The ever-inventive world of arts publications encompasses a dazzling range of subjects, mediums, materials, and methods: from ancient illuminated manuscripts, political manifestos, and one-of-a-kind artists books to high-end glossies, handmade zines, posters and print multiples to the infinite possibilities of the digital realm. This workshop will introduce and explore many of these forms through guest lecturers, field trips to specialized collections and museums, directed readings, and hands-on work, which will culminate in final group and individual projects. Readings may include Posters: A Global History; Action Time Vision; and Design: the Invention of Desire.
Images depict, words describe. A picture of the cat of the mat depicts the cat as being on the mat. The sentence ’the cat is on the mat’ describes the cat as being on the mat. Both represent the world as being in a certain state, but they do so in different ways. What is the difference in these ways of representing? What does it take for an image to depict? This course covers most major theories of depiction, including resemblance, experience, recognition, pretense, and structural theories. We then expand the scope of inquiry to include topics such as systems of depiction, analog vs. digital representation, maps, film, comics, maps, mental imagery, and relations to the cognitive science of vision.
“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”
Lo-fi/High-impact is a hands-on workshop for learning rapid response prototyping and distribution techniques. We’ll look at examples of zine makers and artist and activist collectives, like the Guerrilla Girls, Dysturb, and the Illuminator, who create campaigns and interventions with purposeful urgency, and then flex our own creative muscles for getting ideas out of our heads and into our hands. Leveraging materials within reach, we’ll explore three paper-based methods of production: foldable books, enclosures, and wheatpasting. Using the cameo table-top cutting machines, the color and B&W printers on the floor, and materials sourced from our recycling bins, students will have the opportunity to try various techniques and have guided studio time to develop their own creative application/s for what they’ve learned. We will move quickly and get a little messy, and the outcomes will be reflective of the process!
According to anthropologists Filip de Boeck and René Devisch, divination “constitutes a space in which cognitive structures are transformed and new relations are generated in and between the human body, the social body and the cosmos.” In this class, students will learn the history of divination, engage in the practice of divination, and speculate on what forms divination might take in a world where the human body, the social body, and even the cosmos(!) are digitally mediated. Starting with an understanding of ritual and folk culture, we will track the history of fortune-telling from the casting of lots to computer-generated randomness to the contemporary revival of Tarot; from reading entrails to astrology to data science; from glossolalia to surrealist writing practices to the “ghost in the machine” of artificial intelligence. Weekly readings and assignments culminate in a final project.
This course explores the fundamentals of storytelling through animation and takes students from traditional animation techniques to contemporary forms. In the first part of the course, students will focus on traditional animation, from script to storyboard through stop motion and character-based animation. The course then examines opportunities afforded by new technologies, such as interactivity, projection mapping and game engines. Drawing skills are not necessary for this course, however students will keep a personal sketchbook.
In an era of remote everything, how can we create artwork that brings us back together IRL? This course explores our connection to physical objects within the context of community. How can sculpture, installation, immersive, and public art nurture our neighborhoods via collaboration, play, ritual, self-expression, and awe? Students will work collaboratively to radically imagine bold, sculptural, immersive works using innovative and lo-if techniques integrated with technology. Hands-on workshops include experiments creating found sculptures, AR prototypes, projection mapping, real-time interactive multimedia content, and more. We’ll reference ancient monuments, sacred objects, NYC relics, street art and contemporary works to envision new artifacts that create awareness by reflecting the needs of our communities. Prerequisite: Comm Lab: Hypercinema About Ali Santana: http://www.alisantana.com/bio
In this special format studio class, students will investigate techniques and frameworks to challenge the socioeconomics of planned obsolescence. We will research, design, and develop projects that rethink our strained relationship with smartphones and re-imagine the future of “old” devices. This is a production-heavy, four-credit course, where students will contribute to original research, and develop projects that combine HCI, design, and critical theory. Prerequisites include an open mind, the drive to make, and graduate-level Physical Computing.
This1-pt course examines the evolving paradigm of “Blockchain Aesthetics” using an interdisciplinary Art History and Science and Technology Studies (STS) perspective. Students will learn and discuss the dominant methods, concepts, and strategies of applied blockchain technology in contemporary digital art, and together attempt to analyze and theorize the potential affordances and harms of this new artistic medium as it intervenes in established visual art institutions and communities (e.g., from museums and galleries to auction houses, social media and the decentralized web). The class will also look backwards in history to situate “Blockchain Aesthetics,” and the wide artistic realm of “Crypto Art,” in a broad cultural and technological history beyond NFTs, highlighting how ideas around cryptography, contracts, reproducibility, decentralization, scarcity and financialization developed in modern and contemporary art. Approaching the blockchain as a novel artistic tool and a technology of power, this course considers recent aesthetic evaluations of Crypto Art against its sociopolitical, infrastructural, and ecological impact, centering its contested potential for—and negation of—equity.
As the scale of human impact on global climate and ecosystems deepens, we see the need to alter our trajectory, to be more inclusive of other species in our imagining of the future. This class sets out to investigate the relationships we humans have with nature and non-human animals, to dive deep into the meaning and utility of being in relationship, and ultimately to translate these ideas into tangible, multimedia experiences that expose a larger audience to a multi-species worldview. This class sits at the intersection of art, science, and technology. It combines studio practice and research with example case studies and critical texts. Together, we will meet artists, designers and scientists who build multispecies futures through urban ecology, biology, and public art. This class is for students who are eager to develop XD (experience design) and storytelling skills. The course follows a research-driven process that results in a design proposal and proof-of-concept that can be pitched to a public arts org. Keywords: bioArt, interactive installations, experience design, research, eco-activism
WEB ART AS SITE addresses the history and practice of art made for and inseparable from the web, while teaching basic coding for the web. We explore key examples of web art from the early days of the internet through today, asking questions about this idiosyncratic artistic medium like: How do different forms of interaction characterize the viewer and/or the artist? What happens to our reading practice when text is animated or animates? How is an internet-native work encountered, and how does the path we take to reach it affect our reading? Who is able to see a work of web art, and what does access/privilege look like in this landscape? How are differently-abled people considered in a web artwork? What feels difficult or aggressive in web art, and when is that useful? How do artists obscure or reveal the duration of a work, and how does that affect our reading? What are the many different forms of instruction or guidance online? As we ask these questions, we exploit the internet pedagogically, collaborating online, playing with anonymity, and breaking the internet spaces we know. Students learn web coding through specialized online tutorials; most of class time is reserved for discussion (of web art and supplementary readings) and critique. Throughout the semester, students will produce two major works of web art. Students need only a standard laptop, and will not be expected to purchase any software or text (cost of materials: $0).
