Myth of Icarus and Daedalus

When Minos landed on the coast of Crete,

He bled a hundred bulls to mighty Jove,

And decked his palace with the spoils of war.

And yet strange gossip tainted all his honours:

Proof that his wife was mounted by a bull

Was clear enough to all who saw her son,

Half-beast, half-man, a sulky heavy creature.

To hide this symbol of his wife’s mismating

He planned to house the creature in a maze,

An arbour with blind walls beyond the palace;

He turned to Daedalus, an architect,

Who was well known for artful craft and wit,

To make a labyrinth that tricked the eye.

Quite as Meander flows through Phrygian pastures,

Twisting in streams to sea or fountainhead,

The dubious waters turning left or right,

So Daedalus designed his winding maze;

And as one entered it, only a wary mind

Could find an exit to the world again ---

Such was the cleverness of that strange arbour.

****

Weary of exile, hating Crete, his prison,

Old Daedalus grew homesick for his country

Far out of sight beyond his walls --- the sea.

“Though Minos owns this island, rules the waves,

The skies are open: my direction’s clear.

Though he commands all else on earth below

His Tyranny does not control the air.”

So Daedalus turned his mind to subtle craft,

An unknown art that seemed to outwit nature:

He placed a row of feathers in neat orders,

Each longer than the one that came before it

Until the feathers traced an inclined plane

That cast a shadow like the ancient pipes

That shepherds played, each reed another step

Unequal to the next. With cord and wax

He fixed them smartly at one end and middle,

Then curved them till they looked like eagles' wings.

And as he worked , boy Icarus stood near him.

His brilliant face lit up by his father’s skill.

He played at snatching feathers from the air

And sealing them with wax (nor did he know

How close to danger came his lightest touch):

And as the artist made his miracles

The artless boy was often in his way.

At last the wings were done and Daedalus

Slipped them across his shoulders for a test

And flapped them cautiously to keep his balance,

And for a moment glided into air.

He taught his son the trick and said, “Remember

To fly midway, for if you dip too low

The waves will weight your wings with thick saltwater,

And if you fly too high the flames of heaven

Will burn them from your sides. Then take your flight

Between the two. Your route is not toward Boötes

Nor Helice, nor where Orion swings

His naked sword. Steer where I lead the way.”

With this he gave instructions how to fly

And made a pair of wings to fit the boy.

Though his swift fingers were as deft as ever,

The old man’s face was wet with tears; he chattered

More fatherly advice on how to fly.

He kissed his son --- and, as the future showed,

This was a last farewell --- then he took off.

And as a bird who drifts down from her nest

Instructs her young to follow her in flight,

So Daedalus flapped wings to guide his son.

Far off, below them some stray fisherman,

Attention startled from his bending rod,

Or a bland shepherd resting on his crook,

Or a dazed farmer leaning on his plough

Glanced up to see the pair float through the sky,

And taking them for gods, stood still in wonder.

They flew past Juno’s Samos on the left

And over Delos and the isle of Paros,

And on the right lay Lebinthus, Calymne,

A place made famous for its wealth in honey.

By this time Icarus began to feel the joy

Of beating wings in air and steered his course

Beyond his father’s lead: all the wide sky

Was there to tempt him as he steered toward heaven.

Meanwhile the heat of sun struck at his back

And where his wings were joined, sweet-smelling fluid

Ran hot that once was wax. His naked arms

Whirled into wind; his lips, still calling out

His father’s name, were gulfed in the dark sea.

And the unlucky man, no longer father,

Cried, “Icarus, where are you, Icarus,

Where are you hiding, Icarus, from me?”

Then as he called again, his eyes discovered

The boy’s torn wings washed on the climbing waves.

He damned his art, his wretched cleverness,

Rescued the body and placed it in a tomb,

And where it lies the land’s called Icarus.

Introduction

Cave Painting

Click here for an animation theory of cave painting. 

