2010-11 academic year

The Digital Culture: Theoretical and Practical Basis  (20376)

Degree/study: Degree in Audiovisual Communication  
Year: 1st
Term:3rd
Number of ECTS credits: 6 credits
Hours of studi dedication: 150 hours
Teaching language or languages: catalán
Teaching Staff: Joan Soler-Adillon, Carles Sora, Carles Roche

1. Presentation of the subject

The subject intends to form the student with a theoretical-practical introduction to the digital audiovisual communication, as well as with an introduction to its history, evolution and influence on the social and cultural changes. Starting, among others, on the analogical background of the photographic manipulation of images, and going through a wide range of referents extracted from different areas of the contemporary digital creation, we aim to endow students with a conscience of the digital fact, its constitution in culture and in communicative language.

The theoretical part of the subject wants to arouse students to a space of reflection and analysis and a critical conscience when facing the digital fact, whereas in the practical part, this subject intends to endow them with the necessary skills and capacities to carry out a competent manipulation of digital images.

In the practical chapter, the use of two reference software in the field of digital creation, Photoshop and Flash of Adobe, will allow them to reach a solid base competence in the processes of digital manipulation, in fixed images as well as in animated ones. Beyond the acquisition of these specific techniques, the training that the students will achieve throughout the subject is also understood as vector orientated to subsequent subjects in the area of interactive communication.

2. Competences to be attained

2.1 Transversal skills

1. Skills in gathering and interpreting relevant data (generally within the field of study) so as to be able to form conclusions that include reflecting on significant social, scientific or ethical subjects.
2. Capacity to apply knowledge, understanding and skills to solve problems in new or non familiar environments and contexts (or multidisciplinary) related to in their field of study.
3. Skills in integrating knowledge and facing complexity, as well as formulating conclusions based on incomplete or limited information, but including reflections on the social and ethical responsibilities related with the application of their knowledge and judgements.                         4. Capacity to carry out socio-cultural analysis and of political, economical and technological dimensions on knowledge societies.
5. Skills in communicative knowledge and its interrelation with Social Sciences and New Technologies.
6. Capacity and skills in the use of systems and computer resources, and their interactive applications.
7. Capacity in handling infographic techniques.

2.2 Specific skills

1. Capacity to discern the history and evolution of the digital media.
2. Analytical and critical capacity towards the digital creation.
3. Capacity to discern the main characteristics of the digital media.
4. Capacity and skills in the use of the Adobe Photoshop software for the treatment of digital      images.
5. Capacity and skills in the use of the Adobe Flash software for the animation of digital images.
6. Knowledge on the main image formats in the digital environment and in the areas of application of each one of them.
7. Techniques and resources for the treatment and transformation of digital images, with regard to the main contemporary communicative speeches.                                                                     8. Capacity to elaborate parallelisms between the digital manipulation and its analogue antecedents, transferring their practices to the digital platform.
9. Techniques and resources to create compound digital images through fusion strategies, hybridization and retouch of images coming from diverse sources.
10. Capacity to distinguish the processes implicated in the creation of compound digital images and to track down the possible creation process.
11. Techniques and resources that allow working with different software in the area of image digital treatment.
12. Capacity to integrate and to manage several audiovisual media in an author system
13. Capacity to create scripts and to elaborate animations of digital images in small format.                 14. Capacity to analyze and to interpret the digital image, relating it to the tradition and the current referents.
15. Capacity to discern the history and the evolution of digital art.
16. Analytical and critical capacity towards the digital creation.

3. Contents

3.1 Theory part. Master classes

The contents of the theory part are structured in five thematic blocks. Firstly, we will delimit the concept of digital culture and we will talk about the characteristics of the digital media.  Secondly, we will take a close look on the history of the personal computer from a not technical but theoretical point of view of the development of a type of computer science thought for the ordinary user, basis of what we nowadays call digital culture. The third part consists on widely analysing the interactive systems: What are they? What are they composed of? Which are the characteristics of their essential parts, with special attention to the interfaces, the interaction design and the multimedia interactive. In fourth place, we will review the antecedents, the history and the techniques and the main purposes of digital animation, which will serve as a theoretical basis in order to carry out an animation in the practice part. Finally, the fifth block will be dedicated to digital art, revising some of the main typologies.

The theory part will be presented by master classes.

3.2 Practice part. Seminars and assignments

The contents of the practice part are structured in two big blocks, dedicated respectively to the knowledge and work with the digital treatment of  images software (Adobe Photoshop) and of technical animation (with Adobe Flash). These two blocks are treated one after the other one along the course, although in the last sessions of the course they are treated at the same time in order to promote the dialogue between software and help students to integrate the simultaneous work with the both tools.

The two big blocks will sum up in a last final assignment in which the results of the work in the assignment of Unit 6 and the concepts and techniques explained in the block of Animation techniques will be put together. This work will allow uniting the two practical blocks in a final work that will be a collage of the techniques and concepts presented in the theory and practice parts of all the course.

The final assignment will allow students to reflect on their own evolution in the practice assignment as well as in the concepts exposed in the theory classes. This will allow tracing a guideline in the attainment of his practical and theoretical capacities in infography: from the creation of a digital image to animation.

This first reflection will facilitate the integration of concepts and infographic techniques and the interactive media that will be presented during the following stages that students will undergo during their studies in Audiovisual Communication.

3.2.1 Digital Image Treatment (Adobe Photoshop)

The block dedicated to Photoshop is divided in 4 parts. The first one gives a general introduction to the software and wants students to familiarize with work environment and to consolidate with some of its main tools. The following second, third and fourth blocks, of two units each one, are based in some of the most important skills in the digital image manipulation in the audiovisual communication: emulation of the photographic laboratory, dialogue with the illustration and retouching techniques, and creation of compound images (digital photomontage) with computer.

In these blocks we will alternate Seminars, in groups of 20 students, with the assignments work, in reduced groups of 10 students. In these practice sessions we will initiate and guide the final assignments of the subject.

The second, third and fourth blocks correspond with the part of the assessment of Photoshop in the whole units of the subject.

3.2.2 Animation techniques (Adobe Flash)

The block dedicated to animation techniques is divided in two parts. In the first part we will carry out an introduction to the chosen tool, Adobe Flash, while in the second part we will present the animation techniques that are most used to animate scenes with this software. All the theory that will be presented will be concretized with animation examples that students will have to develop with the software.

This entire block is carried out in the Seminars with groups of 20 students. This format allows teachers to follow-up student's development in the practical part.

3.3 Theory part program

Unit TT1: The digital culture: Introduction

Definitions and timetable. The digital media characteristics.

Unit TT2: The personal computer, from Vannevar Bush to Macintosh

History of the evolution of computer science from the first big computers to the computer science of the graphic interfaces of user, from the point of view of the inter-activeness and the design and ideation of interfaces.

Unit TT3: Interactive systems

Definitions, characteristics and categorizations of interactive systems. Interfaces and programming environments. Interaction design. Interactive multimedia.

Unit TT4: Digital animation

Previous history of digital animation: The traditional animation. History of digital animation. Main techniques and uses of digital animation.

Unit TT5: Digital Art

Inter-activeness as an artistic concept. Net. art and internet art. Interactive facilities, robotics and physical computing. Artificial life and genetic and evolutionary art.

3.4 Practice part program

Block 1: Introduction to digital manipulation of images

Unit TP1

Introduction. Genealogy, languages and problems of the digital image. Antecedents and contemporary uses.

Unit TP2

The work in computer classrooms. User graphic environments: the Adobe Photoshop CS3  environment. Software interface. The toolbox. Visualization options and work with palettes. Selection tools.

Unit TP3

Typology and basic characteristics of the digital image. Vector images and images in a bit map. Colour depth. The size and resolution concept. Monitor and exit resolution. Image formats in digital environments: photography in Internet. Pioneering authors of digital photography: photography and post-photography.

Block 2: The digital image as an emulation of a photographic laboratory

Unit TP4.

Image correction and adjustment tools. Tonal basic correction and intervention on the image values tools.

Unit TP5.

Painting and editing tools. Filters and special effects. The digital illustration: image colour application, flat colours and realism in shading. Digital images retouch. Restoration and reparation process of antique images, and simulation of image ageing. Viewing of authors: digital illustrators.

Block 3: The digital image as a space for photomontage and photo-collage

Unit TP6.

Photocomposition and photo-collage. Work by layers. Layer and layer masks. Layer styles. Text layers and use of typography.

Unit TP7.

Selection and modification of mask and channel attributes. Intelligent objects in Photoshop CS3.  Viewing of authors: Uncertainty Spaces and Questioned Identity.

 Bloc 4: Development of advanced projects of photomontage.

Unit TP8.

Advanced selection techniques with vector tools in Photoshop. Studying in depth the selection techniques: fast mask and use of alpha channels. Vector capacities in Photoshop: introduction to the Feather tool and to the outlines. Export images for Flash.

Unit TP9.

Presentation and development of the final assignment of Photoshop (creation of a photomontage from a movie poster).

Bloc 5: Animation techniques

Unit TP10.

Introduction to the work environment of the Adobe Flash tool. Drawing tools.  Document configuration. Layers. Structure of work, scenes and movie clips. Final assignment presentation.

Unit TP11.

Carrying out  the first animation technique: Interpolations and transformations with nail main phonograms. Motion and Shape Tweening. Working with timelines. Sound import to the scene.

Unit TP12.

Carrying out the second animation technique: movement with animation guides and masks. Introduction to the animation of characters: limited animation and full animation .

Unit TP13.


Framings and effects: blur, fade in/out. Final assignment follow-up. Preparation and publication of the final assignment. Presentation of other animation techniques: Lypsing, Ripples and Rotoscopia.

 

4. Assessment

Since the subject shows structurally a vocation for equilibrium between the theory and practice aspects, when bringing up the evaluation we wanted to reflect this distribution and give a similar weight to the knowledge assimilation (through the written examination) as well as to the attainment and consolidation of the competences and the practical use of the software, through the creation assignments elaborated individually by the students.

This approach has formulated an assessment by a written examination and four assignments. The percentage distribution in the final grade of the subject will be the following:

Exam

40%

Final presentation of assignments

60%

Exam: The exam will consist on a series of conceptual questions, based on the contents of the master classes but also in the theory explained in the seminar sessions. 

Assignments: The four assignments developed in the seminar and practice sessions will be evaluated, and that students will have to complete on their own during the course.

Likewise, there will also be an specific grade in the evaluation for the realization and presentation of punctual exercises brought up in the seminar and practice sessions as a complement to the theory learning.

These two parts must be passed in order to pass the subject.

5. Bibliography and teaching resources

5.1. Basic bibliography

Almiron, Núria: De Vannevar Bush a la WWW, Valencia: Tres i quatre, 2001. ISBN: 8475026303

CHEW, ANDREW. /Flash CS3 profesional/ . Madrid : Anaya Multimedia, cop. 2008. ISBN: 9788441523371

DOLLENS, DENNIS L.: De lo digital a lo analógico, Gustavo Gili, 2002, ISBN: 84-252-1909-4

FULLER, Laurie Ulrich, FULLER, Robert C., La biblia de Photoshop CS3, Anaya Multimedia, 2008, ISBN: 9788441523784

GERE, CHARLIE: Digital Culture. 2nd Expanded edition, Londres: Reaktion Books, 2008. ISBN: 1861893884

KERLOW, ISAAC V.: The Art of 3D Computer Animation and Effects, Hoboken, John Wiley & Sons, 2004. ISBN: 0471430366

MAnovich, lev: The Language of New Media, Massachussets: The MIT Press, 2001. ISBN: 0262632551

PANIAGUA, NAVARRO, ANTONIO. /Flash CS3/.  Barcelona: Anaya Multimedia. Octubre 2007.  ISBN: 9788441522701

WILMORE, Ben, Photoshop CS3 avanzado, Anaya Multimedia, 2008, ISBN: 978-84-415-2426-2

5.2. Complementary bibliography

Next we detail the main theory references that, together with the references to web pages and others that can be punctually named in class, have to articulate and orientate assignments throughout the seminars and practice sessions:

AGUILERA, M. de; Vivar, Hipólito, Eds. La Infografía. Las nuevas imágenes de la comunicación audiovisual en España. FUNDESCO, Madrid, 1990

Barnier, John (Editor): Coming into Focus: A Step-by-Step Guide to Alternative Photographic Printing Processes, Chronicle Books; 2000, ISBN: 0811818942

BESLEY , KRISTIAN. Flash MX 2004 : animaciones y juegos. Madrid : Anaya Multimedia, DL 2004. ISBN: 8441517177. 

CRAWFORD, C. The Art of Interactive Design, No Starch Press, 2002

EWING, William A.. El rostro humano. El nuevo retrato fotográfico, Blume, 2008, ISBN: 9788498012675

FONTCUBERTA, Joan (EDITOR), ¿Soñarán los androides con cámaras fotográficas? Ministerio de Cultura 2008, ISBN: 9788481813562

GREENE, R. Internet Art. London: Thames & Hudson, 2004.

KRUEGER, M. Artificial Reality II. 2nd Ed., Adison-Wesley Publishing, 1991

INGLEDEW, John: Fotografía, Blume, 2006, ISBN: 9788498011067  

LISTER, Martin, La imagen fotográfica en la cultura digital, Paidós, 1997, ISBN: 9788449304095

MAESTRI, GEORGE. Creación digital de personajes animados : técnicas avanzadas. Madrid : Anaya Multimedia, cop. 2002. ISBN: 844150198X.

MITCHELL, William J, The Reconfigured eye: visual truth in the post-photographic era, MIT Press, cop. 1992, ISBN: 0262631601

MOGGRIDGE, B. (Ed.), Designing Interactions. MIT Press, 2007

MURRAY, J. Hamlet en la holocubierta. El futurode la narrativa en el ciberespacio. Barcelona: Paidós, 1999.

NORMAN, D. A.The Design of Everyday Things.New York:Doubleday, 1988

PACKER, R. (Ed.), JORDAN, K. (Ed.). Multimedia: From Wagner to Virtual Reality. New York: Northon & Company, 2001.

PAGÈS, R. L'entorn del net art i la seva recepció: el procés d'apreciació de l'obra de JODI. Artnodes, 2005

PARENT, R. Computer Animation. Algorithms and Techniques, 2002

PAUL, CHRISTIANE: Digital Art (World of Art), Thames & Hudson; 2003, ISBN: 0500203679

RIBALTA, Jorge (ed.), Efecto real. Debates posmodernos sobre la fotografía, Gustavo Gili, 2004, ISBN: 9788425219733

ROSSET, Clément, Fantasmagorías. Seguido de lo real, lo imaginario y lo ilusorio, Abada Editores, 2008, ISBN: 9788496775213

SHNEIDERMAN, B., Designing the User Interface. Reading, MA: Addison-Wesley, 1993

WARDRIP-FRUIN, N. (Ed.), MONTFORT, N.(Ed.). The New Media Reader. Cambridge, Massachusetts: The MIT Press, 2003.

WILSON, S. Information Arts: Intersections of Art, Science, and Technology. The MIT Press, Cambridge, Massachussets, 2001

  

5.3. Teaching resources

The students will find all the necessary materials to carry out the class exercises on the server, as well as some base images aimed to their re-interpretation/modification/re-adaptation by each student in the elaboration of their final projects. There will also be other support materials at student's disposal in pdf files in the Aula Global in Moodle.

6. Metodology

The subject will be developed in three parts, master classes, seminars and practice sessions. In the master classes the whole group will attend. In the seminars, we will be divided into 4 groups (1, 2, 3 and 4), and the practice sessions, each small group will be subdivided in 2 (1-A, 1-B), resulting in 8 smaller groups.

7. Planning of activities

7.1 Master classes, seminars and practice schedule

Week

Monday

Monday

Monday

Monday

Friday

 

Group 1

Group 2

Group 3

Group 4

1+2+3+4

 

Seminar: 9-13h

Practice: 9-11 and 11-13h

Seminar: 9-13h

Practice: 9-11 and 11-13h

Seminar: 9-13h

Practice: 9-11 and 11-13h

Seminar: 9-13h

Practice: 9-11 and 11-13h

9-11h

1

Seminar

Seminar

Seminar

Seminar

Master Class

2

Seminar

Seminar

Seminar

Seminar

Master Class

3

Practice Gr. 1A

Practice Gr. 2A

Practice Gr. 3A

Practice Gr. 4A

Master Class

Practice Gr. 1B

Practice Gr. 2B

Practice Gr. 3B

Practice Gr. 4B

Master Class

4

Practice Gr. 1A

Practice Gr. 2A

Practice Gr. 3A

Practice Gr. 4A

Master Class

Practice Gr. 1B

Practice Gr. 2B

Practice Gr. 3B

Practice Gr. 4B

Master Class

5

Seminar

Seminar

Seminar

Seminar

Master Class

6

Practice Gr. 1A

Practice Gr. 2A

Practice Gr. 3A

Practice Gr. 4A

Master Class

Practice Gr. 1B

Practice Gr. 2B

Practice Gr. 3B

Practice Gr. 4B

Master Class

7

Seminar

Seminar

Seminar

Seminar

Master Class

8

Seminar

Seminar

Seminar

Seminar

Master Class

9

 

Seminar

Seminar

Seminar

Seminar

Master Class

Practice Gr. 1A

Practice Gr. 2A

Practice Gr. 3A

Practice Gr. 4A

Master Class

10

Seminar

Seminar

Seminar

Seminar

Master Class

Practice Gr. 1B

Practice Gr. 2B

Practice Gr. 3B

Practice Gr. 4B

Master Class

7.2 Detailed schedule by type of sessions, units and teachers

Session

Date

Hours

Day

Groups

Classroom

Teacher

Docència/

Temes

 

 

 

 

 

 

 

 

1

14 apr

09-13

Tuesday

1+2

AI54.023

Carles Roche

Seminar / TP1-TP2

  

15 apr

09-13

Wednesday

3

AI54.023

Carles Roche

Seminar / TP1-TP2

  

16 apr

09-13

Thursday

4

AI54.023

Carles Roche

Seminar / TP1-TP2

  

17 apr

09-13

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

2

20 apr

09-13

Monday

1

AI54.023

Carles Roche

Seminar / TP3-TP4

  

21 apr

09-13

Tuesday

2

AI54.023

Carles Roche

Seminar / TP3-TP4

  

22 apr

09-13

Wednesday

3+4

AI54.023

Carles Roche

Seminar / TP3-TP4

  

24 apr

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

3

27 apr

27 apr

09-11

11-13

Monday

Monday

1A

1B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5

Practice / TP5

  

28 apr

28 apr

09-11

11-13

Tuesday

Tuesday

2A

2B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5

Practice / TP5

  

29 apr

29 apr

09-11

11-13

Wednesday

Wednesday

3A

3B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5

Practice / TP5

  

30 apr

30 apr

09-11

11-13

Thursday

Thursday

4A

4B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5

Practice / TP5

  

 

 

 

 

 

 

 

4

4 may

4 may

09-11

11-13

Monday

Monday

1A

1B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5-TP6

Practice / TP5-TP6

  

5 may

5 may

09-11

11-13

Tuesday

Tuesday

2A

2B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5-TP6

Practice / TP5-TP6

  

6 may

6 may

09-11

11-13

Wednesday

Wednesday

3A

3B

AI54.023

AI54.023

Carles Roche

Carles Roche

Practice / TP5-TP6

Pràctica / TP5-TP6

  

7 may

7 may

09-11

11-13

Thursday

Thursday

4A

4B

AI54.023

AI54.023

Carles Roche

Carles Roche

Pràctica / TP5-TP6

Pràctica / TP5-TP6

  

8 may

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

5

11 may

09-13

Monday

1

AI54.023

Carles Roche

Seminari / TP6

  

12 may

09-13

Tuesday

2

AI54.023

Carles Roche

Seminari / TP6

  

13 may

09-13

Wednesday

3

AI54.023

Carles Roche

Seminari / TP6

  

14 may

09-13

Thursday

4

AI54.023

Carles Roche

Seminari / TP6

  

15 may

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

6

18 may

18 may

09-11

11-13

Monday

Monday

1A

1B

AI54.023

AI54.023

Carles Roche

Carles Roche

Pràctica / TP7

Pràctica / TP7

  

19 may

19 may

09-11

11-13

Tuesday

Tuesday

2A

2B

AI54.023

AI54.023

Carles Roche

Carles Roche

Pràctica / TP7

Pràctica / TP7

  

20 may

20 may

09-11

11-13

Wednesday

Wednesday

3A

3B

AI54.023

AI54.023

Carles Roche

Carles Roche

Pràctica / TP7

Pràctica / TP7

  

21 may

21 may

09-11

11-13

Thursday

Thursday

4A

4B

AI54.023

AI54.023

Carles Roche

Carles Roche

Pràctica / TP7

Pràctica / TP7

  

22 may

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

7

25 may

09-13

Monday

1

AI54.023

Carles Sora

Seminari / TP10

  

26 may

09-13

Tuesday

2

AI54.023

Carles Sora

Seminari / TP10

  

27 may

09-13

Wednesday

3

AI54.023

Joan Soler-Adillon

Seminari / TP10

  

28 may

09-13

Thursday

4

AI54.023

Joan Soler-Adillon

Seminari / TP10

  

29 may

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

8

2 june

2 june

09-11

11-13

Tuesday

Tuesday

1+2

1+2

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP11

Seminari / TP8

  

3 june

3 june

09-11

11-13

Wednesday

Wednesday

3

3

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP11

Seminari / TP8

  

4 june

4 june

09-11

11-13

Thursday

Thursday

4

4

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP11

Seminari / TP8

  

5 june

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

9

8 june

8 june

09-11

11-13

Monday

Monday

1

1A

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP12

Pràctica / TP9

  

9 june

9 june

09-11

11-13

Tuesday

Tuesday

2

2A

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP12

Pràctica / TP9

  

10 june

10 june

09-11

11-13

Wednesday

Wednesday

3

3A

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP12

Pràctica / TP9

  

11 june

11 june

09-11

11-13

Thursday

Thursday

4

4A

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP12

Pràctica / TP9

  

12 june

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

10

15 june

15 june

09-11

11-13

Monday

Monday

1

1B

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP13

Pràctica / TP9

  

16 june

16 june

09-11

11-13

Tuesday

Tuesday

2

2B

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP13

Pràctica / TP9

  

17 june

17 june

09-11

11-13

Wednesday

Wednesday

3

3B

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP13

Pràctica / TP9

  

18 june

18 june

09-11

11-13

Thursday

Thursday

4

4B

AI54.023

AI54.023

Carles Sora

Carles Roche

Seminari / TP13

Pràctica / T9

  

19 june

09-11

Friday

1234

A52.015

Joan Soler-Adillon

Sessió magistral

  

 

 

 

 

 

 

 

 

7.3 Hour dedication by students

The class attendance hour dedication is the following:

•·         Master classes..................................................................................... 20 hours

•·         Seminars............................................................................................ ..28 hours

•·         Practice sessions................................................................................. 10 hours

•·         Exam..................................................................................................... 2 hours

•·         Subtotal attendance..........................................................................60 hours

The individual out of class recommended hour dedication is the following:

•·         Theory and exam preparation support .......................................... ........30 hours

•·         Seminar assignments preparation and support....................................... 60 hours

•·         Subtotal non attendance.........................................................................  90 hours

•·         Total................................................................................................. ...150 hours