT 395:001 Topic and Assignment Schedule

Fall 2017

Thisscheduleissubjecttochange.Updateswillbeannouncedinclassand/orbye-mailandwillbemadeavailableonBlackboard.

Date

Topic

Assignments due on this date

Week18/28-8/30

8/28:Introductions,reviewofsyllabusandcourselearningobjectives;photosExplainimportanceofattendanceandpromptness,andimpactonfinalgrade.Whyworkonimprovingyourwriting?(Writingasathinkingtool,writingasaworkrequirement,writingasexpression.)Discusscorrectnessvs.competence;explainfunctionoftheWritingCenterIntroducecriticalfriendwork

8/28:Readthesyllabusthoroughly.

8/30:IntroductionofProject1,EkphrasisDiscussreadings(ekphrasis,hapticpoetry,reverseekphrasis...)EkphrasisasamodeofsensorytranslationThree-stagewritingprocess:Ideation:-Recognizethethreestagesofwriting(Ideation,Reconstruction,Refinement)-Understandfocusedattentionvs.diffuseattention-Forideation:diffused-focusthinking,freewriting,mindmappingCriticalfriendsuggestionscollectedinclassorviaemail

8/30:ReadtheassignmentsheetforProject1,Ekphrasis,andreviewthecontentsoftheProject1folderonBlackboardReadthecriticalfriendpeerreviewinstructionsheet,postedonBlackboard.


AVT 395:001

Topic and Assignment Schedule Fall 2017


Date

Topic


Week29/4-9/6

9/4:LaborDayrecess—classdoesnotmeet9/6:Ekphrasisdraft1workshop:Criticalfriendsworktogetherondraft1;groupreviewofselecteddrafts;generalremarksoncommonissuesThree-stagewritingprocess:Reconstruction:-Harnessthepoweroffocusedattention(thePomodorotechnique)-Reverse-engineeryourstructure

9/6:Draft1ofProject1,Ekphrasis,dueby9a.m.today,viaBlackboard,withlinktoimage.Alsobring2copiestoclasstoday.By11:59p.m.today,postaphotooftheCriticalFriendReviewSheetsthatyouwroteupandgavetoeachofyourcriticalfriends.

Week39/11-9/13

9/11:Ekphrasisdraft2workshop—groupreviewofselecteddrafts;generalremarksoncommonissuesThreestagewritingprocess:Refinement-Editawaythemostcommonissues-Readitaloud

9/11:Draft2ofProject1,Ekphrasis,dueby9a.m.today,viaBlackboard.ExpectinstructorfeedbackviaBlackboardby11:59p.m.onFriday,9/15.

9/13:IntroduceProject2,ImmersiveProcessDescriptionDiscussreadingsandexamples(ImmersiveProcessDescription)Howcompetentadultwriterscontinuouslyimprovetheirwriting(part1)

9/13:ReadtheassignmentsheetforProject2,ImmersiveProcessDescription,andreviewthecontentsoftheProject2folderonBlackboard.Readthecontentsofthe“ImprovingYourWriting1”folderonBlackboard


AVT 395:001



Date

Topic


Week49/18-9/20

9/18:Project2,ImmersiveProcessDescription,draft1workshop:Criticalfriendsworktogetherondraft1;groupreviewofselecteddrafts;generalremarksoncommonissuesHowcompetentadultwriterscontinuouslyimprovetheirwriting(part2:thewritingrulesyouknow,andtheonesthatmatteroftheonesyoualwaysforget)

9/18:Draft1ofProject2,ImmersiveProcessDescription,dueby9a.m.todayviaBlackboard.Alsobring2copiestoclasstoday.By11:59p.m.today,postaphotooftheCriticalFriendReviewSheetsthatyouwroteupandgavetoeachofyourcriticalfriends.Reviewthecontentsof“ImprovingYourWriting2”folderonBlackboard

9/20:Wrap-upofthe“ImprovingYourWriting”series(part3):Howcompetentadultwriterscontinuouslyimprovetheirwriting(part3):Developingyour“top5”writingissueslistandlearningtoeditforthem.

9/20:FinaldraftofProject1,Ekphrasis,dueby9a.m.onWednesday,9/20,viaBlackboard.Reviewthecontentsof“ImprovingYourWriting3”folderonBlackboard

Week59/25-9/27

9/25:Project2,ImmersiveProcessDescription,draft2workshop—groupreviewofselecteddrafts;generalremarksoncommonissuesIntroduceProject5,EpistolaryExchanges(term-longproject)

9/25:Draft2ofProject2,ImmersiveProcessDescription,dueby9a.m.todayviaBlackboard.ExpectinstructorfeedbackviaBlackboardby11:59p.m.onFriday,9/29.ReadtheassignmentsheetforProject5,EpistolaryArtConversation(term-longproject)andreviewthecontentsoftheProject5folderonBlackboard.