Listening is not something we do through hearing alone. Engaging with multiple perspectives, from Deaf studies and critiques of ableist hearing ideologies, to the possibilities and pitfalls presented through machine listening and imaginative sonic speculation, we will playfully deconstruct and question what it means to listen at all. Each week, readings will be assigned and students are asked to respond to prompts in the form of light-weight exercises that will orient most of our in-class discussion. Time will be spent discussing readings, presenting, and providing critique for each other’s projects in order to help draw connections between theory and practice. Through in-class presentations, we will encounter works by Christine Sun Kim, George Lewis, Pauline Oliveros and read from Jennifer Lynn Stoever, Tina Campt, and François Bonnet. The class has no technical prerequisites, and students are welcome to respond with works using tools and techniques from other classes (audio/video presentation, programming and physical computing, installation and fabrication, etc.). Through this work, we will unpack how the way in which we attend to the physical world and its inhabitants through our listening has real consequences. In much the same way our interpretation of the world is informed and influenced by factors outside of ourselves, our capacity to listen is conditioned through societal, political, economic, historical, and racial dimensions. We will disentangle listening from hearing and consider listening as a practice that begins not with how we hear sounds but how it allows us to (or prevents us from) interfacing and relating to our exteriors (and interiors). By the end of the class we will attempt to converge and coalesce our own ideas and perspective of what it means to listen.
In November 2014, Volvo Race’s boat Vestas did not find her way to Abu Dhabi port and got stranded on a reef in the Indian Ocean instead. What went wrong? Is it still possible to get lost today, in the age of ubiquitous and democratized GPS? What does it mean to find one’s way? How do different environments create unique problems, as well as provide solutions? How do we find those solutions ourselves, and how can we intervene in the design of our working and living environments, in the design of our navigational practices, in order to avoid getting lost? What tools do we have? How do they work? What can we learn from navigation before GPS? Informed by new technologies, the demand for sustainability, and the inputs from cognitive studies, “wayfinding” has grown to become a field of research in its own right, related to both architecture and design. It studies the ways in which people orient themselves via the organization of sensory cues from the external environment. The course explores visual design components and theoretical ramifications and will include workshops on campus signage systems, with a focus on accessible design.
This course covers the very basic techniques of photography and digital imaging. Beyond Picture Perfect explores the many choices available to today’s image makers. New technology combined with traditional photographic techniques will be addressed, enabling the students to realize their distinctive image-making vocabulary. Daily discussions include understanding hardware mechanics, choosing a personal color palette, and recognizing “your” unique composition key. We will debate the many analog and digital tools available to photographers vital to their artistic expression. These concepts will be supported by daily assignments and class critiques culminating in a final project portfolio. Students with interest in analog or digital formats will be encouraged to develop an understanding of their medium and form an original visual strategy. Readings may include selections from: Robert Adams, Why People Photograph; London and Upton, Photography.
This architecture workshop introduces the basic principles of design. It begins with an analysis of a house by an important architect that examines the design concept or parti of the building, historical and environmental issues, as well as function, circulation, spatial organization, site, zoning, light, proportions, structure, and materials. In developing this project, students are also introduced to a vocabulary of design terms and the process of creating an architectural concept. In the projects that follow, students create their own designs for various types of structures. The assignments might include a New York loft space, a house in the country, or a small public or commercial building. These exercises provide the experience of creating designs by applying the concepts learned in the analysis. The basic techniques of drafting, rendering, and using Sketchup or similar software are also discussed. Films, lectures and texts on architectural theory provide additional insight. Design experience is useful, but not required.
This course focuses on the fundamentals of Web design and production. It will provide students with a basic understanding of HTML and CSS page construction, designing and optimizing graphics for the Web and the basic technical skills necessary for getting the student and his/her site online. This course teaches the students how to create a Website along with utilizing Social Media tools and channels as an effective part of a promotional strategy. YouTube, Vimeo, FaceBook, Twitter, KickStarter and Mobile all offer opportunities. In this age of multiple media sources competing for our attention it is important to maintain a consistent and integrated Communications and Brand Strategy across all media distribution channels. The class examines various creative and technical approaches to image manipulation, design, and montage as well as discussing the production techniques necessary to implement creative concepts. This course deals with many of the unique technical and creative challenges – graphic optimization, video compression, and file format conversion – for putting one’s reel, trailer or film online. The students are taught typographical design principles, including the aesthetics of text style and font faces. The class will explore the creative possibilities of designing layouts and integrating animation and video into their sites. Students are introduced to a variety of Internet, DHTML and multimedia tools and experiment with their creative applications. We focus on the Internet as a promotion and distribution medium for the independent artist and filmmaker. Branding, audience awareness and usability are also emphasized.
This is a multidisciplinary course in which students with previous experience with analog and digital electronics create a novel hardware–based electronic musical instrument, controller, effects unit, or other device related to their interests in music and audio. Student projects may be analog, digital, or a hybrid, and should be unique in some way from devices currently in the commercial marketplace. Students present their designs and functioning physical prototypes with the class as they evolve throughout the semester for feedback.
Design Your NYU Shanghai is a first-year course to help you make the most out of your college experience. You’ll be introduced to design thinking as a creative approach to explore majors and interests, craft global opportunities, and engage in intercultural connections. This action-oriented course uses rapid prototyping and reflection activities to ignite personal growth as you navigate this transformative time of your life.
This course explores image making, writing and their juxtaposition, as a method of thinking through and evoking ideas. At times, images lead, and text follows, providing descriptions of images, and at other times, text leads and images illustrate that text. In the realm of the contemporary American meme, just about every time images and words are present they have an effect upon each other in the mind of the viewer, which changes the meaning of both, producing something which is more than what is present in both image and text. That third and phantasmic image exists in the mind. The examples of Chinese Literati painting, and Surrealism will provide a historical point of departure, from which we to engage 21st century examples of image and word juxtapositions that create new ideas. This course will provide students with a general history of the relationship between the image and word, and a critical understanding of the composition and decomposition of image-word printed and digital matter. Along with skills in Lino-cut printmaking, Risograph printmaking, and publication design, students will also write poetry, short essays, and art criticism. Students will participate in the content production, design, and publishing of a book and magazine, zine and poster.
What constitutes innovation in medical technology? Is it always necessary? How is its value determined? How would we know if innovation has peaked, or reached a point of diminishing returns? What do global perspectives reveal about medical devices and healthcare in general? In what ways are cultural contexts important to consider? How can the med-tech innovation process address issues of diversity, inclusion, and accessibility? This course takes up the above questions through several case studies and examples, including bioprinting and COVID-19 vaccines — two topics with current relevance — as well as two of the most important historical med-tech innovations that have gone wrong in the past: The Malaria Project and The Immortal Life of Henrietta Lacks. How can current design and innovation avoid repeating past mistakes? Working in cross-disciplinary teams, students will engage in design projects that will apply what we have learned from this course and address some of the paradoxes present in our ongoing quest to design healthier bodies and societies.
Design seems to be omnipresent, but what is it? This course (whose title is Latin for usage, beauty, and stability) explores how design influences our life and investigates the fundamentals of “good design.” It takes a look at the status quo of the use of design in media, objects, and architecture, and observe its influence on art and technology from past to present. Design tools and processes will be highlighted. Based on the fusion of readings, study, discussion, and experiences, over the course of the semester students will develop an understanding of how mutually reinforcing and beneficiary a mix of Arts, Design, and Technology can be. Lecture and discussion will help develop the design of a bricolage: Every student will realize a product prototype to be displayed in an exhibition and a personal philosophy of about Arts, Design, and Technology.
