S.13-29a
S.13-29b

SFU

MEMORANDUM

OFFICE OF THE VICE-PRESIDENT, ACADEMIC AND PROVOST

University Drive, Burnaby, BC

Canada \'5.\ 1S6

TF.L: 778.782.3925

FAX: 778.782.5876

S.13-29

vpacad@sfu.ca

www.sfu.ca/vpacadcmic

attention

Senate

date

January 16,2013

from

Jon Driver, Vice-President, Academic and

pages

1/1

Provost, and Chair, SCUP

Faculty of Communication, Art and Technology: Full Program Proposal for a Master of Arts

in Comparative Media Arts by Cohort SpecialArrangements (SCUP 13-08)

RE:

At itsJanuary 9, 2013 meeting SCUP reviewed the Full Program Proposal for a Master of Arts in

Comparative Media Arts by Cohort Special Arrangements in the School for the Contemporary Arts within

the Faculty of Communication, Art and Technology, effective Fall 2013. It is attached for the information

of Senate.

c: W. Parkhouse

SIMON ERASER UNIVERSITY

ENGAGING THE WORLD

MEMO

Dean of

Graduate Studies

STREET ADDRESS

Maggie Benston

Student Services Centre

1100

Burnaby BC V>A 1S6

Canada

MAII.1NC ADDRESS

8888 University Drive

Burnaby BC VsA iSr.

Canada

SFU

SCUP 13-08

TO:SCUP

TEL

FROM Wade Parkhouse. Dean, Graduate Studies

(^^^JL^^--

RE Master of Arts in Comparative Media Arts by Cohort Special Arrangements

[GS2012.351

CC Tom Calvert

DATE December 4. 2012

At its meeting of 3 December, 2012, SGSC approved the following Master of Arts in

Comparative Media Arts by Cohort Special Arrangements and is forwarding it to

SCUP for information:

Effective Date is Fall 2013

Faculty of Communication, Art and Technology

School for the Contemporary Arts

|GS2012.35|

1. Proposal for a Master of Arts (MA) in Comparative Media Arts by Cohort Special

Arrangements

New courses:

FPA 821-4 Research Methods in Comparative Media Arts

FPA 822-4 Research Colloquium in Comparative Media Arts

FPA 823-4 New Approaches in Art and Visual Culture

FPA 824-4 New Approaches in Moving-Image Studies

FPA 825-4 New Approaches in Digital Art Studies

FPA 826-4 New Approaches in Performance Studies

FPA 827-4 Practicum in Comparative Media Arts

FPA 829-6 Extended Essay in Comparative Media Arts

SIMON FRASER UNIVERSITY

ENGAGING THE WORLD

Timeline:

September 2012 - Approved by School of Contemporary Arts

October 1, 2012 - Proposal and initial discussion to SGSC

November 5,2012 - New courses were submitted; calendar entries were required

December 3, 2012 - Approved by SGSC

SIMON FRASER UNIVERSITY

OFFICE OF THE VICE-PRESIDENT, ACADEMIC

MEMORANDUM

To:

Senate

From:

D. Gagan, Chair /^W

A?<y«

Senate Committee on Academic Planning

Subject:

Special Arrangements - Cohort Option

(SGSC Meeting June 16,1997)

(SCAP Reference: SCAP 97-36)

Date:

September 16,1997

S.97-68

Action undertaken by the Senate Graduate Studies Committee and the Senate

Committee on Academic Planning gives rise to the following motion:

Motion:

"that Senate approve and recommend approval to the Board of

Governors as set forth in S.97 - 68 , a cohort option for the

Masters Degree under Special Arrangements."

SCAP 97 - 36

SIMON FRASER UNIVERSITY

MEMORANDUM

To: Alison Watt, Director

From: Phyllis Wrenn

Secretariat Services

Acting Dean, Graduate

Studies

Subject:

Cohort;Option - Special

*.*'

Date:

August 14, 1997

Arrangements

******************************************************************************

The Senate Graduate Studies Committee, at their Meeting on June 16, 1997,

approved the following motion and it is now being forwarded to the Senate

Committee on Academic Planning for approval:

MOTION:

"That the Senate Graduate Studies Committee approves and

recommends to the Senate Committee on Academic Planning

the proposal described in the document dated March 25, 1997,

entitled "A Cohort Option for the Masters degree Under Special

Arrangements" with the following amendment:

Page 4, Item V. Approval Process

Add after sentence ending "...-.academic merits."

The

Committee may decide that recommendations for admission

be subject to review by the Senate Graduate Studies Committee

or a sub-committee thereof."

H_L- H- U)

mm/

Phyllis Wrenn

encl.

Acting Dean, Graduate Studies

GS.97.10

SIMON FRASER UNIVERSITY

. OFFICE OF THE DEAN OF GRADUATE STUDIES

Memorandum

TO: Senate Graduate Studies Committee

FROM:

Bruce P. Clayman

Dean of Graduate Studies

SUBJECT: Cohort Option - Special Arrangements

DATE:

March 25, 1997

I enclose a proposal for an expansion of Special Arrangements. As you are aware, at present in

dividual students may submit proposals of individual programs of study for consideration by my

office and, ultimately, this committee.

I have assisted in the development ofthe attached proposal from Dean ofArts Evan Alderson to

expand the definition and applicability of this approach. As you willsee, it provides an avenue for

innovation whileretaining appropriate safeguards on university resources and

academic standards.

I support this proposal and am placing it on the agenda ofthe next meeting ofthe Senate Gradu

ate StudiesCommitteewith the following proposed motion:

"The Senate Graduate Studies Committee approves and recommends to the Senate

Committee on Academic Planning the proposal described in the document dated March

25, 1997, entitled "A Cohort Option for the Masters Degree Under Special Arrange

ments."

Please consult members ofyour Graduate Program Committee and your Department Chair in

preparation for discussion ofthis matter.

c. M. McGinn (for immediatedistribution)

P.M. Wrenn

Faculty Deans

D. Gagan

NO.lR25SGS.DOC 25-M«-97

•

A COHORT OPTION

for the

MASTERS DEGREE UNDER SPECIAL ARRANGEMENTS

This is a proposal that Graduate Admission under Special

Arrangements be amended to provide for a cohort option for the

Masters degree.

I. BACKGROUND

Graduate study under Special Arrangements is defined as work

toward a degree that falls ."outside or between existing- programs* -

"but which has a "well-developed plan of studies in an area which can

be shown to have internal coherence and academic merit and in

which the University has appropriate expertise and interests among

its faculty members." (Graduate Regulation 1.3.4)

Until this time, this mode of study has been open only to individual

students, but it is becoming clear that the flexibility to create a

program focused on a specific interdisciplinary goal need not be

limited to individual students. The opportunity to apply the Special

Arrangements designation to groups of students would be very

useful. It would enable new and innovative programs to be offered

to specific groups of students (as with the individual program), it

would permit the prototyping of programs which might eventually

be regularly established under normal procedures, and it would give

the university the opportunity to respond quickly and responsibly to

new areas of need without creating cumbersome infrastructures that

then must be maintained.

As with the individual Special Arrangements, the cohort option

would exist only for the life of the cohort Special Arrangement and

resources would have to be assured only for the duration of the

particular program. Once the cohort had completed its work, the

program would cease to exist. Any subsequent cohort program in

the same area would require its own separate approval. Because the

approval for Special Arrangements rests with the Senate Graduate

Studies Committee, the review process can be done in a timely way.

Approval will be given only if the committee is confident that the

proposed program has academic merit and that adequate resources

are available. The Dean of Graduate Studies will be responsible for

reviewing the program budget and insuring that all necessary

financial and other resource commitments are in place and are in

iff

conformity with University policies. If the proposed tuition fees

differ from the normal university fee schedule, Board of Governors'

approval will also be required.

n. STEERING COMMITTEE

The Academic Steering Committee will be composed of at least four

SFU faculty members drawn from the departments relevant to the

course of studies, including at least one faculty member from each

constituent discipline. The members of the committee will create

and present the proposal for the program, administer the individual

program, and provide for instruction and supervision. It will be

their responsibility to construct the curriculum for the program as

well as to insure that it is adequately delivered. They are also

responsible for recommending admissions and reviewing students1

progress. The Steering Committee will function as the cohort's

Graduate Program Committee as set out in Graduate General

Regulation 1.2.

HI. PROPOSED CALENDAR ENTRY

1.3.4.a Cohort Special Arrangements (to follow current 1.3.4,

attached)

These highly structured cohort-based programs are designed to meet

the educational needs of specific student groups in fulfilling the

requirements for a Masters degree, where these needs cannot be met

within existing programs. Each program will integrate studies from

across two or more disciplines and will involve a curriculum and

requirements recommended by each program's Academic Steering

Commitfee and approved by the Senate Graduate Studies Committee.

Students may undertake this degree program only through specific

admission to the cohort program. The admission criteria, degree

requirements and any other special conditions for an individual

Cohort Special Arrangements Program must be approved in advance

by the Senate Graduate Studies Committee; these may not be below

the minimum admission and degree requirements of regular

graduate programs. In some instances, tuition fees for these

programs may differ from the regular graduate fee schedule

published in the University Calendar, and will be announced

separately.

•

IV. FORMAT FOR PROPOSALS

Any proposal for a Cohort Special Arrangements Program will

include:

1. A statement of the field of study and its core areas to be

covered by the proposed arrangements and the rationale for the

program. This statement will indicate the academic merit and

coherence of the program; the expertise necessary to mount the

program and evidence that such expertise is present and available

within the SFU faculty and that the program cannot be pursued

within existing SFU graduate Programs.

2. The names and curricula vitae of all members of the Steering

Committee. For each member, a brief statement of research interests

and their relevance to the proposed program must be provided. Each

member should indicate willingness to participate and each relevant

Department Chair should provide explicit assurances that the

required teaching and other resources will be made available, in

accordance with point #5, below.

3. The criteria for admission into the program, including

provision for and scheduling of any qualifying work that may be

required of some students.

4. The minimum academic requirements for the degree, e.g.

courses, examinations, field work and/or thesis. To the maximum

extent possible, the academic requirements should resemble those of

graduate programs in relevant areas and should include where

possible regular SFU graduate courses.

5. A timetable for the completion of the requirements. This

statement should include provision for students who may be unable

to complete the requirements in a timely fashion for unexpected

reasons.

6. A statement as to what University facilities will be needed

with approvals for their use by the appropriate authorities.

7. A budget for the program which specifies any additional

direct costs and details the revenue sources through which these will

be met, including any unusual fee structure. The budget will be

reviewed by the Dean of Graduate Studies before the program is

considered by the Senate Graduate Studies Committee, in order to

assure that all necessary commitments are in place. The adequacy of

library resources must be confirmed by the University Librarian.

V. APPROVAL PROCESS

If the Dean of Graduate Studies is satisfied with the financial

arrangements for the program, the Senate Graduate Studies Committee

will consider the program on its academic merits.

The Committee may

decide that recommendations for admission be subject to review by the

Senate Graduate Studies Committee or a sub-committee thereof.

Approved programs will be forwarded to the Senate Committee on

Academic Planning for information. Programs which involve

international activities will be forwarded to the Senate Committee on

International Activities for relevant approvals.

Any exceptional fee

structure

will be forwarded to the Board of Governors for approval.

Following all required approvals, the program

may be advertised and

implemented.

VH. FINAL REPORT

At the conclusion of the cohort special arrangements program the

Steering Committee will submit a final report to the Senate Graduate

Studies Committee. In addition to detailing the outcome of the

program for individual students, the Committee will assess the

success of the program and advise on its suitability for repetition

with a new group of students. This report will be forwarded to the

Senate Committee on Academic Planning for information.

March 25,1997

•

Full Special Arrangements Calendar entry:

1.3.4. .Admission Under Special Arrangements.

Exceptionally able applicants, who wish towork tor a Masters orDoctoral

degree outside or between existing programs alSimon Fraser University.

may apply to work under Special Arrangements. Astudent applying (or

Special Arrangements must have a wetMaveloped plan olstudies in an

areawhich canbeshown tohave internal coherence andscademic merit.

and inwhich theUniversity hasappropriate expertise and interests among •

its faculty members.'•'

Graduate students applying orworking under Special Arrangements are

required toconform toSenate regulations for graduate students. Howovar..

there areadditional regulations which concern only students applying or

working under Special Arrangements.Enquiries about thesa regulations-

should bedirected to theDeanofGraduate Studies byJanuary 1stol each '

yearforadmission tothe Fall semester.

Students working under Spectal'Airangementsmay berequired tolake a -

selection ofcourses from existing programs. Other courses open toSpecial

.. _ ..

Arrangements students are:- •'•

'•""*""

....... ^^

895.3 specialTopics tobeselected bytheStudent andthe

Supervisory Committee.

SAR

896-6 Special Topics toboselected bytheStudent andthe

Supervisory Commftlee. •

SAR

897-5 Special Topics tobeselected bytheStudent andthe

SupervisoryCommittee. ••

Special Arrangements Masters and Doctoral thesis work are assigned the

following numbers:

:•.••••••

•".••..

>:>.

SAR."-898}Masters Thesis

. •'•

SAR.' 899 PhD Thesis •• •

...

•

.••••••--

1.3.4.a Cohort Special Arrangements

These highly structured cohort-based programs are designed to meet

the educational needs of specific student groups in fulfilling the

requirements for a Masters degree, where these needs cannot be met

within existing programs. Each program will integrate studies from

across two or more disciplines and vvill involve a curriculum and

requirements recommended by each program's Academic Steering

Committee and approved by the Senate Graduate Studies Committee.

Students may undertake this degree program only through specific

admission to the cohort program. The admission criteria, degree

requirements and any other special conditions for an individual

Cohort Special Arrangements Program must be approved in advance

by the Senate Graduate Studies Committee; these may not be below

the minimum admission and degree requirements of regular

graduate programs.

lAU'l.TYOl'CiniMlWlC'VUMN.Aki \M)'I'I-U liXOl.CK'.V

Office of the Dean

MEMORANDUM

I [arbour Centre 7410

515 West Hastings Street,

Vancouver, BC Canada V6B 3K3

ATTENTION

Wade l'arkhousc, Dean of Graduate Studies

FROM

Cher>-1 Geisler, Dean, FCAT

MA by Cohort Special Arrangement (SCA)

TIu.77b.7S2.8790

FAX 778.782.8789

DATE

Ocrobcr 19,2012

PAGES

GS2012.35

wwv .fcar.sru.ca

I support MA by Cohort Special Arrangement proposal from the School for the Contemporary

Arts (SCA).

I believe that the proposed program is a strong an innovative one which will attract students from

Canada and abroad.

I have also worked with the program to analyze its projected revenues and expenses in the steady

state

of 15 students per year. The results of this anal>sis, shown in Appendix 3, show that the

program is financially sound at this level of enrolment.

CheryfG$isler

in, FCAT

OCT 2

h ?&Z

cc: Arne Eigenfeldt, Graduate Chair, School for the Contemporary Arts

Owen Underhill, Director, School for the Contemporary Arts

Tom Calvert, Acting Chair FCAT-GSC

SIM O N F: K ASKK U N IV h RS IT Y

ENGAGING TH£ WORLD

Proposal for an MA by Cohort Special Arrangement

October 18,2012

Prepared by Laura Marks in consultation with MA committee (Arne Eigenfeldt,

graduate program chair; Colin Browne, Henry Daniel, Judy Radul, Jacqueline Levitin,

Christopher Pavsek, Denise Oleksijczuk)

Preamble

The arts are no longer defined by specific media. Rather, a radical mutuality now

characterizes the relationships among the visual arts, visual culture, performing

arts, and art forms that incorporate reproducible and digital media, including

cinema, video, photography, music and sound arts, and computer-based media. We

define "media" broadly to mean both the traditional media of the arts and the long

history of communications media (as in "media studies"), whose art forms interest

us. Useful methods have emerged for comparing among media, across history, and

across cultures. Thus it is timely to think across the media arts in a comparative

perspective that synthesizes the historical and theoretical approaches of art history,

cinema studies, performance studies, and studies

of computer-based arts. Students

will learn the histories and approaches pertaining to individual media arts, in light

of interdisciplinary and intermedial research methods, in order to work across the

media arts. The MA in Comparative Media Arts will be at the forefront of an

emergent intermedial approach to the arts.

