Thesis: All art uses technology. Technology is not art. Whether a work of art is created to bridge the supernatural, convey experience, thought, or a world view, or something more, art is a three letter verb representing the result of an individual’s desire to create difference. This course is an exploration in technological literacy for all NYU students. Students will create a website, capture, edit, and publish digital media to their sites, use software to create objects through subtractive (laser cutting) and additive (3D printing) machining processes, build circuits, learn to program a microcomputer, and build a functioning computer-controlled object.Open Arts Curriculum (Undergraduate) 4 credits – 15 Weeks
This course explores the ways in which popular film, TV, and video cultures construct the historical past, the battles that arise among historians and the public over film versions of history, and how such films can be utilized as historical documents themselves. We consider films, TV, and video as products of the culture industry; as visions of popular history and national mythology; as evidence for how social conflicts have been depicted; and as evidence for how interpretations of the past have been revised from earlier eras to the present.
In numerical analysis one explores how mathematical problems can be analyzed and solved with a computer. As such, numerical analysis has very broad applications in mathematics, physics, engineering, finance, and the life sciences. This course gives an introduction to this subject for mathematics majors. Theory and practical examples using Matlab will be combined to study a range of topics ranging from simple root-finding procedures to differential equations and the finite element method. | Prerequisites: A grade of C or better in (MA-UY 2114 or MA-UY 2514) and (MA-UY 1044 or MA-UY 3034 or MA-UY 3054 or MA-UY 3113) | Anti-Requisite: MA-UY 4524Mathematics (Undergraduate) 4 credits – 15 Weeks
This course is an introduction to visual methodologies and critical theory as well as contemporary practices in art and culture. Students use media and materials of their own choosing to explore and respond to the issues raised through readings, presentations, class discussions, writing assignments, and group critiques.
This course combines skill building though experiential exercises and an understanding of the underlying theory to help you learn how to be an effective manager and team member in today’s technology-enabled team context. Topics include issues such as managing collaboration in and across teams, motivating effort, performance, social judgment, and cross-cultural issues. Students learn how organizations can improve their effectiveness through better management of people and how individual managers can be more effective in working with and leading others.
The course focuses on the cross-currents of China’s encounters with the world, from the late 16th to the early 21st century. It proceeds from two assumptions: first, that China has long been engaged with the rest of the world rather than ever having been “closed”, as some would have it; and second, that impact and influence flow in multiple directions: into, through, and out of China, whether intentionally or involuntarily. Through a combination of lecture, discussion, and student research projects we will explore China’s encounters with the world chronologically and thematically, covering such broad topics as religion and philosophy; diplomacy; law; trade; war; revolution; political systems, and “soft power”. Pre-requisites: None. Fulfillment: CORE HPC or IPC; GCS China and the World; Humanities Introductory course (18-19: survey).
The course will provide a background study of all related areas of the multibillion-dollar music industry, including the evolution and operations of the record company, music publishing, artist management, live entertainment, copyright, business-to-business and consumer-facing digital services.
Open to students with no previous training in French. Not equivalent to FREN-UA 9010. Only by following FREN-UA9001 with FREN-UA9002 can a student complete the equivalent of FREN-UA9010 and then continue on to the intermediate level.
An introductory course to probability and statistics. It affords the student some acquaintance with both probability and statistics in a single term. Topics in Probability include mathematical treatment of chance; combinatorics; binomial, Poisson, and Gaussian distributions; the Central Limit Theorem and the normal approximation. Topics in Statistics include sampling distributions of sample mean and sample variance; normal, t-, and Chi-square distributions; confidence intervals; testing of hypotheses; least squares regression model. Applications to scientific, industrial, and financial data are integrated into the course.NOTE: Not open to math majors or students who have taken or will take MA-UY 2054 or MA-UY 3014 or MA-UY 3514 or ECE-UY 2233. | Prerequisite: MA-UY 1124, MA-UY1424, or MA-UY 1132 or MATH-UH 1020 or MATH-UH 1021 or MATH-SHU 151
This course is a survey of the history of Palestine in the modern period, focusing on the conflict for control of this land from its origins in the late nineteenth century until the present. The purpose of this course is to examine the evolution of this ongoing struggle in its historical context and to try to understand why the various parties to this conflict have thought and acted as they did.
This popular introductory workshop offers an exciting introduction to the basic elements of poetry and fiction, with in-class writing, take-home reading and writing assignments, and substantive discussions of craft. The course is structured as a workshop, which means that students receive feedback from their instructor and their fellow writers in a roundtable setting, and they should be prepared to offer their classmates responses to their work.
This course explores the origins of Islam and the development of its rituals and doctrines to the 21st century. It assumes no previous background in Islamic studies. Students will learn about topics such as the Koran and the Prophet, Islamic law, the encounter of East and West during the Crusades, and Islam in Britain. They will find out how Muslims in different regions have interpreted and lived their religion in past and present. Readings will include not only scholarly works but also material from primary sources, for example the Koran, biographies and chronicles. The course consists of a combination of lectures, seminar discussions, field trips and includes other media, such as film.
This course covers Passive DC circuit elements, Kirchoff’s laws, electric power calculations, analysis of DC circuits, Nodal and Loop analysis techniques, voltage and current division, Thevenin’s and Norton’s theorems, and source-free and forced responses of RL, RC and RLC circuits. Prerequisite: MATH-SHU 131 or MATH-SHU 201. Fulfillment: CE required; EE required; Core Curriculum Science Experimental Discovery in the Natural World.
Our goal is to map China. But rather than making maps through calculations or grids, we will be mapping China conceptually and theoretically. This is to say that in studying China’s regions, physical geography, political territories, cities, counties, and people, our goal is to develop skills for thinking about China spatially. With thousands of years of recorded history and a political system oriented to progress and national development, China is often imagined in terms of linear time. However, from ancient walled cities to the Mao-era work-unit system to the more recent migrations of rural labor, understanding how political, commercial, and social spaces are organized is essential for understanding China’s past and present. Prerequisite: Sophomore standing or above. Fulfillment: CORE SSPC or IPC; GCS elective The Politics, Economy, and Environment of China; Social Science Focus Environmental Studies 200 level; Humanities Interdisciplinary or other Advanced course ( 18-19: Critical Concepts or Topic).
This course invites students from diverse backgrounds and provides an accessible introduction to the burgeoning field of Computational Social Science (CSS). We aim to explore research design and data skills at the intersection of social sciences and digital innovations. This course emphasizes using big and rich social digital data to understand and explain societies and human behaviors. We introduce fundamental topics in CSS, including digital trace data collection, social network analysis, and text-as-data, using the R programming language. Besides discussing the new opportunities of CSS, this course also highlights critical topics, such as data ethics and data-driven bias. Prerequisite: None. Fulfillment: Core AT; Social Science Foundational Course; Social Science Methods Course.
Exposes students to some of the most provocative and entertaining novels written in Japanese since the end of the Second World War. Students see how the collapse of totalizing ideologies brought by Japan?s defeat led to an extremely fertile and yet somewhat atomized literary landscape. In this new postwar terrain, it became increasingly difficult to think of literature in terms of ?schools? or ?influences,? as questions of cultural and individual identity became harder and harder to answer in a world of material prosperity and cultural hybridization.
This four credit course explores how the dynamics of migration have shaped identity and citizenship. By providing students with a range of theoretical approaches, the course will address questions of migration, national identity and belonging from a multidisciplinary perspective drawing from (amongst other fields): Sociology, History, Geo-Politics, Gender Studies, Black European Studies, and Cultural Studies. Taking the so called “refugee crisis” as a starting point, the course will pay particular attention to the figure and representation of the “migrant” going from Italian mass migration in the late 19th century to the migrants crossing every day the waters of the Mediterranean in order to reach Fortress Europe. Yet, a course on migration processes undertaken in 2017 Italy cannot limit itself to a purely theoretical framework. Migration means movements of people bringing along personal histories, families and cultural backgrounds. Furthermore the presence of migrants, refugees and asylum seekers reaching Europe is having a significant impact on the current social and political agenda of European government, as in the case of Italy. Therefore the course will include a series of fieldtrips aimed at showing students how immigrants, refugees and asylum seekers insert themselves into the labor market and society in Italy.
This course will provide undergraduate students with an understanding of the political and governmental processes that influence New York City. The course will explore the structure of the municipal government, the role of the mayor and city council, the way in which state and regional agencies affect public services, and the role of the media in the political life of New York City.
This course looks at the development of site-specific performance with a special emphasis on projects that engage with social issues and include activist agendas. “Site-specific” is a term frequently associated with the visual arts but since the Happenings of the ’60s and ’70s, a body of work termed “site-specific performance” has evolved as highly structured works of art that are designed around, for or because of place and associated communities. As site artists confront the matrix of social forces, changing political policies and overlapping communities that relate to a given site, their aesthetics, creative process and goals have shifted. How are they blurring the lines between art and activism, art and urban renewal, art and real life? This arts workshop will emphasize making site work by completing a progressive series of studies, using various artistic mediums. We will also be reading about and viewing site work by seminal artists in this field. This course is recommended to adventurous students with interests and some training in at least one of the following mediums: dance, theatre, spoken word poetry, media, photography and/or visual art. Readings include texts by Maaike Bleeker; Jan Cohen Cruz; Bertie Ferdman, among others.
We know that for children play is more than just fun; it is the work through which they develop. But what about when adults play? Through play we find our freedom, spontaneity, and our aesthetic. What is there in human beings that enables us to play? Why is play considered an innate capacity of people from the beginning of recorded history? What qualifies as play? When does play become art? In this course, everyone plays and in doing so examines the historic and contemporary uses of play as a potentially universal impulse of humans, across generations, time and space. Play’s capacity to create and sustain community will be considered. We will examine play as it is reflected through theories of child development, dramatic improvisation, fine art, politics, social construction and identities, music, religion and spirituality, literature and social media. Students will examine the necessity of play in their own child and adult lives—the creative spirit, the adventurer, the empathic connection with humanity, and laughter, too. Books may include: Nachmanovitch’s Free Play, Bettelheim’s The Uses of Enchantment, Huizinga’s Homo Ludens, and selected readings from Lorca, Nietzche, Piaget, Postman, Solomon.
Family violence is an overarching term for many areas in the study of interpersonal abuse, aggression, and violence. This course will provide an introduction to the multiple aspects of the study of family violence and is intended to provide a foundational knowledgebase for further study in the context of social work practice, research, and policy. The course will cover both historical and current controversies and standpoints of family violence research, practice, and policy. This course is structured as a critical examination of family violence from a social work perspective. Family violence is a dynamic and complex issue, posing diverse challenges for clinical, legal, research, and policy professionals. A multidisciplinary approach to the study of abuse, aggression, and violence in the context of familial relationships including partner violence, child abuse, sexual abuse, elder abuse and sibling violence informs the basic structure of the course. Using a critical analysis framework that considers ethnicity, socioeconomic status, gender, disability, and sexual orientation in context, the course will cover topics including: the meaning, nature, and types of family violence; biological, psychological, and sociological theories that attempt to explain interpersonal abuse, aggression, and violence; the outcomes and consequences of violence; a range of family violence prevention and intervention strategies in clinical and judicial settings. The primary focus of the course is on the American family, though references will be made to other countries and cultures, particularly issues relevant to immigrant families.
This course, aimed at second semester sophomores, is the launch pad of Television Writing in the department. Before taking any other TV writing courses, students must take Introduction To Television Writing. The course will introduce sophomores interested in TV writing to all aspects of what goes into the creation of a script for a TV program. It is also recommended for non-writers who wish to learn the fundamentals of TV writing as preparation for creating shows and working with writers. The course will also prepare students for other TV-writing courses in the departmental Television Progression. The course is also open to seniors with an interest in television writing who haven’t taken other TV writing courses. This course allocates as Film & TV, Scriptwriting for Film & TV majors.
Open to students with no previous training in French and to others on assignment by placement test. Not equivalent to FREN-UA 10. Only by combining FREN-UA 1 with FREN-UA 2 can a student complete the equivalent of FREN-UA 10 and then continue on to the intermediate level. Offered every semester. 4 points.
Topics in Interactive Media Arts courses are courses within the broader field of emerging media, covering a wide range of topics depending on the expertise of the current course instructor. This course will cover a specific emerging media topic from a practical and/or theoretical perspective. Students will learn about the topic from readings, discussions, and writings, as well as through hands-on assignments and projects. Students can enroll in multiple “Topics in IMA” courses simultaneously in one semester and receive full credits for each course. Prerequisite: None. Fulfillment: IMA elective; IMB IMA/IMB elective.
The spectrum of Extended Reality (XR) – encompassing Virtual Reality (VR), Augmented Reality (AR) and Mixed Reality (MR) – brings with it several opportunities for new possibilities for game design, interactive storytelling, and more. While implementations of these technologies and associated theory have existed for a number of years, the recent technical and commercial resurgence means that developing skills in critical thinking and creative aptitude with regards to AR and VR is incredibly timely. To this end, rather than studying only contemporary discourse around XR technologies which frames it as a new development or passing fad, this class will also look at more well-established principles of both AR and VR – such as object presence and other aspects of existing theory. Furthermore, it analyses such technologies through a theoretical and critical lens, placing them within the wider history of the arts.
This course will cover a variety of academic topics within the field of Interactive Telecommunications. For further details, please refer to the individual class section notes and topic subtitle.
This course will cover a variety of academic topics within the field of Interactive Telecommunications. For further details, please refer to the individual class section notes and topic subtitle.
An inquiry into the ways that technology — mechanical, electronic, analog, and digital — shapes and is shaped by cultural, political, and social values. Students become acquainted with key concepts and approaches to understanding the interplay of technology and society (e.g. technological determinism, social construction of technology, actor networks, affordances) and how these have been applied to such cases as the clock, the automobile, the assembly line, household technology, the telephone, and more recent communication technology.
Code Lab 2 is a continuation in exploring how to craft game with programming. In Code Lab, we examined how to make games in openFrameworks, starting from scratch. This class will be a workshop, building off of that knowledge, but focusing on learning how to work with code that is already written. Students will learn to work with a new Integrated Development Environment (IDE), eclipse, learn to work with a version control system, and work in depth with Java and Processing. Over the course of the class, students will be given several versions of classic games (Pong, Space Invaders, Asteroids, etc.) that are incomplete or have an obvious bug. They will learn to read the code, identify how to correct the issue with the game, and then eventually modify it to make their own new version of the game. These skills are essential to work with code from other developers, whether they are members of the same team, open source projects, or examples provided in tutorials and readings.
This course is designed to work in three ways. First, it is an opportunity to learn about London’s architecture and history by physically exploring the city’s historic and modern built environment. Second, this class is an introduction to sketching and keeping a travel notebook, a fulfilling skill that any liberal arts student should experience. Third, and perhaps most important, this course teaches students how to ‘read’ a building and a town or city. The ability to visually make sense of the built environment of this major capital should help in understanding the architecture of New York City and other towns and cities throughout the world. Our course is formed of a series of site visits through London’s extraordinary and diverse environment, considering significant architectural developments from many periods, while learning to record and describe what we see. We will study the architectural vocabulary of London and learn how to accurately and elegantly depict buildings and places in both word and image. Please note that it is very important that students attend the first class, which covers the introductory information, lecture and drawing session.
This course provides a practical introduction to urban agriculture. Students will learn horticultural skills while performing tasks at the NYU Urban Farm Lab. They will also learn about the biological processes that these tasks manage & how they fit together in a system. Through visits to other sites around the city, students will be exposed to a wide variety of strategies for practicing horticulture in the urban environment.
In this workshop, students will explore the possibilities of dancing across spatial categories, making dances in “real” and digital space. Taking our cues from contemporary experimental and primarily post-modern choreographers, we will examine how our arts practices and beliefs about bodies and space are linked to evolving ideas and cultural systems; we will ask questions that tug at the assumptions of what dance is, what bodies are, what space is, and how these elements are significant as components of choreography and of our dance experiences. We will make and watch dances ranging from low-tech works to high-tech experiments. In addition to making dances, we will read about contemporary dance, technology, and other practices and disciplines (e.g., architecture, philosophy, neuroscience), view performances of choreographers and visual artists, and meet with practitioners engaged in the questions and practices of our study. We will join with CultureHub, an organization housed at La MaMa E.T.C. (one of New York’s most noted experimental theaters) and working at the intersection of art, technology, and community. Readings might include work by Gaston Bachelard, Victoria Hunter, Matthew Frederick, Merce Cunningham, Steve Paxton, Andrew Gurian, Yi-Fu Tuan, and other artists and scholars. The course is open to all students: anyone interested in dance and/or technology is welcome. Note: all workshop members will be expected to participate as movers!
The concept of sustainability is important in our current moment, yet we use the term in a variety of ways and via different frameworks of understanding. This course explores how we talk about and understand the concept of sustainability, including as environment and climate change, food production and consumption, and individual and community health. Students will examine the concept of sustainability through these different lenses, exploring the connections among them.
This course explores the ways that we perform on and for the Internet. We’ll take a look at how artists have used social media, live-streaming, and multi-user online spaces as a site for performance. Students will conduct their own interventions with the web as a virtual stage. Note: Performance is a broad and amorphous term! You are encouraged to take this course even if you do not consider yourself a performer or someone who wants to be in front of a camera.
With an important history of immigration, France has long been a site of cultural contact and exchange. This course considers the country’s multicultural make-up and the ideologies, institutions, conflicts, and paradoxes that shape how that diversity has taken form through time. Conflicts and controversies of the past 40 years, which include the rise of the extreme right, the problem of the disadvantaged suburbs, the question of Islamic headscarves, and more, have in particular pushed these questions to the front of the country’s domestic agenda. Looking historically and across several case studies, we ask as well as what the French example can add to our understanding of culture, diversity, and race. Conducted in English.
This course examines modern statistical methods as a basis for decision making in the face of uncertainty. Topics include probability theory, discrete and continuous distributions, hypothesis testing, estimation, and statistical quality control. With the aid of computers, these statistical methods are used to analyze data. Also presented are an introduction to statistical models and their application to decision making. Topics include the simple linear regression model, inference in regression analysis, sensitivity analysis, and multiple regression analysis.
This course will study a variety of texts written at particular times in the history of London. The aims of the course are to encourage the student to think historically, in terms of the way London and representations of the city have changed and developed over time; and theoretically, in terms of the way the city is mediated through different forms and genres (e.g. poetry, novels, essays, film; satire, detective and crime fiction), and the interrelationship of literary and material spaces. We will also examine the significance of gender, the definition of the modern metropolis as a labyrinthine city of Babylon, the influence of metropolitan culture on Modernism and Modernity, assimilation versus multiculturalism, immigration, and the effects of new modern spaces on individuals.
Introducing the notion of citizen science, this course provides students with opportunities to use scientific information to solve real-world problems related to environmental & public health. By exploring the practices of science from observing & measurement to analyzing & explaining data, students learn to use data & produce scientific knowledge for the public. Liberal Arts Core/MAP Equivalent – satisfies the requirement for Natural Sciences
Offered only at NYU Paris. An overview of important developments in French philosophy from the 16th century to the 1950s. We will look at the epistemological and metaphysical debates that followed the rediscovery of Ancient philosophy and the Copernican revolution, with Montaigne’s skepticism, Descartes’ rationalist theory of knowledge, and Condillac’s empiricism. We will then focus on developments in French political philosophy in the 18th and 19th centuries, closely intertwined with political events. We will read Rousseau, an important influence on the French revolutionaries, before turning to 19th-century debates about equality, with Proudhon’s anarchist criticism of property rights, and Tocqueville’s cautious liberal perspective on the political consequences of equality. Finally, we will look at two key movements in French philosophy in the first half of the 20th century, Bergson’s attempt at understanding the temporal duration conscious beings inhabit, and Sartre and de Beauvoir’s distinctive development of existentialism, a philosophy that grapples with the consequences of human freedom.
The course on “Media, Activism & Democracy” aims at, first, introducing students to the complex and fascinating topic of civil society activism; second, at illustrating them the linkages between activism and media; third, at showing them the impact of civil society’s advocacy on contemporary political systems. In a nutshell, the course aims at providing students with a closer understanding of the civil society activism-media-politics conundrums at the national and global levels.
Presently, the distinctions between fashion and art have begun to fray, revealing a dynamic cultural nexus that has propelled new concepts, processes, materials and modes of presentation. Artists, designers, curators and critics alike recognize the wide-ranging appeal of locating fashion within Fine Art and vice versa. This malleable exchange between the two mediums is illuminated in landmark exhibitions like Alexander McQueen’s Savage Beauty and in the profusion of artist to brand collaborations that continue to transform the fashion world. In this arts workshop, students will have the opportunity to explore fashion as art through a range of material investigations. Questions that the course will engage include: how has the confluence of fashion and Fine Art both challenged and enriched the cultural significance of dress, shifting the industries course and altering the way the world sees value, gender and even identity? “Additionally, how can merging these mediums expand and enhance one’s own studio practice? Students can choose from a variety of mediums, including, but not limited to: illustration, painting, collage, textile design, sculpture, photography and performance. This course is open to students of all artistic backgrounds with an interest in expanding their experiences in visual culture and the visual arts.
Students will create a storyboard from an assigned literary property (i.e., fairy tales, folk tales, famous short stories, etc.) and research the chosen material visually in picture libraries, print and photo archives, museum/gallery libraries and online. From this basic research, the student will create and develop all the visual elements that lead to a final production storyboard; these elements include character model drawings; styling sketches for costumes and sets; experimental “inspirational” sketches exploring mood, color, and character relationships and experiments in animation and color test footage. Each week, students will “pitch,” (i.e. present material) as it is being developed. Through weekly critiques from the instructor and students, elements and shape of the production storyboard is refined to its final form. The approved storyboard at the end of the semester should be ready to go into production, and must reflect character ,attitude, design, entertainment, mood, expressions, feeling and type of action. It must use dialogue, music/sound effects, and tell the story in the best possible way. This course allocates as a Craft for Film & TV majors.
This course introduces to the many villas surrounding the city of Florence. It aims at illustrating their origins, their history from the Middle-Age to the twentieth century, as well as their economic and ideological factors in the relationship with the city of Florence. The course draws on many disciplines, such as architecture, history, economy, social history, history of art, and landscape art.
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.
Is there a point or significance to life as a whole? That is the question about the “meaning of life.” Though this question is notoriously hard to make precise, in one form or another it has animated much literature and art, and also much philosophy. Some philosophers have provided disheartening answers: life is suffering, and then it ends; life is absurd and never gains any meaning. But other philosophers have provided more uplifting answers that support the quest for personal significance. Bot h kinds of answers deserve scrutiny. After reviewing various pessimistic and more optimistic approaches to the meaning of life, we will turn to the subject of death. We will all die eventually. We normally encounter the death of our family and friend s before we must deal with our own. These themes too are the subject of philosophical reflection. We finish the semester with a discussion of the connection between individual significance and the future of humanity. This class will integrate references to art and literature as well as to science where appropriate, but its main focus is on contributions by recent thinkers in the analytical tradition of philosophy.
In this course you will attain an understanding of the key factors that contribute to organizational success and the role that managers play in helping their organizations become more successful. The better that you understand these issues, the more effective you will be in your future careers. More specifically, the course will explore how organizational leaders develop winning strategies, and then design their organization in a way that aligns structures, social relationships, tasks, human resource practices, and people to achieve those strategies. In exploring these issues, you will identify the challenges that organizational leaders and managers face as they try to make good decisions in the face of a constantly evolving industry environment, competing goals and agendas, and an increasingly diverse and global workforce.
In this class, we will use AI as a writing and editing tool and study the history and philosophy of augmented and automated writing. Through a combination of lectures and hands-on workshops, we will explore the theoretical aspects of AI and writing with case studies and examples, as well as experiment with different AI tools and techniques. Prerequisite: None.
“Designing for” classes focus on working with a real-world client or partner, preparing students for professional collaborations with institutions, publishers and media companies beyond the game industry who partner with game developers on playable experiences. Outside partners have included museums, non-profit organizations, non-digital publishers and digital media platforms. In each version of this class, students will interact directly with representatives from one outside partner and collaborate with other students on a single semester-long project tailored to the client’s goals, developing an initial idea from conceptualization through pitching and prototyping, based on criteria and feedback provided by the partner. Students will learn to follow a structured process for ideation, collaboration and prototyping, while taking care to understand the audience, content and goals of the partner organization’s industry and the context of play. The semester culminates in a final presentation of playable prototypes to the partner.
Introduction to research and theory of human development across the life span. Seminal theories & basic research of individual growth & development are analyzed & critiqued. Emphasis is on the range in human development with discussion of normative & non-normative development. Emphasis is also placed on the importance of understanding the influence of normative & non-normative contexts of development, including the impact of culture, heritage, socioeconomic level, personal health, & safety. Relations between home, school, & community and their impact on development are also explored via readings, lectures, discussions, & weekly observations in the field. Interrogation of implicit folk theories as a foundation for exploration of formal knowledge of human development.
Course Description: In this 14-week course, students will explore sound design fundamentals through modular synthesizers, leveraging the capabilities of microcontrollers. Modular synthesizers are a type of electronic musical instrument used to generate, manipulate, and shape sound through the interconnection of individual modules, or components. This course is designed to equip students with the skills and creative prowess required to craft their own unique devices that adhere to the Eurorack design format; a popular modular synthesizer standard. The curriculum blends the art of sound design with the technical aspects of hardware synthesizer architecture, building skills so that by the end of this course students will have the competence to bring their sonic visions to life in physical form through thoughtful interaction. By harnessing the modular nature of these components, students will work independently, taking into consideration the designs of their peers to ensure seamless compatibility between their devices, resulting in a distinct ‘voice’; a term used to describe a collection of components that define the signal path of a synthesizer. The first half of the course will focus on sound design coding techniques utilizing the Teensy microcontroller, with the second half dedicated to developing tangible hardware design skills. Prerequisites: Intro to Physical Computing No sound design/musical experience is required.
“What does it mean to make something that lasts? In this 7-week studio, we will attempt to understand the collective hallucination that is the Internet, while rationalizing the intersection of permanence, mutation, utility and ownership in creative digital work. To support this investigation, we will: – Use hands-on workshops to understand and build various forms of generating digital art – Consider the implications of storage and longevity – Have a working knowledge of marketplace capabilities, and their influence on the art that they contain – Expand on our understanding of verifiable ownership, blockchain and otherwise, and how it can have impact beyond the digital landscape Through this class, you will develop work that considers time as a critical axis, be it the longevity of the outcome, or the impermanence of the idea. Work may live on the blockchain, utilize generative ai frameworks, or manifest as a performance in a snowstorm.”
This course examines magazines as collaborative sites for artists and writers internationally, leading the way to a global, networked cultural sphere. We will consider periodicals as both commercial and artist-driven enterprises and as material objects to be studied through the lens of the history of photography, journalism, and design.
This course deals with the history of the art and science of cinematography. A working Director of Photography will relate a perspective that is unique and factual to a theoretical discussion, which is traditionally academic. Cinematography has a strong tradition of adapting its tools to enhance the storytelling experience. This course allocates as History & Criticism for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES. “Non-majors must process a “Permission Notice for Non-Majors” form” to register for the course (subject to availability).
With the COVID-19 pandemic and the rise of social movements like Black Lives Matter and #metoo, the field of social good advertising has rapidly expanded as brands seek social relevance, governments and nonprofits look to inform, and activists try to persuade. In this course, students will learn to plan and execute powerful social advertising campaigns, while thinking critically about the blurred lines between advertising and information, and branding and politics, in what Sarah Banet-Weiser calls “Shopping for Change.
MCC Research Inquiry Seminars, taken early in the major, expose students to the department’s culture of scholarly inquiry. Course topics reflect faculty research interests, offering students a chance to explore emerging issues in the field of media studies.
Students who plan on pursuing careers in the media (professional and academic) will be faced with difficulty choices that carry with them potent ethical repercussions, choices that practical training does not properly equip them to approach in a critical and informed manner. The purpose of this course is therefore twofold: 1) to equip future media professional with sensitivity to moral values under challenge as well as the necessary skills in critical thinking and decision making for navigating their roles and responsibilities in relation to them; and 2) honing those same skills and sensitivities for consumers of media and citizens in media saturated societies.
Why do some organizations succeed while others flounder? Whether it be as an employee within a traditional for-profit business, or within one of the wide spectrum of alternative career paths, all of us will ultimately be a part of organizations. This course will help illuminate the key processes and factors that determine why organizations function as they do, drawing upon the fields of management, strategy, sociology, and psychology in the process. Specific topics covered include: Corporate strategy and achieving competitive advantage, Organizational structure and design, Organizational and national culture, Leadership, Motivation and incentives, Groups dynamics, Power & politics within organizations, including a discussion of persuasion & influence and social networks, Judgment and decision-making.
This workshop introduces the basic elements of poetry, fiction, and personal narrative with in-class writing, take-home reading and writing assignments, and substantive discussions of craft. The course is structured as a workshop, which means that students receive feedback from their instructor and their fellow writers in a roundtable setting, and that they should be prepared to offer their classmates responses to their work.
This course is designed for learners with no prior knowledge of Arabic. Students who have studied Arabic before or who have prior knowledge of Arabic are required to take a placement test. This is a full semester (or equivalent session) course during which students first learn the Arabic alphabet, then move on to work on the sentence and paragraph levels. It is an interactive course designed to build the student’s abilities in listening, speaking, reading, and writing. At the end of the semester students should be able to carry on a short conversation; ask and answer questions; introduce themselves and others; provide simple biographical information; interact in simple daily life situations; ask for assistance; express likes and dislikes; read short texts; and gain a basic understanding of Arab culture. Types of tasks and assignments required for this course include daily homework assignments, periodic quizzes, brief presentations, short essay writing, and a final exam.
This course evaluates marketing as a system for the satisfaction of human wants and a catalyst of business activity. It presents a comprehensive framework that includes a) researching and analyzing customers, company, competition, and the marketing environment, b) identifying and targeting attractive segments with strategic positioning, and c) making product, pricing, communication, and distribution decisions. Cases and examples are utilized to develop problem-solving abilities.
This course is designed to hone the student journalist?s ability to research and report deeply and to be able to imagine and develop fresh ideas, test their ideas with the strength of their reporting and research, and then present them in story form.
Examination of food from historical and transnational perspectives. Topics considered are: the origins of agriculture, the phenomenon of famine, the co-evolution of world cuisines and civilizations, the international exchange and spread of foods and food technologies following 1492, issues of hunger and thirst, and the effects of the emergent global economy on food production, diets, and health. Liberal Arts Core/MAP Equivalent – satisfies the requirement for Cultures and Contexts for Steinhardt students.
In this course students explore the Earth as an integrated, dynamic system involving the material world and diversity of living things which we call biodiversity. Specifically, this course explores the flow of energy and materials through the Earth System and potential human impact on this system. Through the practices of science students learn to use data to produce scientific knowledge for themselves and the public while exploring the question of what it means to engage in citizen science.
The second semester of Social Foundations spans a thousand years, from the rise of Islam and the reunification of China under the Tang dynasty (in the 7th century C.E.) through the Scientific Revolution and the decline of the Mogul empire in India. This course invites students to consider great ideas that have often helped earlier peoples organize their lives–but which have also set them in conflict, sometimes with other communities, sometimes among themselves. Such ideas have sparked movements for ethical and social reform, for conquest, for the recovery of lost classics, and for religious renewal.
The first semester of Social Foundations introduces students to the ancient world and ends with the dissolution of the Western Roman Empire, of the Gupta Empire in India, and of the Han Dynasty in China. This course takes a global perspective and uses an interdisciplinary approach, and part of its aim is to explore enduring questions such as the relation between the individual and society, between justice and power, and between humanity and the divine.
Artists often explore powerful issues of mental health through literature and film. “No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul.” (Ingmar Bergmann 1918-2007) In this course, we will draw on classic examples from literature and film to highlight and understand aspects of mental health in ways that are more vivid and visceral than any text book can illustrate. Materials will be chosen from novels, poems, and films to illustrate various mental health issues, such as anxiety, depression, post traumatic stress disorder (PTSD), obsessive-compulsive disorder (OCD), dissociative identity disorder (DID), and schizophrenia. We will look at how some of the disorders fare in psychological treatments that either succeed or fail. Guest speakers may be invited to highlight some topics.
This course provides an introduction to the fundamental topics in macroeconomics, the analysis of the economy as a whole. After an overview of introductory economic concepts, such as comparative advantage, opportunity costs, and supply and demand, the course focuses on the determinants of aggregate income, employment, and prices. Other topics include the study of long-run economic growth, the business cycle, the financial system, as well as monetary and fiscal policy. *ECI-UF 101 and ECII-UF 102 may meet some of the equivalent course requirements for the College of Arts and Science. Students may take ECI-UF 101 and ECII-UF 102 in any order; neither course is a pre-requisite for the other.
Key questions: Does living well require acquiring knowledge and wisdom? What is the place of moral responsibility in the good life? Is the good life a happy life, or does it require sacrificing happiness? Does religion lead to living well or does it hinder it? What is friendship and how does it contribute to the good life? Study of primary texts by Plato, Aristotle, Seneca, Avot, Maimonides, Spinoza, and Hermann Cohen.
What does it mean to say that Jesus Christ was both human and divine? How can the Christian divinity be one yet three? How are the sacraments such as baptism effective? Do we have freewill? These were some of the pressing questions the Church Fathers addressed in the early centuries of Christian history and their answers contributed to the Christian theological tradition for centuries to come. In this course we will examine some of the classic works of early Christian theology. Despite the often highly rhetorical and polemical character of their writings the Church Fathers nevertheless developed an intellectually rigorous field of knowledge, one that has had a significant intellectual historical as well as socio-political impact in the history of the Church. This is not a theological course but rather an introduction to some of the key texts in a historically significant mode of theological inquiry.
The course is focused on exploring Franz Kafka’s work – stories, novels, diaries and letters – in the context of fin de siècle Prague and the birth of modernism. We will take a closer look at the cultural and social context of Central Europe (literature and the arts, but also the Modernist architecture of Adolf Loos, Simmel’s sociology of the metropolitan life, Freud’s analysis of the unconscious, Brentano’s psychology, the resonance of Nietzsche’s philosophy, or the emergence of new media like phonograph and silent film) in the first two decades of the 20th century. In addition, we will discuss the adaptations of Kafka’s work and its impact on later art, fiction and film (Borges, Welles, Kundera, Roth, Švankmajer). The topics discussed through Kafka’s writings and other related works include: man and metropolis, family, estrangement, authorship, time, writing and media, travelling, territories and identities, languages, animals, art and pain. We will be especially interested in how these phenomena transform when represented in and through the medium of literary fiction.
Humanity has long imagined monstrous transformations of ourselves. What do these creatures mean to us, historically and today? What do we think we are becoming? Investigates the supernatural in popular culture through vampires and zombies. Places them in the context of our imagination of the divine through history and ethnography, and also alongside our intimate problems of managing sex, gender, race, and class. The archives of religions, psychologies, philosophy, film, TA, and novels provide rich source material, Requires a short midterm essay and a longer final project, while posting to a forum most weeks.
Both dancing and everyday movement offer continual opportunities for embodied experience. Those who regularly dance or engage in movement practices such as yoga, jogging, cycling, and walking typically develop an appetite, even a need, for moving and the breadth of experience it brings. Whether you already feel this appetite or want to explore embodied experience for the first time, this Arts Workshop offers the opportunity for deep investigation of movement, focusing on active and contemplative exploration of bodies in space and time. We will be guided by several research strands linked to the existence and power of embodiment, noting experimental choreographer Susan Rethorst’s term, “the body’s mind”: ways of knowing (individually, culturally) through our bodies. Through many movement options, including dancing and somatic practices, walking and other everyday actions, and personal/cultural/political movement histories, we will encounter or create relationships between what we do and who we are. In the studio and elsewhere, we will consider how our lives as movers, and our sense of ourselves as embodied, bring us into contact with others—walkers, dancers, friends and family—and with our spaces, places, and sociocultural worlds. In this course (open to anyone with/without previous training), our research-in-action will be supported by interdisciplinary scholarship engaged with dance, embodiment, space, everyday culture, phenomenology, environmental studies, and life writing. Readings may include works by Thomas DeFrantz, Anna Halprin, Victoria Hunter, Einav Katan, Marcel Mauss, Maurice Merleau-Ponty, Andrea Olsen, Steve Paxton, Georges Perec, Yvonne Rainer, Susan Rethorst, Kathleen Stewart, and Yi-Fu Tuan.
What is “global heritage”? Is it simply our collective legacy as human societies – how we want to be remembered by future generations – or must we confront more difficult questions about identity, the ownership of culture, and conflicts between local and global stewardship of the cultural treasures and historical evidence? With time, negligence, and even military conflict working to erase the past, we must ask: Can a better understanding of our shared heritage assist us in addressing cultural differences in the present day? And how can science both help us understand the historic record and work to preserve it? This class examines ways in which scientific methods can help define “global heritage” and protect it for future generations. Students explore the history and the science behind the creation of paintings, frescoes, parchments, sculptures, ancient mummies, historical buildings, musical instruments, and other artifacts. They will also examine the methods used to differentiate between an authentic object and a fake and ask how some objects come to be valued more than others: distinctions that can lead, and have led, to cultural conflict in recent years.
Virtually unknown outside of academic discourse until recently, the term cultural appropriation has become a commonplace in social and popular media, as activists and public intellectuals have highlighted what they see as problematic uses (or abuses) of cultural symbols, artifacts, or expressive modes connected to marginalized groups. But what exactly is cultural appropriation, and under what circumstances can it be said to constitute a form of exploitation or violence? This course approaches these questions both philosophically and empirically, asking, on the one hand: What is culture, and how can it be “owned” or “stolen”? and on the other: How have practices of adopting or using culture been implicated in processes of social subjugation or marginalization? Course readings are drawn from a range of disciplines across the humanities and social sciences, including cultural anthropology, art theory, music studies, and philosophy. By engaging with a rich corpus of ideas through in-class discussions, oral presentations, and written reflections, students will develop critical perspectives on cultural appropriation as well as the broader concepts of culture, race, and ethnicity.
