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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