Dana Schutz

Neo Rauch

Mark Lombardi

A visual map depicting a narrative through depth.

Click here for a William Kentridge Animation.

Syllabus

Parsons the New School for Design

Summer Intensive Studies

Fine Arts: Visual Narratives Pre- College

CRN-1805 PNNY 0103- C

July 1- July 26, 2013

Monday- Friday, 9am- 3:50pm

2 West 13^th, rm 809

Kenneth Millington

millingk@newschool.edu

Course Description:

From cave painting to comics and anime, visual storytelling is one of the world’s most enduring

and popular art forms. In this class, students investigate linear and nonlinear narratives; the role

of time, space, and composition; archetypal images and characters; and the history of tales.

Integrating contemporary human experience with character, plot, conflict, and the dramatic arc,

students invent their own visual mythology. They create narratives in a variety of media,

including drawing, painting, collage, animation, and video and audio recordings. Course work is

supplemented by lectures, screenings, and discussions.

This course aims to develop an understanding of narrative conventions. How these structures

inform our cultural identities, shape our world-views and provide inspiration for a new generation

of stories. Focusing attention on the process of storytelling students will learn to go beyond

conventional formats and question what can be seen as a narrative?

Learning Objectives:

·       Students will understand the structure of narratives including character, setting, and action.

·       Students will explore a multitude of narrative art making forms; both traditional and unorthodox, literal and abstract.

·       A conceptual and applied understanding of visual elements such as image, composition and sequence.

·       Ease with “brainstorming” with materials; making effective visual decisions by first engaging in experimentation with multiple approaches.

·       Demonstrate an understanding of the iterative and incremental making process, including developing sketches, storyboards and responding to feedback.

·       Familiarity with strategically selecting and employing the painting/ drawing/collage/ photography/ video techniques that are best suited for each work.

·       The ability to reflect on a thematic concept in a meaningful way and translate those insights into visual narrative form.

·       Effective use of collected research (information and images available on the internet, in magazines, newspapers, or books) to inform the visual development of a drawing, animation, video, collection.

·        The ability to archive one’s own process (sketches, proposals, written thoughts) as well as final products in the form of the Learning Portfolio.

·       Demonstrate an understanding of editing final work for an Admissions Portfolio.

·       Ability to evaluate works of art and the creative process through dialogue
including group discussions, critiques, and written reflections.

·       A consistent and professional work ethic and studio practice.

Learning Activities:

1. Written Assignments  – Students will respond to selected readings, films, and exhibitions.

2. Formal Challenges –Students will explore the relationship of format, sequence, and content in problem-solving exercises. 

3. Homework  – Students will have daily homework to expand on lesson concepts and collect reference sources.

4. Group Critiques- Students will engage in constructive critiques, observing and talking about each other’s work, hearing and using constructive criticism.

5. Final Project and Presentation  – Students will take part in a final exhibition showcasing their work. They will learn presentation skills, finishing skills and to talk about their work.

Required Materials:

Charcoal (small packs)- Vine (Soft) and Compressed (Brand- Alphacolor Char Kole) and a charcoal pencil

Assorted pencil, pens, markers (what you have will be fine as it is for planning purposes)

Kneaded Eraser, White Eraser (Staedlar)

18 X 24in Newsprint Pad

4- 18 X 24 in. sheets of drawing paper

2- 18 X 24 in. Bristol

Sketchbook

Digital Camera

Flashdrive

One box of Ziplock bag (Sandwich size)

$5 for large paper bought as a roll for class

Metrocard with $20.00 for fieldtrips

Combination Lock for your locker

Individual Materials:

Students will select a medium of their choice for the final project. Students should budget around $40 for this project.

Art Supply Stores:

Utrecht: 21 East 13th Street 
(between University Place and 5^th Ave)

Pearl Paint: 308 Canal Street (West of Broadway)

New York Central: 62 Third Ave. (between 11th and 12th Streets)

Project Descriptions:

One Act Play- Students will make a large- scale charcoal drawing using a figure and an invented background to give a sense of narrative.

