DIMENSIONS

PP_7315_APAM_2105_PC1_DIMENSIONS_ GARZA_SPRING24

Instructor: Anais Garza aka Miyö Van Stenis

E-mail: [email protected]
Office Hours: by appointment via Zoom
Semester: Spring 2024
Days/Times: Thursdays: 15:25 - 18:05
Hybrid: Room 301 (Campus) / Online via Zoom
Zoom Room: https://NewSchool.zoom.us/j/96765910924
Location: 45, rue Saint-Roch, 75001 Paris, France

Course Description:
This studio course introduces students to a diverse array of approaches for notating form
in space, with a focus on prototyping sculpture, installation, performance, and movement in
constructed environments. The course emphasizes essential skills in 3D modeling using
tools such as Blender and Unity, as well as the integration of AI tools for enhanced
creativity in 3D creation.

This introductory course delves into the world of 3D modeling and virtual reality (VR) with
the overarching goal of crafting immersive environments enriched by narrative elements.
Students will actively seek new forms of expression, engage in discourse, and explore
novel organizational structures through the lens of these evolving media.

In addition to learning the foundations of 3D modeling and animation, 3D scanning,

Augmented Reality and VR standards, students will explore the use of AI tools as integral
components of the creative process. The course will investigate how AI can serve as a
powerful tool for generating 3D objects, textures, and conceptual elements, enhancing the
scope of possibilities in virtual environments.

Workshops and exercises will provide students with practical experience, guiding them
through the utilization of AI tools alongside traditional 3D modeling techniques. The critical
examination of these technologies will extend beyond their practical applications, fostering
a nuanced understanding of their historical context in art and their implications for
contemporary media art practice.

By the end of the course, students will not only have acquired a foundational knowledge of
3D modeling, VR, and AI integration but will also have created projects that seamlessly
bridge the real and virtual worlds.

Through hands-on exploration, critical thinking, and practical applications, students will be
well-equipped to navigate the intersection of 3D modeling, VR, and AI in their artistic
endeavors. The course aims to inspire innovative approaches to virtual creation and to
empower students with the skills and insights necessary to navigate the dynamic
landscape of multidimensional artistry.
Course Details:

DIMENSIONS is a course created for students to explore the craft of creating virtual
objects and immersive environments. The possibilities of 3D and VR are growing to
exciting levels, mixing media that allow statements of cognitive and emotional
empathy. This course will encourage students to create their own statements of how
they perceive real and virtual realms. We will approach 3D technologies from a
practical and cognitive position.

Through this 15 session course each student will develop a project broken down into
several phases, created through workshops and exercises, and one final
student-directed project. Techniques will be researched, practiced and analyzed. In
addition to producing projects, a secondary objective of the course will be to increase
a student’s ability to communicate ideas through the presentation of work as well as
to become more active and thoughtful critics of the work of peers.

Learning Outcomes:

Upon the successful completion of this course, students will be able to:

1. Master the Foundations of 3D Modeling and Animation:

○ Understand the principles and techniques of 3D modeling using
industry-standard tools such as Blender, Daz Studio, and others.
○ Demonstrate proficiency in basic 3D animation skills.
2. Create Immersive Environments with Narrative Depth:
○ Develop the ability to craft immersive environments in virtual reality (VR)
enriched with compelling narratives.
○ Apply storytelling techniques to enhance the user experience within virtual
spaces.
3. Integrate AI Tools in 3D Creation:
○ Explore and utilize AI tools for generating 3D objects, textures, and
conceptual elements in the creative process.
○ Understand the practical applications of AI in augmenting and expanding
the possibilities of 3D modeling.
4. Critically Engage with 3D Technologies:
○ Evaluate the historical context of 3D modeling, VR, and AI in the realm of
art and media practice.
○ Develop critical thinking skills to assess the impact of emerging
technologies on contemporary art.
5. Bridge Real and Virtual Worlds Seamlessly:
○ Create projects that effectively bridge the gap between the real and virtual
worlds, utilizing both traditional 3D modeling and AI-generated elements.
○ Showcase an understanding of the interconnectedness of physical and
virtual realities.
6. Publish and Share Projects for Public Experience:
○ Develop the skills to publish and share 3D modeling, VR, and AI projects
 for public consumption.
○ Demonstrate effective communication of artistic concepts and ideas
through published works.
7. Explore New Forms of Expression and Discourse:
○ Actively seek and experiment with new forms of artistic expression within
the realms of 3D modeling, VR, and AI.
○ Engage in discourse regarding the creative potential and ethical
considerations of these evolving media.
8. Navigate the Dynamic Landscape of Multidimensional Artistry:
○ Acquire practical skills and insights that empower students to navigate the
dynamic landscape of multidimensional artistry.
○ Foster a mindset of adaptability and innovation in response to evolving
technologies and artistic practices.

