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HOUSEKEEPING COVER SHEET
Use this form to propose changes to courses that fall under the College of Design Policy
on Routine Maintenance and Housekeeping Decisions.
Housekeeping
Effective Term: Spring 2016
Department: DHA
Career: X Undergraduate
□ Graduate
Course Designator: GDES
Course Number: 2399W
Program: GDES
Submission Date: 2/20/2015
Submission from: A. Heldt
Required: Academic Support
Resources (ASR) Needed
□
□
□
□
□
□
□
X
Libraries
Computer Lab
Digifab Lab
Goldstein
Imaging Lab
Other Technology
Workshop
ASR Support not needed.
Select Changes:
□
□
X
□
Change in Delivery Format
Change in Grading Method
Change in Prerequisite
Other:
I.
□
□
□
□
Change in Catalog Description
Change in Course Number
Change in Course Title
Change in Term Offered
□ Correction of typographical or
grammatical errors
□ Offering of a Topic
Number of times this specific topic has
been offered in the past five years:
including this one.
Briefly describe proposed changes. (Executive Summary in Workflow Gen)
Add 1311,!1312,!1315,!DES!1101,![graphic!design!major!or!pre:major!or!design!minor]!to!catalog prerequisite for GDES 2399W per faculty review. Currently there aren’t any catalog pre-requisites.
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Approvals Received:
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Approvals Pending:
Department > College/Dean > Provost > WI > Catalog
Effective Status:
Active
Effective Term:
New: 1163 - Spring 2016
Old: 1133 - Spring 2013
Course:
GDES 2399W
Institution:
Campus:
UMNTC - Twin Cities
UMNTC - Twin Cities
Career:
UGRD
College:
TALA - College of Design
Department:
10830 - DHA Graphic Design
General
Course Title Short:
Design and its Discontents
Course Title Long:
Design and its Discontents: Design, Society, Economy and Culture
Max-Min Credits
for Course:
3.0 to 3.0 credit(s)
Catalog
Description:
Secret history of modern, postmodern, and contemporary design. Principles/practices of
designers who operate outside of main stream. Innovators, activists, cultural gadflies whose
work challenges, provokes, and inspires. Context of economy, society, culture, and politics.
Lecture, research, studio production. Written project proposals/reflections/blogging.
Print in Catalog?:
Yes
CCE Catalog
Description:
<no text provided>
Grading Basis:
A-F only
Topics Course:
No
Honors Course:
No
Online Course:
No
Instructor
Contact Hours:
3.0 hours per week
Years most
frequently offered:
Every academic year
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Term(s) most
frequently offered:
Spring
Component 1:
LEC (no final exam)
Auto-Enroll
Course:
No
Graded
Component:
LEC
Academic
Progress Units:
Not allowed to bypass limits.
3.0 credit(s)
Financial Aid
Progress Units:
Not allowed to bypass limits.
3.0 credit(s)
Repetition of
Course:
Repetition not allowed.
Course
Prerequisites
for Catalog:
New: 1311, 1312, 1315, DES 1101, [graphic design major or pre-major or design minor]
Old: <no text provided>
Course
Equivalency:
No course equivalencies
Consent
Requirement:
No required consent
Enforced
Prerequisites:
(course-based or
non-course-based)
No prerequisites
Editor Comments:
<no text provided>
Proposal Changes:
<no text provided>
History Information:
Proposed class replaces GDes 4365W Senior Seminar.
Faculty
Sponsor Name:
Daniel Jasper
Faculty
Sponsor E-mail Address:
[email protected]
Student Learning Outcomes
Student Learning Outcomes:
* Student in the course:
- Can locate and critically evaluate information
Please explain briefly how this outcome will be addressed in the course. Give brief
examples of class work related to the outcome.
There will be a series of research activities that will be performed both in class and in the
field. The duration of some activities will be a few hours while others will last several
weeks. Throughout the semester students will be required to analyze, internalize,
synthesize and realize2. Meaning, most class activities will eventually lead to or be used
to inform the production of some type of deliverable; whether it be a written paper, a
presentation, an exhibition or even an object.
How will you assess the students' learning related to this outcome? Give brief examples of
how class work related to the outcome will be evaluated.