Doppelganger Series- Student will create a photo self- portrait series with appropriated identity from contemporary media.

Animation Students will create a short drawn animation in iMovie, drawing inspiration from the process of William Kentridge.

Labyrinth- Working in groups, students will create a short video that engages with the concept of a labyrinth. It will be shot on the school premises and later edited in Premier Pro.

Archeology of a Story- Using 10 to 15 Ziplock Baggies students will fill each with found elements that will be sequenced to describe a narrative.

Book Making- using the concept of a book, students will create a story of their choosing and media.

Schedule Grid:

Date	Project	Activity & Homework
Wk 1
7/1	Introduction	Review of syllabus. Create a narrative map assigned from a Greek myth. Homework: Write a short story inspired by the symbols, images on a dollar bill.
7/2	Figure Drawing (Model)	Basic figure drawing, anatomy, gesture, short and long pose. Homework: Generate a simple story to be told in one image. Make sketches, compositional studies, collect inspirations, reference material. Contemporary short story reading.
7/3	Figure Drawing (Model)	Head studies, portraiture. Begin “One Act Play” project working from the model. Demo Blog Creation. Homework: Bring in reference imagery to complete background of your drawing. This imagery must include- setting, props, costume, atmosphere. Create a blog for learning portfolio.
7/4	NO CLASS	NO CLASS
7/5	“One Act Play” (Model)	Continue “One Act Play” working directly from the model finishing this portion. Homework: Complete project by drawing the invented background.
Wk2
7/8	Intro- “Animation”	Lecture with artist examples. Short Collaborative Animation project. Storyboard creation for independent animation project. Homework: Read a section of a graphic novel and compose a short response discussing the artist’s use of visuals in conjunction with the narrative structure.
7/9	“Animation” & “Archeology of a Story”	Begin drawing frames of animation. Homework: Begin collecting artifacts for “Archeology of a Story”
7/10	“Animation”	Continue Drawing frames for animation. Homework: Continue collecting artifacts for “Archeology of a Story” and prepare installation.
7/11	“Animation”	Installation of “Archeology of a Story” Project. iMovie – animation of drawings. Homework: Watch selections from the “Creemaster Cycle”- by Matthew Barney.
7/12	Intro- “Doppelganger Series”	Fieldtrip to the Morgan Library- “Subliming Vessel” Homework: Complete “Doppelganger” photo project. Read "The Library of Babel" by Borges.
Wk3
7/15	“Doppelganger Series”	Computer lab to edit photos in Photoshop. Blog check in Homework: Watch “Momento” by Christopher Nolan and write a response to the unique narrative structures.
7/16	“Labyrinth Video”	Working in groups, write a basic narrative to express the concept of a labyrinth. Create a storyboard. Homework: Prepare materials for a one-day video shoot.
7/17	“Labyrinth Video”	Shoot video on location at Parsons. Homework: Continue project
7/18	“Labyrinth Video”	Computer lab. Video editing in Premiere Pro. Homework: Brainstorm ideas for a short story to serves as the narrative for the final project.
7/19	“Book Making” Final Project	Intro to book as a format and simple book making technique. Fieldtrip to MoMA- Abstract Generation Now in Print. Homework: Select or write a story. Experiment with possible media and prototype for the book form. Create a demo page.
Wk4
7/22	“Book Making”	Begin work on final project. Homework: Continue work on final project.
7/23	“Book Making”	Continue work on final project. Homework: Continue work on final project
7/24	“Book Making”	Complete work on final project.
7/25	Portfolio	Blog Completion
7/26	Final exhibition and critique	Final exhibition and critique