These learning outcomes are designed to provide students with a comprehensive set of
skills and knowledge that align with the goals of the course, emphasizing both technical
proficiency and critical engagement with the creative process involving 3D modeling, VR,
and AI.

Course Outline

topic week + activity due

date

Syllabus, Week 1 ● Introduction to the Students introductions

Overview Jan 25th Syllabus.
● Software: Blender 3D, Presentation of some VR projects
Unity.
● Hardware: Introduction to to the students to give a
Oculus Touch. background of the media.
● 3D modeling Basic.
● Introduction to Art in the Installation of Blender and Unity
age of thinking
Import/Export your first Blender
machines.
3d Object.

Introduction to the fundamental

design of machine learning
algorithmic and myths about AI
appliances in art. Open
discussion: AI’s can create art
without artists and the possibility
that machine learning will soon
bring about superhuman
intelligence and creativity.

Online: Presentation of all

assignments and resources on
the Student Canvas plus open
discussion about the class
content via Discord:
https://discord.gg/zwaqStfa
 Recommended reading:
E. SAMPAT. Empathy Engines,
design games that are
personal, political, and
profound.

3D Modeling Week 2 ● Phase 1: Make your first Creating a 3D world to explore

Feb 1st world the tools for terrains, textures,
● Texture maps and Shading sculpting, meshes, etc
● Rendering: stills, GIFs, Import or create objects to
video improve individual skills on 3D
texturing, shading.

Empathy Engines Discussion:

Design games that are personal,
political, and profund.

3D Week 3 ● Phase 2: Rooms / Creating rooms, scenes or

Environment Feb 8th Landscapes landscapes to use different
and Camera ● Lights, Camera, lights and emissions.
Navigation
The students will need to set
different cameras targets,
learn to use camera tracking
and settings.

3D Modeling Week 4 ● Camera and navigation Introduction, technical and

and Feb 15th continue practical of 3D Scanning:
Capture ● Phase 3: Introduction to basic 3d scan, 360
3D Scanning, photo/video for VR.
Photogrammetry and
other tools Encourage the students to
● 360° experience explore how to scan the real
● AI procedural tools for world with the tools learned in
Blender and mobile Class.
devices for scanning and
texturing. Recommended reading:
Staying with the Trouble.
Donna Haraway

3D Animation Week 5 ● Phase 4: Motion Introduction to Motion Capture

and Feb 22th Capture, Character and animation for character
Rendering Animation, & and objects using tools as
simulations. MakeHuman, Daz Studio and
Mixamo to create a Character
animation based on their Rig..

Special effects exercises to

improve animation skills and
learn about material in Blender
 Cycles.

AR Week 6 ● Phase 5: Differences The students at this point

introduction Mar 7th between AR and VR should be available to export,
● Workshop: Introduction to Model, apply textures and create
Next week:
Study Week, Spark AR and export models
NO CLASSES /// Class Evaluation 10% ////
AR Filter - 3D Modeling and 3D animations.
Render
This class will be a review of
previous classes in order to
continue to the game engine.
The workshop on Spark AR will
provide the students the tools to
create an IG filter. Helping each
other from the learned 3D
modeling tools, the students will
create their 3D objects to be used
in their Augmented Reality
projects. This will help the
student to understand practically
the difference between AR and
VR.