Writing is an important component of this course. There will be a series of three to four
writing assignments that will require the student to use penetrating cognitive and
analytical skills as well as insightful emotional and volitional processes. Some of the
writing will be low-stakes assignments that will engage one s intuition and ability to
deconstruct and read their environment. At least one writing project will be much
more in depth and require the student to gather data, resources and experiences over a
prolonged period of time and synthesize that information into a cohesive and compelling
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research paper and then presentation. That information will be further synthesized into
the form of a design brief that will then inform and instruct the physical design of poster,
product, object, etc. The paper will be graded by myself. The design product will be
critiqued by peers and graded by myself.
Liberal Education
Requirement
this course fulfills:
None
Other requirement
this course fulfills:
None
Criteria for
Core Courses:
Describe how the course meets the specific bullet points for the proposed core requirement.
Give concrete and detailed examples for the course syllabus, detailed outline, laboratory
material, student projects, or other instructional materials or method.
Core courses must meet the following requirements:
They explicitly help students understand what liberal education is, how the content and
the substance of this course enhance a liberal education, and what this means for them
as students and as citizens.
They employ teaching and learning strategies that engage students with doing the work
of the field, not just reading about it.
They include small group experiences (such as discussion sections or labs) and use writing
as appropriate to the discipline to help students learn and reflect on their learning.
They do not (except in rare and clearly justified cases) have prerequisites beyond the
University's entrance requirements.
They are offered on a regular schedule.
They are taught by regular faculty or under exceptional circumstances by instructors on
continuing appointments. Departments proposing instructors other than regular faculty
must provide documentation of how such instructors will be trained and supervised to
ensure consistency and continuity in courses.
<no text provided>
Criteria for
Theme Courses:
Describe how the course meets the specific bullet points for the proposed theme requirement. Give concrete and detailed
examples for the course syllabus, detailed outline, laboratory material, student projects, or other instructional materials or
methods.
Theme courses have the common goal of cultivating in students a number of habits of mind:
thinking ethically about important challenges facing our society and world;
reflecting on the shared sense of responsibility required to build and maintain community;
connecting knowledge and practice;
fostering a stronger sense of our roles as historical agents.
<no text provided>
LE Recertification-Reflection Statement:
(for LE courses being re-certified only)
<no text provided>
Statement of Certification:
This course is certified for a Core, effective as of
This course is certified for a Theme, effective as of
Writing Intensive
Propose this course
as Writing Intensive
curriculum:
Yes
Question 1 (see CWB Requirement 1):
How do writing assignments and writing instruction further the learning objectives of this course and how is writing
integrated into the course? Note that the syllabus must reflect the critical role that writing plays in the course.
Writing will be both an end in itself and a process of idea/design development. As the writing
process parallels the iterative design process, students will use drafts to evolve their writing
while concurrently working on creative design ideas.
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Question 2 (see CWB Requirement 2):
What types of writing (e.g., research papers, problem sets, presentations, technical documents, lab reports, essays,
journaling etc.) will be assigned? Explain how these assignments meet the requirement that writing be a significant part of
the course work, including details about multi-authored assignments, if any. Include the required length for each writing
assignment and demonstrate how the minimum word count (or its equivalent) for finished writing will be met.
Some of the writing will be low-stakes assignments that will engage one s intuition and
ability to deconstruct and read their environment. At least one writing project will be much
more in depth and require the student to gather data, resources and experiences over a
prolonged period of time and synthesize that information into a cohesive and compelling
research paper (200 word) and then a Power Point-like presentation. The students will be
expected to maintain a blog whose content will be centered around the themes of the class.
The student will be expected to subscribe to, read and comment on the blogs of classmates.
Question 3 (see CWB Requirement 3):
How will students' final course grade depend on their writing performance? What percentage of the course grade will
depend on the quality and level of the student's writing compared to the percentage of the grade that depends on the
course content? Note that this information must also be on the syllabus.
Semester Learning Models Grade Breakdown
%10 In-Class Participation
%10 Conspicuous Consumption Blog
%10 $5 Shopping Spree Reaction Paper: (500 word minimum)
%05 $5 Shopping Spree scripted PowerPoint presentation (200 words/8 minutes)
%15 A Scholarly Memoir of Consumption Paper: (2000 words exactly)
%15 A Scholarly Memoir of Consumption scripted PowerPoint presentation(200 words/8 minutes)
%15 Exhibition academic poster presentation of research 300 words
%20 Final Service Learning Project
Question 4 (see CWB Requirement 4):
Indicate which assignment(s) students will be required to revise and resubmit after feedback from the instructor. Indicate
who will be providing the feedback. Include an example of the assignment instructions you are likely to use for this
assignment or assignments.