This course has precedents in comparative studies. Comparative literature is,

of course, a long-established course of study with its own methods. Comparative

Media Studies is a graduate program at MIT that brings together the methods of

cinema studies, media studies, and new media studies, among others. It influences

our approach, though our focus is on the arts and our methods reflect this. The

Centre de recherche sur l'intermedialite at University de Montreal studies

"intermediality," or precisely the qualities that cross media and art forms; their

approach also inspires us. And the Centre for New Aesthetics at Radboud University

in the Netherlands "explor[es] cutting-edge approaches to art and artistic practices,"

meeting emergent art practices with new scholarly approaches.

The School for the Contemporary Arts at SFU is already a magnet for artists

working in emergent practices across media.We intend to make it a magnet for

scholars of these practices as well. The SCA, with its intimate scale, interdisciplinary

design, and faculty of international reputation, provides an incomparablyrich

environment for scholars of the fine and performing arts. This MA will allow

scholars to immerse themselves in an environment of creative experimentation,

work in parallel with students in the interdisciplinary Master's of Fine Arts

program, and study cutting-edge developments in art practice and theory.

Students who complete the MA in Comparative Media Arts will possess first

hand knowledge of emergent practices in the arts and a solid grounding in

theoretical and methodological approaches and historical studies that will allow

them to shape the future. Students attain skills in research, reasoning,

argumentation, and writing appropriate to graduate-level scholarship in the

humanities. It will serve students as a final degree that prepares students for work

as curators, cultural programmers, arts administrators, arts writers, and other

careers in the arts. It will also prepare students for a range of PhDs that study the

fine and performing arts, including practice-based PhD programs.

1. Credential to be awarded, including the level and category of the degree and the

specific discipline or field of study: MA in Comparative Media Arts

2. Location: School for the Contemporary Arts (Goldcorp and Harbour Centre)

3. Faculty(ies) or school(s) offering the new degree program: FCAT

4. Anticipated program start date: As a cohort special arrangements program: Fall

2013.

The Dean of Graduate Studies encouraged us to introduce this program as a Cohort

Special Arrangements MA. This allows us to start relatively quickly on a trial basis,

and in the first two years of the programwe will be able to assess the demand and

determine changes to be made. We planto submit a

full proposal for an MA degree

in Comparative Media Arts in 2015, following two years of Special Arrangement.

5. A description of the proposed program:

a. Objectives

Build on strengths of the School for the Contemporary Arts:

This new degree builds on the investment in critical theory, art and cultural

theory and history distinctive in the SCA'sapproach to training practicing artists. It

will create a

more balanced proportion of scholars to artists in our school and

maintain our

commitment to understanding the relation of art and knowledge. We

carefully cultivate a balance between 'art school' anduniversity environment.

Scholars add to the level of discourse and engagement with the creative work of our

student artists and the historical and contemporary artist that will be the shared

field of study for our MA and MFA students. At present BFAstudents may be

accepted to study at the MFA level, and want to create a parallel extension of our BA

degrees at the MA level.

Scholars moving through the art school encounter a myriad of cultural

products to stimulate their research directions. Artworks beg to be interpreted, and

artists need historians and theorists to complement their practice with writing that

puts work into historical discourse and frame.

Anticipated contribution to the mandate and strategic plan of the institution:

i. Distinctiveness:

According to the VP Academic's 3-year plan, 2010-2013, "being distinctive is an

important component of sustainability." This proposed program will be distinctive

within the university, within the province, nationally, and internationally.

At SFU

The School for the Contemporary Arts is the only department at SFU solely devoted

to the study of the fine and performing arts. SCA's scholars are respected nationally

and internationally for their innovative work in the media arts.

SFU currently offers a very limited range of humanities-based study of the

fine and media arts at the graduate level. Over the past several years a number of

graduate students within the university, from

SIAT, Communications, and other

departments, have sought out graduate courses and supervision in Contemporary

Arts. This fact establishes that there is internal demand.

Distinction from SCA's MFA: The proposed MA is a scholarly degree, not a

practice-based degree. Thus it is distinct from the MFA we offer in the School for the

Contemporary Arts, though we expect that the presence of the MFAwill attract

students to the MA degree. However, we expect lively interactions between MA and

MFAstudents.

We will encourage MA students to study and write about the work of

their MFA colleagues. MFA students may take any of the "New approaches" courses

as electives. MAs

may take MFA seminars.

MFA students take 4 courses (2 seminars, 1 studio, 1 elective) plus 10-credit

project, for a total of 35 credits. MA students will take 7 courses, including the 6-

credit extended essay.

Distinction from other graduate programs at SFU: Unlike graduate degrees

offered in

other departments at SFU, the proposed MA focuses on the study of the

fine and performing arts. Its methods are informed by art history, cinema history,

performance studies, aesthetics, studies ofthe media arts, and studies of the fine

and performing arts in general. It is relatively little informed by theories of mass

communications and theories of interactive media technologies in themselves,

though the art forms we study may be based in mass communications and

interactive media.

SIAT's degree that appears most comparable to the proposed MA, the MA in

Interactive Arts and Technology, "focuses on humanistic and artistic traditions of

inquiry. Coursework in this degree typically includes core courses in new media,

computational art and design, and human cognition" (program web site). Our

respected colleagues in SIAT work predominantly on the technological and cognitive

side

of interactive media; they do not primarily focus on the broad range of fine arts

that the proposed degree would make fundamental. A number of SIAT graduate

students have taken courses in

SCA precisely to fill a gap in their arts and

humanities knowledge. Thus we see no concern about overlap

between the MAin

Interactive Arts and Technology and the proposed MA in Comparative Media Arts.

The School of Communications focuses on "critical, interdisciplinary

approaches to the study of media and technology with a commitment to social

theory and political economy" (program web site). Some Communication graduate

students study cinema, but the program does not focus on the study of cinema and

media as art forms. Thus we see no concern about overlap between the MA in

Communication and the proposed MA in Comparative Media Arts.

Both the M.Ed, in Art Education, and Education's MA degrees study art

pedagogy. The proposed MA studiesthe historyand practice of the arts.

In British Columbia

The program'sfocus on comparative mediaarts will be distinctive in the province.

UBC offers an MA in Film Studies and an MA in Art History, but no comprehensive

program in the media arts. UBC Okanagan's graduate program in Critical Studies

does not focus on the study of the arts. The University of Victoria offers graduate

programsin Art Historythat focus on the traditional visual arts.

Nationally and internationally

Current demand from prospective students across Canada and internationally

demonstrates that the unique focus of the

MA in Comparative Media Arts and the

reputations of our faculty will distinguish the program at these levels.

ii. Economy and Flexibility

The VP Academic's 3-year plan also emphasizes that "the only opportunity

for change will be through re-allocation of resources." This program will make

better use of current faculty members'abilities by allowing them to teach and

supervise students at the graduate level. Also, in light of the same report's Goal 1.1,

"Create multiple admission routes," this program will admit students

with BAs and

BFAs seeking an MA, as well as MFAs seeking coursework toward a Ph.D.

b. Target audience:

The program's target audience comprises students desiring graduate study

of the media arts in order to prepare for careers in arts administration, curating,

media-art programming, art making, university-level teaching, and related careers.

The program will admit students with backgrounds in studies of the arts.

Appropriate backgrounds will include BAs in art history, cinema studies,

performance studies, and, in some cases, cultural studies, communications, and

literary studies. Students with BFA degrees that include substantial scholarly

studies will also qualify. Graduates from SCA's own BA and BFAdegrees are ideal

internal candidates. An artist-scholar who has a BFA and an ongoing artistic practice

and graduates from this MA will be eligible for practice-based Ph.D. programs.

Our target audience also includes Ph.D. students needing coursework

preparation. These include:

-students pursuing the Ph.D. by Special Arrangements with faculty in SCA;

-graduate students enrolled in SIAT, Communication, Humanities, English,

and other departments at SFU who require or desire humanities-based courses in

history and theory of the media arts;

Our target audience also includes MFA students seeking elective courses in

comparative media arts.

c. Plans for enrollment:

We hope to admit 6 to 8 students in first year, and increase to a capacity of

15 students per year. A maximum cohort of 15 students per year is an appropriate

size for our program and school. There will be a one-semester overlap between

first- and fourth-semester students, so we will need to make sure that enough

courses are offered.

Admissions to the MA can align with the admission process in place for the

MFA. To keep the application process simple, we will base the application on the

MFA program application, with candidates submitting writing samples instead of

artwork. Publicity for the program will encourage prospective students to apply for

SSHRC funding.

The MA in Comparative Media Arts will be a per-credit fee program.

d. Content:

Program of Study

This is normally a four-semester program. Students complete 30 units, including:

• FPA821-4

Research Methods in Comparative Media Arts

• FPA 822-4 Research Colloquium in Comparative Media Arts

and at least three of:

• FPA823-4 New approaches in visual art and culture

• FPA824-4 New approaches in moving-image studies

• FPA825-4 New approaches in digital art studies

• FPA 826-4 New approaches in performance studies

• FPA827-4 Practicum in comparative media arts

Students must take one additional graduate course within the School for the

Contemporary Arts, or from another department with the permission of the MA

Program coordinator and the faculty member teaching the course.

and

• FPA828-6 Extended Essay

FPA 821-4 Research Methods, taken in the first semester, prepares students for

research across the media arts, while each elective deepens the student's knowledge of

the history and theory of individual media arts. In FPA 828-6, the Extended Essay,

students research in depth a topic in comparative media arts and develop and polish an

original argument, with the goal of producing an essay suitable for publication.

FPA 822-4, Research Colloquium, taken in the fourth semester, supervises the

completion of the extended essay and prepares students in research presentation and

other aspects of professional development. The program concludes with a public

symposium in which students present the extended essay.

♦Should

a graduate course be concurrently offered with an upper division FPA UG

course, students registered in the graduate course will have one additional contact hour

per week, complete more extensive assignments and different examinations.

e. Delivery methods:

Seminars, directed studies, directed reading courses

f. Linkages between the learning outcomes and the curriculum design:

Coursework is designed to facilitate study of the media arts. Seminars,

courses, and directed studies give students a strong grounding in new developments

in visual culture, historical studies, cinema studies, digital art studies, art and

theory, performance studies, and documentary studies. Curriculum is closely linked

to faculty research interests.

The research methods course introduces methods appropriate to the

comparative study of the media arts, drawn from art history, cinema studies, studies

of the media arts, performance studies, and related disciplines.

The research colloquium prepares students in research presentation and

professional development, including grant applications, teaching skills, and revising

for publication. In this colloquium students develop the extended research essay.

The extended essay builds on knowledge students have gained in

coursework. It requires

them to research in depth a topic in comparative media arts

and develop and polish an original argument, with the goal of producing an essay

suitable for publication. Alternatively, students can combine two essays written

during their coursework in this MA, one of which must have been instructed by a

faculty member in the School for the Contemporary Arts; however, the student is

still expected to build

upon and develop the topics covered in the coursework.

Students

may enroll in the extended essay continuously beginning in the

third (summer) semester if they wish, or they may enroll in it in the fourth (fall)

semester only. The essay is evaluated by the faculty member leading the Research

Colloquium in the fourth semester and by one other faculty member appointed by

the program supervisor, ideally (one of) the instructor(s) who taught the course(s)

on which the essay is based.

Some colleagues ask whether an extended essay, rather than a thesis, will be

sufficient preparation for those students who intend to go on to do a Ph.D. We note

that the proposed program resembles MAs in other departments at SFU, including

English and Communications,

that give students the option to write an extended

essay and take more courses, rather than write a thesis. Also, students will be

writing substantial papers in five other courses (FPA 821-4, Research Methods, and

the four electives), and they will develop skills of research, writing, and developing

an extended argument in FPA 821-4, Research Methods, and FPA 822-4, Research

Colloquium.

The research colloquium culminates in the research symposium, in which

students make a public presentation of their extended essay. This cohort capstone

will encourage timely graduation, and emphasis on the public presentation of work

through the research symposium gives students skills essential for professional

participation in conferences and publishing. If the student does not finish the

extended essay in the fall term, they will be able to present their work in progress

during the symposium, and register in FPA829 in the following term, until the

extended essay is complete.

A work placement is not required, but students may enroll in the Practicum,

in which they can intern with an arts organization, curate an exhibition or program,

or do similar work.

g. Distinctive characteristics:

See also "Distinctiveness,"above

The degree's home in the School for the Contemporary Arts in downtown

Vancouver gives students a very lively environment in which to study the media

arts. Faculty and students in the BFAand MFA programs work at the cutting edge of

the field of visual art, cinema, digital art, and performance. MAs will be attracted by

the existence of our Audain Artists in Residence Program that brings artists of

national and international reputation to the SCAto show work and engage with

students. The scholarship of faculty in the program is recognized nationally and

internationally. Our expertise includes history and theory

of cinema, media art, pre-

cinematic arts, computer-based and interactive media, print culture, and

documentary, with an emphasis on comparative historical and theoretical

perspectives.

MA students will be immersed in an environment of creative

experimentation. Our colleagues and students in SIAT and other departments also

enrich the environment for studying media and interactive arts. The city of

Vancouver is rich with other potential objects of study, including art exhibitions,

film and video festivals and series, performance events and festivals, and archives

(e.g. at the Vancouver Art Gallery and the Belkin Gallery).

MA students have the option work with an arts organization, curate an

exhibition or program, or similarly put their capacities into practice in the

Practicum: this is an ideal opportunity to work with their colleagues in the fine and

performing arts at

SFU and in the community.

h. Anticipated completion time:

Four semesters.

Some colleagues ask whether four semesters is too short a time for an MA.

There is a trend nationally for one-year or four-semester MA programs, and SSHRC

and NSERC fund only one year of master's-level study, indicating that this trend has

become official. In SCA's external review last spring, when we presented this

program as a two-year MA, the external reviewers urged us to shorten it in order to

compete with other MA programs.

i. Proposed study plan for the length of the program:

Students must complete a minimum of 30 credits of graduate coursework.

Fall semester 1

Research methods

One elective

Spring semester 1

Two electives

Summer semester 1 option to enroll in extended essay

option of practicum, directed study, or other elective

Fall semester 2

Research colloquium

Extended essay

One elective, ifnot taken in the summer

Final research symposium

j. Policies on student evaluation:

Courses and seminars: grading.

Research colloquium: pass/fail.

The final research paper will be evaluated

by the colloquium

leader and one other faculty member.

k. Policieson faculty appointments (minimum qualifications):

Must be tenure-track faculty

1. Policies on program assessment:

The program will be assessed after five years, in accordance

with SFU policies.

m. Evidence of student interest and labour market demand:

Numerous students have contacted us about the possibility of scholarly

graduate study in the School for the Contemporary Arts, especially in visual culture

and cinema studies. From 2009 to 2012 we received at least 30 inquiries about a

potential graduate program based in SCA. In particular, students from other

institutions and within SFU often approach us wishing to pursue graduate work in

cinema studies and studies of the media arts. We have not been able to

accommodate them except through Special Arrangements.

For example, since 2007 Laura Marks has supervised three students by

Special Arrangement, two students in SIAT, and one student in History, and she has

supervised three students at other institutions. About 20 students have contacted

her with interest in doing an MA or Ph.D. Since 2008 Henry Daniel has been

requested to supervise four MAs in Performance Studies. We have not been able to

accommodate

these requests in the absence of an appropriate graduate program.

