Sunday, December 5, 2010
Wednesday, December 1, 2010
Sunday, November 28, 2010
Wednesday, November 17, 2010
Wednesday, November 10, 2010
Lizard and Monkey were sitting in a tree in the middle of the jungle sharing a joint. Lizard got thirsty and told Monkey he was going down to the river to get a drink, laughing the whole way. At the river he met Crocodile and told him what a funny sight Monkey was getting high in the tree. Well, Crocodile just had to see this. So Lizard and Crocodile headed back to the tree and Crocodile looked up and said, "Hey!" Monkey nearly fell out of the tree in his surprise and looked down at Crocodile, exclaiming, "How much did you drink!"
He also told us about a few pictures that he had drawn. One was of a bunch of dinosaurs howling at the moon, "Someone had to teach the coyotes how to howl at the moon."
Brocious also told us about a series he had drawn based on old time carnivals, one was of a horse being shot out of a cannon, instead of a man. Another was of a pool of water diving into six inches of man at 50 feet!
Monday, November 8, 2010
As for the lack of blog posts in October, I will take the blame for that. In order to show the class what was going on with art in the Kansas City community we met with a handful of local artists. Tex Jernigan, Jesse McAfee, Jerrad Wilson, Mary Pinizzotto, Sean Starowitz, David Prince, and Kurt Flecksing. Each of these artists contrasted one another and made for very good discussions. By the end of October we all had a better understanding of what was happening around Kansas City.
Our critiques will be split into two class periods and dates are still pending.
Saturday, November 6, 2010
Wednesday, October 27, 2010
To complete this project you will need:
- Crayons (recycled of course)
- Aluminum Cans
- Wooden sticks or dowel rods (chop sticks work great)
- Candy mold or ice cube trays
- Large Pan
You will need a small, heat resistant container, such as a stainless steel measuring cup. Use the smallest one you have.
The following quantity will fit easily into most lip balm tins, but you will have a little left over if you are using a tube, which usually holds only 0.15oz. For the triple lipstick mold, double the recipe.
Here is the basic recipe:
- 1/2 crayon of your favorite color (approx 2.4g)
- 1/2 tsp jojoba oil (approx 2 g)
- 1 almond-sized chunk of shea butter (approx 2g)
Ingredients you can add to the above:
- 1 pea-sized dab of lanolin (improves feel and possibly color distribution)
- 1 pinch gum arabic (improves color distribution and durability of color)
- 1 drop vitamin E (helps prevent oil from becoming rancid, improves shelf life)
- 1 pinch zinc oxide (makes color lighter and more opaque, offers protection against UVA and UVB sun rays -- but make sure your wax mixture is well stirred before you pour)
You can replace shea butter with cocoa butter (will make lipstick slightly more firm)
You can replace jojoba oil with castor oil (will make a glossier lipstick)
Thursday, October 21, 2010
Monday, October 18, 2010
Thursday, September 30, 2010
As for homework we are reading INTHECONVERSATION with Randall Szott and Sal Randolph. Also, check out Josh Greene's Service Works for another micro granting system.
Monday, September 20, 2010
This video is the documentation of the "Instructable" assignment.
Although this version of the People-Annoyer is made with pill bottles. However, one can use many different types of containers toward the same end.
The next step is to employ a plumbing piece with openings connecting three Noise Tubes- when tuned correctly, the resulting wind bellows forth in consonant transcendence, uniting all humans. L'unité dans le sonique!
DO MI SO
Monday, September 13, 2010
· Light bulbs
· Small magnets
· Large washers
· Soil and seeds
· Water and sunlight
· Leather gloves
· Safety glasses
· Slot screwdriver
· Needle nose pliers
· Salt and water
I found a few instructions on how to make different kinds of light bulb terrariums, but none of the instructions were very detailed and the process was kind of intimidating.
First, the setup: I think it was best to do this outside with a newspaper to catch all the glass shards. Don’t forget safety; wear your leather gloves and safety glasses to protect your hands and eyes.
Carefully hold the light bulb above the newspaper with the screwdriver poised as a chisel against the glass support at the bottom of the bulb and use the mallet to break it into pieces without breaking the glass bulb.
After the support is broken take out the electronic parts but don’t shake the bulb, this results in broken glass and a ruined project. Make sure to pull all the wires out and break out the inner glass support, again without breaking the bulb.