A Scholarly Memoir of Consumption Paper will receive feedback from me as the instructor.
EXAMPLE: Typically in research papers you are asked to remove any reference to yourself from
the writing. Part of the reason for this disinterested observer approach is to increase your
credibility as a researcher and to enhance the veracity of your findings especially within
scientific or journalistic contexts. In this paper it is perfectly acceptable to use subjective,
objective and possessive pronouns like I , me , and my . There is no way to extract
yourself from that which you are writing about in this assignment: You are a graphic designer.
You are a consumer. You live in a consumer-centric society and through your work as a designer
you help create the consumer-centric society you live in.
Having said that, your approach to writing about your experience should still be a scholarly
one. Meaning, you need to take a position on that which you are writing about and you need to
support that position with primary and secondary source citations. For instance, it is OK to
passionately insist that advertising exploits the insecurities women harbor (insecurities likely
created by advertising) concerning their weight, age and physical appearances in order to sell
their particular brand of products but you need to support that assertion through citation of
reputable sources.
The subject of your paper, the research and the positioning of your argument should present a
viewpoint that is novel, relevant and of contemporary interest in the area of graphic design.
That is not to say that a historical analysis of your subject cannot be a part of your writing as
long as it reflects upon and informs about a current condition in your day-to-day life and in the
broader society and culture.
Format: The paper should be no less than 2000 words in length, double spaced, set in 11 point,
Times or Times New Roman type. The paper should have a cover page and the body of the
paper should follow standard APA format. If you are unsure about what that entails this web
site can answer most if not all of your questions:
http://owl.english.purdue.edu/owl/resource/560/01/
Your bibliography should contain, at a minimum, no fewer than five sources. These must also
include hard-copy resources such as books or periodicals.
Audience: We can assume that part of our audience is at least as educated as we are and
perhaps more so. But in addition to a purely academic audience that would likely read scholarly
journals we should seek to engage a broader audience by using an intelligent yet accessible
writing style. This means you should avoid jargon that might be particular to your area of study
or discipline which has a tendency to alienate those outside who are not a part of the club, so
to speak.
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PROJECT VALUES
Original: Originality, of course, assumes that you are not plagiarizing your paper. Aside from
that what might originality mean in this context? Specifically I'm looking for originality of ideas.
The freshness or novelty of a method of research or approach to your topic. The ability to think
or express oneself in an independent and individual manner. This is precisely where your
personal experience and your personal viewpoint is valuable in this assignment because it
automatically distinguishes what you produce from all that has come before and all that will
follow simply because it comes from you an original source.
Clear: Free from obscurity and free from indistinctness or ambiguity. Your primary goal in this
paper is to communicate your learned thoughts and ideas to a broader audience. It is OK to
write about ambiguity or obscurity either as a thing in itself or as a quality of something you
are analyzing. It is not OK, however, to write in an ambiguous or obscure manner. Strive for
comprehensibility and clear expression.
Grammatical: No matter how thorough your research, no matter how insightful your
observations, no matter how brilliant your analysis if you do not use proper English grammar all
of your good work will be wasted. The most valuable currency a research writer has is their
credibility. If you are not writing grammatically correct sentences then all of your research and
all of your brilliant ideas are called into question. If the reader of your paper cannot trust you
to formulate a sentence properly, then they likely will not trust the thoroughness of your
research or the brilliance of your analysis. You must sweat the details in this regard. Beginning
early in the process of writing your paper, I strongly recommend visiting the Student Writing
Support section of the university s Center for Writing web page
(http://writing.umn.edu/sws/index.htm) and scheduling an appointment with one of their
consultants.
Finally, I encourage everyone to revisit the first page of our syllabus and read the course
description again. Whether implied or firmly stated there are a set of values within that text
that are directly applicable to this project. I list just four of those values again here:
Analyze- discover or reveal through examination.
Internalize- make part of one s nature by learning.
Synthesize- combine a number of things into a coherent whole.