Demand comes from students with BAs and BFAs in Vancouver and British

Columbia. Local professionals working in cinema, media, and the arts also constitute

part of the demand. Demand also comes from students across Canada and

internationally.

Labour market demand: Graduates of the MA will have knowledge and skills

that can be used in positions such as curators, cinema programmers, arts

administrators, arts writers, and other careers in

the arts. They will also be

prepared for a rangeof PhDs that study the fine and performing arts, including

practice-based PhD programs.

n. Related programs in your own or other British Columbia post-secondary

institutions:

As mentioned above, the program's focus on comparative media arts will be

distinct in the province.

UBC offers an MA in Film Studies and an MA in Art History,

but no comprehensive program in the media arts.

UBC Okanagan's graduate

program in Critical Studies differs markedly from the proposed program. The

University ofVictoria offers graduate programs in Art History that focus on the

traditional visual arts.

6. Name, title, phone number and e-mail address of the institutional contact person

in case more information is required [This will be supplied by the Associate Vice-

President, Academic]

If the institution has exempt status for the degree level proposed, attach the

documentation used in the institution's program approval process, or provide a link

to a

website where this information is available. [This will be supplied by the

Associate Vice-President, Academic]

Notice of Intent. MA in Comparative Media Arts

Additional information required by SFU

In order for university committees to make informed decisions, the NOI must be

supplemented by a separate memo (that will not be transmitted to DQAB). This

memo must provide information on the following fields:

1. Contact information for the faculty member responsible for program

development:

SCA Graduate Program Chair: Arne Eigenfeldt, arne_e@sfu.ca

and Prof Laura Marks, lmarks@sfu.ca

2. Summary of requirements for graduation (courses, project/thesis etc.):

FALL program semester 1

SPRING program semester 2

FPA 821-4 Research Methods

Two electives*

Elective*

SUMMER program semester

FPA

829-6 Extended essay (optional)

FPA

827-4 Practicum (optional)

Elective (optional)

FALL program semester 4

FPA829-6 Extended essay

*See list of electives below

FPA 822-4 Research Colloquium

(culminating in the Research

Symposium,

and passing of extended

essay)

Elective, if student did not take a

summer elective"

a. The MA in Comparative Media Studies requires seven courses for a total of 30-35

credits, including

Required:

FPA 821-4 Research methods in comparative media arts

FPA 822-4 Research colloquium in comparative media arts

FPA 829-6 Extended essay in comparative media arts

And at least three of:

FPA 823-4 New approaches in visual art and culture

FPA 824-4 New approaches in moving-image studies

FPA 825-4 New approaches in digital art studies

FPA 826-4 New approaches in performance studies

FPA 827-4 Practicum in comparative media arts

And one of:

FPA 823-827 may be substituted by a graduate course within the School for

the Contemporary Arts or from another department, with the permission of

the

MA Program Coordinator, and the faculty member teaching the course.

Recommended Alternate Courses:

FPA 811-5 Interdisciplinary Graduate Seminar I

FPA812-5 Interdisciplinary Graduate Seminar

FPA 877-5 Selected Topics in Fine and Performing Arts

FPA 889-5 Directed Study in Fine and Performing Arts

CMNS 855-5 Selected Topics in Communication Studies

CMNS 857-5 Selected Topics in Communication Studies

ENGL 811-4 Studies in Theory II: Performance and/in the City b

ENGL 820-4 Studies in Print Culture Theory

ENGL 821-4 Studies in Manuscript, Print and Media Culture

GSWS 823-5 Graduate Seminar in Feminist Art/Literary Criticism

HUM 802-5 Themes in the Humanities

HUM 805-5 Special Topics

IAT 810-3 New Media

IAT 811-3 Computational Poetics

IAT

832-3 Exploring Interactivity

SA 875-5 Ethnographic Methodology: Social/Cultural Anthropology

We have permission from graduate chairs in the relevant departments regarding

listing the courses above

b. Space and equipment:

The program will use seminar rooms at SFU Woodward's and at Harbour

Center. Only already existing audiovisual teaching aids such as data/video

projectors (built into

many rooms at Woodward's) will be needed.

c.The capstone requirement is the final research symposium, in which students

make a public presentation of their final research paper.

3. Summary of resources (faculty members, space and equipment) required to

implement the program:

a. Faculty members will teach courses, supervise and evaluate the extended

research essay, and administer the program. Incentive to supervise is ensured by

SCA'sGraduate Supervision Policy, according to which supervisors gain credits

toward application for course release.

The SCA commits to providing tenure-track teaching resources to support

the

new MA. In the first instance, this will be provided for through increased

flexibility at the undergraduate level, which will allow for course loading of the

current appropriatetenure track

faculty to teach the MA courses. In the second

instance, the School is developing a long-range Academic Renewal plan, which will

provide additional support for this program throughthe positioningof future hires

who can teach both in SCAand at the graduate level.

To teach the four additional courses per year that the MA requires (the other

two being taught jointly with undergraduate courses do not require extra teaching

resources), curricular reductions at the undergraduate level (see Point 4 below)

have also been designed to free up teaching resources. Art and Culture alone is

cutting effectively 3.5 courses per year.

b. We will offer a minimum of six courses per year from the following list.

Some of these can, initially or in the long term, be offered jointly with fourth-year

undergraduate courses. Others, including Research Methods and the Research

Colloquium, should stand alone.

New courses:

FPA 821-4 Research Methods in Comparative Media Arts

Explores methods specific to the disciplinary histories of the artworks and

artistic media under study, and explores interdisciplinary and intermedial research

methods.

FPA 822-4 Research Colloquium

the colloquium students polish their extended essay, FPA 829-6, and

prepare to present it at the culminating research symposium. However, the

colloquium and the extended essay have different learning outcomes. The

colloquium prepares students in research presentation and professional

development, including revision and submission for publication, peer review, oral

presentation skills, teaching skills, and writing proposals.

The following four courses survey developments in particular fields of the media

arts. Their content will change up to 25% with each iteration, to reflect

developments in the field and student interest. When MA and BA courses are taught

jointly, MA students will have more substantial reading and writing requirements,

and they will have an additional hour of seminar.

FPA

823-4 New approaches in visual art and culture

This course may occasionally be taught jointly with FPA 412, Advanced Topic

in Art and Culture Studies, when that course is a survey of visual culture.

FPA824-4 New approaches in moving-image studies

This course may occasionally be taught jointly with FPA436, Advanced

Seminar in Filmand Video Studies, when that course is a survey of new approaches.

FPA 825-4 New approaches in digital art studies

FPA 826-4 New approaches in performance studies

FPA827-4 Practicum in Comparative Media Arts

This course allows students to get credit for doing an internship with an arts

organization, curatingan exhibition or program, or similarwork. It can be taken in

the place of an elective.

FPA 829-6 Extended Essay in Comparative Media Arts

The extended essay builds on knowledge students have gained in

coursework. It requires

them to research in depth a topic in comparative media arts

and develop and polish an original argument, with the goal of producing an essay

suitable for publication. Alternatively, students can combine two essays written

during their coursework in this MA, one of which must have been instructed by a

faculty member in the School for the Contemporary Arts; however, the student is

still expected to build upon and develop the topics covered in the coursework.

Students may enroll in the extended essay continuously beginning in the

third (summer) semester if they wish, or they may enroll in it in the fourth (fall)

semester only. The essay is evaluated by the faculty member leading the Research

Colloquium in the fourth semester and by one other faculty member appointed by

the program supervisor, ideally (one of) the instructor(s) who taught the course(s)

on which the essay is based.

4. Brief description of any program and associated resources that will be reduced or

eliminated when the new program is introduced

In 2011-2012 the School for the Contemporary Arts extensively revised its

curriculum, eliminating courses and streamlining teaching requirements, in

order to

free up teaching for new core undergraduate courses and graduate courses. A

comprehensive undergraduate curriculum proposal will go forward in

Fall 2012.

Undergraduate courses that will be eliminated include:

FPA111 Issues in the Fine and Performing Arts

FPA 224-3 Dance Composition I

FPA

150-3 Introduction to Acting I

FPA 147-3 Introduction to Electroacoustic Music

FPA 240-3 Contemporary Music Performance I

FPA 290-3 Video Production I

FPA 262-3 Methods and Concepts: Drawing-based Practices

FPA 272-3 Production Practicum I

FPA 273-3 Production Practicum II

FPA 310-4 Interdisciplinary Research Methods in Art and Culture Studies

FPA 311-4 Interdisciplinary Studies in the Arts

FPA 372-3 Production Practicum III

FPA 373-3 Production Practicum IV

FPA 387-3 Digital Art

FPA411-4 Advanced Interdisciplinary Studies in the Arts

FPA 416-3 Practices in Art and Culture Studies

FPA 472-3 Production Practicum V

FPA 473-6 Production Practicum VI

This will free up SCA faculty to teach a minimum of four new MA stand-alone

graduate courses per year initially.

In regard to overall graduate numbers at SFU, the School for Interactive Art and

Technology, also in our Faculty of Communication, Art and Technology, is

committed to reducing its graduate student numbers. This decrease in SIAT will

offset the increase of graduate student numbers in SCA.

5. List of faculty members who will be teaching/supervising, what percentage of

their graduate teaching will be devoted to the program, and their areas of research

specialization:

Dr. Henry Daniel

50% of graduate teaching; 12.5% of teaching

Dr. Daniel also teaches in the MFA program; he will teach in the MA once every two

years, most likely FPA826-4, New approaches in performance studies.

Research specialization: Research-creation; performance studies

Dr. Arne Eigenfeldt

100% of graduate teaching; 12.5% of teaching

Dr. Eigenfeldt will teach in the MA once every two years: most likely FPA825-4,

New approaches in digital art studies.

Research specialization: New media and performance

Dr. Jacqueline Levitin

50% of graduate teaching; 12.5% of teaching

Dr. Levitin also teaches in the MA in Gender, Sexuality, and Women's Studies. She

will teach in the MA once every two years, most likely FPA 824-4, New approaches

in moving-image studies.

Research specialization: Film history, genre studies,

women filmmakers, Chinese

cinemas, art of film directing, post-colonial cinemas

Dr. Laura Marks

66% of graduate teaching; 87% of teaching

Dr. Marks teaches a total three courses per year due to a course release. She also

teaches the MFA seminar every other year and teaches FPA 335, Film Theory, every

other year. She will teach 2-3 courses per year in the MA: FPA821-4, Research

methods, and FPA 822-4, Research colloquium (in alternating years), and 1-2 other

graduate courses, offered jointly with undergrad courses.

Research specialization: Cinema and media studies; new media art; experimental

media; visual culture; art and philosophy

Dr. Denise Oleksijczuk

100% of graduate teaching; 50% of teaching

Dr. Oleksijczuk will teach FPA 821-4, Research methods, and FPA 822-4, Research

colloquium (in alternating years) and one other graduate course, offered jointly

with an undergrad course.

Research specialization: Visual culture; photography; pre-cinematic media arts;

curating

Dr. Christopher Pavsek

100% of graduate teaching; 25% of teaching

Dr. Pavsek will teach one course per year in the MA, most likely FPA 824-4, New

approaches in moving-image studies.

Research specialization: Non-fiction cinema and art; cinema studies; critical theory

Judy Radul

33% of graduate teaching (1 course biannually); 12.5% of teaching

Professor Radul also teaches in the MFA program. She will teach in the MA once

every two years.

Research specialization: Document and documentary; art and theory

6. For a program where the intention is to charge a premium fee, a budget

developed in collaboration with the dean of the faculty

7. A statement as to whether or not students will be eligible to apply for awards

funded from the university's operating budget (e.g. entrance scholarships, graduate

fellowships); if students are to be eligible, there must be confirmation that funding

will be available to cover the increased demand for the awards

Students will be eligible to apply for awards once the program is fully approved.

During the Cohort Special Arrangements stage, students will be ineligible for

university awards. However, during this initial stage, students will be eligible for

TAships within the school (including some for which they will be more suitably

qualified than our MFA

students) as well as RAships from our faculty.

8. For programs planned for delivery at SFU Surrey or SFUVancouver, confirmation

that a copy of the NOI was sent to the director of the campus who will ensure a

review is conducted by the appropriate campus coordinating committee.

MA in Comparative Media Arts

Library Course Assessment for MA in Comparative Media Arts

August, 27, 2012

This is the Library'sassessment for a Master of Arts Degree in Comparative Media Arts,

which is proposed to begin in the Fall of 2013 at the Vancouver campus. Proposals for

eight courses listed below have been reviewed. Each class has an estimated enrollment

of 15 students.

FPA821 - Research Methods in Comparative Media Arts (Fall 2013)

FPA 822 - Research Colloquium in Comparative Media Arts (Fall 2014)

FPA 823 - New Approaches in Visual Art and Culture (Fall2013)

FPA 824 - New Approaches in Moving-Image Studies (Spring 2014)

FPA 825 - New Approaches in Digital Art Studies (Spring 2014)

FPA 826 - New Approaches in Performance Studies (Fall 2013)

FPA 827 - Practicum in Comparative Media Arts (Spring 2014)

FPA829 - Extended Essay in Comparative Media Arts (Summer 2014)

Based on the reading lists and outlines of the eight proposed new courses, it has been

etermined that at the present no additional Libraryresources are necessary to support

the MAin Comparative Media Arts program. Since there is a preference among faculty

that the books needed for this program be housed at the downtown campus, additional

copies of a

rather small number of titles that are exclusively held at Bennett or Surrey

may need to be purchased for Belzberg.The amount of approximately $400 will be

covered from the existing library funds for Contemporary Arts, so there will be

no one

time cost

for the Department.

However, there

will be ongoing costs

associated with purchasing media, which are

presently not listed in the reading lists of the proposed new courses. The School of

Contemporary Arts has agreed to cover the costs of purchasing artists' media works

with public performance rights in the amount of $l,500/year, once the program is

approved.

Owned by: Ivana Niseteo

Revised by: ivana Niseteo

Last Modified: 2012-08-29

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number (eg. 810) 821

Course Title (max 80 characters)

Research Methods in Comparative Media Arts

Short Title (appears on transcripts, max 25 characters)

Methods Comp Media Arts

Course Description for SFU Calendar

0 see attached document

0 Learning outcomes identified

Available Course Components:

CDLecture

0Seminar

(ZlLaboratory

• Practicum

[ZlOnline • .

Units (eg. 4)4

Grading Basis 0 Letter grades Q Satisfactory/Unsatisfactory • In Progress/Complete

This is a capstone course (ZlYes 0No

Prerequisites (if any) Osee attached document (ifmore space is required)

Enrollment in MA in Comparative Media Arts or permission of instructor

DThis proposed course is combined with an undergrad course: Course number and units:

Additional course requirements for graduate students

DSee attached document (if this space is insufficient)

Campus at which course will be offered (check all that

apply) • Burnaby 0 Vancouver D Surrey DGNW •.

Estimated enrolment

Date of initial offering

September 2013

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes 0 No

Practicum work done in this class will involve children or vulnerable adults

(If the "Yes" box is checked, all students will require criminal record checks)

Justification

DSee attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

warn

RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty memberls) who will normally teach this course

0 information about their competency to teach the course is appended

Dr. Laura Marks, Dr. Denise Oleksiczjuk

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course • see attached document

Additional specialized equipment required in order to offer this course • see attached document

Additional Library resources required (append details)

• Annually$.

• One-time $.

Revised April 2012

Wmm

PROPOSED COURSE

from first

page

Program (eg. MAPH)

FPA

Number (eg. 810) 821

Units (eg. 4] 4

Course title [max 80 characters)

Research Methods in Comparative Media Arts

APPROVAL SIGNATURES

When a department proposes a new course it must first be sent to the chairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via a separate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signature(s) below indicate that the Dean(s) or designate of other Faculties affected by the proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

(non-departmentalized faculties need not sign)

Department Graduate Program Committee

Arne Eigenfeldt

Department Chair

Owen Underhil

Signature

£^J

//(l^4x^U^O{

Date,

Date

Ck//2//#

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and anyother necessary resources.