Use the salt to get all the little pieces out of the bulbs but pouring in a little bit into the bulb and shaking it up. Then pour some water in to get rid of the white powder that diffuses the light and obstructs your view to the inside of the bulb.
With the light bulb all cleaned out and dry slide the little magnet inside and pour a little soil in on top. Next, put a few seeds in (I used about five) and gently shake to get the seeds to bury themselves. Gently pour some water in, but be careful not to overwater.
Set the bulb on the washer, the magnet will stabilize it. Then set the whole thing in a safe place in the sunlight and let it grow!
The light bulb terrarium works best if the light bulb is stationed on it's side or glass side down. Plants don't like to grow in the closed space of a light bulb glass side up.
Also, if using a high powered magnet and washer to keep the terrarium steady do not pull them apart and let them snap back together. This causes the glass to shatter over the various times it is allowed to snap together. Leave them together or do not use the magnets at all.
Sunday, September 12, 2010
So here's the puppet. He's awfully cute, I'm pretty happy with him. You all noticed the change from the tinsel to the fabric boas, which is not only greener, but a lot more attractive. I also opted to make his head out of paper mache instead of a styrofoam ball, which, again, more green, more attractive. Substituting a stick instead of the ruler was a matter of cost-effectiveness, and I'm not sure if it works with the over-all look, but I saved dough, so whatever.
Some things I will change when I make the next one:
1. I want to figure out hands and feet. I have some washers, but they're being used in a photoshoot currently. When I get them back, I will use them to weigh down the feet. I think I will make the hands and feet out of paper mache, like the head.
2. Smaller boas... this means just that I would string up smaller squares, as those squares are awfully fat. I would also make his arms a little shorter than his legs.
3. Since it would be my final puppet, I might go crazy and buy a wooden dowl instead of using a twig. I also want to experiment with making a more traditional marionette cross at the top, instead of just one line.
I'm gonna request that tomorrow I go first, and we all make our paper mache heads. It won't take much time, and that way for my real workshop we don't have to worry about waiting for the head to dry.
Wednesday, September 8, 2010
September 13 - Instructables Project due
September 15 - Mary comes to class
September 20 - Regrouping session, Instructables Project Documentation due on Blog
To read the article about Social Practice on Culturehall click here: http://culturehall.com/feature_issues.html?no=51
For sculpture safety manual click here: http://www.google.com/url?sa=t&source=web&cd=3&ved=0CB4QFjAC&url=http%3A%2F%2Fwww.kcai.edu%2Fsites%2Fdefault%2Ffiles%2Fpdf%2FSculpture_SafetyManual.pdf&rct=j&q=kcai%20safety%20manual%20sculpture&ei=axiITOSEMYqonQe89PiyCw&usg=AFQjCNFUJ-Q8jhcgZu4o2JppA3yIAQnNKg&cad=rja
Showerglass: A DIY five-minute hourglass to help you take shorter showers.
Paper Plant Pots: Planters made from newspaper, which can later be buried.
Wednesday, September 1, 2010
these are neat little monsters
these are crayon related.
Tuesday, August 31, 2010
Go to youtube.com or instructables.com and find three sets of directions to things you would like to do.
Post links to the three sets of instructions on our class blog.
September 1 - Come to class prepared to discuss why you like each set of instructions, and we will help you decide which one to do.
Do the project, documenting the process with either video or photos.
Post the documentation on our class blog.
September 13 - Come to class with the final product and discuss how it went. Be ready to talk about it, have a list of what you enjoyed and disliked. You will be continuing with this project for the next assignment so it will be helpful to think about these things and have the class brainstorm adjusting it for next time.
I am for an art that grows up not knowing it is art at all, an art given the chance of having a staring point of zero.
I am for an art that embroils itself with the everyday crap & still comes out on top.
I am for an art that imitates the human, that is comic, if necessary, or violent, or whatever is necessary.
I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.
I am for an artist who vanishes, turning up in a white cap painting signs or hallways.
I am for an art that comes out of a chimney like black hair and scatters in the sky.
I am for an art that spills out of an old man's purse when he is bounced off a passing fender.
I am for the art out of a doggy's mouth, falling five stories from the roof.
I am for the art that a kid licks, after peeling away the wrapper.
I am for an art that joggles like everyones knees, when the bus traverses an excavation.
I am for art that is smoked, like a cigarette, smells, like a pair of shoes.
