Plug and Play by Isabel Cruz @ FIX University

Para
hacer parte del programa de exhibiciones anual en los espacios la vitrina y la
sala de exhibición.

El
jurado seleccionó ocho propuestas para la vitrina y siete para la sala de
exhibición, teniendo en cuenta -además de responder a todos los requisitos de la
convocatoria- el interés específico del proyecto, su adecuación al espacio de
exposición, la calidad y el profesionalismo en la presentación de los
contenidos, la apropiación y reconocimiento de contextos locales y viabilidad
temporal, formal y presupuestal de la propuesta.

Los
jurados designados fueron Pilar Bonet, profesora de crítica y arte contemporáneo
de la Universidad de Barcelona; miembro del consejo de dirección del centro de
creación y pensamiento contemporáneo Can Xalant de Mataró (Barcelona); Conrado
Uribe, magíster en historia del arte, actualmente es co-curador del MDE11 y
Director de Curaduría del Museo de Antioquia y el equipo de lugar a
dudas.

Propuestas seleccionadas para la
vitrina

Río.
Alberto Baraya; Servicio Nacional de Intervención Mediática. Película y
televisión con fallas de origen. Carlos Felipe Guzmán; Práctica de Agotamiento.
Colectivo autoArt (Cristian Prieto, Frey Alejandro Español, Gimena Zambrano); Un
orfanato de libros. Daniel Salamanca; Caja de texto. Diego García Martínez;
Party night. Julio Giraldo; El lugar de las cosas que nunca aprendí. Lorena
Espitia; Gestos mínimos. María Cristina Agudelo / Edwin
Jimeno.

Propuestas seleccionadas para la sala de
exhibición

Proyecto Sin Título / fachadas. Alejandro
Mancera; Ejercicio de memoria (1). Colectivo Reproducciones (David Escobar,
Eduardo Carvajal, Lina Rodríguez); La pequeña Miscelánea de la Cali Moderna.
Diana Marcela Cuartas; El Cuento. Enrico Mandirola; Can you hear me now?. Icaro
Zorbar; Plug and Play. Isabel Cruz; La TV brilla en la oscuridad. Juan SebastiánRamírez

Plug and Play de Isabel Cruz

lugar a dudas

Esta propuesta busca dislocar la
práctica habitual de escucha sacando el audio del audífono para crear una
superficie vibrante que genere un encuentro entre el cuerpo y el entorno.
Señalando que el sonido es uno sólo: desde la experiencia interior de la voz,
hasta el audio producido digitalmente amplificado por parlantes, todos comparten
los mismos principios básicos y todos deben su comportamiento y existencia a las
propiedades físicas de la naturaleza.

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... Center after he passed a jet dryer and flames erupted during the NASCAR ... 600 × 401 - 45k - bin thestarphoenix.com	Jet Dryer Fire. FOX's broadcast of the Daytona 500 drew an impressive 9.2 ... 298 × 340 - 41k - jpg sportsillustrated.cnn.com	Juan Pablo Montoya escaped serious injury when his car crashed into a jet ... 900 × 540 - 50k - jpg autoweek.com	A jet dryer truck is on fire after a crash with Juan Pablo Montoya, ... 970 × 647 - 159k - jpg motorsport.com
NASCAR driver Juan Pablo Montoya slammed into a jet dryer causing a fiery ... 400 × 225 - 41k - jpg wdbj7.com	... effort to see if it can be repaired -- a jet fuel fire burns very hot, ... 394 × 221 - 3300k - gif sbnation.com	Emergency workers put out a fire on a jet dryer during the Daytona 500. 900 × 477 - 422k - jpg politicsdownanddirty.b...	Montoya crashes into jet dryer to delay end of NASCAR opener 450 × 328 - 27k - jpg canada.com
Jet drier catches fire after crash in Daytona 500 kare11.com 640 × 360 - 31k - jpg kare11.com	Montoya crashes into jet dryer to delay end of NASCAR opener 620 × 400 - 30k - jpg canada.com	Jet-dryer driver from Michigan involved in Montoya accident at Daytona 500 ... 425 × 255 - 18k autoweek.com	Kenseth Wins, Patrick Crashes, and Montoya Slams into a Jet Dryer 320 × 240 - 11k - jpg carbuzz.com
Safety workers try to extinguish a fire from a jet dryer. Workers … 600 × 400 - 120k - jpg msn.foxsports.com	Click here to read The Jet Engine Truck That Exploded at Daytona 640 × 360 - 219k - jpg mentalbreeze.com	... of Colombia, crashed into a jet dryer during the NASCAR Daytona 500 auto ... 563 × 413 - 50k - jpg therepublic.com	Jimmie Johnson (top), David Ragan (34) and Danica Patrick (10) crash as Kurt ... 586 × 366 - 31k - jpg chronicle.augusta.com
Montoya runs into jet dryer, causing chaos 586 × 386 - 32k - jpg chronicle.augusta.com	Daytona 500: Race stopped after jet dryer catches fire in wake of crash ... 380 × 251 - 19k - jpg nj.com	A jet dryer bursts into flames after being hit by Juan Pablo Montoya, ... 300 × 225 - 13k - jpg boston.cbslocal.com	Jet Drier Catches Fire After Crash in Daytona 500 533 × 480 - 68k - jpg myfoxdc.com