In the 3.8 billion years since life began on Earth, nature has evolved. Inspired by this process, humans have replicated key design features to develop novel materials, devices, and structures in fields such as the arts, design, engineering, and the social sciences by replicating key design principles and features. This course asks how biology has inspired human design and thinking across different cultures and fields. Students will examine various examples in engineering, art, architecture, music, and social science to discuss how the human capacity for analogical reasoning has enabled the transfer of properties, mechanisms, and ideas from biology to design principles such as shape, surface, structure, making, information-processing, and social behavior. Using bio-inspired products such as gecko tape, Velcro, self-cleaning surfaces, and neuromorphic chips for inspiration, students will develop their own designs to address some of the 21st century’s most pressing issues, such as energy, water, environment, food, and health.
Is creativity a gift or a skill? Can creativity be learned? Because creativity is deeply personal, this course will address these questions through individual and collective experiences. The heart of this course is the Personal Creativity Project – an opportunity for students to practice creativity by designing and executing a project of their choice. The project may be on any topic, from art and music to computer programs and business model development. The project will be complemented by reading assignments (completed prior to class), class discussions, and one-on-one meetings with the instructor. Students will leave the course with a completed project and a personal philosophy of creativity, based on the fusion of readings, study, discussion, and experience. The course provides a great deal of freedom for learning and does not provide step-by-step instructions. As a result, the successful completion of this course will require a significant amount of self-motivation.
What does it mean to become a “temporary expert?” How does one develop one’s own creative research-based practice? This course will address these questions by engaging with Abu Dhabi’s environmental and social dimensions as a subject for research, context and imaginative art and design opportunities. Students will adopt a wide variety of tools and strategies in order to lay the foundations for a research-based art practice that considers materials, media, context, and audience, as well as one’s personal strengths and desires. Over the course of the semester, students will develop art and design projects that interface with a multiplicity of other disciplines, and engage in idea exchange with experts in the field. Through hands-on practice, case studies, and readings on systems thinking, communication, and the idea of “the public,” we will explore method, documentation and presentation of research, as well as the merits of both success and failure.
How does bringing an artwork outside change its interaction with people and the environment? What new possibilities exist if we create an electronic artwork that can travel with us and be installed anywhere? Desert Media Art is a production-based course where students research, propose, produce, install, and document an electronic artwork designed for Abu Dhabi’s desert. The desert is an iconic landscape with a rich history of use by artists as an alternative to the white box of the gallery. We will study historical and contemporary outdoor art practices as well as local ecology and culture. Students will work in groups to create an Arduino-based project that is battery powered and ready to be taken into the field. The project will be installed in the desert, documented, and then presented in an indoor exhibition. Technologies used will include Arduino, 3D printing for enclosure design, rapid prototyping using laser cutting, battery power, and video production. Students will not just build a project and install it in the field, but also learn how to communicate their work to the public using video documentation and indoor exhibition.
This course offers students the opportunity to develop a self-initiated project with close mentorship from a faculty member. Projects undertaken can span the areas of conceptual research, business development, creative practice, and media production. The course includes structured weekly workshop and critique times with peers and special guests. It is expected that students will be invested in the work of their peers by providing feedback and carefully consider the feedback they receive during critiques. In addition to weekly meeting times, students are expected to also participate in regular one-on-one meetings with faculty, peers, and guests. A formal project proposal, weekly assignments and documentation, a final project presentation, and participation in the IMA End of Semester show are all required. Although students are encouraged to continue work they may have initiated in a prior class, they may not combine or in any way double count work from this class in another class taken in the same semester. Group work is allowed assuming all group members are enrolled in this class. Students may take this course in either the first or second 7 weeks for 2 credits or repeated across 14 weeks for 4 credits. Prerequisite: Sophomore standing. Fulfilment: IMA/IMB elective; IMA advanced elective.
Students or several students work with a faculty member and/or graduate students on a current topic in computer science. Each term, a project course with a particular theme is offered by the Department of Computer and Information Science. A faculty member assigns individual or group projects. The project course is highly structured and supervised closely by faculty. Students are expected to use the design and project-management skills they learned in CS-UY 4513 Software Engineering. Alternatively, students may work with a faculty member on an individual project of mutual interest. A written report and oral presentation are required. | Prerequisite: CS-UY 4513 or CS-UY 3513.
Prerequisite: Photography & Imaging: Multimedia or permission by the department. This is an intense design class for the crossover creature who yearns to design their own exhibit, create a street poster, develop an ad campaign, design titles for a film, invent a visual identity for a musical score, etc. This will be a hands-on process-driven class that will push you to imagine, create, and produce. Students must know InDesign.
This course is an industrial design overview for non-designers. It explores the industrial design process from researching and establishing user and client needs to developing product specifications, prototyping and iterating. It also covers conceptual and visual design, detail design, design for manufacturing, and design for environmental sustainability. It includes skills such as sketching, model making, 3 D printing techniques. The course is formulated as two short exercises and one semester-long project in which teams choose from several product design categories and develop their ideas from concept to prototype. Probable Tandon MakerSpace related material fees. | Prerequisite: MakerSpace Safety Course
Designing a successful interactive experience or software system takes more than technical savvy and vision–it also requires a deep understanding of how to serve people’s needs and desires through the experience of the system, and knowledge about how to weave this understanding into the development process. This course introduces key topics and methods for creating and evaluating human-computer interfaces/digital user experiences. Students apply these practices to a system of their choosing (I encourage application to prototype systems that students are currently working on in other contexts, at any stage of development). The course builds toward a final write-up and presentation in which students detail how they tackled HCI/user experience design and evaluation of their system, and results from their investigations. Some experience creating/participating in the production of interactive experiences/software is recommended.
Beginning with the invention of paper, the paper craft movement has roots on all continents. This course is divided into several subject areas: the history of paper and paper making, paper folding, paper cutting, paper engineering, paper automata, and the contemporary DIY electronics and paper craft moment. Each subject area has associated readings, a short research presentation on international traditions and forms, several hands-on mechanical exercises, and one individual creative exercise.
This course explores the intersection of UI UX thinking and game experience/interface design. Students will be introduced to UI UX concepts and methods, and then supported in adapting them for game specific contexts. Game design – in fact all interactive design – is a conversational undertaking. Students will become better conversationalists both by adding to their store of experience design knowledge and by learning to focus on, empathize with, and draw out their conversation partners – the players.
The Emerging Media Studio courses explore methods to creatively think through and hybridize artistic photographic practice with emerging media technologies from medicine, the military, archaeology, urban planning, environmental science and other industries. Projects may take open-ended forms such as video, virtual reality environments, site-based performance, spatial imaging, 3D fabrication and photographic documentation. Critical readings and ideas drawn from artists as well as professionals in other fields are discussed. Our practice is learning how to adapt to and position ourselves as artists making unique contributions to the social dynamics of culture and a constantly shifting universe of media.
This course explores sound as an art form and technical practice in its own right. Topics include contemporary techniques in composition, sound art, and interactive installation. Students will produce sound with narrative elements that evoke social, cultural & critical-thinking. Their final projects can be experimental podcasts, music (performance and/or recordings), multi-channel audio installations, or multimedia projects. | Prerequisite: DM-UY 1113 or MPATE-UE 1001
A continuing exploration of graphic design to help students refine their skills & develop more personally expressive ways to solving problems through visual communication. Assignments, readings, & research projects will allow students to consider the complex nature of graphic design. Both traditional & digital approaches to typography & layout will be incorporated with a wide range of assignment. A priority is placed on the use of concepts to dictate design techniques & on the pursuit of a genuinely creative vision.