City, territory and architecture have been, from the beginning of photography, privileged objects for its practice. Photography has become a tool to strengthen the understanding of architecture, to highlight aesthetic and design ideas and to critically interpret the space. This class focuses on architectural photography and the photography of urban space, both in relation to their historical roots and contemporary practice. Florence offers a perfect environment to develop one’s artistic talent while learning the art of photography and discovering the secrets of one of the most fascinating cities in the world. Assignments are designed to help explore options for technical control as well as visual experimentation and individual style. Keeping in mind the inseparability of photographic technique and expression, students are expected to articulate their particular choices in relation to the overall conceptual approach of the projects. Critiques of assignments are important to the progress of each individual in the class, to help verbalize visual concepts, and to learn to see actively. The final exam consists of the presentation of a portfolio of photographs and an artist’s statement. Students are expected to work on their projects to develop an aesthetic and coherent photographic language and a personal approach to the photographic medium in a different environment. An emphasis is also placed on refining craft in relation to ideas, and to research on an individual basis, since it is crucial in developing an artistic practice. The course includes lectures, shooting sessions and field trips, discussions and critiques of the photographs. Each student must have a camera with manually adjustable aperture and shutter speed.
Second of two introductory courses in general physics for non science or engineering majors. (Not an acceptable substitute for PH-UY 2023 or PH-UY 2033) Electric forces and fields. Electric potential and capacitance. Electric current. Magnetic forces and fields. Faradays law and inductance. Maxwell’s Theory of Electromagnetism. Electromagnetic waves. Light and Color. Geometrical optics. Image Formation. Interference and diffraction. | Prerequisite(s): PH-UY 1213 or PH-UY 1013; Co-requisite: EX-UY 1.
This course introduces students to the range of mechanical engineering and emphasizes the basic principles and devices for storing and using energy, directing motion and satisfying needs. Case studies look at design issues and related ethical and professional practice issues. Emphasis is on a mindset of exploration. Engineering standards and standard parts. Teams work on and present two design challenges. | Prerequisite: Only first-year students are permitted to enroll in this course.
Decentralization has become a buzzword in the technology space, and there is much more to decentralized technology than NFTs and cryptocurrency. In this course, we will examine the fundamental concepts of the existing internet infrastructure, work to define what decentralization means, learn about the “why” of decentralization, survey the landscape of decentralized, distributed, and p2p protocols, and develop decentralized applications. We learn about will examine the implementation of decentralized technology and throughout the course, we will look at different use cases of decentralization such as evading censorship, protecting privacy, and creating resilient applications. We will also consider ethical questions about the decentralization movement—how will it grow, who benefits from decentralization, and whether a decentralized internet is even a good solution at all. We will examine the underlying technologies that enable decentralization, as well as looking at the current implementations of decentralized protocols and apps built on top of decentralized protocols. Finally, we will touch on adjacent topics such as local networks, mesh networking, and p2p networks. While this course will cover a breadth of decentralized and self-hosted applications, we will steer away from decentralized financing and NFTs and instead focus on decentralized information sharing. The goal of the class is to challenge students to think critically about the future of the decentralized web and develop applications that leverage these technologies. Students with or without a background in networking are both highly encouraged to enroll.
How do we make things move, produce sounds, or maybe even emit light without batteries? Through this course, each student will design their own purely mechanical automaton. We will learn how to use simple materials and tools to hand prototype mechanisms in their early stages. CAD software will be used to refine the designs and then a series of traditional and digital fabrication tools (various wood shop tools, laser cutter, CNC, 3D printers, etc.) will be used to produce the final pieces. We will learn how to work iteratively in the shop through weekly exercises, and a midterm and final project.
To be a VR creator, it’s not enough to learn the hard skills—it’s also our responsibility to prime ourselves for the human impact of our work. As a means to design VR that is both enjoyable and accountable, this class proposes we borrow design principles from Hedonomics, a branch of ergonomic science that facilitates pleasurable human-technology interaction. Through the Hedonomic Pyramid, we’re able to section our thinking off into regions (Safety, Function, Usability, Pleasure and Individuation) and map out industry-tested VR design guidance for each. The result is a hierarchical checklist of proven principles, specifications and practices—that promote a culture of inclusive and holistic design—built to serve as a quickstart guide to designing accountable VR interfaces and systems. This class, divided into units that represent each level of the Hedonomic pyramid, will unpack both technical and conceptual strategies for creating VR, from visual interface fidelity to avoiding locomotion cybersickness to designing safer social VR spaces.
On Becoming is a two-part professional development course. Finding Your Artist Voice (part one) filters your fears and apprehensions so you can declare your creative process and practice courageously. The seven-week system will help you proclaim your artistic identity, theoretical underpinnings, and trajectory with clarity, precision, and commanding written language. Students will build personalized masterplans and workflows to facilitate measurable professional growth while learning to catalog and archive their work. Students will develop a working artist biography, artist statement, and fully documented work samples. For the final project, students will be supported in selecting and submitting a post-graduate fellowship, residency, grant, or open call!
“What is the medium of memory? In this 14-week studio class, we will dig into this question through creative storytelling. Starting from a lens-based practice, this class will introduce traditional and bleeding-edge documentary methods to inform our own varied approaches to activating archival material. Through weekly “readings” (articles, podcasts, films), written reflections, and creative assignments, we’ll explore: • how technology has impacted our relationship to memory; • how visual interventions can can surface alternative narratives; • how to make under- and unrecorded histories visible, and call into question the power dynamics embedded in “official” records; and • how we might recast objects and sites of memory-keeping, like heirlooms, journals, and memorials, as a mode of engaged preservation. Mid-way through the course, students will identify either personal or collective histories to open up to their own individual creative reexamination, memorialization, or transformation––each producing a final project with the technology and approaches of their choosing that serves to answer the question we started with––what is the medium of memory?”
We live in an age of digital production where so much of today’s music is produced with comparatively few tools, and at the heart of the modern production set up, whether in the bedroom of the studio, is software that uses MIDI. One of the most versatile of today’s platforms which can be used in production, live performance, and even as a visual tool is Ableton Live. Ableton is unique amongst the contemporary software programs making music in that it is the only one that was created by working musicians who were looking for a tool that allowed for both the seamless creation of ideas and could also serve as a performance instrument. In the past 15 years, Ableton has played an important role in creating countless tracks and records in numerous genres and the go-to software for live performance, whether for vocalists and bands or for massive spectacles like Cirque du Soleil. In this course, we will cover Ableton’s unique abilities to manipulate audio which make it the preferred platform for remixing and mash-ups. We will cover the fundamentals of the software, explore techniques to program beats, chordal and melodic ideas, as well as cover creative workflow – how to use Ableton to quickly generate ideas for producers and songwriters. Finally, we will discuss its use as a live performance tool for use with live instrumentalists and vocalists, as a DJ tool and even as a VJing tool.
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Pro Tools software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Pro Tools, getting inside Pro Tools, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
Introduction to the fundamental principles of psychology, emphasizing both the unity & the diversity of a field that spans major theoretical & research areas, including biological bases of human behavior, learning, development, motivation, & social and abnormal behavior. Links between theory & classic as well as contemporary research are a recurrent theme. Liberal Arts Core/MAP Equivalent – satisfies the requirement for Society & the Social Sciences
Explores the implications and meaning of having a disability in global contexts by introducing students to experts’ voices, especially disabled activists, as they seek to advance disability justice and inclusion and demand systemic change in spheres of influence including education, politics, healthcare, the arts, culture, social welfare, and everyday life. Examines how public (government) and private (outside of the government) policies and practices in these sectors affect the inclusion of persons with disabilities. Students explore and identify how international trends in disability and inclusion, local cultural beliefs, and biases influence inclusion.
This course introduces contemporary topics in Science and Technology Studies, emphasizing the relations among science, technology and society from philosophical, historical, and sociological points of view. This course is required for STS majors and satisfies an HuSS General Education Elective for all other majors.
A broad survey, we will consider works of architecture, ceramics, metalwork, textiles and the arts of the book. Given the span of centuries embraced by the term ’Islamic art’ – from the 7th century up to the present day – and the expanse of geography – from Spain to China and beyond – this course cannot be a complete survey within the constraints of a single semester. Instead, this course will present a select group of materials within a chronological and dynastic framework, with an emphasis on specific case studies. These selections will highlight important internal developments as well as ’points of contact’ between cultural entities. This approach – at once global and local – speaks to the dynamic and fluid qualities of many of the arts produced in the regions under scrutiny.
Combining science and the art of storytelling, this course will tackle one of the most pressing issues facing the future of humanity: Abrupt Climate Change. In a unique collaboration with NYU physical climate scientist Professor David Holland, students will research and create work that bridges the divide between science and the public through accurate, creative science-based storytelling. This highly multidisciplinary, hands-on course welcomes students from all backgrounds and fields of study to imagine and invent creative ways of telling stories about this global phenomenon and to investigate solutions. Weekly assignments will lead to a final collaborative project and an exhibition open to the public.
Offered in the spring semester only. Course level: Intermediate. 4 points. No prerequisite. Over the last 50 years the American Cinema has produced a remarkably rich abundance of entertaining, exciting, and challenging films. This course is designed to provide a survey of the wealth of styles, forms, purposes, and approaches to filmmaking that developed and emerged in this era. While Hollywood has obviously served as the dominant mode of filmmaking in this country, a significant of other filmmaking practices have continued to operate and sometimes thrive outside of it. Beyond the attention paid to Hollywood narrative cinema as it has changed and evolved over this half-century, we will also consider documentaries, avant-garde and experimental works, independent narraive cinema, and “cult” films. Consequently, we will be screening a variety of films, including works by such notable American filmmakers as Steven Spielberg, Francis Ford Coppola, Quentin Tarantino, George Romero, John Singleton, and Michael Moore.
This course presents a comprehensive, systematic, and practical conceptual framework for understanding people as consumers—the basic subject matter of all marketing. It draws on the social sciences to evaluate the influence of both individual and ecological factors on market actions. Students discuss relevant psychological and sociological theories and study how they can be used to predict consumers’ reactions to strategic marketing decisions. Basic methodologies for research in consumer behavior are developed and applied. Course emphasis is on developing applications of behavioral concepts and methods for marketing actions.
Transgender and gender non-conforming (TGNC) youth are quickly becoming more visible in society. Parents of gender non-conforming children are coming to mental health providers in increasing numbers and are often met with stigma and bias and a lack of education on TGNC health. TGNC youth are turned out of their homes at disproportionate rates and harassed and bullied in school at higher rates than their gender conforming peers. They have higher rates of suicide, depression and substance abuse and face unique medical, legal and social barriers. They also have produced their own cultures and communities to face these challenges. This course will examine the scientific research on TGNC youth in the context of the practical challenges faced by these individuals and their families. Students will hear from experts in the field, receive personal accounts from TGNC teens and transgender adults, and take field trips to social services agencies and events produced by TGNC teens themselves.
It would be a misnomer to assume that technology is something we “use.” Rather, the human appears as embedded in a matrix of the socio-techno-material. In this sense, there is something quite non-technical about technology which has an intrinsically social nature and can take the form of bodily and socializing techniques, the canalization of creative powers, becomings of all sorts, and of course the mechanical and material manipulation of ourselves and our life-worlds. We must thus speak of a biological and technical habitus of dependency and over-coming, one constituted by everything from creating art, to language, to ideological persuasion, to human enhancement and post-humanism, and various forms of convergence. What is the relationship between these various techniques and technologies and their respective effects (ethical, cultural, aesthetic) on the category of the human? Social transformation and technology cannot be theorized in isolation. The technological, mediological, and digital have to be unearthed as constitutive of our shared “material culture” and milieu. Within such a milieu, which is both internal and external to actors and agents implicated within it, the “essence” of the human is not only potentially redefined, but indeed dissolved. In such a potential redefinition and dissolution, one finds a radically new ethical and political threshold that has yet to be adequately theorized. This course attempts to reveal this threshold through developing a critical heuristic which maps the topoi of the socio-eco-techno system. Drawing on mediology, ethics, and the French school of the anthropology of techniques, we explore such topoi in terms as both “deep” historical sediment and also futurology with a view to illuminating how our values are negotiated and transformed in our rapport with the technological.
In this course we focus on four contemporary novels in which the world of the character, the narrator, or the author, is read through the lens of a literary classic. In each case, the reading and rewriting of the primary text involves temporal and spatial displacements (from the 18th to the 20th century, from Europe to the Caribbean and to the South Pacific) that generate shifting perspectives and a constant reshuffling of center and periphery. Between a reverential affiliation to the past and a creative misreading and rewriting of it, these intertextual encounters with « great » Western literary works insistently raise the questions of identity, originality, and “writing back”. Exploring these questions will therefore also involve drawing on comparative, translation, and postcolonial studies.
This course examines how ideas of gender and sexuality have shaped the production and consumption of visual culture from the late nineteenth century. We will examine a variety of visual and material texts that shape, criticize, and/or negotiate with contemporaneous gender and sexual norms. Focusing on these expressions’ cultural and historical specificities, the students will assess gender and sexuality—and as an extension, the notions of normality, healthfulness, and self—as ideas that continuously evolve in response to social discourses. The course proceeds roughly chronologically. It starts with the nineteenth-century Euro-American context, in which modern ideas of gender and sexuality began to circulate authoritatively in medical and legal terms. It then moves onto more globalized contemporary perspectives that critique and/or expand the pronouncedly “Western” conceptions of identity and identity categories. Prerequisite: None.
The goal of the first half of the course is to build a basic understanding of how information about traits is encoded in our genes, how this “blueprint” is interpreted by cellular machinery to build a complex human being, and how our heredity has resulted in our evolution. In the senond half of the course, we will continue the exploration of how environment, experience and random errors affect the process of building our traits, what happens when these processes fail, and the promise and possible peril of genetic technologies for human life. Fulfillment: CORE ED (with CCEX-SHU 137)
This Praxis course is an exploration of contemporary and traditional artistic printmaking practices, with an emphasis on expanding notions of conventional printmaking techniques and forms. Students will be introduced to various printmaking techniques, and experiment with traditional and non-traditional forms, in conjunction with their histories and consider what constitutes a hand-made print in an artistic framework. Students will gain an understanding of printmaking – its history based in China, development across the globe and inventive contemporary practices which include sculptural forms. They will learn techniques, modes, forms, and applications of printmaking – with an emphasis on relief prints (stamps and wood cuts) – in a conceptual framework of contemporary printmaking practices and global visual culture. Note: attendance in the first class meeting is mandatory, otherwise you will be dropped from the course. Prerequisite: None. Fulfillment: This course satisfies IMA/IMB elective.
Introduces students to the skills and concepts they will need in order to develop a meaningful engagement with the visual arts and art history as a global discipline. Rather than providing a chronological survey of great works, it covers examples and perspectives from a wide array of regions, periods, and societies. Topics include materials and techniques of production; formal analysis; subject matter and iconography; historical and cultural contexts; the social role and formation of artists; and the history of art history as a discipline. Pitched for students who have little or no background in the study of art and architecture, this course provides a rigorous introduction to the foundations of the discipline. It is required of all art history majors.
We experience screens daily in many forms: in our hands, on our desktops, on walls and public installations as we travel. This course will explore the creative possibilities of real-time interactive and reactive art on screens in various forms. Using the recently developed p5VideoKit we will create standalone installations. p5VideoKit is a new library of live video effects – building on p5js – presented as a dashboard for mixing video in the browser. This library allows the user to apply visual effects to live video from connected cameras and sensors or streaming from devices on the internet. p5VideoKit is open source and can be extended with the user’s p5js code for a plethora of visual effects and interactivity. One possible application of p5Videokit would be a public facing installation allowing anonymous people on the street to use their hand held devices to interact with large street facing screens, thereby collaborating on real time creation of “digital graffiti”. Building on ICM, students will learn how to adapt simple sketches into components of p5VideoKit so that algorithms can be quickly composited and orchestrated into more complex works. Students will also learn how to edit and share code beyond the p5js editor, use nodejs/javascript to automate deployment of installations, and remotely configure dedicated computers with long running installations. Several dedicated computers and screens will be available to preview installations on the floor and street facing areas of the 370 Jay Street campus. Prerequisites: ICM or equivalent coding experience. About John Henry Thompson: http://johnhenrythompson.com
One of the most transformative consumer products in history, the iPhone remains the standard bearer for great design and user experience. With the latest versions of iOS and iPhone, Apple puts depth sensing and augmented reality in our pockets. How do we take advantage of this incredible platform to produce our own compelling experiences? This course will be a hands-on workshop where we explore the world beyond generic apps and push the boundaries of what’s possible on iOS hardware. Each week, you’ll be asked to complete a programming exercise meant to foster your understanding of iOS application development. We’ll leverage existing open source libraries to quickly build out your app with features such as real time communication and cloud storage. We aim to create distributed instruments for computed expression. Full-time access to an iOS device and a Mac laptop computer running the latest operating system and development tools are required. Prereq: Some programming experience (such as ICM) and willingness to learn Apple’s Swift programming language.
This course provides students an opportunity to sharpen their coding skills in several ways: by reviewing fundamental programming concepts, acquiring techniques to systematically develop code-driven projects, and then implementing those to develop an independent project with the structure and support of a classroom learning community. The first part of the semester consists of weekly exercises to practice strategies for learning new algorithms, writing pseudocode, pair programming, debugging, refactoring, version control, and more. Screen-based code examples for the activities and assignments draw inspiration from the history of creative coding. The second part of the semester shifts to a project development studio format for students to apply these strategies to a self-directed project. This could be an existing idea or one devised during the course. Ultimately this course aims to empower students to reflect on their process and teach themselves how to program with greater efficiency and independence. It is a direct follow-up to Introduction to Computational Media (ICM) or for anyone interested in advancing their coding practice. Examples and exercises will be provided in JavaScript using the p5.js library. However, students are welcome to consult the instructor about working with another programming library, framework, or language with which they have interest or prior experience. Prerequisite: ICM or equivalent experience
As you know, projection mapping and Light Art are becoming popular again because of large-scale pop-up installations worldwide: ARTECHOUSE, SuperReal, Meow Wolf, and TeamLab. Technology has advanced over the years, but how people enjoy light art have not changed so much. How do your ideas and artwork fit into these site-specific installations? This class is for anyone interested in creating a site-specific installation using mapping technologies to create new experiences for the public audience. This class guides students through conceptual and technical processes of project and artist development. It consists of three parts: Project & Artist Development, Projection Mapping, and LED Mapping. We will research and discuss the history of visual artwork, public engagement, and technical exercises using real international contests and festival sites. The student will learn the latest Projection and LED Mapping techniques using Madmapper. And we will also focus on advanced techniques like multi-projector projection, projector calculation, Interactive Mapping, and software & hardware to culminate in a final project. The class will also invite guest speakers to discuss the nuts and bolts of their art and business. About Chika Iijima: www.mappathon.com, www.imagima.com
The goal of this class is to gain an understanding and proficiency with Computer Aided Design (CAD). We will become familiar with CAD software, mechanical design, and simulation. The class will cover common CAD modeling techniques. We will use our designs to get physical parts made as well as use them in virtual projects. We will create parts both real and impossible.
This course provides critical and curatorial insight into global art practices and interactive technologies from a post colonial perspective. Designed to provide a critique of imperialism the course is underpinned by ideas pertaining to the rise of the Global South, decoupling, indigenous knowledge and ancient and contemporary innovation through contemporary art, emergent technologies, new media and exhibition practices. Students will also investigate the role of shifting digital landscapes and conservation of new media coupled with museum collecting practices, from both a deconstructive and ethical lens, providing regular opportunities to reflect upon their own respective practices. Presented as a combination of presentations/ critiques, seminars, readings, virtual field trips as well as special guest visits with noted experts, the course presents a compact and timely overview of globalization, and the effects of rapid interactive and technological innovative, in lieu with ideating towards a more equitable and diverse art and technological ecosystem.
On October 8th, 2015, a team in Ecuador identified 431 species of birds – the world record for number counted in a single day. Earlier that year in Myanmar, a scientist counted one Jerdon’s babbler, the first in nearly eight decades. In December of 2019, eBird announced that its database held over 737 million bird observations. This morning, in Brooklyn Bridge park, I counted 38 house sparrows, 4 black-and-white warblers and an ovenbird. This course will consider birding as a practice, and will dive deep into the processes by which observations become data. As a collective, we will investigate how crowd-sourced data is transforming ornithology, and will explore ways to tell stories about the natural world through visualization and more radical forms of data representation.
This course introduces the principles and practices of management. Management is viewed as a system of tasks and activities, including environmental scanning, planning, organizing, leading and controlling. Within each major task, is a series of processes, which show how to do what has to be done. Management is a science and an art; both aspects of management are covered in this course. Areas covered are management history, philosophy and the theory and practice of management planning, decision making, organizing, motivating and leading. Special emphasis is on providing the technical and managerial challenges presented by emerging and transformative technologies. Particular consideration is given to the managerial options available to both legacy and entrepreneurial organizations.
This seminar addresses global media developments in the context of key theoretical frameworks. Topics include: the disruption of information flows; challenges to democracy; distrust in journalism; the rise of social platforms; gender and diversity biases; ethics and regulation; fake news and deep fakes; the erosion of privacy; citizen journalism; cancel culture; hacktivism and digital activism; #metoo and #blacklivesmatter; the metaverse and VR/AR; Web 3.0 and blockchain; and generative AI. The focus is international, with an emphasis on Australia.
The course approaches video games through the lens of political economy. This means examining games foremost as commodities, transactional goods through which various modes of economic life occur. This course is designed to introduce students to the structure and economics of the game industry since its emergence in the 1970s, particularly across the United States, China, and Japan. Special attention is brought to the dramatic industry changes catalyzed by digital distribution, mobile gaming, live streaming, and other contemporary developments.
The class will focus on the many overlooked aspects of paper, and how it can be used as a three-dimensional material. We will learn the disciplines of making Pop-Ups, Origami, Paper Crafting, and Visual Design. Using these methods as a starting point, students will build prototypes to explore new ways to tell stories, inform, interact, play with, engage, and challenge a younger audience. Most classes are hands – on. The rest, dedicated to criticism (including from children), analysis, and refinement, technical and conceptual. We will discuss how they could be mass produced and distributed. Students will build three prototypes, during the semester. From these, each student will select a favorite to fully develop as the final.
Viewed as a natural kind or socially constructed, “madness” was defined and treated, examined and controlled, diagnosed and cured according to the spirit of the time. This course follows the varied social imageries of “madness” throughout Western history, from the Hebrew Bible to the contemporary and controversial Diagnostic Statistical Manual (DSM), also known as “the bible of psychiatry”, in its most recent 5th edition. Students read primary and secondary texts by philosophers, physicians, theologians, jurists, tragedians, novelists, psychologists, social reformers, policy makers, journalists, historians and individuals who suffered madness, known as “experts by experience.” They also observe art and watch films that portray different aspects of madness. Reading includes: the Bible, Plato, Hippocrates, Ibn Sina, Maimonides, Margery Kempe, Erasmus, Robert Burton, Freud, George Canguilhem, Foucault, Ian Hacking, Elaine Showalter among others. The course explores the interaction between the social, cultural, scientific, political as well as economic factors that have shaped the views of “madness” and its treatment while paying ample attention to the history of ideas that informed and, often, framed them.
This is an introductory course to the fundamentals of 3D computer animation. Through in-depth discussions and hands-on assignments, students will gain a thorough beginner’s understanding of the 3D production process. Using industry-leading Autodesk Maya running on high-end Mac Pro workstations, students will learn the basics of modeling and proceed through UV layout, texturing, rigging, animation, lighting and final render. At the end of the class students will have completed a series of exercises that will culminate in a final scene that showcases all they learned.This course allocates as a Craft for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES.
Machine learning is an exciting and fast-moving field of computer science with many recent consumer applications (e.g., Microsoft Kinect, Google Translate, Iphone’s Siri, digital camera face detection, Netflix recommendations, Google news) and applications within the sciences and medicine (e.g., predicting protein-protein interactions, species modeling, detecting tumors, personalized medicine). This course introduces undergraduate computer science students to the field of machine learning. Students learn about the theoretical foundations of machine learning and how to apply machine learning to solve new problems. Assuming no prior knowledge in machine learning, the course focuses on two major paradigms in machine learning which are supervised and unsupervised learning. In supervised learning, we learn various methods for classification and regression. Dimensionality reduction and clustering are discussed in the case of unsupervised learning
This course introduces selected aspects of the history, philosophy, methodology, tools, and contemporary topics in engineering. Also included are basic engineering experimentation, data analysis, and a team-design project. This course will provide an understanding of what professional engineers do. In this context, an emphasis will be placed on developing oral and written communication skills. EG1004 is a survey course that introduces students to NYU Tandon academic opportunities, professional and career development, and teamwork skills. Design and project management skills are developed throughout a semester-long design project. Disciplines within engineering will be introduced during lecture, and explored through practice in laboratory assignments.
This course covers combinational and sequential digital circuits. Topics: Introduction to digital systems. Number systems and binary arithmetic. Switching algebra and logic design. Error detection and correction. Combinational integrated circuits, including adders. Timing hazards. Sequential circuits, flipflops, state diagrams and synchronous machine synthesis. Programmable Logic Devices, PLA, PAL and FPGA. Finite-state machine design. Memory elements. A grade of C or better is required of undergraduate computer-engineering majors. | Prerequisite for Brooklyn Students: CS-UY 1114 (C- or better) or CS-UY 1133 (C- or better) | Prerequisite for Abu Dhabi Students: CS-UH 1001 (C- or better) or ENGR-UH 1000 (C- or better) | Prerequisite for Shanghai Students: CSCI-SHU 101 (C- or better)
Data structures are fundamental programming constructs which organize information in computer memory to solve challenging real-world problems. Data structures such as stacks, queues, linked lists, and binary trees, therefore constitute building blocks that can be reused, extended, and combined in order to make powerful programs. This course teaches how to implement them in a high-level language, how to analyze their effect on algorithm efficiency, and how to modify them to write computer programs that solve complex problems in a most efficient way. Programming assignments. Prerequisite: ICS or A- in ICP. Equivalency: This course counts for CSCI-UA 102 Data Structures (NY). Fulfillment: CS Required, Data Science Required, CE Required.
Data science is changing our lives. While the importance of data science is widely acknowledged, there are also great concerns around it. How are data generated? How can they be used to make predictions and inform insights? What can be the potential dangers of applying data science techniques? What are the social and human implications of their uses? This multidisciplinary course explores these questions through hands-on experience on key technical components in data science and critical reviews of human and social implications in various real-world examples, ranging from social science to arts and humanities to engineering. In the course, students will 1) learn basic concepts and skills in data science (e.g., crawling and visualization); 2) apply these skills in a creative project; 3) discuss social and human implications of data science, including data privacy; algorithmic bias, transparency, fairness, and accountability; research ethics; data curation and reproducibility; and societal impacts. This course encourages students to reconsider our common-place assumptions about how data science works and be critical about the responsible use of data.
Open only to Photography & Imaging majors. Sophomore Standing. This class will chronicle the history of photography?s complex and symbiotic relationship to the other visual arts: painting, sculpture, architecture, installation and performance, among others. Beginning with the medium?s invention and the early fights of its practitioners to establish themselves as fine artists, the course will describe photographers? unique attempts to negotiate their relationships with both artistic movements and the media culture of which they are a part. Robinson, Cameron, Emerson, F. Holland Day, Stieglitz, Moholy-Nagy, Rodchenko, Weston, Alvarez Bravo, Lartigue, De Carava, Cahun, Robert Frank, Diane Arbus and Cindy Sherman (among others) will be seen within the context of their respective art worlds, so the impact of art movements, cultural attitudes and new technologies on photographers during different historical periods can be assessed.
The history of Germany in the twentieth century offers rich material to explore various approaches to organizing modern society. Beginning with Imperial Germany in 1900 and moving forward to today’s reunited Germany, we will look at different ways in which the relationship between the state and the individual, and relationship between politics, economy, and society developed over five different political systems. We will interrogate how these institutional arrangements were envisioned and structured and how they were experienced in everyday negotiations. In this course, principle narratives and events will be situated in a European and global context, allowing us to place the concept of German modernity in a comparative framework. Lectures will provide an overview of Germany in the twentieth century; readings and in-class discussions will explore different approaches to analyzing German history and society. During museum visits and walking tours, we will analyze contestations over the various attempts to integrate – both in concerted efforts to memorialize as well as to forget and erase – Germany’s oft-problematic pasts within the narrative of Germany’s present.
This introductory-level course is needed to provide students with a firm understanding of distinctively philosophical approaches to issues concerning race and racism. This course has two themes. The first is an exploration of the concept of race. This is a question in social ontology, which is the philosophical study of the nature of social entities. The second is an examination of some of the normative and conceptual issues surrounding the most morally significant of the ways in which “race” has mattered for social life, namely as the concept that defines the object of the attitudes, practices, institutions and beliefs we call “racist.” We shall ask what racism is, what sorts of things can be racist, and what makes racism wrong.
The principal aim of this course is to familiarize students with the history of British art from the Stuarts to the early Victorian era. Teaching will be conducted entirely on sites in London or its immediate vicinity. The course will begin with the elite patronage of the Stuart court and end with the development of public institutions of art from the mid-eighteenth century. The social significance of portraiture, the cult of antiquity, the art market and the rise of landscape will all be studied as themes. There will be a strong emphasis on the European sources of British visual culture and the emergence of a distinctive national tradition of painting from Hogarth through to Turner.
This course is designed to help students develop a better understanding of music by presenting the opportunity to experience music as a musician. Students review basic music theory and develop rudimentary musicianship skills; learn how to utilize the basic functionality of common digital audio workstations; and use that experience to create music. The goal is for each student to be able to compose, rehearse, and then perform, original contemporary pieces of music, individually and in a group setting, in a wide range of musical idioms. The course culminates in a public recital of works written and performed by students.
Addresses current problems facing our society and threatening our mental health, such as the opioid epidemic, gun violence, video game addiction, legal use of marijuana, and prolonged separation of children from their parents. Students contrast what is scientifically understood with what is commonly believed and learn critical reading and thinking skills as they parse fact from fiction, reality from supposition. Given the topical nature of this course, themes may vary by semester and instructor expertise (including a focus on social and cultural issues, novel neuroscience, digital health technology, etc.).
This course introduces object-oriented programming, recursion, and other important programming concepts to students who already have had some exposure to programming in the context of building applications using Python. Students will design and implement Python programs in a variety of applied areas.
From the 8th century until the 17th century, Islam played a crucial role in the history of the Iberian Peninsula. Today this period is often portrayed as one of inter-religious harmony, while al-Andalus is simultaneously mourned in contemporary Islamist discourse as a lost paradise. While we look at the history of Al-Andalus and assess the importance of the contributions of Al-Andalus to Europe and America, we evaluate the significance of its legacy in modern Spain. Furthermore, we will study the protagonist role that Spain has played in relations between Europe and the Mediterranean Islamic countries during the Modern Age. Students will gain further understanding and contextualization of current Arab-Muslim geopolitics. As a case study, we will address the Spanish Protectorate in Morocco, as well as its ensuing process of decolonization and the consequences that shape the current international relations between the two neighboring countries, Spain and Morocco.
SPAN-UA 9020.002 (Intensive Intermediate Spanish) is a six-credit course that continues and reviews the introductory level Spanish learned in SPAN-UA.1 and SPAN-UA.2, or in SPANUA. 10, while introducing literary readings, short films, and more complex composition exercises. The course involves an integration of the four basic skills: listening, speaking,reading and writing with the aim to improve communication in Spanish. Through this integrated approach, you will participate in a practical application of vocabulary, grammar,and culture. The course emphasizes mastery of language skills through specific contexts and dialogical situations.At the end of the course students will read a novel which will also be used to review many of the grammatical points covered in the textbook and class work, to improve analytical thinking and literary criticism skills, as well as to verbally express opinions about the situations presented in the novel. The goals of this course are to provide you with the opportunity to improve your oral and written communication skills in the language, by applying all the grammar rules you have learned and will be reviewing. You will be expected to substantially increase your working vocabulary and make solid progress in reading and writing skills.
Open to students with no previous training in Spanish and to others on assignment by placement test. 4 points. Beginning course designed to teach the elements of Spanish grammar and language structure through a primarily oral approach. Emphasis is on building vocabulary and language patterns to encourage spontaneous language use in and out of the classroom.
A course that tracks the filmmaking process from its inception, at the idea phase and follows the creative process through development, pre-production, principal photography and post-production. The class will focus on the business and legal issues that arise during every phase of filmmaking. Key topics covered will include: copyright law; option agreements for underlying rights such as books, plays, magazine and newspaper articles; sources of financing; distribution agreements; licensing of music; agreements for actors, directors, producers and writers. This course allocates as a Craft for Film & TV majors. Students must have Junior or Senior standing. COURSE SUBJECT TO DEPARTMENTAL FEES.
How has the automation of work changed the ways we live? What challenges and opportunities does automation of work pose for the future? This multidisciplinary colloquium draws on materials in social science, science, and the humanities to explore how societies have organized themselves relative to technology in the past, and what changes are currently taking place. As we are now in the midst of the Fourth Industrial Revolution (4IR), and dislocated by covid-19, how we live and work is undergoing profound change. New technologies pose new global challenges in the areas of equality, sustainable development, and education. Students will examine the wave of technology-driven transformations occurring on a global scale, including artificial intelligence, the Internet of Things, and 3D printing. The future of work is explored through literature, policy, and scientific expression, as we anticipate how humans will spend their time as current-day work becomes automated and permanently changed by the impacts of covid-19. They will consider the 4IR as an opportunity to critique theories of technological change and construct their own narratives of change in individual case study analysis assignments.
One of the biggest challenges in medicine is to prevent disease and ensure personalized treatment. This is now becoming possible thanks to high-resolution DNA sequencing technology that can decipher our individual information. These developments are already impacting global health, but they raise global challenges such as equality. How will these new technologies blend into healthcare systems? What regulations are needed to ensure that personalized medicine reaches all layers of society? How do we prevent discrimination based on our genes? Through an inquiry-based approach we will examine the science, economics, and politics behind medicine and evaluate the ethical issues that arise in this fast-developing field.
This course examines the ethical issues that arise in the context of the rapid development of technology and the increasing power of business corporations. In recent years, technological progress has allowed us to achieve many things, including the creation of intelligent machines that can surpass human capabilities. Yet, for all these benefits, the development of science and technology has spawned a host of problems such as: conflict between individual rights and social welfare; clash between respect for personal autonomy and expertise; automation and unemployment; and the replication of human bias by algorithms. Along with technological progress, the social role of businesses and corporations are also becoming increasingly important. How should corporations, for example, balance the pursuit of profit with respect for employees’ rights and liberties? Should the state refuse to enforce unconscionable contracts, even when enforcing those contracts would make both parties better off? What is the social role of corporations in the context of increasing inequality?
Concepts of nanoelectronic materials, devices, and circuits. Fundamental and practical limits on the performance and energy dissipation of nanoelectronic devices. Physical, electrical and optical properties of semiconductor materials and how they are used in circuits. Relation of the properties of semiconductors to the fundamental limits at various levels of design hierarchy. Connections between the physical design and circuit-level performance of nanoelectronic circuits. | Prerequisites: MA-UY 2114 and PH-UY 2023 and EE-UY 3114
The course offers an overview of integrated circuit-design process: planning, design, fabrication and testing; device physics: PN junction, MOSFET and Spice models; inverter static and dynamic behavior and power dissipation; interconnects: cross talk, variation and transistor sizing; logic gates and combinational logic networks; sequential machines and sequential system design; subsystem design: adders, multipliers, static memory (SRAM), dynamic memory (DRAM). Topics include floor planning, clock distribution, power distribution and signal integrity; Input/Output buffers, packaging and testing; IC design methodology and CAD tools; implementations: full custom, application-specific integrated circuit (ASIC), field programmable gate arrays (FPGA). The course provides foundations of VLSI design and custom VLSI design methodology and state-of-the-art CAD tools. | Prerequisites: CS-UY 2204 (C- or better) and EE-UY 3114. ABET competencies: a,c,e,k.
The course covers sketching, drawing and computer-aided drafting. Topics: Projection theory—multiview, axonometric, oblique. Auxiliaries, sections, isometrics, dimensions, fasteners, detail and assembly drawings. Introduction to blueprint reading. Overview of CIM and CAD integration with other CIM concepts. A design project incorporates developed skills in visualization, drawing techniques, standards and CAD.
Music is universal to all human cultures. This course will explore fundamental concepts of the psychological, emotional, and cognitive effects of music and what factors in the human body and brain are involved in producing them, with particular emphasis on cross-cultural study. Students will learn beginning methods of computational feature extraction and machine learning to explore simple artificial intelligence models that build on and articulate the conceptual frameworks of music and cognition introduced in the initial phase of the class.
This course evaluates marketing as a system for the satisfaction of human wants and a catalyst of business activity. It presents a comprehensive framework that includes (1) researching and analyzing customers, company, competition, and the marketing environment; (2) identifying and targeting attractive segments with a strategic positioning; and (3) making product, pricing, communication, and distribution decisions. Cases and examples are utilized to develop problem-solving abilities.
This course gives students a basic understanding of key business issues relating to producing, distributing, marketing, and exploiting feature films. The course examines key aspects of the movie business, including managing a creative enterprise, deal making, acquiring rights, building a library, branding, and all aspects of effective marketing. The concepts developed in the course are applied in a group project presentation.
Provides the background necessary to make decisions about computer-based information systems and to be an “end-user”. Two major parts of the course are hands-on experience with personal computers and information systems management. Group and individual computer assignments expose students to electronic spreadsheet analysis and database management on a personal computer. Management aspects focus on understanding computer technology, systems analysis and design, and control of information processing by managers.