The Master of Fine Arts in Visual Arts @ FIX University

The Master of Fine Arts in Visual
Arts

Master of Fine Arts in visual arts at FIX University is
the terminal degree within the studio art discipline. Our program offers
concentrations in the studio areas of drawing, painting, printmaking, ceramics,
photography and sculpture. The primary goal of the program is to provide
students with opportunities to develop a high degree of professional competence
in their chosen area of concentration. Interdisciplinary and collaborative
projects are encouraged within the department. The relatively small size of the
program encourages students to explore studio areas that will enhance their
major area of concentration. In addition, it creates a highly individualized
method of instruction. Our students may also take advantage of the opportunity
to spend a semesters of study on The FIX University Cultural Campus in Cali,
Columbia.

Having the department of art housed on Independent
Learning presents opportunities to interact with various other college
disciplines. The M.F.A. curriculum is composed of the following art history
and art seminar an in studio thesis. The thesis is primarily art studio in
preparation for a final exhibition with published documentation. Residencies are
available based upon artist performance and international
funding.

Courses

The MFA in Digital Production Arts degree requires live
projects, of which are devoted to Digital Production Studio, wherein the
student participates in production work; which are devoted to Graduate Research
Studio, where students may choose to continue work on an independent project, or
pursue a contractual production. The Core Courses, Aesthetics and Theory, from
the Master's Thesis, and all from Independent Aesthetics and Theory
courses.

Foundations

These courses are intended to address deficiencies in a
student’s background. They will be taken as directed upon examination of the
student’s portfolio and record of coursework. Students requiring more than two
foundations courses will be asked to make up any extra deficiencies before
admission.

DPA 600: Technical Foundations of
Digital Production I

Description:
The technical, conceptual, and algorithmic foundations of computer graphics. The
Unix operating system, scripting, C programming, and an interactive graphics
API. Prerequisite(s): Permission of the instructor. This course is not permitted
to computer science, computer engineering, or computer information systems
majors.

DPA 601: Technical Foundations of
Digital Production II
Description: The mathematical
and algorithmic foundations of computer graphics. Spatial data structures,
object oriented programming in C++, mathematics for graphics, 3D graphics API.
Prerequisite(s): DPA 401 or permission of the instructor. This course is not
permitted to computer science, computer engineering, or computer information
systems majors.


DPA 602: Visual Foundations of Digital
Production I Description: Visual
foundations underlying computer graphics production. Perspective, observational
drawing, color and value, principles of composition and design, and
storyboarding. Incorporates the studio method, involving students in hands-on
work and the critique process, and stresses examples from the history of art,
animation, and film. Prerequisite(s): Permission of the instructor. Course is
not permitted to art or architecture
majors.


DPA 603: Visual Foundations of Digital
Production II Description: Extends the
foundation visual principles underlying computer graphics production, begun in
DPA 402. Stresses representation of the figure in drawing and the use of
cameras. Incorporates the studio method, and the critique process, and stresses
examples from the history of art, animation, and film. Prerequisite(s): DPA 402
or permission of the instructor. Course is not permitted to art or architecture
students.
Core

The core courses provide a broad underlying artistic,
technical, and studio methods foundation for advanced study, leading to original
studio and research work. Although all courses are required, all will be chosen
towards the independent learning requirement. All students will complete the
following courses:

Artistic
Core
THEA 687: Stage Lighting
I
Theory and practice of stage
lighting through an understanding of various lighting instruments, lighting
control systems and execution of lighting
designs.


