Fall 2026 ART 271: Video Art (Units: 1.5)

Course Overview

Video art can be a moving and fully immersive sensory experience that provokes and activates the viewer in the gallery. In this course, we’ll explore both the physical and digital worlds that are possible within the realm of video. We will look at the history of the medium, how it can be pushed and how it is always shifting. We will witness and experience what an artist can capture on a tiny little screen and reflect back into the world. 

This course will create a space for you to find where within video you like to spend time and the ways that video can enable you to follow an idea. Beginning with observational exercises and incorporating acts of listening, we will challenge how to perceive and interpret when pairing sound and image. We will then work through rigorous shooting and editing prompts so that you are thinking in video and gathering footage weekly. These experiential modes of learning will harness your ability to pace a moving image. Throughout the course, a roster of historical to current exhibitions and approaches of video artists will be shared to foster dialogue, context, and critical thought. We will also seek to understand and question the roles and capacities of gear and tech by building a relationship with the equipment you have access to and what is available on campus.

Topics

Topics

• Video art overview

Shooting a scene 

• Camera methods of stability, responsiveness and movement
• High and low tech gear
• Ways of working with locations 

Gathering and introducing audio

• Found sound
• Field recordings 
• Extracting and importing recordings 

Editing, truth and deception

• The role of editor 
• Time and pace 
• Mood and colour 
• Word and image

Pairing sound, light and movement

• Extracting and importing recordings 
• Workflows and methods of storyboarding
• Time of day, types of light, reflections and shadows 

Objects, characters and performance

• Cause and effects of introducing objects 
• Performance and character development 

Video installation

• Manipulating the room
• Projector as a lens
• Multi-channel installation

Course Objectives and Learning Outcomes

Objective: Finding your voice in video art

Outcome

• Discover your style of shooting and capturing image and sound
• Refine how you edit, pair, and pace audio and visual
• Experience video art in a physical exhibition environment
• Learn how video artists document ideas, observations, experiences, commentary and anything they want to process further through a lens

Objective: Technical comfort

Outcome

• Build a relationship and connection with your gear and sample the technical parts of making that you enjoy 
• Access camera manuals and complete editing tutorials outside of class time
• Become familiar with the technical resources and insights available to book on campus and how they may be a valuable asset for the duration of your studies 

 Objective: Assess and interpret video art 

Outcome

• Develop familiarity with contemporary video artists with exhibition records 
• Define areas of interest and context for your creative practice, considering and exploring what you are reacting to and what work stays with you
• Encourage and sit with the work of your peers
• Grow methods of contributing to art discussions that happen in the classroom and online

Assignments

Assignments Breakdown

• Assignment 1: Sound & Moving Image
  • Deadline October 8
• Assignment 2: The Art of the Edit 
  • Deadline October 22
• Assignment 3: Final Video Project
  • Deadline December 2
• Outtakes: Discussion Forum contributions 
  • Deadline biweekly

Critiques

Critiques are a way to uplift one another’s work. What are the conditions that you and your art can flourish in? We will work as a group to think deeply about one another’s work in progress and to celebrate completed projects. Critiques are equivalent to exams and require attendance plus  engagement. Multiple methods of how to engage in crits will be discussed and facilitated. If illness occurs on crit days, written feedback for your peers’ projects will be required. There will be a middle of the term critique, a final class critique and ongoing dialogue on brightspace throughout the semester.

Grading

Grading Breakdown

/20 Assignment 1: Sound & Moving Image

/20 Assignment 2: The Art of the Edit

/30 Assignment 3: Final Video Project

/10 Outtakes: Discussion Forum contributions 

/20 Participation and engagement*: attendance, punctuality, professionalism and critique contributions

Total 100

Grading Policies

• Punctuality and presence are important to the flow of the class. A late arrival once or twice over the term is understandable. Please catch up with a peer if missing the start of class. Presence in class means laptops closed and devices set aside for focused participation and engagement in discussion and activities. 
• Late assignments are deducted 5%/day
• Extensions may be possible if discussed before the assignment due date
• If you are unable to contribute to the class discussions for any reason, please discuss this with me and I may be able to offer assistance or other models for participation

Department of Visual Arts Attendance Standard.

Experiential learning and engagement are directly tied to class attendance. In the Department of Visual Arts students are expected to attend all classes. To succeed in the course, students should not have more than 2 unexcused absences in a 12-week semester, which equates to 6 hours of instruction.

Any student, regardless of illness or accommodation will not be able to succeed in the course with absences over 30%, which equates to 12 hours in a twelve-week semester. If a student finds that they are not able to meet this requirement, the instructor will work with the student to apply for academic concession or exceptional circumstances accommodation.

This standard is in place to ensure that students in the program acquire artistic experience in conjunction with the skill and safety requirements needed to complete the coursework and continue in the program. We find that active communication between students and instructors is the best method for ensuring attendance requirements are met. (Instructors are free to add information on how they will manage communication around attendance and can specify ways that they will work with a student who is experiencing extenuating circumstances). If the attendance standard has not been met and there is no communication with the instructor, an incomplete or failing grade will be assigned.

Academic Concession Link:

https://www.uvic.ca/students/academics/academic-concessions-accommodations/request-for-academic-concession/#ipn-request-a-withdrawal-or-aegrotat

Use of Generative AI in Assignments

AI may be used in this course, but only with transparency and in ways that support learning, critical thinking, and academic integrity.

