INTERMEDIA ARTS
INTERMEDIA ARTS
FA 320
VIDEO STUDIO
Spring 2009
Section 1 M/W 2:00-4:50 PM (West)
Lab Phone: Watt 6: (213) 821-0021 Galen Lab: (213) 821-3899
Faculty Instructor
Jennifer West (Greisz)
E-Mail: greisz@usc.edu
Office Hours: By Appointment
Teaching Assistant: Tellef Tellefson
Day/Time: Mon 2-4:50pm
Course Objective
This class is an intensive video studio in the conceptualization and
methodology of time-based, narrative and non-narrative art. The
class will expand students knowledge for deploying their ideas in
video art through the use of multi-channel video installations,
advanced conceptual consideration of editing and post-production
video manipulation. Prerequisite: FA 215.
Course Description
This intermediate class involves training with the digital video
camera, PD-170 and the use of Adobe After Effects. The class will
concentrate on advancing the use of editing video in Final Cut Pro
and presentation through the use of DVD Studio Pro. The class will
emphasize how video works are deployed into physical space via single
and multiple video projections, monitors and architectural space.
Throughout the class, works will be discussed and screened that use
After Effects for a variety of formal and conceptual strategies. The
class has three sections. The first section will introduce students
to working with multiple channels of digital video. The second
section focuses the students to produce a multi-channel work that has
a spatial component: using multiple video projections and/or
monitors, existing architecture or sculptural components. The third
section of the class will concentrate on the expansion and
contraction of time through the use of digital manipulation of the
video frame and editing techniques. The students will come to
understand digital video as a flexible tool that is able to
communicate ideas through a large variety of strategies including
multichannel installations, editing and post-production video
manipulation.
Required Materials (The below materials must be brought to all classes)
Storage:
LaCie Hard Disk, Design by Neil Poulton
eSATA, FireWire 400 & Hi-Speed USB 2.0
500GB
$99.99
Additional:
USC email account
Required
Creating Motion Graphics with After Effects, Fourth Edition: Essential and Advanced Techniques
AUTHOR: Chris & Trish Meyer
PUBLISHER: Focal Press
PUBLISH DATE: Nov 2 2007
ISBN: 978-0-240-81010-2
GRADING
Attendance
Attendance will be taken at all meetings and is mandatory.
Your final grade will be dropped one full letter grade per 2
unexcused absences. 2 late arrivals to class will be equal to 1
unexcused absence.
4 unexcused absences will result in a failing grade.
Grade Breakdown
Project 1 - 15%
Project 2 - 30%
Project 3 - 30%
Homework : AfterEffects Assignments, Critique Evaluations, Reading & Exhibition Responses– 12.5%
Participation In Discussion Of Readings And Critiques – 12.5%
Explanation of Grading
Projects are graded on the conceptual and aesthetic quality of
finished work, technical/craft expertise, and conceptual and
technical investment of time. Grading for projects includes project
development and project analysis. There will also be proposals and
analyses due throughout the semester. These should reflect a
significant investment of time and thought. For more on grading, see
project page. Late assignments will have one full letter grade
deducted per class tardy.
Participation
Your grade will be lowered if you do not actively and constructively
participate in critiques. Your grade will be lowered if you do not
come to class prepared to productively work on projects during open
studio times. Each missed critique will drop your grade by one full
point and will also count as an absence.
Statement on Academic Integrity
USC seeks to maintain an optimal learning environment. General principles of academic honesty include the concept of respect for the intellectual property of others, the expectation that individual work will be submitted unless otherwise allowed by an instructor, and the obligations both to protect one’s own academic work from misuse by others as well as to avoid using another’s work as one’s own. All students are expected to understand and abide by these principles. Scampus, the Student Guidebook, contains the Student Conduct Code in Section 11.00, while the recommended sanctions are located in Appendix A: . Students will be referred to the Office of Student Judicial Affairs and Community Standards for further review, should there be any suspicion of academic dishonesty. The Review process can be found at: .
Students with Disabilities and Academic Accommodations
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is located in STU 301 and is open 8:30 a.m.–5:00 p.m., Monday through Friday. The phone number for DSP is (213) 740-0776.