Faculty Graduate Program Committee

™4{j0

J/ktQj^&A

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature^ (' "N i

Date

Wm»

CONTACT

Upon approval ofthe course, the Office of the Dean ofGraduate Studieswill consult with the department or school regarding

other course attributes that may be required to enable the proper entry ofthe new course in the student record system.

Department/School/ Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

ame_e@sfu.ca

FPA 821-4 Research Methods in Comparative Media Arts

Description:

This core course is taken in the first semester of the MA program. It develops

thinking across the

media arts in a comparative perspective that synthesizes the historical

and theoretical approaches of art history, cinema studies, performance studies, and

computer-based media studies. The term

media

indicates both the traditional media of the

arts and communications media, the art forms of which interest us. The course devotes

some time to the issue ofaesthetics, which comprises a set of ways to identify and

evaluate the effects of art forms in a variety of media. It establishes bases for

understanding the relationships among the visual arts, visual culture, performing arts, and

art forms that incorporate reproducible and digital media; these include cinema, video,

photography, and computer-based media. In addition to this the course investigates some

of the useful emergent methods for making comparisons among media, across history,

and across cultures. While other courses in the MA in Comparative Media Arts focus on

the distinctive nature

of specific media arts, this course considers what properties cross

different forms of media arts.

The course will develop basic graduate-level research skills. Students are

expected to know how to identify a topic, develop a research question, research

appropriate sources, craft an argument, and write within a determined academic genre;

we will develop these skills further. Next, general interdisciplinary research methods will

occupy about two weeks of the course. The interdisciplinary researcher must be at least

somewhat acquainted with the different disciplines that inform the specific topic under

study. However, interdisciplinary scholarship can'tcover the history of all media art

forms: the other courses in the MA programhelp to do this. This course prepares students

to develop research questions for particular objects

of study in the media arts by teaching

them how to develop rigorous investigative approaches

among

disciplines. The object of

study, i.e. the media artwork or practice in question, will guide the research questions. To

help identifyour objects of study and research methods, we will study philosophies of

emergence, newness, and durability.

Mark Zuss writes, "Theoretical curiosity always emerges from the phenomenal,

perceptual world to which it gives expression." In particular, research in the arts needs to

cultivate perceptual acuity. Thus one of the goals of the seminaris to hone our perceptual

skillsthrough phenomenology and other object-based and embodied forms of inquiry.

Course outcomes:

Students will gain an advanced understanding of moving-image studies, its

history, discourses, and practices. The course willenable students to identify

methodological approaches and to understand their historical trajectories, in orderto

contextualize their own research practice. Students should be able to selectan objectof

study and determinewhat approaches will best illuminate its qualities and effects. They

should be able to select approaches that will allow them to compare qualities and effects

across two or more art forms or media arts.

Prerequisite: Enrolment in MA in Comparative Media Arts or permission of the

instructor.

Grading:

Short essay testing methods on an object of study

10%

Annotated bibliography

20%

Essay proposal

Presentation on reading

10%

Presentation

on proposed essay

10%

Final essay

25%

Participation

20%

Syllabus

An enlarged understanding of'medium'and 'media'

Siegfried Zielinski, "Introduction: The Idea of a Deep Time of the Media" and

"Fortuitous Finds instead of Searching in Vain: Methodological Borrowings and

Affinities for an Anarcheology

of Seeing and Hearing by Technical Means,"

Deep Time

oftheMedia: Towardan Archaeology ofHearingandSeeing by TechnicalMeans

(Cambridge and London: MIT Press, 2006), 1-11,13-38.

Identifying emergence

Henri Bergson,

Creative Evolution,

trans. Arthur Mitchell (London: Electric Book Co.,

2001 [1911[), 1-16.

Gilbert Simondon,

"The Genesis ofthe Individual," trans. Mark Cohen and Sanford

Kwinter, in Jonathan Crary and Sanford Kwinter, eds., Incorporations (New York: Zone

Books, 1992), 296-319.

Daniel W. Smith, editor's introduction, and Gilles Deleuze, "Painting and Sensation" and

"The Painting Before Painting,"

FrancisBacon: The Logic ofSensation,

trans. Daniel W.

Smith (Minneapolis: University of Minnesota Press, 2002), vii-xxxiii, 31-38, 71-80.

Cultivating novel, durable connections

Alfred North Whitehead, "Process,"

Process andReality: An Essay in Cosmology,

ed.

David Ray Griffin and Donald W. Sherburne (New York: The Free Press, 1978), 209-

215.

BrianMassumi, "The thinking-feeling of what happens: putting the radical back in

empiricism,"

Semblance and Event: activist philosophy and the occurrent arts

(Cambridge, MA: MIT Press, 2011)

Bruno Latour, "Why Has Critique Run out

of Steam? From Matters of Fact to Matters of

Concern,"

Critical Inquiry

30:2 (Winter 2004): 225-248.

-2/

Interdisciplinary method: Embodied knowledge

Mark Zuss, "Curiosity and the Question,"

The practice oftheoretical curiosity

(Dordrecht

and New York: Springer, 2012).

Maurice Merleau-Ponty, "The Intertwining—The Chiasm,"

The Visible and the

Invisible,

ed. Claude Lefort, trans. Alphonso Lingis (Evanston: Northwestern,

1968), 130-155.

Interdisciplinary method: Triangulation

Charles Sanders Peirce, "Ground, Object, and Interpretant" and "Signs and Their

Objects,"

The Collected Papers ofCharles Sanders Peirce,

volume 2:

Elements ofLogic.

Book 2:

Speculative Grammar. Electronic resource.

Aesthetics

Jacques Ranciere,

Aesthetics and its discontents,

trans. Steven Corcoran (Cambridge and

Maiden,

MA : Polity Press, 2009), excerpt

Peg Rawes,

Space, geometry and aesthetics: through Kant and towards Deleuze

(Basingstoke and

New York : Palgrave Macmillan, 2008), excerpt

Damian Sutton, Susan Brind, and Ray McKenzie, eds.,

The state

ofthe real: aesthetics in

the digital age

(London and

New York: LB. Tauris, 2007)

LauraU. Marks, "Noise in Enfolding-Unfolding Aesthetics,"

The Oxford Handbookof

Sound and Image in Digital Media,

ed. Amy Herzog and Carol Vernallis (Oxford, 2012)

Aesthetics in cultural comparison

Grazia Marchian6,

"An Intercultural Approach to a World Aesthetics," in A. Van den

Braembussche et al., eds.,

Intercultural Aesthetics:A Worldview Perspective

(Springer,

2009)

Susan Buck-Morss, "Radical Cosmopolitanism,"

ThirdText,

23: 5 (2009), 547-549.

Sudeep Dasgupta, "Running A(g)round: Migratory Aesthetics and the Politics of

Translation," in Sam Durrant and Catherine M. Lord, eds.,

Essays in migratory

aesthetics: culturalpractices between migration and art-making

(Amsterdam and New

York: Rodopi, 2007), 191-204

Background: Richard Scheduler, "Rasaesthetics,"

Performance Theory

(London and

New York: Routledge, 2003 [1977]), 333-360.

Intermedialitv

32J

Jill Bennett, "Aesthetics of Intermediality,"

Art History

30:3 (June 2007)

Julie Wilson-Bokowiec and Mark Bokowiec, "Sense & Sensation: the Act of Mediation

and its Effects,"

Intermediality: History and Theory ofthe Arts, Literature and

Technologies,

12 (2008): 129-142.

Agnes Petho, "Intermediality in Film: A Historiography of Methodologies,"

Cinema and

Intermediality: The Passion for the In-Between

(Cambridge: Cambridge Scholars

Publishing, 2011): 432-450.

Medium specificity and the "post-medium condition"

Rosalind Krauss,

'A Voyage on the North Sea': Art in the Age ofthe Post-medium

Condition

(London: Thames and Hudson, 2000)

see also Rosalind Krauss, "Reinventing the medium,"

Critical Inquiry

25:2 (Winter 1999)

and "'The Rock': William Kentridge's Drawings for Projection,"

October,

92 (Spring

2000): 3-35

Ji-hoon Kim, "The post-medium condition and the explosion of cinema,"

Screen

50:1

(Autumn 2009): 114-123

Arild Fetveit, "Convergence by means of globalized remediation,"

Northern Lights

(2007)

Matthew Bowman, "Redrawing the medium,"

Art History

34:3 (2011): 612-614.

Lev Manovich, "Avant-garde as Software," (1999), www.manovich.net

Mary Ann Doane, "The indexical and the concept ofmedium specificity,"

Differences: a

Journal ofFeminist Cultural Studies,

18:1 (2007)

Intermedial qualities: Indexicalitv

C.S. Peirce, Chapter 3: "The Icon, Index, and Symbol," in

The Collected Papers of

Charles Sanders Peirce, Electronic edition,

Volume 2:

Elements ofLogic,

Book 2:

Speculative Grammar. Electronic resource

Mary Ann Doane, "Indexicality: Trace and Sign,"

Differences

18:1 (2007): 1-6.

Electronic journal

Akira Mizuta Lippit, "The Shadow Archive: A Secret Light,"

Atomic Light (Shadow

Optics)

(Minneapolis: University of Minnesota Press, 2005), 13-34.

Electronic book

Tom Gunning, "Moving Away from the Index: Cinema and the Impression of Reality,"

Differences 18:1 (2007): 29-52. Electronic journal

Intermedial qualities: Performativity

J.L. Austin, "Lecture II,"

How To Do Thingswith Words,

The Works ofJ. L. Austin

(Charlottesville, Va.: InteLex Corporation, 2000)

Electronic book

Sound, signal, and noise

Seth Kim-Cohen, "Ohrenblick,"

In the Blinkofan Ear: Toward a Non-Cochlear Sonic

Art

(New York: Continuum, 2009), 91-119.

Jonathan Sterne, "Hello!",

The Audible Past: Cultural Origins ofSound Reproduction

(Durham and London: Duke University Press, 2003), 1-19.

Andy Birtwhistle, "Introduction: sound, signification, and materiality,"

Cikesonika:

soundingfilm and video

(Manchester University Press, 2010), 1-29.

Basic research methods

Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams,

The craft ofresearch.

Chicago: University of Chicago Press, 2008.

Case studies in intermedial research

Topics will change yearly

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number leg. 810) 822

Course Title (max 80 characters)

Research Colloquium in Comparative Media Arts

Short Title (appears on transcripts, max 25 characters)

Colloquium Comp Media Arts

Course Description for SFU Calendar |3see attached document

0 Learning outcomes identified

Available Course Components: [ZlLecture

ElSeminar

^Laboratory

• Practicum [ZlOnline

• .

Units (eg. 4)4

Grading Basis 0Letter grades • Satisfactory/Unsatisfactory din Progress/Complete

Thisis a capstone course OYes K]No

prerequisites (if any)

[Usee attached document (if more space is reqqiredj

inrollment in MA in Comparative Media Arts or permission of instructor

• This proposed course is combined with an undergrad course: Course number and units:

Additional course requirements for graduate students

DSee attached document (if this space is insufficient)

Campus at

which course will be offered (check all that apply) • Burnaby E$3 Vancouver ^Surrey dGNW PI.

Estimated enrolment

Date of initial offerinc

September 201 ^

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes 0No

Practicum work done in this class will involve children or vulnerable adults

(If the "Yes" boxis checked, all students will require criminal record checks)

Justification QSee attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

wmm

RESOURCES

Ifadditional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty member(s) who will normally teach this course

0 information about their competencvto teach the course is appended

Dr. Denise Oleksiczjuk, Dr. Laura Marks, Dr. Arne Eigenfeldt, Dr. Henry Daniels

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course [Zlsee attached document

Additional specialized equipment required in order to offer this course CUsee attached document

Additional Library resources required (append details)

• Annually $.

• One-time $.

Revised April 2012

PROPOSED COURSE

from first page

Program (eg. MAPH)

FPA

Number leg. 810) 822

Course title (max 80 characters)

Research Colloquium in Comparative Media Arts

Units (eg. 4)

••» APPROVAL SIGNATURES

When a department proposes a new course it must first be sent to the chairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via a separate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signaturels) below indicate that the Dean(s) or designate of other Faculties affected by the proposed newcourse

supports) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

(non-departmentalized faculties need not sign]

Department Chair

Owen Underhill

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources.

Faculty Graduate Program Committee

Signature

Date

t&OcI 1-7

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature ^— _

-^o

Date

-•x—j-

CONTACT

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school regarding

other course attributes that may be required to enable the proper entry of the new course in thestudent record system.

Department/ School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

arne e@sfu.ca

FPA 822-4 Research Colloquium in Comparative Media Arts

Description:

The research colloquium is a core course is taken in the final semester of the MA

program. It develops students' research presentation skills and other aspects of

professional development. In it students develop the extended research essay under the

supervision of the faculty member leading the colloquium. The course guides students in

methods of writing extended prose works, including strategies to move through writer's

block. We will devote time to developing public presentation skills for a variety of

venues. During the first half ofthe semester, students submit a draft oftheir extended

essay to their peers and make a formal presentation in the colloquium, which is followed

by detailed discussion, the goal of which is to evaluate the framing of the researchtopic

and research problem, timeliness, originality, appropriateness of research methods, depth

of research, structure and effectiveness of argument, and style. Students are guided in

peer review, developing useful and specific commentsthat will help their peers in

revising the essay for publication.

In the colloquium students also learnhowto develop their work for publication,

including identifying their audience, choosing an appropriate venueforpublication, and

submitting their work for publication. We discuss issues regarding publication such as

permissions for reproducing artworks, contracts, and responding to peer review.

The colloquium will also help students plan for their career after the MA. For

thosewho intendto work in the arts, for example as curators, culturalprogrammers, arts

administrators, and arts writers, we will examine some relevant careerpathsand planfirst

steps after completion of the degree. For those who intendto continue to a PhD, we will

study the steps involved in proposing a research topic, identifying a program, and

researching funding opportunities. Students will practice writing proposals andgrant

applications, develop theircurriculum vitae, and identify andpractice appropriate means

of self-promotion. Students havetheopportunity to develop proposals for curated

exhibitions, screenings, lecture series, and other public events. We will also devote some

time to teaching skills.

Thecolloquium will also invite speakers from throughout the university and

elsewhere in the city whose work relates to comparative mediaarts.

The researchcolloquium, and the MAprogram as a whole, culminate in the

research symposium, a public event for students to professionally present their work to

friends, colleagues, and the interested public and to celebrate their achievements.

Course outcomes:

Students will be ableto complete a publishable work, be prepared to submit it for

publication, and be equipped to present their work formally. They will be able to

effectively review thework oftheir peers. They will beprepared for academic and

professional careers following the completion of the MA.

Prerequisite:

Enrolment in MA in Comparative MediaArts or permission of the instructor.

Grading:

Proposal for extended essay

10%

First draft of extended essay

15%

Presentation of work in progress

15%

Written peer-review notes

20%

20-minute formal presentation in research symposium

20%

Participation

20%

Some useful texts:

Susan M. Bielstein,

Permissions: A Survival Guide. Blunt talk about art as intellectual

property.

Chicago: University of Chicago Press, 2006.

Angela Thody, "Getting into Print,"

Writing andPresenting Research

(London: SAGE,

2006).

Electronic resource

Phillip Vannini, ed.,

Popularizing research: engaging new genres, media, andaudiences

(New York: Peter Lang, 2012)

Wayne C. Booth, Gregory G. Colomb, and Joseph M. Williams,

The craft ofresearch.

Chicago: University of Chicago Press, 2008.

