Week 2: Jan 26-Feb 1

Week Two: Jan 26-Feb 1: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Complete the Personal Survey on pp. 321-322. Read: Preface; Art Genres; Art Strategies; Eco Issues; Eco Approaches; Introduction; Eco Art Is; Eco Art Is Not (pp. xliii to 18)

Thank you for all of your incredibly complex and interesting introductions. We are well represented globally in terms of teaching and learning. With the semester project, you will have an opportunity to make art and write about your art as well. We will talk about that later.

Week 2’s readings are from Weintraub:

Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Complete the Personal Survey on pp. 321-322. Read: Preface; Art Genres; Art Strategies; Eco Issues; Eco Approaches; Introduction; Eco Art Is; Eco Art Is Not (pp. xliii to 18) 

(I'm using a Kindle version--follow titles and not page numbers--it will all work out.)

The introductions to the first part of the book is tedious, but the micro histories and intro material is very important and actually quite interesting and important. 

I will pose separate questions/posts that you may respond to. Those prompts/questions are below and you can answer them right underneath each question. Keep in mind, that I'd like you to respond a minimum of four times per week. Some of you will be early posters; some of you will post late. I expect everybody to read ALL posts. That may mean looking back to finish reading late postings for a week. Remember, you have from Wednesday to the following Friday (ten days) to post. That's an extra two days. I will usually post new week on Thursdays. 

Keep in mind that you do not have to respond to every post or question I make. Oftentimes, I will create many questions; one reason I do that is to appeal to what you might be interested in posting about. Feel free to create your own questions based on your interested and reflections on the readings.

Also, you may have to wait a day or so to reply to other posts. Do not post four posts in a row just to get it over with--wait and see how others are responding--that way we can generate a non-synchronous discussion.

As you have seen, it is possible for you to upload images to this blog. As far as I know, there are two ways. The easiest is to go to new post in the upper right hand corner and create a post where you can upload images and add text. Let’s do that if you ever have to upload anything. The sidebar to the right follows in chronological order, so we should be ok. 

So, in review, all of us are authors. If you want to post an image, create a new post (look to the upper right hand corner of blog), and upload an image (330K or less; jpegs work); when you create a new post you can see all of your options. 

You will notice that I will write: Post marker.--that is to let me know how far down I have read on the blog. That’s  just for me. If you ever fall behind, post a missing week in the current week--just let us know you are doing that.  Any questions?

A little more about our first book. Much of the info/strategies/words in this book might be fairly new to you. All I ask is that you be open to the new information. This will be my fifth read of this book. For many of you, this may be your first read. I like this book because it offers other ways to look at art and artists as research. It offers newer methods for creating research, new categories: bio art, etc. And, since many of you are making art or interested in beginning to make again, this first book is fascinating in scope, sequence and content—and research strategies. We are engaged in reading about how Weintraub theorizes the possibilities of eco-art and politics. This has always been the case when writing about histories of arts. Weintraub writes  in a fairly accessible manner--she wants us to get it; she wants us to become part of some of these changes. Often, theory books are so dense it's impossible to understand what the author is writing about. Weintraub systematically discloses for us keys and ideas to help us become part of a mission to create change in ourselves and our communities--not just a style. That is partly what is revolutionarily interesting of this book for me. 

I think back to some years ago in an outreach course that I taught at Tech, a Visual studies class team-taught an entire elementary school for a semester that didn't have an art teacher. I recall how two students, Rachel Jones and Vida Weekley, only developed projects repurposing everything--making their own paper for example. All of their projects were directly related to the environment or recycled materials. Our classes were usually 45 minutes long, but their 4^thgrade cooperating classroom teacher let them make art with the kids all afternoon each week. They made dyes from vegetables. They were practicing some of the tenets that Weintraub is espousing. 

Just a few comments once again from last week's postings—just lovely introductions. As you will see with our second book, I want you to invite your life and art and issues into this classroom. Some, maybe many of you, are new to blogging. For me, this is a more democratic way of engaging online—as we are all authors. In Blackboard for example, it’s more about surveillance and when people respond. Here, I just want you to be as honest and open as you can be. Hopefully I/we will draw more questions than answers.