BIO

Kenneth Millington was born in 1974 in Geneva, New York. He received his BFA from the Rhode Island School of Design in 1996 and his MFA from the School of Visual Arts in 2005. Most recently his work has been seen in “Bronx Calling: The First AIM Biennial” at the Bronx Museum of Fine Arts. Kenneth has pursued painting projects abroad in Europe and South America including watercolor studies with Ricardo Perez Alcala in La Paz Bolivia. Kenneth’s painting practice includes large-scale watercolors as well as exterior mural projects around the country.  His painting is informed by his Bolivian heritage, the landscape of upstate New York and his interest in history and science. He has been awarded several grants including the J. William Fulbright Fellowship, the Elizabeth Greenshields Grant, and the Stacey Scholarship.  Kenneth currently teaches Drawing in the Foundation Department at Parsons, The New School. He lives and works in Brooklyn, New York.

Grading:

Students will be graded on Projects and Class Participation, Homework and Critique Participation.

Projects and Class Participation- 80% Homework (Reference Collection, Exercises)-15% Critique Participation- 5%

Grade Descriptions: from Parsons Student Handbook & Core Studies Departmental Guidelines A                  4.0                  Work of exceptional quality. 95-100% These are projects that go above and beyond the expectations and requirements described in the assignment. They demonstrate substantial effort and achievement in the areas of critical thinking, technique and presentation.

A- 3.7 90-94%

B+ 3.3 86-89%

B 3.0 83-85%

Work of very high quality. Work of high quality, higher than average abilities. Very good work that satisfies goals of course.

The “B” student offers a clear and convincing structure to a visual endeavor that is more complex and unique than a project at the average level. The creator’s point of view and point of the project are merged successfully and organized fairly consistently throughout the project. Although minor structural problems may be present in the assignment, they do not hinder the overall outcome.

B-                  2.7 80-82%

C+                  2.3 76-79%

Good work. Above Average work, Average understanding of course material.

C                  2.0 73 -75% The student demonstrates an engagement with the assignment. The project will show that the creator can identify and work with key ideas and examples found in reference material. Typical of a “C” project is that the original problem or assignment once approached does not develop further. Projects may also have organizational, technical weaknesses.

C-                  1.7                  Passing work but below good academic standing. 70-72%

D                  1.0                  Below average work; does not fully understand the concepts of the course 60-70%

Although this is passable work, the project only answers the minimum requirements of

Average work; passable.

the assignment. The projects shows very little effort, is incomplete, late or incorrect in its approach. The outcome shows a lack of full understanding and commitment on the part of the creator.

F                  0                  Failure, no credit. 0-59%

POLICIES

● RESPONSIBILITY

Students are responsible for all assignments, even if they are absent.  Late assignments, failure to complete the homework assigned for class, and lack of preparedness for in-class discussions and presentations will jeopardize your successful completion of this course. 

● PARTICIPATION

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

● ATTENDANCE

Regular, on-time class attendance is required.  Students with repeated absences and/or lateness for any reason risk a substantial negative impact to their grade, including failure. Excessive or repeated instances of lateness may be counted as absences.

● PLAGIARISM

This is NSU’s Statement on Academic Integrity: Plagiarism and cheating of any kind in the course of academic work will not be tolerated.  Academic honesty includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of instructors and other students).  These standards of academic honesty and citation of sources apply to all forms of academic work (examinations, essays, theses, computer work, art and design work, oral presentations, and other projects).  […]

● STUDENT DISABILITY SERVICES

In keeping with the University’s policy of providing equal access for students with disabilities, any student with a disability who needs academic accommodations is welcome to meet with me privately.  All conversations will be kept confidential.  Students requesting any accommodations will also need to meet with Tava Kestenbaum in the office of Student Disability Services, who will conduct an intake, and if appropriate, provide an academic accommodation notification letter to you to bring to me.  At that point I will review the letter with you and discuss these accommodations in relation to this course.  Ms. Kestenbaum’s office is located in the Graduate Faculty building at 65 Fifth Avenue – Room #410.  Her direct line is (212) 229-5626.  You may also access more information through the University’s web site.