Game Week 7 ● Setup of device, Unity Introduction to Unity Standard

Engines Mar 14th SDK Assets and Interface.
● Getting your work into
Unity Create and Import your 3D
● 3D creation in VR world to Unity using the
Environments content learn on Blender
● Building a 3D environment (Camera, Scene, 3D Model
for the web with Unity or import)
online Frameworks & APIs
Setup the basic configuration
for VR

Exploring the use of VR for the

web: WeGL & WebXR.

Recommended reading:
M. Mitchell. Artificial
Intelligence: A Guide for
Thinking Humans

AI Week 8 ● Phase 6: Project Project discussion and group

WORKSHOP, Mar 21th prototyping Assignments.
Game ● AI WORKSHOP: uses of
Engines Learning machines to This Workshop is an introduction
Continues generate art, 3D models, to Unity and AI Integration: An
Textures, scanning and overview of how Unity and AI
 mechanism. Using the technologies can be seamlessly
right prompts. integrated to create immersive
experiences. Building AI-driven
/// Class Evaluation 10% //// Virtual Environments: Hands-on
sessions where participants can
learn to develop virtual
environments using Unity,
incorporating AI elements for
enhanced interactivity.

Game Week 9 ● In-class work. Introduction to Oculus and

Engines Mar 28th ● Present Unity project. Unity Oculus Integration Assets.
Continues ● Phase 7: XR Design
Working on students individual
Guest Lecture: –pending– skills on Unity and Oculus
SDK.

We’ll explore XR Rigs. An XR Rig

is the user’s eyes, ears, and
hands in the virtual world. It
works together with the
Locomotion and/or Teleportation
Systems, which allow the user to
move in the virtual world. The XR
Interaction Toolkit includes two
types of XR Rig: Stationary and
Room-Scale.

Recommended Lecture:
J. GREGORY. Game Engine
Architecture. Open Discussion

Work on Final Week 10 ● Animation System & Reviewing groups advance on

Projects Apr 11th Timelines. their projects.
● In-class work on Unity
Next week: project Introduction to the Unity
Spring Break, ● Sketch and discuss ideas Cinemachine timeline to control
NO CLASSES for final project Virtual Cameras movements
without the need of scripting. This
is a powerful tool to create
cinematic FX, trailers and control
the Animation system.

Overhaul students projects

prototype's needs and
possible problems to solve in
a technical level.

Work on Final Week 11 ● Coding & Interactions in Create a Locomotion System

Projects Apr 18th XR: Trigger Systems, UI with the XR Interaction Toolkit,
and other interactions. which provides movement for the
After Spring ● Present final project XR Rig. We'll look at how the
Break progress Locomotion System works with
● Creating a playable the XR Rig, implement
application teleportation, configure snap
turns, and create triggers for
interaction with 3D objects and UI
elements.

Last review of the pre-final

Project.

Encouraging the students to

think in create systems or
environments of immersive
empathy, the students are free
to use Game Engines tools for
help history-telling on their
projects.

Work on final Week 12 ● XR Rendering: Add and customize post

project Apr 25th Post-Processing, Lighting, processing effects to achieve a
Shaders & Textures particular look and feel in a
Executable
Applications ● In-class work on Unity scene. This process allows you to
project have high quality textures and
● Creating a playable volumes with less work.
application
Students individually, need to be
available to export an executable
application on Unity.

Work on final Week 13 ● XR Debugging Debugging, solving possibles

project May 2nd ● In-class work problems with the students.
● Debugging Final project
application The students should attending
listening the critics about their
project by their peers, We
encourage the students to
have an active approaches to
discuss their ideas.