As far as semester projects go, many of you could create something from your intros. This is just to get people to begin thinking about the semester project. Projects often come from our back school and home and community yards. You could do one of the following. Keep in mind, that both making art and/or examining teaching practices (or making art or writing about art or doing both) are ways to create research or to continue research on something you've already started whether it is related to making art or studying some aspect of art or visual arts or visual cultures. If you have an interest in creating art or a project based on a principle we read about--that is legitimate. That’s why we are reading the books, to influence us or at the very least to have some kinds of impressions. Making art and writing about it is a call to action. You could also decide to keep a visual/digital journal of your process, for example; a mapping; or create or document actual lessons or problems in your own lessons and ways you are rethinking responses--you don't have to have it all figured out. Or, you may already have an ongoing project that you would like to continue studying.

We are mainly using this book as a theoretical lens to think through other spaces to create change. Eco art is one way--making art/making social/cultural/arts change. Examining a teaching practice is another way. Weintraub is giving us a structure and vocabulary to link us back to the ground we stand on everyday day. I think this will be enjoyable. So many of you already have a deep respect for the land and people. That's primary. 

I'm reminded of a children's book about a cat, where the human says to the cat, to come into my house--my world. And the cat replies, come into my house, my world--the cat's house is the outdoors, it is nature. The human could only see her house as a legitimate way to live or house (I’m using house as a verb). The cat reminded her that all of nature is home to all sorts of creatures. (The Cat Who Wouldn't Come Inside)

I will post some questions. Weintraub covered a great deal of histories and definitions. Don't worry if you didn't get them or understand them all. We get to go through artists next where everything is applied. I am very excited about that. Just keep in mind that the terms Weintraub is using are legitimate ways to describe research; art as research; or reflecting about teaching as research. The latter about teaching qualifies in lots of methodological ways--action research, reflective research, autoethnographic research, and qualitative research. Google some of those approaches to give you a glimpse of the multiple ways to think about and write about art and teaching. My intent is that we are using the Weintraub book because many teachers join our MAE program

because they want to make art again. Making art constitutes research--making research. Weintraub gives us vocabulary to help us articulate about our process and journey. Also, our first book is a global book.

Once again welcome. You will get used to this format rather quickly. Sometimes it works better on Safari or Chrome—and other platforms. You will be creating your own blogspot.com page, so you may want to play with that. That is where you will be posting your project for this course. It’s a free format. Under settings, you can invite only us. We will all be looking at each others projects and commenting at the end of this course. If, for some reason, you create a project that is so personal, that you only want me to see it, or not even me, we can work with that. 

One more point. I created all of this writing on MicrosoftWord and then copied and pasted it into the blog. The blog has limits as to how many words and sometimes will freeze, if you write too many words—so think about cutting and pasting so you won’t lose it all, like I did at times. Also, if posting a new post, remember to “Publish It” before you hit the “view blog” button again. You will lose all of your writing for that new post—you have to hit “Publish button” first. Then view blog. And also, this is a private blog. Only we can view it. 

For anyone interested in studying in Lubbock Summer I, Glassblowing and clay will be offered in Lubbock Summer One first three-week session summer 2017. Some people have been asking about that. 

There are no wrong answers to any of the posed questions. They are merely questions. Please feel free to post your own questions. My questions are mere guides to get a conversation going. And, always use "I" language...I think, I fell, My experiences, etc. Just reply under each question. Only create a new post if you are posting images, otherwise add your comments under each question. Thanks. 

Week 1: Jan 19-25

Introductions

This is where we will make our first posts. It is not necessary to post four times in this first posting week, but feel free to respond to other person's posts. 

In Week One, we are all about introductions and an intro to research. Introductions are about who we are and where we come from. Keep in mind, the diversity of folks in this class. Some may be in our MAE (Master in Art Education) program. Others may be in other Masters or PhD programs. Some of you may know each other, and others may be brand new to Visual Studies, the MAE or PhD Program or online graduate courses.

1. How about each of us introducing ourselves in this first week blog post. Tell us a few things about yourself--where you're originally from, where you went to school, where and what you teach, if you don't teach, what you currently do, if you make art, have a family, where you are in the MAE, or in other programs, and anything else you'd like to share.

