Comparative Literature (Undergraduate)
4 credits – 14 Weeks
Both dancing and everyday movement offer continual opportunities for embodied experience. Those who regularly dance or engage in movement practices such as yoga, jogging, cycling, and walking typically develop an appetite, even a need, for moving and the breadth of experience it brings. Whether you already feel this appetite or want to explore embodied experience for the first time, this Arts Workshop offers the opportunity for deep investigation of movement, focusing on active and contemplative exploration of bodies in space and time. We will be guided by several research strands linked to the existence and power of embodiment, noting experimental choreographer Susan Rethorst’s term, “the body’s mind”: ways of knowing (individually, culturally) through our bodies. Through many movement options, including dancing and somatic practices, walking and other everyday actions, and personal/cultural/political movement histories, we will encounter or create relationships between what we do and who we are. In the studio and elsewhere, we will consider how our lives as movers, and our sense of ourselves as embodied, bring us into contact with others—walkers, dancers, friends and family—and with our spaces, places, and sociocultural worlds. In this course (open to anyone with/without previous training), our research-in-action will be supported by interdisciplinary scholarship engaged with dance, embodiment, space, everyday culture, phenomenology, environmental studies, and life writing. Readings may include works by Thomas DeFrantz, Anna Halprin, Victoria Hunter, Einav Katan, Marcel Mauss, Maurice Merleau-Ponty, Andrea Olsen, Steve Paxton, Georges Perec, Yvonne Rainer, Susan Rethorst, Kathleen Stewart, and Yi-Fu Tuan.
Arts Workshops (Undergraduate)
4 credits – 14 Weeks
ARTS-UG 1221-000 (9703)09/02/2025 – 12/11/2025 Wed11:00 AM – 1:00 PM (Morning)at Washington SquareInstructed by Satin, Leslie
Virtually unknown outside of academic discourse until recently, the term cultural appropriation has become a commonplace in social and popular media, as activists and public intellectuals have highlighted what they see as problematic uses (or abuses) of cultural symbols, artifacts, or expressive modes connected to marginalized groups. But what exactly is cultural appropriation, and under what circumstances can it be said to constitute a form of exploitation or violence? This course approaches these questions both philosophically and empirically, asking, on the one hand: What is culture, and how can it be “owned” or “stolen”? and on the other: How have practices of adopting or using culture been implicated in processes of social subjugation or marginalization? Course readings are drawn from a range of disciplines across the humanities and social sciences, including cultural anthropology, art theory, music studies, and philosophy. By engaging with a rich corpus of ideas through in-class discussions, oral presentations, and written reflections, students will develop critical perspectives on cultural appropriation as well as the broader concepts of culture, race, and ethnicity.
Core: Cultural Exploration & Analysis (Undergraduate)
4 credits – 15 Weeks
CCEA-UH 1069-000 (20400)08/25/2025 – 12/10/2025 Tue,Thu11:00 AM – 12:00 AM (Morning)at Abu DhabiInstructed by Eisenberg, Andrew Jarad
The foundations of Max, a powerful visual programming language for music and multimedia, will be covered in this course. We will examine how computers can be utilized to create situations for music creation, performance, and collaborative improvisation as well as applied to building interactive, generative music. In addition to learning Max’s fundamental building blocks, we will also use fundamental music theory as a tool to better understand music making. We will create programs that examine rhythm, melodies, chords, scales, and recognize other qualities of music like timbre, texture, and dynamics while taking into consideration the principles of harmony, melody, and rhythm defined in basic music theory. The final will require you to develop a collaborative piece of interactive computer music, a collaborative performance environment, or another final project that has been discussed and agreed upon together. This class does not require any prerequisite programming skills or prior music theory knowledge.
Open Arts Curriculum (Undergraduate)
4 credits – 14 Weeks
OART-UT 1097-000 (18705)09/02/2025 – 12/11/2025 Wed5:00 PM – 8:00 PM (Late afternoon)at Washington SquareInstructed by Aguilar, Gustavo
City, territory and architecture have been, from the beginning of photography, privileged objects for its practice. Photography has become a tool to strengthen the understanding of architecture, to highlight aesthetic and design ideas and to critically interpret the space. This class focuses on architectural photography and the photography of urban space, both in relation to their historical roots and contemporary practice. Florence offers a perfect environment to develop one’s artistic talent while learning the art of photography and discovering the secrets of one of the most fascinating cities in the world. Assignments are designed to help explore options for technical control as well as visual experimentation and individual style. Keeping in mind the inseparability of photographic technique and expression, students are expected to articulate their particular choices in relation to the overall conceptual approach of the projects. Critiques of assignments are important to the progress of each individual in the class, to help verbalize visual concepts, and to learn to see actively. The final exam consists of the presentation of a portfolio of photographs and an artist’s statement. Students are expected to work on their projects to develop an aesthetic and coherent photographic language and a personal approach to the photographic medium in a different environment. An emphasis is also placed on refining craft in relation to ideas, and to research on an individual basis, since it is crucial in developing an artistic practice. The course includes lectures, shooting sessions and field trips, discussions and critiques of the photographs. Each student must have a camera with manually adjustable aperture and shutter speed.