ART 821: Visual
Narrative
Students develop visual
communication skills through the vernacular of cinema, and express concepts and
ideas in sequential narrative design.


Technical
Core
CP SC 604: Computer Graphics
Images
Theory and practice behind the
generation, and manipulation of two-dimensional digital images within a computer
graphics context. Image representation and storage, sampling and reconstruction,
color systems, affine and general warps, enhancement and morphology,
compositing, morphing, non-photorealistic transformations. Prerequisite(s): CPSC
212 and MTHSC 311, or DPA 401


CP SC 809: Rendering and
Shading
The art and science of lighting
and shading for effective computer graphic imagery, including the mathematical,
physical, and perceptual elements contributing to the simulation of a desired
visual look. Shading languages, advanced rendering tools, global illumination
effects, production of photoreal and non photoreal imagery. Prerequisite(s): CP
SC 807


Studio Methods
Core
CP SC 807: 3D Modeling and
Animation
Foundation principles and
practice of modeling, animating, and rendering of 3D computer graphics scenes.
Students complete a series of projects using industry-standard software. Topics
include modeling techniques, technical animation, rigging, materials, lighting,
scripting, and post production.


CPSC 815: Special Effects
Compositing
Video special effects,
compositing problems, effects animation, matchmoving and 3-D geometry, color and
texture reconstruction from 2-D images; extensive use of scripting languages and
high-end software platforms. Prerequisite(s): CP SC 605 or
807

Aesthetics & Theory

The aesthetics and theory electives provide an
introduction to the analysis and conceptual foundation of visual presentation.
Although only one course is required, an additional course may be chosen towards
the Open Electives requirement. The students will complete all of the following
courses:

AAH 630: Twentieth Century Art
I
Acquaints students with the
major artists’ monuments and issues of the Modern period in art. Through
lecture/discussions and the reading of primary sources, course places the major
modern movements in the context of the period
(1860s–1945).


AAH 632: Twentieth Century Art
II
Overview of trends in art and
architecture since World War II. Specific artists, artworks and movements are
presented in a socio/historic context with specific emphasis on the transition
from a late-modernist to a post-modern
perspective.


ENGL 650: Film
Genres
Advanced study of films that
have similar subjects, themes and techniques, including such genres as the
Western, horror, gangster, science fiction, musical and/or screwball comedy.
Also considers nontraditional genres, screen irony, genre theory and historical
evolution of genres. Topics vary. Prerequisite(s): ENGL
357


ENGL 651: Film Theory and
Criticism
Advanced study into the theory
of film/ video making emphasizing understanding a variety of critical methods to
approach a film. Examines the history of film theory and defines the many
schools of film criticism, including realism, formalism, feminism, semiotics,
Marxism and expressionism. Prerequisite(s): ENGL
357


ENGL 853: Visual
Communication
Understanding the language of
images used in textual and extratextual communication; theories of perception,
methods of visual persuasion, gender analysis, and cognitive and aesthetic
philosophies of visual rhetoric; technologies of visual communication; and
technologies of visual production.


PHIL 845:
Aesthetics
Nature and value of aesthetic
experiences and objects. Attention is directed to the roles of and relationships
among objects, makers and audiences; interpretation, criticism and aesthetic
response; the contexts and languages of art; the nature of aesthetic value;
aesthetics in application; issues in public
policy.


Independent
Studies


The Independent Studies provide an opportunity for students to either develop a
special expertise, or broaden their background to sustain studio and thesis
work. Independent Studies are offered in the areas
listed below. An additional Core Course or an additional Aesthetics and Theory
practices may be used towards this requirement. The student’s thesis committee,
subject to review by the DPA Director, may approve other courses. All students
will complete all course work.