Realize- give actual or physical form to.
Question 5 (see CWB Requirement 5):
What types of writing instruction will be experienced by students? How much class time will be devoted to explicit writing
instruction and at what points in the semester? What types of writing support and resources will be provided to students?
Each writing assignment will be preceded by writing instruction in the form of topic
development tools like mind mapping and other writing tools developed by the surrealists
writers of the early to mid 20th century. Many current writing experts have copied and
claimed as their own these writing techniques. Each assignemt will involve peer review
processes at the draft stage of writing. A class visit from a Writing Center representative
will happen at the beginning of the semester. For the 2000 word research paper the student
will be required to meet with a Writing Center representative before submitting the final draft.
Question 6 (see CWB Requirement 6):
If teaching assistants will participate in writing assessment and writing instruction, explain how will they be trained (e.g. in
how to review, grade and respond to student writing) and how will they be supervised. If the course is taught in multiple
sections with multiple faculty (e.g. a capstone directed studies course), explain how every faculty mentor will ensure that
their students will receive a writing intensive experience.
Not applicable.
Statement of Certification:
This course is certified as Writing Internsive effective as of
daeR
Course Syllabus
Course Syllabus:
For new courses and courses in which changes in content and/or description and/or credits are
proposed, please provide a syllabus that includes the following information: course goals and
description; format;structure of the course (proposed number of instructor contact hours per
week, student workload effort per week, etc.); topics to be covered; scope and nature of
assigned readings (text, authors, frequency, amount per week); required course assignments;
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nature of any student projects; and how students will be evaluated. The University "Syllabi
Policy" can be found here
The University policy on credits is found under Section 4A of "Standards for Semester
Conversion" found here. Course syllabus information will be retained in this system until new
syllabus information is entered with the next major course modification. This course syllabus
information may not correspond to the course as offered in a particular semester.
(Please limit text to about 12 pages. Text copied and pasted from other sources will not retain
formatting and special characters might not copy properly.)
GDes 2399W: Design and its Discontents: Design, Society, Economy and Culture
Daniel Jasper
Associate Professor
246B McNeal Hall
Phone: 612-624-1307
[email protected] (preferred method)
Course Description
Design, Society, Economy and Culture(D-SEC) is a mid-career lecture/studio course in the
Graphic Design program. It is designated as a Writing Intensive course, and also meets the
Citizenship, Public Ethics requirement. It is a thesis preparatory experience that will provide
students with the opportunity to complete a series of in-depth research papers and supporting
design projects. The success of these comprehensive graphic design projects will depend on
good research, reasoned and well conceived proposals, a rigorous design process and
impeccable presentation skills.
The class will trace a secret history of Modern, Post Modern and contemporary design
emphasizing the principles and practices of designers who choose to operate outside of the
professional main stream. The focus of the course will eschew the usual suspects of the
historical design canon in favor of innovators, activists and cultural gadflies whose work
challenges, provokes and ultimately inspires. Instead of at the periphery, the course will place
the overlapping contexts of economy, society, culture and politics at the center of that which
designers do and what they produce. This Writing Intensive course will be a combination of
lecture, research and studio production. Through our work we will redefine the boundaries of
what it means to write, seamlessly integrating writing processes with hands-on studio
production in the form of project proposals, project reflections, process blogging and first
person phenomenological research.
Course Activities & Learning Models
The research papers and resulting projects will be of the complexity and magnitude to warrant
assignment in a rigorous, mid-career, college level course. It is expected that the design
projects will be of high quality, both in concept and technical execution. The content of both
the papers and the projects will relate to current societal issues with the intent of positioning
the student as an active force within the design profession, within the beliefs and values of our
society and as producers and consumers of our culture. Written and verbal criticism, analysis,
documentation and reflection, with the goal of assessing the roles visual communications play
in our economy, society and culture, will be incorporated into the course.
Students will read essays, articles and books that discuss design, culture, politics and history
from a variety of critical perspectives. The nature of the readings will range from the topical to
the historical. The writing styles encountered will range from breezy and conversational to
esoteric and philosophical. All of the readings are intended to enhance the student s
understanding of their personal relationship within our economy, our culture in all its forms and
the consumer-centric society which we help propagate through our work.