I am for art that flaps like a flag or helps blow noses, like a handkerchief.
I am for art that is put on and taken off, like pants, which develops holes, like socks, which is eaten, like a piece of pie, or abandoned with great contempt, like a piece of shit.
I am for art covered with bandages, I am for art that limps and rolls and runs and jumps. I am for art comes in a can or washes up on the shore.
I am for art that coils and grunts like a wrestler. I am for art that sheds hair.
I am for art you can sit on. I am for art you can pick your nose with or stub your toes on.
I am for art from a pocket, from deep channels of the ear, from the edge of a knife, from the corners of the mouth, stuck in the eye or worn on the wrist.
I am for art under the skirts, and the art of pinching cockroaches.
I am for the art of conversation between the sidewalk and a blind mans metal stick.
I am for the art that grows in a pot, that comes down out of the skies at night, like lightning, that hides in the clouds and growls. I am for art that is flipped on and off with a switch.
I am for art that unfolds like a map, that you can squeeze, like your sweetys arm, or kiss, like a pet dog. Which expands and squeaks, like an accordion, which you can spill your dinner on, like an old tablecloth.
I am for an art that you can hammer with, stitch with, sew with, paste with, file with.
I am for an art that tells you the time of day, or where such and such a street is.
I am for an art that helps old ladies across the street.
I am for the art of the washing machine. I am for the art of a government check. I am for the art of last wars raincoat.
I am for the art that comes up in fogs from sewer-holes in winter. I am for the art that splits when you step on a frozen puddle. I am for the worms art inside the apple. I am for the art of sweat that develops between crossed legs.
I am for the art of neck-hair and caked tea-cups, for the art between the tines of restaurant forks, for odor of boiling dishwater.
I am for the art of sailing on Sunday, and the art of red and white gasoline pumps.
I am for the art of bright blue factory columns and blinking biscuit signs.
I am for the art of cheap plaster and enamel. I am for the art of worn marble and smashed slate. I am for the art of rolling cobblestones and sliding sand. I am for the art of slag and black coal. I am for the art of dead birds.
I am for the art of scratchings in the asphalt, daubing at the walls. I am for the art of bending and kicking metal and breaking glass, and pulling at things to make them fall down.
I am for the art of punching and skinned knees and sat-on bananas. I am for the art of kids' smells. I am for the art of mama-babble.
I am for the art of bar-babble, tooth-picking, beerdrinking, egg-salting, in-sulting. I am for the art of falling off a bartstool.
I am for the art of underwear and the art of taxicabs. I am for the art of ice-cream cones dropped on concrete. I am for the majestic art of dog-turds, rising like cathedrals.
I am for the blinking arts, lighting up the night. I am for art falling, splashing, wiggling, jumping, going on and off.
I am for the art of fat truck-tires and black eyes.
I am for Kool-art, 7-UP art, Pepsi-art, Sunshine art, 39 cents art, 15 cents art, Vatronol Art, Dro-bomb art, Vam art, Menthol art, L & M art Ex-lax art, Venida art, Heaven Hill art, Pamryl art, San-o-med art, Rx art, 9.99 art, Now art, New ar, How art, Fire sale art, Last Chance art, Only art, Diamond art, Tomorrow art, Franks art, Ducks art, Meat-o-rama art.
I am for the art of bread wet by rain. I am for the rat's dance between floors. I am for the art of flies walking on a slick pear in the electric light. I am for the art of soggy onions and firm green shoots. I am for the art of clicking among the nuts when the roaches come and go. I am for the brown sad art of rotting apples.
I am for the art of meowls and clatter of cats and for the art of their dumb electric eyes.
I am for the white art of refigerators and their muscular openings and closing.
I am for the art of rust and mold. I am for the art of hearts, funeral hearts or sweetheart hearts, full of nougat. I am for the art of worn meathooks and singing barrels of red, white, blue and yellow meat.
I am for the art of things lost or thrown away, coming home from school. I am for the art of cock-and-ball trees and flying cows and the noise of rectangles and squares. I am for for the art of crayons and weak grey pencil-lead, and grainy wash and sticky oil paint, and the art of windshield wipers and the art of the finger on a cold window, on dusty steel or in the bubbles on the sides of a bathtub.
I am for the art of teddy-bears and guns and decapitated rabbits, explodes umbrellas, raped beds, chairs with their brown bones broken, burning trees, firecracker ends, chicken bones, pigeon bones, and boxes with men sleeping in them.
