This course provides an introductory framework for understanding the dynamics of entering the entertainment and media industry within New York and Hollywood. Through live, synchronous, online meetings with industry professionals in Film, Television, Music, Theatre, Dramatic Writing, Games and Interactive Media and Casting, you will learn expectations, industry standards, and professional practices to apply when transitioning from student to a creative professional. You will also understand the specific job functions that are required to effectively and efficiently complete productions. The course aims to build a body of knowledge and information through understanding the various roles and professions that cut across all the competencies required for the industry professional to effectively function as a key member and in most cases, the leader of the creative and business team, assembled to complete a project.
There is no prerequisite for this course. Many photographers who have been utilizing digital cameras are turning (and returning) to traditional, silver-based film and papers. This intensive course is designed to introduce and explore the practical and creative applications of analog photography. Students will learn camera operation, composition principles, and metering techniques. Supported by a comprehensive lab facility, students will learn film processing and archival projection print enlarging methods as well as the basics of print finishing and presentation. Classes will incorporate critiques of student work, slide lectures of important historical and contemporary imagery, hands-on studio and laboratory demonstrations, and field trips. Students will be assigned reading for class discussion and relevant photography exhibits to view. Students are required to complete a minimum of 4 hours of lab work per week (hours arranged by the student) in addition to regular class attendance. This course is designed to engage the student in a photographic dialogue within a productive semester. A lab fee is charged for this course.
Prerequisite: Photography I or permission from the Department. This course is recommended for transfer students and non-majors. During the Fall and Spring, non-majors must fill out the following form to request access to the course: http://photo.tisch.nyu.edu/object/pinonmajorrequestform.html Photo II is a course that expands upon the principles and tools of Photography I. Students will start out continuing to refine analog skills through a series of short technical assignments. Students will work on exercises with on-camera flash, medium format camera, and tungsten lighting to further their technical skills. At the heart of the class is the development of two long-term projects in which students can hone their creative vision. Weekly critiques of students’ projects will include discussions on content, aesthetics, editing, and technique. Class time will also be spent on slide presentations of historical and contemporary photography, technical lectures, and lab demonstrations. While students will predominantly be working in analog, digital photography will be introduced. Topics to be covered include the use of a digital SLR, the basics of Adobe Photoshop, and film scanning. Students are required to have a film camera with a light meter and manual functions in addition to film and photographic paper to execute their assignments. A lab fee is charged for this course.
Examines some of the most important philosophical ideas and developments in the “Continental” tradition in Europe in the twentieth century. After a review of some nineteenth-century developments, covers major works by Heidegger and Sartre, and some selection, determined by the instructor’s particular focus, of writings by such figures as Husserl, Gadamer, Arendt, Beauvoir, Merleau-Ponty, Foucault, and Deleuze.
Examines key theoretical and methodological issues in the study of Japanese cinema, such as the connections between Japanese films and cultural traditions, the effect of Americanization and modernization, the formation of national identity and specificity, and the ?otherness? of Japanese cinematic form.
This course introduces the Python programming language as a tool for reading and writing digital text. This course is specifically geared to serve as a general-purpose introduction to programming in Python, but will be of special interest to students interested in language and computer-generated text. Among the topics we’ll discuss are: the history and aesthetics of computer-generated writing in literature and the arts; computational linguistics; ethics and authorship in the context of computer-mediated language; poetic structure and sound symbolism; performance and publishing. Programming topics covered include: data structures (lists, sets, dictionaries); strategies for making code reusable (functions and modules); natural language processing; grammar-based text generation; predictive models of text (Markov chains and neural networks); and working with structured data and text corpora. Weekly programming exercises and readings culminate in a final project. Prerequisites: Introduction to Computational Media or equivalent programming experience. Prerequisite: ICM
The World Wide Web has grown up to be a great platform for asynchronous communication such as email and message boards. More recently this has extended into media posting and sharing. With the rise of broadband, more powerful computers and the prevalence networked media devices, synchronous communications have become more viable. Streaming media, audio and video conference rooms and text based chat give us the ability to create content and services tailored to a live audience. During this course, we focus on the types of content and interaction that can be supported through these technologies as well as explore new concepts around participation with a live distributed audience. In this course, we look at new and existing platforms for live communication on the web. We leverage existing services and use Flash, PHP, AJAX and possibly Processing/Java to develop our own solutions. Experience with ActionScript/Flash, PHP/MySQL and HTML/ JavaScript are helpful but not required.