AVT 395:001



Date

Topic


9/27:WorkshoponissuesofinterestforepistolaryartexchangesExploresomeofthemanywaysthatartistsusewriting

9/27CometoclasspreparedtodiscussyourideasfortopicsthatwouldbegoodfortheEpistolaryArtConversationInstructor’s“initiatingletters”willbepostedtoBlackboardby11:59p.m.Friday9/29.Reviewthecontentsofthe“ArtistsandWriting1”folderonBlackboard.

Week610/2-10/4

10/2:In-classopportunityforcriticalfriendstodiscussEpistolaryArtConversationprojectExploreadditionalwaysthatartistshaveusedwriting

10/2:ReadtheEpistolaryArtExchangeinitiatinglettersbeforeclassandconsiderwhichtopicsyoumightliketowriteabout;youwilldiscusswithyourCriticalFriendsinclassandchooseyourinitiatingletter.Reviewthecontentsof“ArtistsandWriting2”

10/4:IntroduceProject3,ArtistStatement/ArtistProfileReviewinformationonwritingtheartiststatementandsampleartiststatementsReviewinformationonwritingtheartistbioandthesampleartistbiosExploringandShapingMemoryThroughWriting:ThePerpetualPrompt

10/4:FinaldraftofProject2,ImmersiveProcessDescription,dueby9a.m.Wednesday10/4ReadtheassignmentsheetforProject3,ArtistStatement/ArtistProfile,andreviewthecontentsoftheProject3folderonBlackboard“PerpetualPrompt”folderwillpopupafterclasssoyoucanusetheresourcesthereforfuturewritingactivities

Week710/9-10/11

10/9:ColumbusDayrecess:classisnotheldonMonday

10/10:outofclassworkdayforP3 10/10:out-of-classworkdayforPr3


AVT 395:001



Date

Topic


10/11:Project3,ArtistStatement/ArtistProfile,draft1workshop:Criticalfriendsworktogetherondraft1;groupreviewofselecteddrafts;generalremarksoncommonissuesDiscussartists’autobiographicalwriting;explorewritingasatooltounlockmemoryforcreativeuse.

10/11:FirstdraftofProject3,ArtistStatement/ArtistProfile,dueby9a.m.todayviaBlackboard.Alsobring2copiestoclasstoday.By11:59p.m.today,postaphotooftheCriticalFriendReviewSheetthatyouwroteupandgavetoeachofyourcriticalfriends.Reviewthecontentsof“ArtistsWritingAboutTheirLives”folderonBlackboard

Week810/16-10/18

10/16:Project3,ArtistStatement/ArtistProfile,draft2workshop—groupreviewofselecteddrafts;generalremarksoncommonissuesFurtherdiscussionofartistsandautobiography

10/16:Draft2ofProject3,ArtistStatement/ArtistProfile,dueby9a.m.todayviaBlackboardExpectinstructorfeedbackviaBlackboardby11:59p.m.onFriday,Oct.20.Continuedconsiderationof“ArtistsWritingAboutTheirLives”folderonBlackboard

10/18:ArtistsasCurators”Discusshowartistsworkascuratorsandhowcuratingisitselfacreativeact

10/18:Reviewthecontentsofthefolder“ArtistsasCurators”Firstepistolaryexchange(forProject5)shouldbecompletedby11:59p.m.onFriday,10/20andpostedtoBlackboard.

Week910/23-10/25

10/23:IntroduceProject4,CuratorialProposal.Reviewexamplesandissues..