Int`l Pgms, Photography (Undergraduate)
4 credits – 14 Weeks
IPHTI-UT 1210-000 (10835)08/28/2025 – 12/02/2025 Tue10:00 AM – 1:00 PM (Morning)at NYU Florence (Global)Instructed by Capodacqua, Alessandra
Mechanical Engineering (Undergraduate)
2 credits – 15 Weeks
“What capabilities does computational media have for depicting and conveying the experience of our minds? In this course we will start out using 3D graphics to depict the conventional physical reality that appears before us. Then we will turn inward to reflect the multidimensional reality of our minds, using artificial neural networks. Finally we return to embodied interfaces connected with cloud networking and databases to share with other people. The class will operate at a conceptual level, inviting students’ empirical psychological and philosophical investigations of the nature of their experience and how to convey it with art and story. It will ask students to look critically at existing computational media’s tendencies to bore, divide or inflame its users. But this is also very much a coding class where students will prototype their own ideas for new media first with 3D graphics using the threejs library, and then with machine learning models like Stable Diffusion using Huggingface APIs or Colab notebooks and finally with networking and databases using Firebase or P5 Live Media. Students can substitute other coding tools but game engines will not work for this class. The coding is in javascript, with a possible touch of python, and is a natural sequel to Introduction to Computational Media.” Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Interactive Telecommunications (Graduate)
4 credits – 14 Weeks
ITPG-GT 3033-000 (11392)09/03/2025 – 12/10/2025 Wed12:00 AM – 2:00 PM (Early afternoon)at Brooklyn CampusInstructed by O’Sullivan, Daniel
“As game and interaction designers we create systems and choices that can either prey upon our psychological foibles or help us avoid decision pitfalls. It is our responsibility to understand how we decide, to consider the ethics of the systems we create and to practice designing systems in a purposeful manner. Game Design & The Psychology of Choice will provide interaction and game designers with an understanding of the factors that influence behavior and decision-making by looking at the intertwining of cognitive psychology and economics through the development of behavioral economics. These disciplines study behavior on the individual and group level, often revealing some of the why behind the rules of thumb and folk wisdom that game designers come to intuitively. But understanding the why—why we fall into decision traps; why certain tradeoffs tax our brain more than others; why we are overconfident about our abilities; why certain decisions make us uncomfortable—allows us to more purposefully apply our design craft, both in and out of games. Finally, as a class, we will take what we learn about how we think and create series of game experiences based around key cognitive science concepts. Assignments may include: •Mod a cognitive science experiment into a game or experience •Analyze and present a game through the lens of cognitive science and behavioral economics •Create game or experience based around a particular insight from cognitive science or behavioral economics”
Interactive Telecommunications (Graduate)
4 credits – 14 Weeks
ITPG-GT 3028-000 (11391)09/03/2025 – 12/10/2025 Wed6:00 PM – 8:00 PM (Evening)at Brooklyn CampusInstructed by Parker, Matthew
“How can motion capture (MoCap) be used to archive, preserve, and share intangible heritage forms, such as performing arts, rituals, and other social practices and traditions? This course approaches motion capture through the lens of ethnography — drawing on techniques of observation, participation, and qualitative design research. This class will offer an overview of different motion capture technologies, such as 2D-3D pose estimation and depth mapping, with a practical focus on learning the OptiTrack system at ITP. We will start by covering the basics of OptiTrack and build up to other workflows and techniques used across animation, game design, and virtual production (e.g. OptiTrack to Unreal Engine or Unity).” Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Interactive Telecommunications (Graduate)
2 credits – 6 Weeks
ITPG-GT 3021-000 (11385)09/03/2025 – 10/15/2025 Wed6:00 PM – 8:00 PM (Evening)at Brooklyn CampusInstructed by Mehta, Ami
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio video production, and A/V performance using a combination of technical and hands-on approaches. This course requires CL: Hypercinema or equivalent experience. Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Interactive Telecommunications (Graduate)
4 credits – 13 Weeks
ITPG-GT 3024-000 (11388)09/08/2025 – 12/08/2025 Mon12:00 AM – 2:00 PM (Early afternoon)at Brooklyn CampusInstructed by Santana, Ali
To be a VR creator, it’s not enough to learn the hard skills—it’s also our responsibility to prime ourselves for the human impact of our work. As a means to design VR that is both enjoyable and accountable, this class proposes we borrow design principles from Hedonomics, a branch of ergonomic science that facilitates pleasurable human-technology interaction. Through the Hedonomic Pyramid, we’re able to section our thinking off into regions (Safety, Function, Usability, Pleasure and Individuation) and map out industry-tested VR design guidance for each. The result is a hierarchical checklist of proven principles, specifications and practices—that promote a culture of inclusive and holistic design—built to serve as a quickstart guide to designing accountable VR interfaces and systems. This class, divided into units that represent each level of the Hedonomic pyramid, will unpack both technical and conceptual strategies for creating VR, from visual interface fidelity to avoiding locomotion cybersickness to designing safer social VR spaces.