31%

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number (eg. 810)

823

Course Title (max 80 characters)

New Approaches in Visual Art and Culture

Short Title (appears on transcripts, max 25 characters]

Visual Art and Culture

Course Description for SFU Calendar

0 see attached document

0 Learning outcomes identified

Available Course Components: • Lecture

0Seminar • Laboratory

• Practicum DOnline

•.

Units(eg. 4)4

Grading Basis 0 Letter grades • Satisfactory/Unsatisfactory • In Progress/Complete

This is a capstone course (Z]Yes DNo

Prerequisites (if any)

• see attached document (if more space is required)

Undergraduate degree or equivalent and permission from instructor

• This proposed course is combined with an undergrad course: Course number and units:

Additional course requirements for graduate students

• See attached document (if this space is insufficient)

Campusat which course will be offered (check all that apply) • Burnaby 0 Vancouver • Surrey DGNW •-

Estimated enrolment

Date of initial offering

September 2013

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes 0 No

Practicum work done in this class will involvechildren or vulnerable adults

(If the "Yes" box is checked, all students will require criminal record checks)

Justification

ClSee attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

••» RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty member(s) who will normally teach this course

0 information about their competency to teach the course isappended

Denise Oleksiczjuk, Laura Marks, Judy Radul

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course • see attached document

Additional specialized equipment required in order to offer this course

• see attached document

Additional Library resources required (append details)

• Annually $.

• One-time $.

Revised April 2012

PROPOSED COURSE from first page

Program (eg. MAPH)

FPA

Number(eg. 8101 823

Units (eg.

i>)

Course title (max 80 characters]

Mew Approaches in Visual Art and Culture

WB»

APPROVAL SIGNATURES

When a department proposes a new course it must first be sent to the chairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with bysigning the appropriate space or viaa separate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signature(s) below indicate that the Dean(s) or designate of other Faculties affected by the proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

(non-departmentalized faculties need not sign]

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources.

Faculty Graduate Program Committee

Signature

±jka

"jQaJj i >

Senate Graduate Studies Committee Approval

SGSC approvalindicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature

, v.C'9-^-

Date

CONTACT

Upon approval ofthe course, the Office of the Dean of Graduate Studies will consult with the department

school regarding

othercourse attributes that may be required to enable the properentryof the newcourse in the student record system.

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

arne_e@sfu.ca

FPA 823-4 New Approaches in Art and Visual Culture

Description:

Empire follows Art, and not vice versa as Englishmen suppose.

- William Blake, annotations to Sir Joshua Reynold's

Discourses

(ca. 1798-1809)

For WJ.T. Mitchell, pictures have lives and loves. Instead of seeing images as

inert objects that convey meaning, he urges us to see them as animated beings with

desires, needs, appetites, demands, and drives of their own. In the past three decades,

literature on visual culture has burgeoned in art history, cultural studies, critical theory,

philosophy and anthropology, and recently it has taken on a"performative turn." For art

history, which is traditionally concerned with the interpretation of art objects, the artists

who make them and the interests of patrons, the interdisciplinary field ofvisual culture

has opened up new ways ofthinking about images ofall kinds. In a culture in which the

production and dissemination ofimages has grown exponentially, ithas never been more

necessary to pay attention to how images work and what they do. While histories of

images tend to locate intentionality in the maker or the patron, this seminar seeks to bring

forward the intentions of the image, how, for example, its formal material characteristics,

modes and contexts of circulation and use, reproducibility and referentiality, solicit

responses: how images seem to take on,in Mitchell's words, "lives of their own."

For your paper, you can choose as your main object ofstudy a work ofart, a

landmark exhibition, or afamous image drawn from popular culture. This image or event

will be the subject of student presentations at the end of the term. The topic must be a

visual phenomenon about which there is asubstantial discourse in print, preferably in

both scholarly and popular sources. The final paper will be based on your presentation

and should address some ofthe critical issues and readings discussed in class.

Course outcomes:

Students will gain an advanced understanding ofvisual art and culture and its

historical discourses and practices. They will have the opportunity to read about and

discuss the key issues and topics concerning the hitherto unimagined number of images

that circulate in our culture; to develop acritical vocabulary and an understanding of the

categories of knowledge that are required to make sense of an image in a work of art or

the mass media; and to identify what is at stake when individuals or institutions create

new images that anticipate andcultivate new audiences.

Grading:

10%

Reading report (written and oral)

10%

Reading report (written and oral)

20%

Class presentation of research (in progress)

30%

Final paper

30%

Participation

Required textbooks:

Nicholas Mirzoeff,

An Introduction to Visual Culture,

Second edition. London:

Routledge,2009.

W.J.T. Mitchell,

What Do Pictures Want?; The Lives andLoves of Images.

Chicago:

University of Chicago Press, 2005.

On reserve:

Robert Nelson and Richard Shiff, eds.,

Critical Termsfor Art History,

Second edition,

Chicago: University of Chicago Press, 2003.

Weekly Topics and Reading Assignments

Week 1: Introduction to the main issues and themes of the course

Week 2: What is Visual Culture?

WDPW:

Mitchell, Chapter 2: "Whatdo Pictures Want?" pp.28-56.

Mirzoeff:

An Introduction to Visual Culture,

"Introduction: Global Visual Cultures:

Paradox and Comparison." 2009, pp. 1-20.

Johanna Drucker, "Who's Afraid of Visual Culture?"

Art Journal

58:4 (1999): 36-47.

Mieke Bal, Visual Essentialismand the Object of Visual Culture,"

Journal of Visual

Culture,

Vol. 2 (1) 2003: 5-32.

Critical Terms:

"Visual Culture/Visual Studies," James D. Herbert, pp. 452-464.

Week 3: Semiotics

Charles Sanders Peirce, "The Sign: Icon, Index, and Symbol," in

The Collected Papers of

Charles Sanders Peirce: Vol. II.

Cambridge: The Belknap Press of Harvard University

Press, 1960, pp. 135-173.

Roland Barthes, "The Third Meaning," in

ABarthes Reader.

New York: Hill and Wang,

1982,pp.317-333.

Meike Bal, "From Sub- to Suprasemiotic: The Sign as Event," in

Remembering

Rembrandt: Beyond the Word Image Opposition.

Amsterdam: Amsterdam University

Press, 2006.

Critical Terms:

Alex Potts,"Sign," pp.20-34.

Week 4: Phenomenology

Heidegger, Martin. "The Origin ofthe Work ofArt," [1935] In

The Art ofArt History; A

Critical Anthology,

edited by Donald Preziosi, Oxford: Oxford University Press, 1998,

pp. 413-426.

Merleau-Ponty "Eye and Mind" and "Cezanne's Doubt" in

The Primacy ofPerception,

Evanston: 1964.

Week 5: Commodities and Surplus Value

WDPW:

Mitchell, Ch. 3: "Drawing Desire," pp. 57-75.

WDPW:

Mitchell, Ch. 4: "The Surplus Value of Images" pp. 76-110.

Marx, Karl. 'TheFetishism of Commodities," Capital [1867], trans. Samuel Moore and

Edward Aveling, vol. 1,New York: International Publishers, pp.71-83.

Week 6: What is Vision?

Kaja Silverman, 'The Subject" in

The Subject ofSemiotics,

New York: Oxford

University Press Inc., 1983.

Jacques Lacan, "The Gaze " in The Four Fundamental Concepts of Pyscho-Analysis.

Translated by Alan Sheridan. W.W. Norton and Company, Inc. 1977.

Jonathan Crary, "1879: Unbinding Vision."

Suspensions ofPerception: Attention,

Spectacle, and Modern Culture.

Cambridge: MIT Press, 2000, pp.81-126.

Recommended Readings:

•5 4

Martin Jay,"Lacan, Althusser, and the Specular Subject of Ideology," in

Downcast Eyes:

The Denigration of Vision inTwentieth Berkeley and Los Angeles: University of

California Press, 1993, pp. 329-380.

Mirzoeff, "Sight becomes vision: from al-Haytham to Perspective" in

An Introduction to

VisualCulture,

Second edition. London: Routledge, 2009, pp. 21-44.

Week 7: Postcolonial Culture

WDPW:

Mitchell, Ch. 7: "Empire and Objecthood," pp. 145-168.

Mirzoeff,

Visual Culture:

"Imperial Transcultures: From Kongo to Congo," pp. 127-152.

Critical Terms:

"Ritual," Suzanne Preston Blier, pp. 296-305.

James Clifford, "Quai Branly in Process,"

October,

120,Spring 2007, pp. 3-23

Week 8: Reproducibility

Peter Galison, Images Scatter into Data, Data Gather into Images," in

Iconoclash:

Beyond the Image Wars in Science, Religion, andArt.

Edited by Bruno Latour and Peter

Weibel, Cambridge: MIT Press, 2002.

WDPW:

Mitchell, Ch. 15: "The Work of Art in the Age of Biocybernetic Reproduction,"

pp.309—335.

Week 9: Iconology

Bissera V. Pentcheva, 'The Performative Icon," The Art Bulletin, vol. 8, No. 4 (Dec.

2006): 631-655.

Erwin Panofsky, "Studies in Iconology," in

Studiesin Iconology: Humanistic Themes in

the Art

ofthe Renaissance,

Westview Press Inc., 1972.

Paul Ricoeur, "Icon and Image," in

The Rule ofMetaphor,

Routledge, 2003.

WDPW:

Mitchell, Ch. 16: "Showing Seeing: A Critique of Visual Culture," pp. 336-356.

Week

10:

Portraiture

?>5

SylviaBenso, "The Face," In

The Face of Things.

New York: State University of New

York Press, 2000.

Journal of Visual Culture,

Special Issue:

Obama

8:2 (Aug. 2009). Various authors.

Gilles Deleuze, and FeTix Guattari, "Faciality," in

AThousand Plateaus: Capitalism and

Schizophrenia.

Trans, and Foreword by Brian Massumi. Minneapolis: University of

Minnesota Press, 1987, pp. 167-191.

Joan Copjec, "Cindy Sherman's

Untitled Film Stills," Imagine There's No Woman:

Ethics and Sublimation,

MIT Press, 2004.

Week 11: Earth

Elizabeth Grosz, "Sensation, the Earth, a People, Art," pp. 63-104, in

Chaos, Territory,

Art: Deleuze and the Framing ofthe Earth.

New York: Columbia University Press, 2008.

Jane Bennett, Ch. 1: "The Force ofThings," and Ch. 2: 'TheAgency ofAssemblages," in

Vibrant Matter: A Political Ecology ofThings,

Durham: Duke University Press, 2010, pp

1-38.

Tim Ingold, 'TheShape ofthe Earth," in

Being Alive: Essays on Movement, Knowledge

andDescription,

New York: Routledge, 2011.

Weeks 12 and 13: Student presentations

Bibliography

Bennett, Jane.

Vibrant Matter: APolitical Ecology ofThings,

Durham: Duke University

Press, 2010.

Benso, Sylvia.

The Face ofThings.

New York: State University of New York Press,

2000.

Grosz, Elizabeth. "Sensation, the Earth, a People, Art," pp. 63-104, in

Chaos, Territory,

Art: Deleuze and the Framing ofthe Earth.

New York: Columbia University Press, 2008.

Barthes, Roland.

Music, Image, Text,

1964.

Boundas, Constantine, ed.

The Deleuze Reader,

New York: Columbia University Press

1993.

"3*

Chartier, Roger.

On the Edge ofthe Cliff,Trans.

Lydia G. Cochrane, Baltimore: The

Johns Hopkins University Press, 1997.

Copjec, Joan. "Cindy Sherman's

Untitled Film Stills," Imagine There's No Woman:

Ethics and Sublimation,

MIT Press, 2004.

Crary, Jonathan.

Suspensions ofPerception: Attention, Spectacle, and Modern Culture.

Cambridge: MIT Press, 2000.

Daston, Lorainne, ed.

Things That Talk,

New York: Zone Books, 2004.

Dikovitskaya, Margaret. Visual Culture: The Study of the Visual after the Cultural Turn.

Cambridge and London: MIT Press, 2006.

Fried, Michael.

Menzel's Realism: Artand Embodiment in Nineteenth-Century Berlin,

New Haven: Yale University Press, 2002.

Grosz, Elizabeth.

Chaos, Territory, Art: Deleuze and the Framing of the Earth.

New

York: Columbia University Press, 2008.

Kocur, Zoya and Simon Leung, eds.

Theory in Contemporary Art since 1985.

Oxford:

Blackwell Publishing, 2005.

Lacan "Mirror Stage" Evanston: 1964 p.178.

Marx, Kari.

Capital

[1867], trans. Samuel Moore and Edward Aveling, vol. 1, New York:

International Publishers.

Merleau-Ponty, Maurice.

The Primacy of Perception,

1961.

Mirzoeff, Nicholas.

An Introduction to Visual Culture,

Second edition. London:

Routledge, 2009.

Mitchell, W.J.T.

What do Pictures Want? The Lives and Loves ofImages.

Chicago:

University of Chicago Press, 2005.

Nelson, Robert and Richard Shiff, eds.,

Critical Termsfor Art History,

Second edition,

Chicago: University

of Chicago Press,2003.

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number (eg. 810) 824

Course Title (max 80 characters)

New Approaches in Moving-Image Studies

Short Title (appears on transcripts, max 25 characters)

Moving-Image Studies

Course Description for SFU Calendar

0 see attached document

0 Learning outcomes identified

Available Course Components:

• Lecture

0 Seminar

• Laboratory

• Practicum

• Online

•.

Units (eg. 4)4

Grading Basis 0 Letter grades • Satisfactory/Unsatisfactory • In Progress/Complete

This is a capstone course (TJYes 0No

Prerequisites (if any) • see attached document (if more space is required)

Undergraduate degree or equivalent and permission from instructor

• This proposed course is combined with an undergrad course: Course number and units:

Additional course requirements for graduate students

• See attached document (if this space is insufficient)

Campus at which course will be offered (check all that

apply) • Burnaby 0 Vancouver • Surrey [TJGNW •_

Estimated enrolment

Date of initial offering

January 2014

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes 0 No

Practicum work done in this class will involve children or vulnerable adults

(If the "Yes" box is checked, all students will require criminal record checks)

Justification

DSee attached document (if more space is required)

New course for MAin Comparative Media Arts by Cohort Special Arrangements

••» RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty member(s) who will normally teach this course

0 information about their competency to teach the course is appended

Dr. Laura Marks, Dr. Christopher Pavsek, Dr. Jacqueline Levitin

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course • see attached document

Additional specialized equipment required in order to offer this course

• see attached document

Additional Library resources required (append details)

• Annually$.

• One-time $.

Revised April 2012

PROPOSED COURSE

from first page

Program (eg. MAPH)

FPA

Number (eg. 810)

824

Units (eg. 4] 4

Course title (max 80 characters)

^ew Approaches in Moving-Image Studies

••» APPROVAL SIGNATURES

When a department proposes a new course it must first be sent to the chairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via a separate memo or e-mail [attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

Thesignature(s) below indicate that the Deanls) or designate ofother Faculties affected bythe proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

(non-departmentalized faculties need not sign]

Faculty Approval

Facultyapproval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources.

Faculty Graduate Program Committee

Signature

**l &*(•(?

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issuesdealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature^

Date

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school regarding

other course attributes that may be required to enable the proper entry of the new course in the student record system.

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

ame_e@sfu.ca

FPA 824-4 New Approaches in Moving-Image Studies

Description:

This course is an elective in the MA program. In it we examine what are

understood as the arts of the moving image: these include film, video, and other time-

based audiovisual media. We will begin by grounding our objects of study, i.e. specific

works and practices, in cinema studies andsurvey emerging approaches in cinema

studies, relating these developments to the longer history of the discipline. Investigating

cinema intermedially, we will keep in mind the art forms that informed it historically,

including theater, public spectacles, photography, painting, music, sound recording.