Flash Frames explores the moving image, the pixel, color, and composition, through two weekends of intensive, hands on image fabrication. Students gain a coherent understanding of the technicalities involved in producing artistic and professional quality videos. The workshop applies technical and creative approaches to capturing video, editing, and adding the finishing touches on short productions. Projects are focused on strengthening design and editing skills, understanding media management practices, applying video effects, color correction, motion graphics, and sound. Students broaden their understanding of digital design and video production, while learning the basics of video editing, animation, sound mixing, and motion graphics.
Buildings produce a large percentage of the carbon emissions threatening the planet and multi-family residential buildings make up a significant portion of it. With Covid-19 changing the way we live and work, and the increasing amount of data available from buildings, a key to fighting the climate crisis will be turning this data into action. In this course, learn how to analyze interval data and explore visualizing data to motivate tenants and building operators to change their behavior to reduce energy usage at the optimal times. This will involve analyzing the data streams coming from installed sensors and building equipment, understanding how usage varies over time, and transforming raw data into visual interfaces that mobilize us all in the fight to save the planet. This course will teach basics of how time series data can be stored, how to query time series data, and how to understand energy usage from a data set. With these new skills students will design a project using time series data and their JavaScript skills to visualize this data.
This course aims to provide students with the analytical skills to interpret current trends, policies and problems into futuristic (5 years) product proposals and the thought leadership and communication skills to clearly articulate and pitch those ideas. Projects can range from how prolonged quarantine will impact home exercise to the future of entertainment in self driving cars. Students will research and explore an opportunity space of their choosing where they will infer future problems from current trends then create a speculative solution. They will package their product thinking into a pitch deck and present back to the class. The class format will include lecture, in-class and out-of-class design exercises that apply the concepts covered in the class lecture and a final presentation and critique.
Narrative holds a place in discourses of health, illness, caregiving, and disability, carrying and conveying the densely detailed, nuanced, and complex threads of personal emotion, social experience, and cultural meaning that accompany all instances of these subjects. Narrative also plays a growing role in clinical practice, research, and health education, as increasingly registered in the burgeoning field of Medical Humanities. This course introduces students to texts, practices and major works in the emergent fields of Graphic Medicine and Narrative Medicine, using traditional humanities methods of critical reading and analysis as well as experimental and creative methods including field observation and art-making in a variety of media. Building upon a series of practice-based assignments throughout the semester, students will complete a final project that exemplifies some of the ways narrative and graphic design foster understanding and knowledge in contexts of illness.
Prerequisite: Photography II or permission from the department. This course combines theory and practice as it pertains to making art projects for the World Wide Web. The course will investigate what it means to work in this new environment and how the medium might influence the work made. The course will investigate a variety of approaches such as conceptual, experimental, documentary and diaristic. Special consideration will be given to the ways in which structure (nonlinear vs. linear), interactivity and metaphor influence meaning. Formal design elements such as color, typography, scale and sequencing will also be examined. In addition, the nuance of html tags, hexadecimal colors and image compression will be explored. There will be several short projects as we get up-to-speed on the technical side. Two larger projects will comprise the remainder of the semester: a portfolio project that focuses on graphic and interface design; and a web project that uses “web space” as a medium for its own sake. Students should be prepared to exercise both sides of their brain. This course requires a nonrefundable lab fee.
This course aims to provide students with the critical thinking and practical skills for creating effective and compelling user interfaces. We will dissect what a compelling user experience is and discuss and apply design frameworks and methods for creating one. Throughout this 2pt course we will examine a range of examples of interfaces with a focus on understanding the attributes of a successful interfaces and hands-on experience applying proven research, mapping and testing UX techniques. The class format is lecture and studio and will include discussions, student presentations and critique, and in-class design exercises. The exercises and assignments focus on problems that are typical of those a UX designer will encounter in the professional world.
An introduction to the history, theory and practice of computer-aided artistic endeavors in the field of visual arts. This class will focus on the appearance of computers as a new tool for artists to integrate in their artistic practice, and how it shaped a specific aesthetic language across traditional practitioners and newcomers alike. We will be elaborating and discussing concepts and paradigms specific to computing platforms, such as system art, generative art, image processing and motion art. Drawing on those areas, students will explore their own artistic practice through the exclusive use of their computers. The course will also serve as a technical introduction to the OpenFrameworks programming environment to create works of visual art. As such, Software Art: Image will be an art history and critical studies course with a studio component. Software Art: Image is a complement to Software Art: Text, a 7-week course approaching software and computation from the perspective of poetry and fiction. The two courses can be taken in series or independently.
An introduction to the history, theory and practice of computer-aided artistic endeavors in the field of prose and poetry. This class will focus on the appearance and role of computers as a new way for artists to write and read both programming and natural languages. While elaborating and discussing concepts and paradigms specific to computing platforms, such as recomposition, stochastic writing and ambiguity, students will be encouraged to explore their own artistic practice through the exclusive use of their computers, by writing their own programs. As such, Software Art: Text will be a literary history and critical studies course with an active writing component (in both Python and English). Students will be exposed to new creative perspectives on reading and writing in the digital age. Software Art: Text is a complement to Software Art: Image, a 7-week course approaching software and computation from the perspective of the visual arts. The two courses can be taken in series or independently.
Technology is a weasel. Squeezing its way into art, culture and the everyday. It infiltrates our psyche, inspiring playful interactions, fantastical ideas, vengeance and drama. It brings us together while tearing us apart. In this project-based studio, we will focus on a collective approach to creating art, tools, performances, and experiences. Outer Space in the context of this course will be used as a metaphor for the future, the unknown, and the seemingly impossible. We will investigate disparate cultural moments and unravel narratives that are both historical and technological. Technology will serve as a structure with open-ended assignments in music, video, sculpture, electronics, kineticism, surveillance, interactive graphics, and performance. Combined collaborative exercises and individual projects will augment classroom discussions and inform the art that we make. A willingness to use your imagination and personal experience to derail preconceived notions of linear timelines will serve you well in this hands-on multidisciplinary course.
This course will explore the basic tools of digital imaging. We will cover the three main Adobe products for creative imaging – Illustrator, Photoshop, and InDesign. Through a series of short assignments we will look at various graphic design and layout ideas using Illustrator and InDesign and will touch on the wealth of image enhancement techniques afforded by Photoshop. The short assignments introduce the basics of design, typography and compositing images. Students have the opportunity to complete a small project of their own for the end of the term. Class time will be divided between lectures, critiques, and work in class sessions. This course is not intended to completely cover the software listed, but will give students a fundamental understanding of the possibilities of digital imaging. While the majority of the class focuses on print media (images, books and magazines), we discuss the growing importance of screen output. We do not have time to cover specific web or media projects, but will address transferable skills and understanding. We will incorporate some Adobe apps to augment the desktop applications. Additional reading materials will be distributed during the semester. Students should have access to the Adobe Creative Suite through the NYU license.
