UHP399 Gardens & Machines

UHP 399 | Gardens and Machines: Intersections of Nature, Art and Technology

Professor: Shannon McMullen

Seminar Meets: TTH 2:30 – 5:20pm in FPRD 204

Office Hours: by appointment (office: FPRD 202)

Email: smcmullen@purdue.edu

Course Blog: http://web.ics.purdue.edu/~smcmulle/AD590E

DESCRIPTION

In 1964, Leo Marx argued that industrial modernity in the US was defined by the metaphorical opposition between ‘the machine and the garden’—by the opposition between the cultural value of technological innovation (represented by the train in his analysis) and of ‘wild’ nature. A similar argument can be made for other industrialized countries. In the nineteenth century and well into the twentieth, industrial technology was prioritized, producing urban industrial landscapes that dominated and peripheralized the unbuilt environment. Urban space contained only specialized natural spaces like parks and gardens. “Nature” (as countryside, wilderness, Landschaft, etc.) existed outside the city limits—physically and conceptually. However, as recent work in landscape architecture and urban design suggests, this relationship is changing. New resolutions of the tension between culture and nature are being explored and realized.

In this course, we will be interested in sites where renegotiations are occurring. This could include: brownfields, suburbia, climate change, sustainable architecture and new developments in science and engineering (nanotechnology, genetic engineering, etc.). We will begin by considering different understandings of nature and its relationship to technology in order to examine attempts to challenge and resolve the on-going tension between nature and culture since the 1960s.

Special attention will be given to the contributions of artists, landscape architects and designers in processes of change and innovation. The work of earth/land artists like Robert Smithson, new media artists like Natalie Jeremijenko, landscape architecture projects like Landscape Park Duisburg-North (Peter Latz) and Fresh Kills, NY, as well as the recent guerilla gardeners movement are just a few examples.

EVALUATION + ATTENDANCE

Projects will be evaluated based on their originality, conceptual depth, the integration of artistic goals (where appropriate), and the inclusion of themes related to the course reading and discussion. Written reading responses are evaluated based on how participants describe the main concepts in adequate detail, connect the text to other class readings and to a broader social, historical and/or artistic context, and present supporting materials (i.e. text, images, video clips, films, etc.). Active contribution to the discussion during class and attendance is required. All assignments must be completed to pass the course. Late assignments will have their grade reduced proportionally. Two unexcused absences (without notifying the instructor in advance of the class meeting) will reduce the final grade by 1/2 letter grade (A becomes A-, A- becomes B+, etc.). Final grades will be calculated based on the following breakdown:

25% Discussion and Critique

This class is a combination seminar and studio. Classes will be organized around discussion – whole group and small group – project building and critiques of finished projects. A student’s discussion grade will be based primarily on quality and secondarily on the quantity of contributions. Demonstrating good discussion and critique skills includes posing questions for the whole class to discuss, asking follow-up questions to peers’ comments and responses, synthesis of others’ comments and being able to listen what others have to say.

20% Critical Reading and Artwork|Exhibition Responses

A total of eight critical responses to written and visual material will be required – one for each thematic section of the course, plus one of your choice from one of the recommended on or off-campus lectures, screenings or exhibitions, or of a source related to your final project.

Each response should be no more than 2 double-spaced typed pages (10-12 point font). Responses should include the following:

1) Title(s) of the work(s) on which you are commenting;

2) A concise summary of the argument or focus of the work under discussion;

3) Analysis of the readings or artworks in which you relate them to one another and to previous readings or artworks and class discussion.

4) Three or more questions that are of interest to you and might facilitate class   discussion.

Each response should be posted to the class blog by 10am on the day that the readings or artworks will be discussed. A schedule of due dates for responses will be posted on the class blog. I will grade them as a set at the end of the semester.

30% In-class Projects + Contextualization

Four in-class projects (Sound Circuit, Photo Essay, Bugbot, Recording) and one workshop with a visiting artist are planned for this class. Projects will be evaluated based on their completeness and the originality,conceptual depth, integration of artistic goals (where appropriate), and the inclusion of themes related to the course reading and discussion in the contextualization and presentation.