Artistic
Electives
ART 605: Advanced
Drawing
Advancedlevel studies of
drawing which explore the synthesis of refined drawing skills and philosophies
of art. Student’s understanding of drawing as a form of art is developed through
studio practice augmented by critiques, demonstrations, lectures, field trips
and independent research. Prerequisite(s): ART
305


ART 607: Advanced
Painting
Advanced studio course in
painting. Study of contemporary painters and directions is included. Students
select painting media and are expected to develop a strong direction based on
prior painting experience. Prerequisite(s): ART
307


ART 609: Advanced
Sculpture
Intensive independent studio
concentration to further develop personal direction and content. Emphasis is on
continued investigation of sculptural context, materials and processes, and
relative historical research. Preq: ART 309 or consent of instructor.
Prerequisite(s): ART 309


ART 611: Advanced
Printmaking
Culmination of process,
techniques and individual development. Students are expected to have mastered
process and technique for the benefit of the image produced. Creativity and
self-expression are highly emphasized as students select a process for
concentrated study. Prerequisite(s): ART
311


ART 613: Advanced
Photography
Continuation of ART 313.
Advanced problems in photography. Prerequisite(s): ART
313


ART 617: Advanced Ceramic
Arts
Students are directed toward
further development of ideas and skills. Glaze calculation and firing processes
are incorporated to allow for a dynamic integration of form and ideas.
Prerequisite(s): ART 317


THEA 672:
Improvisation
Practical applications using
drama as a learning tool to strengthen writing skills, motivate collaboration
and heighten analytical skills. Students use improvisation to analyze texts and
to revise original work, consider theory and research of contemporary scholars
and develop approaches to literature and composition based on readings and drama
experiences. Preq: Senior standing or consent of
instructor.


MUSIC 680: Audio Engineering
II
Advanced course in music
technology focused on music production integrating digital audio and virtual
instruments Prerequisite(s): MUSIC 380


THEA 697: Scene
Painting
Practical study of basic
painting techniques for the theatre including layout, proper use of materials,
painting styles and texturing techniques.


Technical
CP SC 605: Graphical
Systems
Computational, mathematical,
physical, and perceptual principles underlying the production of effective
three-dimensional computer graphics imagery. Prerequisite(s): CPSC 212 and MTHSC
311, or DPA 401


CP SC 611: Virtual
Reality
Design and implementation of
software systems necessary to create virtual environments. Techniques for
achieving real-time, dynamic display of photorealistic, synthetic images are
discussed. Includes hands-on experience with electromagneticallytracked,
head-mounted displays and requires, as a final project, the design and
construction of a virtual environment. Prerequisite(s): CP SC
405


CP SC 614: Human and Computer
Interaction
Survey of human and computer
interaction, its literature, history and techniques. Covers cognitive and social
models and limitations, hardware and software interface components, design
methods, support for design, and evaluation methods. Prerequisite(s): CP SC 212
and 215


CP SC 616: 2D Game Engine
Design
Introduction to the tools and
techniques necessary to build 2-D games. Techniques draw from subject areas such
as software engineering, algorithms and artificial intelligence. Students employ
techniques such as sprite animation, parallax scrolling, sound, AI incorporated
into game sprites and the construction of a game shell. Prerequisite(s): CP SC
212 and 215


CPSC 619: Physically Based
Animation
Physically-based modeling and
dynamic simulation techniques as used for the automatic description of motion
and geometry for animation and computer graphics. A variety of approaches are
explored, with a special emphasis on the use of particle-systems to represent
complex phenomena. Prerequisite(s): CPSC
405


CPSC 805: Advanced Computer
Graphics
Advanced techniques used in
the artificial rendering of natural scenes; current practice in computer
graphics; full software implementation of each technique; extensive coding.
Prerequisite(s): CP SC 405.


CP SC 863: Multimedia Systems and
Applications
Principles of multimedia
systems and applications; techniques in effectively representing, processing and
retrieving multimedia data such as sound and music, graphics, image and video;
operating system and network issues in supporting multimedia; advanced topics in
current multimedia research. Term project requires implementing some selected
components of a multimedia system.