Then the course will examine how the practice, aesthetics, and reception change when

cinema moves totelevision, both move to digital formats, and all these platforms move to

handheld and social media. We will investigate medium specificity in the moving-image

arts in lightof whatis termed "media convergence." We will consider what new forms

emerge when moving images shift from the institution of cinema to other contexts such

as museums and onlinesites.The course includes twoor three weeks topics of interest

that arise in the field, such as new national cinemas, new approaches to documentary,

cognitive theory and neuroscience, etc.

Course outcomes:

Students will gain an advanced understanding of the theoretical and historical

approaches to the moving-image arts, and they will be able to evaluate and apply these

approaches with respect to specific works. They will be able to situate media artworks in

terms of the histories of the medium and the discipline, and to draw on histories of

emergence, "convergence," and intermediality in order to choose the most fruitful

approaches to their own objects of study.

Grading:

Short essay testing methods on an object ofstudy

20%

Essay proposal

10%

Presentation on reading

10%

Presentation on proposed essay

10%

Final essay

30%

Participation

20%

Syllabus

Nature of the object/the discipline

Dudley Andrew, "The Core and How of Film Studies,"

Critical Inquiry

(Summer 2009)

Emerging issues in cinema studies

Agnes Petho," Intermediary in Film: A Historiography of Methodologies" and "The

World as a Media Maze: Sensual and Structural Gateways of Intermediality in the

Cinematic Image,"

Cinema andIntermediality: The Passion for the In-Between

(Cambridge: Cambridge Scholars Publishing, 2011)

Ilona Hongisto,

Soul ofthe Documentary: Expression and Capture ofthe Real

(University of Turku, Finland, 2011)

Sean Cubitt, "Pixel, cut, vector,"

The Cinema

Effect

(Cambridge, MA: MIT Press, 2004)

Patricia Pisters,

The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen

Culture

(Stanford, CA: Stanford University Press,2012)

Other options:

Tarja Lane,

Feeling Cinema: Emotional Dynamics in Film Studies

(New York:

Continuum, 2011)

Haidee Wasson and Charles Acland, eds.,

UsefitlCinema

(Durham, NC: Duke University

Press, 2011)

DImitris Eleftheriotis,

Cinematic Journeys: Film and Movement

(Edinburgh University

Press, 2010)

New approaches to reality and sensation

Tom Gunning, "Moving Away from the Index: Cinema and the Impression of Reality,"

Differences

18:1 (2007): 29-52.

Electronic resource

Martine Beugnet, "The Aesthetics of Sensation,"

Cinema and Sensation: French Film

and the Art ofTransgression

(Edinburgh UP, 2007), 63-75.

Vivian Sobchack,

'The Charge of the Real: Embodied Knowledge and Cinematic

Consciousness,"

Carnal Thoughts: Embodiment and Moving Image Culture

(Berkeley:

University of California, 2004), 258-285.

E-book

Other options:

Dudley Andrew,

What Cinema Is! Bazin's

Quest

and Its Charge

(Maiden, MA- Wilev-

Blackwell,2010)

Giorgio Agamben, "Notes on Gesture," in

Means Without Ends: Notes on Politics,

trans

Vincenzo Binetti and Cesare Casarino (1992; Minneapolis: University ofMinnesota

Press, 2000)

Pasi Valiaho, "Experimental Life: The Biopolitical Context,"

Mapping the Moving

Image: Gesture, Though, and Cinema circa 1900

(Amsterdam: Amsterdam University

Press, 2011), 53-78.

Background: Gilles Deleuze,

Cinema I: The Movement-Image,

trans, by Hugh

Tomlinson and Barbara Habberjam (Minneapolis" University ofMinnesota Press 1986)

excerpts

Background: Andre Bazin, "The Ontology of the Photographic Image" and 'The

Evolution ofEditing Since the Advent ofSound,"

What Is Cinema?,

vol. 1, ed. and trans

Hugh Gray (Berkeley: University ofCalifornia, 1967), 9-16,31-40.

"Precinema" and cinema's companions in the aits

Lauren Rabinovitz,

Electric Dreamland: Amusement Parks, Movies, and American

Modernity

(New York: Columbia University Press, 2012)

Hamid Naficy, "Introduction: National Cinema, Modernity, and Iranian National

Identity,"

ASocial History ofIranian Cinema, Volume 1: The Artisanal Era, 1897-1941

(Durham, NC: Duke University Press, 2011), 1-26

Timothy Corrigan, "The Forgotten Image Between Two Shots': Photos, Photograms and

the Essayistic," in

Still Moving: Between Cinema and Photography,

ed. Karen Beckman

and Jean Ma (Durham, NC: Duke University Press, 2008), 41-61

Steven Jacobs,

Framing Pictures: Film and the Visual Arts

(New York: Columbia

University Press, 2010)

Cinema as time-based medium

Laura Mulvey,

Death 24x aSecond: Stillness and the Moving Image

(London: Reaktion

Books, 2006), excerpt

Mary Ann Doane,

The Emergence ofCinematic Time: Modernity, Contingency the

Archive

(Cambridge, MA: Harvard University Press, 2002), excerpt

Medium specificity

Mary Ann Doane, "The Indexical and the Concept of Medium Specificity,"

Differences

18:1 (2007): 128-152.

Electronic resource

Jay David Bolter, "Transference and Transparency: Digital Technology and the

Remediation of Cinema,"

Intermedialites

6 (Autumn 2005): 13-26

Comparisons across cultures

Paul Willemen, "For a Comparative Film Studies," in

Digital and Other Virtualities:

Renegotiating the Image,

ed.Antony Bryant and Griselda Pollock (London and New

York: I. B. Tauris, 2010), 93-110

Walid El Khachab, "Faceof the Human and Surface of the World : Reflections on

Cinematic Pantheism,"

Intermedialites

8 (Fall 2006)

Jean Ma,

Melancholy Drift: Marking Time in Chinese Cinema

(Hong Kong : Hong Kong

University Press, 2010)

Media convergence

Henry Jenkins,

Convergence Culture: where oldand new media collide

(New York :

New York University Press, 2008), excerpt

Lev Manovich, "The Practice of Everyday (Media) Life: From Mass Consumption to

MassCultural Production?",

Critical Inquiry

35 (Winter 2009)

William Uricchio, "Phantasia and Techne at the Fin-de-siecle,"

Intermedialites: histoire

et theorie des arts, des lettres et des techniques

(fall 2006).

Robynn J. Stilwell, "Audio-Visual Space in an Era of Technological Convergence,"

The

Oxford Handbook of New Audiovisual Aesthetics,

ed. Claudia Gorbman, John

Richardson, and Carol Vernallis (Oxford, 2012)

Trond Lundemo, "Quoting Motion: The Frame, the Shot, and Digital Video," in Angela

Dalle Vacche, ed.,

Film, art, new media: museum without walls?

(Houndmills,

Basingstoke, Hampshire; New York: Palgrave Macmillan, 2012)

Images moving across media and platforms

Francesco Cassetti, "Filmic Experience,"

Screen

50:1 (Spring 2009): 56-66.

Elvind R0ssaak, "Algorithmic culture: beyond the photo/film divide," in Rossaak, ed.,

Between Stillness and Motion:

Tc?'

Francesco Cassetti and Sara Sampietro, "With Eyes, With Hands: The Relocation of

Cinema into the iPhone" and Jennifer Steetskamp, "Media Archaeology, Installation Art,

and the iPhone Experience," in

Moving Data: The iPhone andthe Future of Media,

ed.

Pelle Snickars and Patrick Vonderau (New York: Columbia University Press, 2012)

Bernard Stiegler, "The Carnival of the New Screen: From Hegemony to Isomony," in

The

YouTube Reader,

ed. Pelle Snickars and Patrick Vondereau (London: Wallflower Press, .

2009), 40-59.

Moving images in the museum

Tanya Leighton, Introduction,

Art and the Moving Image: A Critical Reader

(London:

Tate, 2008)

Gavin Hogben, "Right Here, Right Now—Cinema Gone Live!," in Angela Dalle Vacche,

ed.,

Film, art, new media: museum without walls?

(Houndmills, Basingstoke, Hampshire;

New York: Palgrave Macmillan, 2012), 301-320

Kate Mondloch,

Screens: Viewing Media Installation Art

(Minnesota, 2010)

Christine Ross, 'TheTemporalities of Video: Extendedness Revisited,"

Art Journal,

65:3

(Fall, 2006): 82-99

Mieke Bal, "Losing It: Politics of the Other (Medium),"

Journal of Visual Culture

10:3

(December 2011): 372-396

Background: Martha Rosier, "Video: Shedding The Utopian Moment," in

Theories and

documents ofcontemporary art: a sourcebook ofartists1 writings,

ed. Kristine Stiles and

Peter Selz (Berkeley : University

of California Press, 1996)

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH]

FPA

Course Title (max 80 characters)

New Approaches in Digital Art Studies

Number (eg. 810) 825

Short Title (appears on transcripts, max 25 characters)

Digital Art Studies

Course Description for SFU Calendar

Elsee attached document

[X] Learning outcomes identified

Available Course Components: [ZlLecture

KlSeminar

IZlLaboratory

DPracticum

•Online

•.

Units (eg. 4)4

Grading Basis 0 Letter grades CH Satisfactory/Unsatisfactory d In Progress/Complete

This is a capstone course I lYes

Prerequisites (if any)

dsee attached document (if more spa.ce is required) .

Undergraduate degree or equivalent and permission from instructor

• "This proposed course is combined with an undergrad course: Course number and units:

Additional course requirements for graduate students

DSee attached document (if this space is insufficient)

Campus at which course will be offered (check all that

apply) [Z]Burnaby ^Vancouver ^Surrey |Z]GNW PI.

Estimated enrolment

Date of initial offering

January 2014

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes (3No

Practicum work done in this class will involvechildren or vulnerable adults

(If the "Yes" box is checked, all students will require criminal record checks)

Justification (Z]See attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

•» RESOURCES

If additionalresources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty member(s) who will normally teach this course

El information about their competency to teach the course is appended

Dr. Arne Eigenfeldt, Dr. Laura Marks

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course [Zlsee attached document

Additional specialized equipment required in order to offer this course Dsee attached document

Additional Library resources required (append details)

[^Annually $_

• One-time $.

[No

Revised April 2012

PROPOSED COURSE

from first page

Program [eg. MAPH)

FPA

.Course title (max 80 characters)

Mew Approaches in Digital Art Studies

Number (eg. 810) 825

Units (eg.

\::d::~,

approval signatures

When a department proposes a new course it must first be sent to the chairs of each faculty graduate program

committee where there might bean overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via a separate memo or e-mail (attached to this form).

The new course proposal must also besent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signature(s) below indicate that the Dean(s) or designate of other Faculties affected by the proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

[non-departmentalized faculties need not sign]

Department Graduate Program Committee

Arne Eigenfeldt

Department Chair

Owen Underhill

~Oe//&//3

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources. '

Faculty Graduate Program Committee

Signature

^2A

Da/£W /

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature

KejcA8/2Q

CONTACT

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school regarding

other course attributes that may be required to enable the proper entry of the new course in the student record system.

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

arne_e@sfu.ca

FPA 825-4New Approaches in Digital Art Studies

Description:

This course will focus on the history and practice of digital art, with an emphasis upon

the artistic outcomes of the new methodologies and practices within this field. Digital technology

has fundamentally changed the process and products ofcontemporary creativity in art-making.

Although a great deal ofcontemporary art involves some aspect ofdigital technology, this course

will examine those artists and art-works in which digital technologies play an intrinsic part in the

creative process, as well as the realization. A range of processes - from interactive systems

through toalgorithmic approaches (stochastic, deterministic, chaotic) - will be examined, with

particular reference to artistic goals, approaches, and results.

Learning Outcomes:

The student will be able to:

• identify the fundamental elements of digital art;

• understand digital art as partof a history that includes visual art, music, and performance

practices;

• identify concepts of algorithmic approaches within creative work;

• participate in discussions about the example artworks and texts in thecourse readings;

• formulate and articulate critical analysis of a selected artwork;

• critically evaluate digital art.

Delivery Method:

Lecture and Seminar

Assignments

This course will require three assignments.

1 - An essay comparing two digital art works,one of which uses the computeras simply a tool,

the other that exploresthe potential for emergent artistic creation formerly not possible without

the technology.

2 - An in-class presentation on a selected artwork,in which concepts and techniques involved

within work, including an artistic evaluation of the work;

3 - A research paper on any topic in digital art, including an in-depth analysis of specificworks

wherever possible. This assignment could concentrate on a specific artist,a technical approach,

or compare more than one.

Evaluation:

Comparison Essay:

25%

Research Paper:

40%

Artwork Presentation

20%

Seminar Participation

15%

/./•

Lecture Topics and readings may include:

Digital Art as Tool

Otto Laske, 'Thecomputer as the artist'salter ego,"

Leonardo,

Vol. 23, No. 1, pp. 53-66,1990.

Brian Evans, "Foundations ofVisual Music",

Computer Music Journal

Vol. 29 No. 4, pp 11-24

2005.

Digital Art as Medium

Harold Cohen, 'TheFurther Exploits ofAaron, Painter",

Stanford Humanities Review,

1994.

Lida von Mengden, "Manfred Mohr - Research in the Aesthetic Universe ofthe Cube", from

exhibition catalog

Manfred Mohr - broken symmetry,

Kunsthalle Bremen 2007.

History of Digital Art

Lev Manovich, "Ten Key Texts on Digital Art: 1970 - 2000",

Leonardo,

Vol. 35,No. 5, pp 567-

575,2002.

Generative Art

Philip Galanter, "What Is Generative Art?"

GA2003 -6th Generative Art Conference,

2003.

Pascal Dombis, "Irrational Environments," http://www.dombis.com/info/irrationnal eng.htm

Generative Music

G.M. Koenig, "Aesthetic Integration ofComputer-Composed Scores,"

Computer Music Journal

Vol. 7. No. 4,1983.

George Lewis, "Too Many Notes: Computers, Complexity and Culture in

Voyager," Leonardo

Music Journal,

Vol. 10, pp 33-39,2000.

Arne Eigenfeldt, Real-time Composition as Performance Eco-System",

Organised Sound

Vol

16. No. 2,2011

Interaction

Arjen Mulder, 'TheExercise of Interactive Art," in

Interact or Die!,

ed. Joke Brouwer and Arjen

Mulder, pp. 52-69,2007.

Mitchell Akiyama, "Projections: The Development and Politics ofDigital Media in Audiovisual

Performance,"

Offscreen

11:8-9 (Aug/Sept 2007)

Fractals / Chaos

B. Mandelbrot, "Fractals as an art for the sake of science,"

The Visual Mind,

pp. 11-14,1993.

(reprinted from

Leonardo,

Supplemental Issue, pp. 21 -24,1989)

NetArt

Jon Ippolito, 'Ten Myths ofInternet Art."

Leonardo,

Vol 35 No 5,pp. 485-498,2002.

Hypermedia

Mark Amerika, "Expanding the Concept ofWriting,"

http;//www,mitPressiournals.org.proxy.lib.sfu.ca/dni/abs/10.n62/Q024094047728279S7

Noah Wardrip-Fruin Hypermedia, Eternal Life, and the Impermanence Agents

http://www.impermanenceagent.nrg/agent/essav.html

•>

Games

Rebecca Cannon, "Meltdown,"

Journal ofMedia Practice

Vol. 7 No 1, p.7 - 23,2006.

Patrick Crogan, 'The Experience of Information inComputer Games,"

Scan Journal

Vol 1 No.

1,2004.