Students work directly with internationally recognized figures in photography. Topics for workshops range from the techniques of established photographers to discussions of issues in photographic theory, history, & criticism.
Multichannel Media Installation & Performance is a course designed for composers & artists who want to work in a performance or installation context with immersive sound & image technology. The course focuses on software & hardware workflows for the creative applications of multi-channel sound & immersive video for the creation of fixed, generative, reactive, performance-based, & interactive systems that can be experienced in a gallery context or a live performance. Students will develop a semester-length project to use scale & immersion to creative effect. The course will feature regular creative critique as well as an overview of relevant interaction design strategies for creating interactive spaces using sensors & cameras.
Hands-on studio course with an emphasis on ear training to increase understanding of different technical & artistic practices in the recording studio. Students will explore use of microphone placement techniques, balancing natural & artificial acoustics as well as dynamic audio effects & filters.
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.
A general introduction to the fundamental concepts of music technology, including: MIDI and sequencing, the basics of digital audio, sound recording, mixing and sound synthesis,. The course will also briefly overview advanced topics and applications in the field.
Introduction to the concepts of live concert recording. Microphone selection, characteristics & placement as well as acoustic problems encountered in concert halls will be discussed. Students will have the opportunity to apply the lecture material by recording undergraduate rehearsals & recitals.
Principles covered in MPATE-UE1001 & MPATE-UE-1003 are put into practice with additional theory & techniques. Students perform various duties just as they would in a professional recording session. Studio Lab assignments are performed outside of class reinforcing weekly topics.
This workshop seeks to bring students from varying backgrounds together to engage in evaluating and sharing digital new media for the Internet and other new media art mediums. Each student brings to the class a set of experiences and skills, such as research, writing, design, film, music, photography, computer gaming, performance, animation, computer literacy, software knowledge, virtual reality, augmented reality, mixed reality, A.I. (Artificial Intelligence) Generative Art experiences, among others. The class will discuss new media concepts, content strategies, and frameworks that bridge theory and practice. Through lectures (including a survey of digital new media innovations), group discussions, virtual or other lectures and/or workshops, students will develop individual projects, based on their new media skills. The class intends to be a part of the development of the Virtual Reality (VR) Museum (“Virtual Museum XR”), or other Gallatin arts initiatives, such as Rabbit Hole. Digital new media projects may include digital photography, animated films, podcasts, sound art installations, TikTok, music videos, VR, AR, A.I. Generative Art, to name a few. Class projects, readings, and week-to-week journal-keeping reports are essential components of this workshop. They will reside in a designated Google Docs site, specific for this class. Students are encouraged to supply their own media and take advantage of NYU’s LinkedIn Learning new media tutorials and access NYU’s LaGuardia Studio and LaGuardia Co-op hardware and software opportunities.
Students learn about the process of design with measurable metrics, and how to incorporate appropriate engineering standards and multiple realistic constraints in the design process. Students learn how to clearly frame the design problem and follow the design process to result in an optimized solution. Students perform a review of the relevant literature, develop a preliminary design, generate solution concepts and selection criteria, and review and evaluate the chosen design. Students must consider social, economic, lifecycle, environmental, ethical, and other constraints, and must document the design process and the evolution of their design. This project culminates with a final report and presentation that proposes the actual design selected for further development and/or prototyping and testing in the subsequent semester.
How do we feel about robots? With technological developments in capability, performance, autonomy, ease of use, and cost-effectiveness, robots have arrived in everyday life. This course considers the history and ethics of human-robot interaction and explores unsolved hurdles we face as robots assume a ubiquitous presence in our lives. How are robots currently integrating into human-centered, civic industries such as education, heath, and smart cities? What roles might robots play in the future of these industries? What are the economic and labor implications associated with robotic integration? How will consumers respond to the increased use of robots in daily life? How have popular media representations over the last century influenced the way we experience these changes? Topics will also include the miniaturization of robots and their use in situations such as focused drug delivery within the human body, save-and-rescue missions, or military combat. Students will assemble and program several Lego Mindstorm robots capable of carrying prefabricated objects and will also assemble a small house.
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.
Is automation a science or a tool? Muslim contributions in automation, overlooked in the history of science, were long regarded as means for caliphs and the rich to impress the masses. But Muslim engineers excelled in creating complex automated systems, using them as gifts to foreign leaders, as public attractions, or to augment religious ceremony such as daily calls to prayer. Mainly powered by kinetic energy, these automata drew on scholars’ deep knowledge of hydraulics and complex levers and included musical instruments, horologia, automated drinking fountains, and clocks that told time using complex audiovisual tools. This course draws on historical sources and foundational science to explore Muslim advancements in automation. What roles did translation play as Muslim scientists encountered and documented the work of previous scholars? What were the basic automatic systems they developed and how do they compare to current technologies? How did they draw on environmental resources to develop automated systems without the need for non-renewable energy? Students will address such questions as they explore implications for their own projects in design and engineering.
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.
An introduction to the fundamentals of computer programming. Students design, write, and debug computer programs. No prior knowledge of programming is assumed. Students will learn programming using Python, a general purpose, cross-platform programming language with a clear, readable syntax. Most class periods will be part lecture, part lab as you explore ideas and put them into practice. This course is suitable for students not intending in majoring in computer science as well as for students intending to major in computer science but having no programming experience. Students with previous programming experience should instead take Introduction to Computer Science. Prerequisite: Either placed into Calculus or at least a C in Pre-Calculus Fulfillment: Core Curriculum Requirement Algorithmic Thinking; EE Required Major Courses. Note: Students who have taken ICS in NY, Abu Dhabi, and Shanghai cannot take ICP.
This course has three goals. First, the mastering of a modern object-oriented programming language, enough to allow students to tackle real-world problems of important significance. Second, gaining an appreciation of computational thinking, a process that provides the foundations for solving real-world problems. Finally, providing an overview of the very diverse and exciting field of computer science – a field which, arguably more than any other, impacts how we work, live, and play today. Prerequisite: Introduction to Computer Programming or placement exam. Equivalency: This course counts for CSCI-UA 101. Fulfillment: Core Curriculum Requirement Algorithmic Thinking; Computer Science Major Required Courses; Computer Systems Engineering Major Required Courses; Data Science Major Foundational Courses; Electrical and Systems Engineering Major Required Major Courses.
This course introduces students to various techniques and concepts that are essential for data scientists. It also provides an in-depth survey of the latest research methodology and topics that prepare the students to produce high quality research in Data Science. This seminar-based course will cover applications from different fields, such as sociology, psychology, network analysis, and artificial intelligence. In this context, the course will cover the use of computational techniques to model and predict various phenomena using real data. Students will be required to complete a course project, and to write up the results in a short article.
Discrete mathematics concerns the study of mathematical structures that are discrete rather than continuous, and provides a powerful language for investigating many areas of computer science. Discrete structures are characterized by distinct elements, which are often represented by integers. Continuous mathematics on the other hand deals with real numbers. Topics in this course include: sets, counting techniques, logic, proof techniques, solving recurrence relations, number theory, probability, statistics, graph theory, and discrete geometry. These mathematical tools are illustrated with applications in computer science.
Have you ever wondered how the internet or Facebook is able to support a billion simultaneous users? This course teaches students the design and implementation of such Internet-scale networks and networked systems. Students learn about the principles and techniques used to construct large-scale networks and systems. Topics in this course include routing protocols, network congestion control, wireless networking, network security, and peer-to-peer systems. Upon completing this course, students are able to initiate and critique research ideas, implement their own working systems, and evaluate such systems. To make the issues more concrete, the class includes several multi-week projects requiring significant design and implementation. The goal is for students to learn not only what computer networks are and how they work today, but also why they are designed the way they are and how they are likely to evolve in the future. Examples are drawn primarily from the internet.
Computer Science is an innovative and exciting field that focuses on producing efficient solutions for solving problems in any field. This course introduces students to the foundations of computer science. Students learn how to design algorithms to solve problems and how to translate these algorithms into working computer programs using a high-level programming language. The course covers core programming concepts including basic computation, data structures, decision structures, iterative structures, file input/output, and recursion. Students also learn the elements of Object Oriented Programming (OOP), such as objects, classes, inheritance, abstraction, and polymorphism. A final project allows students to combine these concepts to produce a large program of their design.
This course explores the possibilities and challenges of designing alternate physical network interfaces. Through weekly readings, class discussions, and a series of projects, students will create physical objects that talk to each other over distance. Various wireless communication mechanisms such as radio (Bluetooth, Zigbee, WiFi, and raw), infrared, and ultrasonic are used in the context of creating novel “smart” devices. Topics of discussion in this course include networking protocols and network topologies; network time versus physical time; mobile objects; and wireless networks. Opportunities to build collaborative and creative campus-wide networked projects and systems will also be explored.
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.
This course introduces problem solving and computer programming and is for undergraduate engineering students who do not have prior experience in programming in any language. The course covers fundamentals of computer programming and its underlying principles using the Python programming language. Concepts and methods introduced in the course are illustrated by examples from engineering and other disciplines. | Co-requisite: EX-UY 1; Anti-requisite: CS-UY 1114
Yoruba is a language spoken in West Africa by approximately 20 million people. This course is an introduction to Yoruba language, people and culture and is designed for students without prior knowledge. The main goal is to develop elementary communicative competence in the language. It is designed to enable students read, write, listen to and talk about simple concepts, ensuring that they can minimally understand and be understood in the language, while developing a fundamental knowledge of the Yoruba culture. Emphases are on Yoruba as used by contemporary native speakers in the present day West Africa. Skills are developed through intensive interactive conversations, grammar exercises, and classroom activities designed for a learner to use the language in various daily activities.
America is not always the answer. This class offers an introduction to the many and varied fictions that have been produced by diasporic South Asians across the globe over the last 150 years: in Australia, Africa, Europe, Caribbean. Our exploration of the poetics and politics of immigration will attend to different types of traveller (inc. soldiers, students, athletes, medics, cosmonauts) and draw on a wide range of media (inc. literature, cinema and music). Particular attention will be paid to the diverse geographies of Asian migration – be they plantations, dance Floors, restaurants, call centres. Themes to be addressed include coolietude, globalization, the impact of 9/11 and techno-servitude.
Historically, education has been the most accessible and effective means for groups to achieve social mobility in American society. However, access to public education has never been equal for all segments of society, and there continues to be considerable variability in the quality of education provided to students. As a result of both explicit and subtle discrimination, racialized minority groups have at various times been denied access to education or been relegated to inferior schools or classrooms. Yet education has also been the arena where the greatest advances in social justice and racial equality have been achieved. Understanding the contradictions created by the hope and unfulfilled promise of American education is a central theme of this course.
Introduces theories, methods, and political trajectories central to the Department of Social and Cultural Analysis (SCA). SCA 101 addresses how individuals and populations structure their worlds and navigate the resulting social, cultural, and political terrain. It privileges scholarly work with an intersectional approach, drawing on theoretical insights from such fields as social geography, feminism and queer studies, ethnic studies, urban and metropolitan studies, critical race theory, labor studies, and cultural studies.
Explores the relationship between religion and American identity. We will analyze the role of religion in American culture, politics, and law and question if the United States has a secular government, what the separation of church and state means, and if religious freedom exists for everyone. Considers the role of religion in slavery, settler colonialism, Native American and immigrant assimilation, and also how religion has influenced the U.S. political system. Examines the role of religion within movements for racial justice, reproductive choice, and LGBTQ equality.
Offered in the fall. 4 points. Focuses on fundamental theoretical and methodological issues pertaining to the academic study of religion. Exposes students to, and familiarizes them with, some of the more important theories of the origin, character, and function of religion as a human phenomenon. Students are given an opportunity to encounter and test an assortment of the main scholarly approaches to understanding and interpreting religious phenomena, including psychological, sociological, anthropological, and hermeneutical perspectives.
Gollwitzer, Trope, Uleman. Offered every semester. 4 points. Introduction to theories and research about the social behavior of individuals, such as perception of others and the self, attraction, affiliation, altruism and helping, aggression, moral thought and action, attitudes, influence, conformity, social exchange and bargaining, group decision making, leadership and power, and environmental psychology.
AndersenAndersen. Offered every semester. 4 points. Introduction to research in personality, including such topics as the self-concept; unconscious processes; how we relate to others; and stress, anxiety, and depression.
Curtis, Davachi. Offered every semester. 4 points. Provides students with a broad understanding of the foundations of cognitive neuroscience, including dominant theories of the neural underpinnings of a variety of cognitive processes and the research that has led to those theories. In doing so, students also learn about the goals of cognitive neuroscience research and the methods that are being employed to reach these goals.
McElree, Murphy, Rehder. Offered every semester. 4 points. Introduction to theories and research in some major areas of cognitive psychology, including human memory, attention, language production and comprehension, thinking, and reasoning.
Concentrates on those socialist schools?Christian socialism, utopian socialism, Marxism, Fabianism, and anarchism?that have proved to be the most successful. Presents their major theories and examines the usefulness of such theories in helping us to understand and, in some cases, alter the world in which we live.
Offered every year. 4 points. Theories of political strategy with emphasis on the theory of games. Uses of strategy in defense and deterrence policies of nations, guerrilla warfare of revolutionaries and terrorists, bargaining and negotiation processes, coalitions and the enforcement of collective action, and voting in committees and elections. Secrecy and deception as political strategies and uses of power, with some applications outside political science.
Democracy and dictatorships have traditionally been analyzed in terms of their apparently different institutional characteristics and legal foundations. Examines these traditional interpretations but leans heavily toward ideological and contextual factors. Challenges traditional distinctions between democracy and dictatorship.
New research is the most exciting and important aspect of political science: we are able to pose novel questions, construct fresh theories, and provide new evidence about the way the world works. But before we start doing research, we have to learn how it is done. With this in mind, this class will introduce students to quantitative techniques used for research in the study of politics. Part of this task is conceptual: helping students to think sensibly and systematically about research design. To this end, students will learn how data and theory fit together, and how to measure the quantities we care about. But part of the task is practical too: students will learn a `toolbox’ of methods–including statistical software–that enable them to execute their plans.
Introduces students to social choice theory applied to political science. It focuses on (1) individual choice, (2) group choice, (3) collective action, and (4) institutions. It looks at models of individuals’ voting behavior, the incentive structures of interest groups, and the role of institutions. The emphasis is analytical, though students are not expected to have a background in formal mathematics.
Offered every semester. 4 points. Analysis of state behavior and international political relations; how things happen in the international state system and why. Emphasizes the issue of war and how and in what circumstances states engage in violence. Topics include different historical and possible future systems of international relations, imperialism, the Cold War, game theory and deterrents, national interests, and world organization.
Offered every semester. 4 points. Major concepts, approaches, problems, and literature in the field of comparative politics. Methodology of comparative politics, the classical theories, and the more recent behavioral revolution. Reviews personality, social structure, socialization, political culture, and political parties. Major approaches such as group theory, structural-functionalism, systems analysis, and communications theory and evaluation of the relevance of political ideology; national character; elite and class analysis; and problems of conflict, violence, and internal war.
A survey of national political institutions and behavior in the United States, which introduces students to a variety of analytical concepts and approaches useful for the study of domestic politics. Concepts typically covered include public goods and collective action; preference aggregation and the median voter theorem; delegation, representation, and accountability; agenda control; inter-branch bargaining; and the mechanisms of private influence on public policy.
Offered every semester. 4 points. Introduces students to some outstanding theories of politics. The theories treated offer alternative conceptions of political life, and they are examined from both theoretical and historical perspectives. Among the theorists included are Plato, Aristotle, Locke, Machiavelli, Hobbes, Rousseau, Mill, and Marx.
Introduction to modern astrophysical problems with an emphasis on the physical concepts involved?radio, optical, and X-ray astronomy; stellar structure and evolution; white dwarfs, pulsars, and black holes; and galaxies, quasars, and cosmology.
Introduction to Maxwell’s equations with applications to physical problems. Topics include electrostatics, magnetostatics, the solution of the Laplace and Poisson equations, dielectrics and magnetic materials, electromagnetic waves and radiation, Fresnel equations, transmission lines, wave guides, and special relativity.
The 20th century has been witness to two major revolutions in man’s concepts of space, time, and matter. Einstein’s special and general theories of relativity: implications of the special theory, for our understanding of the unity of space and time, and the general theory, for our understanding of the nature of gravity. Quantum mechanics: a new picture of the basic structure and interactions of atoms, molecules, and nuclei. Topics include the uncertainty principle, wave-particle duality, and the continuing search for the fundamental constituents of matter.
Designed to deepen the insights into quantum mechanics introduced in PHYS-UA 103, 104 and to provide an introduction to the more formal mathematical structure of quantum mechanics. The Schr?dinger and Heisenberg description of quantal systems; perturbation theory; spin and statistics; coupling of angular momenta; scattering theory; and applications to atomic, molecular, nuclear, and elementary particle physics.
Continuation of PHYS-UA 11. Topics include electric charge, field, and potential; magnetic forces and fields; resistive, capacitive, and inductive circuits; electromagnetic induction; wave motion; electromagnetic waves; geometrical optics; interference, diffraction, and polarization of light; relativity; atomic and nuclear structure; elementary particle physics.
Examines the characteristic method, positions, and themes of the existentialist and phenomenological movements and traces their development through study of such thinkers as Kierkegaard, Nietzsche, Husserl, Heidegger, Merleau-Ponty, and Sartre.
We will investigate different approaches to understanding space and time, and how the account of space-time structure has evolved in physics. One of the main objectives is to have a clear and accurate understanding of the Special Theory of Relativity, detailed enough to allow the student to solve some physics problems. This will require a bit of mathematics, but not more than algebra. We will discuss the General Theory of Relativity in a more qualitative way, including an account of the structure of black holes. Philosophy students do not need any further background in physics or mathematics, and physics students will not benefit from greater mathematical sophistication. We will also study the relevant history of physics and philosophy, particularly the debate between Newton and Leibniz about the nature of space and time. There will be two lectures each week and a recitation section.
Examines some of the most important philosophical ideas and developments in Ancient Greece and Rome. Covers major writings by Plato and Aristotle, and a selection of writings by such thinkers as the Presocratics, Stoics, Epicureans, and Skeptics.
Examines some of the most important philosophical ideas and developments in seventeenth- and eighteenth-century Europe. Covers some of the major writings of Descartes, Spinoza, Leibniz, Locke, and Hume, and concludes with a brief examination of some aspects of Kant’s philosophy. (Kant is examined in more detail in PHIL-UA 30.) May also include writings of Hobbes, Malebranche, Elisabeth of Bohemia, Conway, Berkeley, and Shepherd, among others.
Examines conceptual and empirical issues about consciousness. Issues covered may include the explanatory gap, the hard and harder problems of consciousness, concepts of consciousness, phenomenal concepts, the mind-body problem and neural correlates of consciousness, higher-order thought theories of consciousness, the inverted spectrum, views of phenomenality as representation, and arguments for dualism.
This course aims to accomplish two things. The first is to introduce three broad traditions of normative thinking about social issues from around the globe: a Confucian tradition, one based in Islamic legal traditions, and one derived from European liberalism. The second is to address three current areas of normative debate: about global economic inequality, about gender justice and human rights. We shall explore these first-order questions against the background of the three broad traditions. Our aim will be to understand some of differences of approach that shape the global conversation about these issues that concern people around the world.
Offered only at NYU Paris. Examines various philosophical and psychological approaches to language and meaning, as well as their consequences for traditional philosophical problems in metaphysics, epistemology, and ethics. Discusses primarily 20th-century authors, including Russell, Wittgenstein, and Quine.
Considers questions such as the following: Can I have knowledge of anything outside my own mind?for example, physical objects or other minds? Or is the skeptic’s attack on my commonplace claims to know unanswerable? What is knowledge, and how does it differ from belief?
Examines moral issuExamines moral issues in medical practice and research. Topics include euthanasia and quality of life; deception, hope, and paternalism; malpractice and unpredictability; patient rights, virtues, and vices; animal, fetal, and clinical research; criteria for rationing medical care; ethical principles, professional codes, and case analysis (for example, Quinlan, Willowbrook, Baby Jane Doe).
Lecture and laboratory course that provides students with broad exposure to current questions and experimental approaches in cellular neuroscience. Lectures and laboratories are organized into three areas: cell structure aLecture and laboratory course that provides students with broad exposure to current questions and experimental approaches in cellular neuroscience. Lectures and laboratories are organized into three areas: cell structure and organization of the vertebrate central nervous system, mechanisms underlying neural signaling and plasticity, and control of cell form and its developmental determinants. Laboratory instruction in anatomical, physiological, and biochemical methods for investigating the biology of nerve cells.
Analysis of music of the late 19th, 20th, and 21st centuries, and the creation of imitative compositional models based on works studied as well as on principles acquired earlier in the sequence. Additional topics will include whole-tone and octatonic scale systems, atonality, serialism, and an introduction to post-modern and spectral techniques. Weekly lab sections are devoted to skills in musicianship and are required throughout the sequence.
This course is designed to take advantage of New York’s dynamic music community. There are in-class presentations by local musicians and scholars, and students regularly attend performances throughout the city. The focus is on the everyday practices of musical life in New York City by both performers and listeners in a number of the City’s musical constituencies: immigrant communities; amateur and professional music-makers; and popular, classical, and avant-garde scenes. Examination of these processes of music-making will be enhanced by a look at the histories of these different kinds of music-making. There will also be a historical discussion of the vibrant musical life of New York in the 19th and early 20th centuries, which will contribute to an understanding of why New York is seen, and sees itself, as a musical city.
Music Major Distribution Requirement. Chromatic harmony as developed and practiced by composers of the 19th century and beyond. Introduction to score reading and principles of musical analysis applied to larger musical structures. Continuation of species counterpoint and an introduction to invertible counterpoint and fugue.
Explores the underlying principles and inner workings of the tonal system, a system that has guided all of Western music from the years 1600 to 1900. It includes a discussion of historical background and evolution. Focuses on concepts and notation of key, scale, tonality, and rhythm. Related skills in sight-singing, dictation, and keyboard harmony are stressed in the recitation sections.
Students study principles of tonal music composition including 18th and 19th century harmonic, formal, and contrapuntal practices. Exercises in four-part voice-leading and species counterpoint are supplemented by analyses of music from around the world and from a variety of genres, including concert and popular music. Weekly lab sections are devoted to skills in musicianship and are required throughout the sequence.
Historical-political background of the Middle East and its contemporary social and political problems, including the impact of the West; religious and liberal reactions; conflict of nationalisms (Arab, Iranian, Turkish, and Zionist); and revolutionary socialism. Specific social, political, and economic problems?using a few selected countries for comparison and analysis?including the role of the military, the intelligentsia, the religious classes, the legitimization of power, urban-rural cleavages, bureaucracy, and political parties.
Grammar, phonetics, and pronunciation of modern standard Persian, reading simple texts, and writing short compositions. Builds basic skills in modern standard Persian in preparation for reading classical Persian literature.
As a part of a two-year curriculum, prepares the student for a high level of proficiency in Hindi. Through a variety of class, small-group, and paired activities, as well as language and computer lab sessions, students are expected to develop reading, speaking, listening, and writing skills. The instructor also takes into consideration individual needs.
Builds on the skills acquired in Elementary Arabic I and II, with increased emphasis on writing and reading from modern sources, in addition to aural/oral proficiency.
Elementary Arabic I course is a novice level course in Modern Standard Arabic. (MSA) The course work aims to balance the four skills (listening, speaking, reading, and writing). It also introduces aspects of Arab culture. The course is designed to teach students to pronounce, read and write MSA. Fall semester starts with Arabic alphabet (letters and sounds) then introduces topics such as greetings, self introduction, family, weather and food. No prior knowledge of Arabic or a placement test is required for enrollment in this course.
Many laws of physics are formulated as partial differential equations. This course discusses the simplest examples of such laws as embodied in the wave equation, the diffusion equation, and Laplace?s equation. Nonlinear conservation laws and the theory of shock waves. Applications to physics, chemistry, biology, and population dynamics. Prerequisite: prerequisite for MATH-UA 263
This honors section of Linear Algebra is a proof-based course intended for well-prepared students who have already developed some mathematical maturity and ease with abstraction. Its scope will include the usual Linear Algebra (MATH-UA 140) syllabus; however this class will be faster, more abstract and proof-based, covering additional topics. Topics covered are: Vector spaces, linear dependence, basis and dimension, matrices, determinants, solving linear equations, linear transformations, eigenvalues and eigenvectors, diagonalization, inner products, applications.
Prerequisites: a grade of C or better in Honors Algebra I (MATH-UA 348), or a grade of A in Algebra (MATH-UA 343) and permission of instructor. Principal ideal domains, polynomial rings in several variables, unique factorization domains. Fields, finite extensions, constructions with ruler and compass, Galois theory, solvability by radicals.
Further topics in vector calculus. Vector spaces, matrix analysis. Linear and nonlinear programming with applications to game theory. This course will provide economics students who have taken MATH-UA 211 Mathematics for Economics I and MATH-UA 212 Mathematics for Economics II with the tools to take higher-level mathematics courses.
Prerequisite: A grade of C or higher in Calculus I (MATH-UA 121) or Math for Economics II (MATH-UA 212) (for economics majors), and General Physics (PHYS-UA 11). Simulations of such phenomena as orbits (Kepler problem and N-body problem), epidemic and endemic disease (including evolution in response to the selective pressure of malaria), musical stringed instruments (piano, guitar, and violin), and traffic flow in a city (with lights, breakdowns, and gridlock). Simulations are based on mathematical models, numerical methods, and Matlab programming techniques taught in class. Emphasizes use of animation (and sound where appropriate) to present the results of simulations.
Introduction to abstract algebraic structures, including groups, rings, and fields. Sets and relations. Congruences and unique factorization of integers. Groups, permutation groups, homomorphisms and quotient groups. Rings and quotient rings, Euclidean rings, polynomial rings. Fields, finite extensions.
Complex numbers and complex functions. Differentiation and the Cauchy-Riemann equations. Cauchy?s theorem and the Cauchy integral formula. Singularities, residues, Taylor and Laurent series. Fractional linear transformations and conformal mapping. Analytic continuation.
This course is an introduction to rigorous analysis on the real line. Topics include: the real number system, sequences and series of numbers, functions of a real variable (continuity and differentiability), the Riemann integral, basic topological notions in a metric space, sequences and series of functions including Taylor and Fourier series.
Topics include fixed points of one-dimensional maps; linear operators and linear approximations; stability and bifurcation; logistic maps. Cantor set, fractal sets, symbolic dynamics, conjugacy of maps. Dynamics in two dimensions. Introduction for students with little preparation to the recent discovery that, in certain regimes, fully deterministic mechanics can produce chaotic behavior.
In numerical analysis one explores how mathematical problems can be analyzed and solved with a computer. As such, numerical analysis has very broad applications in mathematics, physics, engineering, finance, and the life sciences. This course introduces the subject for mathematics majors. Theory and practical examples using Matlab are combined in the studying of topics ranging from simple root-finding procedures to differential equations and the finite element method.
Prerequisite: a grade of C or better in Calculus II (MATH-UA 122) or Math for Economics II (MATH-UA 212) (for economics majors) or equivalent. Not open to students who have taken Theory of Probability (MATH-UA 233) or Mathematical Statistics (MATH-UA 234). Combination of MATH-UA 233 and 234 at a more elementary level to acquaint students with both probability and statistics in a single term. In probability: mathematical treatment of chance; combinatorics; binomial, Poisson, and Gaussian distributions; law of large numbers and the normal distribution; application to coin-tossing; radioactive decay. In statistics: sampling; normal and other useful distributions; testing of hypotheses; confidence intervals; correlation and regression; applications to scientific, industrial, and financial data.
Introduction to the mathematical techniques of random phenomena occurring in the natural, physical, and social sciences. Axioms of mathematical probability, combinatorial analysis, binomial distribution, Poisson and normal approximation, random variables and probability distributions, generating functions, Markov chains, applications.
Prerequisite: MATH-UA.0122 with a grade of C or better, departmental placement exam, or permission of the department. Functions of several variables. Vectors in the plane and space. Partial derivatives with applications. Double and triple integrals. Spherical and cylindrical coordinates. Surface and line integrals. Divergence, gradient, and curl. Theorem of Gauss and Stokes.
Systems of linear equations. Gaussian elimination, matrices, determinants, and Cramer?s rule. Vectors, vector spaces, basis and dimension, linear transformations. Eigenvalues, eigenvectors, quadratic forms.
Techniques of integration. Further applications. Plane analytic geometry. Polar coordinates and parametric equations. Infinite series, including power series.
A first course in discrete mathematics. Sets, algorithms, and induction. Combinatorics. Graphs and trees. Combinatorial circuits. Logic and Boolean algebra.
Any one of the following: a score of 670 or higher on the mathematics portion of the SAT, a score of 650 or higher on the SAT Subject Test in Mathematics 1, a score of 650 or higher on the SAT Subject Test in Mathematics 2, an ACT mathematics score of 30 or higher, a score of 3 or higher on the AP Calculus AB exam, an AB subscore of 3 or higher on the AP Calculus BC exam, a score of 3 or higher on the AP Calculus BC exam, a grade of C or higher in Algebra and Calculus (MATH-UA 9), or a passing score on a departmental placement exam. Derivatives, antiderivatives, and integrals of functions of one variable. Applications include graphing, maximizing, and minimizing functions. Definite integrals and the fundamental theorem of calculus. Areas and volumes.
Prerequisite: Three years of high school math or permission of the department. An intensive course in intermediate algebra and trigonometry. Topics include algebraic, exponential, logarithmic, and trigonometric functions and their graphs.
A state-of-the-art survey of the cognitive neuroscience of language, a rapidly developing multidisciplinary field at the intersection of linguistics, psycholinguistics, and neuroscience. Covers all aspects of language processing in the healthy brain, from early sensory perception to sentence-level semantic interpretation, as well as a range of neurological and development language disorders.
Analysis (LING-UA 13), or permission of the instructor. Offered every year. Collins, Gallagher, Gouskova. 4 points. Students interview a native speaker of an unfamiliar language to study all aspects of the language’s grammar: phonetics, phonology, morphology, syntax, semantics. We evaluate and organize real, nonidealized linguistic data and formulate generalizations that serve as the basis for research.
Approaches from linguistics, philosophy, and psychology. Topics: the evidence for constructing grammars, the interpretation of grammatical rules as cognitive or neural operations, the significance of neo-behaviorist approaches to language and computational modeling for a cognitive theory of language, the connection between linguistics theory and genetics, and the importance of sociocultural and historical variation for understanding the nature of language.
An introduction to the morphosyntax of Russian. Students learn how to analyze the underlying structures of this language by using formal tools in syntactic theory. The core areas of Russian grammar: case, aspect, argument structure alternations, topic/ focus structure, negation, binding, control, and wh-movement. No knowledge of Russian required.
Introduces rules for composing words and sentences from the smallest units of linguistic combination (morphemes). Why can the same message be expressed in one word in some languages but require an entire sentence in others? Why do the shapes of prefixes, suffixes, and roots change depending on their semantic and phonological context? What rules do different languages use for forming new words? No previous background in linguistics is required.
How and why American varieties of Spanish and Portuguese differ from European varieties, as well as the distribution and nature of dialect differences throughout the Americas. Examines sociolinguistic issues: class and ethnic differences in language, the origin and development of standard and nonstandard varieties, and the effects of contact with Amerindian and African languages. Considers Spanish- and Portuguese-based creoles and the question of prior creolization.
How linguistic practices reflect and shape our gender identity. Do women and men talk differently? Are these differences universal or variable across cultures? How does gendered language intersect with race and class-linked language? What impact does gendered language have on social power relationships?
What determines the sequencing of words in a given language? How can we explain word-order variation within and across languages? Are there universal syntactic properties common to the grammar of all languages? Presents the modern generative approach to the scientific study of language and systematically develops a model that will account for the most basic syntactic constructions of natural language.
Language is a social phenomenon, but languages share elaborate and specific structural properties. Speech communities exist, exhibit variation, and change within the strict confines of universal grammar, part of our biological endowment. Universal grammar is discovered through the careful study of the structures of individual languages, by cross-linguistic investigations, and the investigation of the brain. Introduces fundamental properties of the sound system and of the structure and interpretation of words and sentences against this larger context.
Today’s content creators must be entrepreneurs, navigating dynamically changing industry. How does emerging talent gain traction in a ’tsunami wave’ of independent films, episodics, webisodes and podcasts? This class explores development, funding, and legal strategies to make, market and distribute DIY low and ultra-low budget projects. Ones you can make now. Students will develop core competencies, culminating in a pitch deck for a viable indie feature film.
This course introduces students to the language of Haitian Kreyòl, also called Creole, and is intended for students with little or no prior knowledge of the language. Haitian Kreyòl is spoken by Haiti’s population of nine million and by about one million Haitians in the U.S. Including over 190,000 in the New York City area. In fact, New York City has the second largest population of Kreyòl Speakers after Port–‐au–‐Prince, Haiti’s capital. Through this course, you will develop introductory speaking, reading, and writing skills. We use a communicative approach, balanced with grammatical and phonetic techniques. Classroom and textbook materials are complemented by work with film, radio, and especially music (konpa, rasin, twoubadou, rap, raga, levanjil, vodou tradisyonèl, etc.), as well as with visits to city museums and institutions related to Haiti.
The following semester, honors students are required to take a specially designed honors senior seminar, which culminates in each student?s writing a large (6,000-10,000 word/15-20 minutes for broadcast) feature, completing the capstone. The student has to defend his/her work orally before at least two members of the faculty and perhaps a member of the profession.
Students study the Divine Comedy both as a mirror of high medieval culture and as a unique text that breaks out of its cultural bounds. The entire poem is read, in addition to selections from the Vita Nuova and other complementary minor works.
The course explores Italian American History since the age of mass migration at the turn of the twentieth century. It begins with an examination of the ways in which race, class, and gender have shaped the Italian American experience. It then moves on to discuss the role of consumption in identity formation, exploring themes such as the significance of immigrants’ encounter with the mass market in processes of acculturation and the symbolical function of the consumption of material and immaterial “things Italian” among subsequent generations of Italian Americans. Finally, the course deals with Italian American identities as objects of cross-cultural consumption, investigating issues such as the encoding of “Italian-Americaness” in the branding of products, images, and experiences (food, film, fashion, etc.), the marketing strategies of Italian American memory, and the uses and meanings constructed through the consumption of Italian American identities from Little Caesar to Jersey Shore.
Introductory-level literature course that, through a close reading of authors such as Alfieri, Foscolo, Leopardi, Manzoni, Verga, D?Annunzio, Moravia, and Calvino, focuses on how to understand a literary text in Italian. Covers Italian literature from the 17th century to the contemporary period.
This course introduces contemporary Italy in all its complexity and fascination. Reviewing politics, economics, society, and culture over the past two centuries, the course has a primary goal — to consider how developments since the 1800s have influenced the lives and formed the outlook of today’s Italians. In other words, we are engaged in the historical search for something quite elusive: Italian “identity”. Topics will include the unification of the country, national identity in the late 19th and early 20th centuries, the First World War, and Italian fascism, World War Two and the resistance, the post-war Italian Republic, the economic “miracle”, the South, the Mafia, terrorism, popular culture, and the most recent political and social developments, including Italy and the European Union. Lectures combine with readings and films (taking advantage of Italy’s magnificent post-war cinema).
Identical to V41.0724. Hendin. Offered every two to three years. 4 points. A study of the fiction and poetry by which Italian American writers have expressed their heritage and their engagement in American life. From narratives of immigration to current work by “assimilated” writers, the course explores the depiction of Italian American identity. Challenging stereotypes, it explores changing family relationships, sexual mores, and political and social concerns.
Introductory-level literature course that, through a close reading of authors such as Dante, Boccaccio, Petrarch, Machiavelli, and Ariosto, focuses on how to understand a literary text in Italian. Covers Italian literature from its origins to the 17th century.
The inventor of modern political science, Niccolo Machiavelli is one of the most original thinkers in the history of Western civilization. In this course, Machiavelli?s political, historical, and theatrical works are read in the context in which they were conceived?the much tormented and exciting Florence of the 15th and early 16th centuries struggling between republican rule and the magnificent tyranny of the Medici family. The course also aims at dismantling the myth of ?evilness? that has surrounded Machiavelli through the centuries, especially in the Anglo-Saxon world, through a close reading of such masterpieces as The Prince, The Discourses, and The Mandrake Root.
Students entering this course should have mastered the fundamental structure of Italian. Aims to enrich knowledge of Italian language, culture, and society through screening and discussion of contemporary Italian cinema and detailed analysis of selected film scripts. Students are encouraged to use different idiomatic expressions and recognize regional linguistic variety. Special emphasis is placed on developing a more extensive vocabulary and an expressive range suited to discussion of complex issues and their representation.
Continuation of ITAL-UA 11. To fulfill MAP requirements and continue on to the postintermediate level, a student must complete both ITAL-UA 11 and ITAL-UA 12. This sequence is equivalent to ITAL-UA 20.
Open to students with no previous training in Italian and to others on assignment by placement test. Completes the equivalent of Elementary Italian I and II in one semester. Offered every semester. 6 points.
Not equivalent to ITAL-UAV 20. Only by combining ITAL-UA 11 with ITAL-UA 12 can a student complete the equivalent of ITAL-UA 20 and then continue on to the postintermediate level.
Continuation of ITAL-UA 1. To continue on to the intermediate level, a student must complete both ITAL-UA 1 and ITAL-UA 2. This sequence is equivalent to ITAL-UA 10.
This course offers a broad survey of American cinema from its beginnings (and even its pre-history) up to 1960. While the emphasis will be on the dominant, narrative fiction film, there will be attention to other modes of American cinema such as experimental film, animation, shorts, and non-fiction film. The course will look closely at films themselves — how do their styles and narrative structures change over time? — but also at contexts: how do films reflect their times? how does the film industry develop? what are the key institutions that had impact on American film over its history? We will also attend to the role of key figures in film’s history: from creative personnel (for example, the director or the screenwriter) to industrialists and administrators, to censors to critics and to audiences themselves. The goal will be to provide an overall understanding of one of the most consequential of modern popular art forms and of its particular contributions to the art and culture of our modernity.