For better or worse humanity is heading down the virtual rabbit hole. We’re trading an increasingly hostile natural environment for a socially networked and commercially driven artificial one. Whether it’s the bedrooms of YouTube streaming stars, the augmented Pokestops of Pokemon Go, the breakout rooms of a Zoom meeting, or even the “airspace” of Airbnb; we are witnessing a dramatic transformation of what occupying space means. The socially distanced measures as a result of the COVID-19 pandemic have only accelerated this societal embrace of the virtual. So where are these dramatic spatial paradigm shifts occurring? Who owns and occupies these spaces? Who are the architects and what historical and ethical foundations are they working from? What world do they want to build for humanity and where does the creative individual fit into it? Will it be a walled garden, a role-playing adventure or a tool for creating more worlds? The course will ask students to embrace the role of virtual architect, not in the traditional brick-and-mortar sense of constructing shelter, but in terms of the engagement with the raw concept of space. However this virtual space must be considered and evaluated as a “site,” that is activated and occupied by real people and all the limitations of physical space that they bring with them from the real world. This is the foundation of synthetic architecture; simulated space met with biological perception. This conceptual architecture is free from the confines of physics but host to a whole new set of questions: How do we embrace the human factors of a dimensionless environment? How do we make or encourage meaningful interactions within the limits of current technology? New models of interaction must inform and shape the architecture of virtual space – what does that look like? How can architecture and aesthetics inform the creation of virtual environments and immersive narratives? How do we acutely consider the psychological and social impacts of the worlds we design and what is the metaphorical ground plane to make sense of this virtual world, unbound by physics? About Jonathan Turner: http://www.jonathanwilliamturner.com/about/
In this foundation course students will be asked to think beyond the conventional forms of human computer interaction (i.e. the keyboard and mouse) to develop interfaces that consider the entire human body, the body’s capacity for gesture, as well as the relationship between the body and its environment. Students will learn the fundamentals of electronics and programming as they build projects using the Arduino microcontroller platform. Arduino is a small computer based on open source hardware and software. When used in conjunction with various sensors and actuators, Arduino is capable of gathering information about and acting upon the physical world. In addition to these physical computing techniques, students will also learn to harness the methods of traditional computation. The fundamentals of programming will be explored using the Processing programming language. Processing has a simplified syntax and an approachable computer graphics programming model, making it an ideal platform for first-time programmers. Students will gain a deeper appreciation of the expressive possibilities of computation as they learn to author their own software and systems and not simply use off-the-shelf solutions. Additional topics will include algorithmic drawing and animation techniques, digital modeling and fabrication, data exchange, manipulation, and presentation, as well as control of images, audio and video, including computer vision techniques. Structured weekly exercises are aimed at building specific skills, however students are free to pursue their own diverse interests in their midterm and final projects. Prerequisite: None. Fulfillment: CORE AT; IMA Major Other Foundation; IMB Major Emerging Media Foundation.
Data is ubiquitous. Yet, it’s often invisible. In this course, we will explore ways to create physical data visualizations using contemporary design and digital fabrication tools. Students will learn how to collect data, find interesting patterns, design creative digital models and build tangible pieces using laser cutters, 3D printers and woodworking tools. We will visualize everything from street performers in Washington Square to Instagram influencer trends. Topics related to creative coding, Arduino, artificial intelligence, projection mapping and traditional art-making techniques will also be discussed.
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.