Students in this class will be asked to embrace Theodor Adorno’s notion that, “All art is an uncommitted crime.” First, we will explore the vibrant history of dissent in art, comics, design, film, literature, music, and emerging media through the consideration of work by artist dissidents such as Ai Weiwei, Cindy Sherman, Henry David Thoreau, Henry Rollins, Howard Cruse, Jenny Holtzer, Maya Angelou, Michael Moore, Václav Havel, and more. The work of these people is aimed at raising awareness, at disrupting the status quo, and at holding people, organizations, nations, and / or society itself accountable for wrongs committed. Next, students will individually create bold responses to something of concern for them by adopting the methods of a dissident from history or contemporary practice. Finally, we will form an artist collective and create a campaign of dissent aimed at creating positive change within the organization that we are all part of.
Juxtaposed to traditional comics, Experiential Comics combines emergent tech, unconventional comic book art/structure, and game engines to offer users a more immersive, continuous storyworld experience. Challenging the status quo of classic and contemporary digital comics, students will explore new technologies/world-building techniques better suited to craft innovative comic book narratives and formats –worthy of the Fourth Industrial Revolution. Students will ingest a brief history of classic and digital comics formats, collaborate with comic book artists to design engrossing characters, engage in world-building sessions, play with Unity/Unreal engines to generate avatars/ virtual environments, work with actors in motion capture/volumetric capture studios, learn the latest iteration of the Experiential Comics format, and share their unique expressions of Experiential Comics in a final presentation. Throughout a 7-week period, the course will be divided into 7 themes 1) The Disconnection of Digital Comics 2) Classic and Unconventional Comics Continuity 3) Marvel vs DC vs Insert Your Universe Here 4) Fourth Industrial Revolution Technologies 5) Capture & Creation 6) Infinite Engagement and Unlocking Immersive Format 7) Experiential Comics Presentations. Each weekly class will be divided into two halves 1) Exploration of Theme/Discussion 2) Process, Practices, & Play. This course requires CL: Hypercinema or equivalent experience.
If we consider drawing as one of the most ancient forms of interaction, it has the power to engage users like no other technology. With the right setup and call for action – I’m always taken aback by how a cup full of crayons and a pile of paper can bring the child out of a serious businessman. But how do you pass the strong barriers of users who are afraid to draw? In this weekend workshop we’ll examine various techniques that can spark an interaction which is all focused on the action of drawing. Workshop topics include an exploring into collaborative drawing platforms, interactive drawing installations, drawing machines and drawing as a form of interactive storytelling. We’ll discuss the differences between digital and analog drawing and how to marry the benefits of both mediums. We’ll cover the work of important artist and researchers who are creating inspiring work in the field of drawing and interaction such as Shantell Martin, Zach Lieberman, Tobias Gutmann, David Ha and more There will be various collaborative drawing exercises in class. This workshop is meant for students who wish to focus on drawing as the driving force of their interactions and possibly expand it into thesis. Each student will design and prototype an interaction which is based on the subject of drawing. Alon Chitayat graduated from ITP in 2015, He works at Google as a Sr. UX and motion designer and on a collaborative digital whiteboard called Jamboard.
This course will focus on a range of human-centered design research and innovation workshop methodologies including Design Thinking, LEGO Serious Play, Lean UX, Google Ventures Sprints, Gamestorming, Futurecasting, and Service Design. Students will look for design opportunities within the unprecedented challenges that we are currently facing as global citizens. Students will define a problem space based on the drivers that they’re most interested in exploring and will have the option to work alone or form small design research teams. They will learn how to conduct primary and secondary research, creating deliverables such as personas, journey maps, concept canvasses, and prototypes. Students will be required to apply design research approaches and workshop methodologies, develop and test a rapid prototype and then share their work in a final presentation.
“Digital tools of all kinds are deeply embedded in how our society operates. Innovations in basic communication, data processing, image manipulation, and even financial systems have transformed our social worlds and our artistic practice. This became even clearer and more present during the global pandemic, where, during times of social isolation, digital and networked tools almost fully replaced in-person social life. This course will examine the ethical and esthetic implications of a digital and networked world through the lens of socially engaged art and explore how digital tools are and can be used in socially engaged art practice, where art and creative work intersect directly with people and civic life. This includes discussion of how digital and networked tools both increase and complicate physical, economic, and cultural accessibility, and the ethical and social implications of the newest technologies, including AI, Web3, and quantum computing. We will work on how digital tools have been used in socially engaged art and how they could be used further, guided by the understanding that working digitally with socially engaged concepts means both using digital tools within projects AND interrogating the inner workings of how digital practices operate socially and culturally. We will also have some meetings and activities in public spaces, field trips to organizations such as Eyebeam and Genspace, and guest lecturers. Please feel free to reach out to me directly if you have questions about taking the course, or the course content.”
Digital Bodies is an intermediate 3D imaging studio course that examines and explores the current technological applications and conceptual implications of the post-photographic digital human simulations. We will regularly study the work that deals with digital bodies by contemporary artists and photographers such as LaTurbo Avedon, Chen Man, Quentin Deronzier, Hyphen-lab, Hayoun Kwon, and Gregory Bennett, and many digital art platforms in various categories, such as artificial human imaging, digital fashion models, and deepfake. We will be discussing the various theories relating to the idea of cyborg and post-human conditions. Students will be learning 3D imaging skills for building, scanning, appropriating, and customizing prefabricated body models from multiple resources, exploring their movements that both imitate and go beyond the limits of reality, expanding conceptual themes. Besides the technical exercises, students are encouraged to create semester-long self-directed research and a final project using the imaging technology they’ve learned. Artist visits, field trips, and exhibition visits will also be arranged online or according to the public health safety situation. The exhibition of the students’ final projects will be arranged at the end of the semester. *The class is suitable for students with basic skills of 3D imaging in Maya.
*Please note: The course is ideally to be taken after taking the Intro to Post-photographic Imaging Course. However, course permission can be given to students with basic 3D imaging skills. Please contact Professor Fu for any question: snowyunxuefu@nyu.edu
The Emerging Media Studio courses explore methods to creatively think through and hybridize artistic photographic practice with emerging media technologies from medicine, the military, archaeology, urban planning, environmental science and other industries. Projects may take open-ended forms such as video, virtual reality environments, site-based performance, spatial imaging, 3D fabrication and photographic documentation. Critical readings and ideas drawn from artists as well as professionals in other fields are discussed. Our practice is learning how to adapt to and position ourselves as artists making unique contributions to the social dynamics of culture and a constantly shifting universe of media.
This course explores the nature of the creative act. What does it take to be creative? What are some of the cognitive and personality variables that aid and hinder creativity? What are the characteristics of great innovators? Is innovation purely individual? Or are innovators a product of their time? The course also surveys literature on teaching creativity and innovation. | Prerequisites: Completion of first year writing requirements. Co-requisites: None. Notes: Satisfies a HuSS elective.
2D Art and Animation for Games is a 1-semester, 4-credit class that builds fundamental skills around the design and production of art assets for games. Through a series of individual design assignments, critiques, and exercises, students will explore concepts like art direction, color theory, animation principles, and UI design while building a working knowledge of prominent industry tools.