Following the dialectical model(1) of exposition the themes, theories and ideas explored in the
readings will be discussed at great length in the classroom. In addition each student, either
individually or with a group, will have the opportunity to lead the discussion for the readings
on a given day and topic.
Writing is an important component of this course. There will be a series of three to four writing
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assignments that will require the student to use penetrating cognitive and analytical skills as
well as insightful emotional and volitional processes. Some of the writing will be low-stakes
assignments that will engage one s intuition and ability to deconstruct and read their
environment. At least one writing project will be much more in depth and require the student
to gather data, resources and experiences over a prolonged period of time and synthesize that
information into a cohesive and compelling research paper and presentation. The students will
be expected to maintain a blog centered around the themes of the class. The student will be
expected to subscribe to, read and comment on the blogs of classmates.
There will be a series of research activities that will be performed both in class and in the
field. The duration of some activities will be a few hours while others will last several weeks.
Throughout the semester students will be required to analyze, internalize, synthesize and
realize(2). Meaning, most class activities will eventually lead to or be used to inform the
production of some type of deliverable; whether it be a written paper, a presentation, an
exhibition or even an object.
The course structure and content are framed using a holistic(3) approach wherein all activities
are intended to develop sensitivity and build awareness of the student s own personal
relationship within a consumer-centric economy and culture as well as their roles and
responsibilities within society as designers. Students will be required to think critically and
analytically to make broader connections exploring the personal via the universal and the
universal via the personal experience. With this in mind, the phenomenological(4) model of
research and exposition will be vigorously embraced in all assignments.
Writing Instruction
Specifically tailored writing instruction will accompany each writing assignment. For instance
the first short paper (1000 words) will provide an opportunity to examine writing structures and
appropriate formatting for academic papers. Issues concerning outlining and abstract writing
along with the proper use of citations will be addressed. In this assignment the student will
first submit a 250 to 300 word abstract for review by the instructor with comment delivered in
a one-on-one consultation. The second writing assignment (2000 words) will focus more intently
on idea generation and topic development. This project will dedicate an entire class period to
in-class ideation exercises including idea mapping, peer-to-peer topic interviews along with
explorations of the author s subconscious mind using inventive writing exercises developed by
Surrealist writers of the early 20th Century. This paper will require students to use the
University of Minnesota s Center for Writing, Student Writing Support s face-to-face and
online resources. The third writing assignment (3000 words) will challenge the student to
analyze and synthesize information gathered from semester-long research processes in which
they have been engaged. The goal is to look internally for patterns within the information
gathered and then make connections externally to existing research in the field and wider
bodies of knowledge. The student must then fashion this new-found information and knowledge
into a compelling narrative that is one part research paper and one part memoir. The instructor
will review the paper in first draft format and then return the paper to the student with
written comments regarding the paper s thesis, structure, logic, clarity and the strength and
validity of one s argument.
Writing Goals
Original: Originality, of course, assumes that you are not plagiarizing your paper.
Aside from that what might originality mean in this context? Specifically I'm looking
for originality of ideas. The freshness or novelty of a method of research or approach
to your topic. The ability to think or express oneself in an independent and individual
manner. This is precisely where your personal experience and your personal
viewpoint is valuable in this class because it automatically distinguishes what
you produce from all that has come before and all that will follow simply because it
comes from you an original source.
Clear: Free from obscurity and free from indistinctness or ambiguity. Your primary
goal in this class is to communicate your learned thoughts and ideas to a broader
audience. It is OK to write about ambiguity or obscurity either as a thing in itself
or as a quality of something you are analyzing. It is not OK, however, to write in an
ambiguous or obscure manner. Strive for comprehensibility and clear expression.
Grammatical: No matter how thorough your research, no matter how insightful
your observations, no matter how brilliant your analysis if you do not use proper
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English grammar all of your good work will be wasted. The most valuable currency
a research writer has is their credibility. If you are not writing grammatically correct
sentences then all of your research and all of your brilliant ideas are called
into question. If the reader of your paper cannot trust you to formulate a sentence
properly, then they likely will not trust the thoroughness of your research or the brilliance
of your analysis. You must sweat the details in this regard. Beginning early in
the process of writing your papers, I strongly recommend visiting the Student Writing
Support section of the university s Center for Writing web page (http://writing.umn.
edu/sws/index.htm) and scheduling an appointment with one of their consultants.