2. Go to the back of the Wientraub book to Addendum (p. 321). There is a survey there.  Take a look at that and start to think about it. We will be responding to it in Week Two. But, you may want to start thinking about where you are in terms of answers to it. 

It will be under Week Two where you will find the reading assignments for next week. Our reading assignments will be identical to the syllabus. We are following it. If you fall behind, always post late posts in the current week. Just remind us. 

(This is the reading assignment for Week Two: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Complete the Personal Survey on pp. 321-322. Read: Preface; Art Genres; Art Strategies; Eco Issues; Eco Approaches; Introduction; Eco Art Is; Eco Art Is Not (pp. xliii to 18) AND Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Introduction; Eco Art Themes; Eco Art Aesthetics; Eco Art Materials (pp. 19-52))

Also, you might want to create your remarks/posts in Microsoft Word and copy and paste them into the blog. Sometimes, if you write a really long post, it won't upload and you can lose your text. If that happens, go back and copy it all to save it, if possible. Just a suggestion for new comers to blogging and posting.

We can post images. I have made everyone an author which means you can download 300K or smaller pics. 

Other than that, share your introductions, kick back, breathe; as we begin a semester of inquiry into research of art making and writing. It's only Week Two where I have added 30 pages. If you are a slower reader, feel free to read ahead as well. 

Syllabus

Texas Tech University

Department of Art

ART 5363 Research Methods in the Visual Arts

Spring 2017

Meeting Times: Online

Instructor: Ed Check                  Phone: 806-843-6605

Office Hours: by appointment                Email: ed.check@ttu.edu

Catalog Description Prerequisite: Instructor approval. A survey of research methods applicable to the visual arts. May be repeated with change of emphasis.

Overview of Course

Because many MAE students choose exhibitions and projects as their emphases in their capstones, this course is tailored toward investigating and practicing the autobiographical and autoethnographic skills necessary for completing such art-based research tasks. That essentially means that we will rely heavily on our stories/autobiographies as a means to reflect (reflecting about autobiography is an autoethnographic method) about who I am, what I am interested in, what I am doing, and what I am trying to accomplish in my art and/or writing. This will be our primary task this semester; to begin to describe (autobiography) and possibly reflect/assess (autoethnography) the kinds of art or other research I am interested in creating, why I am, and where it may lead.

We will assume that art is research. (The following books thoroughly investigate that art is research: Leavy, P. (2009). Method meets art: Arts-based research practice. New York: The Guilford Press; Park, C. C. (2010). Creating with reverence: Art, diversity, culture and soul. Tucson, AZ: Sotol Books; and Schneider, A. & Wright, C. (Eds.). (2010). Between art and anthropology: Contemporary ethnographic practice. New York: Berg.) We will be looking at some diverse histories of how artists have created methodological innovations in art and the impact on us as artists and community members. Many of these methods come from non-mainstream places. We will read about visual artists and other artists who are using art as research tools to explore personal, social, political, and community issues. Through these artists, hopefully we can see ourselves in their stories; see our art as relevant; and see our schools, students and communities as part of a broader visual, environmental, and global picture.

Our first book, is a theory/history book, Linda Weintraub’s (2012) To Life! Art in Pursuit of a Sustainable Planet that documents the beginning of the art eco movement, representing multiple artists developing/utilizing different methods to create art. These contemporary methods include but are not limited to: bio art, performance art, digital, installation, public, social practice, design—all contemporary methods of making research/art. Because of our direct link to Fredericksburg, TX, and our own communities, I am hoping this text will create an excitement for us; a willingness to look beyond the traditional ways we have been taught to think about art as research; what art is, what counts and what doesn’t. We will be perusing sustainable approaches/methods that artists have developed; looking at contemporary methods of making art: digital, performance, social practice, etc. One question for many of us as practicing teachers might be what are the pedagogical implications for such art practices for our classrooms? Much of the book is a compendium describing the practices of contemporary practicing artists. The kindle/digital version has lesson plans and many resources that can complement our classroom practices. Our second book is Live Through This: On Creativity and Self-Destruction is an anthology of contemporary women visual and performing artists across visual and performing arts disciplines, examining how their art is informed by their personal lived experiences and contemporary social issues. I use this book to show us how nuance of lived experiences not only informs who we are or might be, but informs us making art. Chapadjiev closely examines many critical connections between creativity and self-destruction in many women artists’ lives. Our third book is Roads to Junction: Making Art, Teaching Art. Roads to Junctions celebrates the work of practicing art teachers through a series of chapters: Rethinking, Sacred, Social Landscapes, Visionary Practices and Honoring. This book is a compendium of MAE students and their now published research that includes projects, thesis and exhibitions. We will get to read first-hand their concerns as they forge ahead with research agendas.    