Work on final Week 14 ● Present final project Preparation of final project

project May 9th progress presentation (Written essay,
stills, video presentation,
prototypes, etc).

Final Project Week 15 ● Present final project Appraisal day.

Presentations May 16th
/// Class Final Evaluation 40% ////
Assessable Tasks

● Successful research, development and presentation of a final project and some

interim projects showing various ways of utilizing 3D techniques within an artistic
practice.
● Creation of written essays, prototypes, animations, stills, video uploaded to course
websites that meets all project requirements in the prescribed timeline.
● Successful completion of in-class exercises and assignments, including 3D/Motion
Capture and virtual environment design and AI integration.

Core Competencies

● Iterative approaches toward art production.

● Tenacity to acquire what is a very challenging set of skills.
● Use of game engines and VR for creation.
● Design environments that could be personal, political or speak through empathy.
A new way of thinking beyond the known in VR/3D technology.
● Working in a team to create a technologically complex artwork.
● Clear presentation of creative ideas.
● Attentive listening and critiquing.

Required Reading/Additional Resources

Resources:
● Chrome Experiments - https://virtualart.chromeexperiments.com
● Sketchfab - http://sketchfab.com
● Sketchfab Experiments - https://labs.sketchfab.com/experiments/
● Sketchfab account - http://sketchfab.com
● YouTube account - http://youtube.com
● Oculus Developer account - https://developer.oculus.com/
● Unity account
● Unity Asset Store - https://assetstore.unity.com/
● Facebook & Instagram: both need to be developers account

Readings:
● E. SAMPAT. Empathy Engines, design games that are personal, political, and
profound. 2017.
● M. MITCHELL. Artificial Intelligence: A Guide for Thinking Humans. A Pelican
Book, 2020
● S. AUDRY. Art in the Age of Machine Learning. MIT Press, 2021.
● O. KHOLEIF. Goodby World!, Looking at art in the Digital Age. Sternberg
Press, 2018.
● V. CAMPANELLI. Web Aesthetics: how digital media affect culture & society.
Nai Publishers, 2010.
● D. HUDSON, P. ZIMMERMANN.Thinking Through Digital Media:
Transnational Environments and Locative Places. 2015.
● J. GREGORY. Game Engine Architecture (Third edition). A K Peters/CRC Press,
 2018.

Materials and Supplies

Hardware:
Students are required to bring their own laptop and a 3 button mouse to every class. It wil
be helpful to have a camera (smartphone camera is fine).
Note that the school has cameras and tablets available for student use.

Softwares:
● Blender 3d - https://www.blender.org/
● Rigify - Enable in Blender’s addons.
● MakeHuman - http://www.makehuman.org/
● Mixamo - https://www.mixamo.com
● Daz Studio - https://www.daz3d.com/
● PhotoScan - http://www.agisoft.com/downloads/installer/
● MeshMixer - http://www.meshmixer.com/
● MotionBuilder - https://www.autodesk.com/products/motionbuilder/free-trial
● Unity - https://unity3d.com/
● Unity SDK - https://developer.oculus.com/downloads/
● Oculus setup - https://www.oculus.com/setup/
● Adobe Photoshop & Illustrator.
● Sublime Text 3 - https://www.sublimetext.com/
● Spark AR Virtual Studio - https://sparkar.facebook.com/ar-studio/download
● ChatGPT - https://chat.openai.com
● Fotor - https://www.fotor.com/features/ai-3d-model-generator/
● DreamGaussian - https://huggingface.co/spaces/jiawei011/dreamgaussian
● MACHIN3Tools - https://blendermarket.com/products/machin3tools
● Artbreeder - https://www.artbreeder.com/

Grading and Evaluation

Students’ ability to meet the course’s learning outcomes will be evaluated based on the
following criteria:

● Problem solving and agile thinking - both creative and technical.