This course introduces East Asian cultures, focusing to a greater or lesser extent on China, Japan, and Korea. Aspects of East Asia?s traditional and modern culture are presented by study of some of the area?s Great Books, as well as other literary, political, philosophical, religious and/or artistic works from the traditional, modern, or contemporary periods. Issues raised may include national or cultural This course introduces East Asian cultures, focusing to a greater or lesser extent on China, Japan, and Korea. Aspects of East Asia?s traditional and modern culture are presented by study of some of the area?s Great Books, as well as other literary, political, philosophical, religious and/or artistic works from the traditional, modern, or contemporary periods. Issues raised may include national or cultural identity in relation to colonialism/imperialism, East-West tensions, modernism?s clash with tradition, the persistence of tradition with the modern, the East Asian Diaspora, and the question of East Asian modernities.
Offered every semester. 4 points. Survey of the field of sociology: its basic concepts, theories, and research orientation. Threshold course that provides the student with insights into the social factors in human life. Topics include social interaction, socialization, culture, social structure, stratification, political power, deviance, social institutions, and social change.
This course introduces non-majors to theatre as a live and performing art through a variety of experiences including attendance at live performances, readings of play scripts, and theoretical texts, and the creation of original plays. Through lectures, discussions, and written assignments, students will explore the roles of the playwright, actor, director, and designer in the production process, as well as examines the role of the audience in the live performance. Liberal Arts Core/CORE Equivalent – satisfies the requirement for Expressive Cultures
This seminar examines how sociology can help us understand the challenge of climate change. We will briefly overview the climate science and learn about the rise of “weird weather,” but the core themes of the course concern questions about communication and cognition, cultural values and material consumption, politics and persuasion, mitigation and adaptation, economics and social justice, power and social movements, and the possibility of creating new, more sustainable ways of living on earth. We will dedicate several sessions dedicated to Superstorm Sandy and its aftermath, with a focus on the question of how to rebuild a more resilient city and region in anticipation of more extreme weather events.
In 1959, the chemist-turned-novelist C.P. Snow delivered a lecture in which he decried a growing separation between the humanities and the sciences. In it, he argued that two intellectual “cultures” were developing, both of whose practitioners were increasingly incapable of engaging each other. Today, the notion of a divide between “the humanities” and “the sciences,” or, as some term them, “the arts” and “the sciences,” is rather commonplace. We often hear people self-identify as “more left brain,” for example, or “not a math person.” In this course, we will explore how and why different people have found it useful to distinguish the arts and the sciences. We will also consider why others have found it useful to blur the arts and the sciences. Participants will begin by reading and contextualizing Snow’s original lecture, after which we will trace both the historical origins of the key concepts involved as well as how their meanings have changed over time from early modernity to today. (Mathematics, for example, was deemed an “art” for much of European history.) Having done so, we will then consider contemporary assessments. All told, in their research and in their writing, participants will be asked to examine how different people have sought to distinguish, reconcile, or even move beyond the “two cultures.” Readings for the course may include works by: Francis Bacon, Lisa Jardine, Marwa Elshakry, Paul Kristeller, Yuval Levin, and Rueylin Chen.
Emphasizes historical problems in Japan?s economic development, their challenge to political and social institutions, and their role in shaping foreign policy. Focuses on Japan?s transition from an agrarian economy to commercial capitalism, from hierarchical social organization to constitutional authority, and from isolation from the rest of the world to involvement with Western culture and diplomatic relations. Traces Japan?s development into an industrial giant fully engaged in world affairs.
An introduction to the basic techniques of sentential and predicate logic. Students learn how to put arguments from ordinary language into symbols, how to construct derivations within a formal system, and how to ascertain validity using truth tables or models.
Examines fundamental questions of moral philosophy: What are our most basic values, and which of them are specifically moral values? What are the ethical principles, if any, by which we should judge our actions, ourselves, and our lives?
Identical to V65.0111. Bedos-Rezak, Griffiths. Offered every other year. 4 points. Europe in the early Middle Ages was created out of a mixture of ingredients: the legacy of the Roman Empire; the growth and development of Christianity; invading peoples who settled within the boundaries of the former Roman Empire; and the clash of competing languages, religions, and legal systems. This tumultuous time forged a new entity, medieval Europe, whose development, growing pains, and creative successes this course examines. Uses the records and artifacts of the period itself as central elements for investigating the period.
Focus is on advanced composition and oral practices, with the aim of refining an understanding and general facility with written and spoken Greek. Course work is designed to help students develop a comprehensive vocabulary, improve pronunciation, and increase their effectiveness, accuracy, and fluency in writing and speaking the language. Enhances and perfects reading, speaking, conversational, and writing skills through the close study of selected modern Greek literary texts, current newspaper articles and essays, films, advertisements, and comprehensive discussions of contemporary Greek society. Explores major facets and phenomena of Greek culture: current social and political issues, events, and controversies in Greece; Greece’s position “in the margins of Europe” and at the crossroads of East and West; gender politics; the educational system; the political landscape; discourses on the question of Greek identity; and topics in popular culture. Through individual projects, oral reports, class presentation, and written assignments, students are expected to pursue an in-depth “reading” of present-day Greece.
Open to students with no previous training in Greek and to others by permission of the instructor. Elementary I offered in the fall; Elementary II offered in the spring. 4 points per term. An introduction to modern Greek. Provides students with the fundamentals of grammar, syntax, oral expression, listening comprehension, reading, and composition. Students develop the skills and vocabulary necessary to read simple texts and hold basic conversations. Students are introduced to modern Greek culture, history, and society, since the ultimate goal of the course is to enrich our understanding of multiple, living Greek realities through the language. Teaching materials include current newspaper articles, graded literary passages, songs, and various linguistic games.
Concentrates on the social, political, and cultural forces that shaped Jewish life in post-1945 Europe. Topics: reconstruction of Jewish communities, repression and anti-Semitic campaigns in the Soviet Union and Poland, the impact of Israel, emigration and migration, Jewish-Christian relations, and assimilation and acculturation. Students also learn about various reactions to the Holocaust.
What makes a life well-lived? Central questions to be explored include: Does living well require acquiring knowledge and wisdom? What is the place of moral responsibility in the good life? Is the good life a happy life or does it require sacrificing happiness? Does religion lead to living well or does it hinder it? What is friendship and how does it contribute to the good life? Thinkers to be studied may include: Aristotle, Seneca, Maimonides, Glikl, Spinoza, and Levinas.
Continuation of HBRJD-UA 1. Open to students who have completed HBRJD-UA 1 or who have been placed at this level through the placement examination. For description, see Elementary Hebrew I (HBRJD-UA 1).
Active introduction to modern Hebrew as it is spoken and written in Israel today. Presents the essentials of Hebrew grammar, combining the oral-aural approach with formal grammatical concepts. Reinforces learning by reading of graded texts. Emphasizes the acquisition of idiomatic conversational vocabulary and language patterns.
The course explores three-dimensional treatment of the kinematics of particles and rigid bodies using various coordinate systems, Newton’s laws, work, energy, impulse, momentum, conservative force fields, impact and rotation and plane motion of rigid bodies. | Prerequisite for Brooklyn Students: ME-UY 2213 | Prerequisite for Abu Dhabi Students: ENGR-UH 2011
The course centers on properties of pure substances; concepts of work and heat; closed and open systems. Topics: Fundamental laws of thermodynamics. Carnot and Clasius statements of the 2nd law; entropy and entropy production; heat engines, refrigerators, heat pumps; efficiencies, coefficients of performance.| Prerequisite for Brooklyn Students: MA-UY 1124 | Prerequisite for Abu Dhabi Students: MATH-UH 1020
The course covers three-dimensional vector treatment of the static equilibrium of particles and rigid bodies. Topics: Equivalent force and couple systems. Distributed force systems. Static analysis of trusses, frames and machines. Friction, impending motion. Methods of virtual work. | Prerequisite: PH-UY 1013 and MA-UY 1024
Students in this course become familiar with atomic structure and bonding, atomic arrangement in crystals, crystal imperfections, mechanical behavior and failure of materials and binary phase diagrams. | Brooklyn Students: Co-requisite PH-UY 1013 | Abu Dhabi Students: Prerequisite ENGR-UH 2012
Topics vary by semester. For current term course description, please see the German Department website at http://as.nyu.edu/german/courses.html <http://as.nyu.edu/german/courses.html>
Topics vary by semester. For current term course description, please see the German Department website at http://as.nyu.edu/german/courses.html <http://as.nyu.edu/german/courses.html>
Offered periodically. 4 points. Introduces students to the history, theory, and practice of translation through German and English texts taken from a variety of cultural backgrounds. While engaging in the craft of translation first hand, students encounter diverse grammatical, syntactical, and stylistic problems, thus gaining a deeper understanding of the German language. Also stresses the acquisition of vocabulary and complex idiomatic structures necessary for effective reading comprehension, as well as written expression.
Topics vary by semester. For current term course description, please see the German Department website at http://as.nyu.edu/german/courses.html <http://as.nyu.edu/german/courses.html>
Historically, the music business has generally relinquished the most significant inventions and innovations to third parties. And while many can recite the contemporary Pavlovian catch phrases of the moment, what about the next wave of science and thinking that will impact music? This class will seek to identify, understand and predict the latest advancements in science that will serve to influence and transform music consumption in the next 20 years.
This course will introduce students to social media marketing. Through case studies, interactive sessions, and class exercises, students will learn best practices and develop the skills to connect business objectives with social media strategy, platforms and tactics. We will study how to develop a strategy for a product or service in social media, how to execute that strategy and how to assess the results. Topics will include choosing appropriate platforms, creating effective and engaging social media content, content management, social listening and creating a social media plan. The course also has a practical component, for which students work in small groups and individually.
Study of the theatrical genre in France including the Golden Age playwrights (Corneille, Racine, and Moli?re); 18th-century irony and sentiment; and the 19th-century theatrical revolution. Topics: theories of comedy and tragedy, development of stagecraft, romanticism and realism, the theatre as a public genre, its relationship to taste and fashion, and its sociopolitical function.
Designed for students who wish to learn the specialized language used in French business. Emphasis on oral and written communication and the acquisition of a business and commercial vocabulary dealing with the varied activities of a commercial firm (e.g., advertising, transportation, banking). Stresses group work in simulated business situations and exposure to authentic spoken materials.
Continuation of FREN-UA 9001. To continue on to the intermediate level, a student must complete both FREN-UA9001 and FREN-UA 9002. This two-semester sequence is equivalent to FREN-UA 9010.
Designed to improve the student’s written French and to provide advanced training in French and comparative grammar. Students are trained to express themselves in a variety of writing situations (for example, diaries, transcriptions, narrations, letters). Focuses on the distinction between spoken and written styles and the problem of contrastive grammar. Emphasis on accuracy and fluency of usage in the written language.
Deals with the various currents of ideas and the transformations in values, taste, and feeling that constitute the Enlightenment in France. Particular attention to the personality, writings, and influence of the following authors: Montaigne, Descartes, Montesquieu, Voltaire, Diderot, Rousseau, and Sartre. Significant works by these thinkers and others are closely read and interpreted.
Not equivalent to FREN-UA 20. Only by combining FREN-UA 11 with FREN-UA 12 can a student complete the equivalent of FREN-UA 20 and then continue on to the post-intermediate level. Offered every semester. 4 points.
Continuation of FREN-UA 11. In order to fulfill the MAP requirement and continue on to the post-intermediate level, a student must complete both FREN-UA 11 and FREN-UA 12. This sequence is equivalent to FREN-UA 20. Offered every semester. 4 points.
Open to students with no previous training in French and to others on assignment by placement test. Completes the equivalent of a year’s elementary level in one semester. Offered every semester. 6 points.
This course explores the arts from the late17th/early18th-century to the post-World War II era, examining how they define and reflect both local cultural views and rapidly shifting global understandings of the world. The course considers how the diverse conceptions and conditions of modernity both shaped and were shaped by the arts around the world. Many of the issues pertinent to the course — industrialization/urbanization; the dislocations, disasters, and opportunities that followed cross-cultural contact; colonialism, decolonization, conflicts of political ideology, and liberation struggles; fundamental redefinitions of mind, language, gender, and sexual identity — have had very different effects in various parts of the world; instructors encourage students to explore what it means to study the arts from global perspectives and what “globalization” itself has meant and means in the context of the arts.
This course examines the arts produced within diverse cultural traditions across the globe from the rise of Islam at the beginning of the 7th century to the global empire building of the late17th/early 18th century. The course explores the distinctive conventions and traditions of different media, and the development of cultural traditions from their ancient foundations to the early modern period through successive influences and assimilations, both local and external. Diverse cultural traditions are also considered in relation to one another: by direct comparison of works even in the absence of historical cultural contact; by consideration of mutual interactions, exchanges and contestations; by the assertion of cultural dominance; and by resistance to such assertions.
This course introduces the arts from their origins to the end of antiquity, as defined for these purposes by the roughly coincident dissolutions of the Gupta, Han, and Western Roman empires, focusing on how individuals and social relations are shaped in literature, the visual, plastic, and performing arts, and through music. Conceptions of the divine, the heroic, power and disenfranchisement, beauty, and love are examined within the context of the art and literature of East and South Asia, the Mediterranean world, and contiguous regions (such as Germania, Nubia, and Mesopotamia). Instructors prepare the way for Cultural Foundations II by giving some attention to the modes by which cultural transmission occurred across these regions prior to the rise of Islam.
Examination of representative works by contemporary novelists. Authors generally include Barthelme, Bellow, Ellison, Gaddis, Hawkes, Mailer, Malamud, Morrison, Nabokov, Oates, Pynchon, Roth, Updike, and Walker.
Interdisciplinary introduction to late medieval culture, using Dante, its foremost literary artist, as a focus. Attention is directed at literature, art, and music, in addition to political, religious, and social developments of the time. Emphasizes the continuity of Western tradition, especially the classical background of medieval culture and its transmission to the modern world.
Survey of major autobiographies, fiction, and poetry from the early national period to the eve of the New Negro Renaissance. Writers considered generally include Olaudah Equiano, Phillis Wheatley, Harriet Jacobs, William Wells Brown, Frederick Douglass, Frances E. W. Harper, and Harriet Wilson.
Introduction to the prose and poetry of the 17th century, an age of spiritual, scientific, and political crisis. Readings in Jonson, Donne, Bacon, Herbert, Marvell, Milton, Browne, and others.
This course will analyze the principles and practices underlying the privatization of public enterprises and governmental functions. After evaluating the criticism directed at public ownership, the course examines an alternative to privatization — reforming state-owned enterprises and public administration, using examples from the U.S., Great Britain, and New Zealand. Various issues of privatization such as the roles of ownership and competition in stimulating efficiency, the implications of separation of ownership from management in distinguishing between private and public enterprises, conditions for successful divestiture programs, privatization’s employment impact, and contracting out of government services are discussed both in principle and through the use of examples from industrial, transition, and less developed economies.
Introduction to noncooperative game theory. Focuses on a rigorous development of the basic theory with economic applications such as competition among oligopolists, how standards are set, auction theory, and bargaining. The formal topics include games in strategic form, Bayesian games, and games in extensive form.
How firms behave in imperfectly-competitive markets. Uses game theory to understand strategic decisions. Topics include price discrimination; peak load pricing; productivity; Bertrand, Cournot, and Hotelling oligopoly models; entry; mergers and merger regulation; monopoly regulation; patents; auctions; and two-sided platforms. Moves from theoretical and mathematical models to real-world data and problem sets.
Focuses on international trade in goods, services, and capital. It serves as an introduction to international economic issues and as preparation for the department’s more advanced course in ECON-UA 324. The issues discussed include gains from trade and their distribution; analysis of protectionism; strategic trade barriers; the trade deficit; exchange rate determination; and government intervention in foreign exchange markets.
Application of statistics and economic theory to problems of formulating and estimating models of economic behavior. Matrix algebra is developed as the main tool of analysis in regression. Acquaints students with basic estimation theory and techniques in the regression framework and covers extensions such as specification error tests, heteroskedasticity, errors in variables, and simple time series models. An introduction to simultaneous equation modes and the concept of identification is provided.
The city as an economic organization. Urbanization trends, functional specialization, and the nature of growth within the city; organization of economic activity within the city and its outlying areas, the organization of the labor market, and problems of urban poverty; the urban public economy; housing and land-use problems; transportation problems; and special problems within the public sector.
Money supply; banking as an industry; banks as suppliers of money; the Federal Reserve System and monetary control; monetary theory; and contemporary monetary policy issues.
Rigorous examination of consumer choice, profit-maximizing behavior on the part of firms, and equilibrium in product markets. Topics include choice under uncertainty, strategic interactions between firms in noncompetitive environments, intertemporal decision making, and investment in public goods.
Study of aggregate economic analysis with special attention paid to the determination of the level of income, employment, and inflation. Critically examines both the theories and the policies associated with them.
Examines the manner in which producers, consumers, and resource owners acting through the market determine the prices and output of goods, the allocation of productive resources, and the functional distribution of incomes. The price system is seen as a network of interrelated decisions, with the market process serving to communicate information to decision makers.
Selected principles and applications of chemistry, with emphasis on the fundamental nature of chemistry. Basic course dealing with concepts of atomic and molecular structure, chemical bonding, solution chemistry, equilibrium, reaction rates, and properties of gases, liquids, and solids.
Introduction to the principles and practices of experimental methods widely used in analytical and research laboratories. Emphasizes understanding of background physicochemical theory as well as capabilities and limitations of methods and interpretations of data. Covers instrumental methods, such as UV/visible spectroscopy, FT-IR, NMR, and fluorescence, for the systematic characterization of compounds and the use of interfaced computers for data collection and spreadsheet analysis. Studies also include an introduction to computer modeling of molecular properties. Optional experiments include fluorescence studies of protein denaturation and laser studies of excited state kinetics.
This course constitutes a continuation of the study of chemistry of organic compounds. The material is presented in the functional group framework, incorporating reaction mechanisms. Topics include structure and bonding of organic materials, nomenclature, conformational analysis, stereochemistry, spectroscopy, and reactions of aliphatic and aromatic hydrocarbons, alcohols, ethers, amines, and carbonyl compounds. Multifunctional organic compounds are covered, including topics of relevance to biochemistry, such as carbohydrates, amino acids, peptides, and nucleic acids. Laboratories provide training in the syntheses of organic precursors in high yields and high purity needed for multistep procedures. An extensive research project involving unknown compounds is conducted. The use of IR and NMR spectroscopy is explored.
See General Chemistry I and Laboratory (CHEM-UA 125), above. Laboratories are a continuation of CHEM-UA 125, with emphasis on the analysis of quantitative data rather than its collection. Experiments are selected to provide illustration and reinforcement of the topics covered in the course, including solution chemistry, kinetics, equilibrium, buffers, solubility, and electrochemistry.
This course constitutes an introduction to the chemistry of organic compounds. The material is presented in the functional group framework, incorporating reaction mechanisms. Topics include structure and bonding of organic materials, nomenclature, conformational analysis, stereochemistry, spectroscopy, and reactions of aliphatic and aromatic hydrocarbons, alcohols, ethers, amines, and carbonyl compounds. Multifunctional organic compounds are covered, including topics of relevance to biochemistry, such as carbohydrates, amino acids, peptides, and nucleic acids. Laboratories provide training in the basic techniques of the organic chemistry laboratory, including crystallization, distillation, extraction, and other separation techniques, such as column chromatography. Experiments involving the synthesis of organic compounds are introduced, as well as qualitative organic analysis.
This course constitutes an introduction to inorganic and physical chemistry for science majors, engineers, and the prehealth professions. Emphasizes the fundamental principles and theories of chemistry. Topics include the theories of atomic structure; stoichiometry; properties of gases, liquids, solids, and solutions; periodicity of the properties of elements; chemical bonding; equilibrium; kinetics, thermodynamics; acid-base reactions; electrochemistry, coordination chemistry, and nuclear chemistry. The underlying unity of chemistry is a basic theme. Laboratories provide an introduction to basic techniques used in experimental chemistry. Many experiments use a computer interface to provide experience in modern methods of data collection and to allow thorough analysis of experimental results. Proper laboratory procedures, chemical safety rules, and environmentally sound methods of chemical disposal and waste minimization are important components of the course. Experiments are selected to provide illustration and reinforcement of course topics, including manual and automated titrations, basic chromatography, stoichiometry, thermodynamics, and colorimetry.
Continuation of V25.0651. Develops the close connection between the microscopic world of quantum mechanics and the macroscopic world of thermodynamics. Topics include properties of gases, elementary statistical thermodynamics, and thermodynamics of single and multicomponent systems.
An introduction to quantum mechanics–general principles and applications to important model systems. Covers electronic structure of one- and many-electron atoms, theory of chemical bonding in diatomic and polyatomic molecules. Includes principles and applications of molecular spectroscopy–rotational, vibrational, electronic, and nuclear magnetic resonance. Elements of photochemistry are also included.
A basic black-and-white photography course designed for those with little or no experience in photography. Emphasis is placed on the application of technique in terms of personal expression through the selection and composition of subject matter. Class size is limited, providing for a greater degree of individual critique and classroom participation. The course comprises technical lectures, readings and discussions about critical issues in photography, slide lectures on historical and contemporary work as well as class critiques. Each student must have a camera with manually adjustable aperture and shutter speeds.
First-year Korean designed to introduce the Korean language and alphabet, Hangul. This course provides a solid foundation in all aspects of the language, including speaking, listening, reading, and writing. Students study the language’s orthographic and phonetic systems, grammar, syntax, and vocabulary within social and cultural contexts.
Continuing study of Japanese at the intermediate level. Stresses reading comprehension, spoken fluency, and composition, with materials organized around social and cultural topics; continues to introduce new Kanji characters.
Designed to further develop proficiency in speaking and writing through readings on and discussions of socio-cultural topics relevant to today’s China. Focuses on improving reading comprehension and writing skills. The objectives are: to further improve oral communicative competence by incorporating semi-formal or formal usages; to acquire vocabulary and patterns necessary for conducting semi-formal or formal discussions of socio-cultural topics; to increase reading speed of texts with more advanced syntax; to learn to make context-based guess about the meaning of a new word, conduct sentence analysis and solve textual problems with the aid of dictionaries; to write and present more fully developed narratives or reasoned and structured arguments in length; to learn to employ basic rhetoric methods; to learn to appreciate stylistic usage of Chinese language.
Introductory course in modern spoken and written Japanese, designed to develop fundamental skills in the areas of speaking, listening, reading, and writing. Gives contextualized instructions to develop both communicative and cultural competency. Systematically introduces the Japanese writing system (Hiragana, Katakana, and Kanji).
Designed to consolidate the student’s overall aural-oral proficiency. Focuses gradually on the written aspect of Chinese. The objectives are: to be able to obtain information from extended conversation; to both express and expound on, in relative length, feelings and opinions on common topics; to expand vocabulary and learn to decipher meaning of compound words; to develop reading comprehension of extended narrative, expository and simple argumentative passages; to solve non-complex textual problems with the aid of dictionaries; to write in relative length personal narratives, informational narratives, comparison and discussion of viewpoints with level-appropriate vocabulary and grammatical accuracy, as well as basic syntactical cohesion; to continue being acquainted with aspects of Chinese culture and society related to the course materials.
Designed to further develop proficiency in speaking and writing through readings on and discussions of socio-cultural topics relevant to today’s China. Focuses on improving reading comprehension and writing skills. The objectives are: to further improve oral communicative competence by incorporating semi-formal or formal usages; to acquire vocabulary and patterns necessary for conducting semi-formal or formal discussions of socio-cultural topics; to increase reading speed of texts with more advanced syntax; to learn to make context-based guess about the meaning of a new word, conduct sentence analysis and solve textual problems with the aid of dictionaries; to write and present more fully developed narratives or reasoned and structured arguments in length; to learn to employ basic rhetoric methods; to learn to appreciate stylistic usage of Chinese language.
Designed to develop and reinforce language skills in listening, speaking, reading, and writing as it relates to everyday life situations. The objectives are: to master the Chinese phonetic system (pinyin and tones) with satisfactory pronunciation; to understand the construction of commonly used Chinese Characters (both simplified and traditional) and learn to write them correctly; to understand and use correctly basic Chinese grammar and sentence structures; to build up essential vocabulary; to read and write level appropriate passages; to become acquainted with aspects of Chinese culture and society related to the course materials.
Designed to develop and reinforce language skills in listening, speaking, reading, and writing as it relates to everyday life situations. The objectives are: to master the Chinese phonetic system (pinyin and tones) with satisfactory pronunciation; to understand the construction of commonly used Chinese Characters (both simplified and traditional) and learn to write them correctly; to understand and use correctly basic Chinese grammar and sentence structures; to build up essential vocabulary; to read and write level appropriate passages; to become acquainted with aspects of Chinese culture and society related to the course materials.
Introduction to the reading of Shakespeare. Examines about 10 plays each term, generally in chronological order. First term: the early comedies, tragedies, and histories up to Hamlet. Second term: the later tragedies, the problem plays, and the romances, concluding with The Tempest.
The intermediate workshops offer budding fiction writers and poets an opportunity to continue their pursuit of writing through workshops that focus on a specific genre. The workshops also integrate in-depth craft discussions and extensive outside reading to deepen students’ understanding of the genre and broaden their knowledge of the evolution of literary forms and techniques.
The intermediate workshops offer budding fiction writers and poets an opportunity to continue their pursuit of writing through workshops that focus on a specific genre. The workshops also integrate in-depth craft discussions and extensive outside reading to deepen students’ understanding of the genre and broaden their knowledge of the evolution of literary forms and techniques.
This class is an introduction to the craft of directing. We will take a step-by-step look at the director’s process and responsibilities in this most collaborative of arts. Our focus will include script, character and scene analysis; performance, casting and rehearsal; design and visual style; assembling the final form. We’ll talk about what an actor wants from a director, how to talk to the cinematographer and production/costume designers and why we look at editing as the final rewrite. Through lectures, screenings, assignments and discussions with working professionals, the class will offer a comprehensive foundation for the director on which to build a rich creative experience at Tisch and a long and satisfying professional career thereafter.
In this course we focus on four contemporary novels in which the world of the character, the narrator, or the author, is read through the lens of a literary classic. In each case, the reading and rewriting of the primary text involves temporal and spatial displacements (from the 18th to the 20th century, from Europe to the Caribbean and to the South Pacific) that generate shifting perspectives and a constant reshuffling of center and periphery. Between a reverential affiliation to the past and a creative misreading and rewriting of it, these intertextual encounters with « great » Western literary works insistently raise the questions of identity, originality, and “writing back”. Exploring these questions will therefore also involve drawing on comparative, translation, and postcolonial studies.
With extensive readings from Horace?s, Juvenal?s, and Persius?s satires, this class traces the development of the satiric mode from its earliest beginnings in Rome to its flowering under the Empire. The relationship of satire to the social world of Rome, including its treatment of money, women, political figures, and social climbers, is also examined.
Lecture and laboratory course that focuses on how the brain uses both sensory and stored information to generate behavior. Lectures and laboratories cover four main areas: sensory process, learning and memory, motivational and attentional mechanisms, and the motor system. Laboratories employ a range of electrophysiological techniques, lesions and pharmacological manipulations, and various behavioral techniques to examine the integrative processes by which the brain governs behavior.
Animals are one of life’s most successful lineages, occupying nearly every environment. This course provides an introduction to the diversity of animal form and function in the context of phylogeny and evolution, with a focus on the invertebrates, the majority of animals. Lectures will be devoted alternately to individual branches of the tree of animals and to common themes in the ways animals have evolved to fit and shape their environments. We will discuss morphology, physiology, reproduction, development, and ecology. We will discuss the unique genomic and molecular characteristics of each branch of animal life, with attention to the ways that nonmodel organisms can provide insights into core cellular and molecular processes, including cell-cell communication and biomineralization. We will also discuss the intersection of these animals with human interests, including economic zoology, ecosystem services, and medicine. In laboratory and field exercises, students will learn to collect and identify invertebrate animals and to form and test hypotheses about their attributes.
Introduction to human reproductive anatomy, physiology and endocrinology, conception, pregnancy and development of the human embryo, childbirth, and principles of human heredity. Related topics are contraception and sexually transmitted diseases.
Reccomended for students studying both animation and live action. This course is designed to train animation students to think visually, and to strengthen their overall drafting and design skills. The focus of the course is drawing humans and animals from live subjects, thereby learning to translate the three-dimensional world into two-dimensional terms. Drafting skills are important to all animators, regardless of their chosen media or focus. In particular, strong drafting skills are essential for character animators. This course allocates as a Craft for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES.
This laboratory course applies concepts learned in the Molecular and Cell Biology course (BIOL-UA 21) to a molecular biology research project. The research project will introduce students to standard genetic and biochemical techniques common in a molecular biology lab, such as DNA isolation, agarose-gel electrophoresis, and transformation. The project also will provide students with a hands-on understanding of how modern DNA-sequencing technology, along with bioinformatic tools, can be used to discover genetic differences and understand cellular function.
Intended for majors and minors in biology as a comprehensive description of microbes, the most abundant and diverse organisms on the planet. Organized into four modules: the microbial cell, microbial genomics, microbial development and adaptation, and microbial interactions with the host and the environment. Through lectures and critical analysis of primary literature, students are led to realize how the advent of genomics has revolutionized microbiology, a scientific discipline that is more than a century old.
Prerequisite: Fundamentals of Ecology (BIOL UA-63) (may be taken concurrently). Students learn the skills needed to design and implement field experiments, interpret data and present ecological research. While investigating real habitats (forests, salt marshes, urban landscapes), students perform biological surveys and measure abiotic parameters. Ecological techniques are nested within questions in biodiversity and community structure, invasion biology, urban ecology, habitat alteration and climate change. During approximately half of the lectures, class meets at off-campus field sites. Students should not schedule meetings or classes either directly before or after class time.
In-depth study of cell biology, with an emphasis on the molecular aspects of cell function. Topics include protein structure and synthesis, gene expression and its regulation, cell replication, and specialized cell structure and function. The course provides an introduction to genomics and bioinformatics and examines developmental biology, evolution, and systems biology.
Introductory course mainly for science majors, designed to acquaint the student with the fundamental principles and processes of biological systems. Subjects include the basics of chemistry pertinent to biology, biochemistry and cell biology, genetics and molecular biology, anatomy and physiology, neurobiology, ecology, population genetics, and history and classification of life forms and evolution. Laboratory exercises illustrate the basics of experimental biology, molecular biology, biochemistry, and genetics, as well as the diversity of life forms and organ systems.
This course reviews typical children’s behavior problems in school settings and offers a primer in evidence-based behavior management tools. The class addresses common causes of disruptive behavior, such as Attention-Deficit/Hyperactivity Disorder (ADHD) and related conditions. Students will be instructed in effective behavior management strategies appropriate for settings, such as schools, camps, and sports programs. Techniques will include selective attention, behavioral daily report cards, token economies, and limit setting. The theoretical and research bases for these strategies will be explored. Students will practice skills with live coaching from the instructor. One required field trip to the NYU Child Study Center will allow students to view how these tools are used in real life clinical settings. This course is of particular interest to those considering careers in child psychology or psychiatry, pediatrics, or general or special education, especially those seeking experience as student aides, camp counselors, or Special Education Itinerant Teachers (SEITs).
What is the impact of our upbringing? This course provides an overview of child development with the goal of understanding the complexity of human growth, adaptation, and responses to adversity. To this end, we will trace a variety of overlapping trajectories, including the development of cognitive, emotional, interpersonal, and moral capacities. The course reviews historical and modern-day developmental theories as well as more complex interpersonal constructs, such as family systems, peer relations, gender and sexual identity, and cultural variation. Special emphasis is placed upon examining the dynamic interplay between biology and environment. The course consists of two interactive lectures per week based upon introductory readings on child development. Students are also assigned one film to view at home each week to illustrate the myriad of ways in which human beings evolve and adapt through life’s transitions and challenges.
While psychopathology courses are commonplace among undergraduate psychology curricula, courses focusing on child and adolescent psychopathology are relatively rare. More novel still is the opportunity to receive instruction in child and adolescent psychopathology from practicing psychiatrists and psychologists at an internationally renowned clinical and research center. Through lecture presentations and discussions, this course focuses on disease etiology, epidemiology, phenomenology, nosology, and diagnosis. It engages students in a critical review of common child and adolescent psychopathology and challenges social and cultural assumptions of what constitutes ?normal? vs. ?pathological? behavior, cognition, and emotion. Students also complete one practicum by participating with a clinician (psychologist or psychiatrist) during the evaluation of a child or adolescent patient at the NYU Child Study Center.
Begins with El Greco in Italy and Toledo, Velázquez, Zurbarán, Murillo, Ribera, and Valdés Leal before moving to the 18th century (the Tiepolo family, Meléndez). Defines Spain in the 16th and 17th century as a global power by considering colonial-era art in such New World centers as Mexico City and Lima. The focus then shifts to the art of Francisco de Goya and the projection of Spanish art into the modern era.
Major traditions in painting, sculpture, and architecture of the native peoples of North America, Mexico, Central America, and Andean South America. Material from pre-contact times through the 20th century. Deals with questions of theory and differences between indigenous and Western world views; the relationship of the arts to shamanism, priesthoods, guardian spirits, deities, and beliefs regarding fauna and flora; impact of European contact on indigenous arts and civilization.
This course is intended as an introduction to the arts of Islam during a period of dynamic cultural and political change in the Islamic world. Beginning with the Mongol invasions of the 13th century, the course traces the development of Islamic art and architecture through the eras of Timur, the ?gunpowder empires? (the Mughals, Ottomans, Safavids) and European colonialism, to the art of the nation-state in the 20th-century.
Identical to MEDI-UA 1. Students who have taken ARTH-UA 3 or ARTH-UA 4 will not receive credit for this course. Introduction to the history of painting, sculpture, and architecture from ancient times to the dawn of the Renaissance, emphasizing the place of the visual arts in the history of civilization. Includes the study of significant works in New York museums, such as the Metropolitan Museum of Art, the Cloisters, and the Brooklyn Museum.
This course is conceived as a focused study of the works of Leonardo da Vinci, Raphael Sanzio and Michelangelo Buonarroti, the men whose careers largely defined the concept of Western artistic genius. Particular consideration will also be given to their Italian and European contemporaries and followers in order to take advantage of the opportunity to the study these original works on site. High Renaissance art cannot be divorced from its times; thus, much attention will be given to contemporary history, especially Florentine politics and politics in Papal Rome. Special attention will also be given to the evolution of drawing practice in sixteenth-century Italy, an essential development for the changes that took place in the conception of works of art over the course of the century. Themes such as patronage, humanism, interpretations of antiquity, and Italian civic ideals will form a framework for understanding the works of art beyond style, iconography, technique and preservation. As the high Renaissance works are often still in their original physical settings, during field-studies to museums and churches in Florence students will have a unique opportunity to experience the works as their original viewers did and as their creators intended.
Beginning by considering how impressionism refined and redirected the artistic aims of 19th-century realism, follows the development of progressive art to the brink of cubism and pure abstraction in the first years of the 20th century. Following impressionism and post-impressionism, close attention is paid to symbolism, aestheticism, art nouveau, the Arts and Crafts movement, fauvism, and expressionism. The aesthetic aims of these movements are analyzed in tandem with the social and cultural conditions that generated them.
Formerly V43.0085. Offered every year. 4 points. Provides an outline of Islamic material in its early and classical periods, from 650 to 1200. The period saw the initial formation of an Arab empire stretching from the Atlantic Ocean to the Indian Ocean, a decline in centralized authority, and the rise to political prominence of various North African, Iranian, and Central Asian dynasties from the 10th century onward. These politicFormerly V43.0085. Offered every year. 4 points. Provides an outline of Islamic material in its early and classical periods, from 650 to 1200. The period saw the initial formation of an Arab empire stretching from the Atlantic Ocean to the Indian Ocean, a decline in centralized authority, and the rise to political prominence of various North African, Iranian, and Central Asian dynasties from the 10th century onward. These political developments are reflected in the increasingly heterogeneous nature of Islamic material culture over this time span.
Students who have taken ARTH-UA 5 or ARTH-UA 6 will not receive credit for this course. Offered every semester. 4 points. Introduction to the history of painting, sculpture, and architecture from the early Renaissance to the present day. Includes the study of significant works in New York museums, such as the Metropolitan Museum of Art, the Frick Collec-tion, the Guggenheim Museum, and the Museum of Modern Art.
The transition from hunting and gathering to agriculture and animal husbandry is often called the Agricultural Revolution. This change in human subsistence strategies led to changes in many other aspects of human life, including settlement patterns, demography, social organization, and religious practices. It also provided the economic basis for the development of complex urban societies in many regions of the world. Examines the archaeological evidence for the transition from foraging to farming on a worldwide basis.
This course introduces the long-standing and complex connection between religious practices and various media. We’ll analyze how human hearing, vision, and the performing body have been used historically to express and maintain religious life through music, voice, images, words, and rituals. Time will then be spent on more recent electronic media such as radio, film, television, video, and the Internet. An anthropological/ historical perspective on studying religion is pursued.
Although they are no longer the dominant form of human sociality or adaptation, hunter-gatherers continue to play a pivotal role in anthropological theory. But who are hunter-gatherers? Some argue that the problem with trying to pigeon-hole hunter-gatherers is that this taxonomic unit holds little practical or evolutionary legitimacy. Others contend that people have evidently lived off the land without agriculture or animal husbandry, so at some level, hunter-gatherer is a meaningful category. Yet, few of the qualities assigned to hunter-gatherers hold up to detailed cross-cultural investigation. For example, hunter-gatherer subsistence is not inherently linked to peaceful coexistence, affluence, small group sizes or settlement mobility. Moreover, hunter-gatherer populations commonly thought to be deeply entrenched in evolutionary time are now known to result from complex historical processes of globalization and colonial expansion. This course will explore the diversity of lifeways subsumed under the banner of the hunter-gatherer. Drawing on a wide range of cross-cultural datasets, the course will unpack hunter-gatherer behavioral variability across broad topics, not paradigms. We will examine variations in hunter-gatherer subsistence, mobility, social organization, belief systems, landscape use, and material culture. Finally, we will ask to what degree the concept of the hunter-gatherer and the study of modern hunter-gatherers can help anthropologists understand and explore human behavior in the deeper past.
