In Digital Specialization 3 students develop an individual work proposal within a nominated topic. Experimental studio research informed by contemporary and/or historical precedents develops over the semester. Students may also undertake class assignments and set projects, and participate in workshops, demonstrations and discussions dealing with specific techniques, processes and conceptual considerations. Critical reflection is further encouraged through discussion with staff and peers. Studio theory further consolidates each student's ability to articulate a contextual framework for their practice.   Occupational health and safety is approached professionally at this level. Students will develop, complete and exhibit a substantial body of work. There are five topics each offered in a sequence of four:

Animation 1 — 4

Video 1 — 4

Internet Art 1 — 4

Sound Art 1 — 4

Hybrid Digital Practice 1 — 4

This course is normally taken at the same time as Digital Specialization 4 in second semester third year. Students may continue a topic sequence or commence a new topic sequence. 

By the end of this course you should be able to:

1. Plan an independent project

2. Create an original body of works of art

3. Prepare an explanation of the concepts and techniques underpinning the works of art

4. Demonstrate advanced awareness of historical, critical and theoretical contexts for artistic practice in the discipline

Portfolio of studio work (80%) and Journal/Documentation/Studio Theory presentation (20%). Assessment includes periodic critique and review sessions that provide ongoing feedback on work in progress.

6 hours per week lectures, tutorials, critiques and supervised studio practice and 2 hours per week independent studio practice.

Digital Specialization 1 & 2 is a pre-requisite, Digital Specialization 4 is a corequisite, in either the same topic or a different topic.

n/a

Maya 7 Savvy, John Kundert-Gibbs (2006), Sybex.

Maya Secrets of the Pros, John Kundert-Gibbs (2006), Sybex

Bernd Schulz (ed). 2002. Resonances: Aspects of Sound Art. Kehrer Verlag: Heidleberg.

Jeffrey Shaw and Peter Weibel (eds). 2003. Future Cinema: The Cinematic Imaginary After Film. The MIT Press. Cambridge: Mass.

Object-Oriented ActionScript 3.0, Friends of ED (2007), Todd Yard

Murach's JavaScript and DOM Scripting, Mike Murach & Associates (2009), Ray Harris

Essential ActionScript 3.0, Adobe Dev Library; 1 edition (June 22, 2007), Colin Moock

Learning ActionScript 3.0: A Beginner's Guide, O'Reilly/Adobe Developer Library (2008), Rich Shupe

CSS: The Definitive Guide, O'Reilly 3rd Edition (2006), Eric Meyer

Jeffrey Shaw and Peter Weibel (eds). 2003. Future Cinema: The Cinematic Imaginary After Film. The MIT Press. Cambridge: Mass.

Randall Packer and Ken Jordan (eds). 2001. MultiMedia: from Wagner to Virtual Reality. Norton & Co. New York.

Douglas Henderson. 2001. Playback. No Rewind Button. Kehrer Verlag: Heidleberg.

Ira Greenberg. 2007. Processing:�?�Creative Coding and Computational Art. Friends of Ed: Berkeley, California.

Richard E. Berg and David G. Stork. 2004. The Physics of Sound. Benjamin Cummings: San Francisco.

Bernd Schulz (ed). 2002. Resonances: Aspects of Sound Art. Kehrer Verlag: Heidleberg.

Bernd Schulz (ed). 1999. Robin Minard: Silent Music. Kehrer Verlag: Heidleberg.

Students will be required to have their own computer, as well as a basic camera and portable data storage.