● Evidence of understanding of the project assignments, use of materials and
formats specified.
● Attendance and participation in class and the timely completion of projects.
● The completion of projects that satisfy both the instructor's requirements and
clearly communicate the student’s stated objectives.

Known that three or more unexcused absences result in one full grade deduction. If you
must miss class, communicate the reason why. If you are ill, a doctor’s note is required for
an excused absence. Organize with your classmates to get information and material you
have missed, you're responsible for missing assignments or activities.
Net addiction
While the use of mobiles and computers for project work and visual research shall be
encouraged for this class; Any device for mediated communication is banned during
lectures, crits and discussions (unless prompted by the instructor.) Phoning, texting, and
surfing unrelated to the class is completely forbidden during class time. A half grade
reduction will result from being found repeatedly in violation of this rule.

Final Grade Calculation

● 20% Class Participation: Class participation includes both individual

contributions and collaborative efforts during peer critiques.
○ Includes active engagement during class discussions.
○ Effective use of in-class work time.
○ Active participation in peer critiques and collaborative projects.

● 20% Interim Projects: Interim projects encompass smaller assignments,

exercises, and ongoing projects, emphasizing continuous learning and application
of skills.
○ Evaluation of work in progress, including assignments and exercises.
○ Reflects the application of learned concepts in practical exercises.

● 20% In-Class Workshops: In-Class Workshops focus on practical applications of

workshop content, teamwork, and problem-solving skills.
○ Divided into two workshops designed to reinforce class content.
○ Emphasizes teamwork, collaboration, and the ability to solve problems
quickly.

● 40% Final Project: The Final Project evaluation considers creativity, technical
proficiency, and the successful integration of 3D modeling, VR, and AI elements.
○ Assessment of the comprehensive final project that bridges the real and
virtual worlds.
○ Reflects the integration of 3D modeling, VR, and AI elements.
○ Includes creativity, technical proficiency, and adherence to project
objectives.

Total: 100%

Absence Policy

Final letter grades for classes at Parsons Paris will be reduced based on accumulated
absences according to the following breakdown:

UNEXCUSED ABSENCES:

Amount of Unexcused Grade Markdown Example

 Absences

1 absence No markdown N/A

2 absences One point markdown Eg. A to A-

3 absences One full grade deduction Eg. A- to B-

4 absences May fail the course Students must

speak with their
advisor to discuss
options

COURSE SCHEDULE TYPES:

Courses meeting 2h40m per sessions for 15 sessions

1 absence = 1 session
2 absences = 2 sessions
3 absences = 3 sessions
3 sessions represents 20% of class time.

EXCUSED ABSENCES:

EXCUSED ABSENCES
Absences may be marked excused in the following scenarios:

- Doctor’s notes: Students have the option to submit a doctors’ note in order to be
excused from class. Note that notes must be in English or French and issued by a
doctor located in France. If a student is followed by a doctor in their home country,
student success needs to be informed in advance.
- Official visa appointments scheduled with the French office of immigration in
coordination with Student Success.
- Death or accident in the family - student should present a note from a parent or
guardian, information may be provided by student success
- Religious Observance - The student must inform the instructor at the beginning
of the course of any anticipated absences due to religious observance.
- Students working on special projects - Students must inform their faculty,
program director,
and Director or Career Development and Internships and Alumni Engagement if
the project involves an internship. Note that outside of special projects,
internships may not happen during class time.

Once a student reaches the equivalent of 3 excused/unexcused absences for any

class they must speak with their academic advisor to discuss continuing the class.
It is important to note that absences even when excused may negatively impact a
student’s learning and result in a failing grade.
Grade of W
The grade of W will be assigned by the Registrar’s Office to a student who officially
withdraws from a course within the applicable deadline. There is no academic penalty, but
the grade will appear on the student’s transcript.

Grades of Incomplete
A grade of I will be assigned only if a student has filed a request for an incomplete with the
instructor and the instructor approves the grade. Unless the instructor submits a regular
letter grade within the period of time required by the student's academic program, a grade
of I or GM will automatically convert to F or N, as described below.