This course examines the social and political life of media and how it makes a difference in the daily lives of people as a practice – in production, reception, or circulation. It is organized around the following key questions: What is media? What role do media play in producing or shaping our sense of reality? What is the relationship between media and culture? How are media implicated in social change? It provides an overview of the increasing theoretical attention paid to the mass media by anthropologists, and focuses on concrete ethnographic examples.
Only open to majors in anthropology who have the permission of the director of undergraduate studies or the instructor. This seminar explores, theoretically and methodologically, selected key current issues and problems in biological anthropology. See the department?s internal catalog.
Introduces contemporary archaeology, its theories, practices, and early societies and cultures. Examines current methodological and theoretical viewpoints of archaeological scholarship within the discipline of anthropology. Focuses on key transformations in cultural evolution, such as the origins of modern humans, the emergence of food production, and the development of complex societies, urbanism, and early states. Explores gender roles, landscapes and settlements, technologies, art, cognitive systems, urbanism, and state formation.
Examines human health and disease within an ecological framework, exploring the interactions of environmental, genetic, physiological, and cultural factors in the expression and distribution of human diseases. Develops pathology profiles for nonhuman primates; prehistoric human populations; and hunting and gathering, agricultural, and industrial groups, with emphasis on the expression of infectious disease in human history and newly (re-) emerging diseases.
This course offers an introduction to some of the classical and current issues in the anthropology of Indigenous Australia. The role of anthropology in the representation and governance of Indigenous life is itself an important subject for anthropological inquiry, considering that Indigenous people of Australia have long been the objects of interest and imagination by outsiders for their cultural formulations of kinship, ritual, art, gender, and politics. These representations—in feature films about them (such as Rabbit-Proof Fence and Australia), New Age Literature (such as Mutant Message Down Under), or museum exhibitions (such as in the Museum of Sydney or the Australian Museum)—are now also in dialogue with Indigenous forms of cultural production, in genres as diverse as film, television, drama, dance, art and writing. The course will explore how Aboriginal people have struggled to reproduce themselves and their traditions on their own terms, asserting their right to forms of cultural autonomy and self-determination. Through the examination of ethnographic and historical texts, films, archives and Indigenous life-writing accounts, we will consider the ways in which Aboriginalities are being challenged and constructed in contemporary Australia. The course will consist of lectures interspersed with discussions, student presentations, and films/other media; we may also have guest presenters.
Explores how identity is a process of “becoming” rather than a mode of “being” by examining how speakers enact their gender, sexuality, race, ethnicity, nationality, religion, and socioeconomic class through everyday conversations, narratives, performances, literacy activities, and public debates. Also explores the moral and political consequences of people’s identification strategies by examining how their beliefs about language reinforce or contest normative power structures. Readings on the relationship between bilingual education and accent discrimination, multilingualism and youth counterculture, migration and code-switching, media and religious publics, linguistic nationalism and xenophobia, and literacy and neo/liberalism in different areas of the world.
What does it mean to think anthropologically? This course considers historically foundational practices of anthropological thought, its core method, fieldwork, and its most influential product, the ethnography, in order to think practically and creatively along the lines of what constitutes cultures, societies, translation, and difference. A central goal is to advance the concept of culture, with its attendant solidarities, hierarchies, and exclusions, in order to better understand continually changing systems of collective identifications.
This class explores the role of literature in creating empathy – how can it help us imagine the lives of “others” & that of animals? By querying the politics of meat mainly through contemporary literature, we put three similar (yet often disconnected) disciplines in conversation with each other: food studies, environmental studies, and animal studies. Two key questions we will address are: 1. What relationship – if any – is there between what we eat and who we are? 2. How are the intimate spaces of both human and nonhuman bodies – and their cultivation – related to notions of ecological violence?
Industrial Design in Action is a course that will help you bridge the gap between your ideas and their physical form. From initial research to conception, you will practice and apply different design methodologies that lead to creative and innovative ideas; acquire a fundamental understanding of form, function and design language; and utilize sketching and visual storytelling to communicate a message and features of a compelling product. In addition, you will become familiar with various Computer Aided Design (CAD) softwares; explore different types of materials for different uses and applications; and experiment with a myriad of fabrication techniques, from basic hand tools to advanced digital fabrication, you will learn to use the right tool for the job. Altogether these skills will enable you to go from prototype to a finished product. In a nutshell, this course is about designing and fabricating things we love. Prerequisite: Interaction Lab or Communications Lab or Application Lab. Fulfillment: IMA/IMB Elective.
The current design methods and technologies in the field of digital entertainment, from design concepts to design tools, are still based on 2D screens, but the product is often 3D. This contradiction results in the designers not being able to see the final consequences of their work directly. Can existing VR technologies solve this contradiction? Immersive design is a new design method for digital creativities beyond the screen. It usually takes VR, AR, or MR devices as design interfaces to craft 3D models, textures, game environments, and other gaming experiences. Not only game assets creation but also game design concepts can be changed with these new technical inputs. In this course, students will answer the following questions: ○ Is immersive design more intuitive? ○ Is immersive design more efficient? ○ Do immersive design techniques have lower learning costs? ○ What traditional design lessons and concepts can be applied in an immersive design environment? In view of these questions, students from different disciplines will give answers through discussions, projects, collaboration, documentation, and VR games. Prerequisite: Communications Lab. Fulfillment: IMA/IMB Elective.
This course draws from net art, interface design, and post-digital / post- internet practices to explore interactions that bridge screen and physical. Students are led to conceptualize and develop bespoke “interfaces” (in the widest sense), in which either aspects of the web are reflected in the physical world, or – conversely – the habitual mode of browsing is being updated in ways that capture the user’s physical and bodily presence. A reflection of the medium web, its vernacular, and practical daily use is the starting point of this project. The students’ work is additionally being informed by analysis of select examples from art and design, exemplary for ways of re-framing the technical everyday. This course will make use of web technologies (p5.js), and physical computing techniques – and introduce students to various ways those can be technically, and conceptually, combined. Prerequisite: Interaction Lab or Creative Coding Lab. Fulfillment: IMA/IMB Elective.
The aim of this course is to explore the relationship between the virtual self and environment and to assess both as a space for learning and collaboration using virtual reality. This course takes place entirely in virtual, immersive environments. Students will be provided Oculus Quest 2 virtual reality headsets and specialized software. See the principles above for further details. Prerequisite: IMA Major with junior or senior standing. Fulfillment: IMA/IMB Elective.
This course focuses on key aspects of entrepreneurship as a critical engine for innovation. It also treats entrepreneurship as a state of mind that is not limited to small firms. Students discuss current theories and practices related to starting and managing entrepreneurial enterprises, emphasizing firms in technology- , information- and knowledge-intensive environments. Particular attention is paid to the critical issues of (1) identifying opportunities that provide competitive advantage; (2) the development of a solid business plan; (3) the marketing of new ventures; (4) entrepreneurial business operations, including human-resource and process management; (5) ethical and social issues in entrepreneurial firms; and (6) financial management and fund raising for entrepreneurial firms. | Prerequisites: Junior or senior student status. MG-UY 3002 and MG-UY 3404
Organization and management of commercial and institutional food service facilities in hotels, restaurants, and educational and community program sites.
This course surveys the history and development of jazz music in America from the mid 1800s to current trends in popular music. Through a historical timeline, student will study jazz music’s range of styles as informed by social, regional, cultural, technological, and political trends. Realizing that all music is a reflection of historical events and the cultures they are informed by, students will analyze the close connection between jazz music and why it is known as America’s true original artform.
This course explores the ways in which popular Hollywood films construct the historical past, the ensuing battles among historians and the public over Hollywood’s version of American history, and the ways such films can be utilized as historical documents themselves. We will consider films as products of the culture industry; as visions of popularly understood history and national mythology; as evidence for how social conflicts have been depicted; and as evidence of how popular understanding and interpretations of the past have been revised from earlier eras to the present.
In this course we will cover the varieties of Italian food in their past and present forms. First, we will explore the history of food from past civilizations, leading up to World War I, just after the great immigration to the New World. Time periods examined will be ancient Rome, Medieval, Renaissance, Risorgimento, leading to the modern era. This course includes topics ranging from Pellegrino Artusi’s famous cookbook in the contest of Italian unification to the relationship between Italian Futurism and food. The second part of the course will introduce students to the regional diversity of Italian food using mediums such as TV, art, and film. We will examine the ways in which food shapes contemporary Italian society, from the more intimate family kitchen to the most elegant Italian restaurant in New York City.
Why do fashion designers and brands exert such influence in contemporary society? What explains the trajectory from The House of Worth to Chanel to this season’s hottest label? This course investigates the interlocking forces shaping fashion: the designer system, celebrities, technology, politics, the arts and media. Through lectures and film viewings, readings, discussions, and individual research, students explore fashion as a crucial aspect of culture and how the fashion system evolved from roots in Parisian couture to become a global phenomenon. Liberal Arts Core/MAP Equivalent – satisfies the requirement for Expressive Cultures for Steinhardt students.
In this workshop (practicum), poets will focus on the foundations and intricate dynamics of poetry as a writer’s process. A weekly reading of a new poem by each poet in the circle will serve as point of departure for discussion of the relationships of craft and expression. A final portfolio of polished poems is required at the end of the course.
Major periods, developments, and interpretative issues in Russian politics, history, and society, from the 1917 revolution to the present. The emphasis is on the Soviet experience, though the Tsarist past and post-Soviet developments are also considered. Special attention is given to the role of historical traditions, leadership, ideology, ramifying events, and socioeconomic factors.
The goals of this course are twofold. First, students will learn about conceptions of race and ethnicity in the ancient Mediterranean world (inclusive of North Africa and West Asia) through select examples of ancient art and texts. The course examines how racial and ethnic differences were conceptualized in the ancient world, while also considering the processes of racial formation in the context of ancient empires and kingdoms. Second, students will examine the ways that the study of the art, archaeology, and culture of the ancient Mediterranean has impacted modern/contemporary formations of race. Archaeological and historical disciplines centering around the ancient Mediterranean world (e.g. Classics, Egyptology, ‘Near Eastern’ Studies) have developed alongside western imperial projects and the construction of monuments to white supremacy in the United States. Redressing these histories, artists and writers of color (e.g. Edmonia Lewis, Yayoi Kusama, Kandis Williams, Fred Wilson) have likewise engaged with ancient art and myth in order to problematize and resist such racist legacies. In this seminar, students will become familiar with a range of primary source material alongside secondary sources that theorize and engage with race from different disciplines. The course will provide students with premodern, historical perspectives on race, illuminating the aesthetic, cultural, and political strategies by which power was distributed and administered along racial lines. Furthermore, students will learn about the stakes of studying the ancient world for contemporary debates around race.
This seminar takes as its central topic the relationship between youth and empire. What does it mean to come of age in a world-system when the key decisions that shape your life might be made in far-off countries that you have never seen? And conversely, why have writers in societies that have recently achieved political independence been drawn to narrate that political transformation through the lens of stories about growing up? We will read a range of different texts and genres, including realist novels, modernist fiction and autobiographical narratives by formerly enslaved people. We will think together about the strengths and limits of these various forms, considering the ways that authors have attempted to reckon with the existential uncertainty of living in a global society. Likely readings will include Chinua Achebe, No Longer at Ease; Charlotte Brontë, Jane Eyre; Charles Dickens, Great Expectations; Olaudah Equiano, The Interesting Narrative of the Life of Olaudah Equiano; Mary Prince, The History of Mary Prince; Jean Rhys, Wide Sargasso Sea; Olive Schreiner, The Story of an African Farm; and Indra Sinha, Animal’s People.
THIS COURSE TAKES PLACE AT NYU-FLORENCE. The aim of this course is to explore the history of Italian fashion with an interdisciplinary approach focused on social, cultural, economic and political aspects. By focusing on select topics of key interest students will acquire a basic knowledge of the history of Italian fashion from the Renaissance to the present, understand the complex and multivalent clothing codes that help to order social interaction and learn to decode it. These abilities will provide students with a useful basis for understanding the capital role of the fashion of the past both as the origin of a ‘language’ of clothes still in use and as a boundless source of inspiration for contemporary designers. Conducted in English.
In this class we will continue to explore the concept of narrative and the way writers interrogate literary and social conventions. As we consider how stories shape our notions of history, love, social class, and sexual identity, we will examine how the thinking of readers, and stories, changed from the nineteenth century to the twentieth. We will follow the emergence of a new form of narration, whose protagonists include not only characters, but also time, place, the city, the reader, and language itself. We will read Flaubert’s Madame Bovary, James Joyce’s Ulysses, as well as essays on film and narrative theory.
Since the terms Realism and Naturalism were first applied to plays by writers like Ibsen or Strindberg, the attempt to create a semblance of everyday life on stage has defined and sometimes dominated Western drama, even by inspiring other styles and movements in reaction. This course will explore the forms and purposes – the how and the why – of these “realistic” approaches to theater, both from a literary and a performance perspective. With the 19th Century movement in visual arts and literature as background, and contemporary equivalents in other media as context, we will ask what is particular about Realism as a way of seeing or defining the “real”? What perspectives and assumptions does it use to recreate the details of lived experience, and what does a theater audience experience? We will look at some classic 20th Century English-language theatrical examples (e.g. Miller, Hansberry), alongside contemporary pieces that draw from them (Baker, Hudes, Lee). Acting and directing texts from Uta Hagen and Harold Clurman, as well as writing about associated acting styles (such as “The Method”), will guide our work. Through rehearsing scenes and critical analysis, students will interrogate the techniques and their assumptions, asking what they now might offer us, in a culture suffused in “reality TV” and filmed recreations of the “real”. The class will then create and perform their own scenes inspired by and/or critiquing this tradition.
Auto Fictions is a studio class focusing on the creation of immersive, multi-path and interactive experiences based on personal narrative. Documentary art has included the art of installation for decades, but new technologies have given artists affordable tools that allow them to rapidly prototype and then refine immersive media experiences. Auto Fictions is an interdepartmental course that may include students from Film, ITP and Theater disciplines. Students will create production teams. Each team will make a project and each student will help the other create their work through intensive collaboration. The intention here is to practice collaboration across disciplines, methods, values, and artistic cultures to create a work of immersive fiction based on materials gathered from the past, captured or created in the present and/or imagined for the future. We will look at several possible approaches to the creation of immersive media works. Including multiplexing software programs. Students with the requisite knowledge in these tools or gaming engines with similar capabilities may use them for the creation of their works. But it is not required. There may be an opportunity for building intuitive interactivity into some of the experiences. In response to the Covid-19 pandemic we will be exploring how to adapt our working methods and our work itself to these conditions as they develop. The goal of the course will be to physically realize the works but to do that we will go through a detailed comprehensive design, planning and budgeting process so that if conditions permit all aspects of the work will be fully created or planned and ready to build. If conditions permit, we will meet one day at the beginning of the semester to install and introduce the platform, create teams, and review the assignment. Otherwise we will meet online and begin work there. Students will be provided with access to online tutorials for relevant software and systems.
This course attempts to track the American entertainment industry from its plebian origins through its rise to becoming the predominant mass entertainment culture in the world. Students discover the origins of the production practices that are employed in the entertainment industry today by following the legendary characters, movie moguls, and media titans of the early 20th century and the companies they built. The emphasis is on the way the visionaries of the time impacted seemingly risk-averse systems to invigorate and sometimes completely revolutionize them. These innovative men and women include, but are not limited, to Louis B. Mayer, George Lucas, Maya Deren, Shirley Clark, Nam Jun Paik, Lucille Ball, Russell Simmons, Clive Davis, Julie Taymor, and Steve Jobs.
Language of Film is an introduction to the craft, history and theory of filmmaking and film-watching. The main challenge facing all filmmakers is to show the story: in other words, to visualize the drama. Over the past century, narrative, experimental and documentary filmmakers have developed a variety of creative strategies and techniques designed to give their audiences compelling, multi-sensorial experiences. The goal of this class is to explore how filmmakers in different historical and cultural settings have contributed to the evolution of film as a powerful, complex and captivating art form.. This course allocates as History & Criticism for Film & TV majors.
This course explores Greek, Christian and Jewish responses to the problem: How does one create a good society? Central questions to be explored include: What is the best form of government? What economic system is ideal? Should the government actively promote a vision of the good life or leave it to individual to decide the good for themselves? Should the government prioritize the freedom, equality, or happiness of its inhabitants? What role should religion and nationhood play in society? What models of education should the government promote? How does gender inform these considerations? The course will focus on careful analysis of primary texts. Thinkers to be studied include: Plato, Maimonides, Hobbes, Locke, Rousseau, Wollstonecraft, Mendelssohn, Marx, Hess. Having first taken the course: Living a Good Life: Greek and Jewish Perspectives is highly desirable.
The course is an introduction to microeconomics. It assumes no prior knowledge of the subject. The course examines the fundamentals of microeconomics needed by technologists, relying to a considerable extent upon mathematical expression and representation. The principle topics covered are price theory, production and cost theory, the theory of the firm and market theory, including the practical relevance of these to the management of technology-intensive enterprises. The role of the state and of government regulation will be considered as a special topic. Students who take this course cannot receive credit for ECON-UA 2 or FIN-UY 2003. | Prerequisite: MA-UY 1024 or MA-UY 1054 or MA-UY 1324 or an approved equivalent.
Through lectures, discussion, program viewing, projects, guests, and our own lives, this course explores the state of children’s media for pre-schoolers to adolescents. The goal is to understand how we all have been affected by the media and how we can determine change for the next generation. We will consider the role television, videos, and the internet play in regard to family and peer relationships, education and social issues. We will also examine the broadcasting and cable industry as well as the success and failure of the government and such media groups as ACT (Action for Children’s Television) in regulating content of children?s programs. Assignments will include interviews of pre-schoolers and adolescents, website presentations, critique of children’s programs, and a proposal for children’s media. This course allocates as History & Criticism for Film & TV majors.
Introduction to the foods of various world regions and the techniques used to prepare them through hand-on food preparation, demonstrations, lectures and field trips.
This course examines the social and political life of media and how it makes a difference in the daily lives of people as a practice – in production, reception, or circulation. It is organized around the following key questions: What is media? What role do media play in producing or shaping our sense of reality? What is the relationship between media and culture? How are media implicated in social change? It provides an overview of the increasing theoretical attention paid to the mass media by anthropologists, and focuses on concrete ethnographic examples.
Carrasco, Heeger, Landy, Pelli. Offered every semester. 4 points. How do we construct a conception of physical reality based on sensory experience? Survey of basic facts, theories, and methods of studying sensation and perception. The major emphasis is on vision and audition, although other modalities may be covered. Represen-tative topics include receptor function and physiology; color; motion; depth; psychophysics of detection, discrimination, and appearance; perceptual constancies; adaptation, pattern recognition, and the interaction of knowledge and perception.
Investigates the evolutionary origins of humans. The study of human evolution is a multidisciplinary endeavor involving a synthesis of concepts, techniques, and research findings from a variety of different scientific fields, including evolutionary biology, paleontology, primatology, comparative anatomy, genetics, molecular biology, geology, and archaeology. Explores the different contributions that scientists have made toward understanding human origins and provides a detailed survey of the evidence used to reconstruct the evolutionary history of our own species.
While traditional forms of art such as painting and sculpture only expect intellectual communication with the spectator, interactive arts consider the audience as active participants and directly involve their physical bodies and actions. Interactive art invites its audience to have a conversation with the artwork or even be part of it. Well designed interactions add new meanings to the artwork and enhance effective and memorable communication with the viewer through their magical quality. Artists have achieved interactivity in their art through different strategies based on various technologies. For example, some projects have physical interfaces such as buttons and knobs, some projects react to the audience’s presence or specific body movements, and yet others require collaborations between the audience as part of the interaction process. Some artwork involves interactions that require a long period of time for the engagement. In many of these interactive art projects, interaction methods are deeply embedded into the soul and voice of the work itself. In this class, we will explore interaction as an artistic medium. We will be looking at interactive media art history through the lens of interaction and technology to explore their potential as art making tools. Every 1-2 weeks, you will be introduced to a new interaction strategy along with a group of artists and projects. You will learn about relevant technologies and skills for the interaction strategies and build your own project to be in conversation with the artists and projects. You will also explore and discuss the future of interactions and how interactive art can contribute to innovations in interactions, and vice versa. You will also learn about how to contextualize and articulate your project in an artistic way. The assignments include reading, short writing, hands-on labs, and production assignments. Technical topics covered in class include but are not limited to: physical computing, sensing, and interaction design.
This two-point workshop is centered on the examination and creation of collective storytelling environments. We will examine a wide-range of storytelling spaces including participatory and user-generated environments, site-specific works, community based arts practices, and transmedia storytelling. Weekly assignments, field trips, and student presentations.
This class looks at the chatbot as a unique medium of art in the context of the bigger art world and the current landscape of chatbot technologies. Students will engage in discussions about topics such as humanity under machine mediation, experiment with various computational tools, and develop creative projects using chatbot technologies.
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 aims to provide students with the means to understand immersive media experiences, and conduct experiments from both a practical and a theoretical perspective. The course consists of lectures, research, discussion and studio-based practice. Students will learn to produce stereoscopic – 3D images and photogrammetric 3D models, utilize multi-channel video and sound systems, and be introduced to the Unity game engine and VR hardware. For the final project, students produce VR environments in experimental and meaningful ways. Prerequisite: None. Fulfillment: IMA/IMB elective.
This course surveys the implications of globalization for the production, circulation, and consumption of media. In this course, we will look across both analog and digital media (radio, TV, film, video, pop music, podcast, etc) in relation to a series of questions: How do media (and media industry) represents localities for a global audience? How can media practices create a feeling of belonging to the world/community? How may global media tell us about different material infrastructure, social imagination, and political desires? Students will explore media phenomena and critically examine media texts often beyond North American experiences. By the end of the class, students will be able to articulate how media connects to global flow of finance, cultural product, labor, and social aspirations.
Beginning with a design problem or challenge, and following a period of analysis and research, a designer can begin to draft, prototype, test, and evaluate possible solutions, often repeating these operations several times until the design reaches maturity. Agile software development methodologies, which involve the formation of self-organized cooperative teams, frequent deadlines with deliverables, and a willingness to accept changing conditions and requirements, have radically changed the way software is being produced. Additionally, new applications, such as Fritzing, 123D Circuits, and Eagle have greatly facilitated the process of electronic circuit design. And Computer Aided Design (CAD) applications, for example Rhinocerous and Tinkercad, and newly available digital fabrication equipment have dramatically quickened the pace with which designers can create physical prototypes. Students in this course will be confronted with a series of design challenges for which they have to propose and prototype possible solutions. The first design challenge will entail the entire class working together to produce a software prototype by adopting agile strategies. The second design challenge will involve students in the process of refining a circuit, and will require bringing a prototype from schematic, to breadboard, perfboard, and finally resulting in a printed circuit board. For the third design challenge, students will explore the use of 3D printers, laser cutters, computer numerical control (CNC) machines, and other tools to produce a physical prototype. Students will then be free to work on a personal design challenge for their final project. Prerequisite: Interaction Lab Fulfillment: IMA/IMB elective.
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 embrace open-source and open-content ideals in their work, be invested in the work of their peers by providing feedback, and consider the feedback they receive during critique. 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 assessments 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 INTM-SHU 140T-A in the first 7 weeks for 2 credits or take this course in the second 7 week or take both of them across 14 weeks for 4 credits. It is open to anyone in any major assuming they have satisfied the prerequisites. Prerequisites: None Fulfillment: IMA /IMB elective.
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 embrace open-source and open-content ideals in their work, be invested in the work of their peers by providing feedback, and consider the feedback they receive during critique. 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 assessments 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 the first 7 weeks for 2 credits or take INTM-SHU 140T-B in the second 7 week or take both of them across 14 weeks for 4 credits. It is open to anyone in any major assuming they have satisfied the prerequisites. Prerequisites: None Fulfillment: IMA /IMB elective.
Technology products and services are increasingly a huge part of how businesses reach their end-customer and Product Managers (PMs) are the ones to lead teams to build software that solve real problems. This course is designed as an introduction course of how PMs do this across a variety of contexts to evaluate customer needs, translate needs into functional requirements, prioritize different aspects of development, work with cross-functional teams, launch a product and create a holistic vision of how customers experience the product. This course will focus on lectures, discussions, case-studies and hands-on exercises that replicate a typical product process at a startup, tech or non-tech company. This course equips students with the mindset, tools, frameworks to mindfully discover, design and build things that make an impact and meet the needs of real humans. We will cover both core product thinking, and also how to translate that into practical ways to make decisions and build great products. Prerequisite: None Fulfillment: Interactive Media Business Elective ; Interactive Media Arts Elective
This course will introduce the full process for the identification, invention, and implementation of new technologies. With case studies on innovative products from around the world, successes and failures, practical advice, and ’Getting Started’ discussions, students are encouraged to learn from real projects and apply important lessons to their own ideas. 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 practical course will introduce students with knowledge and tools to quickly iterate, validate and gauge business ideas. The course will explore questions such as: How can we validate an opportunity? What is a “value proposition” and how critical is it? What are the most popular business models and can new ones be invented? Why are investors constantly looking for “Product Market Fit”? Why do “Customer Cost of Acquisition” and “Lifetime Value” matter? The course will also provide an opportunity to apply these newly learned methodologies with two projects during the term of the class. The fourteen weeks classes will be divided into two projects where students will work in teams. One project will be focusing on the Chinese market, whereas the second one will be targeting the North American market. For both projects, teams will be experimenting with customers’ feedback, iterating business propositions and identifying key traction factors. At the end of each project, students will present and demo their business idea to their peers and an external audience of entrepreneurs/ business managers in Shanghai. 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.
In this course, we explore queer and transgender identity through practice, theory, and politics. Approaching media from queer, trans, and intersectional lenses can inform the way we understand the circulation of power around media technologies, and enable us to better understand their histories and cultural contexts. Our approach is grounded in theories, case studies, and readings from communication and media studies. Students are equipped to bring tools from queer theory & trans studies to their everyday encounters with media, technology, and culture.
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Logic Pro software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Logic Pro, getting inside Logic Pro, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
Intermediate Game Studies provides students with an overview of the different methodological approaches used in game studies, in order to lay the foundations for advanced work in games research. Given the interdisciplinarity of the field, each section of the class will deal with the main areas of research that are included in games, from the humanities, to social sciences and computer science. Each section will analyze the approach of pre-existing research, alongside readings that will allow students to understand and critique how they followed specific methods.
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.
Introduction to Visual Effects for Animated and Live Action Films provides an in-depth overview of VFX production from the director-producer perspective. This course will offer a basic understanding of how VFX are utilized and will prepare students for the visual effects industry, and its constantly evolving digital and in-camera solutions. It will also provide an historical overview of the evolution of VFX. Students will also learn how powerful visual effects have been, and will continue to be, in helping to tell stories, especially projects with limited budgets. They will gain a detailed understanding of the type of camera coverage necessary on-set to facilitate the VFX process and what communications, with their primary crew, are necessary during early stages of preproduction to optimize footage for VFX. Areas of study include rig removal, green/blue screen compositing, motion capture, shooting backdrops, matte paintings, background plates, miniatures – models – forced perspectives, match lighting, sky replacement, crowd replication, integration of 2D and 3D CGI elements, motion control and practical effects shot in-camera.
Topics: descriptive statistics; introduction to probability; sampling; statistical inferences concerning means, standard deviations, and proportions; analysis of variance; linear regressions; and correlation. Laboratory periods cover sample problems drawn primarily from economics. Meets three times a week, plus a lab session.
Prerequisite: Three years of high school mathematics or equivalent. No prior computer experience assumed. Students with any programming experience should consult with the computer science department before registering. Students who have taken or are taking CSCI-UA 101 will not receive credit for this course. Note: This course is not intended for computer science majors, although it is a prerequisite for students with no previous programming experience who want to continue in CSCI-UA 101. Offered every semester. 4 points. An introduction to the fundamentals of computer programming, which is the foundation of Computer Science. Students design, write and debug computer programs. No knowledge of programming is assumed.
Is healthy media use possible? What does that look like? Most of us use our electronic devices more than we had planned, and a quarter of US college students are estimated to experience internet overuse. Electronic device overuse is associated with an increased risk of depression, anxiety, and loneliness, along with a host of neuropsychological changes. In this course, we will discuss the rise of internet overuse, its associated negative consequences and possible strategies to reduce excessive use.Specifically, the course covers: 1) the definition of internet and phone overuse, 2) the brain mechanisms and behavioral patterns which lead to excessive use, 3) how brain/behavioral mechanisms are exploited to make video-games, television programs, and websites as addictive as possible, and 4) what we can do to regain our balance at the personal and societal levels. Department of History Medieval France.
Grand Rounds are a traditional and effective teaching tool in medical education, where major research, education, and clinical problems and innovations are presented to an audience of medical students, residents, faculty, and the public at large. The NYU Child Study Center’s weekly Grand Rounds program is one of the foremost of its kind in the world, featuring invited thought leaders in the fields of child and adolescent psychiatry and psychology. This seminar course provides undergraduate students with a unique opportunity to attend the weekly Grand Rounds presentation and then discuss these topics in depth with CAMS faculty. Students will gain a deep and broad understanding of many challenges within the field of child and adolescent mental health, along with novel theories, research findings, and clinical treatments.
A comprehensive survey of critical issues in environmental systems science, focusing on: human population; the global chemical cycles; ecosystems and biodiversity; endangered species and wildlife; nature preserves; energy flows in nature; agriculture and the environment; energy systems from fossil fuels to renewable forms; Earth?s waters; Earth?s atmosphere; carbon dioxide and global warming; urban environments; wastes; and paths to a sustainable future.
Taking off from the practices of medium-based art categories, this course is structured across key topics in contemporary art – “art of today, produced by artists who are living in the twenty-first century”. During the semester, via the framework of readings, projects and assignments, we will consider the importance of the visual arts in the larger context of society. Each week we will look at a different topic, which will be organized around key concepts, artists and artwork examples. The main goal is to allow us to contemplate the process of interaction between visual art, history, cultural, socio-economical, and technological forces. The stress of our gatherings will be on the artist as a thinker and a maker.
Examines the state of college-student mental health and wellness on a personal and systems level. As undergraduate university students approach the end of adolescence, they often reevaluate the beliefs, values, and assumptions with which they left home. Young adulthood is a time of great promise, but the transition from child to adult is never easy. We look at how individuals can create positive change by reinterpreting their goals and identifying steps toward a successful college experience. Key findings from the fields of neuroscience and positive psychology are referenced to inform our study of the biopsychosocial underpinnings of success and happiness. Through lectures and discussions, students learn about a variety of wellness topics that include mindfulness, relationships, and self-esteem. The final project requires students to promote an area of mental wellness on campus.
Students that successfully complete CSCI-UA 467 Applied Internet Technology are not eligible to take CSCI-UA 61 Web Development and Programming. Applied Internet Technology is a practical introduction to creating modern web applications. It covers full-stack (that is, every aspect of building a database driven web application: server programming, database implementation, frontend markup, styling and interactivity) web development. It includes topics such as database and data model design, web application architecture, separation of logic and presentation, handling user input and processing form data, managing asynchronous processes, strategies for creating real-time web applications, and handling client-side interactivity. Students will use current server and client-side web frameworks and libraries to build dynamic, data-driven sites. Various applications to support development will also be introduced, such as version control, static analysis tools, and build systems.
Extracting, transforming and analyzing data in myriad formats. Using traditional relational databases as well as non-relational databases to store, manipulate, and query data. Students will learn how to work with data by writing custom programs, creating queries, and using current data analysis tools and libraries… all on a wide array of data sets. Additional related topics will be covered, such as data modeling, cloud databases, and API programming.
An introduction to the peoples, cultures, and histories of the Middle East from the rise of Islam to the 20th century, surveying the development of political and social institutions and exploring the emergence of key intellectual currents, political and religious varieties, and cultural trends within what is often wrongly construed as a monolithic regional culture. We explore a range of literary, architectural, artistic, and scientific sources from pre-modern and modern Islamicate societies and study of the daily lives and contributions of Muslims and non-Muslims alike, highlighting a multi-layered representation of complex and vibrant Middle Eastern societies.
Visualization and visual analytics systems help people explore and explain data by allowing the creation of both static and interactive visual representations. A basic premise of visualization is that visual information can be processed at a much higher rate than raw numbers and text. Well-designed visualizations substitute perception for cognition, freeing up limited cognitive/memory resources for higher-level problems. This course aims to provide a broad understanding of the principals and designs behind data visualization. General topics include state-of-the-art techniques in both information visualization and scientific visualization, and the design of interactive/web-based visualization systems. Hands on experience will be provided through popular frameworks such as matplotlib, VTK and D3.js.
During this course, students will acquire an in-depth, theoretical and practical knowledge of Digital Audio Workstations using the industry standard Pro Tools software through a weekly, lab-based workshop. Each class will be a combination of lecture and immediate application. An emphasis will be placed on getting to know Pro Tools, getting inside Pro Tools, creating sessions, working with media in sessions, audio recording, audio editing, file management techniques, MIDI recording, editing techniques, mixing techniques, backups and stereo mix-down.
This class builds upon the techniques of the recording studio and the techniques of producing recorded music begun in Engineering the Record I, IIand Producing the Record Side A and B and will explore advanced techniques used in surround and immersive sound recording and mixing. Today, surround and immersive audio can be found in all areas of popular entertainment: music, film, television, streaming, games, etc. By using the multichannel studio facilities of the Clive Davis Institute of Recorded Music, students will further learn to record and mix in surround and immersive audio formats. Assigned work will take place in Studio 1 and Studio 4.
Majors Only:This course will introduce incoming Master’s students to some of the concepts, terms, and theoretical genealogies that they can expect to encounter in Performance Studies. What makes performance studies performance studies, and why do it? In considering this question we will consider the specificity of performance as an object of study, a mode of inquiry, a practice of self-hood and sociality, and as an aesthetic practice; we will also focus on the specific challenges and potentialities in writing about/as performance.
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.
To be a VR creator, it’s not enough to learn the hard skills—it’s also our responsibility to prime ourselves for the human impact of our work. As a means to design VR that is both enjoyable and accountable, this class proposes we borrow design principles from Hedonomics, a branch of ergonomic science that facilitates pleasurable human-technology interaction. Through the Hedonomic Pyramid, we’re able to section our thinking off into regions (Safety, Function, Usability, Pleasure and Individuation) and map out industry-tested VR design guidance for each. The result is a hierarchical checklist of proven principles, specifications and practices—that promote a culture of inclusive and holistic design—built to serve as a quickstart guide to designing accountable VR interfaces and systems. This class, divided into units that represent each level of the Hedonomic pyramid, will unpack both technical and conceptual strategies for creating VR, from visual interface fidelity to avoiding locomotion cybersickness to designing safer social VR spaces.
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio video production, and A/V performance using a combination of technical and hands-on approaches.
This practical, hands-on course will explore questions such as: How can we design engaging, creative learning experiences that are relevant to the cultural goals and needs of today’s youth in China, while laying the foundation for creative learning for the workforce of tomorrow? What are engaging, effective creative learning resources, and how are they best implemented in Chinese learning settings? How can we take advantage of young people’s near ubiquitous love of the arts to facilitate creative learning?’ In this course, students will work in teams to design digital learning resources and experience designs at the intersection of music, coding, arts, and technology. The course will begin with an introduction to emerging trends in learner engagement and design-based research, especially related to web- and mobile-based musical experiences and principles of making music with new media. Innovations in and applications of musical interaction, interactive technologies, user-centered design & engagement, scaffolded learning, creative learning, pedagogies of play and making, and educational entrepreneurship will also be explored. Students will work together in teams and paired with a partner audience of learners and teachers in Shanghai drawn from local and regional international schools, ed-tech startups, and cultural partners. Together they will assess the needs and opportunities of partner students and teachers, and engage in a two-stage iterative, reflective co-design process prototyping custom learning resources and experience designs with their partner end users. At the end of the course, students will present and demo their learning resources as part of a public showcase to an external audience of partners, educators, technologists, musicians, entrepreneurs, and experience designers in Shanghai. Prerequisites: 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.
Real-Time Media is a 4-credit class using MaxMSPJitter to survey how real-time and reactive media can be used for art installation and performance. Classes will be a mix of coding labs, surveys and lectures on historical examples of the medium, guest artists talking about their practice, class field trips, and in-class performances and critique. While the primary focus will be on video and sound there will also be attention given to sensors, electronics, web APIs, and more. The class has coding assignments building to solo video and audio performances and final group installation project.
This course explores the multi-faceted nature of New York City as a cultural & economic hub for food & media. Food is never just something we eat, but in New York City food has taken on an increasing prominence in public life. Food shapes communities & is an increasingly important marker of social & cultural identities. Media of all types fuel & shape our connections to food. Tastes are defined; diets & food habits are promoted & demoted; food fortunes & food celebrities are made. How has New York City become so important to the business of taste? What goes on behind-the-scenes? Topics include: Food-related publishing & broadcasting; green markets, food trucks, & systems of supply & distribution; marketing; Chinatowns, diversity, fusion, & identity. Open to majors & non-majors including special students. Classroom instruction is supplemented by site visits, guest lectures, & field research.
This course explores New York City as a cultural and economic hub for media and the arts, arguably the cultural capital of the world. Classroom work is supplemented by site visits, guest lectures, and field research to explore the ways that media and the arts have shaped work and leisure in NYC life in the past century. Topics include: Time Square and live spectacle, the Broadway theatre, Madison Ave and modern advertising, the museum of New York, galleries, artists, and the art market, the Harlem Renaissance, alternative media and Bohemian arts.