Roski admissions information
For information and an application to become a Fine Arts minor, please visit "" Please contact Antonio Bartolome at anbartol@usc.edu or 213-740-7567 with any questions about a minor in the Fine Arts. To become a Fine Arts major, please visit Please contact Penelope Jones at Penelope@usc.edu or 213-740-9153 with any questions about majoring in FA. Applications are due October 1st and March 1st every year.”
PROJECTS
Explanation Of Grading
Project grades are determined based on your attention to and
investment in the overall process of art making. While the final
product of your work will be the focal point of critiques and will be
a major component of your grade, you must satisfy other criteria as
well:
Conceptual merit: your projects should be interesting and well
thought-out. They will be evaluated in terms of degree of ambition
and complexity, and should also reflect a growing understanding of
the art historical and theoretical concepts discussed in class.
Written self-analyses handed in with completed projects and written
critique analyses will be considered in this component of your grade
(see below).
Technical execution and effort: in addition to the overall level of
skill you bring to your projects, they will be evaluated for the
degree to which they answer the technical requirements of the
assignment and the amount of in-class and out-of-class effort evident
in the project.
Planning and organization: because the overall process is often the
most challenging and innovative aspect of art-making, your project
grade will take into account the level of thought and preparation of
your work at each stage: from initial proposal, through the stages of
work, to the presentation of the final piece. On-time and thorough
presentations are a significant aspect of your final project grade.
Your project proposals will also be considered in this component of
your grade (see below).
PROJECT 1:
DIGITAL VIDEO: BREAKING OUT INTO MULTIPLE SCREENS
Class Introduction
This section of the class will explode the notion of an artwork being
contained to a single screen with stereo sound. The class will make
a dramatic shift to the exciting possibilities of working in the 2-
channel video format. Can two screens offer different points-of-view
of the same subject? Can one screen contract time, while the other
expands? Can the two screens interact together – talking to eachother?
PRODUCE A TWO-CHANNEL VIDEO WORK WITH SOUND
This project will use found footage supplied by the professor to
produce a 2-minute, 2-channel video and sound piece. The project
should reflect a knowledge of the conceptual strategies of point-of-
view, perspective and juxtaposition.
Choose one of the following conceptual devices:
-Perspective: Use 2 video and 2 sound components that provide a
different point-of-view or perspective of the same thing
-Juxtaposition: Use 2 video and 2 sound components that together
produce a third meaning
-Interaction: Use 2 video and 2 sound components that “interact”
with each other
Screenings:
Point-of-view/Perspective:
Duchamps Anemic Cinema (1926)
Dan Graham Helix/Spiral (1973)
Michael Snow Two Sides to Every Story (1974)
Rodney Graham EDGE OF A WOOD (1999)
Jane and Louise Wilson Various Works
Stephen Greer Rhodes DUALISM 1 and 2 (2005/2006)
Heike Baranowsky DEATH BREATH and others
Stan Douglas DER SANDMANN
Juxtaposition:
Pipolotti Rist Ever is Over All (1997)
Michele O’Marah WHITE DIAMONDS/AGENT ORANGE (2002)
Lorna Simpson CORRIDOR (2004)
Interaction:
Andy Warhol Inner and Outer Space (1966)
Vito Acconci REMOTE CONTROL (1971)
SamTaylor Wood TRAVESTY OF A MOCKERY (1995)
Anri Sala BLINDFOLD (2002)
Diana Thater A SERIES OF EVENTS (2002)
Euan Macdonald Poor Blumfeld (2006); TOGETHERNESS (2005)
Douglas Gordon LEFT DEAD/DEAD RIGHT; LEFT IS RIGHT, RIGHT IS WRONG
Doug Aitken NEW MACHINE NEW MIND
Eija-Liisa Ahtila CONSOLATION SERVICE (2003)
Reading:
Michael Rush “Video Art” New Media in Late 20th Century Art
Thomas Zummer “Into the Light”
PROJECT 2: THE EXPANDED FIELD: ACTIVATING SPACE WITH VIDEO AND SOUND
To take the multi-channel work to its next level, the challenge of
this class section is to engage in how to deploy video art works into
physical space via video installation. There will be exposure to a
variety of works that use video projections and monitors in space as
part of the content and effect of the work. Through this exposure,
class readings, discussions and dialogue with the instructor, produce
a multichannel-work that is designed with a specific installation
plan that is appropriate to the content of the work. The focus will
be creating an installation that utilizes a spatial component.