Much of this course will be spent on reading, posting on our blog, and responding to ideas and possibilities in our own research; or at the very least begin to think about areas that interest us; places to begin. As a research course, and in our last book you will notice that authors use an APA Style Manual for their writing. You can find examples of APA referencing at the following sites. We will use this style for project references.

https://www.uvu.edu/writingcenter/student-resources/handouts.html (Under style guides click on APA-In text); for APA-References, see:

https://www.uvu.edu/writingcenter/docs/handouts/apareferences2.pdf

it will give you guidelines to follow without purchasing the APA Style Manual book.

Course Outcomes/Assessments

1. Explore issues of research and methods in relation to making art, teaching and school lives. Assessment: Students will create online blog responses to books and each other’s comments demonstrating mastery of content and reflection of core issues.

2. Students will be able to identify, articulate, and reflect critically on issues related to research in personal, professional, and/or civic life from their own perspective as well as that of others. Assessment: Students will create auto-reflective essay defining an exhibition or project topic in relation to personal/professional research.

Course Texts (3 texts required)

Akins, F. & Check, E. (2016). Roads to Junction: Making art, teaching art. Dubuque, IA: KendallHunt.
Chapadjiev, S. (Ed.). (2008). Live through this: On creativity and self-destruction. New York, NY: Seven Stories Press.

Weintraub, L. (2012). To life! Eco art in pursuit of a sustainable planet. Berkeley, CA: University of California Press.

Course Requirements

Participation  This course is taught as an online seminar/salon so each student is responsible for keeping up with the reading as well as participating in weekly class postings. This is a reading intensive class. I expect you to participate in class postings, contributing ideas and your perspectives on topics. I am expecting you to post a minimum of four times each week. There will be more about this on the actual blog. (60%)

Semester Project/Making Art/Reflective Writing  The main purpose for a semester project is for you to experiment with writing/making art/developing a concept/etc. about a topic or theme of personal/professional interest. This includes making and/or writing about art; making/designing a performative piece; writing poetry/a play; etc. If you decided to make art based on our readings, I am asking that you write a minimum of 1,000-2,000 words (4-8 double-spaced pages) describing/documenting your ideation, methods, and other issues related to your art piece/s. Your semester project may be environmentally or socially related, personally/teacher-related, or art-related; something you are currently working on. You can write about a research topic in relation to course themes and community, art making or teaching that you are interested in beginning to explore this semester. APA manuscript publication style may be used but it is not necessary. But please publish your references for your project in APA Style. (30%)

Reflective Positive Feedback  You are responsible for reading other class member final online projects with positive constructive criticism. (10%)    

Attendance  Online postings are mandatory. Discussion of the content of reading material will occur in class postings. If you miss a week’s postings, you still need to keep up with reading the blog. You might even email other class students for what you missed. You will post missed week’s posts always on the current week’s posts, letting us know you are posting from last week’s readings.

Semester Mapping

*You might note the odd spacing of weeks in that each one begins on a Thursday and ends on a Wednesday. That is a structural issue. You will always have until Friday of the current week to post from the previous week. That gives you two extra days if you have a busy week. I will usually post on a Thursday (or Friday if a busy week) for the upcoming week. I did that so you could blog up until 12 Midnight on Friday if you need to for that previous week. If you miss a week of posts, you may post those comments in the current week. This is to accommodate your often, hectic schedules. If you miss more than two weeks of posts, I expect an email explaining why. Your posting during each week keeps our non-synchronous virtual class feel like a real-time conversation. I encourage you to respond to each other’s comments. I will often start off the blog with questions or comments to facilitate your responses. You do not have to respond to all of my posts. My posts are usually there to facilitate discussion/posts.