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.
Physical Computing is an approach to computer-human interaction design that starts by considering how humans express themselves physically and how computers can sense that expression. This course is designed to provide students with hands-on experience in researching, designing, and building physical interfaces for computers and other digital devices. Physical computing takes a hands-on approach. Students will learn to understand electronic sensors, connect them to computers, write programs, and build enclosures to hold sensors and controls. They will also learn to integrate all of these skills in the design of devices which respond to human physical expression.
Time to get your hands dirty. Prototypes need to be created, motors have to be mounted, enclosures must be built. Understanding how things are fabricated makes you a better maker. But hardware is hard. You can’t simply copy and paste an object or working device (not yet anyway), fabrication skills and techniques need to be developed and practiced in order to create quality work. You learn to make by doing. In this class, you will become familiar and comfortable with all the ITP shop has to offer. We will cover everything from basic hand tools to the beginnings of digital fabrication. You will learn to use the right tool for the job. There will be weekly assignments created to develop your fabrication techniques. There will be in class lectures, demos, and building assignments. Emphasis will be put on good design practices, material choice, and craftsmanship.
This course expands the students’ palette for physical interaction design with computational media. We look away from the limitations of the mouse, keyboard and monitor interface of today’s computers, and start instead with the expressive capabilities of the human body. We consider uses of the computer for more than just information retrieval and processing, and at locations other than the home or the office. The platform for the class is a microcontroller, a single-chip computer that can fit in your hand. The core technical concepts include digital, analog and serial input and output. Core interaction design concepts include user observation, affordances, and converting physical action into digital information. Students have weekly lab exercises to build skills with the microcontroller and related tools, and longer assignments in which they apply the principles from weekly labs in creative applications. Both individual work and group work is required.
Examines visual culture of the city, from the dynamics of visuality in the 19th-century modern cityscape to the mega cities of globalization. It addresses the visual dynamics, infrastructure, architecture, public art and design imaginaries of urban spaces, taking New York City and Paris as primary case studies and including other cities from the 19th century to the present. The course will examine the politics of urban design, the city as a site of division, disaster, memory, and political activism. Meets Liberal Arts Core requirement for Societies and Soc Sciences.
What exactly is this thing we call mysticism? As the general, secular public treats religion, so does the mainstream religious public treat mysticism, a special case, replete with mystery and the repository of great potential. Mysticism has served as the space for the bleeding edge of religion, where destabilizing forces have emerged but reactionary, regressive forces as well. Mystical religious communities have been both the most tolerant and the most exclusive, the most libertine and the most abnegating. Is there such a thing as mysticism? Can it be elicited from the religious frameworks in which it resides, or is it merely a modern, academic convention? In this course, we aim to work out some answers to those questions.
La Belle Époque, that period in the life of France’s pre-World War I Third Republic (1871-1914) associated with extraordinary artistic achievement, saw Paris emerge as the undisputed Western capital of painting and sculpture; it also was the most important production site for new works of musical theatre and, arguably, literature. It was during these decades that Impressionism launched its assault on the academic establishment, only itself to be superseded by an ever-changing avant-garde associated first with the nabis, then with fauvism and cubism; that the operas of Bizet, Saint-Saëns, and Massenet and the plays of Sardou and Rostand filled the world’s theatres; and that the novels of Zola and stories of Maupassant were translated into dozens of languages. Finally, this was the society that gave birth to one of the greatest literary works of all time, Marcel Proust’s Remembrances of Things Past, the first volume of which appeared just as the First World War was about to bring the Belle Époque to a violent end. Sources include reproductions of paintings, recordings of chamber music, opera and mélodies, and several of the most significant novels of the period.
This 2-unit interdisciplinary research seminar will be held in conjunction with an international symposium convened by the NYU Center for AI and Culture, which will bring leading scholars, curators, science fiction writers, and heads of major platform research groups to campus. The seminar will host a deeper interdisciplinary conversation on the issues that underpin their work. Seminar participants will meet each of the conference speakers. We will emphasize the overlapping and intersecting histories of “AI” in cognitive science, philosophy, interactive and computer arts, and science fiction literature and film. The frequent back-and-forth between AI in fiction and in fact is the basis of how we will, together, attempt to map the divergent futures of AI. It is said that artificial intelligence will be as important to the twenty-first century as oil was to the twentieth. AI is promoted by China, Europe, Russia and the USA as central to their innovation strategies and, as such, may portend a new computational arms race. There is consensus that geopolitical peace and conflict may be determined by how great nations use AI for good or ill. To define AI is is to conceive what is and is not “intelligence” and what is and is not “artificial.” Because no two cultures understand these basic terms in the same way, they will not understand AI in the same way. As such, any global discussion about the future of AI must be cross-cultural. The more we understand what each culture “means” by AI the more fruitful the collaborative design of AI can be. The seminar is suggested for students of Interactive Media Arts, Computer Science, Political Science, Philosophy, and anyone interested in algorithmic art, automation, machine vision, computational economics, and geopolitics. We will read and discuss 10 key texts and students will prepare an original project, paper or hybrid. Prereq: WAI Fulfillment: IMA/IMB elective.
Hands-on lab accompanying Digital Electronics. Lab sessions will contain hands-on experience with logic circuits & microcontrollers. The course culminates with a student developed final project.
An introduction to Digital Electronics, including binary systems & logic. Students must enroll in a Lab section to apply hands-on experience in simple computer programming techniques, digital processing applied to music with specific relevance to computer music synthesis & MIDI.
Hands-on lab accompanying Analog Electronics. Lab sessions will contain hands-on experience with analog audio circuitry. The course culminates with a student developed final project.
This course focuses on electronic music synthesizer techniques. Concepts in the synthesis of music, including generation of sound, voltage control, and treatment of sound and tape techniques. Included is a short synopsis of the history and literature of analog electronic music. Students complete laboratory tasks and compositions on vintage synthesizer modules and create one or more final projects that demonstrate(s) the application of these concepts.
This course is an introduction to the field of machine learning, covering fundamental techniques for classification, regression, dimensionality reduction, clustering, and model selection. A broad range of algorithms will be covered, such as linear and logistic regression, neural networks, deep learning, support vector machines, tree-based methods, expectation maximization, and principal components analysis. The course will include hands-on exercises with real data from different application areas (e.g. text, audio, images). Students will learn to train and validate machine learning models and analyze their performance. | Knowledge of undergraduate level probability and statistics, linear algebra, and multi-variable calculus. Prerequisite: Graduate standing.
An important goal of artificial intelligence (AI) is to equip computers with the capability of interpreting visual inputs. Computer vision is an area in AI that deals with the construction of explicit, meaningful descriptions of physical objects from images. It includes as parts many techniques from image processing, pattern recognition, geometric modeling, and cognitive processing. This course introduces students to the fundamental concepts and techniques in computer vision. | Knowledge of Data Structures and Algorithms, proficiency in programming, and familiarity with matrix arithmetic. Prerequisites: Graduate standing.
This course takes a top-down approach to computer networking. After an overview of computer networks and the Internet, the course covers the application layer, transport layer, network layer and link layers. Topics at the application layer include client-server architectures, P2P architectures, DNS and HTTP and Web applications. Topics at the transport layer include multiplexing, connectionless transport and UDP, principles or reliable data transfer, connection-oriented transport and TCP and TCP congestion control. Topics at the network layer include forwarding, router architecture, the IP protocol and routing protocols including OSPF and BGP. Topics at the link layer include multiple-access protocols, ALOHA, CSMA/CD, Ethernet, CSMA/CA, wireless 802.11 networks and linklayer switches. The course includes simple quantitative delay and throughput modeling, socket programming and network application development and Ethereal labs. | Knowledge of Python and/or C. Prerequisite: Graduate standing.
The first wave of data science focused on accuracy and efficiency: on what we can do with data. The second wave is about responsibility: what we should and should not do. Accordingly, this technical course tackles the issues of ethics and responsibility in data science, including legal compliance, data quality, algorithmic fairness and diversity, transparency of data and algorithms, privacy, and data protection. An important feature of this course is its holistic treatment of the data science lifecycle, beginning with data discovery and acquisition, through data cleaning, integration, querying, analysis, and result interpretation.
The purpose of this course is to enable the student to gain a heightened awareness, appreciation, and knowledge of dance through movement and performance. We focus on the foundations of dance such as control, aesthetics, alignment, dynamics, athleticism, musicality, use of space, development of learning strategies within a group context, and personal, artistic expression. The students exploration of their creativity, expression and concepts, as well as their work on other dancer’s bodies is part of the work of this course. Through individual and collective kinesthetic participation in unfamiliar patterns, the student is physically and conceptually challenged and informed. Students will be asked to problem solve as homework assignment and in-class composition exercises. Dance experience is recommended, but formal dance training is not required.
Introduction to Virtual Production is a class composed of lectures, discussions, screenings, exercises, group critiques and presentations. The course is designed to expose students to the fundamental principles of storytelling through Virtual Production including writing, directing, cinematography, performance, editing, art direction, and technical direction. The course will explore emerging techniques utilizing software and technology. How do you tell a story in this new form of collaboration? How can students apply what is learned to their own creative work? History and theory of Virtual Production will be studied and used to inspire personal and creative work in order to better understand how story through Virtual Production can successfully be expressed and most effectively reach its audience.
We have all played and enjoyed games, but how do people actually design and develop them? How to describe a game from a professional standpoint? What are the basic elements and structure in video game development? How do game designers create an interactive experience for the player? What about prototyping and iterating in development? This course explores these questions and others through playing, analyzing and making games over 14 weeks. Students will understand game not only as an entertaining production and business model but a form of interactive media impacting current life and future. Students will be introduced to game design concepts, emphasizing the development: paper and digital prototyping, develop iteration, interactive narratives design and embedment, object-oriented programming, 2D/3D game art design, sound effects composition and user testing. For the course project, students will work in teams and create games in multiple projects, from board game focusing on gameplay prototype to digital playable experience with creative game art designs. This course leverages Unity, a game engine that uses C# based programming language. Basic knowledge of any programming language will come in handy. Prerequisite: Creative Coding Lab, Interaction Lab or equivalent programming experience. Fulfillment: IMA Major Electives; IMB Major Interactive Media Elective.
From the history of visual music and abstract film to the contemporary notion of live cinema, this course will be an exploration of the synesthetic relationship between sound and visuals in a real-time performance setting. Dating back as far as the 18th century, systems have been invented to produce images alongside music linking the two through formalized arrangements. Current media technologies make developing such systems both more approachable and more expansive in their scope. Through readings, viewings, and case studies students will gain an understanding of the history and theory of live audiovisuals. During the course students will team up to develop and master a real-time audiovisual system of their own invention. The class will culminate in a show in which they will present their work through a live performance.
“The smartphone is not only the primary site for digital communication and consumption, it also hosts emerging forms of media production. Let’s investigate the potential of the mobile touchscreen as a creative instrument! This is a project based course, and we will explore by creating and testing a series of functioning web-based toys – including drawing apps, character creators, and writing tools. You can expect to sharpen your skills in javascript and design. “
This course is designed to provide an overview of visual storytelling in the newsroom. We will explore a variety of narrative formats and design principles, learn about reporting techniques for visual stories, touch on the best practices and ethics of journalism and work on collaborative exercises and assignments.
Time is at once fundamental and mysterious. From the 2000-year-old Antikythera Mechanism to modern cesium-fountain clocks, humans have long sought to understand temporal patterns in nature, and build mechanisms to measure, reflect and predict those patterns. We’re at a unique moment, one in which we’ve developed the ability to perceive relativistic effects on time at the smallest scales, while struggling to think and plan across generations. In this course, we’ll reflect on the deep mysteries of time while also gaining hands-on skills applicable to temporal media and technologies. Topics will range from historical clock and orrery design through modern computer architecture (“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code). Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and real-time operating systems. Students will execute several short assignments and a final project. Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
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.
The most difficult part of prototyping is not the building process, but the process of deciding how to build. If we choose proper technology for prototypes, we can improve their robustness and simplicity. This course will cover available and affordable technologies for ITP students to build prototypes. The course will start with soldering, wiring and LED basics. Then students will design an Arduino compatible board in Eagle, get it fabricated, assembled. And then using the debugger to dig deeper to understand how a microcontroller works. The class will also cover multitasking, signal processing, communication, document writing and advanced skills beyond the Intro to Physical Computing class. Each session will have lectures followed by in-class practices with guidance. The 14-week long assignment is called Do It Once – Do It Again. Bringing an idea or ongoing projects is highly encouraged. This course requires Physical Computing or equivalent experience. Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
“Interactive technologies seldom stand alone. They exist in networks, and they facilitate networked connections between people. Designing technologies for communications requires an understanding of networks. This course is a foundation in how networks work. Through weekly readings and class discussions and a series of short hands-on projects, students gain an understanding of network topologies, how the elements of a network are connected and addressed, what protocols hold them together, and what dynamics arise in networked environments. This class is intended to supplement the many network-centric classes at ITP. It is broad survey, both of contemporary thinking about networks, and of current technologies and methods used in creating them. Prerequisites: Students should have an understanding of basic programming. This class can be taken at the same time as, or after, Intro to Computational Media or an equivalent intro to programming. Some, though not all, production work in the class requires basic programming. There is a significant reading component to this class as well. Learning Objectives In this class, you will learn about how communications networks are structured, and you will learn how to examine those structures using software tools. By the end of this class, you should have a working knowledge of the following concepts: * The basics of network theory, some history of the internet and the organizations and stakeholders involved in its creation and maintenance * The Open Systems Interconnect (OSI) model and standard internet protocols such as Internet Protocol (IP), Transmission Control Protocol (TCP) , Universal Datagram Protocol (UDP), and Hypertext Transport Protocol (HTTP). * Network addressing, private and public IP addresses * What hosts, servers, and clients are and a few ways in which they communicate * What a command line interface (CLI) is and how to use the tools available in one * The basics of internet security * How telecommunications networks are similar to other infrastructural networks, like power and transportation, and how they are different.”
The Black Atlantic considered as a socio-cultural and economic space from the 15th-century first arrival of Africans in the ’New World,’ through the rise of slavery in the Americas, continuing on to slave emancipation and decolonization in the 19th and 20th centuries, and concluding with contemporary black life in the Atlantic world. Traces the origins and importance of the concept of the Black Atlantic in the context of European imperial expansion and the transformation of indigenous structures of governance in the Americas, paying special attention to shifting social relations that shaped community formation among people of African descent and laid the foundations for political and economic institutions. Topics include: civilization, slavery, colonialism, capitalism, freedom, and justice, approached through focused engagement with African enslavement and settlement in Africa and the Americas; the development of transatlantic racial capitalism; variations in politics and culture between empires in the Atlantic world; creolization, plantation slavery, and slave society; the politics and culture of the enslaved; the Haitian Revolution; slave emancipation; and contemporary black Atlantic politics and racial capitalism.
The location of Israel at the geographic junction between the West and the East, between the Arab world and the Western world, against the background of the long historical complexity of this piece of land provides a panoramic view of Israeli culture and art by examining thematic crossroads and ideas, via problems and social conflicts which lie at the heart of those art works and are reflected by them. Themes include: religion and secularism, universalism/globalism versus localism, Jews and Arabs, Ashkenazic and Sephardic cultures, multiculturalism in Israel, Zionism and Post-Zionism, right and left political world views, questions of gender, historical perspectives on war and peace and the Holocaust. Students explore the way different forms of art—visual, literary, and performance—reflect and shape the understanding of the “Israeli mosaic” while learning about the way the artists and writers internalize, consciously and unconsciously the complex Israeli reality.
The history and culture of the ancient Israelite societies of biblical times and the Greco-Roman period seen from the perspective of the process of urbanization and the role of cities in the development of classical Judaism, covering the period from c. 1250 b.c.e. through the third century c.e. Surveys the history and achievements of these cities and their contribution to the development of law and social organization, prophetic movements, history of Israelite religion and early Judaism, and the background of Christianity. The Bible and ancient Jewish texts preserve much evidence for the history of ancient Israel; and archaeological excavations, as well as the discovery of ancient writings in Hebrew and related languages, have added to our knowledge. In addition, new discoveries in the Dead Sea Scrolls contribute greatly to our understanding of the history of Judaism and the emergence of Christianity. Throughout, we remain focused on the growth of cities and their role in the creation and development of ancient Israel’s culture and literature.
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.
Ethical expertise is integral to the careers and responsibilities of engineering and technology management professionals, from long-standing issues around professional responsibilities to society and more recent controversies such as “techlash” concerns about bias, equity, and surveillance. This survey course introduces undergraduate students to some of the most relevant ethical issues in engineering and the technology industry today. Students will begin by exploring basic ethical approaches from a variety of philosophical traditions and how these principles have historically been integrated into engineering professions. Then, students will study a variety of topics of high importance to engineers today, including ethics in computing, data, and automated systems; medical ethics, past and present; disability ethics and activism; ethical issues related to the environment and climate change; and ethical issues related to race and gender. | 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.
Games 101 is the foundational course for the NYU Game Center. The focus of Games 101 is game literacy – a shared understanding of games as complex cultural and aesthetic objects. The class will incorporate lectures, discussion, readings, and writing assignments, but the primary activity of the class is critical play – playing games in order to better understand and appreciate them. The class will cover games on and off the computer, including classic and contemporary board and card games, sports, and games on the PC, internet, and consoles.
Students learn how to design algorithms to solve problems and how to translate these algorithms into working computer programs. Experience is acquired through programming projects in a high level programming language. CSCI-UA 101 is intended as a first course for computer science majors, and for students of other scientific disciplines. Programming assignments.
This course will examine the relationship between planetary-scale computation and the development of planetarity. We take as starting points that (1) the very notion of climate change is an epistemological accomplishment of planetary-scale sensing, modeling and computation systems and (2) the ecological costs of computation are on an unsustainable trajectory. The seminar will ask: what are alternative futures for computation as human and ecological infrastructure? The primary subject of research is the transition from computation as a digital media object to computation as continental scale infrastructure. The scope and significance of this shift are fundamental for the development of interactive art and design that seeks to explore critical alternatives to extant models for this. What we call planetary-scale computation takes different forms at different scales—from energy and mineral sourcing and subterranean cloud infrastructure to urban software and massive universal addressing systems; from interfaces drawn by the augmentation of the hand and eye to users identified by self—quantification and the arrival of legions of sensors, algorithms, and robots. Each of these may represent a direct harm upon effected ecosystems and/or a means for and informed viable administration of those same systems. The course is primarily geared to advanced IMA students but is open to students from any major who are interested in engaging with contemporary issues of computation, society and ecology. Final projects will combine original written work and speculative design that can draw on diverse student core skill sets. Prerequisite: Sophomore Standing. Fulfillment: IMA Major Electives; IMB Major Interactive Media Elective.
Welcome to the ABC Browser Circus (ABC), where acrobats juggle with hyperlinks, dance across scrolling grids and jump through open server ports. This course introduces the students to the history of the internet, the World Wide Web, and specifically to the browser as a cultural object and its role in (net)art; in parallel, students are guided to creative uses of the web. In three consecutive modules, the browser is interpreted as a blank canvas, a susceptible agent and as a window to other realities respectively. Technologies used in the ABC Browser Circus are advanced HTML, CSS and JavaScript as well as Node for server-side programming. Participants must have completed either Communications Lab or Creative Coding Lab (IMA Foundation Classes). Students are expected to comfortably apply fundamental programming concepts to solve problems.
Many of us have played and enjoyed games. Have you ever wondered how people actually design and develop them? Can a games as a profession and practice be described? What are the basic theories, structures and skills involved in game development? How do game designers create compelling interactive experiences for the player? How do they respond to feedback, prototype and improve these experiences? This course explores these questions and others through playing, analyzing and making games over 14 weeks. Students will understand games not only as entertainment, production and business models, but as a form of mass interactive media and culture. Students will be introduced to game design concepts, emphasizing all stages of game development: paper and digital prototyping, iteration, interactive narrative design, object-oriented game programming, 3D/2D game art creation, sound effects composition and user testing. For the course project, students will work in teams and create games in multiple projects, from simple board games to a digital game with original game art, mechanics and other design elements. This course leverages multiple tools for game prototyping and design, but will focus on Unity, a game engine that uses C# based programming language, for game build-up.
“The practice of using light and motion as artistic media traces its roots back to the architectural design of spiritual structures in ancient cultures and the use of fire and shadow in religious ceremonies. However, not until the invention of electricity, the incandescent bulb, and electric motors did light and motion really become artistic media themselves. The current availability of cheap and abundant sources of motion and light have opened up new possibilities for the creation of sculptural objects which compose structures in light and movement. Drawing upon the combined histories of lumia, kinetic sculpture, and op art, we will be investigating the historical and current developments of kinetic art and light art. Students will create kinetic light sculptures of their own design, building upon and expanding their knowledge of digital fabrication, physical computing, and generative software systems. They will learn how to compose in color, light, rhythm, movement, and space and how to install and present their work in a public setting.”
What is the place of human creativity, agency and intelligence in complex technical networks? This class aims to build a foundation for studying how automation, artificial intelligence, robotics, digital image production, predictive software, and eco-technologies signal the ascent of a posthuman society. It provides a selection of texts and case studies that introduce basic philosophical and sociological questions about posthuman technologies and support creators, writers and thinkers in conceptualizing the posthuman nature of new media. The class is a combination of lectures and writing workshops. Prerequisite: None. Fulfillment: IMA/IMB elective.
In this foundation course students will learn the fundamentals of computation, software design, and web technologies, through a series of creative projects. The course is intended to equip students with the skills to develop artistic and business projects that include a significant computational component. Topics such as variables, functions, components, and functional and reactive programming will be brought together to create interactive applications, generative art, data visualization, and other domains. Within the framework of these creative projects students will develop a greater understanding of how computer programs operate, be exposed to various concepts used to create experiences and interactions, and become more familiar with some of the technologies that constitute the internet. This course is intended for students with no prior programming background. Prerequisite: None. Fulfillment: CORE AT; IMA Major Other Foundation; IMB Major Emerging Media Foundation.
Sound is all around us. The way we perceive or experience these sounds are largely dependent upon their environments, whether artificially constructed or naturally present. In this studio-based course, students will learn about the development of sound art through readings and listenings by artists, musicians and designers who investigate our sonic environment through sound sculptures, multi-channel immersive installations, soundscapes, audio tours, podcasts and field recordings. The course will begin with an introduction into the physics of sound with time for deep listening exercises. We will read selected texts and listen to pieces by those working in the field of Acoustic Ecology, an interdisciplinary field that employs ethnographic practices to create sound studies or art. We will look at artists who employ narrative techniques to engage the audience. We will study musicians such as Alvin Lucier and John Cage and the history of experimental music that takes into consideration the physical space its recorded or played in. There will be weekly exercises that will help develop the student’s spatial awareness of sound and music. We will take listening and recording trips into the field to understand the acoustic urban environment. We will use different types of microphones such as hydrophones and binaural mics. Students will learn how to build their own contact microphones. Students will have the opportunity to create works for multi-channel speakers. The final project can take on any form within the realm of sound art–multimedia, narrative, non-narrative, music, installation.
“How would you like to pay?” A simple question may provoke diversified answers in the digital age. The financial applications of digital technologies, or so-called fintechs have engendered many alternative forms such as QR codes, mobile apps, and Bitcoin for financial activities including payment, loans, and investment. What technologies make these innovations possible? What are the aesthetic norms embedded in fin-tech app designs? How do the fin-tech companies interact with banks, policy-makers, and regulators? While Ant Financial and Tencent Finance make China the leader of fin-tech innovation, how does the global map of fin-tech innovation look like? After all, how have fin-techs re-shaped people’s everyday life, and perhaps will reform human being? Through a weekly three-hour meeting, this course is to make sense of fin-techs from a wide variety of perspectives. Integrating lectures with workshops and company visits, this course will equip students with critical thinking and practical skills that allow them to dialogue with various actors, such as computer programmers, project managers, investors, as well as academic intellectuals. 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.
This course provides an in-depth examination of the core economic conditions and various business models and practices that characterize the media industries. Special attention is paid to video and audio streaming, gaming, and social media platforms. This course is designed to track and assess current business trends and strategies in the US, as well as major markets and regions around the world.
This course examines the role of language in media, culture, and communication. Topics will include language ideologies, register-formation, language politics, standardization, raciolinguistics, code-switching, voicing, speech and text genres, orthographies, fonts, and more. Students will learn to analyze interpersonal and mediated communication-in-context, with attention to pragmatics, performativity and participation frameworks, using key analytics and methods from the fields of socio-linguistics, linguistic anthropology, and semiotics.
A hands-on introduction to the technical & creative uses of digital photography. The class will explore the use of digital technologies to compose, shoot, scan, alter, & print images, as well as considering the ways in which photographic meaning has been changed by the use of the computer. Student provides their own camera & paper.
New art and new definitions of art and artist are discussed. Major attention is paid to the New York scene with guest lectures by artists and visits to galleries, museums, and other major sites in the current art system.
This course gives an overview of PDEs that occur commonly in the physical sciences with applications in heat flow, wave propagation, and fluid flow. Analytical as well as some numerical solution techniques will be covered, with a focus on applications rather than analysis. | Prerequisites: MA-UY 2034 or MA-UY 4204 or MA-UY 4254
This course covers techniques of integration, introduction to ordinary differential equations, improper integrals, numerical methods of integration, applications of integration, sequences, series, power series, approximations of functions via Taylor polynomials, Taylor series, functions of two variables, graphs of functions of two variables, contour diagrams, linear functions, functions of three variables. | Prerequisites: MA-UY 1024 or MA-UY 1324 | Corequisite: EX-UY 1.
This course covers: Library of Functions, functions of one variable. Limits, derivatives of functions defined by graphs, tables and formulas, differentiation rules for power, polynomial, exponential and logarithmic functions, derivatives of trigonometric functions, the product and quotient rules, the chain rule, applications of the chain rule, maxima and minima, optimization. The definite integral, the Fundamental Theorem of Calculus and interpretations, theorems about definite integrals, anti-derivatives. MA-UY 1324 is for students who wish to take MA-UY 1024 but need more review of precalculus. MA-UY 1324 covers the same material as MA-UY 1024 but with more contact hours per week, incorporating a full discussion of the required precalculus topics. | Prerequisite: Placement Exam or MA-UY 912 or MA-UY 914. Corequisite: EX-UY 1.
This course MA-UY 1424 is for students who wish to take MA-UY 1124 but need more review of precalculus. MA-UY 1424 covers the same material as MA-UY 1124 but with more contact hours a week, incorporating a full discussion of the required precalculus topics. | Prerequisites: MA-UY 1022 or MA-UY 1024 or MA-UY 1324. Note: credit for this course may be used to satisfy the minimum credit requirement for graduation. Corequisite: EX-UY 1
This course covers: foundations of algebra, exponents, multiplication of algebraic expressions, factoring algebraic expressions, working with algebraic fractions, proportionality, rates of change, equations of lines, completing squares, the quadratic formula, solving equations, systems of linear equations, inequalities, domain and range of functions, exponential and logarithmic functions, compositions of functions, transformations of functions, right triangles, trigonometry of triangles.| Prerequisite: placement exam. Note: credit for this course may not be used to satisfy the minimum credit requirement for graduation. Corequisite: EX-UY 1
This course covers: Library of Functions, functions of one variable. Limits, derivatives of functions defined by graphs, tables and formulas, differentiation rules for power, polynomial, exponential and logarithmic functions, derivatives of trigonometric functions, the product and quotient rules, the chain rule, applications of the chain rule, maxima and minima, optimization. The definite integral, the Fundamental Theorem of Calculus and interpretations, theorems about definite integrals, anti-derivatives. | Prerequisite: Placement Exam or MA-UY 914 | Corequisite: EX-UY 1
Similar to MA-UY 2114 Calculus III, but at a faster pace and deeper level. Functions of several variables. Vectors in the plane and space. Partial derivatives with applications, especially Lagrange multipliers. Double and triple integrals. Spherical and cylindrical coordinates. Surface and line integrals. Divergence, gradient, and curl. Theorem of Gauss and Stokes. Students pursuing an honors mathematics degree are especially encouraged to consider this course. Prerequisite: (MA-UY 1124 or MA-UY 1424) with a grade of A- or better OR a 5 on the AP Calculus BC Exam and Department Permission. Anti-requisite: MA-UY 2114
This is an introduction to the rigorous treatment of the foundations of real analysis in one variable. It is based entirely on proofs. Students are expected to know what a mathematical proof is and are also expected to be able to read a proof before taking this class. Topics include: properties of the real number system, sequences, continuous functions, topology of the real line, compactness, derivatives, the Riemann integral, sequences of functions, uniform convergence, infinite series and Fourier series. Additional topics may include: Lebesgue measure and integral on the real line, metric spaces, and analysis on metric spaces. | Prerequisites: A grade of A- or better in (MA-UY 2114 or MA-UY 2514) and (MA-UY 1044 or MA-UY 2034 or MA-UY 3054) and Junior level standing or above. Recommended: MA-UY 2514 Honors Calculus III and MA-UY 3054 Honors Linear Algebra with a grade of B or better. | Anti-Requisite: MA-UY 4614
An introduction to the mathematical treatment of random phenomena occurring in the natural, physical, and social sciences. Axioms of mathematical probability, combinatorial analysis, binomial distribution, Poisson and normal approximation, random variables and probability distributions, generating functions, the Central Limit Theorem and Laws of Large Numbers, Markov Chains, and basic stochastic processes. Note: Not open to students who have taken MA-UY 2224, MA-UY 2233, ECE-UY 2233 or MA-UY 3022 | Prerequisite: A grade of C or better in (MA-UY 2114 or MA-UY 2514) and (MA-UY 1044 or MA-UY 2034 or MA-UY 3034 or MA-UY 3054).
A first course in ordinary differential equations, including analytical solution methods, elementary numerical methods, and modeling. Topics to be covered include: first-order equations including integrating factors; second-order equations including variation of parameters; series solutions; elementary numerical methods including Euler’s methods, Runge-Kutta methods, and error analysis; Laplace transforms; systems of linear equations; boundary-value problems. Restricted to Tandon math majors and students with a permission code from the math department. Fulfills ordinary differential equations requirement for the BS Math degree. | Prerequisites: C or better in (MA-UY 2114 or MA-UY 2514 or MATH-UH 1020 or MATH-UH 1021 or MATH-SHU 151) and (MA-UY 1044 or MA-UY 3054 or MA-UY 3113 or MATH-UH 1022 or MATH-SHU 140 or MATH-SHU 141). Note: Not open to students who have taken or will take MA-UY 2034 or MA-UY 4254
Introduction to abstract algebraic structures, including groups, rings, and fields. Sets and relations. Congruences and unique factorization of integers. Groups, permutation groups, homomorphisms and quotient groups. Rings and quotient rings, Euclidean rings, polynomial rings. Fields, finite extensions. | Prerequisites: A grade of C or better in (MA-UY 2114 or MA-UY 2514) and (MA-UY 1044 (formerly 3044) or MA-UY 3054 or MA-UY 3113). Additionally, it is suggested for students to have taken MA-UY 4614 or MA-UY 4644 as a prerequisite. Note: Cannot receive credit for both MA-UY 4044 and MA-UY 4054.
This honors section of Linear Algebra is intended for well-prepared students who have already developed some mathematical maturity. Its scope will include the usual Linear Algebra (MA-UY 3044) syllabus; however, this class will move faster, covering additional topics and going deeper. Vector spaces, linear dependence, basis and dimension, matrices, determinants, solving linear equations, eigenvalues and eigenvectors, quadratic forms, applications such as optimization or linear regression. Note: Not open to students who have already taken MA-UY 1044, MA-UY 1533, MA-UY 2034, or MA-UY 3113. | Prerequisites: A- or better in MA-UY 1024 or MA-UY 1324 or MA-UY 1022
Formulation and analysis of mathematical models. Mathematical tools include dimensional analysis, optimization, simulation, probability, and elementary differential equations. Applications to biology, sports, economics, and other areas of science. The necessary mathematical and scientific background will be developed as needed. Students participate in formulating models as well as in analyzing them. | Prerequisites: A grade of C or better in (MA-UY 2114 or MA-UY 2514) and (MA-UY 2034 or MA-UY 1044 (formerly MA-UY 3044) or MA-UY 3054).
Logic, proofs, set theory, functions, relations, asymptotic notation, recurrences, modeling computation, graph theory. | Prerequisite: Math Diagnostic Exam or MA-UY 914 (minimum calculus level required) | Prerequisite for Shanghai students: MATH-SHU 131. Note: This course and CS-GY 6003 cannot both be taken for credit.
Systems of linear equations, Gaussian elimination, matrices, determinants, Cramer’s rule. Vectors, vector spaces, basis and dimension, linear transformations. Eigenvalues, eigenvectors, and quadratic forms. Restricted to Tandon math and CS majors and students with a permission code from the math department. Fulfills linear algebra requirement for the BS Math and BS CS degrees. Note: Not open to students who have already taken MA-UY 1533, MA-UY 2034, MA-UY 3113 or MA-UY 3054. | Prerequisite: A grade of C or better in MA-UY 1022 or MA-UY 1024 or MA-UY 1324 or MATH-UH 1012Q or MATH-UH 1013Q or MATH-SHU 121 or MATH-SHU 201
An introductory course to probability and statistics. It affords the student some acquaintance with both probability and statistics in a single term. Topics in Probability include mathematical treatment of chance; combinatorics; binomial, Poisson, and Gaussian distributions; the Central Limit Theorem and the normal approximation. Topics in Statistics include sampling distributions of sample mean and sample variance; normal, t-, and Chi-square distributions; confidence intervals; testing of hypotheses; least squares regression model. Applications to scientific, industrial, and financial data are integrated into the course.NOTE: Not open to math majors or students who have taken or will take MA-UY 2054 or MA-UY 3014 or MA-UY 3514 or ECE-UY 2233. | Prerequisite: MA-UY 1124, MA-UY1424, or MA-UY 1132 or MATH-UH 1020 or MATH-UH 1021 or MATH-SHU 151
In numerical analysis one explores how mathematical problems can be analyzed and solved with a computer. As such, numerical analysis has very broad applications in mathematics, physics, engineering, finance, and the life sciences. This course gives an introduction to this subject for mathematics majors. Theory and practical examples using Matlab will be combined to study a range of topics ranging from simple root-finding procedures to differential equations and the finite element method. | Prerequisites: A grade of C or better in (MA-UY 2114 or MA-UY 2514) and (or MA-UY 1044 or MA-UY 3034 or MA-UY 3054 or MA-UY 3113) | Anti-Requisite: MA-UY 4524
MA-UY 2034 is an introduction to ordinary differential equations and linear algebra. The course develops the techniques for the analytic and numeric solutions of ordinary differential equations (and systems) that are widely used in modern engineering and science. Linear algebra is used as a tool for solving systems of linear equations as well as for understanding the structure of solutions to linear (systems) of differential equations. Topics covered include the fundamental concepts of linear algebra such as Gaussian elimination, matrix theory, linear transformations, vector spaces, subspaces, basis, eigenvectors, eigenvalues and the diagonalization of matrices, as well as the techniques for the analytic and numeric solutions of ordinary differential equations (and systems) that commonly appear in modern engineering and science. | Prerequisite: MA-UY 1124 or MA-UY 1424. Note: Not open to students who have taken MA-UY 1044 or MA-UY 3054 or MA-UY 3083 or MA-UY 4204.
Vectors in the plane and space. Partial derivatives with applications, especially Lagrange multipliers. Double and triple integrals. Spherical and cylindrical coordinates. Surface and line integrals. Divergence, gradient, and curl. Theorems of Gauss and Stokes. | Prerequisite: MA-UY 1124 or MA-UY 1424. Anti-requisite: MA-UY 2514
Standard first course in probability, recommended for those planning further work in probability or statistics. Probability of events, random variables and expectations, discrete and continuous distributions, joint and conditional distributions, moment generating functions, the central limit theorem. | Prerequisites: MA-UY 109, MA-UY 2112, OR MA-UY 2114. Note: Not open to students who have taken MA-UY 2224 or MA-UY 3012 or MA-UY 3022.
This course examines the implications of ethical questions posed in works of poetry, drama, and fiction. Attention will be paid to historical context. This course satisfies HUSS elective requirements and 3000-level writing intensive requirements for all Poly majors. | Prerequisites: Completion of first year writing requirements
This course examines the implications of medicine, mental or physical illness, and death in works of poetry, drama and fiction. Some attention will be paid to historical context. This course satisfies HUSS elective requirements and HUSS writing-intensive requirements. | Prerequisites: Completion of first year writing requirements
The poems of John Ashbery and the art of Richard Serra confront the respective reader/viewer: find a methodology based upon the structural configuration of the poem and sculpture to enable a “reading” of the work. The works that will be addressed reject impressionistic, subjective commentary. The beauty of word or artifact is not applicable. Post-1900 non-referential sculptures and paintings will be juxtaposed with poems that disassociate themselves from narrative content, poems whose only subject matter is language configuration – even when there is apparent thematic material – poems of Robert Creeley, John Ashbery, Emily Dickinson, Robert Frost, Wallace Stevens, Amy Clampitt, Susan Howe, Michael Palmer, Clark Coolidge, and Louis Zukofsky. The poets so listed complement preoccupations of artists such as Mark di Suvero, David Smith, Richard Serra, Anthony Caro, Donald Judd, Carl Andre, Vito Acconci, Robert Smithson, and Marcel Duchamp. | Prerequisite(s): Completion of first year writing requirements
The required design project consists of two three-credit courses. The first course, EE DP1, is one of a number of specialty lab/project courses offered by the department in various subdisciplines such as electronics, machinery, robotics, imaging, communications, etc. (EE-UY 4113-4183, below). DP1 provides significant background laboratory experience in the student’s area of concentration. Students begin independent projects by finding an adviser and initiating the project work, and exercising oral presentation and written communication skills. | Prerequisite: ECE-UY 3054 and Senior Level
The course covers all aspects of supplying electric power to the Internet of Things devices and systems. Energy harvesting, conversion, and storage are discussed. Rectifiers, inverters, and dc-dc converters are analyzed and designed. Examples of wired and wireless power transfer systems for battery charging are provided. CAD software for power electronics is introduced. Just-in-time coverage of electric circuit concepts makes the course accessible to any student with an engineering math and physics background. | Prerequisite: MA-UY 2034 and PH-UY 2023; or instructor’s permission.