This course allows students to harness the power of visual language in order to convey messages and meaning. The elements of visual foundation that will be covered include components (color, texture, image and typography), composition, and concept. Although the class takes place in the Game Design department, we will be less concerned with visuals as they are applied to games and instead will look at visual communication across a wide range of disciplines, from visual art to graphic design to web and interface design. Although non-digital mediums will be addressed, the understanding and use of industry-standard software is also a primary goal. The class is about the importance of visual design, how it shapes our culture. The students will learn about and discuss widely-practiced methods of visual communication, and then find their own voice through developing their own works, driven by a clearer understanding of their own tastes and interested fields.
Design Thinking is a theoretical, methodological and practical framework that has the potential of bringing about socially responsible innovation. This course will introduce the core concepts and toolkits of design thinking as the foundation of innovative thinking and practices. It requires you to step out of your comfort zone and to examine and challenge your own assumptions. Critical thinking, teamwork, and empathy are the three pillars of this course. Prerequisite: None
This course is about designing your life. What if you used the same innovation principles that startups use and applied them to your own lives? Students are introduced to design thinking as a framework to process their college experience and explore life after graduation. This course will use rapid prototyping methods to test out career interests, engage in behavior design, and ideate on multiple futures. The course will be delivered in a studio setup with in-class design workshops, group discussions, personal reflection, individual coaching and field trips. Prerequisite: None. Fulfillment: IMA Major Electives; IMB Major Business Elective/Interactive Media Elective; Business and Finance Major Non-Finance Electives; Business and Marketing Major Non-Marketing Electives.
This course is about designing your global experiences. Students are introduced to design thinking as a practical tool to make the most out of their NYUSH experience and prototype opportunities offered by NYU’s Global Network. This course will use rapid prototyping methods to test out academic and career interests, visit global organizations in Shanghai, and meet with leaders with multinational experience. The course will be delivered in a studio setup with in-class design workshops that explore topics such as the purpose of college, educational wayfinding, global perspectives, and innovating on career paradigms.
A beginning production course in which students learn the basic principles of animation, develop visual language, storytelling, observation, and communication skills. A freshman core production selection, but open to students at all levels. It is the prerequisite for several of the other animation and visual effects courses. Prior drawing experience is not necessary. The first half of the semester consists of weekly exercises in which students explore various styles and methods of animation including optical toys, stop motion, traditional drawn, and 2D digital animation. Students will be introduced to programs including Dragon Stop Motion, After Effects, Avid, Flash, and Photoshop. Various technical topics covered include aspect ratio, frame rates, storyboarding, editing animatics, scanning, working with image sequences, alpha channels, vector vs. raster art, compositing, rendering, using a Cintiq, and shooting stills with DSLR camera. During the second half of the semester students will complete a 15-30 second animated film with sound.
Intro to Visual Communication builds a foundation for visual literacy and visual design thinking. The class focuses on the fundamentals of visual communication – line, color, composition, typography – as well as their application in a variety of contexts. You may or may not end up being a visual designer or artist, but all kinds of game design and development involves visual thinking. The philosophy of the class is learning by doing. Each week, in class and out of class, you will be creating visual projects on and off the computer. Sometimes you will be drawing in a sketchbook or making paper collages. Other times you will be using visual design software, such as Illustrator and Photoshop. The goal of the course is to connect the visual exercises to skills and issues related to directly to games. Sometimes we will be working on fundamental skills. Other times, we will be applying those skills to game-related problems.
Tangible interfaces are interfaces that you touch. You control them with your hands, feet, and other body parts. Their shape, feel, and arrangement provide feedback. This is where interaction design meets industrial design. In this class, you’ll design, program, and build devices with tangible controls in order to better understand how humans understand and control technical systems through our sense of touch. We’ll discuss physical interaction concepts such as expressive interfaces and utilitarian ones, real-time control vs. delayed control, and implicit vs. explicit interactions. You’ll learn programming and electronic techniques to sense state change, thresholds, peaks, and other signs of user action. You’ll also learn how to design, shop for, and construct housings for the devices you build. On the electronics side, the primary tools will be the microcontroller and common tangible controls: pushbuttons, switches, rotary encoders, rotary and slide potentiometers, force sensors and touch sensors. The class will also cover on-device feedback through LEDs, speakers, and force-feedback actuators. On the fabrication side, you’ll work with the tools of the shop and XXX CAD program. You’ll design and build four projects in the course of the semester. Projects will be designed (and parts specified). Projects will build on the skills learned in Intro to Physical Computing and Intro to Fabrication. Prerequisites: Intro to Physical Computing and Intro to Computational Media, or a working knowledge of microcontroller programming in Arduino; Intro to Fabrication or basic knowledge of laser cutter.
As demographics in consumer markets and the global labor forces shift rapidly, diverse, equitable and inclusive (DEI) designers are necessary in all facets of business, from product and service design, to organizational and business design. In this multimedia and interactive Intro to Design for Diversity™(D4D), students will be provided with critical thinking skills to begin viewing diversity, equity and inclusion as design processes necessary for the future wellbeing of humans. D4D is a design framework that marries design thinking with diversity, equity and inclusion best practices and frameworks to illuminate cultural and racial biases. D4D is not only a means to harm reduction, but also a way-finding tool for better business. Students will be provided with historical context and case studies of racially biased practices that are now prevalent in biased algorithms in tech, as well as the lineage of culturally biased media narratives and how that plays a central part in today’s design practices, as well as their negative impacts. Students will be provided with a shared language and the outline of the D4D framework’s 5 Key Areas to enable them to design away from dominant culture, and instead, design for all people.
What is the relationship between American musician and poet, Gill Scott-Heron and cybernetics? Heron’s “The Revolution Will Not be Televised” was created in hopes to wake-up 1970’s America from complicity in societal oppression to then realize the revolution begins in your mind and something created through active participation, not passive media consumption. While, iterated forms of cybernetics also challenge the notion that “technology [or society] is self-correcting”, through fostering design thinking and systems theory through a meta-scale analysis of computational practices, essentially promoting being an observer of systems through conversation with process and feedback loops. Both ideologies center intention and holistic design within innovation — concepts vital to the equitable well-being of society in a technocratic era. In this course, students will explore the origins and history of the internet and HCI technologies as stemming from hippie communes, counterculture and warfare; survey historical and current social relations in the U.S.; study how these social relations have been replicated and embedded into everyday technologies; and consider potential futures in tandem with rapid technological advancements. We will study the works of pioneering designers and thought-leaders from Norbert Wiener, Stewart Brand, and Victor Papanek to Alondra Nelson and Ruha Benjamin. Phenomena discussed throughout the course range from the power of Black Twitter, the social media revolution of Egypt’s Tahrir Square, to cryptocurrency being used in bail reform. After in-depth historical analysis of societal structures, geo-political dissent, and algorithmic patterns, students will engage with futurism and speculative practices, techno-culture manifestos, and design and systems theory to develop a variety of research-driven projects. We will conclude with using both second-wave cybernetics as a design framework, and an anthropological lens to imagine, innovate and design more equitable technocratic futures. Topics heavily examined throughout the course include: surveillance, race, socioeconomics, carceral capitalism and technoscience, algorithmic bias and oppression, and post-work societal structures.