Mid Term Project:
Produce a 2 or 3-channel video piece (1 to 5 minutes) in Final Cut
Pro with an installation diagram. The project should utilize some
After Effects technology. The installation diagram should indicate
how each channel of video would be installed: either video
projectors, video monitors, sculptural components or a combination
thereof. If the work has a sound component – please indicate how
the speakers will be placed in the room. The class will screen a
variety of spatialized video works and study installation diagrams by
artists. The finsihed works will be temporarily installed for
critiques.
Images: Baroque architecture – how a moving body activates time and
Space, Illitsky
Screenings/Images:
Le Corbusier’s Brussel’s Pavillion (1958)
Stan Vanderbeek MOVIE DROME (1963-1985)
Bruce Nauman ART MAKE-UP (1967-68); CORRIDOR Installation (1970);
CLOWN Torture (1987)
Nam June Paik TV BUDDHA (1971)
Anthony McCall Line Describing A Cone (1973)
Dennis Oppenheim Echo (1973)
Dan Graham TIME DELAY ROOM (1974)
Paul Sharits Shutter Interface (1975)
Joan Jonas Mirage (1976/2001)
Paul McCarthy Bossy Burger (1991)
Stan Douglas Hors-champs (1992)
Bill Viola THE CROSSING (1996)
Diana Thater BEST SPACE IS THE DEEP SPACE (1998)
Catherine Sullivan Ice floes of franz joseph land (2003)
Tony Oursler Various Works
Marnie Weber THE NURSE AND THE SNOWMAN (1999)
Jane and Louise Wilson EREWON (2004)
Skylar Haskard Ballona (New Place) 2004
Mike Kelley Day is Done (2006)
Stephen Greer Rhodes THOUGHTS FREEZE (2006)
Doug Aitken Sleepwalkers (2007)
Christian Marclay CROSSFIRE (2007)
Mark Titchner The eye don't see itself (2007) Her text/Ur text (2007)
Reading:
Mike Kelley “Day is Done”
Anthony McCall’s “Line Describing A Cone”
Dan Graham, “Essay on Video, Architecture and Television”
Interview with Stan Douglas
PROJECT 3:
TIME: EXPANSION AND CONTRACTION:
MANIPULATING INSIDE THE VIDEO FRAME AND TECHNIQUES OF EDITING
The third section of the class will concentrate on expanding the
students knowledge of manipulations inside the video frame vis-à-vis
After Effects and how those images are put together in time vis-à-
vis editing techniques. Works that involve notions of time will be
used to discuss how editing can contract or expand time. We will look
at works that involve the use of multiple layering of the video frame
with After Effects. This section will start with a discussion of
Hitchcock’s “The Birds” reflecting on the history of layering
the filmic frame using: rear screen projection, fabricated birds,
real birds, real space, etc. We will focus on video works that use
formal technical devices such as matting (Tony Oursler), green
screen/visual effects (Nam June Paik, Stan Douglas, Euan Macdonald,
Hirsch Perlman, Stephen Rhodes, Diana Thater), animation (Mungo
Thompson, Jennifer Steinkamp, Pierre Huyghe, Jeremy Blake),
contracting time through editing and filmed duration (Dara Birnbaum,
Fischli and Weiss, Sam Taylor Wood, Gordon Matta-Clark, Douglas
Gordon).
Final Project:
Produce a 1-5 minute video work that concentrates on the use of
manipulating the video frame with after effects technology and
editing techniques. The project may include the use of sound. This
project must utilize AfterEffects technology.
