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MAHARISHI UNIVERSITY OF MANAGEMENT

FA 475 Bachelor of Arts

Portfolio and Project

Professors: James Shrosbree, M.F.A. Gyan Shrosbree, M.F.A.

Surya Gied, M.F.A. Dale Divoky, B.F.A.

2015

Maharishi’s Seventh Year of Invincibility

Global Raam Raj

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Maharishi University of Management is an Equal Opportunity Institution. © 2015 Maharishi University of Management Transcendental Meditation®, TM®, TM-SidhiSM, Science of Creative Intelligence®, Maharishi Transcendental MeditationSM, Maharishi TM-SidhiSM, Maharishi Science of Creative IntelligenceSM, Maharishi Vedic ScienceSM, Vedic ScienceSM, Maharishi Vedic Science and TechnologySM, Consciousness-BasedSM, Maharishi International University, and Maharishi University of Management are registered or common law trademarks used under sublicense or with permission.

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FA 475 BA Portfolio and Project

S Y L L A B U S

“The main focus that the students of art have to have in their minds and hearts is that they are students of art, they are the students of that value of life which expresses dignity, so that everything in the course of daily life expresses that fullness of life. Everything in the student of art should be so naturally disciplined everything systematic and without trying, with effort…in nature, the display of life is very dignified and this is because everything follows certain laws, everything is very systematically set. In the life of the student of art systematic thinking…and systematic thinking, uncluttered….The natural thinking of an artist is systematic thinking, uncluttered, uninvolved, faultless thinking like that of a scientist. With the practice of TM these values naturally grow…” --Maharishi Mahesh Yogi, College SCI

INTRODUCTION

The BA in Art at MUM offers a student the opportunity to cultivate the focus, commitment, and creativity necessary for success in all areas of life. Through the daily practice of TM and the TM Sidhi programs, and the systematic application of the Science of Consciousness to their art practice, students become more creative, problem-solving people with a developed understanding of the inner and outer values of life in relation to their own growth of consciousness. The BA Portfolio and Project, taken in the final semester, completes the BA degree in art. Guided by faculty, BA candidates work independently in the studio to create a series of work. They then photograph their work to create a digital portfolio. Students also keep a journal and reflect on their experience studying in the Department of Art. The portfolio, journal, and written reflection form the basis of a 7-minute presentation sharing the student’s growth of creativity, art, and consciousness while at MUM.

G O A L O F T H E C O U R S E

The goal of this course is to give graduating art students a sense of achievement, completion, and fulfillment by offering an opportunity to create a series of works and to reflect on how they have grown as an artist and a person at MUM. Students enjoy a taste of independent studio work that may inspire them to pursue a BFA and a career in the arts.

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COURSE OBJECTIVES

1. To more fully actualize the creative potential of consciousness that is naturally unfolded

through the daily practice of the TM and TM Sidhi programs; and to naturally culture inspired artists.

2. To culture intuition and sensibility, allowing students to determine more fully– through

the repeated practice of creation, observation, and feedback – what is needed to successfully express artistic aims.

3. To increasingly develop the ability to correlate the outer performance, involved in the

creation of works of art in the medium of choice, with the inner values of evolving consciousness.

4. To gain a greater working knowledge of materials and effective methods related to the

students area of focus.

5. To enjoy a taste of sustained, independent work coordinated with the pursuit of artistic goals. As a result students begin to understand their strengths and how to utilize them in organizing the conditions for successful studio practice.

6. To begin to culture increased expressive depth and intellectual understanding in a chosen

area of artistic endeavor through refined perceptual vision, coherent conceptual vision, and meaningful art criticism.

7. To create a cohesive series of work in a portfolio. A digital copy of the work must be

submitted to the Department of Art this month.

8. To keep a journal during the month reflecting on the creative process, the resulting art works, and the growth of consciousness.

9. To prepare and deliver a well-organized and fulfilling 7-minute presentation reflecting on

the student’s development of creativity, art, and consciousness during the years at MUM.

S T U D I O H O U R S

The minimum requirement is to be in the studio during class hours: Morning- 10:00am to 12noon (Mon –Sat) Afternoons- 1:00pm to 2:45pm (Mon –Fri) If a need arises to be out of the studio students are expected to leave a note regarding their whereabouts and time of expected return. Students are not permitted to work at home during class hours. Evenings and outside of class hours: students are expected to put in at least 2-3 additional studio hours per day.

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A T T E N D A N C E

The Art Department regards the student’s total commitment to their work to be the basis of their future success. Regular attendance is therefore required. Everyone is on an honor system that includes a sign-in sheet to record your own attendance.

EVALUATION PLAN

Evaluation will be based on the following: • Regular attendance and punctuality in accordance with the Art Department policy • Completion of a series of art works • Response to directives from the faculty – both readings and studio • Systematic and creative engagement with the journal • Written reflection • Oral presentation

END OF COURSE EVALUA TION

Please give us your feedback about the course. You should be receiving an email from the evaluation director at evaluations@mum.edu near the end of the course that will give you a one-step login link. If you do not get this email, you can also go to Smartevals.com/mum and log in there.

� Your Username: your student ID in 000-00-0000 format.

� Your Password: your birth date in MM/DD/YY format.

COURSE POLICIES

The following list of policies is meant to remind you of the policies in effect for this course. Most of these are University-wide policies explained in more detail in the University catalog, available online at www.mum.edu/catalog. If you are unsure how the policy works, feel free to discuss it with me after class.

Late homework (department policy) — Unless you are ill or prevented from turning in work by a family emergency, all assignments should be handed in on the day they are due. You may turn

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in homework one day late for a slightly reduced grade, but not after that. Please do not turn in assignments after the end of the course without prior arrangement (see “Incompletes” below).

Punctuality and attendance — Much of the value of a university class lies in the experience you have in class. For this reason, punctuality and attendance are highly valued at M.U.M. A class grade will be reduced at the rate of one percentage point for every 20 cumulative minutes late (up to two points per session), and three percentage points for an unexcused absence for a whole session (morning or afternoon). NOTE: If you do arrive late, please mark the number of minutes late on the Lateness Registry that is posted in the classroom. Punctuality also extends to returning from the class break in a timely fashion (after 5 minutes). I should not need to go out and round up students.

An excused absence is defined as absence due to bona fide illness or family emergency. You are responsible for all readings and all written assignments whether you are able to attend class or not, and, in the interest of efficiency, please arrange to find out adjustments in assignments and other announcements from other classmates rather than from me if possible. I will be happy to give you any handouts you missed while absent.

Repeated unexcused absences are a violation of the M.U.M. Code of Student Behavior. In addition to academic consequences, students with repeated unexcused absences are subject to disciplinary actions.

Contact me — In the rare event you must miss class or are sick, please contact me as soon as possible using the contact information above (email or phone) or send a message or note to class with a friend. If you keep me informed, I will know how you are doing and how to plan for each class.

Incompletes — Incompletes are given in response to student requests for work that cannot be completed during the course due to illness or family emergency and that does not exceed the equivalent of six sessions of a four-week course. If circumstances should arise during the course that make you eligible for an incomplete before the end of the course, please contact me immediately.

If I give you an Incomplete, you will have the three days during the weekend immediately following the end of the course to make up that incomplete work. (If you are still sick that weekend, you may request an additional 32 days — that is, the work will be due by the end of the three-day weekend following the next block. If you are granted this incomplete, yet the work is not completed by then, the grade of Incomplete will become a grade of NC.)

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Academic Honor Code — Personal integrity, honesty, and honor are essential qualities of a capable student and a developing leader. The University has established an Academic Honor Code that sets forth the standards of academic honesty and personal integrity expected of all students for all writing assignments and exams. This course will be conducted in strict conformity with the Academic Honor Code. you can find the Code and related procedures in the University Catalog at www.mum.edu/catalog. Please familiarize yourself with this code and avoid using others’ work without proper citations.

Standards of appearance — The MUM faculty seek to create a coherent, focused, and dignified atmosphere on campus and in the classroom that supports the giving and gaining of knowledge. I ask that you dress in keeping with this purpose. This means:

• Neat, dignified, and modest clothing appropriate to the occasion is encouraged at all times.

• Torn, stained, and sloppy clothing are not appropriate.

• Immodest or revealing clothing is not appropriate (e.g., mini-skirts).

• Shorts are not appropriate for class, but shorts (other than short shorts) may be worn in the dining hall or while doing class projects outside the classroom when appropriate as determined by the faculty.

• Students from other cultures and traditions are welcome to wear traditional dress, provided the appearance is neat and modest.

Computers, cell phones, and pagers — Please turn off all cell phones and pagers at the start of class, so you will not inadvertently interrupt a lecture or class discussion. Carrying on extended texting conversations in class is both inappropriate and distracting to your classmates, so please avoid these kinds of behavior. We will discuss when and under what conditions classroom use of computers is encouraged.

Student Support Services — Beyond the normal support you will receive from faculty and classmates, extensive on-campus support services are available for both academic and personal support that you may need at any time. To access these services, please stop by the Student Life Department in Room 105 of the Dreier Building between 10 a.m. and 4 p.m., Monday through Friday, or call at 641-472-1225 for referral to the appropriate person.

Promoting Respectful Classroom Interaction — Maharishi University of Management is unique for the level of harmony and mutual support that exists on campus and in its classrooms. In this spirit, we honor cultural diversity as well as diverse backgrounds and viewpoints. While we welcome dialog from, and challenge to, all points of view, we ask that you maintain an open

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and supportive attitude toward your fellow classmates and University staff, and we do not tolerate harassment in any form.

BA M I L E S T O N ES / T I M E L I N E

First week: Decide on a direction or project for this month in consultation with faculty, set up studio, begin working. Keep a daily journal throughout the course, spending at least 20 minutes a day. Record your progress, breakthroughs, insights, ideas, inspirations, frustrations, feelings, etc. Include both writing and visuals. Second week: Engage with studio work. Participate in individual or group critiques. Third week: Continue to explore in the studio and critique with faculty and group critiques.

• Continue to focus on developing a series of works based on tracking formal themes in the work.

• Moving toward a formally cohesive series of work, while being open to exploring new possibilities as they present themselves in the studio.

Fourth week:

• Complete studio work. • Photograph work from this month and create a digital portfolio, submit to art office. • Fill out the BA Reflection and submit to faculty. • Review your journal for the month. Review the rubric for the oral presentation. Based on

the reflection and your journal, prepare and practice a 7-minute presentation. • Deliver the oral presentation to the faculty and perhaps to students.

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BA P R E S E N T A T I O N

The question to answer in this presentation: How has your consciousness, creativity, and art developed during your years at MUM? Your thesis statement is your answer to this question in a sentence or two. Your main points are essential ideas that explain your thesis. You will give specific examples (such as personal experiences, insights, art works, and quotations) to support your thesis and main points. See the two rubrics below for more points on the oral presentation.

The presentation will be 7 minutes long. You are required to do video taped practice sessions, where you will video tape your talk with a friend and receive feedback based on the following rubric. This will help with preparation. You will have to do this several times. A faculty member will watch your presentations and give you feedback before the final presentation to the whole art faculty and perhaps students.

• Based on the written reflection and your journal, highlight your most meaningful experiences and insights about the growth of your creativity and art at MUM.

• Relate all of this to your own growth in consciousness, which probably relates to the growth in your work. Include two principles of the functioning of consciousness from SCI (from the list at the end of this syllabus). Explain how they help you understand your creative process, art, or growth as a person.

• Include some visuals of your work. • Below you will find the rubric that will be used when scoring you. This will give you a

good idea of what to pay attention to when preparing your presentations:

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BA PRESENTATION RUBRIC

CONTENT TOTAL: 60 • The issue is stated as a clear question. 5 • The thesis is stated as a clear answer to the question. 5 • The thesis is logically explained by 2 main points. 10 • The main points are backed by discipline-appropriate, properly documented evidence, such as art works, personal experiences, insights, historical examples, quotations, charts, etc.

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• The thesis and implications are profound, intellectually significant, accessible to non-specialists, and contain no false claims, inflated statements, or grammatical errors.

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• The thesis and implications are meaningfully placed within the context of the Science of Creative Intelligence. 10 • The thinking is deep and holistic; the implications are creative and solution-oriented. 10 VISUALS TOTAL: 10 • The overall appearance is coherent and appealing 5 • The visuals support or enhance the main ideas. 5 DELIVERY TOTAL: 30 • The presenter is able to clearly articulate a synthesis of profound knowledge. 5 • The sequence of points in the presentation is orderly, logical, and easy to follow. 5 • The presenter answers questions concisely and astutely. 5 • The presenter uses eye contact and is audible, fluent, confident, and enthusiastic. 5 • The presenter’s appearance is professional, and the delivery is uplifting. 5 • The presentation is delivered in 7 minutes. 5

GRAND TOTAL: 100

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BA PORT F O L I O A N D P R O J E C T RUB RIC

GRADE RANGE A B C Studio Work Ethic, Quantity of Work Produced

A coherent body of work based on the development of a series, well documented in a digital portfolio. Excellent attendance and punctuality.

A series of work that indicates a consistent theme, documented in a digital portfolio. Strong, regular attendance and punctuality.

A group of works that may not hold a consistent theme. Documentation needs to be more careful and complete. Attendance and punctuality inconsistent.

Quality of Studio Work

Carries a new presence and has its own life; comes together through the synergistic relationship of all aspects of the work of art.

Is complete and functions as a whole having the presence to speak to the viewer.

The work feels incomplete OR busy- not coming together as a whole.

Development of Perception

Understands and can discriminate aspects of the formal language of art.

Understands the language of art.

Very inconsistent in their process and discriminating powers.

Development of Content

Content and form are integrated seamlessly.

Can understand and apply ideas in the work of art.

Inconsistent relationship between form and content.

Development of Studio Practice

Understands own strengths and how to utilize them in organizing the conditions for successful studio practice. Works independently and shows motivated progress in studio work.

Utilizes own strengths and how to organize the conditions for successful studio practice. Shows good progress but with some inconsistency in the ability to put this into practice.

Inconsistent in the studio. Unable to keep themselves motivated and interested. Does not have a connection to their own rhythm and how to keep themselves going in the studio.

Group Participation in Studio Work (if there is a group of BAs in the course)

Passionate and cogent participation in the group meetings. Shows interest, contributes a point of view, introduces examples of art and ideas for discussion.

Consistently participates in the group meetings by adding viewpoints and opinions.

Little participation in the group meetings.

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Individual and Group Critiques (receptivity)

Has new work ready to show and discuss. Offers insight into own work and work of others. Contextualizes art.

Shows work and discusses own work and that of others in insightful ways.

Shows work but does not discuss the work or that of others in a meaningful way.

Development of Research and Ideas in Journal

Visually organizes and consistently uses notebook(s) that include thoughts, ideas, drawings, studies, quotes and textual references. Shows much research.

Maintains an artist's journal that includes thoughts, ideas, drawings, reflections on readings.

Inconsistent in maintaining an artist's journal or book. Could be visually or intellectually richer.

Written Reflection Passionate, insightful, and illuminating.

Thoughtful and complete.

Needs more thought and engagement.

Oral Presentation Captivating and compelling— evokes curiosity and engages the listener. Contains a strong personal voice that captures the artist’s creative journey and illuminates it profoundly in the light of consciousness.

Engages the reader and conveys essentials. Holds the artist’s unique voice and shares insights on their creative journey related to consciousness.

Somewhat engaging. Needs a stronger theme that carries the artist’s unique voice and experience and connects convincingly to consciousness.

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Maharishi University of Management DEPARTMENT OF ART

BA STUDENT REFLECTION

NAME: DATE:

Please assess your abilities for each of these Learning Outcomes for the BA program. Check one column for each area.

Very Excellent Good Good Fair Poor

1. Technical skill in your medium, knowledge & execution 2. Creativity, originality, and inspiration in art

3. Familiarity and fluency with the formal language of art and design, along with the ability to use this language to create unity in a work of art

4. Expression of uplifting values nourishing to the artist and viewer 5. Ability to communicate about art verbally, both orally and in writing 6. Appreciation of the inspiration that past art can provide 7. Understanding of contemporary trends and knowledge of art 8. Understanding of art as an evolutionary expression of consciousness 9. Regularity in the practice of the TM or TM-Sidhi program 10. Overall quality of my life and consciousness (as indicated by alertness, vitality, happiness, enjoyment, positivity, etc.)

1. 1.   How  satisfied  are  you  with  your  MUM  art  education  in  terms  of  how  it  has  enriched  your  perception,  creativity,  and  your  life  as  a  whole?  Underline  one:      Very  satisfied.  Satisfied.  Not  so  satisfied.  Not  satisfied.    

1. 2.   How  much  has  Transcendental  Meditation  or  the  TM-­‐Sidhi  program  contributed  to  your  overall  personal  growth?  Underline  one:      Greatly.  A  good  deal.  Somewhat.  Not  so  much.    

 1. 3.   How  much  has  Transcendental  Meditation  or  the  TM-­‐Sidhi  program  contributed  to  

your  creativity  and  artistic  expression?  Underline  one:      Greatly.  A  good  deal.  Somewhat.  Not  so  much.    

   

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WRITTEN  BA  REFLECTION  Please  answer  the  following  questions  thoughtfully  in  complete  sentences.  Please  write  on  separate  sheets  of  paper  and  number  your  answers.  Thank  you.    A. QUESTIONS  ON  THE  BA  PORTFOLIO  AND  PROJECT  COURSE  

 1. How did you and your work develop as the course moved from beginning to middle to

end? What was the connection between the three stages as a whole? 2. How did you challenge yourself during this course? How did you respond? 3. How did the faculty challenge you during this course? How did you respond? 4. What did you learn about yourself as an artist and a person during this course? 5. Choose one or more principles of the functioning of consciousness from SCI (at the end

of this syllabus) and explain how they help you understand your creative process or experience during this course.

6. What would you do the same if you did independent studio work again? What would you do differently? Why? B. QUESTIONS ON YOUR EXPERIENCES STUDYING ART AT MUM

7. Please list your most valuable learning experiences and art classes at MUM and explain

briefly why were they valuable. 8. What was your experience like writing essays? What challenges did you face? What

would you do the same next time? What would you differently? Why? What suggestions would you have for the feedback process?

9. How did the study of other artists and the history of art support and enrich your studio work? Please explain and give an example.

10. Please comment on the quality and value of your interactions with art faculty. 11. What was your experience of critiques? Do you have any suggestions for the feedback

and critiquing process? 12. Please comment on the quality and value of your interactions with art students. 13. How has Transcendental Meditation or the TM-Sidhi program contributed to your growth

as a person and as an artist while at MUM? Please explain and give an example. 14. How has Maharishi’s knowledge of consciousness helped you understand art or art

history more deeply? Please explain your answer and give an example. 15. How has your perception of the world and your creativity changed as a result of the art

education at MUM? How has this affected what you value in life? 16. Choose one or more principles of the functioning of consciousness from SCI (at the end

of this syllabus) and explain how they help you understand the development of your consciousness, creativity, and art during your years at MUM.

17. Do you have any suggestions for enriching or expanding the art program at MUM? 18. How do you see the hands-on training in creative expression and creative project management you

have received manifesting in your future life and career?

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Principles of the Functioning of Consciousness from the Science of Creative Intelligence

that Illuminate Art and Creativity

Pure consciousness exists: It is the absolute source of all relative creation and can be directly experienced through the human nervous system. This experience inspires creativity. Self –referral: Consciousness knowing itself is the first principle of nature’s functioning—the source of all knowledge. Creation manifests through self-referral loops, which maintain the connectedness of all stages of development with their source. This self-referral dynamics can be seen in the creative process and in the appreciation of art. Inner is the basis of outer: Pure consciousness is the ultimate source of thought, speech and action, and all creativity. The inner life of an artist is the basis of outer expression. Life is found in layers: Subtle levels are more powerful, more abstract, and more blissful. They support the outer levels. The subtle levels of an artist’s experience structure the more expressed levels. The nature of life is to grow: Creative Intelligence is progressive and evolutionary in nature. All of life reflects this. The growth of artists and the continually changing history of art is one example. Rest is the basis of activity: Nature and human life progress in cycles of rest and activity, silence and dynamism, inner and outer experience. This alternation can be seen in the creative process and in visual relationships in art works. Knowledge is structured in consciousness: Appreciation of any object of knowledge, such as art, depends on the quality of awareness of the observer. As a consequence, knowledge is different in different states of consciousness. Therefore one must develop consciousness to its full value in order to have full knowledge and appreciation of art and the creative process. Law of least action: Nature functions in the most efficient way, always computing the most direct and economical path to the goal. Successful art follows a principle of economy in its expression. Increasing charm: The mind naturally moves toward experiences of increasing happiness, orderliness, beauty, and knowledge. This principle is engaged in the creation and appreciation of art. Transcending: Growth occurs through the process of transcending – transcending to deeper levels and then coming out (inward and outward strokes of the mind). Transcending can be experienced in the creative process and in the appreciation of art. Wholeness is structured in the coexistence of opposite values: The coexistence of opposite values (such as Absolute and relative, silence and dynamism, infinity and a point) structures wholeness. Powerful art works integrate opposite values. The whole is found in every part. This is the vision of Unity Consciousness, but the wholeness lively in every part can also be glimpsed in very successful works of art. The whole is greater than the sum of the parts. In a successful work of art, all the parts interact to create a unity, producing an effect that is greater than the sum of the parts. The three-in-one structure of consciousness and creation: Rishi (knower), Devata (process of knowing) and Chhandas (known) interact within the oneness of Samhita (pure knowledge, pure consciousness) through self-referral. This can be experienced in the creative process and in the experience of art.

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