The course covers architecture and operation of embedded microprocessors; microprocessor assembly language programming; address decoding; interfacing to static and dynamic RAM; Serial I/O, Parallel I/O, analog I/O; interrupts and direct memory access; A/D and D/A converters; sensors; microcontrollers. Alternate-week laboratory. Objectives: to provide foundations of embedded systems design and analysis techniques; expose students to system level design; and teach integration of analog sensors with digital embedded microprocessors. | Prerequisites: CS-UY 2204 (C- or better) and EE-UY 2024 or EE-UY 2004 (C- or better). ABET competencies: a, c, d, e, g, j, k.
This course centers on linear system theory for analog and digital systems; linearity, causality and time invariance; impulse response, convolution and stability; the Laplace, z- transforms and applications to Linear Time Invariant (LTI) systems; frequency response, analog and digital filter design. Topics also include Fourier Series, Fourier Transforms and the sampling theorem. Weekly computer-laboratory projects use analysis- and design-computer packages. The course establishes foundations of linear systems theory needed in future courses; use of math packages to solve problems and simulate systems; and analog and digital filter design. | Prerequisites for Brooklyn Engineering Students: MA-UY 1044, MA-UY 2012/2132 or MA-UY 2034. | Prerequisites for Abu Dhabi Students: MATH-AD 116 and MATH-AD 121. | Prerequisites for Shanghai Students: MATH-SHU 124 and MATH-SHU 140. ABET competencies a, b, c, e, k.
This course focuses on circuit models and amplifier frequency response, op-amps, difference amplifier, voltage-to-current converter, slew rate, full-power bandwidth, common-mode rejection, frequency response of closed-loop amplifier, gain-bandwidth product rule, diodes, limiters, clamps and semiconductor physics. Other topics include Bipolar Junction Transistors; small-signal models, cut-off, saturation and active regions; common emitter, common base and emitter-follower amplifier configurations; Field-Effect Transistors (MOSFET and JFET); biasing; small-signal models; common-source and common gate amplifiers; and integrated circuit MOS amplifiers. The alternate-week laboratory experiments on OP-AMP applications, BJT biasing, large signal operation and FET characteristics. The course studies design and analysis of operational amplifiers; small-signal bipolar junction transistor and field-effect transistor amplifiers; diode circuits; differential pair amplifiers and semiconductor device- physics fundamentals. | Prerequisites for Brooklyn Engineering Students: EE-UY 2024 or EE-UY 2004 (C- or better) and PH-UY 2023 | Prerequisites for Abu Dhabi Students: ENGR-AD 214 and SCIEN-AD 110. | Prerequisites for Shanghai Students: EENG-SHU 251 (C- or better) and PHYS-SHU 93 or CCSC-SHU 51. ABET competencies a, b, c, e, k.
Fundamentals of Circuits includes circuit modeling and analysis techniques for AC, DC and transient responses. Independent and dependent sources, resistors, inductors and capacitors are modeled. Analysis techniques include Kirchhoff’s current and voltage laws, current and voltage division. Thevenin and Norton theorems, nodal and mesh analysis, and superposition. Natural and forced responses for RLC circuits, sinusoidal steady-state response and complex voltage and current (phasors) are analyzed. Alternate-week laboratory. A minimum of C- is required for students majoring in EE. Objective: fundamental knowledge of DC and AC circuit analysis. | Co-requisites for Brooklyn Engineering Students: (MA-UY 1044 or MA-UY 2034) and PH-UY 2023 | Prerequisites for Abu Dhabi Students: SCIEN-AD 110, MATH-AD 116, and MATH-AD 121. ABET competencies a, c, e, k.
Electromagnetic wave propagation in free space and in dielectrics, starting from a consideration of distributed inductance and capacitance on transmission lines. Electromagnetic plane waves are obtained as a special case. Reflection and transmission at discontinuities are discussed for pulsed sources, while impedance transformation and matching are presented for harmonic time dependence. Snell’s law and the reflection and transmission coefficients at dielectric interfaces are derived for obliquely propagation plane waves. Guiding of waves by dielectrics and by metal waveguides is demonstrated. Alternate-week laboratory. Objectives: Establish foundations of electromagnetic wave theory applicable to antennas, transmissions lines and materials; increase appreciation for properties of materials through physical experiments. | Prerequisites for Brooklyn Engineering Students: EE-UY 2024 or EE-UY 2004 (C- or better). | Prerequisites for Abu Dhabi Students: ENGR-AD 214. | Prerequisites for Shanghai Students: EENG-SHU 251 (C- or better). ABET competencies: a, b, c, e, k.
This course includes hands-on experience with a combination of laboratory experiments, lectures and projects relating to basic and advanced topics in wireless communications. Specific topics include mixers, IQ modulation, phase locked loops, receiver design, PN code acquisition, smart antennas and RFID. | Prerequisite: EE-UY 4183
The course concentrates on differential and multistage amplifier, current mirrors, current sources, active loads; frequency response of MOSFET, JFET and BJT amplifiers: Bode plots; feedback amplifiers, gain-bandwidth rule and feedback effect on frequency response; Class A, B and AB output stages; op-amp analog integrated circuits; piecewise-linear transient response; determination of state of transistors; wave-shaping circuits; MOS and bipolar digital design: noise margin, fan-out, propagation delay; CMOS, TTL, ECL; and an alternate week laboratory. The course studies design and analysis of analog integrated circuits, frequency response of amplifiers, feedback amplifiers, TTL and CMOS digital integrated circuits. | Prerequisite for Brooklyn Engineering Students: EE-UY 3114. | Prerequisite for Shanghai Students: EENG-SHU 322. ABET competencies a, c, e, g, k.
Focusing on software engineering, the course introduces techniques to specify, design, test and document medium and large software systems. Design techniques include information engineering, object orientation and complexity measures. Also covered are testing methods, such as path testing, exhaustive test models and construction of test data. An introduction to software tools and project management techniques is presented. Student projects involve team software development and tracking. | Prerequisites: Juniors or higher majoring in Computer Science, Computer Engineering or Electrical and Computer Engineering. Co-requisite: CS-UY 3224
This introductory course in engineering problem solving and computer programming is for all undergraduate engineering students without prior programming experience in any language. The course covers the fundamentals of computer programming and its underlying principles using the MATLAB programming language. Concepts and methods are illustrated by examples from various engineering disciplines. Useful numerical techniques and their applications to real-world problems in science and engineering are also discussed. ABET competencies: a, e, k. | Corequisite: EX-UY 1.
This course introduces problem solving and computer programming and is for undergraduate Computer Science and Computer Engineering majors who have limited prior experience in programming in any language. The course covers fundamentals of computer programming and its underlying principles using the Python programming language. Concepts and methods introduced in the course are illustrated by examples from various disciplines. ABET competencies: a,b,c, e, f, g, k | Corequisite: EX-UY 1; Anti-requisite: CS-UY 1113
This course covers combinational and sequential digital circuits. Topics: Introduction to digital systems. Number systems and binary arithmetic. Switching algebra and logic design. Error detection and correction. Combinational integrated circuits, including adders. Timing hazards. Sequential circuits, flipflops, state diagrams and synchronous machine synthesis. Programmable Logic Devices, PLA, PAL and FPGA. Finite-state machine design. Memory elements. A grade of C or better is required of undergraduate computer-engineering majors. | Prerequisite for Brooklyn Students: CS-UY 1114 (C- or better) or CS-UY 1133 (C- or better) | Prerequisite for Abu Dhabi Students: CS-UH 1001 (C- or better) or ENGR-UH 1000 (C- or better) | Prerequisite for Shanghai Students: CSCI-SHU 101 (C- or better)
This course covers a top-down approach to computer design. Topics: Computer architecture, introduction to assembly language programming and machine language set design. Computer organization, logical modules; CPU, memory and I/O units. Instruction cycles, the datapath and control unit. Hardwiring and microprogramming. The memory subsystem and timing. I/O interface, interrupts, programmed I/O and DMA. Introduction to pipelining and memory hierarchies. Fundamentals of computer networks. | Prerequisite for Brooklyn Engineering Students: CS-UY 2204 (C- or better) for computer engineering majors; (CS-UY 2134 or CS-UY 1134) and (CS-UY 2124 or CS-UY 1124) (C- or better) and MA-UY 2314 for computer science majors. Students who are neither computer engineering majors nor computer science majors must take either CS-UY 2204 (C- or better) OR (CS-UY 2134 or CS-UY 1134) and (CS-UY 2124 or CS-UY 1124) (C- or better) and MA-UY 2314.| Prerequisite for Abu Dhabi Students: ENGR-AD 121. | Prerequisites for Shanghai Students: CSCI-SHU 2314 and CSCI-SHU 210 (C- or better) or CENG-SHU 201. ABET competencies: a, c, e.
This intermediate-level programming course teaches object-oriented programming in C . Topics: Pointers, dynamic memory allocation and recursion. Classes and objects including constructors, destructors, methods (member functions) and data members. Access and the interface to relationships of classes including composition, association and inheritance. Polymorphism through function overloading operators. Inheritance and templates. Use of the standard template library containers and algorithms. | Prerequisite: CS-UY 1134 (C- or better); Corequisite: EX-UY 1
This course provides a hands on approach to machine learning and statistical pattern recognition. The course describes fundamental algorithms for linear regression, classification, model selection, support vector machines, neural networks, dimensionality reduction and clustering. The course includes computer exercises on real and synthetic data using current software tools. A number of applications are demonstrated on audio and image processing, text classification, and more. Students should have competency in computer programming. | Prerequisite for Brooklyn Students: CS-UY 1134 AND (MA-UY 2034, MA-UY 2034G, MA-UY 1044 or MA-UY 3054) AND (MA-UY 2224, MA-UY 2222, MA-UY 2233, ECE-UY 2233, MA-UY 3012, MA-UY 3014, or MA-UY 3514) | Prerequisite for Abu Dhabi Students: (ENGR-UH 3510 or CS-UH 1050) (C- or better) AND (MATH-UH 1022 or MATH-UH 1023) AND (MATH-UH 2011Q or ENGR-UH 2010Q) | Prerequisite for Shanghai Students: CSCI-SHU 210 (C- or better) AND (MATH-SHU 140 or MATH-SHU 141) AND MATH-SHU 235
This course covers abstract data types and the implementation and use of standard data structures along with fundamental algorithms and the basics of algorithm analysis. Not open to students who have taken CS-UY 2134. | Prerequisite for Brooklyn Students: CS-UY 1114 or CS-UY 1121 (C- or better) | Prerequisite for Abu Dhabi Students: CS-UH 1001 or ENGR-UH 1000 | Prerequisite for Shanghai Students: CSCI-SHU 101 | Corequisite for all Students: EX-UY 1
This laboratory accompanies the lecture course BMS-UY 1003 Introduction to Cell and Molecular Biology. This laboratory course is required for BMS and CBE majors taking BMS-UY 1003, but is optional for other majors. | Co-requisite: BMS-UY 1003
The course covers the fundamentals of biology with emphasis on cell and molecular biology. The course material includes introduction to biomolecules and bioenergetics, basic organization and functioning of living cells and general principles of genetics and reproduction.
This course addresses the basic processes, as studied by the physical, biological sciences, and behavioral that determine the nature of the physical environment and how it affects life on earth. Topics include the physical environment (Lithosphere, Hydrosphere, Atmosphere, climate); the biological environment (biological systems, biodiversity, population dynamics, ecology) and modern environmental problems, including resource shortages (such as water and energy), diseases, soil, water and air pollution, climate change and their relationship to political and economic issues. Note: This course cannot be used to satisfy Humanities/Social Science requirements for majors outside of the TCS department. | Prerequisites: Completion of first year writing requirements.
This course covers chemical thermodynamics with applications to solutions, phase and chemical equilibria. Molecular motion and transport properties are also covered. | Prerequisites: CM-UY 1004 or CM-UY 1024 and MA-UY 1124 or MA-UY 1154 and PH-UY 1013.
This course continues CM-UY 2213 and emphasizes finding the principles of organic chemistry in industrial practice and biochemical mechanisms. It introduces instrumental methods of analysis and identification. | Prerequisite: CM-UY 2213. Co-requisite EX-UY 1
This is a one-semester introductory course in general chemistry. It covers chemical equations, stoichiometry, thermodynamics, gases, atomic and molecular structure, periodic table, chemical bonding, states of matter, chemical equilibrium, organic, inorganic and polymeric materials and electrochemistry. | Corequisite: EX-UY 1
This course covers chemistry of organic molecules: structure, nomenclature, properties and reactions of carbon compounds with emphasis on aliphatic compounds. It also introduces reaction mechanisms and stereochemistry. | Prerequisite: CM-UY 1004 or CM-UY 1024. Co-Requisite: EX-UY 1
This course covers states of matter, chemical thermodynamics and equilibria, kinetics, acid-base chemistry, electrochemistry, introduction to organic chemistry, natural and synthetic polymers. The course is required for students in the Biomolecular Science Program. | Prerequisite: CM-UY 1004 or CM-UY 1014. Corequisite: EX-UY 1.
In this course, students focus on client and server side programming, as well as the web design and development process. Students are also introduced to databases for the web. Examples of dynamic web applications include content management systems, registration systems, and social media solutions. | Pre-requisite: DM-UY.2193
We live in an age of digital production where so much of today’s music is produced with comparatively few tools, and at the heart of the modern production set up, whether in the bedroom of the studio, is software that uses MIDI. One of the most versatile of today’s platforms which can be used in production, live performance, and even as a visual tool is Ableton Live. Ableton is unique amongst the contemporary software programs making music in that it is the only one that was created by working musicians who were looking for a tool that allowed for both the seamless creation of ideas and could also serve as a performance instrument. In the past 15 years, Ableton has played an important role in creating countless tracks and records in numerous genres and the go-to software for live performance, whether for vocalists and bands or for massive spectacles like Cirque du Soleil. In this course, we will cover Ableton’s unique abilities to manipulate audio which make it the preferred platform for remixing and mash-ups. We will cover the fundamentals of the software, explore techniques to program beats, chordal and melodic ideas, as well as cover creative workflow – how to use Ableton to quickly generate ideas for producers and songwriters. Finally, we will discuss its use as a live performance tool for use with live instrumentalists and vocalists, as a DJ tool and even as a VJing tool.
Atari. Computer Generated Imagery. YouTube. What is new media and will it change the world? In this course we will explore diverse examples of ?old? and ?new? media including interactive web work, gaming, installations, and movies. We will use blogs, online forums, and YouTube to discuss new media?s roots in older popular media including film and literature. We will question how new media have impacted traditional narrative forms and the structure of the film industry, as well as the broader contexts of new media in a changing world culture. This course allocates as History & Criticism for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES. Non-majors must process a “Permission Notice for Non-Majors” form to register for the course (subject to availability).
This class examines the intersecting dynamics of media genres and geo-linguistic cultural markets in the configuration of global and regional media flows. It looks in particular at the way media genres travel and how their circulation raises issues about the cultural power of certain media narratives in specific historical, political and social conditions of consumption. We will examine the battle for national, regional, and global media markets as a struggle for the ’Slegitimate’ cultural and political view of the world expressed through information (news), scientific discourse (documentaries), and popular culture (films, tele novels, reality television, music) to understand the complex global flow of television programs and films.
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.
This class is an overview of the field of games that approaches them from several theoretical and critical perspectives. No special theoretical background or prior training is needed to take the course, but to have had a broad practical experience with and basic knowledge of games is a distinct advantage. Also, an interest in theoretical and analytical issues will help. You are expected to actively participate in the lectures, which are dialogic in form, with ample room for discussion. The course will prepare the student to: Understand and discuss games from a theoretical perspective, as well as the components of a game; Apply new theories and evaluate them critically; Assess and discuss game concepts and the use of games in various contexts; Analyze games, and understand and apply a range of analytical methods.
This course introduces students to the central themes, issues, & controversies in American education. What is the purpose of “school”? How did schools begin, in the United States, & how have they evolved across time? How do children learn? How are they different from each other, & why & when should that matter? How should we teach them? & how should we structure schools & classrooms to promote learning? Liberal Arts Core/CORE Equivalent – satisfies the requirement for Society & Social Sciences for Steinhardt students.
This course introduces students to the complex relationship between interactivity and storytelling. Students analyze how an interactive structure creates narrative. Works explored in this course range from nonlinear novels, experimental literature, audio narratives, theater/performance to film as narrative databases and games. The study of the structural properties of narratives that experiment with digression, multiple points of view, disruptions of time, space, and storyline is complemented by theoretical texts about authorship/readership, plot/story, and characteristics of interactive media. | Prerequisite: EXPOS-UA 2, EXPOS-UA 9, EXPOS-UA 22, ASPP-UT 2 or WRCI-UF 102. Note: Satisfies HuSS elective.
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.
Generative machine learning models open new possibilities for creating images, videos, and text. This class explores the idea of how artists, designers and creators can use machine learning in their own design process. The goal of this class is to learn and understand some common machine learning techniques and use them to generate creative outputs. Students will learn to use pre-trained models, and train their own models in the cloud using Runway. For each week, we will discuss the history, theory, datasets, application of the machine learning models, and build experiments based on the model. In addition to Runway, we will be using JavaScript libraries like the p5.js, ml5.js, and TensorFlow.js, and software like Photoshop, Unity and Figma. Students are expected to have taken ICM (Introduction to Computational Media), or have equivalent programming experience with Python or JavaScript. A list of ML models we will be covering: Image generation: StylanGAN: https://github.com/NVlabs/stylegan BigGAN: https://github.com/ajbrock/BigGAN-PyTorch Style Transfer Fast-style-transfer: https://github.com/lengstrom/fast-style-transfer Arbitrary-Image-Stylization: https://github.com/tensorflow/magenta/tree/master/magenta/models/arbitrary_image_stylization Semantic Image Segmentation/Synthesis Deeplab: https://github.com/tensorflow/models/tree/master/research/deeplab Sapde-coco: https://github.com/NVlabs/SPADE Image-to-Image Translation: pix2pix: https://phillipi.github.io/pix2pix/ pix2pixHD: https://github.com/NVIDIA/pix2pixHD Text Generation LSTM gpt-2: https://github.com/openai/gpt-2
Over 7 weeks students in this course will explore different game mechanics, puzzle mechanics, group dynamics, and narrative structures and work in groups to design and build a room sized escape game. We will explore how to design immersive and participatory experiences through play and problem solving. Students will construct weekly puzzles and narratives and in the final week build and operate an “escape room” experience. Prerequisites: Physical Computing and ICM. Comfort with fabrication strongly encouraged.
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.
Forget the screen. People want to be part of the action. They don’t want to watch detectives and control superhero avatars. They want to solve the mystery and be the hero. They want to experience it. We see this craving for playful experience in everything from immersive theater to escape rooms to the Tough Mudder to gamified vacation packages. Designing live experiences for large audiences that demand agency offers a distinct set of challenges, from how much choice you give each participant to how many people you can through the experience. We’ll look at examples from pervasive games to amusement parks to immersive theater, examining both the design choices and technology that make the experiences possible. Along the way we’ll create large, playful experiences that put the participant at the center of the action.
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/
Subtractive fabrication is a common manufacturing process that produces durable and functional objects. This class will cover multiple techniques on machining and milling raw material into custom parts. We will focus on both traditional and digital fabrication tools: lathe, CNC router, 4 axis mill, etc. We will cover CAD, CAM, and machine setups as well as research affordable desktop milling solutions for personal shops. The class will be hands on and fabrication heavy, paying close attention to precision, accuracy, and craftsmanship. There will be weekly fabrication exercises, a midterm, and a final project. It’s mill-er time.
Hardware is not hard, and rapidly prototyping circuit boards is easier than ever with new tools available at ITP. Students will learn how to grow from a breadboard to a custom surface mount board, all without leaving the floor. This class is about artists and designers taking control of their hardware, and exploring the potential of embedding their projects into the world around them. Students will learn the multitude of tools and processes required to make a DIY circuit board. These include Eagle CAD, micro-milling machines, drawing schematics, ordering parts, surface-mount components, acid etching, solder paste and stenciling, reflow, pick-and-place, and others. In-class demonstrations will be done for each of the above, and students will complete assignments using online reference notes and videos. Two smaller projects and one final project will be assigned (3 total), each a circuit of the student’s’ choosing. These three assignments will be designed to work off the most recently taught subjects, and to get the students to fail early. It’s a lot of new material to be learning across multiple domains, so the students will need the entire semester to iterate.
The World Wide Web no longer stops at the edge of your screen. When it comes to products, if it powers up, it talks to another device. This class provides an overview of methods for connecting the physical world to web-based applications. We’ll consider what the emerging interaction patterns are, if any, and we’ll develop some of our own as needed. This class can be seen as a narrower and more interaction design-based complement to Understanding Networks. The latter class provides a broader overview of the dynamics of communications networks, while this class focuses specifically on the challenges of connecting embedded devices to web-based services. Neither class is a prerequisite for the other, however. This class will introduce network connection techniques for devices using microcontrollers like the Nano 33 IoT and MKR series or ESP8266 and processors running an embedded operating system like the Raspberry Pi. Prerequisites: Intro to Physical Computing and Intro to Computational Media, or equivalent experience with the topics covered in those classes. Learning Objectives: Students will gain an understanding of the basics of network programming for devices with limited computing power. They will learn about current protocols for communication between devices and networked servers, and about the rudiments of security for that communication. Reading: There will be an article or two to read each week, to foster discussion about the design of connected things. Assignments: There will be several one-week software and hardware assignments to get familiar with different technologies and communications protocols, and one hardware and software final application project.
This 7-week, 2-point course will provide a framework for learning how to develop and program web applications. It will focus on server side development using JavaScript, Node.js with the Express framework, and persistent databases on cloud based infrastructure. Additional topics will include login and session management, web services and APIs, and will lightly touch on front-end web development. The course will be a mixture of lecture and in-class collaborative coding, with weekly programming and reading homework.
This is an environment for students to work on their existing project ideas that may fall outside the topic areas of existing classes. It is basically like an independent study with more structure and the opportunity for peer learning. This particular studio is appropriate for projects in the area of interactive art, programing and physical computing. There are required weekly meetings to share project development and obtain critique. Students must devise and then complete their own weekly assignments updating the class wiki regularly. They also must present to the class every few weeks. When topics of general interest emerge, a member of the class or the instructor takes class time to cover them in depth. The rest of the meeting time is spent in breakout sessions with students working individually or in groups of students working on related projects.
As a response to developing technologies, artists working in areas of new/digital media are continually inventing new concepts for self-expression – interactivity, the passage of time and resolution, just to name a few. Yet these concepts are new only in the sense that they are being adapted to new media. For example, the notion of interactivity, frequently observed as original and specific to the user-interaction component of computer-mediated works, was equally, if differently, specific to Gianlorenzo Bernini’s 17th-century Baroque sculpture and architecture. Indeed the very concept of new media, and the concomitant implication of critically significant artistic development, applies throughout history. Oil revolutionized painting in the Renaissance, as did house-paint (on canvas) in the 1950s; in the 1910s, the found object indelibly altered definitions of art, the importance of the object being subsumed by that of the concept in the 1960s. This course examines how artists working before the boom of digital technology utilized other media, techniques and approaches to effect formal, conceptual and experiential dynamics comparable to those being investigated by new media artists today. The objective of the course is to provide students with not only knowledge of the immensely rich history of artistic creativity, but also a platform through which that knowledge might be utilized to reconsider new media strategies of artistic expression. It is the goal that through observation, discussion, reading and projects (both written and hands-on), students acquire mental tools to approach their own work with an expanded understanding of artistic possibility. Organized thematically, each class focuses on a different concept derived from the field of new media production and examined with regard to artistic precedents. The course focus primarily, though not exclusively, is on 20th/21st-century art. It is conducted as a combination lecture/discussion class. Critical theory is incorporated into the readings and discussions, but this is not strictly a theory course. The course has been conceptualized and designed to enhance understanding through a variety of means, from basic observation, to exploratory conversations, to more rigorous thinking informed by lectures, readings and focused discussions.
Code without content gets boring fast. This seven week course will show you how to create stories around which you can weave the technology learned in other classes. When content comes first, interesting problems arise to solve. Participants will get solid grounding in how to tell a visual story using words and images in a traditional format, so then they can take that format and reimagine it in entirely new and unique ways. The first few classes are devoted to getting basic comic skills. The remaining classes will hone and expand these abilities while posing the question: what can be done differently, and how can technology add to what we have created? At the end of the semester you will have a something that sets you apart; – original content AND technological know how. Students will combine words and images, look at each other’s work, look at examples of published works. Reimagine how these stories can be told in new and unique ways. This a demanding course. There is a lot of work involved, they will end up with a lot of original content. During the first half we look at and make traditional comics. Second half we experiment with comic format WHILE honing storytelling skills. Relevant speakers will come in to discuss what they do and how they work etc.
Can we capture the unpredictable evolutionary and emergent properties of nature in software? Can understanding the mathematical principles behind our physical world world help us to create digital worlds? This class focuses on the programming strategies and techniques behind computer simulations of natural systems. We explore topics ranging from basic mathematics and physics concepts to more advanced simulations of complex systems. Subjects covered include physics simulation, trigonometry, self-organization, genetic algorithms, and neural networks. Examples are demonstrated in JavaScript using p5.js (https://p5js.org). Much of the class time will be dedicated to in-class exercises and self-study as the course is available online through a video series (https://www.youtube.com/user/shiffman/playlists) and textbook (http://natureofcode.com/book).
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.
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.
We live in a world where we have more data, computational power, and access to digital connectivity than ever before. But how do we make sense of the promise inherent in this reality while holding space for the challenges that it presents for different groups and communities? How do we situate the technologies that we have come to take for granted? And more importantly, how do we leverage an artist’s perspective to creating active responses that interrogate and hint at the potential for different futures? This course examines emergent technological fields, spanning topics like data collection/representation, digital archives, artificial intelligence, social algorithms, and automation and asks how the technologies inherent to each can be leveraged for artistic response, creation, and critique. While this course is primarily conceptual and art theory-based, the content covered will be technical in nature and students will be tasked with making three creative responses to the content in the tradition of the new media, digital, and conceptual art worlds.
An introductory course designed to familiarize students with all the IMA prototyping shop has to offer. We will cover everything from basic hand tools to the beginnings of digital fabrication. You will learn to use the right tool for the job. There will be weekly assignments, created to develop your fabrication techniques. There will be in class lectures, demos, and building assignments. Emphasis will be put on good design practices, material choice, and craftsmanship.
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.
Introduction to numerical computation: the need for floating-point arithmetic, the IEEE floating-point standard. Importance of numerical computing in a wide variety of scientific applications. Fundamental types of numerical algorithms: direct methods (e.g., for systems of linear equations), iterative methods (e.g., for a nonlinear equation), and discretization methods (e.g., for a differential equation). Numerical errors: How can you tell if you can trust your answers? The use of graphics and software packages such as Matlab. Programming assignments.
This course takes a mathematical approach in studying topics in computer science, such as: regular languages and some of their representations (deterministic finite automata, non-deterministic finite automata, regular expressions); proof of non-regularity. Context free languages and pushdown automata; proofs that languages are not context free. Elements of computability theory. Brief introduction to NP-completeness.
Causal Inference provides students with the tools for understanding causation, i.e., the relationship between cause and effect. We will start with the situation in which you are able to design and implement the data gathering process, called the experiment. We will then define causation, identify preconditions required for A to cause B, show how to design perfect experiments, and discuss how to understand threats to the validity of less-than-perfect experiments. In this course, we will cover experimental design and then turn to those careful approaches, where we will consider such approaches as quasi-experiments, regression discontinuities, differences in differences, and contemporary advanced approaches.
We live in an era of information where the information can be written, accessed, shared, and also eliminated with a single stroke. As a result, the objective “truth” is brought to a question. In the last decade, artists have been experimenting with the fakeness of the truth and the truthfulness of the fake by creating fake documents, staged marriages, an arguably authentic artifact, imaginary advertisements both historical and contemporary. What does it mean to tell the truth in the context of art? How does art cross the boundaries between the real and the fake, truthfulness and misrepresentation? This course will examine social engagement of art and how “truth” is treated, interpreted, and presented. The class will take a field trip to a propaganda museum, have readings and discussions, and analyze artists working with fiction as a medium in art making. Students will work on projects to construct believable reality through object making (3D fabrication) and narrative construction (audiovisual material). Prerequisites: Interaction Lab or Communication Lab or Application Lab
In this course students will learn the fundamentals of computation, software design, and web technologies, through a series of creative projects. The course is intended to equip students with the skills to develop artistic and business projects that include a significant computational component. Topics such as variables, functions, components, and functional and reactive programming will be brought together to create interactive applications, generative art, data visualization, and other domains. Within the framework of these creative projects students will develop a greater understanding of how computer programs operate, be exposed to various concepts used to create experiences and interactions, and become more familiar with some of the technologies that constitute the internet. This course is intended for students with no prior programming background. Prerequisites: None
Utilizing technological and scientific research / case studies / artifacts, this class introduces students to the topic of enhanced / extended perception and how technological augmentation allow us to sense and perceive alternative layers of our surrounding world, reconfiguring our understanding of what reality really is. Students will be asked to develop their own prototypes that demonstrate a conceptual or functional outcome on how perception can be extended, enhanced, or even hacked.
Ours is a time of unceasing image production. CCTV cameras wrap around the planet, machines make visual learning sets for other machines, hundreds of billions of hours of video material is livestreamed online every year, artists speculate about the possibility of making virtual reality for animals, and seemingly natural phenomena such as climate change can only be apprehended through risk simulations and data visualisations. Simultaneously, from deep fakes to computergenerated influencers and webcam models, digital images without real-life referents are set to become a part of social life, posing questions about the agency of media makers and consumers in an increasingly simulated world. Contemporary visual culture is not made by humans alone and sometimes not even meant for human eyes. What are we to make of aesthetics when they become automated? How can human collectives be thought from the perspective, or collaborate with, the semi-autonomous technological systems around us? What kind of conceptual capacities do we need to be able to think about the future of such media globally, and in specific geographical locations? In this class, we will explore the shi< that media theory and philosophy of technology have made towards the inhuman. From biometrics, insect media, and eco-media to so<ware art, augmented reality, and satellite imagery, we are witnessing a paradigm change in how we think about the relationship between human, animal, and machine agency in visual culture. Looking at a variety of contemporary media objects, we will read state-of-the-art theory, write a research paper, and collaborate on a post-human media studies syllabus spanning texts and objects from across the globe.
As no two cultures define “artificial” the same way, and no two define “intelligence” the same way, so too they will not define and imagine “artificial intelligence” in the same way. As China and the West engage in what is sometimes called a new scientific and technological race, the fundamental terms of a shared conversation across cultures may be missing or contested. As planetary-scale economies shift toward increasing automation, AI moves out of the laboratory and into the fabric of supply-chains, urban infrastructures, and everyday life. This research seminar will allow students to explore different ways that different cultural connotations of “face”, “city”, and “governance”, for example, imply different paths for the development of this fundamental technology. NYU Shanghai will host an international conference in the Spring 2020 that examine these same topics. Prerequisites: Interaction Lab / Application Lab / Communication Lab / What’s New Media
People use their bodies in the workplace whether they are dancers or athletes, managers or engineers. Physical wellbeing, social teamwork, and cognition may be affected by our movement practices. How do people use physicality and motion to think? What is the interaction between body, motion, place, and goals? We will explore these questions by building physical-computing-based systems that encourage us to bring movement into new times and places in daily life, that coach users and develop learning environments for movement practices, and that test our understanding of ways that we “think with the body”. In this course we will bring practices such as fitness, dance, sports, and martial arts into a series of interactive installations, movement learning projects, and workspace modifications built on computing, sensing and actuator technologies. In this course we will also explore these questions through review of existing creative projects in this area, readings, presentations, and knowledge-sharing sessions. Prerequisites: Creative Coding Lab, Interaction Lab or equivalent programming experience Fulfillment: IMA/IMB elective.
Data is at the heart of the increasing role technology has in our lives. Data collection and algorithmic processing are not only central to recent technical breakthroughs such as in AI and automation but have created new economic paradigms where data equals value and shape political approaches to power and control. Decisions based on algorithms affect society at large whether it’s changing the way we transport and distribute goods, or influencing the things we buy, the news we read or even the people we date. The world that algorithms see is data. For the average person, however, data is seldom more than an abstract idea. So what exactly is data? How is value extracted from it? And why should we care? How can we ethically balance the positive uses of data-driven systems with the threats they pose to discriminate and infringe basic human rights? This class seeks to untangle some of these issues practically and theoretically. Prerequisite: Creative Coding Lab or equivalent programming experience. Fulfillment: CORE AT; IMA/IMB elective.
Application Lab is an intensive project-driven course where students explore current challenges and opportunities at the intersections of emerging media and innovation through the lenses of design, prototyping and innovation. The course seeks to help students understand how these high-level concepts intersect with skills to form the basis for new applications of technology and human industrial art. At the end of this course, students will be able to think critically and holistically about not only what makes innovations possible but will also how to utilize emerging media technologies and ideas to bring innovations into the world that respect and acknowledge the values of design, iteration and innovation. Prerequisite: None. Fulfillment: IMA Major Other Foundation/Electives; IMB Major Emerging Media Foundation/ Interactive Media Elective.
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.
Board game design is a one-semester course for students who want to dig deeper into table-top games, from design to history to manufacturing. The first half of the course looks at the world of mass market games, which focus heavily on commercials, trends, plastics, licenses, low prices, and casual rules. The second half focuses on hobby games, designed for the dedicated game player, and the different styles of games in that world. The course is hands-on with at least one published game played in every class. There are multiple assignments where students bring these concepts to life through their own designs. Throughout the course, there is a focus on understanding players and designing games for a target audience.
Introduction to Game Development is a practical course that introduces students to the methods, tools and principles used in developing digital games. Over the course of the semester, students will work alone to create a two digital prototypes or ‘sketches’, before building on them to produce a final polished game, using the lessons learned in the earlier prototypes. This is a hands-on, primarily lab-based course, and so the focus is on learning by doing rather than on reading and discussion.
Intermediate Game Design builds on the foundation of Introduction to Game Design to help build students’ understanding of how game design works in a practical context. While Introduction to Game Design acquaints students with basic foundational concepts and ideas, Intermediate Game Design puts those ideas into action across four very different kinds of projects. These projects emphasize the professional context of digital game design.
This course reflects the various skills and disciplines that are brought together in modern game development: game design, programming, asset creation, and critical analysis. Classroom lectures and lab time will all be used to bring these different educational vectors together into a coherent whole; the workshop will be organized around a single, long-term, hands-on, game creation project. At the completion of this course, the student will be able to: 1) Describe typical work practice in game development. 2) Demonstrate competency through actual implementation of code and assets. 3) Work with a game engine, and understand the basics of how to build a game in the engine.
Advanced Game Design focuses on the practical skills that working game designers need to get a job – and what they do at a company once they are there. Over the course of the semester, students will work on two full project proposals – each proposal including design documentation, production and schedule planning, and a prototype specification. In addition, students will take a handful of “game design tests” – based on actual game industry tests that are part of the hiring process. Along the way, we will be visiting a few NYC-based game companies, as well as discussing issues relevant to working game designers today. The goal of the course is to work on our communication, design, and planning skills, and get a sense for what it means to be a working game designer. Required: Intermediate Game Design.
What are the distinctions between facts, data, information, opinion, and understanding? Through what techniques of argumentation are these concepts discovered and/or achieved? Course introduces students to rhetoric—the art of persuasion. We explore techniques of rhetoric related to truth telling and opinion formation. We consider the significance of these activities to the city (polis) and matters held in common (res publica). Activities include participant observations of persuasion in courtroom settings. Optimal for students considering law careers.
This course examines the vast & rich myth-making power of Hollywood film narratives that influence dominant cultural views of American identity. Students view films that explore problems & promises of American culture & society such as equality, democracy, justice, class, gender, sexual orientation, & race/ethnicity. Students analyze films while considering the work of historians, sociologists, film critics, media studies scholars, anthropologists & journalists. Students will screen films outside of class. Assignments include creating a short film that explores the city where myths are both lived out & refuted on a daily basis.
This course examines the broad range of activities associated with the globalization of media production, distribution, and reception. Issues include: the relationship between local and national identities and the emergence of a ’global culture’ and the impact of technological innovations on the media themselves and their use and reception in a variety of settings.
This course surveys the history of advertising, branding, and consumer culture in a US and global context. It examines the history of advertising media, consumer practices, the spaces of consumerism, the role that consumption plays in identity, and the environmental impact of consumerism as well as the impact of digital media, social media, and data gathering on the emergence of brand culture.
This course examines the production, representation and cultural meaning of Latino media in the U.S. Provides a general survey of Latino media in the U.S. with particular focus on the cultures of production of Spanish and English language television, radio, film, advertising, newspapers, magazines and internet-based media.
The cultural context of crime in relation to conventions of news and entertainment in the mass media. Topics include competing theories of criminogenic behavior, news conventions and crime reporting, the aesthetics and representation of crime in the media, the role of place in crime stories, moral panics and fears, crime and consumer culture, and the social construction of different kinds of crimes and criminals.
The course approaches video games through the lens of political economy. This means examining games foremost as commodities, transactional goods through which various modes of economic life occur. This course is designed to introduce students to the structure and economics of the game industry since its emergence in the 1970s, particularly across the United States, China, and Japan. Special attention is brought to the dramatic industry changes catalyzed by digital distribution, mobile gaming, live streaming, and other contemporary developments.