Inspired by the Japanese art of Chindōgu, this class will introduce a playful and whimsical approach to learn industrial design. In this 14-week studio format class, students will develop gadgets, inventions, and electronic devices that present absurd solutions to problems, while learning concepts and techniques of design ideation, prototyping, model making, CMF (color, material, and finishes), and manufacturing. This is a production heavy four-credit course, where students will learn about industrial design and tangible interactions. Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
Microinteractions are everywhere, you interact with them on a regular basis. Animated emojis, heart buttons that burst with love when you tap them or password fields that shake when you type in the wrong password – these are the tiny animations that produce delightful moments while providing users with valuable feedback. They can intuitively guide your users without having to explicitly write a set of descriptive rules. They are the soul and character of your interface, and if crafted well they can turn every interaction to a joyful moment while improving the user experience. Using Adobe After Effects and Lottie as our primary tool, we’ll learn how to design, animate and export playful SVG animations as interactive components. We’ll examine the basic principles of UI motion, cover how to create loopable animated states with fluid transitions between them.
Art, design and experimental electronics can be great tools for inciting discussions of complex issues such as privacy, sexism, racism, economic inequality and climate change. This course aims to provoke thoughtful discussions of pressing issues through the combination of Art, Industrial Design and Embedded Electronics (sensors, actuators, wifi enabled microcontrollers – ESP32, raspberry pis). Topics will include technological disobedience, adversarial design and critical engineering. In this 14 week class, students will combine technology, design, and critical theory to build Art Objects / Interactive Sculptures that are aesthetically intriguing while socially relevant. This is a production heavy four-credit course, where students will learn about new-media critical theory, design and electronics. Prerequisites include an open mind, the drive to make, and physical computing.
In this course, students will learn the process of developing products that address user needs. Students will go through the process of identifying a user need, developing a product prototype, evaluating the product with the target user, and outlining the next development steps. Topics will include such elements as need finding, archetype development, user journey maps, ideation, prototyping, user evaluation and validation.
Sculpture is defined as a three-dimensional form of artistic expression concerned with space: occupying it, relating to it, and influencing the perception of it. In this class we will look at new ways of implementing video mapping, interactive time based media and augmented reality as a medium for creating engaging interactive physical and virtual sculptures. How do we create video sculptures that move, emote and react to our presence? The course will focus on taking video off the screen and into three-dimensional space in the form of site-specific and or physical installation. Through a series of weekly experiments and assignments, students will work with projection, video mapping, mixed reality and physical sensors to hack video into meaningful works of art. Class will be divided between lectures, guest speakers and critical discussion/presentation of work.
Iteration and its impact on your creative process is the theme of this class. The format of the course turns its head on the traditional class structure and instead of focusing on syllabus that builds to a final project, the course is focused on a daily, iterative practice. Students will identify a theme, idea or topic they would like to explore over the course of 100 days and must commit to making or producing a variation on that idea and posting social evidence of their work every day for 100 days. Projects can focus on building, writing, drawing, programming, photographing, designing, composing or any creative expression. In parallel to the making, in-class lectures will examine the work of artists whose work has been defined by iteration and discuss the role of discipline and routine in the creative process.
Exhibition design is the art of marrying experience and information. The best do so seamlessly; the very best surprise and delight you along the way. In this class you will explore the craft of interactive exhibition design through practice. Working in small groups, you will select an NYU researcher whose work is of interest to you and create an interactive experience that presents this research to a broader, public audience. In the process, you will learn to interrogate content and form, audience and environment, medium and message to create a meaningful and playful exhibit experience.
If you were inventing a museum today, what would it look like? Who would be there? What would its main purpose be? What would the audience experience? The first museums were called Cabinets of Wonder. Usually, a viewer with a guide, often the collector, would open doors and drawers to see what was inside–amazing things from different parts of the world, different times. They were windows on the world to places the visitors would probably never be able to go; to see things they would never otherwise be able to see. And now there’s television, movies, the internet, and travel. Why do people go to museums now? Will they in the future? Today, most museums seek to educate and to include more and more diverse visitors than they used to. How do people learn in public spaces? How do we know that they do? How can they make use of the new interactive technologies to support the experience and not lose what’s special about them? The class is an exploration, observation, theory, and design class for you to imagine the future of museums and exhibits. Museum and exhibit visits are your primary assignments for the first half of the course—usually accompanied by a reading. You will also make some record of your visit (including a sketchbook, a diorama, reviews). There will be guest speakers from Museums and exhibit design firms, and several field trips. In the second half of the course, you begin to imagine how you might reinvent a museum and develop a full-scale presentation of your own Cabinet of Wonder. About Emily Conrad: https://www.linkedin.com/in/emily/
Course will provide a forum in which to explore & engage the relationship between photography, performance & contemporary art. Through class assignments & readings in contemporary theory we will develop a critical vocabulary for an understanding of the relationship between photography & performance & a forum in which to challenge & push our individual art practice to the next level.
Course introduces student artists to the 4th dimensional concepts of TIME & MOVEMENT as the necessary building blocks of Art created by Photography, Video, Digital & Performance medias. Students will explore the attributes of TIME & MOVEMENT through project assignments that use the methods of photography, video, digital, & performance art. The course also includes a brief art history of 4D concepts spanning a wide array of subject matter from cave painting to contemporary art.
Video art has become one of the most widely used media art forms because it allows both the artistic concentration of photography & the free flowing imagery of movement. Students acquire rudimentary skills in shooting & editing while working toward a personal statement in video.
Assignments, critiques & demonstrations for the more advanced digital art student. The use of the computer to augment and expand conceptualization and expression has provided the artist with some of the most important new means for visual thinking since the Renaissance invention of perspective. Students learn how to use the computer as an extension of the visualization process and its specific applications in both two-dimensional and three-dimensional art.
This 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 and discuss and apply design methods for creating one. Throughout this 14-week course we will examine a wide range of examples of interfaces with a focus on understanding the attributes of a successful interface and applying proven research, mapping and testing techniques. The class format will include lectures, case studies, student presentations, discussions of readings and in-class design exercises. The format is very hands-on with assignments that focus on problems that are typical of those a UX designer will encounter in the professional world.
Wall labels, audio guides and informative maps are just some of the ways galleries and museums convey additional information about an art collection. How can we utilize new interactive mixed reality tools to design and deliver immersive experiences that breathe new life into an exhibit. Augmented and virtual reality are powerful tools for new media production and storytelling, but how can these tools serve to enhance our Wall labels, audio guides and informative maps are just some of the ways galleries and museums convey additional information about an art collection. How can we utilize new interactive mixed reality tools to design and deliver immersive experiences that breathe new life into an exhibit. Augmented and virtual reality are powerful tools for new media production and storytelling, but how can these tools serve to enhance our gallery experience without distracting from the power and importance of a pre-existing collection? This production course seeks to experiment with new ways to experience a museum collection through mixed reality. Topics covered include exhibition installation and curation, mixed reality production in Unity, mobile development for Augmented Reality.