Interactive Telecommunications (Graduate)
4 credits – 14 Weeks
ITPG-GT 3025-000 (11389)09/04/2025 – 12/11/2025 Thu9:00 AM – 12:00 AM (Morning)at Brooklyn CampusInstructed by Cortese, Michelle
On Becoming is a two-part professional development course. Finding Your Artist Voice (part one) filters your fears and apprehensions so you can declare your creative process and practice courageously. The seven-week system will help you proclaim your artistic identity, theoretical underpinnings, and trajectory with clarity, precision, and commanding written language. Students will build personalized masterplans and workflows to facilitate measurable professional growth while learning to catalog and archive their work. Students will develop a working artist biography, artist statement, and fully documented work samples. For the final project, students will be supported in selecting and submitting a post-graduate fellowship, residency, grant, or open call!
Interactive Telecommunications (Graduate)
2 credits – 6 Weeks
ITPG-GT 3023-000 (11387)09/05/2025 – 10/17/2025 Fri9:00 AM – 12:00 AM (Morning)at Brooklyn CampusInstructed by Williams, Tanika
“In this course, we will explore how to create narratives that leverage our lesser used senses like touch, taste and smell as well as lesser-known ones like space, time, balance and scale. We will dig into the history of experiential storytelling, starting from immersive theater and Smell-O-vision to cutting-edge haptics and mind-bending illusions of proprioception. To help center this back in practical applications, we will also explore how this evolving art is commonly used in exhibition design, experiential marketing and brick and mortar retail. The class will be a healthy mixture of game theory as well as experienced based learning (meaning there will be a couple field trips and multisensory VR projects to explore). A basic knowledge of game engines is ideal but not mandatory because we will be using predesigned templates in Unreal engine to be experienced and manipulated in real-time through virtual reality hardware.”
Interactive Telecommunications (Graduate)
4 credits – 14 Weeks
ITPG-GT 3026-000 (11390)09/04/2025 – 12/11/2025 Thu3:00 PM – 5:00 PM (Late afternoon)at Brooklyn CampusInstructed by Porter, Winslow
“What is the medium of memory? In this 14-week studio class, we will dig into this question through creative storytelling. Starting from a lens-based practice, this class will introduce traditional and bleeding-edge documentary methods to inform our own varied approaches to activating archival material. Through weekly “readings” (articles, podcasts, films), written reflections, and creative assignments, we’ll explore: • how technology has impacted our relationship to memory; • how visual interventions can can surface alternative narratives; • how to make under- and unrecorded histories visible, and call into question the power dynamics embedded in “official” records; and • how we might recast objects and sites of memory-keeping, like heirlooms, journals, and memorials, as a mode of engaged preservation. Mid-way through the course, students will identify either personal or collective histories to open up to their own individual creative reexamination, memorialization, or transformation––each producing a final project with the technology and approaches of their choosing that serves to answer the question we started with––what is the medium of memory?”