10/23:ReadassignmentsheetforProject4,CuratorialProposal,onBlackboardandreviewthecontentsoftheProject4folderonBlackboard.Continueddiscussionofthecontentsofthefolder“ArtistsasCurators”


AVT 395:001



Date

Topic


10/25:Furtherdiscussionofhowtocreateasuccessfulcuratorialproposaltosellanidea.Additionaldiscussionofproposalelements

10/25:FinaldraftofProject3,ArtistStatement/ArtistProfile,dueby9a.m.today,viaBlackboardContinueddiscussionofthecontentsofthefolder“ArtistsasCurators”

Week1010/30-11/1

10/30:PresentationofcuratorialprojectideasExplorationof“collaborativewriting”

10/30:PostaparagraphdescribingthetopicofyourcuratorialproposaltoBlackboardby9a.m.today.Proposalideawillbepresentedinclasstoday(required).“CollaborativeWriting”folderwillpopupafterclasssoyoucanusethematerialsthereforfuturewriting

11/1:classdoesnotmeet 11/1:classdoesnotmeetresearchandwritingtimeforcuratorialproposalSecondepistolaryexchange(forProject5)shouldbecompletedby11:59p.m.onFriday,11/3andpostedtoBlackboard.

Week1111/6-11/8

11/6:Project4,CuratorialProposal,draft1workshop:Criticalfriendsworktogetherondraft1;groupreviewofselecteddrafts;generalremarksoncommonissuesBeginningdiscussionof“Writing,PowerandJustice”

11/6:FirstdraftofProject4,CuratorialProposal,dueby9a.m.today,viaBlackboard.Alsobring2copiestoclasstoday.By11:59p.m.today,postaphotooftheCriticalFriendReviewSheetsthatyouwroteupandgavetoeachofyourcriticalfriends.Expectinstructorfirst-draftfeedbackbyFriday,11/10Reviewcontentsofthefolder“Writing,PowerandJustice1”


AVT 395:001



Date

Topic


11/8:Continueddiscussionof“Writing,Power,andJustice”

11/8:Readthecontentsofthefolder“Writing,Power,Justice2”onBlackboard

Week1211/13-11/15

11/13:Wrap-upof“Writing,Power,andJustice”

11/13:Readthecontentsofthefolder“Writing,Power,Justice3”onBlackboard

11/15:Project4,CuratorialProposal,draft2workshop—groupreviewofselecteddrafts;generalremarksoncommonissuesGeneralreviewoftheepistolaryexchangeexperience,inpreparationforProject5

11/15:SeconddraftofProject4,CuratorialProposal,dueby9a.m.todayviaBlackboardExpectinstructorfeedbackviaBlackboardby11:59p.m.onTuesday,11/21.Thirdepistolaryexchange(forProject5)shouldbecompletedby11:59p.m.onFriday,11/17andpostedtoBlackboard.Expectinstructorfeedbackontheseriesby11:59p.m.Sunday,11/19.

Week1311/20-11/22

11/20:ReviewassignmentforProject5,CulminatingBlogPost(basedonepistolaryexchanges)In-classworkshoponblogpostideas.

11/20:ReadassignmentsheetforProject5,CulminatingBlogPost(basedonepistolaryexchanges),onBlackboardandreviewthecontentsofthe“WritingBlogPosts”folderonBlackboard.Cometoclasswithseveralideasinmindforyourblogpost.

11/22:ThanksgivingRecess—classdoesnotmeet


AVT 395:001



Date

Topic


Week1411/27-11/29

11/27:Project5,CulminatingBlogPost,workingdraftworkshop:Criticalfriendsworktogetherondraft;groupreviewofselecteddrafts;generalremarksoncommonissuesNOTE:thisistheONLYDRAFTofProject5thatyouwillsubmitforcommentbeforethefinaldraft

11/27:WorkingDraft,Project5,CulminatingBlogPost(basedonepistolaryexchanges)dueby9a.m.todayviaBlackboard.Alsobring2copiestoclasstoday.By11:59p.m.today,postaphotooftheCriticalFriendReviewSheetthatyouwroteupandgavetoeachofyourcriticalfriends.ExpectinstructorfeedbackviaBlackboardby11:59p.m.onFriday,12/1.

11/29:Coursewrap-up

11/29:NonewassignmentFinaldraftofProject4,CuratorialProposal,dueby11:59p.m.Friday,12/1,viaBlackboard.

Week1512/4-12/6

12/4:Consultationandin-classwriting 12/4:Nonewassignment

12/6:Consultationandin-classwriting 12/6:NonewassignmentFinaldraftofProject5,CulminatingBlogPost(basedonepistolaryexchanges)dueonBlackboardby11:59p.m.Wednesday,12/6.Noworkwillbeacceptedforcredittowardyourgrade(includingungradedwork)after11:59p.m.onWednesday12/6.NOEXCEPTIONS.

Documents

WRITING FOR ARTISTS - George Mason Universityart.gmu.edu/wp...WritingforArtists_Constantine.pdf · Writing can teach us the dignity of speaking the truth, and it spreads out from