For undergraduate students, grades of I and GM convert to F at the end of the seventh
week of the spring semester for fall courses and at the end of the seventh week of the
following fall semester for spring and summer courses.

For graduate students, grades of I and GM for graduate students convert to N one year
after the end date of the course.

REMINDER: you must record the student’s last date of attendance in Starfish.

For further information, please refer to the following link:

https://www.newschool.edu/registrar/academic-policies/

Program and Class Policies

● Responsibility
Students are responsible for all assignments, even if they are absent. Late assignments,
failure to complete the assignments for class discussion and/or critique, and lack of
preparedness for in-class discussions, presentations and/or critiques will jeopardize your
successful completion of this course.

● Participation
Class participation is an essential part of class and includes: keeping up with reading,
assignments, projects, contributing meaningfully to class discussions, active participation
in group work, and coming to class regularly and on time.

● Attendance

Parsons Paris Attendance Policy

Parsons Paris attendance guidelines encourage students’ success in all aspects of their
academic programs. To ensure the quality of a student's educational experience, Parsons
Paris considers that full participation in class is essential to the successful completion of
coursework and mastery of learning outcomes included in course assessment.

Students are expected to attend all scheduled classes and arrive promptly in compliance
with the standards clearly stated in course syllabi and distributed on the first day of class
and then available on each course website.

Absence from a significant portion of class time will prevent the successful attainment of
course objectives and will therefore impact a student’s final grade. A significant portion of
class time is generally defined as 20% of class time. Tardiness, especially chronic
tardiness, or early departure from class, will constitute absences at the discretion of the
faculty.

Whether the course is a lecture, seminar or studio, faculty will assess each student’s
performance against all of the assessment criteria in determining the student’s final grade.
However, beyond 20% absence/tardiness, students and/or the instructor will be asked to
consult with their program director and the Dean of Students to discuss withdrawal from
the course.

At Parsons Paris, attendance and lateness are assessed as of the first day of classes.
Students who register after a class has begun are responsible for any missed assignments
and coursework. Students who must miss a class session should notify the instructor and
arrange to make up any missed work as soon as possible. A student who anticipates an
extended absence should immediately inform the faculty and the Dean of Students.

Finally, faculty are asked to notify Student Success of any student who misses two
consecutive classes. Following two absences, students may be asked to speak with
Student Success to review any impediments to their successful performance in class and,
if so, to provide confirmation to the faculty member that such a conversation took place.

Attendance issues for all students will be addressed by Parsons Paris and in particular by
the Dean of Students. Faculty who have concerns about students’ absences should notify
both their program directors and the Dean of Students. While in residence at Parsons
Paris, mobility students must bring attendance issues to the Dean of Students. Parsons
NY advising staff will not address issues of attendance that occur at Parsons Paris.
Similarly, decisions regarding the attainment of learning outcomes in case of excessive
absences will be determined by Parsons Paris.

Religious Absences and Equivalent Opportunity

Pursuant to Section 224-a of the New York State Education Laws, any student who is
absent from school because of his or her religious beliefs will be given an equivalent
opportunity to register for classes or make up any examination, study, or work
requirements which he or she may have missed because of such absence on any
particular day or days. The student must inform the instructor at the beginning of the
course of any anticipated absences due to religious observance.

● Canvas
Use of the Canvas online learning management system may be an important resource for
this class. Students should check it for announcements before coming to class each week.

● Delays
In rare instances, I may be delayed arriving to class. If I have not arrived by the time class
is scheduled to start, you must wait a minimum of thirty minutes for my arrival. In the event
that I will miss class entirely, a sign will be posted at the classroom indicating your
assignment for the next class meeting.

● Academic Integrity
The New School views academic integrity as the duty of every community member.
Claiming authorship for one’s own work and only for that work, recognizing the
contributions of others accurately and completely, and presenting one’s academic
circumstances and achievements accurately and completely are fundamental obligations
to the integrity of intellectual, creative, and academic pursuits. All members of the
university community are expected to conduct themselves in accord with the standards of
academic integrity outlined in this policy.