Dates to keep in mind:

*Feb 4th is the last day to drop a course with a refund. Last day for student-initiated drop on MyTech without penalty (drop does not count against drop limit).

*March 29th is the last day for student-initiated course drop on My-Tech with penalty.

Week One: Jan 19-25: Introductions

Week Two: Jan 26-Feb 1: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Complete the Personal Survey on pp. 321-322. Read: Preface; Art Genres; Art Strategies; Eco Issues; Eco Approaches; Introduction; Eco Art Is; Eco Art Is Not (pp. xliii to 18)

Week Three: Feb 2-8: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Introduction; Eco Art Themes; Eco Art Aesthetics; Eco Art Materials (pp. 19-52)

Week Four: Feb 9-15: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Ant Farm; Herbert Bayer; Joseph Beuys; Hans Hacke; Helen and Newton Harrison; Friedensreich Hundertwasser; Allan Kaprow; Frans Krajcberg; and Mario Merz (pp. 53-100)

Week Five: Feb 16-22: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: (pp. 101-152) Carolee Schneeman; Bonnie Ora Sherk; Alan Sonfist; Mierle Laderman Ukeles; Brandon Ballengée; Beehive Colelctive; Mel Chin; Chu Yun; Critical Art Ensemble (pp. 101-152)

Week Six: Feb 23-Mar 1: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Fernando Garcia-Dory; Bright Ugochukwu Eke; Nicole Fournier; Amy Franceschiini; Gelitin; Andy Goldworthy; Andy Gracle; Tue Greenfort; Terike Haapoja (pp. 153-204)

Week Seven: Mar 2-8: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: HeHe; Natalie Jeremijenko; Yun-Fei Ji; Eduardo Kac; Jae Rhim Lee; Maya Lin; Michael Mandiberg; Viet Ngo; Marjetica Potrč (pp. 205-252)

Week Eight: Mar 9-15: Spring Break (catch-up week)

Week Nine: Mar 16-22: Weintraub, Linda To life! Eco art in pursuit of a sustainable planet: Read: Red Earth; Pedro Reyes; Tomás Saraceno; Simon Starling; Gerda Steiner and Jörg Lenzlinger; Tavares Strachan; SUPERFLEX; Reverend Billy Talen; Tissue Culture & Art Project; Lily Yeh; and Marina Zurkow (pp. 253-318)

Week Ten: Mar 23-29: Live Through This: Preface to page 90

Week Eleven: Mar 30-Apr 5: Live Through This: Pages 91-162

Week Twelve: Apr 6-12: Live Through This: Pages163-224

Week Thirteen: Apr 13-19: Roads to Junction: Making Art, Teaching Art: Read: Foreword, Intro, Preface AND Chapter 1, AND the first three essays in Chapter 2.

Week Fourteen: Apr 20-26: Roads to Junction: Making Art, Teaching Art: Read: The second three essays in Chapter 2 AND Chapter 3.

Week Fifteen: Apr 27-May 3: Roads to Junction: Making Art, Teaching Art: Read: Chapters 4 and 5.

Week Sixteen: May 4-9: Begin to share semester projects

Finals: May 11-16: Continue to Post online semester project/Read and comment on classmates projects

Semester projects due no later than midnight May 20

Final Grades due Noon May 23

Health and Safety 

The School of Art endeavors to comply with the intent of state laws and the University Health and Safety Program in an effort to maintain a safe working environment. Students are expected to take note of cautions and safety procedures listed in textbooks or covered in class. Accidents should be reported immediately and injuries should receive prompt medical attention. Broken equipment should be reported in order to make timely repairs and avoid hazards. See http://www.depts.ttu.edu/opmanual/OP60.01.pdf.

Integrity 

“It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and a high standard of integrity. The attempt of students to present as their own any work that they have not honestly performed is regarded by the faculty and administration as a serious offense and renders the offenders liable to serious consequences, possibly suspension” (2009-2010 Texas Tech Student Handbook, Part II, Section B, page 7). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf See Academic Integrity information at http://www.depts.ttu.edu/studentjudicialprograms/IntegrityMatters.

Civility in the Classroom 

“Each Person Has Worth and Dignity”. “It is imperative that students learn to recognize, understand, and celebrate human differences. Colleges can, and indeed must, help their students become open to the differences that surround them: race, religion, age, gender, culture, physical ability, language, nationality, sexual preference, and life style. These matters are learned best in collegiate settings that are rich with diversity, and they must be learned if the ideals of human worth and dignity are to be advanced”(2009-2010 Texas Tech Student Handbook, Assumptions and Beliefs, page 3).

Classroom Conduct 

Students are expected to assist in maintaining a classroom environment that is conducive to learning. In order to assure that all students have an opportunity to gain from time spent in class, unless otherwise approved by the instructor, students are prohibited from using cellular phones or beepers (including texting), eating or drinking in class, making offensive remarks, reading newspapers, sleeping or engaging in any other form of distraction. Inappropriate behavior in the classroom shall result in, minimally, a request to leave class and an absence for that session. Unless the instructor requires it, you may not surf the Internet or check your email during class time. If a student is found doing either of these things, you will be asked to leave the class and earn an absence for that session. See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf

Academic Integrity 

“It is the aim of the faculty of Texas Tech University to foster a spirit of complete honesty and high standard of integrity. The attempt of students to present as their own any work not honestly performed is regarded by the faculty and administration as a most serious offense and renders the offenders liable to serious consequences, possibly suspension” (2009-2010 Texas Tech Student Handbook, Part II, Section B, page 7). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf  “Academic dishonesty” includes, but it not limited to, cheating, plagiarism, collusion, falsifying academic records, misrepresenting facts, and any act designed to give unfair academic advantage to the student.” (For the specific definitions of Academic Misconduct, see 2009-2010 Texas Tech Student Handbook, Part IX , Section B, Number 3, a through e, page 20; and to Part IX, Section D, Number  22, C, page 23). See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf This includes, but is not limited to, submission of essentially the same written assignment for two courses without the prior permission of the instructor or the attempt to commit such an act. See Academic Integrity information at http://www.depts.ttu.edu/studentjudicialprograms/IntegrityMatters.

Conflict Resolution 

The Office of the Ombudsman is available to assist students with any conflict or problem that has to do with being a student at Texas Tech University. You may visit the Ombudsman in the Student Union Building or call 742-4791.

Reporting Illness 

In case of an illness that will require absence from class for more than one week, the student should notify his or her academic dean. The Dean’s office will inform the student’s instructors through the departmental office. In case of class absences because of a brief illness, the student should inform the instructor directly. Other information related to illness is found in the Student Handbook and the Residence Halls Handbook.

Absence due to religious observance 

"Religious holy day" means a holy day observed by a religion whose places of worship are exempt from property taxation under Texas Tax Code §11.20. A student who intends to observe a religious holy day should make that intention known in writing to the instructor prior to the absence. A student who is absent from classes for the observance of a religious holy day shall be allowed to take an examination or complete an assignment scheduled for that day within a reasonable time after the absence. A student who is excused under Part II, Section I, page 8, in the TTU 2009-2010 Student Handbook may not be penalized for the absence; however, the instructor may respond appropriately if the student fails to complete the assignment satisfactorily.

See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf.

See http://www.depts.ttu.edu/opmanual/OP34.19.pdf.

Student Absence due to Sponsorship of Student Activities and Off-Campus Trips

“According to the 2008-2009 University Catalog, faculty, department chairpersons, directors, or others responsible for a student representing the university on officially approved trips should notify the student’s instructors of the departure and return schedules in advance of the trip” (TTU 2009-2010 Student Handbook, Part II, Section K, page 8). Proper protocol dictates that a student missing class due to an officially excused trip to personally notify their instructor of the departure and return schedule in advance of the trip as well. The student may not be penalized and is responsible for the material missed. According to TTU OP 34.06, students will be responsible for making their own individual arrangements with instructors for class work missed while participating in an off-campus trip.

See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf.