Ethical Use of AI in Coursework

Students may choose to use AI technologies - including Large Language Models such as ChatGPT, to support their learning in this course. Any use of AI should be ethical, meaningful, and critically informed, and should enhance, rather than replace, a student’s own understanding and academic work.

Permitted Uses

Principle:

Students may use AI tools for visual ideation including preliminary imagery, concept generation, and the development of creative directions, provided this work is accompanied by critical analysis. Students are expected to assess the appropriateness, reliability, and ethical implications of AI-generated material, and to articulate how such material informs, but does not replace, their own creative process.

Students may use AI for tasks such as:

• brainstorming and idea generation
• clarifying concepts
• language refinement (grammar/checking clarity)
• developing initial outlines / frameworks
• concept generation and development as described in the above principle.

Prohibited Uses

AI must not be used for:

• generating complete assignments or submissions that are then presented as original work
• avoiding required readings, research, analysis, or creative thinking
• producing academic dishonesty (plagiarism, fabricated citations, etc.)
• generating sensitive personal information about others

Transparency

Students must be transparent about when and how AI is used. Any substantial use of AI should be acknowledged and addressed in the work. If in doubt, it is better to fully disclose such details.

Critical Engagement

Students are responsible for critically evaluating the accuracy, quality, and ethical implications of AI outputs. AI-generated material may contain inaccuracies, biases, or misleading information. Students are expected to verify facts and maintain academic integrity.

Instructor Guidance

Students planning to incorporate AI in substantial ways (beyond drafting or brainstorming) must consult the instructor. The instructor may require revision or reject work that relies inappropriately on AI tools.

Materials

• Gear to shoot with- ideally you have access to a DSLR with quality HD Video (1920 x 1080) or an HD camcorder
• A variety of gear can also be borrowed from the Media Commons
• Method of editing– this can be your computer with Adobe Premiere or you can use the Studios for Integrated Media (SIM labs) with your Adobe ID 
• Storage for your files. This can be an external hard drive or cloud storage

Additional Information

Additional Information as needed.

Support

CAL Accommodations

Instructor Responsibilities:

• Access, review and acknowledge receipt of the accommodation letter https://al.uvic.ca/ClockWork/user/instructor/default.aspx
• Take the time to privately discuss the accommodation with your student; if you would like to understand the requested accommodation better, reach out to the CAL Advisor mentioned in the accommodation letter or communicate with both the student and their CAL Advisor. The goal is to learn if the accommodation pertains to studio-based classes, and if so, discuss best practices for moving forward with the accommodation request and achieving the learning outcomes of the course.
• Work with your student to meet their requirements for your specific class.
• Inform the student of their role in the accommodation process.
• Be mindful of the need to ensure confidentiality and protect the student’s privacy at all times.

Student Responsibilities:

• Register with the Centre for Accessible Learning by the posted deadlines https://www.uvic.ca/accessible-learning/students/how-to-register/index.php
• Take the time to discuss your accommodation with your instructor. Consider how your accommodation relates to a studio-based learning environment, and which, if any, aspects will pertain.
• A CAL accommodation does NOT exempt students from completing assignments or attending class.
• If you require additional time on an assignment or deadline, this must be discussed with your instructor in advance.
• If you require alternate methods for engagement (class discussion, working in the studio classroom, working in the shops), discuss this with your instructor at the beginning of the course.
• If you require alternate methods for lectures, film or image presentations, discuss this with your instructor at the beginning of the course.
• Keep your instructor up to date on accommodation needs throughout the term, especially if there are improvements or setbacks.

Health and Safety Policies for the Department of Visual Arts

 In order to protect the integrity of the Visual Arts building and guarantee the safety of students, staff and faculty, the following guidelines must be followed:

• There will be no alteration of the physical building (temporary or otherwise), without the written approval of the chair. All proposals for special projects should be first submitted to The Visual Arts Facilities and Production Manager for consideration.

• All temporary installations of art that may occur outside the regularly sanctioned locations (i.e., the gallery and classrooms) must be authorized.

• At no time will the use of hazardous materials either inside or outside the vicinity of the Visual Arts Building, be permitted without the department’s prior approval.

• There shall be no disposal of toxic materials down sinks: all solvents, acids and other substances used in the routine course of art making must be handled in a safe and acceptable manner. 

• Artworks that include an element of self-harm must be authorized in writing by the Chair and will include strict pre-determined conditions depending on the proposal. In most cases the artist/ student will be responsible for ensuring all safety precautions are taken regarding their safety and the safety of others. This includes having first aid equipment at the performance or during the creation of the work where the action takes place, and consider any health risks your actions may pose to others. At the discretion of the Department Chair, a first responder may be required to be present

• Art that includes elements of violence, self-harm, and or other subject matter that may be traumatic or pose a trigger risk should be clearly identified to students, faculty and staff, allowing them to choose if they want to witness your work, these types of warnings are typical if one were to do such a performance in a gallery or other public space.

• Art that includes excessive volume is dangerous to the hearing of students, faculty and staff. These artworks can also be disruptive to other classes and activities within the Visual Arts Building. Artworks and or actions that contain sound at or above 98dB need to be pre-approved by the Department and clearly labeled. During critique situations hearing protection should be made available anyone required to experience the piece. Free decibel metering apps are available for most smart phones determine the level or risk.

FAILURE TO COMPLY WITH THE DEPARTMENT SAFETY GUIDELINES MAY RESULT IN ACADEMIC PENALTIES, FINANCIAL CHARGES, AND/ OR, THE LOSS OF SHOP, LAB, STUDIO, AND EQUIPMENT USE PRIVILEGES.