Interactive Telecommunications (Graduate)
2 credits – 6 Weeks
ITPG-GT 3019-000 (11384)09/03/2025 – 10/15/2025 Wed9:00 AM – 12:00 AM (Morning)at Brooklyn CampusInstructed by Salvo, Simone
Your web browser is a digital canvas for 21st-century artists. While being one of the most common mediums today, web space has infinite possibilities for new aesthetics. This course covers Three.js fundamentals, providing students with the skills and insights to create arts in web 3D. This course requires ICM or equivalent coding experience. Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Interactive Telecommunications (Graduate)
2 credits – 7 Weeks
ITPG-GT 3016-000 (11382)10/23/2025 – 12/11/2025 Thu6:00 PM – 8:00 PM (Evening)at Brooklyn CampusInstructed by Park, Joo Hyun
“This 2-pt course aims to provide students with the critical thinking and practical skills for creating effective and compelling interfaces. We will dissect what a compelling user experience is, apply proven research techniques for approaching and defining UX problems and apply design frameworks including mapping and testing techniques. The class format will include lectures, discussion, in-class design exercises and a final project. Week 1: what is UX Week 2: inclusive research methods Week 3: frameworks for defining a problem Week 4: understanding behavior and motivation Week 5: mapping flow and visual strategies, final project intro Week 6: testing methods and future UX Week 7: final projects”
Interactive Telecommunications (Graduate)
2 credits – 6 Weeks
ITPG-GT 3017-000 (11383)09/05/2025 – 10/17/2025 Fri12:00 AM – 2:00 PM (Early afternoon)at Brooklyn CampusInstructed by Su, Peiqi
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Pro Tools software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Pro Tools, getting inside Pro Tools, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
We live in an age of digital production where so much of today’s music is produced with comparatively few tools, and at the heart of the modern production set up, whether in the bedroom of the studio, is software that uses MIDI. One of the most versatile of today’s platforms which can be used in production, live performance, and even as a visual tool is Ableton Live. Ableton is unique amongst the contemporary software programs making music in that it is the only one that was created by working musicians who were looking for a tool that allowed for both the seamless creation of ideas and could also serve as a performance instrument. In the past 15 years, Ableton has played an important role in creating countless tracks and records in numerous genres and the go-to software for live performance, whether for vocalists and bands or for massive spectacles like Cirque du Soleil. In this course, we will cover Ableton’s unique abilities to manipulate audio which make it the preferred platform for remixing and mash-ups. We will cover the fundamentals of the software, explore techniques to program beats, chordal and melodic ideas, as well as cover creative workflow – how to use Ableton to quickly generate ideas for producers and songwriters. Finally, we will discuss its use as a live performance tool for use with live instrumentalists and vocalists, as a DJ tool and even as a VJing tool.
Recorded Music (Undergraduate)
2 credits – 14 Weeks
REMU-UT 1022-000 (17977)09/02/2025 – 12/11/2025 Fri1:00 PM – 3:00 PM (Early afternoon)at Brooklyn CampusInstructed by Carrero, Joanne
REMU-UT 1022-000 (17978)09/02/2025 – 12/11/2025 Fri3:00 PM – 5:00 PM (Late afternoon)at Brooklyn CampusInstructed by Carrero, Joanne
REMU-UT 1022-000 (17979)09/02/2025 – 12/11/2025 Mon9:00 AM – 10:00 AM (Morning)at Brooklyn CampusInstructed by Freeman, Dan
REMU-UT 1022-000 (17980)09/02/2025 – 12/11/2025 Mon11:00 AM – 1:00 PM (Morning)at Brooklyn CampusInstructed by Freeman, Dan
REMU-UT 1022-000 (17981)09/02/2025 – 12/11/2025 Mon1:00 PM – 3:00 PM (Early afternoon)at Brooklyn CampusInstructed by Freeman, Dan
REMU-UT 1022-000 (17982)09/02/2025 – 12/11/2025 Mon3:00 PM – 5:00 PM (Late afternoon)at Brooklyn CampusInstructed by Freeman, Dan
This course provides space and guidance for students to work on self-driven, individual and group projects in art and media. Course content consists of texts, site visits, presentations, workshops, and critiques built around each student’s individual practice. Faculty and guest critics will hold regular studio visits, to help guide students through their process. Students’ material and technical investigations and theoretical inquiries will be addressed in group workshops and demonstrations. This course will culminate in a public presentation of students’ work.
Studio Art (Undergraduate)
3 credits – 14 Weeks
ART-UE 9921-000 (10702)08/28/2025 – 12/04/2025 Wed2:00 PM – 5:00 PM (Early afternoon)at NYU Berlin (Global)Instructed by Komarov, Aleksander