Installation

Maria Fernandez, "Illuminating Embodiment: Rafael Lozano-Hemmer's Relational

Architectures",

Architectural Design,

Special Issue: 4dsocial: Interactive Design Environments,

Vol. 77, No. 4, pp.78-87, July/August 2007

Evolutionary Art

Karl Sims, "Genetic Images," http://www.karlsims.com/genetic-images.html

Jon McCormack, "Open Problems in Evolutionary Music and Art",

Lecture Notes in Computer

Science,

2005,Vol. 3449, "Applications of Evolutionary Computing," pp.428-436.

Steve DiPaola, "Evolving Creative Portrait Painter Programs Using Darwinian Techniques with

an Automatic Fitness Function",

EVA 2005 Conference,

2005.

Jon McCormack, "Eden: An Evolutionary Sonic Ecosystem,"

ECAL 2001,

J. Kelemen, P. Sosik,

eds., pp. 133-142

Databases

Luke Dubois, "Hard Data," http://turbulence.org/Works/harddata/

Wendy Hui Kyong Chun,

Programmed Visions: Software andMemory

(MIT Press, 2011)

Intelligent Systems

David Rokeby, The Giver of Names, http://www.fondation-

langlois.org/html/e/page.php?NumPage=2121

Noah Wardrip-Fruin, Hypermedia, Eternal Life, and the Impermanence Agent,

http://www.impermanenceagent.org/agent/essay.html

Stephen Wilson, "Artificial Intelligence Research as Art,"

SEHR,

Vol. 4, No. 2: Constructions of

the Mind, 1995.

Timothy Binkley, "Autonomous Creations: Birthing Intelligent Agents,"

Leonardo

Vol. 31 No.

5, pp. 333-336,1998.

C Jacob, G. Hushlak,J. Boyd, P. Nuytten, M. Sayles, M. Pilat, "SwarmArt: Interactive Art from

Swarm Intelligence,"

Leonardo

Vol. 40 No. 3, pp. 248-254,2007.

Kenneth Rinaldo,"Technology Recapitulates Phylogency: Artificial Life Art,"

Leonardo,

Vol.

31, No. 5, pp 371-376,1998.

Kenneth Rinaldo, "The Hock,"

Leonardo,

Vol. 31 No. 5, pp. 405-407,1998.

Sha Xin Wei,

Poeisis and Enchantment in TopologicalMatter,

forthcoming, MIT Press; excerpt

Virtual Reality

Michael Heim, The Feng Shui of Virtual Worlds,

Computer Graphics World,

January 2001.

Gianna Maria Gatti, "Osmose by Char Davies",

The Technological Herbarium,

Avinus Verlag,

2009.

Scott Fisher, "Virtual Environments, Personal Simultation & Telepresence",

Virtual Reality:

Theory, Practice and Promise,

Helsel and Roth, ed., Meckler, 1991

The Body

Eduardo Kac, "GFP Bunny,"

Leonardo,

Vol. 36, No. 2, pp 97-102,2003.

Thecia Schiphorst, "Body Matters: The Palpability of Invisible Computing,"

Leonardo,

Vol. 42,

No. 3, pp. 225-230,2009.

Additional Readings may be drawn from

The New Media and Technocultures Reader,

ed. Seth Giddings with Martin Lister (New York

and London: Routledge, 2011)

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

WBB*

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number [eg. 810) 826

Course Title (max 80 characters)

New Approaches in Performance Studies

Short Title (appears on transcripts, max 25 characters)

Performance Studies

Course Description for SFU Calendar

[XJsee attached document

Q Learning outcomes identified

Available Course Components: QLecture

ElSeminar (ZlLaboratory

LTlPracticum

dOnline

Units (eg. 4)4

Grading Basis 0Letter grades • Satisfactory/Unsatisfactory Din Progress/Complete

This is a capstone course flYes

Prerequisites (if any)

[Usee attached document (if more space is required)

Undergraduate degree or equivalent and permission from instructor

DThis proposed course is combined with an undergrad course: Course numberand units:

Additional course requirements for graduate students

QSee attached document (ifthis space is insufficient)

Campus at which course willbe offered (check all that apply) QBurnaby ^Vancouver QSurrey dGNW •_

Estimated enrolment

Date of initial offerinc

September 201C

Course delivery (eg. 3 hrs/week for 13 weeks)

3 hrs/week for 13 weeks

• Yes H No

Practicum work done in this class will involve children or vulnerable adults

(If the "Yes" box is checked, all students will require criminal record checks)

Justification

E]See attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

M/m

RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty

hacuity

member(s)

memDerisj

who

wno will

normally.teach

normally, teach this

course

[29

information about their competency to teach the course is appended

Dr. Henry Daniel, Dr. Arne Eigenfeldt

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course CUsee attached document

Additional specialized equipment required in order to offer this course Dsee attached document

Additional Library resources required (append details)

• Annually $.

• One-time $_

Revised

April 2012

PROPOSED C0UR5E

from first page

Program (eg. MAPH)

FPA

Number (eg. 810) 826

Course title (max 80 characters)

New Approaches in Performance Studies

Units (eg./.) 4

••» APPROVAL SIGNATURES

When a department proposes a new course it must first be sent to thechairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs willindicate that overlap concerns have

been dealt with bysigning the appropriate space or via a separate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signaturels) below indicate that the Dean(s) or designate ofother Faculties affected by the proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Date

Departmental Approval

(non-departmentalized faculties need not sign]

Department Graduate Program Committee

Arne Eigenfeldt

Department Chair

Owen Underhill

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources.

Faculty Graduate Program Committee

Signature

Date

c><Jr

Date

Oc/ /$//£

£15 l*1

Date

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Signature; n/^~\

Date

)ate

CONTACT

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school regarding

other course attributes that may be required to enable the proper entry of the new course in the student record system.

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

ame_e@sfu.ca

FPA826-4 New Approachesin Performance Studies

Description:

This course is an elective in the MA program. It traces the interdisciplinary origins of

performance studies and brings its concepts and methods to bear on dance, music and sound arts,

theatre and performance arts, and media performance while introducing cross-disciplinary ideas

from emergent areas such as neuroscience, cognitive science, and gaming, for example. Course

assignments will involve case studies as forerunners for further research.

Course Outcomes:

Students will gain an advanced understanding of Performance Studies, its history,

discourses, and practices. They will identify some of the differences between performance

disciplines in order to compare them and identify emergent practices. They will develop a refined

vocabulary for talking about performance in terms of its own history and of other disciplines.

They will explore new hybrid methodologies and performance approaches that further the

discipline of Performance Studies.

Grading:

I. Critical Review 15%

II. Preliminary project 30%

IV. Essay proposal and annotated bibliography 10%

IV. Final essay 30%

VI. Participation 15%

Required Texts:

Auslander, Philip.

Theoryfor Performance Studies

London; New York: Routledge, 2008.

Henry Bial,ed.,

The Performance Studies Reader.

Routledge, 2007.

Recommended Texts: see attached list

Selected Readings:

Philip Auslander,

Theoryfor Performance Studies.

London; New York: Routledge, 2008.

Stephen Wilson, "Art and Science as Cultural Acts "

Information Arts: Intersections ofArt,

Science, and Technology.

MIT Press, 2002.

Giinter Berghaus, "Body Art, Ritualism and Neo Shamanic Performances," in

Avant-garde

performance, live events andelectronic technologies.

New York: Palgrave, 2005.

Toni Stolberg, "Communicating Science through the Language of Dance: A Journey of Education

and Reflection."

Leonardo,

39 (2006): 426-433.

Guillermo G6mez-Pena, "Crosscontamination" and "The Minefields of Utopia,"

TDR

46:2

(Summer 2002)

" Judith Butler, "Critically Queer", "Striptease: Desire, Mimetic Jeopardy, Performing

Spectators," in Erin Striff,ed.,

Performance studies.

Palgrave Macmillan, 2002.

Augusto Boal,"Development of the Arena Theatre of Sao Paolo - First Stage,"

Performance Studies.

Palgrave Macmillan, 2002.

W.B. Worthen, "Disciplines of the text: sites of performance," in Henry Bial,ed.,

The

performance studies reader.

Routledge, 2007.

Bernth Lindfors, "Ethnological Show Business: Footlighting the Dark Continent," in Rosemary

Garland Thompson, ed.,

Freakery: Cultural Spectacles ofthe Extraordinary Body.

New York:

New York University Press, 1996.

J.L. Austen, "How to do things with words,"

How to dothings with words,

New York: Oxford

University Press, 1965.

Nicholas Zurbrugg, "Introduction," in Zurbrugg, ed.,

Art, Performance, Media: 31 Interviews.

Minneapolis: University of Minnesota Press, 2004.

Jill Dolan, "Introduction: Feeling the Potential ofElsewhere,"

Utopia in Performance.

Ann

Arbor: University of Michigan Press, 2005

Paul Gilroy, "Jewels Brought from Bondage: Black Music and the Politics ofAuthenticity,"

The

Black Atlantic: Modernity and Double Consciousness.

London,Verso, 1993

Judith Butler, "Performative Acts and Gender Constitution: An Essay in Phenomenology and

Feminist Theory," in Henry Bial, ed.,

The performance studies reader.

Routledge, 2007.

Kattenbelt &Chappie, "Key Issues in Intermediality and Performance,"

Intermediality in Theatre

and Performance

Amsterdam; New York; Rodopi, 2006.

rv /

Victor Turner, "Liminality and Communitas", in Henry Bial, ed.,

The performance studies

reader.

Routledge, 2007.

Terrence Hawkes, "Linguistics & Anthropology,"

Structuralism andSemiotics.

London:

Routledge, 2003.

Gavin Carterand Colin Beardon, "New Visions in Performance,"

New Visions in Performance:

The Impact of Digital Technologies

Exton, PA: Swets & Zeitlinger Publishers, 2004.

Thomas McEvilley, "Performance Exemplified: Conceptual and Performance Art in the

Formation of Post-Modernism,"

The Triumph of Anti-Art:

Conceptual and Performance Art in the

Formation of Post-Modemism. McPherson & Company, 2005.

Marvin Carlson,"Performance in its historical context,"

Performance: A Critical Introduction,

New York, Routledge, 2004.

John Emigh, "Performance Studies, Neuroscience, and the Limits of Culture," in Nathan Stucky

and Cynthia Wimmer, eds.,

Teaching performance studies

Southern Illinois University Press,

2002.

Victor Turner and EdieTurner, "Performing ethnography," in Henry Bial, ed.,

The performance

studies reader.

Routledge, 2007.

Richard Schechner, "Ritual,"

Performance Studies.

Routledge, 2003.

Andrew

Parker and Eve Kosofsky Sedgwick, "Introduction to Performativity and Performance,"

in Henry Bial, ed.,

The performance studies reader.

Routledge,2007.

Vivian M. Patraka, "Spectacular Suffering: Performing Presence, Absence, and Witness at the US

Holocaust Memorial Museum," in Erin Striff, ed.,

Performance studies.

Palgrave Macmillan,

2002.

Roselee Goldberg, "The Art of Ideas andthe Media Generation 1960to 2000,"

Performance Art:

Fromfuturism to the present.

Thames and Hudson, 2001.

Isidore Okpewho,"The oral artist: training and preparation," in Henry Bial,ed.,

The performance

studies reader.

Routledge, 2007.

Marvin Carlson, "The performance of culture"and"The performance of language: linguistic

approaches,"

Performance: A Critical Introduction

New York, Routledge, 2004.

Johan Huizinga, 'The nature and significance of play as a cultural phenomenon," in Henry Bial,

ed.,

The performance studies reader

Routledge, 2007.

Kiemens Gruber, "The Staging of Writing," in Kattenbelt & Chappie, eds.,

Intermediality in

Theatre and Performance

IFTR/FIRT, 2006.

Philip Auslander,"The Surgical Self: Body Alteration and Identity,"

From Acting to

Performance: Essays in Modernism andPostmodernism

London; New York: Taylor and Francis,

2002.

Nathan Stucky and Cynthia Wimmer, "Theatre of the Oppressed with Students of Privilege:

Practicing Boal in the American College Classroom" and 'Theatre Studies/Cultural

Studies/Performance Studies: The Three Unities,"

Teaching performance studies

Southern Illinois

University Press, 2002.

Jon McKenzie, "Virtual Reality: Performance, Immersion and The Thaw,"

Drama Review

38: 4

(1994): 83-103.

Avanthi Meduri, "Western Feminist Theory, Asian Indian Performance, and a notion of Agency "

Women and Performance

5: 2 (1996): 90-103.

Richard Schechner, "What Is Performance Studies " in Schechner,

Performance Studies.

Routledge, 2003.

Patrice Pavis, trans. David Williams, "Which Theories for Which Mise-en-Scenes?",

Analyzing

Performance: Theater, Dance andFilm.

Ann Arbor: University of Michigan Press, 2003.

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

PROPOSED COURSE

Subject (eg. MAPH)

FPA

Course Title (max 80 characters]

Practicum in Comparative Media Arts

Number (eg. 810) 827

Short Title (appears on transcripts, max 25 characters)

Practicum Comp Media Arts

Course Description for SFU Calendar

(3see attached document

[X]

Learning outcomes identified

Available Course Components: [ZlLecture

dSeminar (ZlLaboratory

KlPracticum

dOnline

•.

£&

Units (eg. A) 6

Grading Basis 0Letter grades CH Satisfactory/Unsatisfactory • In Progress/Complete

This is a capstone course f_~jYes 0No

Prerequisites (if any)

[Usee attached document (if more space is required)

Enrollment in MA in Comparative Media Arts or permission of instructor

DThis proposed course is combined with an undergrad course: Course numberand units:

Additional course requirements for graduate students

QSee attached document (if this space is insufficient)

Campusat which course wilt be offered (check all that apply) [TjBurnaby QVancouver [^Surrey (Z]GNW l"~T.

Estimated enrolment

Date of initial offerinq

Spring 2014

Course delivery (eg. 3 hrs/week for 13 weeks)

120 hours of practicum placement

EU Yes Kl No

Practicum work done in this class will involve children or vulnerable adults

(If the "Yes" boxis checked, all students will require criminal record checks)

Justification

(Z]See attached document (if more space is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

warn

RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty memberls] who will normally teach this course

&] information about their competencyto teach the course is appended

Dr. Laura Marks, Dr. Denise Oleksiczjuk, Dr. Arne Eigenfeldt, Dr. Henry Daniel

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course [Zlsee attached document

Additional specialized equipment required in order to offer this course Dsee attached document

Additional Library resources required (append details)

DAnnually $_

• One-time $.

Revised April 2012

PROPOSED COURSE from first page

Program [eg. MAPH) FPA

Course title (max 80 characters)

5racticum in Comparative Media Arts

Number [eg. 810) 827

Units (eg. 4)

APPROVAL SIGNATURES

When adepartment proposes anew course it must first be sent to the chairs of each faculty graduate proqram

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via aseparate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for areport on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signatures) below indicate that the Dean(s) or designate of other Faculties affected by the proposed new course

supportfs) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Departmental Approval [non-departmentalized faculties need not sign

Department Graduate Program Committee

Arne Eigenfeldt

Department Chair

Owen Underhill

Date

Faculty Approval

Faculty approval indicates that all the necessary course content and overlap concerns have been resolved and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources.

Faculty Graduate Program Committee

Signature

&oA&h>££

°J£^£l£x,

Senate Graduate Studies Committee Approval

course

SGSC approval

proposals

indicates

are sent

that

to Senate

the Library

for information.

report has been seen, and all resource issues dealt with. Once approved

cipprovea.

new

Senate Graduate Studies Committee

Sigpature

~o-«.