See http://www.depts.ttu.edu/opmanual/OP34.06.pdf

Illness and Death Notification 

“The Center for Campus Life notifies the campus community of student illnesses, immediate family deaths and/ or student death as a courtesy. Generally, in cases of student illness or immediate family deaths, the notification to the appropriate campus community members occur when a student is absent from class for four (4) consecutive days with appropriate verification. It is always the student’s responsibility for missed class assignments and/or course work during her/his absence. The student is encouraged to contact the faculty member immediately regarding the absences and to provide verification afterwards” (2009-2010 Texas Tech Student Handbook, Part II, Section J, page 8). The notification from the Center for Campus Life does not excuse a student from class, assignments, and/or any other course requirements. The notification is provided as a courtesy and the student must initiate the request within two weeks of the incident. See http://www.depts.ttu.edu/sub/Docs/15790_Handbook03.pdf

Disability 

Any student who, because of a disability, may require special arrangements in order to meet the course requirements should contact the instructor as soon as possible to make any necessary arrangements. Students should present appropriate verification from Student Disability Services during the instructor’s office hours. Please note instructors are not allowed to provide classroom accommodations to a student until appropriate verification from Student Disability Services has been provided. For additional information, you may contact the Student Disability Services office at 335 West Hall or 806-742-2405. The university-approved mechanism for doing so is written notification from AccessTECH—a Letter of Accommodation (LOA). The LOA on official university letterhead indicates to professors that the student has given proof of his or her disability and that the accommodation noted is considered appropriate and reasonable.” TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act.

See (http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH). Absolutely no other written documentation, verbal verification, or explanation, other than the LOA; may be requested as “proof of disability” by any faculty member under any circumstances whatsoever as this is in direct violation of Federal Law.

“Section 504 of the Rehabilitation Act of 1973, as amended, and the Americans with Disabilities Act (ADA) require that universities, and all faculty and staff therein, make reasonable accommodation for all students with disabilities in all programs and activities, both academic and nonacademic. If such reasonable accommodation is denied to any disabled student, the institution may be held in violation of the law”  (TTU Faculty Handbook, Faculty Affairs, Section A., Americans With Disabilities Act). See http://www.depts.ttu.edu/officialpublications/facultyHB/FacultyAffairs_A.php#AccessTECH.

See also http://www.depts.ttu.edu/opmanual/OP34.22.pdf for current changes to TTU OP policies.

TTU Resources for Discrimination, Harassment, and Sexual Violence  Texas Tech University is committed to providing and strengthening an educational, working, and living environment where students, faculty, staff, and visitors are free from gender and/or sex discrimination of any kind. Sexual assault, discrimination, harassment, and other Title IX violations are not tolerated by the University. Report any incidents to theOffice for Student Rights & Resolution, (806)-742-SAFE (7233) or file a report online at titleix.ttu.edu/students. Faculty and staff members at TTU are committed to connecting you to resources on campus. Some of these available resources are: TTU Student Counseling Center, 806-742-3674, https://www.depts.ttu.edu/scc/(Provides confidential support on campus.) TTU Student Counseling Center 24-hour Helpline,806-742-5555, (Assists students who are experiencing a mental health or interpersonal violence crisis.  If you call the helpline, you will speak with a mental health counselor.) Voice of Hope Lubbock Rape Crisis Center, 806-763-7273, voiceofhopelubbock.org(24-hour hotline that provides support for survivors of sexual violence.) The Risk, Intervention, Safety and Education (RISE) Office, 806-742-2110, rise.ttu.edu(Provides a range of resources and support options focused on prevention education and student wellness.) Texas Tech Police Department, 806-742-3931, http://www.depts.ttu.edu/ttpd/(To report criminal activity that occurs on or near Texas Tech campus.)

Campus Carry at TTU  House Bill 910, also referred to as Open Carry, legalized the open carry of handguns in Texas for individuals who have a concealed handgun license. The Open Carry legislation has some exceptions such as institutions of Higher Education. Senate Bill 11, also referred to as Campus Carry, allows licensed individuals to carry concealed handguns on academic campuses. Within this Bill, provisions allow universities to have some discretion in tailoring Campus Carry policy to fit the uniqueness of individual campus environments.

To carry on campus:

1   Must have a LTC (license to carry) or a CHL (concealed handgun license).

2   Weapon must be concealed at all times.

3   Follow Penal Code 30.06 (exclusionary zones)