The New School values and respects all academic traditions; however, while at The New
School, students are expected to adhere to the norms and standards of academic integrity
espoused by this community and will be assessed in accordance with these standards.

Students are responsible for understanding the University’s policy on academic integrity.
The New School recognizes that different academic circumstances may require different
procedures for citing sources and referencing the work of others, including work generated
by artificial intelligence tools. In their syllabi, faculty members are required to inform
students of the academic integrity policy, as well as provide guidelines on their own
practices, such as the limits within which students may collaborate with or seek help from
others, the parameters on the acceptable outsourcing of certain tasks, and direction on the
use of generative artificial intelligence tools, if permitted for use within the course.
DEFINITIONS AND EXAMPLES OF ACADEMIC DISHONESTY

The standards of academic integrity apply to all forms of academic work and
circumstances, including, but not limited to, presentations, performances, examinations,
submissions of papers (including drafts), projects, academic records, etc. Academic
integrity includes accurate use of quotations, as well as appropriate and explicit citation of
sources in instances of paraphrasing, describing ideas, and reporting on research findings
and work of others (including that of faculty members and other students). Only authorized
use of artificial intelligence tools is permitted. Students unsure about acceptable use of any
source, including generative artificial intelligence, in the context of a particular assignment,
should consult the syllabus for a course or speak with the instructor.

Academic dishonesty results from violations of academic integrity guidelines. Academic

dishonesty includes, but is not limited to:

● cheating on examinations, either by copying another student’s work or by utilizing

unauthorized materials
● using work of others as one’s own original work and submitting such work to the
university or to scholarly journals, magazines, or similar publications
● copying or appropriating someone else’s work in visual or performing arts
● submission of someone else’s work downloaded from paid or unpaid sources on
the internet as one’s own original work, or including the information in a submitted
work without proper citation
● submission of another student’s work obtained by theft, purchase or other means
as one’s own original work
● submitting the same work for more than one course without the knowledge and
explicit approval of all of the faculty members involved, including applicable faculty
from prior semester(s)
● unauthorized use of artificial intelligence tools to generate ideas, images,
art/design, audio, video, code, or text for any portions of work
● destruction or defacement of the work of others
● aiding or abetting any act of academic dishonesty
● any attempt to gain academic advantage by presenting misleading information,
making deceptive statements, or falsifying documents, including documents
related to admission applications, academic records, portfolios, and internships
● any form of distributing one’s work with the intent to enable students to use this
work as their own, including, but not limited to, posting quizzes, papers, projects
etc. on websites
● engaging in other forms of academic dishonesty that violate principles of integrity

Guidelines for Written Assignments

Plagiarism is the use of another person's words or ideas in any academic work using
books, journals, internet postings, or other student papers without proper acknowledgment.
For further information on proper acknowledgment and plagiarism, including expectations
for paraphrasing source material and proper forms of citation in research and writing,
students should consult the Chicago Manual of Style (cf. Turabian, 6th edition). The
University Writing Center also provides useful on-line resources to help students
understand and avoid plagiarism.

Students must receive prior permission from instructors to submit the same or substantially
overlapping material for two different assignments. Submission of the same work for two
assignments without the prior permission of instructors is plagiarism.
Guidelines for Studio Assignments
Work from other visual sources may be imitated or incorporated into studio work if the fact
of imitation or incorporation and the identity of the original source are properly
acknowledged. There must be no intent to deceive; the work must make clear that it
emulates or comments on the source as a source. Referencing a style or concept in
otherwise original work does not constitute plagiarism. The originality of studio work that
presents itself as “in the manner of” or as playing with “variations on” a particular source
should be evaluated by the individual faculty member in the context of a critique.