25% Final Project

Final projects will consist of either a research paper of 12-15 pages based on a theme or themes in the class that you want to look at in more depth OR a project that you propose and receive instructor approval for (examples: documentary, artwork + contextual paper, photo-essay, performance, etc). Content can be based on readings and visual material from the class, but will also include a minimum of 3 outside sources.  There will be several opportunities to discuss final projects individually and as a group. Additionally, I will provide a hand-out on the specific expectations of the paper in class (including what counts as a source).

CALENDAR

All readings will be available as .pdfs on the blog or will be accessible through the university library. Note: Readings may be modified based on class interests.

| W E E K 1 |

August 25: Introductions

Assign for 8/27: 2 +1 Artworks

August 27: Art

Group discussion of artworks.

Assign for 9/8: Objects of Nature

| W E E K 2 |

September 1:

Discussion of readings:

Freeland, Cynthia (2001). But is it art?

Chapters 6 & 7 (pages 148-176; 177-209)

September 3: NO CLASS (Ars Electronica)

Check the blog for questions and on-line discussion.

| W E E K 3 |

September 8: Nature

Presentation (Shannon) and discussion of Ars Electronica: Human Nature

Objects of Nature – small group presentation and discussion

Film + Discussion: The Grizzly Man (103 minutes)

September 10:

Discussion of Nature Readings

Raymond Williams, Ideas of Nature (pages 146-64)

Leo Marx, The Machine in the Garden (pages 3-33)

Recommended: Robert Smithson, A Tour of the Monuments of Passaic, New Jersey (pages 157-174)

In-class screening:

Art 21: Ecology + Introduction to the work of Olafur Eliasson

September 12: MCA Chicago

“Take your Time Olafur” exhibition at MCA Chicago

http://www.mcachicago.org/exhibitions/exh_detail.php?id=201

Microsymposium Art/Science/Spectacle

http://www.mcachicago.org/programs/prog_detail.php?id=540&page=td

| W E E K 4 |

September 15: Art | Sound | Ecology

Sound Circuits: Building the circuit

September 17:

Sound Circuits: Contextualization and Documentation

September 18: 8pm Screening of Metropolis Elliot Hall of Music

https://www.purdue.edu/convocations/show.asp?ID=7

| W E E K 5 |

September 22: Technology

[10:00 -11:30am – Bionanotechnology Lecture from Prof. Roderic Pettigrew: http://author.www.purdue.edu/dp/dls/pettigrew072809.jpg]

Discussion of Technology Readings

Nye, David E. (2007). Technology Matters: Questions to Live With

(pages 1-15 and 87-108)

Winner, Langdon (1997). Technology Today: Utopia or Dystopia (pages 989 – 1017)

REMINDER: Bring digital camera (or make arrangements with Shannon) to next class 8/24.

September 24:

Machine in the Garden Photo Essay (during class assignment)

| W E E K 6 |

September 29:

Presentation | Discussion | Critique of Photo Essay projects

Discuss possibilities for final projects.

October 1:

Workshop and Lecture with visiting artist Teri Rueb

(more info as soon as Prof. Rueb’s schedule has been confirmed)

| W E E K 7 |

October 6:

CHICAGO BUS TRIP [ no class ]

October 8:

Discussion | Critique | Presentation: Chicago + Rueb Workshop Projects

Sign up for individual meetings on 15. October

| W E E K 8 |

October 13:

FALL BREAK [ no class ]

Start brainstorming ideas for final project

October 15:

Individual meetings with Shannon to discuss ideas for final project

| W E E K 9 |

October 20: Robots in the Garden

Discussion of readings

Kac, Eduardo (ed) (2009). Signs of Life: Bio Art and Beyond

(pages 1, 163-85, 249-266 and 301-302)

October 22:

Tour of Purdue Discovery Park – Birck Nanotechnology Center

(exact time and meeting place to be announced) –RESCHEDULED

| W E E K 10 |

October 27:

Visit Exhibition Hard Rain: Late Works of Mary Hambleton in Stewart Center Gallery

October 29:

Studio Visit:  Michael Jamison

Workshop Part I:  Contact Microphones — Building and Recording

| W E E K 11 |

November 3:

Guest Lecture:  Rosanne Altstatt, “Experiencing the Lightning Field”

Workshop Part II: Contact Microphones — Recording and Mixing

[November 4 (thru December 11):

Sonja Hinrichsen Exhibition opens at Depauw University. Artist Talk and Opening Reception: 4-6pm]

November 5: Contact Microphones

Recording and Mixing

| W E E K 12 |

November 10:

Lab Visit:  Burkhard Schulz (final confirmation pending)

November 12: Climate Change

Discussion of readings

Kolbert, Elizabeth (2006). Field Notes from a Catastrophe

(Preface, Chapters 2,3 7 & 8, Afterward)

Climate Change Debates

| W E E K 13 |

November 17: The Suburbs

Film + Discussion: The End of Suburbia

Discussion of Readings

Robbins, Paul (2007). Lawn People (pages 1-32; 117-138)

November 19:  Bugbots

Workshop Part I:  Solar-powered Bugbots

| W E E K 14 |

November 24: Bugbots

Workshop Part II:  Solar-powered Bugbots –

Building + Brainstorming of Possible Presentation at Springfest (Spring 2010)

DUE: Draft of Final Paper with Bibliography

Your draft should be 3-5 pages of double-spaced writing (11-12pt type) in which you choose

a section of your paper to start writing about.

November 26:

THANKSGIVING BREAK

| W E E K 15 |

December 1:

Film (TBD) + Discussion

Sign up for presentation date

December 3:

Presentation | Critique of Final Projects (5)

| W E E K 16 |

December 8:

Presentation | Critique of Final Projects (5)

December 10:

Final Project working and trouble-shooting session

| E X A M W E E K |

FINAL PROJECTS DUE: December 15 by 4pm to my office in FPRD 204

UNIVERSITY POLICY STATEMENTS

Plagiarism Policy: All papers will be examined for evidence of plagiarism.

The Office of the Dean of Students will investigate instances of reported plagiarism and take appropriate disciplinary actions. See Dean of Students web page for descriptions of plagiarism and university plagiarism policies: (http://www.purdue.edu/univregs/pages/stu_conduct/stu_regulations.html). Purdue prohibits “dishonesty in connection with any University activity. Cheating, plagiarism, or knowingly furnishing false information to the University are examples of dishonesty.” [Part 5, Section III-B-2-a, University Regulations] Furthermore, the University Senate has stipulated that “the commitment of acts of cheating, lying, and deceit in any of their diverse forms (such as the use of substitutes for taking examinations, the use of illegal cribs, plagiarism, and copying during examinations) is dishonest and must not be tolerated. Moreover, knowingly to aid and abet, directly or indirectly, other parties in committing dishonest acts is in itself dishonest.” [University Senate Document 72-18, December 15, 1972] The commitment of the acts of cheating, lying, stealing, and deceit in any of their diverse forms (such as the use of ghost-written papers, the use of substitutes for taking exams or for writing papers, the illegal use of cribs, plagiarism, and copying during examinations) is dishonest and will not be tolerated. Violation in any form of these university policies will result in failure of this course and may precipitate disciplinary action instituted by the university, which could ultimately result in suspension or expulsion from the university.

Students with Disabilities:

Students with disabilities must register with Adaptive Programs in the Office of the Dean of Students before classroom accommodations can be provided. Students with documented disabilities, who require academic adjustments or accommodations, should make an appointment with the instructor as soon as possible to discuss their needs.

In Case of Emergency:

In the event of a major campus emergency, course requirements, deadlines and grading percentages are subject to changes that may be necessitated by a revised semester calendar or other circumstances. This includes any interruptions that might occur should we experience a pandemic this flu season. Here are ways to get information about changes in this course. In the event of a major campus emergency, the instructor will endeavor to communicate with all students in the course via email and course blog. The course instructor’s email address is: smcmullen@purdue.edu and office phone: 494-0160.

Special Statement Regarding a Possible Pandemic:

If you come down with a cold/flu please follow the precautions recommended by the university. If you need to miss class due to the flu, please contact me before

you miss two classes, so that we can discuss any potential problems related to meeting course requirements and work out a solution.