Screenings:
Alfred Hitchcock excerpts, THE BIRDS (1963)
Andy Warhol EAT (1964)
Carolee Schneeman FUSES (1964)
Bruce Conner BREAKAWAY (1966)
Michael Snow WAVELENGTH FOR THOSE WHO DON’T HAVE THE TIME (1966)
Ernie Gehr SERENE VELOCITY (1970)
Hollis Frampton NOSTALGIA (1971)
Joan Jonas VERTICAL ROLL (1972)
Lynda Benglis ON SCREEN (1972)
Nam June Paik Early Color TV Manipulations (1965-68); Global Groove
(1973)
Jack Goldstein VARIOUS WORKS
Gordon Matta-Clark CONICAL INTERSECTION (1974); DAYS END (1975)
Terry Fox CHILDREN’S TAPES (1974)
Dara Birnbuam Technological Transformation: Wonder Woman (1978-1979)
Fischli and Weiss The Way Things Go (1987)
Douglas Gordon TWENTY-FOUR HOUR PSYCHO (1993)
Rodney Graham VEXATION ISLAND (1997)
Euan Macdonald TWO PLANES (1997)
Diana Thater ORANGE ROOM WALLFLOWERS (2001) RGB SUNS (2000); DARK
MATTER (2003)
Sam Taylor Wood Still Life (2001); Prelude (2006)
Hirsch Perlman Two AFFECT STUDIES (2000/2001); TWO MORE AFFECT
STUDIES (2000)
Rosemarie Trockel SPLEEN (2002)
Mungo Thompson The American Desert (for Chuck Jones), 2002
Jeremy Blake WINCHESTER (2002)
Sterling Ruby HIKER (2002)
Stan Douglas Suspiria, 2002/2003
Jennifer Steinkamp DERVISH (2004/2005); ROCK FORMATION (2006)
Stephen Greer Rhodes BEAR BEAR (2005) WHO FARTED? (2006) 16 SIDED BARN (2004)
Slater Bradley DOPPELGANGER TRILOGY (2001-2004)
Laura Riboli VARIOUS WORKS (2004-2007)
Mark Titchner VARIOUS WORKS (2007-08)
Reading:
Gilles Deleuze “Gaseous Perception” Cinema 1
Stan Douglas and Christopher Eamon in Conversation, “Regarding
Shadows”
Proposal And Project Presentations
These are written presentations to the class. They provide an
opportunity for you test your work or concept on your colleagues in
the class, and to consider and articulate your goals so that our
feedback can be as useful and appropriate to your needs as possible.
Your proposal should address:
1) What the idea of the project is and why it interests you.
2) How your chosen form will relate to and realize your conceptual
concerns.
3) How you will technically accomplish the project. For this you
should consider your shooting method, location, cast and production
schedule.
4) Explain how you are considering the artists listed for this project
4) Bring any visual support materials to further explain your
conceptual and aesthetic goal.
In the process of creation it’s entirely likely that your ideas and
practice will shift, perhaps radically. If this is the case at the
project presentation stage, be sure to address how and why you
changed your project.
Written Critique Analysis
Following your critique you will be asked to write an analysis of
that critique. Include in this one page essay the most important
lessons and insights from the critique given to you by both the class
and the professor.
Written Reading Response
Following each reading, there will be class discussion requiring your
involvement. To prepare for the discussion you will need to bring
three questions that you have formed while readings the assigned
text. In addition, you will be required to bring a 1-2 page answer to
one of your questions. You will be asked to present this question and
answer in the class discussion. You are encouraged to include any
additional visual materials or texts to form your answer.
Written Exhibition Responses
Following the two field trips to museum exhibitions, you will be required to write a 1 page response to the exhibition and the class discussion that followed.
Week 1
M 1/12
INTRO: Course intro and overview
Intermedia lab intro: Student handbook, lab use and
protocol, OSX
SCREEN/DISCUSS:
SPLIT SCREEN WORKS: INTERACTION/JUXTAPOSITION/POINT-OF-VIEW