I am for the art of slightly rotten funeral flowers, hung bloody rabbits and wrinkly yellow chickens, bass drums & tambourines, and plastic phonographs.
I am for the art of abandoned boxes, tied like pharohs. I am for an art of watertanks and speeding clouds and flapping shades.
I am for U.S. Government Inspected Art, Grade A art, Regular Price art, Yellow Ripe art, Extra Fancy art, Ready-to-eat art, Best-for-less art, Ready-to-cook art, Fully cleaned art, Spend Less art, Eat Better art, Ham art, Pork art, chicken art, tomato art, bana art, apple art, turkey art, cake art, cookie art.
I am for an art that is combed down, that is hung from each ear, that is laid on the lips and under the eyes, that is shaved from the legs, that is burshed on the teeth, that is fixed on the thighs, that is slipped on the foot.
square which becomes blobby
Thursday, August 26, 2010
Sunday, August 22, 2010
CASLE & SCUE 322 40: Towards A Green Sculpture
Fall 2010: Monday/Wednesday 6:00-8:50, Sculpture Conference Room
Office hours available upon request
This course will explore possibilities for making sculpture in ways that are not harmful to humans or the rest of the ecosystems. In our class we will collaborate as we examine our own practices for ways we can continue with the forms and ideas we are interested in, in a more ecologically conscious and responsible manner. We will conduct analysis and experimentation of materials and processes. Each student will be responsible for presenting these experiments on a regular basis, and for making work that arises out of the experiments and is an extension of their own interests in studio art. There will be a community- based collaborative project as part of the course. This project will extend the exploration initiated in the experiments and will be considered as one avenue that many artists are taking towards a green sculpture. For their independent work students may choose to make sculptural objects, installations, site-specific work, performance, video, sound works, to work in mixed media and/or new ways.
This course is also offered under CASLE 322. Students enrolled in Community Arts and Service Learning courses and internships may earn a Certificate in Community Art. For more information, please call Julie Metzler in the Academic Resource Center, 802-3357.
Upon completion of this course students will understand the historical and contemporary motivation behind sustainable art practices, and how those ideas can function on a practical level. Students will be able to safely design and build their own artwork while being conscious of their impact on the environment around them.
During this course students will initiate a residency outside of the KCAI campus where they are expected to collaborate with an individual or group of people to create a site-specific artwork. This artwork should not only be well crafted, it should also serve a purpose to the community.
Throughout the semester each student will need to schedule a time to meet with Zach at their location to discuss what their plans are.
Your grade is based on your performance in this class, which includes not only the quality of what you produce, but also how you contribute to the class through participation.
Each project will receive a letter grade based on:
25% - craftsmanship & presentation
25% - ambition & work ethic
25% - experimentation
25% - documentation to class blog
Final course evaluation will be based on:
25% - class participation
25% - Blog posting
10% - Assignment 1
15% - Assignment 2
25% - Final Project
A (100-94%), A- (93-90%), B+ (89-87%), B (86-84%), B- (83-80%), C+ (79- 77%), C (76-74%) C- (73-70%), D+ (69-67%), D (66-64%), D- (63-60%), F (59-0%)
Almost every Thursday night there is an artist lecture at 7:00 in Epperson Auditorium. If you attend one of these and write a personal response on our class blog you can receive 2 extra credit points towards final grade. If the writing does not clearly articulate your ideas you will be asked to revise it, and Zach will help if it is needed.
Week 1 August 23 Introduction, Set up class blog, Intro to first presentation, Set presentation schedule
August 25 Work on 15 Minute Presentations in Janis Library (Meet in Sculpture)
Week 2 August 30 15 Minute Presentations with 15 minutes of class discussion for each
September 1 15 Minute Presentations with 15 minutes of class discussion for each, assign “ I am
for an Art” reading (found on blog)
Week 3 September 6 Labor Day! No class!
September 8 Teacher presentation on Green Sculpture, talk about reading, Introduce
Assignment 1: Instructables
Week 4 September 13 Class vote on individual projects, Work day for Assignment 1
September 15 Assignment 1 due, 15 Minutes of class discussion for each
Week 5 September 20 Introduce Assignment 2, Assign presentation schedule, Work day
September 22 Assignment 2 Presentations
Week 6 September 27 Assignment 2 Presentations
September 29 Guest Speaker Jesse McAfee, class discussion, Intro Assignment 3, Assign
Week 7 October 4 Assignment 3 Presentations
October 6 Assignment 3 Presentations, Introduce Assignment 4
Week 8 October 11 One on one meetings with Zach
October 13 One on one meetings with Zach
Week 9 October 18 Guest Speaker, Class Discussion
October 20 Work Day
*** As a class we will discuss the final weeks of this class and how it should be scheduled. This does not mean we don’t have class.