Incorporating ready-made materials into studio work as in a collage, synthesized

photograph or paste-up is not plagiarism in the educational context. In the commercial
world, however, such appropriation is prohibited by copyright laws and may result in legal
consequences.

● Student Disability Services

Student Disability Services (SDS) assists students with disabilities in need of academic
and programmatic accommodations as required by the Americans with Disabilities Act of
1990 (ADA) and Section 504 of the Federal Rehabilitation Act of 1973.

If you are a student with a disability/disabled student, or believe you might have a disability
that requires accommodations, please head to the SDS website, and complete the Self ID
form. Then, head to Starfish and find a time to meet with Nick Faranda, at a time of mutual
convenience. If appropriate, you will be provided an academic accommodation notice for
you to bring to me. This letter is necessary in order for classroom accommodations to be
provided. Once you provide me with this letter, we will have a private discussion about the
accommodations in relation to this course.

If you have any questions or concerns, please contact the Student Disability Services
(SDS) at [email protected], or 212-229-5626. On the Parsons Paris
campus, you may also reach out to Fabienne Maître at [email protected] to
schedule an appointment at the 31 avenue de l'Opera location.

While a student is never required to disclose disability-specific information, and faculty/staff

are prohibited from asking disability-specific questions, in order to be eligible to receive
and be afforded the protections of accommodations, a student is required to provide a
letter to their professor and collaborate on any potential challenges with each other and
SDS, if necessary/needed.

● Student Course Evaluation

During the last two weeks of the semester, students are asked to provide feedback for
each of their courses through an online survey. They cannot view grades until providing
feedback or officially declining to do so. Course evaluations are a vital space where
students can speak about the learning experience. It is an important process which
provides valuable data about the successful delivery and support of a course or topic to
both the faculty and administrators. Instructors rely on course rating surveys for feedback
on the course and teaching methods, so they can understand what aspects of the class
are most successful in teaching students, and what aspects might be improved or changed
in the future. Without this information, it can be difficult for an instructor to reflect upon and
improve teaching methods and course design.

Parsons Paris Community Agreements

Cultivate a brave space – We cannot guarantee safety, but we can strive for a space
where we share bravely, take risks, be vulnerable and hold each accountable with
kindness and respect. No one knows everything; everyone knows something; together we
know a lot. We are all learners and have different life experiences; we can all learn from
each other without canceling anyone. We can’t be eloquent all the time.

Be respectful – of your own feelings and those of others when speaking.

Honor Confidentiality – What we share stays here.

Share from your own experiences – Your perspective is shaped by your tradition,
beliefs, identities and life experiences. Speak from your heart using “I” statements to take
ownership of what you say. The only person you can truly speak for is yourself.

Honor silence and time for reflection – This also allows time for others to move up their
speaking. Practice waiting: W.A.I.T. – why am I talking?

Practice active listening – Try to listen without judgment, with the intent of understanding
the speaker. Listen to understand, not to respond. As soon as you’re thinking “That’s
good.” or “I don’t like that” or you’re planning how you’re going to respond, you are having
a conversation in your mind and not listening to the speaker.

Agree to disagree… but don’t disengage – Listen with the intent of understanding, not to
agree or to believe what is being said. Your presence adds value to our group process.
You do not have to agree or believe anything shared; your job is to listen for
understanding. Disagree with the statement, not the person if you must disagree.

Acknowledge intent, address impact – We may not mean to cause harm, but it can
happen anyway. When someone is hurt we first attend to the hurt person, and then can
process why and how the hurt happened and how to prevent it in the future while
maintaining active group engagement.

Acknowledge the liveliness of language – As an example, “you guys” may be intended

as gender neutral but may not be received as such; the term “queer” can be offensive to
one person and essential for another.

Move up, move up – If you usually don’t share much, challenge yourself to share more; if
you find yourself sharing more than others, challenge yourself to listen more.

Suspend status – We are all partners in our quest for insight and understanding, and we
each have different areas of expertise.