University Of Minnesota Student Learning Outcome
» Develop and implement an integrated research and design project
» Deepen students awareness of their role as creators and consumers of visual and material
culture
» Investigate issues of both professional and personal ethics including broader global contexts of
environment, economy and culture.
» Examine the role of the designer as a citizen in society, including rights and responsibilities
» Demonstrate ability to integrate investigative, analytical, and creative
» Demonstrate problem solving and critical thinking skills in assessment and analysis of course
content in the form of assigned readings, presentations and lectures.
Course Text Books
1.) Graphic Design: A Critical Guide
Drucker, J. and McVarish E. Prentice Hall; 13: 978-0132410755, 2008.
2.) Introducing Postmodernism
Appignanesi, R. and Garratt, C. Totem Books; 0-253-20628-6, 1995, 96, 97.
3.) Visible Signs: An Introduction to Semiotics
Crow, D. AVA Academia; 978-2-940373-21-5, 2003.
4.) Verbalizing the Visual: Translating Art and Design Into Words
Clark, M. AVA Academia + Theory; 13: 978-2-940373-01-7, 2007.
5.) Lipstick Traces: A Secret History of the 20th Century
Marcus, G. Harvard University Press; 0: 674-53581-2, 1989, 09.
6.) Looking Closer 5: Critical Writings on Graphic Design
Bierut, M., Drenttel, W., Heller, S. Allworth Press; 13: 78-1581154719, 2005.
Course Schedule
Week 1:
Readings LC5: Graphic Design as Systems.
Randy Nakamura: The Grand Unified Theory Of Nothing: Design, The Cult
Of Science, And The Lure Of Big Ideas.
William Drenttel: My Country Is Not A Brand.
$2 Shopping Spree project assigned.
Week 2:
Readings LC5: Graphic Design as Systems.
Andrew Blauvelt: Towards Critical Autonomy, Or Can Graphic Design Save Itself?
Jessica Helfand: Method Designing: The Paradox Of Modern Design Education.
Verbalizing the Visual: Chapter 1: Language and Meaning
$2 Shopping Spree project products due with show-n-tell.
Begin Conspicuous Collection Blog assignment.
Week 3:
Readings LC5: Graphic Design as Systems.
Default Systems Design: A Discussion With Rob Giampietro About Guilt And Loss In Graphic
Design.
Verbalizing the Visual: Chapter 2: Formal Language The Academic Disciplines of Art and Design.
$2 Shopping Spree paper due: FIRST DRAFT. Peer review.
Week 4:
Readings LC5: Graphic Design as Systems.
Johanna Drucker: Quantum Leap: Beyond Literal Materiality
Alice Twemlow: From The (A) Trivial To The (B) Deadly Serious, Lists Dominate Visual Culture.
Verbalizing the Visual: Chapter 3: Informal Language: Beyond the Academic Disciplines.
$2 Shopping Spree paper due: FINAL
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Interim critique of Conspicuous Collection blog: G-1
Interim critique of Conspicuous Collection blog: G-2
Week 5:
Readings LC5: Graphic Design as Culture.
Rick Poynor: The Beauty Part
Christine Rosen: The Image Culture
Verbalizing the Visual: Chapter 4: Studio Talk.
Proposals due for Conspicuous Collection Exhibition: ALL.
A Scholarly Memoir of Consumption paper assigned
Week 6:
Readings LC5: Graphic Design as Culture.
Emily King: Thinking Inside The Box: Aspen Revisited.
Paola Antonelli: Graphic Design In The Collection Of Museum Of Modern Art.
Verbalizing the Visual: Chapter 5: The Essay.
Week 7:
Readings LC5: Graphic Design as Politics.
Steven Heller: Graphic Design As Politics: A President And His Dog.
Karrie Jacobs: The Citizen Designer.
First draft of images for A Scholarly Memoir of Consumption presentation:
Groups 1 and 2. First draft of images for A Scholarly Memoir of Consumption presentation:
Groups 3 and 4.
Week 8:
Readings LC5: Graphic Design as Politics.
Victor Margolin: Where Public Meets Private: Los Angeles Woman s Building.
Teal Triggs: The Shock Of The Old: Rethinking Nostalgia.
Verbalizing the Visual: Chapter 6: Other Written Texts.