Pipolotti Ryst EVER IS OVER ALL
Sam Taylor Wood CONSOLATION SERVICE (2004)
Jane and Louise Wilson VARIOUS WORKS (1995-2004)
Douglas Gordon VARIOUS WORKS
Michele O’Marah WHITE DIAMONDS/AGENT ORANGE (2002)
Euan Macdonald Poor Blumfeld (2006)
HW Buy required books and drive if you don’t already have one
W 1/14
INTRO: Section One: BREAKING OUT INTO MULTIPLE SCREENS
SCREEN/DISCUSS:
Project 1 Screenings: Interaction/Juxtaposition/Point-of-View
LAB:
Video Lab 1: Working in Multiple Channels in Final Cut
Introduce Project #1
-Review pre-loaded footage (video and sound)
for use in Project #1
-Choose footage for project/Import into Final Cut
Project File
-Storyboard forms
HW: Write: Paragraph Proposal for Project #1
Storyboard Project #1
Read: Michael Rush, “Video Art” New Media in 20th Century Art
Week 2
M 1/19 SCHOOL HOLIDAY – LABOR DAY
W 1/21
DUE: Paragraph Proposal Project #1
Storyboard Project #1
CRIT: Storyboard & Proposal Project #1
LAB: Start Editing Project #1
HW : READ: Creating Motion Graphics: Chapter 1-After Effects 101
Rough Edit Project #1
Week 3
M 1/26
DUE: Reading Response: Michael Rush “Video Art”
DISCUSS: “Video Art” Essay
SCREEN/DISCUSS: Project 1 Screenings: Juxtaposition/POV/Interaction
HW: READ: Thomas Zummer “Projection and Dis/embodiment:
Genealogies of the Virtual”
WRITE: Reading Response
W 1/28
DUE: Reading Response Thomas Zummer Essay
DISCUSS: Zummer Essay
LAB: Video Lab 2: Introduction to After Effects – Tutorial Chapter 1
Work on Project #1 (Individual Meetings with Instructor)
HW: Finish Final Edit Project #1
Burn Quicktime Movie
Week 4
M 2/2
DUE: Project #1 as Quicktime Movie or Burned DVD
CRIT: Project #1 (half of class) – View as Video Projection
HW: Project #1 Critique Evaluation (half of class)
W 2/4
DUE: Project #1 Critique Evaluation (half of class)
CRIT: Project #1 (2nd half of class) – View as Video Projection
HW: Project #1 Critique Evaluation (2nd half of class)
Week 5
M 2/9
DUE: Project #1 Critique Evaluation (half of class)
LAB: Video Lab 3: Introduce Project #2 :
ACTIVATING SPACE WITH VIDEO AND SOUND
SCREEN/DISCUSS: Project #2 Screenings
Le Corbusier’s Brussel’s Pavillion (1958)
Stan Vanderbeek MOVIE DROME (1963-1985)
Nam June Paik TV BUDDHA (1971)
Anthony McCall Line Describing A Cone (1973)
Dan Graham TIME DELAY ROOM (1974)
IMAGES: Artist sketches of installations (Nauman, Sharits, Thater)
Baroque Architecture (time and space)
HW : Read: Creating Motion Graphics: Chapter 2
Read: Paul McCarthy Article
Write: Reading Response
Sketch: Installation Diagram for Project #1 (Imagined)
W 2/11
DUE: Reading response Paul McCarthy
Installation Diagram for Project #1 (Imagined)
SCREEN/DISCUSS: Continue Project #2 Screenings
HW: Read: Creating Motion Graphics: Chapter 3- Basic Animation
Week 6
M 2/16 SCHOOL HOLIDAY – NO CLASS
W 2/18
LAB: Introduce Video Cameras
Introduce Project 3
Visit Harris 112D – Installation Crit Space
SCREEN/DISCUSS: Continue Project #2 Screenings
HW: Write: Project #2 - 1 paragraph description
Sketch: Project #2 Artist Installation Diagram
Week 7
M 2/23
DUE: Project #2 1-paragraph description
Project #2 Installation Diagram
CRIT: Project #2 description & Installation Diagram
LAB: Video Lab 2: Continue Lab: Chapter 2 & 3
HW: Storyboard project #2/Shooting Plan
HW: Shoot Project #2
Capture Footage Project #2
HW: Handouts for Museum Visit
W 2/25
DUE: Storyboard Project #2/Shooting Plan
Individual Meetings re: Storyboard/Shooting Plan
SIGN UP FOR CRITIQUE DAYS & CRIT WORK GROUPS
SCREEN/DISCUSS: Continue Project #2 Screenings
Week 8
M 3/2
FIELD TRIP: Museum Exhibition Visit TBA
HW: 1 page Exhibition Response
Project 2 Rough Edit
W 3/4 Video Lab 3: DVD Synchronizers
DUE: Exhibition Exhibit Response
Project 2 Rough Edit
CRIT: Project 2 Rough Edit
HW : Sketch: Revise Installation Diagram
Make Equipment List for Installation
Week 9
M 3/9
DUE: Revised Installation Diagram
CRIT: Project 2 Rough Edit (if more time is needed)
LAB: Work on Project #2
HW : Burn DVDs for Installation
Crit Group #1 Finalize/Organize Equipment & Installation Plan
W 3/11
DUE: Crit Group #1 Final components for Project #2
(DVDs & QT’s to Instructor)
CRIT: Crit Group #1 Installl Project #2 in Harris 112D
*Video and Photo Documentation of the video installations
HW: Project #2 Critique Evaluations (for Crit Group#1)
Crit Group#2: Burn DVDs, Finalize/Prepare for Installations
Week 10 SPRING RECESS MARCH 16-20TH
Week 11
M 3/23
DUE: Crit Group #1 Critique Evaluations & Photo Documentation of the video installations
Crit Group #2 Final components for Project #2
(DVDs & QT’s to Instructor)
CRIT: Crit Group #2 Installl Project #2 in Harris 112D
HW: Project #2 Critique Evaluations (for Crit Group#2)
Crit Group#3: Burn DVDs, Finalize/Prepare for Installations
W 3/25
DUE: Crit Group #2 Critique Evaluations & Photo Documentation of the video installations
Crit Group #3 Final components for Project #2
(DVDs & QT’s to Instructor)
CRIT: Crit Group #3 Installl Project #2 in Harris 112D
HW: Project #2 Critique Evaluations (for Crit Group#3)
Crit Group#4: Burn DVDs, Finalize/Prepare for Installations
Week 12
M 3/30
DUE: Crit Group #3 Critique Evaluations & Photo Documentation of the video installations
Crit Group #4 Final components for Project #2
(DVDs & QT’s to Instructor)
LAB Intro Section: Video Lab 5
TIME: EXPANSION AND CONTRACTION:
MANIPULATING INSIDE THE VIDEO FRAME AND TECHNIQUES OF EDITING
SCREEN/DISCUSS:
Alfred Hitchcock excerpts, THE BIRDS (1963)
Dara Birnbuam Technological Transformation: Wonder Woman (1978-1979)
Stan Douglas Suspiria, 2002/2003
Douglas Gordon TWENTY-FOUR HOUR PSYCHO (1993)
Mungo Thompson The American Desert (for Chuck Jones),
Tony Oursler, VARIOUS WORKS
Jeremy Blake WINCHESTER (2002)
Jennifer Steinkamp DERVISH (2004/2005); ROCK FORMATION (2006)
Stephen Greer Rhodes BEAR BEAR (2005) WHO FARTED? (2006)
HW : Read: Gilles Deleuze “Gaseous Perception” Cinema One
Tony Oursler “I Hate the Dark I Love the Light”
Write: Reading Responses
W 4/1
DUE: Reading Responses
DISCUSS: Deleuze & Oursler Readings
LAB: Introduce Project 3
SCREEN/DISCUSS: Project 3 Screenings
HW: Read Creating Motion Graphics: Chapter 10-All About
Masking
Week 13
M 4/6
LAB: Video Lab #6-Rotoscoping and Masking
HW: Write Project #3 Proposal
W 4/8
DUE: Project 3 Proposals
CRIT: Project 3 Proposals
LAB: Continue Video Lab #6-Rotoscoping and Masking
HW: Create Storyboard & Final Project Proposal
Start shooting Final Project
READ: David Bordwell’s “Dimensions of Film Editing” Film Art
Write: Reading Response
Week 14
M 4/13
DUE: Reading Response
DISCUSS: Bordwell Essay
SCREEN/DISCUSS: Project 3 Screenings
HW: Edit Final Project
W 4/15
LAB: Work on Project 3 (individual Instructor Meetings)
HW: Edit Project 3
Week 14
M 4/20
LAB: Work on Project 3
HW: Work on Project 3
W 4/22
LAB: Work on Project 3
HW: Finish Project 3
Burn Quicktime DVD
Week 15
M 4/27
DUE: Critique Evaluation (Group 2)
Project 3 as Quicktime (Group 3)
CRIT: Project 3 (Group 3)
HW: Critique Evaluation (Group 3)
W 4/29
DUE: Critique Evaluation (Group 3)
Project 3 as Quicktime (Group 4)
CRIT: Project 3 (Group 4)
HW: Critique Evaluation (Group 4)
DUE: Project 3 Crit Evaluation: due by Friday at midnight.
THE CALENDAR MAY CHANGE FROM TIME TO TIME DURING THE SEMESTER.
THIS IS TO BE REGARDED AS A GENERAL GUIDE ONLY.
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