Exhibition: Next class is an exploration and observation of the fields of exhibition design and museum studies. This class will explore how emerging and interactive technologies can be applied to museum and exhibition design to enhance visitors’ experiences. What is an exhibition in a museum of today and how should it be experienced? What is the role of a museum in contemporary society? How does it engage the audiences of tomorrow? The class discusses curatorial practices, various exhibition concepts and forms, museum visitor experience, and exhibitions’ social values. Students will visit and immerse themselves in many museums and exhibitions as a professional observer who will be asked to write reflections of their observations as an essay for each museum visit. Students will choose a research topic at the beginning of the class and they will start collecting materials, building objects, designing experiences, and writing a statement for their final exhibition based on this topic. Students’ design work will be frequently reviewed and given feedback by the instructor, classmates, and guest speakers/critics. After the midterm, the instructor will initiate a collaboration with a local museum or art space. Based on the specific circumstances, students will face a design challenge to propose an exhibition proposal or provide a creative solution to the partner organization. By the end of the course, students will install and present their work as a group art show in the student art gallery. Prerequisites: Interaction Lab or Creative Coding Lab Fulfillment: IMA Major Electives; IMB Major Interactive Media Elective.
User experience design (UXD, UED, or XD) is the process of enhancing user satisfaction with a product by improving its usability, accessibility, and desirability provided throughout the user’s interaction with a product. The class is designed for those who are passionate about creating user-centered experiences with interactive media. Students are encouraged to empathize with users, engaging them to make informed design choices from prototype right through to project completion. Prerequisites: None Fulfillment: IMA/IMB elective.
The Emerging Media Studio courses explore methods to creatively think through and hybridize artistic photographic practice with emerging media technologies from medicine, the military, archaeology, urban planning, environmental science and other industries. Projects may take open-ended forms such as video, virtual reality environments, site-based performance, spatial imaging, 3D fabrication and photographic documentation. Critical readings and ideas drawn from artists as well as professionals in other fields are discussed. Our practice is learning how to adapt to and position ourselves as artists making unique contributions to the social dynamics of culture and a constantly shifting universe of media.
Course Repeatable for Credit. Prerequisite: Photography & Imaging: Digital, Analog, and Multimedia (can be taken concurrently) or permission of the Department. Interested non-majors should complete the non-major request form: https://goo.gl/forms/oaRPT3aeCeMT7KYL2The paradigm of the indexical photographic image has come into a new era – a computer generated one. Maya 3D software, typically used to create commercial games and animations, will be used to introduce experimental computer imaging as a visual art form. Students will solve a series of formal problems, introduced in increasing levels of complexity, and examine the broad cultural, philosophical, and theoretical implications of CG imaging. Moving from the 2-dimensional to 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse.
This class aims to provide students with the critical thinking and practical skills to explore and communicate ideas visually. This foundational course is a combination of lecture and studio format that will introduce the fundamental principles of design including typography, color, composition, branding and product design, and offer hands-on application of those principles through both in-class exercises and weekly assignments. The course will serve as a solid foundation of skills relevant to pursuing a degree in Interactive Media Arts and expose students to the myriad of opportunities a grounding in design principles opens up for them.
Programming Design Systems is a course focused on the intersection between graphic design and code. Class time is divided between design topics like form, color, grid systems, and typography, and more computational topics like randomization, repetition, transformation and generative form. The students work to write software that abstract design theories into the code, and show the work in class for design critique. Weekly readings include relevant writings from the history of graphic design, articles from the history of computation, and everything in between. The class aims not only to teach the students how to create designs via code, but also to have something interesting to say about it. The course is based on the Programming Design Systems book, and more background info can be found in the book’s introduction. Prerequisite:Communications Lab
Prerequisite: Three years of high school mathematics or equivalent. No prior computing experience is assumed. Students with computing experience should consult with the computer science department before registering. Offered every semester. 4 points. This course introduces students to both the practice of web design and the basic principles of computer science. The practice component of the course covers not only web design but also current graphics and software tools. The principles section includes an overview of hardware and software, the history of computers, and a discussion of the impact of computers and the internet.
This course serves to familiarize the student with the fundamentals of typography. Typography forms the basis of our contemporary communication. Students will gain design abilities based on analogue techniques as well as digital software. The class explores letterform design & moves subsequently to typesetting exercises performed using the letterpress printer & computer. Compositions exploring typography as color, form, & image will be examined for visual impact as well as meaning. The history of typography is incorporated beginning with Guttenberg in the 1400’s through the classic designers of the 17th & 18th centuries, type-design through Russian Constructivism, the Bauhaus, & Modernism to contemporary digital type design.
This class acquaints the student with the fundamentals of Design by focusing primarily on layout, composition & color through use of the grid. The grid is a fundamental building block for publication design (print & digital), website design, & animation design. This class focuses primarily on Graphic Design but proposes basic concepts that can be extrapolated into other design fields. Classes will be client & solutions-based and will assume a professional career orientation. Additionally the class will provide a current overview of what’s happening in the contemporary design world through field trips, readings & presentations.
Assignments, critiques, & demonstrations related to the specific level on which the course is being given. The use of the computer to augment & expand conceptualization & expression has provided the artist with some of the most important new means for visual thinking since the Renaissance invention of perspective. Students learn how to use the computer as an extension of the visualization process & its specific applications in both two-dimensional & three-dimensional art.
This course will explore the basic tools of digital imaging. We will cover the three main Adobe products for creative imaging – Illustrator, Photoshop, and InDesign. Through a series of short assignments we will look at various graphic design and layout ideas using Illustrator and InDesign and will touch on the wealth of image enhancement techniques afforded by Photoshop. The short assignments introduce the basics of design, typography and compositing images. Students have the opportunity to complete a small project of their own for the end of the term. Class time will be divided between lectures, critiques, and work in class sessions. This course is not intended to completely cover the software listed, but will give students a fundamental understanding of the possibilities of digital imaging. While the majority of the class focuses on print media (images, books and magazines), we discuss the growing importance of screen output. We do not have time to cover specific web or media projects, but will address transferable skills and understanding. We will incorporate some Adobe apps to augment the desktop applications. Additional reading materials will be distributed during the semester. Students should have access to the Adobe Creative Suite through the NYU license.
This course allows students to harness the power of visual language in order to convey messages and meaning. The elements of visual foundation that will be covered include components (color, texture, image and typography), composition, and concept. Although non-digital mediums will be addressed, the understanding and use of industry-standard software is also a primary goal.
From interacting with the latest device to cogently communicating complex data, user experience design (UX) is a discipline given increased prominence by the inescapable human relationship with technology. We will cover the UX design process as it relates to interactive interfaces found in websites, mobile apps, hardware, and events.
This course explores various image editing techniques and outputs, utilizing various styles of text, including fiction and non-fiction. The assignments foreground how text influences viewers’ perception of images, and how images can enrich a body of writing. Students will use a range of production skills to create work — using After Effects for animation, HTML/CSS for website creation, book and print design, and archival printing methods. All projects are accompanied by readings that provide historical and theoretical grounding to support the concepts explored through practice. An emphasis on refining technical and aesthetic photography skills are central throughout the semester. Prerequisites: DM-UY 2183 or DM-UY 2263
A site for IMA NY Students to find equivalent courses outside of IMA NY
For most students joining IMA in Fall 2022 and beyond, there is a new program structure that affects the categorization of courses on this site:
Any class in any IMA major elective category (ie "Art & Design") refers to the IMA program structure previous to those entering in Fall 2022. If you are in the class of 2026 (most entering Fall 2022 or later), any course in an IMA elective category are generic IMA electives in the new structure.