First draft of presentation for A Scholarly Memoir of Consumption presentation:
Groups 1 and 2. First draft of presentation for A Scholarly Memoir of Consumption presentation:
Groups 3 and 4. Interim critique for Conspicuous Collection Exhibition: Groups 1 and 2. Interim
critique for Conspicuous Collection Exhibition: Groups 3 and 4.
Week 9:
Readings LC5: Graphic Design as Politics.
Steven Heller: Fighting The Image Wars
Richard Buchanan: Human Dignity And Human Rights: Thoughts On The Principles Of HumanCentered Design.
Visible Signs: Chapter 1: Components. Chapter 2: How Meaning is Formed.
Installation for Conspicuous Collection Exhibition: Groups 1, 2, 3 and 4.
Week 10:
Readings LC5: Graphic Design as Passion.
Adrian Shaughnessy: The Cult Of Graphic Design.
Véronique Vienne: Graphic Fantasies: Reflections In The Glass Ceiling.
Visible Signs: Chapter 3: Reading the Sign. Chapter 4: Text and Image.
Critique: Conspicuous Collection Exhibition: Groups 1, 2, 3 and 4.
Week 11:
Visible Signs: Chapter 5: Official Language. Chapter 6: Unofficial Language.
Lipstick Traces: Version One: The Last Sex Pistols Concert.
A Scholarly Memoir of Consumption presentations: Groups 1 and 2.
A Scholarly Memoir of Consumption presentations: Groups 3 and 4.
Week 12:
Visible Signs: Chapter 7: Symbolic Creativity. Chapter 8: Junk and Culture.
Lipstick Traces: Version One: The Last Sex Pistols Concert.
Introduction: Group Service-learning Project (the client/project to be determined each
semester). The students of GDES 2399 will contract with a community based non-profit cause or
organization and embark on a design project that will put into context and into action much
of the reading and writing assigned over the semester. This project will serve as a culminating
experience for the course and round-out much of the remaining 3 weeks of the semester.
https://webapps-prd.oit.umn.edu/ecas/viewCourseProposal.jsp?EcasId=51536&seq=3[2/19/2015 4:08:59 PM]
ECAS View Course Proposal
Week 13:
Lipstick Traces: Version Two: A Secret History of a Time That Passed.
Client/project site visits, concept development, written draft proposals. Design proposal
presentations to the client.
Week 14:
Implementation of proposed designs.
Week 15:
Implementation of proposed designs and assessment of completed design projects.
Semester Learning Models Grade Breakdown
10% In-Class Participation
10% Conspicuous Consumption Blog
10% $2 Shopping Spree Paper
05% Looking Closer 4 Presentation
15% Conspicuous Collection Exhibition
15% A Scholarly Memoir of Consumption Paper
15% A Scholarly Memoir of Consumption Presentation
20% Service Learning Project
Footnotes
1. A method of argument or exposition that systematically weighs contradictory facts or ideas
with a view to the resolution of their real or apparent contradictions.
2. Analyze: discover or reveal through examination.
Internalize: make part of one s nature by learning.
Synthesize: combine a number of things into a coherent whole.
Realize: give actual or physical form to.
3. Emphasizing the organic or functional relation between parts and the whole
4. The discipline of phenomenology may be defined initially as the study of structures of
experience, or consciousness. Literally, phenomenology is the study of "phenomena":
appearances of things, or things as they appear in our experience, or the ways we experience
things, thus the meanings things have in our experience. Phenomenology studies conscious
experience as experienced from the subjective or first person point of view.
daeR
Strategic Objectives & Consultation
Name of Department Chair
Approver:
<no text provided>
Strategic Objectives Curricular Objectives:
How does adding this course improve the overall curricular objectives ofthe unit?
Strategic Objectives - Core
Curriculum:
Does the unit consider this course to be part of its core curriculum?
Strategic Objectives Consultation with Other
Units:
In order to prevent course overlap and to inform other departments of new curriculum, circulate proposal to chairs in
relevant units and follow-up with direct consultation. Please summarize response from units consulted and include
correspondence. By consultation with other units, the information about a new course is more widely disseminated and can
have a positive impact on enrollments. The consultation can be as simple as an email to the department chair informing
them of the course and asking for any feedback from the faculty.
<no text provided>
<no text provided>
<no text provided>
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