Studio
Method
DPA 808: Advanced
Animation
The foundation principles of
the production of computer animation, from original concept development and
character design, through rigging of articulated figures, character animation
methods, and digital cinematography. Prerequisite(s): CPSC
807


DPA 819: Physically Based
Effects
The use of physically-based
dynamic simulation techniques in the production of digital special effects. The
course will emphasize tools, techniques and pipeline. Laboratory assignments
will be done using both commercial software and student's custom code.
Prerequisite(s): CPSC 619 o


General
GC 801: Process Control in Color
Reproduction
Techniques and rationale for
procedures used in reproducing color originals for printed media. Topics include
color systems, measurement, reproduction characteristics, proofing systems,
process evaluation/analysis for offset, gravure, flexographic and screen
printing processes. Prerequisite(s): GC 644


PSYCH 823: Perception, Cognition, and
Technology Fundamentals of sensory and
perceptual processes focusing on human vision and audition. Emphasis is on
perceptual aspects of applications and communication in electronic and
traditional media. Topics include perception of speech, time, depth, color and
motion in natural and virtual environments, as well as psychophysics, attention,
eye movements and reading.


ECE 847: Digitial Image
Processing
Review of fundamental
concepts, issues and algorithms in image processing. Includes image formation,
file formats, filters, edge detection, stereo, motion and color.
Prerequisite(s): ECE 467.


Studio &
Thesis
DPA 860: Digital Production
Studio
The digital production studio
provides the student with the opportunity to develop as accomplished visual
problem solvers in a team setting. As part of the studio experience, students
will complete 12 credits working on a team-oriented production project, in which
they will take a project from concept through a finished piece. This will give
them the experience of working on a goal-oriented artistic team. Students begin
their studio sequence taking the studio course for only one credit each semester
of their first year. This provides new students with a familiarization to the
team process workflow, while still allowing them to concentrate on coursework to
develop core skills and knowledge. After the end of their first two semesters,
they work on a team project, for two consecutive terms, either summer-fall or
fall-spring. The digital production studio will include regular class meetings,
under faculty supervision, providing the vehicle for planning, critique, and
presentation of ongoing project work. Although a large majority of a student’s
studio work will be undertaken outside of class, active participation in class
is crucial to a successful studio experience, and is
required.


DPA 880: Graduate Research
Studio
The graduate research studio
provides the student with the opportunity to complete a major project or
projects, under the guidance of a faculty advisor, in a direction supporting
their personal goals and aspirations. All students will complete 6 credits of
research studio. Such work may be team oriented or individually oriented, and
may be of a technical or of an artistic
nature.


DPA 891: M.F.A.
Thesis
The M.F.A. thesis course consists of a studio project,
undertaken with the guidance of the student’s advisor and thesis committee. The
thesis project is developed to a refined degree, articulated in the form of a
written document, and presented orally in a thesis defense. The project is
intended to elaborate and refine a theme that the student has begun to explore
in the elective coursework and the production and research
studio.

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El artista en residencia Alberto
de Michele presenta 5 cortos, que juegan entre la linea de la ficción
y lo real, explorando el ambiente criminal en que él mismo creció.

martes 28 de febrero a las
7:00 p.m

Tinker, Tailor, Soilder, Spy as heard & seen by FIX

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Wynners and Losers as Seen by FIX on The Web

WYNN’S A LOSER, China red Ink: $405 million.
I didn’t expect to write anything about Steve Wynn ever being a loser like when he operated the Mirage. The Thursday October 4th headline in the New York Post tells the story on how Mr. Steve Wynn lost $ 405 million in one day. How nice to be able to lose so much wealth in one day and still remains in business. What the Wall Street prognosticators are speculating is that the Mr. Wynn may be trading customers he already has to move over to his more elegant newer Wynn Macau. So instead of his projected 75% increase in new business it seems to be more like 55% which is a tremendous error in business judgment if these numbers hold and in actuality they are moving customers they already have from the existing place to the newest one opened. One could say that this is really gambling big time. Not to feel bad for Mr. Wynn because according to the NYP he has good company in Mr. Adelson of the Sands who it seems has run into the same buzz saw with his latest venture in Macau. And I feel bad if I lose $ 50 bucks gambling and friend Knight feels bad if he loses 50 cents. That’s the difference in their wealth and ours.