Week 10 October 25
Week 11 November 1
Week 12 November 8
Week 13 November 15
Week 14 November 22 15 minute Final Assignment Presentations with 15 minutes of class discussion for
November 25 15 minute Final Assignment Presentations with 15 minutes of class discussion for
The general attendance policy is in place because students are responsible for the entire content of the courses, including required portfolios and examinations. An absence from a regularly scheduled class or studio session is defined by a student not attending a scheduled class time and/or missing a significant portion of any class time (as defined by the instructor). If absences meet or exceed 15 percent of the class meetings in any one semester, the student will be subject to a reduced final full letter grade. The use of attendance in grading, up to that point, is at the discretion of the instructor. If absences reach 20 percent of the class meetings in any one semester, the student will fail the course (if absences are excused, the student may be eligible for a withdrawal from the course).
"Excused absences" include absences due to illness of the student, illness of an immediate family member for whom the student must care, death of an immediate family member, religious observance (where the nature of the observance prevents the student from being present during class), or representation of KCAI in an official capacity. Students seeking an excused absence must provide documentation to the ARC to substantiate the excuse. The ARC will notify instructors that the documentation is on file. Students with excused absences are responsible for completing all course requirements as outlined by the instructor.
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If a student has been marked absent (could include tardies counted as an absence) for 15% or more of the class, the instructor, if it is before mid-term, will give them a down grade if the mid-term earned grade lowered by one full letter grade is a C- or less. At any point in time during the semester, if a student is marked absent for 15% or more of the class, the instructor will inform their department chair and the Associate Vice President for Student Achievement. The Associate Vice President for Student Achievement will send notification to the student warning them they have missed 15% of the class(es), telling them this will have a negative impact on their grade, and requiring them to meet with the department chair who will reinforce where they stand and explain to them what will happen if they are marked absent for 20% of the class.
If a student has been marked absent (could include tardies counted as an absence) for 20% or more of the class, the instructor will inform their department chair, the Associate Vice President for Student Achievement and the Registrar’s Office. The Associate Vice President for Student Achievement will send notification to the student informing them they will receive a failing grade (F) for the class. The notification will let them know that, if the absences are excused absences as outlined in the policy, they may request the failing grade be changed to a withdrawal (W). The Academic Standards Committee will review these requests to verify if the absences were excused and warrant a withdrawal from the class.
Students who have documented disabilities and are eligible for accommodations must provide documentation of the disability to Kathy Keller, Disabilities Coordinator in the Academic Resource Center before accommodations can be provided.
Academic Dishonesty Policy
Academic Dishonesty is defined as follows:
A) The copying of another student’s, work or the use of unauthorized notes and materials during examinations,
B) Plagiarism, or the presentation of either the written or visual work of others (including that of other students), as one’s own
C) Plagiarism is a serious offense in the academy, as well as illegal in the context of our nation’s copyright law. As such, it is important to know what plagiarism is in both one’s studio- and liberal arts work. According to the Modern Language Association, plagiarism is "the wrongful act of taking the product of another person's mind, and presenting it as one's own." In other words, plagiarism is the use of not just words but ideas borrowed from someone else without crediting the source. Students are required to learn the arts-standard, Chicago Manual of Style guidelines for citing sources referenced in their own work, and must follow them carefully in their research and writing projects.
Students are also expected to be honest in their studio practices, particularly since the practice of appropriation is such an important strategy in art history. Though they might appear to be similar, plagiarism and appropriation are actually two very different practices. While it is true that appropriation involves taking possession of something often without permission—which for the visual artist usually means taking an image—it is also true that an appropriated image isn't passed off as the original production of the appropriating artist. Indeed, the appropriation artist wants the viewer to recognize that an image has been utilized and referenced. (An artist who appropriates an image inevitably wishes to comment upon the original source in some way, usually as a critique, parody, or homage—all of which happen to fall under the realm of “fair use” in copyright law.) As such, appropriation is actually more like citing a source than plagiarizing it.