Daie

is n 6

• CONTACT

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school reaardinn

other course attributes that may be required to enable the proper entry of the new course in the student record system

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

arne_e@sfu.ca

FPA 827-4 Practicum in Comparative Media Arts

Description:

This course is an elective in the MA program. Students are placed with an arts

organization in order to carry out a specific project of finite length. This may be an

organization that students identify themselves or that the MA program identifies. The

student liaises with the organization with the supervision

of a faculty member from the

MA program. The practicum takes place at the organization. Organizations include artist-

run centers, festivals offilm, media art, and performance, nonprofit organizations with

arts programs, galleries, museums, and arts publications. The student's labor time in the

practicum should total approximately 120 hours, to be carried out over the course of a

semester.

Projects are initiated by the student in consultation with the supervisor at the

organization and the

MA program supervisor. Projects can involve research, writing,

organizing events, curating exhibitions and programs, public relations, media production,

archiving, and related activities. The student submits a proposal that indicates the

project's purpose, schedule, plans for documenting and reporting, and planned outcome.

Final outcomes will vary depending on the placement.

The MA program director and the supervisor at the organization approve the project, and

they and the student agree on the grading criteria.

Agreements: The student, the MA program director, and the supervisor at the

organization sign a letter of agreement. Since the practicum is an unpaid work placement

considered an assigned work experience required towards completion of the degree,

students are covered by WorkSafe BC under Section 3(7)(a) Coverage registration No.

112786, "Work Experience Program." Students will need to file a Work Study Program

Agreement with the Worksafe BC office at SFU. In some cases the project must be

approved by the Ethics Review Board.

During the placement, the student reports biweekly to the MA program

supervisor. At the end of the semester the student submits a report on the outcome of the

project, with documentation of the project as an appendix. Responsibility for grading is

shared by the MA program supervisor and the supervisorat the organization, who will

also provide a brief written report on the student's performance and project.

Course outcomes:

Students will be able to apply academic knowledge and skills in an arts-related

workplace. They will learn some aspectsof daily operations in an arts organization. They

will be able to complete a finite projectthat serves a specific need for the organization,

which should givethem a basis for carrying comparable projects in future employment.

Prerequisite:

Enrolment in MA in ComparativeMedia Arts or permission of the program

director.

Grading:

The supervisorat the organizationwill recommend a grade to the MA supervisor. It will

comprise one grade for ongoing performance, which includes preparedness, efficiency,

initiative, coUegiality, resourcefulness, creativity, professionalism, and other criteria

determined in the agreement and one

grade for the final project, again based on criteria

determined in the agreement.

By MA supervisor:

Proposal

10%

Biweekly reports

15%

Report on final project

15%

By supervisor at organization:

Ongoing performance

30%

Final project

30%

SIMON FRASER UNIVERSITY

DEAN OF GRADUATE STUDIES

New Graduate Course Proposal Form

•B» PROPOSED COURSE

Subject (eg. MAPH)

FPA

Number (eg. 810)

829

Course Title (max 80 characters)

Extended Essay in Comparative Media Arts

Short Title (appears on transcripts, max 25 characters)

Essay Comp Media

Course Description for SFU Calendar

Qsee attached document

0 Learning outcomes identified

Units (eg. 4)6

Writing course in

conjunction with

Available Course Components: QLecture dSeminar ^Laboratory QPracticum OOnline H

FPA

bZZ

Grading Basis 0Letter grades OSatisfactory/Unsatisfactory din Progress/Complete

Thisis a capstone course EHYes HNo

'rereguisites (if any)

[Zlseeattached document (if more space is required)

inrollment in MA in Comparative Media Arts, FPA 821-4, Research Methods, and two electives.

DThis proposed course is combined with an undergrad course:Course number and units:

Additional course requirements for graduate students

DSee attached document (if this space is insufficient)

Campus at which course will be offered (check all that apply)

OBurnaby

[X]Vancouver

EUSurrey CJGNVV |~l.

Estimated enrolment

Date of initial offering

Summer 2014 "

Course delivery [eg. 3

hrs/week for 13 weeks)

Writing course in conjunction with FPA 822

• Yes H No

Practicum work done in this class will involve children or vulnerable adults

[If the "Yes" box is checked, all students will require criminal record checks)

Justification

QSee attached document (if morespace is required)

New course for MA in Comparative Media Arts by Cohort Special Arrangements

^•t RESOURCES

If additional resources are required to offer this course, the department proposing the course should be prepared to

provide information on the source(s) of those additional resources.

Faculty member(s) who will normally teach thiscourse

^informationabout their competency to teach the course is appended

Dr. Laura Marks, Dr. Denise Oleksiczjuk, DrTHenry Daniels, Dr. Arne Eigenfeldt, Dr. Chris Pavsel

Number of additional faculty members required in order to offer this course

Additional space required in order to offer this course [Zlsee attached document

Additional specialized equipment required in order to offer this course Dsee attached document

Additional Library resources required (append details)

fjAnnually $_

• One-time$_

Revised April 2012

PROPOSED COURSE from first page

Program (eg. MAPH) FPA

Number (eg. 810) 829

Units (eg. 4) 6

Course title (max 80 characters)

Extended Essay in Comparative Media Arts

mam

approval signatures

When a department proposes a new course itmust first be sent to the chairs of each faculty graduate program

committee where there might be an overlap in course content. The chairs will indicate that overlap concerns have

been dealt with by signing the appropriate space or via a separate memo or e-mail (attached to this form).

The new course proposal must also be sent to the Library for a report on library resources.

Once overlap concerns have been dealt with, signatures indicate approval by the department, home faculty and

Senate Graduate Studies Committee.

Other Faculties

The signaturelsl below indicate that the Deanls) or designate of other Faculties affected by the proposed new course

support(s) the approval of the new course.

Name of Faculty

Signature of Dean or Designate

Departmental Approval

(non-departmentalized faculties need not sign]

Department Graduate Program Committee

Arne Eigenfeldt

Department Chair

Owen Underhill

Signature

Date

.4- t"

1j3I

Date

Faculty Approval

Faculty approval indicates that allthe necessary course content and overlap concerns have been resolved, and that the

Faculty/Department commits to providing the required Library funds and any other necessary resources. '

Faculty Graduate Program Committee

Signature

&ML&&sf-

Date

IgOct- (X

Senate Graduate Studies Committee Approval

SGSC approval indicates that the Library report has been seen, and all resource issues dealt with. Once approved, new

course proposals are sent to Senate for information.

Senate Graduate Studies Committee

Date

CONTACT

Upon approval of the course, the Office of the Dean of Graduate Studies will consult with the department or school regarding

other course attributes that may be required to enable the proper entry of the new course in the student record system.

Department / School / Program

School for the Contemporary Art

Contact name

Arne Eigenfeldt

Contact email

arne e@sfu.ca

FPA 829-6 Extended Essay in Comparative Media Arts

Description:

Thisessay is thefinal project of the MA, and is completed in thefourth semester

of the program.

The extended essay builds on knowledge students have gained in coursework. It

requires them to research in depth a topic in comparative media arts and develop and

polish an original argument, with thegoal of producing an essay suitable for publication.

Alternatively, students can combine two essays written during theircoursework in

this MA, one of which must have been instructed by a faculty member in the School for

the Contemporary Arts; however, the student is still expected to build upon and develop

the topics covered in the coursework.

The length should be that of a typical academic journal article in the media arts,

about 6000-7000 words. Students may also write a catalogue essay or similar non-

academic publication, supplemented by an academic essay.

The object of study may be a single workor a group of works. Methodological,

historical, and theoretical approaches should be clearly identified. In researching these,

students should identify other scholars who work with similar objects of study and

approaches: this is the intellectual company of the extended essay. Students should

clarify in what ways their projectboth belongs to this company and contributes

something original. The Research Methods course will have established methods by

which to do this.

Students research the extended essay independently, but they develop and polish

it in the Research Colloquium, FPA 822-4. In the colloquium they write the essay

proposal and drafts, give and receive peerreview, prepare to submit the essayfor

publication, and prepare to make a 20-minute public presentation of it at the culminating

research symposium.

Students may enroll in the extended essay continuously beginning in the third

(summer) semester if they wish, or they may enroll in it in the fourth (fall) semester only.

Prerequisites:

FPA 821-4, Research Methods, and two electives in the MA in Comparative

Media Arts.

Grading:

The essay is evaluated by the faculty member leading the Research Colloquium in

the fourth semester and by one other faculty member appointed by the MA program

supervisor. They jointly assign a grade of Pass with Distinction, Pass, or Fail. A student

who fails may be permitted a second and final attempt.

Appendix II

Calendar description for the proposed program

Master of Arts in Comparative Media Arts Program

Schoolfor the Contemporary Arts / Faculty of Communication, Art, and Technology

Simon Fraser University Calendar 2013 Fall

This Master of Arts (MA) degree program in Comparative Media Arts trains students to

think across the media arts in a comparative perspective that synthesizes the historical

and theoretical approaches of art history, cinema studies, performance studies, and

studies of computer-based arts.

Admission Requirements

Applicants will hold a Bachelor of Arts degree with at least a 3.5 grade point average

(GPA) in studies of the arts, or equivalent humanities disciplines. Students with a

Bachelor of Fine Arts degree may be admitted iftheir studies included a substantial

scholarly component.

Candidates must also satisfy the general admission requirements as shown in the

Graduate General Regulations.

Program of Study

This is normally a four-semester program. Students complete 30 units, including:

• FPA 821-4 Research Methods in Comparative Media Arts

• FPA 822-4 Research Colloquium in Comparative Media Arts

and at least three of:

• FPA823-4 New approaches in visual art and culture

• FPA 824-4 New approaches in moving-image studies

• FPA 825-4 New approaches in digital art studies

• FPA 826-4 New approaches in performance studies

• FPA 827-4 Practicum in comparative media arts

Students must take one additional graduate course within the School for the

Contemporary Arts, or from another department with the permission of the MA

Program coordinator and the faculty member teaching the course.

and

• FPA 828-6 Extended Essay

FPA 821-4 Research Methods, taken in the first semester, prepares students for

research across the media arts, while each elective deepens thestudent'sknowledge of

43,

the history and theory of individual media arts. In FPA 828-6, the Extended Essay,

students research in depth a topic in comparative media arts and develop and polish an

original argument, with the goal of producing an essaysuitable for publication.

FPA 822-4, Research Colloquium,taken in the fourth semester, supervises the

completion of the extended essay and prepares students in research presentation and

other aspects of professional development. The program concludes with a public

symposium in which students present the extended essay.

Academic Requirements within

the

Graduate General Regulations

All graduate students must satisfy the academic requirements that are specified in the

Graduate General Regulations (residence, course work, academic progress, supervision,

research competence requirement, completion time, and degree completion), as well as

the specific requirements for the program in which they are enrolled, as shown above.

New Courses

FPA 821-4 Research Methods in Comparative Media Arts

This course presents methods in graduate-level research skills, including

interdisciplinary research methods. Prepares students to develop research

questions for particular objects of study in the media arts through the study of

philosophies of emergence, newness, and durability. Enrolment in MA in

Comparative Media Arts or permission of the instructor.

FPA 822-4 Research Colloquium in Comparative Media Arts

This course prepares students in research presentation and other aspects of

professional development through the development ofthe extended research essay

and its public presentation. Prerequisite: Enrolment in MA in Comparative Media

Arts or permission of the instructor.

FPA 823-4 New Approaches in Art and Visual Culture

This seminar course explores visual art and culture and its historical discourses and

practices. Prerequisite: Enrolment in MA in Comparative Media Artsorpermission

ofthe instructor.

FPA 824-4 New Approaches in Moving-Image Studies

This seminar course examines the arts ofthe moving image, including film, video,

and othertime-based audiovisual media. Prerequisite: Enrolment in MA in

Comparative Media Arts or permission of the instructor.

FPA 825-4 New Approaches in Digital Art Studies

This seminar course examines the history and practice ofdigital art, with an

emphasis upon theartistic outcomes ofthe new methodologies and practices within

this field. Prerequisite: Enrolment in MA in Comparative Media Arts or permission

of the instructor.

FPA 826-4 New Approaches in Performance Studies

This seminar course traces the interdisciplinary origins ofperformance studies and

brings itsconcepts and methods to bear on dance, music and sound arts, theatre and

performance arts, and media performance while introducing cross-disciplinary

ideas from emergent areas such as neuroscience, cognitive science, and gaming.

Prerequisite: Enrolment in MA in Comparative Media Arts or permission ofthe

instructor.

FPA 827-4 Practicum in Comparative Media Arts

A term of full-time advanced and intensive practicum experience supervised by

selected faculty and arts organization personnel. Students will assume a large

measure of responsibility and participate in a range of activities related to the

placement. Prerequisite: Enrolment in MA in Comparative Media Arts or permission

of the program director.

FPA829-6 Extended Essay in Comparative Media Arts

The composition of an essay serving as the final project of the MA, building upon the

knowledge gained in coursework within the program. Prerequisite: FPA 821-4,

Research Methods, and two electives in the MA in Comparative Media Arts.

(VIA in Comparative Media Arts

AOvic:'"^!;;-

/•'.nni

Note on revenues:

The projected budget is based on a complement of 15full-time graduatestudents. (Elective

courses admit up to 20 students to accommodatestudents from other departments.) For revenues, we assume tuition

feesof $7521 perstudent over4 semesters. The university receives a provincial operating grant for each student,

equal to $8750 per AFTE.

Note on expenses. Nonew teaching resources will be required, because SCA hasreconfigured its

undergraduate teaching in order to free up teaching resources at both the undergraduate and graduate levels. We will

be able to run the program with existing faculty during the Cohort Special Arrangements trial period. As stated in

the Notice

of Intent. Additional Information, "The SCA commits to providing tenure-track teaching resources to

support the new MA. This will be provided for through increased flexibility at the undergraduate level, which will

allow for course loading ofthe current appropriate tenure track faculty to teach the MA courses."

The program will needa part-time graduate program clerk. The program will need a budget for promotion, supplies,

the annual symposium, and purchases of media- art works for the library. The library report indicates no other new

costs. Thusthe incremental cost would be $16,543 in 5 years. TheSchool for the Contemporary Artshas agreed to

cover these costs from within their current budget.

Expenses per Cohort of15

Full Cost

Incremental Cost

Faculty

.66 CFL or

$65,500

Clerical Support

$7692

Benefits

$13,906

$1351

Marketing & Promotion

$2000

Materials and Supplies

$2000

Other

$2000

Library

$1500

Total

$94,958

$16,543

Revenues per Cohort of 15 (Estimated]

Provincial Grant to SFU*

$32,584

Tuition Fees**

$115,071

Total Revenue to SFU

$147,655

Flow thru of revenue to FCAT***

$100,406

Flow thru of Revenue to SCA ****

$93,879

♦Figured

as change in FCAT allocation as percentage of total

** Figured on basisof 75%domestic gradand 25% international, withestimated additional 8% tuition for

international

*** Figured with 32% overhead to SFU

****

Figured with 6.5% overhead to FCAT

Revenue less Expenses: -S719

As a Cohort Special Arrangement, the MA in Comparative Media Arts will start in September 2013 and end in

December 2016. We will propose the full program in Fall 2015, and we expect tohave the full program in place by

September 2016.

Library (media art purchases)

1500

Total expenses

16,543

Appendix 4

Steering Committee

The MA steering committee will be a subcommittee of the School for Contemporary

Arts Graduate Program Committee.

Dr. Henry Daniel

Research specialization: Research-creation; performance studies

Dr. Arne Eigenfeldt

Research specialization: New media and performance

Dr. Jacqueline Levitin

Research specialization: Film history, genre studies, women filmmakers, Chinese

cinemas, art of film directing, post-colonial cinemas

Dr. Laura Marks

Research specialization: Cinema and media studies; new media art; experimental media;

visual culture; art and philosophy

Dr. Denise Oleksijczuk

Research specialization: Visual culture; photography; pre-cinematicmedia arts; curating

Dr. Christopher Pavsek

Research specialization: Non-fiction cinema and art; cinema studies; critical theory

Professor Judy Radul

Research specialization: Document and documentary; art and theory