BIG GAMING WILL HATE THE TAX INITIATIVE.
HOME OWNERS WILL LOVE NO MORE REAL-ESTATE TAXES.
DEPENDS ON WHOSE OX IS GORED DOESN’T IT.
By now you must have heard about Kermit Waters proposed initiative to raise the gaming tax for casino corporations doing business outside of Nevada to the average of what they pay in all the entities outside of Nevada which could be somewhere in the 18 to 25% tax on gaming revenue. Those benefiting from this new source of revenue would mean some kind of raise for teachers, funding for roads and home owners would no longer be faced with paying real-estate taxes on their homes. How can home owners complain about such a thing? Waters will need some 58,000 signatures. He intends to go to court to have the law passed in the last legislature thrown out. That law requires a percentage of signatures from each of the 17 counties would need to be collected from all of the counties on a pro rata basis in proportion to the number of votes cast in the last election from each of the 17 counties as apposed to how it has been all along which should require the signatures from wherever one can gather the signatures. This close to Waters thinking at this time and I suspect more will be worked into the formula as he learns more about what it is going to take to pass the initiative. My experience tells me he knows how to get things done so if I were a betting person I wouldn’t bet against him.

BE SURE TO PUT THE NOVEMBER 8TH MEETING ON YOUR CALENDAR! KERMIT WATERS IS AN INVITED SPEAKER ALONG WITH OUR ASSESSOR MARK SCHOFIELD.
We were going to have Sharron Angle a former legislator from Reno but when she decide not to go forward with her prop 13 type initiative there was no reason to have her until she gets her issues worked out. She told me that with the lawsuit by the union she couldn’t go ahead until that issue was settled. She feels they want to stop her from going ahead by making her spend her money on lawsuits. Nice way to use your lawyer isn’t it.

OUR SENATOR REID IS OUT TO GIVE USE RENEWABLES OR SOMETHING.
If I understand what Senator Harry Reid our great leader is up to he wants us to use the hot water, sunshine and air from up north instead of Sierra Pacific Resources building coal fired generating plants to serve Las Vegas. If our senator wants to do the right thing and we get it all why not have Uncle Sam pay for the transmission line from up north all the way to Las Vegas and then let the power company do the 1500 megawatts of coal plant plus the air, solar and geothermal energy as the Senator wants. I remember when the federal government brought electricity to rural areas in Wisconsin where I was born. It was a great boon to our economy when they did that. So if as the senator thinks we should go to renewable resources why not have Uncle Sam build the transmission lines with a lease to buy the transmission lines say over 100 years. That way we can get under way with the major coal plant and began the renewable ones after that and no doubt we would learn a lot about geothermal, solar and wind in the process. Be reminded that coal burning power plants have scrubbers and many other technical aspects that make them very clean so shouldn’t be a factor other than political. Instead of being adversarial lets just get along oh great leader. I have been a supporter of solar etc. for years but it is too costly and this is the real reason these things have not happened. Senator just think what this does for our economy and at the same time we become a test bed of the world for the various energy systems all in one area from northern Nevada to Southern Nevada. How about it oh great leader?

WHY SHOULD TAXPAYERS PAY STRIP CASINOS TO DO WHAT ANY BUILDING OWNER SHOULD DO ANYWAY?
What gives with the taxpayers giving strip casinos a half a billion bucks in tax breaks to build buildings both economically and energy efficient at the same time? Having been in the business of designing and overseeing construction on projects in most of the states in my 45 years in business I do not ever remember one time that doing the right thing in the way of making new buildings more cost effective and energy efficient was done without anyone ever giving it a second thought. I recall that we did an office building with both sprinklers for fire safety (the savings in insurance paid for the sprinklers) and used gold glass like some of the new buildings which were so energy efficient that the glass paid for itself by being able to reduce the cost of the heating and cooling system several hundreds of thousands of dollars. This was done at least 25 years before any of it was done here. I have never ceased to be amazed how cheap the strip casinos built their buildings like concrete blocks exposed and painted. I never heard of such a thing in decent buildings and now we make taxpayers pay for this by giving them huge tax breaks. Maybe it is time we enlighten some of the state legislators and the governor that this whole green building thing is nothing but wasted taxpayer money and they should eliminate this or look for a new job after the next legislature in 2009.

WHAT GIVES WITH THE WEATHER?
From east to west and north to south it seems the weather is doing things we have never remembered happening before. If you wanted to decide where to live in this great country this would be a good time to think out what part of the country was most livable these past twelve months. I don’t know about you but in the end it wasn’t too bad here was it?

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