All academic dishonesty is taken as an offense against the Institute and may result in penalties assessed by the faculty member teaching the course in which the offense has occurred and the Judicial Board, up to and including expulsion.
KCAI Academic Dishonesty Procedures
In the event academic dishonesty is suspected by the instructor of the course, the faculty member is responsible for sending a Notice of Alleged Dishonesty to the student, departmental chair, Associate Vice President for Student Achievement, and Vice President for Academic Affairs. This letter must include the following information:
A. Student’s Name
B. Instructor’s name and name of the course
C. Short description of the original assignment
D. Alleged dishonesty
E. Date of alleged dishonesty
F. Time, date, and location of the meeting set to discuss the allegations with the student, faculty member, and department chair.
The faculty member, Associate Vice President for Student Achievement and department chair are to meet with the student in an Academic Hearing to discuss the allegations. This committee will then decide if the student has violated the academic dishonesty policy or if the allegations have been dropped.
All hearings are to be taped and kept on file within the college for five years.
The Associate Vice President for Student Achievement may be notified at any time during this process if the faculty member, department chair, and/or Vice President for Academic Affairs believe the student is in violation of additional campus policies and/or the Student Code of Conduct, in which the student judicial procedures would apply and begin.
The faculty member and department chair will determine the appropriate sanctions, which may include:
A. A zero or an “F” on the assignment
B. Failing the course; grade forgiveness prohibited
In severe cases of academic dishonesty or in the case of repeat violations, sanctions may include withholding of the degree, revocation of the degree, or expulsion.
The student may appeal the resolution of an Academic Hearing in writing to the Vice President for Academic Affairs within ten business days of the issued resolution letter. If the student receives the resolution letter via US mail, the request for appeal must be submitted within ten business of the postmarked letter.
The Vice President for Academic Affairs of the college will consider the request for appeal and conduct the appeal hearing, if applicable.
A judicial resolution will only be reversed or remanded if:
A. The college did not follow published academic dishonesty procedures.
B. New information is available that was unavailable at the time of the hearing, and the new information is relevant to the hearing resolution.
C. The sanction is inappropriate for the violation.
The written request for appeal must include:
A. Name of the student.
B. Instructor’s name and name of the course.
C. Short description of the original assignment.
D. Alleged dishonesty.
E. Resolution of the hearing process and imposed sanctions.
F. Reason for appeal (see reasons for reversal listed above).
G. Supporting material, if applicable.
The Vice President for Academic Affairs will render a written decision within ten business days of consideration of appeal. Notice will be hand delivered, delivered to rooms in the Living Center, or mailed via US postal service to the student’s local address.
The Vice President for Academic Affairs may:
A. Uphold the original resolution and sanctions.
B. Uphold the original resolution and alter the sanctions.
C. Dismiss original resolution and sanctions.
The decision of the Vice President for Academic Affairs is final and binding.
(Faculty members shall articulate their basic grading policy concerning academic dishonesty in their syllabi.) Additional penalties, up to and including expulsion, will be determined by the Judicial Board working in tandem with the faculty member who reported the offense.
It is inappropriate for students to provide or receive unauthorized assistance during an examination or for other assignments. For example, the use of cheat sheets, copying from another individual’s paper/examination is in violation of the KCAI student code of conduct.
KCAI Disability Services
KCAI will provide services and accommodations as mandated by the Americans with Disabilities Act and section 504 of the Rehabilitation Act.
Students requesting accommodations based on disability status should provide KCAI appropriate documentation. The documentation must be in written form from a licensed health care professional or educational professional who is qualified to diagnose the disability and recommend specific accommodations. Documentation must be within 3 years of being current. KCAI has the right to require a student to supplement the documentation if it is determined that the information in the initial documentation is incomplete, inadequate, or the qualifications of the health care provider or professional are in question. The documentation should state the specific disability and include recommended accommodations with a rationale if needed.
All documentation will be kept confidential.
Students with documented disabilities are encouraged to provide documentation whether or not they opt to have accommodations in place so that if a specific need arises, an accommodation can be put in place in a timely manner. Accommodations are not made on a Post Facto basis. Accommodations are not put in place unless requested by the student.
All requests are confidential.
Send Documentation to:
Katherine Keller, Disabilities Coordinator
E-mail: firstname.lastname@example.org Phone: 816-802-3485