An upper level course on the topic of censorship in American culture, from the late 19th century to the present. The course explores many of the areas where debates about obscenity and censorship have been urgently contested, from discussion bout birth control, to literature, film, theatre, art galleries and history museums, to public sidewalks, lecture halls, and the internet. The goal is for the students to have an enhanced understanding of the historical contexts in which important cultural and legal struggles over censorship have taken place, and to bring that understanding to bear on contemporary debates about the arts, sexuality, national security, media technology, privacy, and government involvement in the marketplace of ideas and images.
Introduces students to the study of media, culture, and communication. The course surveys models, theories, and analytical perspectives that form the basis of study in the major. Topics include dialogue, discourse, mass and interpersonal communication, political economy, language, subject-formation, critical theory, experience, and reception.
An overview of the development of visual storytelling throughout history. From the first creation of early hand drawn cave paintings to modern film production, all the essential elements of visual representation, visual imagery, visual grammar, and visual storytelling are explored. Lectures introduce and explain a variety of methods used to capture a visual image and how visual imagery, both with and without words, is used to convey meaning. Assignments are given for students to create their own visual imagery using these several different artistic formats. In class discussions then analyze the audience reception of the student’s work. The essential nature of visual storytelling is examined by analyzing how images collide to create new meaning, how a multiplicity of visual images are organized into a grammatical system, and how this system is managed in order to tell a visual story. The course examines how the basic tools of traditional narrative storytelling are also used in purely visual storytelling – to create a secondary world and to maintain a suspension of disbelief in order to inform, entertain, and affect the audience.
This course will cover both traditional and non-traditional financing and fundraising in the worlds of entertainment and the arts. Although our focus will be on the film world (with an emphasis on feature films), we will take occasional forays into the worlds of television, theatre, and music. We will also look at product financing. The goal of the course is to provide students with a framework for understanding the dynamics (as well as the specific routes) to raising funds for artistic endeavors. Many entertainment projects require significant capital before they can be realized. The negotiation and structuring of these deals may be a humbling experience, fraught with compromises that affect creative control over the final product. Producers need knowledge of financing tools and structures, an understanding of current economics driving the business, and skills in understanding new technologies and trends in funding. At its core, the course will help students develop a general understanding of fundraising and financing in the world of entertainment and refine the skills necessary to develop proposals that allow them to one day realize a creative vision.
Introduction to Game Development is a practical course that introduces students to the methods, tools and principles used in developing digital games. Over the course of the semester, students will work alone to create a two digital prototypes or ‘sketches’, before building on them to produce a final polished game, using the lessons learned in the earlier prototypes. This is a hands-on, primarily lab-based course, and so the focus is on learning by doing rather than on reading and discussion.
This course provides students interested in exploring their artistic field of study in community settings or providing community service through the arts, with a foundation for working with small and large group structures in community settings. Students will gain an understanding of group theory and stages of group development as they impact the visiting artist’s work with community groups. Overview of social, political and cultural contexts for creating community-based work will be discussed in relation to entering into and engaging community groups in the creative process. Students will work in small groups to practice concepts and skills of working with groups in community settings and will prepare and present an individual project design for a visiting artist’s work with a community group, drawing on specific fields of artistic study and taking into consideration material covered in class lectures and discussions.
The role of the creative producer in the entertainment industry is integral to bringing a project to fruition. This introductory course covers both the creative and physical production time-line and provides students with an understanding of the producer’s role through a semester-long team-based pitch project, which culminates in written and verbal pitch presentations. Students are encouraged to work on a project that best suits their area of interest: feature film, episodic/streaming, theatre, performance, podcasts, VR/AR or individualized multi-media. The course focuses on the dynamics of producing, including producer skill sets, tasks and responsibilities necessary to effectively and efficiently develop a project.
This course explores sound design, primarily within visual contexts. The course will focus on the use of sound within visual and interactive media, including film, video production, interactive user experience, web design, and gaming. Students will create weekly studio assignments in all of these areas, with an emphasis on developing a strong competence in integrating digital audio techniques into other media. Final projects could include novel sound design developed for film, video, web, applications, or games. | Prerequisite(s): DM-UY 1113 or MPATE-UE 1001
Students will learn advanced techniques of 3D computer animation, along with the theories and principles of motion including motion capture. Students will become comfortable utilizing cameras, lights, dynamics, motion, and effects in an industry-standard software. Comprehensive critiques will be conducted regularly to encourage good design for time-based animation. | Prerequisites: DM-UY 2133
This course explores the scientific foundations of current environmental issues and their implications for public policy. The syllabus is divided into sections that each examines a current environmental theme in depth. The first sections investigate the composition of the atmosphere and the chemical processes that cause air pollution, ozone depletion, and global warming. Moving to the study of water, the course explores the properties of this unique solvent and the effect of various aqueous pollutants. The course also includes an investigation of energy from chemical reactions, our continuing reliance on fossil fuels, and the potential of alternative energy sources. The laboratory experiments are closely integrated with the lecture topics and provide hands-on explorations of central course themes. Throughout the course we also will examine how scientific studies of the environment are intimately connected with political, economic and policy concerns.
This is an introductory course to the fundamentals of 3D computer animation. Through in-depth discussions and hands-on assignments, students will gain a thorough beginner’s understanding of the 3D production process. Using industry-leading Autodesk Maya running on high-end Mac Pro workstations, students will learn the basics of modeling and proceed through UV layout, texturing, rigging, animation, lighting and final render. At the end of the class students will have completed a series of exercises that will culminate in a final scene that showcases all they learned.This course allocates as a Craft for Film & TV majors. COURSE SUBJECT TO DEPARTMENTAL FEES.
This course is an introduction to the field of performance studies. In this course, performance will be broadly construed to include aesthetic performance (performance art, theater, music, dance, and visual culture) and everyday presentations of self. We will study the history of the field and its relation to other fields (anthropology, theatre studies, philosophy, dance studies, feminism, political science, critical race theory, legal studies, etc.) and ask questions of how the study of performance can help us to understand contemporary questions of aesthetics, politics, and social culture. We will study the theory and history of the field as grounded in documented performances in addition to attending live performances in New York City. This course will place particular emphasis on political performance (in the US and abroad), queer, and minority performance.
An introduction to philosophy through the study of issues in cognitive science. Topics may include the conflict between computational and biological approaches to the mind; whether a machine could think; the reduction of the mind to the brain; connectionism and neural nets. Gives training in philosophical argument and writing.
This course examines the current developments in contemporary art over the past decade – the art of ‘now’ – from the viewpoint of an artist’s practice & working ideas, looking at current global art production in aesthetic, economic, & social contexts. The major movements in painting, photography, sculpture, installation & performance are examined. Readings will be drawn from first hand interviews & point-of-view accounts, reviews, & critique; a major emphasis on interviews & online studio visits will accompany the texts. Guest artist lectures & off-site museum & gallery viewings will complement the weekly visual presentations & theory conversations. Liberal Arts Core/CORE Equivalent – satisfies the requirement for Expressive Cultures
Consumerism—the linking of happiness, freedom, and economic prosperity with the purchase and consumption of goods—has long been taken for granted as constitutive of the “good life” in Western societies. Increasingly, global economic shifts have made it possible for some developing countries to engage in patterns of consumption similar to those in the West, such that one quarter of humanity now belongs to the “global consumer class.” At the same time, however, nearly three billion people struggle to survive on less than $2 a day. This course takes an international and interdisciplinary approach to examine consumption in different societies, and we do so by asking several central questions: What are the key determinants of patterns of consumption, and how are they changed or reshaped over time? In turn, how do patterns of consumption shape class formation, racial inequality, identity, aesthetic sensibility, and international boundaries? How do practices of consumption inform the ways in which people understand their values and individuality, imagine success and failure, or conceive happiness? By reading widely in sociology, anthropology, and history we will develop a framework for analyzing the ethical, environmental and social justice implications of consumerism. Readings include case studies from the US, China, India, Europe and Africa Some likely authors include: Keynes, Marx, Marcuse, Benjamin, Mary Douglas, Bill McKibben; Arlie Hochschild, Lizabeth Cohen.
Prerequisite: Algebra and Calculus (MATH-UA 9) or equivalent. Focuses on individual economic decision-makers—households, business firms, and government agencies—and how they are linked together. The emphasis is on decision making by households and firms and how these decisions shape our economic life. Explores the different environments in which businesses sell their products, hire workers, and raise funds to expand their operations; the economic effects of trade between nations; and the effects of various government policies, such as minimum-wage legislation, rent controls, antitrust laws, and more.
Survey a broad spectrum of visual art resources through guided lecture-tour visits to current exhibitions at leading museums, galleries and alternative art spaces located throughout New York City. Onsite meetings with art administrators affiliated with various organizations shed light on a wide range of career and management issues pertaining to the field and add to an understanding of the development and continued growth of New York’s exciting art world.
This course introduces important issues, historical and contemporary, related to science and technology from a variety of social, political and philosophical viewpoints. The multidisciplinary approach helps students to understand the interaction between science, technology and society and to discover the conditions that foster technological innovation. The scientific and technological way of thinking becomes clear through historical examples, helping students to consider important issues of science and technology policy, such as how science and technology can be used to benefit society and how one can foster innovation in a society or an organization. | Prerequisites: Completion of first year writing requirements. Co-requisites: None. Notes: Satisfies a HuSS Elective.
Amodio, Coons, Marcus, Phelps. Offered every semester. 4 points. Fundamental principles of psychology, with emphasis on basic research and applications in psychology’s major theoretical areas of study: thought, memory, learning, perception, personality, social processes, development, and the physiological bases of psychology. Included in the class is direct observation of methods of investigation through laboratory demonstrations and by student participation in current research projects.
This course is designed to improve students? understanding of written and spoken Korean through exposure to various media sources, such as newspapers, magazines, TV, and film. Class discussions help enhance the students? speaking proficiency as well.
Ah, love. L’amour. The very word stirs our imaginations and pulls at our heartstrings. This most fundamental of emotions has long been a source of creative inspiration – a muse for literature, song, and art. The importance of love and intimacy in human life is clear, but what can the latest observations and scientific discoveries about the brain tell us about this supreme emotion? Through discussions, papers, and projects, we will examine the concepts of love and intimacy through various lenses, including those of neurobiology, evolutionary psychology, culture, and art. Focusing on the development of love throughout the lifecycle, we will study how people seek intimacy, how love evolves over time, the influence of love on human behavior, and love and intimacy’s relation to psychological well-being.
An introductory course designed to provide students with hands-on experience developing creative coding projects with machine learning. The history, theory, and application of machine learning algorithms and related datasets are explored in a laboratory context of experimentation and discussion. Examples and exercises will be demonstrated in JavaScript using the p5.js, ml5.js, and TensorFlow.js libraries. In addition, students will learn to work with open source pre-trained models in the cloud using Runway. Principles of data collection and ethics are introduced. Weekly assignments, team and independent projects, and project reports are required.
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.
Whether it’s through photo realistic scans found in current-gen video games or the cartoonish and low-fi aesthetic of Bitmoji there is no limit to ways in which the body and the self are represented in digital spaces. This 2-credit class will look at how avatars have been historically used in the realm of art, commerce, and entertainment and utilize existing avatar creation tools to develop projects that examine identity, body politics, and contemporary performance. In class, we will cover the basics of Unreal Engine, photogrammetry, 3D scanning, and model rigging although students will be encouraged to use existing skill sets and creative thinking to complete some of the smaller week-by-week assignments. The class will culminate with a short performance, small installation or single/multi-channel video piece using one or more of the techniques covered in class. This can be a solo project or a group project. In this class students will: – Explore how avatars can be utilized in your creative practice – Gain an introductory understanding of Unreal Engine, photogrammetry, model rigging, and 3D scanning. – Learn how to recontextualize digital spaces for the purposes of art, installation, and performance. – Broaden your thinking of what performance can be, both in a physical setting and digital setting. – Think critically about how physical bodies inhabit digital spaces and how the hardware and software we use reinforces the acceptance and value of certain kinds of bodies.
This course combines two powerful areas of technology that will enable you to leap from being just a user of technology to becoming a creator with it: Physical Computing and Programming. The course begins with Physical Computing, which allows you to break free from both the limitations of mouse, keyboard & monitor interfaces and stationary locations at home or the office. We begin by exploring the expressive capabilities of the human body and how we experience our physical environment. The platform for the class is a microcontroller (Arduino brand), a very small inexpensive single-chip computer that can be embedded anywhere and sense and make things happen in the physical world. The core technical concepts include digital, analog and serial input and output. The second portion of the course focuses on fundamentals of computer programming (variables, conditionals, iteration, functions & objects) as well as more advanced techniques such as data parsing, image processing, networking, computer vision. The Javascript ‘p5’ programming environment is the primary vehicle. P5 is more oriented towards visual displays on desktops, laptops, tablets or smartphones but can also connect back to the physical sensor & actuators from the first part of the class. The course is designed for computer programming novices but the project-centered pedagogy will allow more experienced programmers the opportunity to go further with their project ideas and collaborate with other students. What can computation add to human communication? You will gain a deeper understanding of the possibilities of computation–– possibilities that will augment and enhance the perspectives, abilities and knowledge you bring from your field of study (e.g. art, design, humanities, sciences, engineering). At first it may feel foreign, as foreign as learning a new language or way of thinking. But soon, once you get some basic skills under your belt, you’ll be able to make projects that reflect your own interests and passions.
An introductory course designed to provide students with hands-on experience using various technologies including time based media, video production, digital imaging, audio, video and animation. The forms and uses of new communications technologies are explored in a laboratory context of experimentation and discussion. The technologies are examined as tools that can be employed in a variety of situations and experiences. Principles of interpersonal communications, media theory, and human factors are introduced. Weekly assignments, team and independent projects, and project reports are required.
This course will explore the fundamentals of new media scholarship. Together, we will review and engage with different theories of emerging media in its social, cultural, political, and historical contexts. Students will be able to research, think and write critically about some of the central debates in media studies, including new media forms and aesthetics, issues of gender, race, and labor, platforms, infrastructure and various emerging paradigms. Classes consist of theoretical readings, media example discussion, and writing workshops. Prerequisite: WAI (or co-requisite). Fulfillment: IMA Major Foundations/Elective; IMB Major Emerging Media Foundation/Elective.
Artificial Intelligence Arts is an intermediate class that broadly explores issues in the applications of AI to arts and creativity. This class looks at generative Machine Learning algorithms for creation of new media, arts and design. In addition to covering the technical advances, the class also addresses the ethical concerns ranging from the use of data set, the necessarily of AI generative capacity to our proper attitudes towards AI aesthetics and creativity. Students will apply a practical and conceptual understanding of AI both as technology and artistic medium to their creative practices.
From the history of visual music and abstract film to the contemporary notion of live cinema, this course will be an exploration of the synesthetic relationship between sound and visuals in a realtime performance setting. Dating back as far as the 18th century, systems have been invented to produce images alongside music linking the two through formalized arrangements. Current media technologies make developing such systems both more approachable and more expansive in their scope. Through readings, viewings, and case studies students will gain an understanding of the history and theory of live audiovisuals. During the course students will team up to develop and master a realtime audiovisual system of their own invention. The class will culminate in a show in which they will present their work through a live performance. Prerequisite: None.
This course will be like the two previous ones (http://ima.nyu.sh/vr-ar-fundamentals/), with the first half-semester as seminar and the second half semester as production. For Fall 2019, production will be something in complement with Zaanheh: A Natural History of Shanghai (https://zaanheh.research.shanghai.nyu.edu/), a new NYU Shanghai interdisciplinary project. Prerequisite: None
Since the beginning of civilization people have fantasized about intelligent machines sensing and acting autonomously. In this course we will discover what robots are, learn how to design them, and use simple tools to build them. Students will use open source hardware to explore sensors and electronics, as well as design and build robot bodies and actuators through a variety of digital fabrication technologies. Using a set of community developed tools, students will become familiar with concepts such as mechatronics, inverse kinematics, domotics and machine learning. No previous programming or electronics experience is necessary, however students will be guided through a series of design challenges that their robots should be able to accomplish. With an emphasis on experimentation, peer learning, and teamwork, the objective of this course is to share in the excitement of robotics by enabling students to make their own creations. By the end of the course, students will present a short research paper and documentation about their robotic explorations. Co-requisite or Prerequisite: Interaction Lab or Creative Coding Lab. Fulfillment: CORE ED; IMA Majors Electives; IMB Major Interactive Media Elective.
From early alphabets to modern virtual reality experiences, this course will explore the development, reaction, and impact of some of humankind’s most transformative innovations – its forms of communication. How have these inventions, such as writing, printing, the telegraph, television, radio, the internet and beyond, influenced human behavior throughout the course of history. How have humans shaped their development and direction? And what role are they playing in shaping our lives both today and tomorrow? Toward the end of the course, students will speculate on the future of communication technologies in a connected world by proposing their own transformative innovation. Readings and discussion will cover communication theory, technical processes, creative applications, and critical investigation. Writing assignments will be paired with practical assignments where students will be challenged to bring their analysis and ideas to life. The web will also be utilized as a test bed for experiencing and experimenting with various forms of communication both old and new.
This course provides an overview of the scientific study of the human language faculty, focusing on the cognitive & neural processing mechanisms that underlie linguistic knowledge & use. We describe contemporary approaches to delineating levels of language structure & review various scientific methodologies used to study language. Topics include language knowledge & use as well as language change & variation. Liberal Arts Core/CORE Equivalent – satisfies the requirement for Natural Science for non-CSCD majors
Focuses on the economy as a whole (the ?macroeconomy?). Begins with the meaning and measurement of important macroeconomic data (on unemployment, inflation, and production), then turns to the behavior of the overall economy. Topics include long-run economic growth and the standard of living; the causes and consequences of economic booms and recessions; the banking system and the Federal Reserve; the stock and bond markets; and the role of government policy.
Considers contemporary issues in the interaction of language and society, particularly work on speech variation and social structure. How social factors affect language. Topics: language as a social and political entity; regional, social, and ethnic speech varieties; bilingualism; and pidgin and creole languages.
The relationship of the brain to behavior, beginning with the basic elements that make up the nervous system and how electrical and chemical signals in the brain work to effect behavior. Using this foundation, we examine how the brain learns and how it creates new behaviors, together with the brain mechanisms that are involved in sensory experience, movement, hunger and thirst, sexual behaviors, the experience of emotions, perception and cognition, memory and the brain’s plasticity. Other key topics include whether certain behavioral disorders like schizophrenia and bipolar disorder can be accounted for by changes in the function of the brain, and how drugs can alter behavior and brain function.
Contemporary Art in Britian. Contemporary art raises vigorous debate and criticism. But what is contemporary about contemporary art? We consider some key issues in dealing critically with contemporary art with a focus on work on display in exhibitions in London, both major national collections and private galleries, exploring art produced since the late 1950s through case studies of the work of individual artists and through themes which include photography, representations of the body, gallery display, video practice, and installation art. Topics include how contemporary art came to look as it does, with a focus on British art; the different forms of material and presentation artists have employed; why and how diverse audiences are addressed; and how markets, national prizes, and private collections shape the kinds of art produced and inform public taste. We also look at the collection and display of contemporary art, on a private and a public scale; dealer galleries, and issues of curation. Critical and historical writings by artists and theorists will be considered.
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.
This course introduces object-oriented programming, recursion, and other important programming concepts to students who already have had some exposure to programming in the context of building applications using Python. Students will design and implement Python programs in a variety of applied areas.
Prerequisite: V22.0201 and V22.0310. There are many cognitive tasks that people can do easily and almost unconsciously but that have proven extremely difficult to program on a computer. Artificial intelligence is the problem of developing computer systems that can carry out these tasks. We will focus on three central areas in AI: representation and reasoning, machine learning, and natural language processing.
Prerequisites: Data Structures (CSCI-UA 102); Discrete Mathematics (MATH-UA 120); and either Calculus I (MATH-UA 121) OR Math for Economics I (MATH-UA 211). An introduction to the study of algorithms. Two main themes are presented: designing appropriate data structures, and analyzing the efficiency of the algorithms which use them. Algorithms for basic problems are studied. These include sorting, searching, graph algorithms and maintaining dynamic data structures. Homework assignments, not necessarily involving programming.
This course covers the internal structure of computers, machine (assembly) language programming, and the use of pointers in high-level languages. Topics include the logical design of computers, computer architecture, the internal representation of data, instruction sets, and addressing logic, as well as pointers, structures, and other features of high-level languages that relate to assembly language. Programming assignments will be both in assembly language and other languages.
The use and design of data structures, which organize information in computer memory. Stacks, queues, linked lists, binary trees: how to implement them in a high level language, how to analyze their effect on algorithm efficiency, and how to modify them. Programming assignments.
Students learn how to design algorithms to solve problems and how to translate these algorithms into working computer programs. Experience is acquired through programming projects in a high level programming language. CSCI-UA 101 is intended as a first course for computer science majors, and for students of other scientific disciplines. Programming assignments.
Data Science for Everyone is a foundational course that prepares students to participate in the data-driven world that we are all experiencing. It develops programming skills in Python so that students can write programs to summarize and compare real-world datasets. Building on these data analysis skills, students will learn how draw conclusions and make predictions about the data. Students will also explore related ethical, legal, and privacy issues.
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.
Introduction to Programming for Games is a course that introduces students to the concepts, problems, and methods of computer programming, and how these apply to the creation of video games. Throughout the semester, students will have weekly programming assignments, first using Processing with the Java programming language, then the Unity3D Game Engine with C#. There will be a midterm game in Processing and a final game in Unity. The course assumes no prior programming knowledge, and is designed to touch on the basic principles of digital design in form of computer code. There will be an emphasis on programming fundamentals; they will be motivated through the lens of designing and producing video games.
Games 101 is the foundational course for the NYU Game Center. The focus of Games 101 is game literacy – a shared understanding of games as complex cultural and aesthetic objects. The class will incorporate lectures, discussion, readings, and writing assignments, but the primary activity of the class is critical play – playing games in order to better understand and appreciate them. The class will cover games on and off the computer, including classic and contemporary board and card games, sports, and games on the PC, internet, and consoles.
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 class is an overview of the field of video games that approaches them from several theoretical and critical perspectives. No special theoretical background or prior training is needed to take the course, but to have had a broad practical experience with and basic knowledge of games is a distinct advantage. Also, an interest in theoretical and analytical issues will help. You are expected to actively participate in the lectures, which are dialogic in form, with ample room for discussion. The course will prepare the student to: – Understand and discuss games from a theoretical perspective – what are the components of a game? – Apply new theories and evaluate them critically. – Assess and discuss game concepts and the use of games in various contexts. – Analyze games, and understand and apply a range of analytical methods.
This is an intensive, hands-on workshop addressing the complex challenges of game design. The premise of the class is that all games, digital and non-digital, share common fundamental principles, and that understanding these principles is an essential part of designing successful games. Learning how to create successful non-digital games provides a solid foundation for the development of digital games. Students will analyze existing digital and non-digital games, taking them apart to understand how they work as interactive systems. A number of non-digital games will be created in order to master the basic design principles that apply to all games regardless of format. This course is subject to a non-refundable department fee, please see the Notes section for more detail.
In this course, students focus on client-side programming. Assignments are arranged in sequence to enable the production of a website of professional quality in design and production. This studio stresses interactivity, usability, and the quality and appropriateness of look and feel.
In this studio, students will learn to produce and render high-quality 3D models. Upon completion of this course, students will have a solid understanding of the fundamentals of modeling, texturing, animation and lighting using industry standard software. Students may create content for video games, web, film, or other interfaces.
This course provides an overview of image making and presentation techniques, from still to moving. Students will also be introduced to experimental image making. This course will cover introductory still and video camera use, as well as how to begin integrating image within media. Students will gain practical and analytical skills through workshops, assignments, critiques, technical instruction, readings, screenings, and discussions.
In this course, students complete a coordinated sequence of short projects that add up to a finished, live-motion video project. The course strongly emphasizes the relevance of particular tools and techniques to the specific project Concepts are introduced through the screening of historical examples, from 1895 to the present. The course format is modeled on professional standards and workflow for preproduction, production and postproduction. | Prerequisites: DM-UY 2263
Introduces students to the study of media, culture, and communication. The course surveys models, theories, and analytical perspectives that form the basis of study in the major. Topics include dialogue, discourse, mass and interpersonal communication, political economy, language, subject-formation, critical theory, experience, and reception. Liberal Arts Core/CORE Equivalent for Societies and the Social Sciences.
Critical making is hands-on hardware practice as a form of reflection and analysis that draws on the literature of media studies and digital humanities. We turn to the physicality of computation and communications infrastructure, taking objects apart both literally and figuratively to understand how they work. In the process we learn to interpret and intervene in the material layer of digital technologies, using prototyping, reverse engineering, hardware hacking and circuit bending, design fiction, electronics fabrication, and other approaches.
This course examines the fast-changing landscape of global media. Historical and theoretical frameworks will be provided to enable students to approach the scope, disparity and complexity of current developments. These frameworks will be supplemented with the latest news and developments. In short, we ask: what is going on in the hyperlinked and hyper-turbulent realm of blogs, Buzzfeed and The Sydney Morning Herald? Key issues examined include: shifts in patterns of production, distribution and consumption; the implications of globalisation; the disruption of established information flows and emergence of new information channels; the advent of social media; the proliferation of mobile phones; the ethics and regulation of modern media; the rise of celebrity culture; the demise (?) of privacy; the entertainment industry and its pirates; Edward Snowden and the NSA; and the irrepressible octogenarian Rupert Murdoch. The focus will be international, with an emphasis on Australia.Ultimately, the course will examine the ways in which global communication is undergoing a paradigm shift, as demonstrated by the Arab spring and its uncertain legacy, as well as the creeping dominance of Google, Facebook and Twitter. In other words Toto, I’ve a feeling we’re not in Kansas anymore.
This course offers students a foundational understanding of the technological building blocks that make up digital media & culture, & of the ways they come together to shape myriad facets of life. Students will acquire a working knowledge of the key concepts behind coding, & survey the contours of digital media architecture, familiarizing themselves with algorithms, databases, hardware, & similar key components. These technological frameworks will be examined as the basic grammar of digital media & related to theories of identity, privacy, policy, & other pertinent themes.
The meanings of health & disease are shaped not only by scientific & Medical discourses, but by media, communication, & the cultures of health. This course examines the impact of media & health cultures on what counts as normal & pathological, how medical environments are understood & experienced, popular tactics for communicating & contesting biomedical information, public understandings of biotechnology, & how media representation & popular culture help to shape understandings of disease & health. readings, films (& other sources) will be drawn from a variety of genres, including epidemiology, public health, anthropology, history, communication studies, & medical memoir.
Departing from the premise that money and finance are not simply a system but also a culture, this class considers how money, finance, and economics are shaped in part through media representations. We examine historical ways of thinking about money, the centrality of financial markets in 20th-21st century globalization, and the examination of financial systems in the wake of the 2008 financial meltdown. Students explore the role of money media in shaping attitudes toward consumerism, financial decisions, and finance systems.
This course will examine “social media” from a cultural perspective, with a focus on how media technologies figure in practices of everyday life & in the construction of social relationships & identities. We will work from an expansive definition of what constitutes “social media,” considering social network sites, smartphone apps, & online games, among other technologies. The course itself will involve communication in social media channels in addition to the traditional seminar format, thus we will be actively participating in the phenomena under study as we go.
The course investigates dominant critical perspectives within the field of Environmental Communication, the premise of which is that the way we communicate powerfully impacts our perceptions of the “natural” world, and that these perceptions shape the way we define our relationships to nature. We access various conceptual frameworks for addressing questions of environment, culture, and communication. Students explore topics such as nature/wildlife tourism, consumerism, representations of the environment in popular culture, and environmental activism.
The course introduces students to the basic structures and practices of media in Europe and their relationship to everyday social life. Specific case studies highlight current trends in the production, distribution, consumption, and regulation of media. Topics include: national and regional idioms in a range of media genres, from entertainment to advertising and publicity, to news and information; legal norms regarding content and freedom of expression; pirate and independent media; and innovations and emerging practices in digital media.
The course on “Media, Activism & Democracy” aims at, first, introducing students to the complex and fascinating topic of civil society activism; second, at illustrating them the linkages between activism and media; third, at showing them the impact of civil society’s advocacy on contemporary political systems. In a nutshell, the course aims at providing students with a closer understanding of the civil society activism-media-politics conundrums at the national and global levels.
This course provides an overview of critical thinking on contemporary media production, media outcomes and media systems. Introduce theoretical approaches and practice used to analyze the content, structure, and context of media in society. We will explore factors shaping media texts, including: politics, economics, technology, and cultural traditions. The dominant critical perspectives that contribute to our understanding of media will be read, discussed, and employed. The course has three broad objectives: 1. Develop a critical awareness of media environments, 2. develop a familiarity with concepts, themes and theoretical approaches of media criticism, and the terms associated with these approaches and 3. develop an ability to adopt and adapt these frameworks in your own analyses of mediated communication.
This class reads architecture and the built environment through the lenses of media, communication, and culture, departing from the proposition that spaces communicate meaningfully and are in conversation with the social. From Gothic cathedrals to suburban shopping malls to homes, factories, skyscrapers and digital cities, students acquire a vocabulary for relating representations and practices, symbols and structures, and for identifying the ideological and aesthetic positions that produce settings for everyday life.
This course introduces students to key concepts in history of media and communication, and to the stakes of historical inquiry. Rather than tracing a necessarily selective historical arc from alphabet to Internet or from cave painting to coding, the course is organized around an exploration of case studies in context.
An introduction to the professions of marketing, promotion, and advertising, with an emphasis on industry structure, branding, integrated marketing communication, effective techniques, and changing communication strategies.
This class examines the intersecting dynamics of media genres and geo-linguistic cultural markets in the configuration of global and regional media flows. It looks in particular at the way media genres travel and how their circulation raises issues about the cultural power of certain media narratives in specific historical, political and social conditions of consumption. We will examine the battle for national, regional, and global media markets as a struggle for the ’Slegitimate’ cultural and political view of the world expressed through information (news), scientific discourse (documentaries), and popular culture (films, tele novels, reality television, music) to understand the complex global flow of television programs and films.
This course examines the role of media in the history of empires and revolutions and the history of media empires. It focuses on the investment in media forces by both empires and revolutions, and the tendency of media to form empires that are subject to periodic ’revolution’ in the marketplace with the contexts of colonization, decolonization and globalization. Media discussed include prints, paintings, photography, journalism, fiction, cinema, the Internet and digital media.
This class addresses how colonialism and postcolonialism are shaped and mediated through images and the gaze. The dynamics of colonial history motivate and shape colonial and postcolonial perceptions and influence their patterns of global circulation when the boundary between the world out there and the nation at home is increasingly blurred. Course surveys a range of image texts through various media (photography, television, cinema) and sites (war, the harem, refugee camps, prisons, disasters); nationalist mobilization, counter-insurgency, urban conflict, disaster management, the prison system, and the war on terror.
The application of various systems of communication analysis to specific behavioral situations. Through the case-study method, students apply communication theories and models to practical, everyday situations.
This course focuses on the principles and practices of successful interviewing techniques. Students are provided with background on the structure of an interview and learn how to analyze success and/or potential problems. Review of case studies and practice in holding interviews enables students to gain experience and to improve their own abilities.
This course examines fashion as a form of communication and culture. We examine how fashion makes meaning and how it has been valued through history, popular culture and media institutions, focusing on the relationship between fashion, visual self-presentation, and power. The course situated fashion both in terms of its production and consumption, addressing its role in identity and body politics (gender, race, sexuality, class), art and status, nationhood and the global economy, celebrity and Hollywood culture, youth cultures and subversive practices.
This course is an analysis of changing trends in marketing ranging from corporate social responsibility to guerrilla and viral marketing. Discussion of theoretical concepts are applied through fieldwork and project-based learning. Guest lectures on emerging topics are featured.
This course focuses on techniques of communication in public relations including creation of press releases, press packets and kits, and developing public relations campaigns.
This course examines theories, technologies, and practices of listening in the modern world. How has our experience of sound changed as we move from the piano to the personal computer, from the phonoautograph to the mp3? How have political, commercial, and cultural forces shaped what we are able to listen to, and how we listen to it? Finally, how have performers, physiologists, and philosophers worked to understand this radical transformation of the senses?
An overview of the history and cultures of print. Examines typography communication and the persuasive power of print. Topics include print ’revolution’ in early modern Europe, printedness and the public sphere, as well as contemporary relationships between print and digital media. How are digital media making it possible to see new things about print? What can e-books tell us about books?
This course examines the role and history of photography within the historical landscape of media and communication. Special emphasis on the accumulative meaning of visual archives, tracing how images reconfigure and establish cultural territories across a variety of texts and media. Investigates and contrasts the mimetic visual strategies within western and nonwestern traditions, looking at historical and contemporary images in a variety of forms.
This course examines the proposition that contemporary war should be understood as media. War has become mediatized and media has been militarized. This course treats war and political violence as communicative acts and technologies and focuses on how they shape our understanding and experience of landscape, vision, body, time and memory.
This course examines globalization as it is inscribed in everyday practices through the transnational traffic of persons, cultural artifacts and ideas. The course will focus on issues of transnational mobility, modernity, the local/global divide and pay specific attention to how categories of race, gender and ethnicity intersect with transnational change.
An inquiry into the ways that technology — mechanical, electronic, analog, and digital — shapes and is shaped by cultural, political, and social values. Students become acquainted with key concepts and approaches to understanding the interplay of technology and society (e.g. technological determinism, social construction of technology, actor networks, affordances) and how these have been applied to such cases as the clock, the automobile, the assembly line, household technology, the telephone, and more recent communication technology.
This course presents a critical analysis of the development, principles, strategies, media, techniques, and effects of propaganda campaigns from ancient civilizations to modern technological society. The course focuses on propaganda in the context of government, religion, revolution, war, politics, and advertising, and explores implications for the future of propaganda in the cybernetic age.
This course will examine the emergence of advertising as a form of communication, its influence upon other forms of mediated communication and its impact upon culture and society.
Explores the subject of desire in modern media and culture. Freud’s ideas have had a profound influence on everything from the earliest manuals on public relations to the struggles of modern feminism. We will read a range of psychoanalytic theorists while studying how their insights have been put to work by both the culture industry and its critics.
An exploration of television as a medium of information, conveyor and creator of culture and a form of aesthetic expression. Course examines the historical development of television as both a cultural product and industry.
An exploration of film as a medium of information, conveyor and creator of culture and a form of aesthetic expression. Course examines the historical development of film as both a cultural product and industry.
An introduction to the theoretical approaches & methods used to analyze the content, structure, & contexts of media in society. Students will develop a familiarity with concepts, themes, & approaches in media criticism, & they will develop an ability to adopt, adapt, & employ a variety of methodologies for the analysis of mediated communication.
Explores how people form relationships with locales they occupy, how they attach meanings to spaces to create places, and how experiences of inhabiting, viewing, and hearing those places shape their meanings, communicative practices, cultural performances, memories, and habits. Themes include: mapping and the imagination; vision and space, soundscape, architecture and landscape; new media and space/time compression; space and identity; spatial violence; and spatialization of memory. Satisfies Core Cultures & Contexts for non-MCC Steinhardt students.
In this course students will build form the skills they learned in 3D Modeling and 3D Animation to produce 3D for Interactive Applications. Projects may be geared to scientific, engineering or entertainment applications according to individual skills and professional aspirations. | Prerequisites: DM-UY 2133
Today’s applications are increasingly mobile. This course teaches students how to build mobile apps for Android or iOS devices, as well as how to deploy them in app stores. The history of mobile computing is also explored. | Prerequisite: DM-UY 2193
This class introduces the principles of 2D and 3D computer-game design. Students learn the range of game types and understand their conceptual building blocks. Students complete a structured sequence of assignments toward the completion of a new-game design. Students prepare, through a staged sequence of assignments, a fully worked-out design for an original game. Criteria include storyline quality, graphics quality and appropriateness of design to the game concept originality. For games with an educational or instructional purpose, clarity and effectiveness for the target audience is considered. | Prerequisite: DM-UY 1133
In many political movements, the festive emerges as a major force shaping alternative social practices, forms of gathering, being together, and moving together. These alternative modes of being in collectivity are actively redefining the political. This sense of collectivity becomes particularly evident in the aesthetics of the Global South and its Diasporas. Consequently, this course explores the festive’s role in forming political movements beyond the traditional scope that reduces it to a simple byproduct of social life. It also explores how the pandemic has forced us to reimagine what coming together means. Taking Latin American and Caribbean aesthetics as an initial case, this seminar engages in a detailed interpretation of performances that challenge traditional definitions of both the festive and the political. A wide range of performance practices, such as carnival parties, sound systems, cabaret shows, popular dance styles, artworks, organized slave riots, and indigenous uprisings, shape the modes students will engage in theory and practice. For this course iteration, we will focus on questions around Black and Indigenous relations to carnival performance, structures of mutual aid as festive practice, and how they enact utopian modes of communal life, and how these modes of communal life redefine current understandings of art and politics. The class involves field trips, visits to several performance events, and conversations with artists and organizers who use the festive as a political tool to engage in political action in NYC. Questions regarding race, gender, and class will be directed to the philosophical, anthropological, and historical texts paying close attention to their involvement in the formation of colonial oppression. Performance studies’ methodologies will serve as the guiding mode to articulate these questions.
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For students joining IMA in Fall 2022 and beyond, our new program structure affects the categorization of courses on this site.
Classes listed in the “IMA Major Electives” categories refer to the old IMA program structure. If you’re under the new IMA program structure, these courses count as general IMA Electives for you. Your program structure is noted on your academic advising spreadsheet.
Students on the new program structure can search the Interchange for courses. If you’re looking for “IMA Major Distribution” courses, you'll find them listed here: