Fall 2026

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.

Prerequisite: Creative Computing or equivalent programming experience, and willingness to learn Apple’s Swift programming language.

This course focuses on designing, developing and delivering real-time, performative work using audio and video elements. The class will have an emphasis on using MaxMSPJitter and other tools to create performative experiences that dynamically combine interactive elements such as video, sound, and code, allow for the unfolding of engaging narratives, and generate compelling visuals in real time.

We will look at various examples of both multimedia performances and installations, explore how we can apply the technologies we have learned to design real-time systems, and discuss methods we can use to make our work more engaging.

The class is three-fold and divided into tech tutorials, discussions of existing examples, and in-class performances.

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.

This class focuses on the particular design problems of large-scale games and playful systems. In this class students develop a foundation in design fundamentals from which to approach the problems of design particular to experiential entertainment. We will analyze existing digital and non-digital games and playful experiences, taking them apart to understand how they work. We will also work on a series of design exercises that explore the social, technological, and creative possibilities of play.

The class will be broken into three sections: People, Time and Space. People will focus on experiences that coordinate the actions of a large number of participants. Time will focus on experiences that stretch out in time and begin to integrate with our everyday lives. Space will ask you to design an experience that takes advantage of physical space and integrates other elements of the class.

Information Design Introduces students to the art and science of transforming complex data into clear, compelling visual narratives. Students explore fundamental principles of information design while developing practical skills in data analysis and visual representation. Through hands-on projects, students learn to craft effective charts, diagrams, and maps that communicate complex information with clarity and purpose. The course emphasizes both technical proficiency and storytelling, teaching students to select appropriate visualization methods and combine them into cohesive narratives that engage and inform their audience. By the end of the course, students will have developed a robust toolkit for turning raw data into meaningful visual experiences.

At the completion of this course, the students will:

– Think critically about information design problems and have a framework for defining, assessing, and solving them

– Develop confidence with the vocabulary of information design and the appropriate application of the visual models

– Be familiar with best-in-class examples of information design

– Understand the power of information design as a tool of communication and persuasion

Looking to become famous on the internet? Getting attention online may be easy, but controlling it is a lot harder. As traditional celebrities continue to struggle with their digital images, a wave of micro-celebrities and influencers has rushed to fill the gap with viral content, product suggestions, memes, and conspiracy theories. This new breed of stars rules a media landscape where anyone can be their own manager or PR department – for a price.

This class examines the transformation of celebrity from a 19th-century sales gimmick into the formidable cultural, social, and technological force it is today. It explores what happens when fame is freed from its traditional magazine and TV gatekeepers, delving into issues of media manipulation, fan management, commercialization, exploitation, cancel culture, and the surprising importance of cute cat pictures. And we’ll also experiment with the raw tactics and techniques of stardom for anyone looking to chase their own celebrity dreams.

This course explores how sound, code, and interaction can merge to create musical experiences that invite listeners to shape the music, not just hear it. Students create a series of browser-based musical systems that respond to users, incorporate randomness, and draw patterns from existing music.

We begin by creating a series of audio-visual interfaces—an instrument, a score/mixer, and a loop-based piece—that invite deeper listening through play. Incorporating elements of sound and music production, these projects turn tools normally hidden in the studio into interactive spaces where listeners, performers, and audiences can engage with music in new ways. From there, we dive into the inner workings of music, examining how sound organizes into rhythm, melody, timbre, and harmony, and how these patterns can be expressed in code. Students design interactive studies on each musical element, reimagining tools like drum machines, sequencers, and synthesizers into experimental, playful, or educational systems that incorporate creative coding, machine listening, and machine learning techniques. 

Classes combine lectures, coding tutorials, listening sessions, design exercises, and discussions of existing interfaces. Throughout, students bring their own musical sensibilities into the work while developing their creative coding skills using p5.js and Tone.js. Students regularly share work and receive feedback, using input from the class to develop and iterate on their ideas. The semester culminates in an interactive or generative piece that builds on the semester’s studies, documented through sketches, demos, and code.

About Luisa Hors: www.luisapereira.net/

Prerequisite: Creative Computing (IMNY-UT 101)

This course will provide a foundation for understanding modern web development with a focus on front end technologies and accessing public data. The forms and uses of these technologies are explored in a laboratory context of experimentation and discussion. This studio stresses interactivity, usability, and the quality and appropriateness of look and feel.

Students will create two web applications, including one that leverages public APIs and Javascript libraries. The goal of the course is for students to learn how to think holistically about an application, both by designing a clear user experience and understanding the algorithmic steps required to build it. Assignments are arranged in sequence to enable the production of a website of high quality in design and engineering. 

Prerequisite: Creative Computing or equivalent programming experience.

For individuals with disabilities, custom adaptations can be critical for a myriad of activities, including work, play, daily living, and actively participating with family and community. Recent advancements in affordable DIY technologies have created opportunities for individuals and communities to build, modify, and adapt countless everyday items. This course examines accessibility and barriers to inclusion, the field of custom adaptations, and the open source and maker communities working together to deliver affordable solutions. Students will develop weekly prototypes as well as a final project.

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/IMA 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.

We, humans, have been fascinated by beautiful light for centuries. How can we transform light into Art and Technology? Are we able to discover and express ourselves through the process of making? 

“Projection Mapping 101” is a unique hands-on class building skills to create a projection mapping project and learn the evolution of Light Art and Technology. 

The students will identify their concepts and audience engagement through project exercises: Origami Mapping, Graffiti Mapping, International Projection Mapping Contest, etc. We will discuss a conceptual process, creating a prototype to complete their project. The goal is to develop students’ unique voices through this artistic process. They are encouraged to expand a larger project and incorporate new techniques they learn from other classes.

In this increasingly online world, the internet has proven to be a powerful tool that can connect us with one another, host meaningful experiences, and provoke critical thinking. In this class, students will have an opportunity to learn about breaking out of the 2D web page and the fundamentals of working with 3D on the web. This course hopes to introduce new avenues for creative expression and experimentation via the web and promote learning practical web development skills through experiential learning. Students will use Three.js to create dynamic and immersive web-based experiences that push the boundaries of what is possible online. Creative Computing or equivalent familiarity with programming is a plus, but not required for this course.

“Portraiture stands apart from other genres of art as it marks the intersection between portrait, biography, and history. They are more than artworks; when people look at portraits, they think they are encountering that person,” says Alison Smith, chief curator at the National Portrait Gallery in London. For thousands of years, artists have used cutting-edge tools and resources to create portraiture, giving viewers a glimpse into the subject’s life. A successful portrait embraces technology to bring the viewer closer to the subject but is not overshadowed by it.

In this course, we will delve into portraiture through the lens of various volumetric capture systems, including Depth Kit, Evercoast, Polycam, and Gaussian splatting. Through hands-on assignments, students will learn the entire pipeline of volumetric capture, from configuring the systems to capturing our subjects and final output. Simultaneously, we will focus on fundamental aspects of portraiture, such as lighting, storytelling, production techniques, and historical foundations. The course will explain the techniques and considerations involved in creating volumetric portraits. Students will gain proficiency in the systems to produce high-quality volumetric portraits that can be integrated into different mediums, including game engines, augmented reality (AR), or traditional 2D outputs.

Communications Lab: Hypercinema or equivalent experience in time-based media and game engine fundamentals is required.

The eTextiles and Physical Computing course will focus on the practical application of electronics in textiles. Students will learn by doing, spending their time building circuits, soldering, programming, learning various textile construction techniques, and integrating sensors and controls into fabrics. The course aims to teach how both physical computing and textile technical skills to create interactive textile projects.

Prerequisite: Creative Computing (IMNY-UT 101)

This is a course about how to develop an idea and bring it to the world, using a variety of digital media. Students will create 3-4 pieces of work that relate to each other and form a portfolio of content — communicating effectively with real audiences using real media platforms. The curriculum covers content strategy, basic narrative, and translating that narrative into multimedia. We’ll look at successful (and unsuccessful) examples of content strategy, often based on headlines of the day or deeper themes, and show how to emulate the best of it.  By and large we will be working with digital formats with which students are already familiar, but this class should help bring their skills to another level of impact. We’ll work in teams, starting with students’ own ideas. Students will craft a portfolio of complementary short pieces, some in text and some in multimedia, that can build awareness. We will also cover how to judge effectiveness and impact.

A survey and hands-on workshop on AI augmentation of creative communication.

We will get hands-on with AI tools for photography, design, art, writing, UX, illustration, and video.
We will produce, critique, and exhibit creative work that tests the creative capabilities of these new AI tools.

Questions we will consider:
How does AI influence the creative process?
How does this new human/machine collaboration challenge my role as a creator?
Who is creating these new tools and how do they work?
What is the longer-term impact of AI technologies on the creative professions?
Our goals are to understand AI technology, use it to produce creative work, and use what we learn to influence the larger conversation about creativity and AI.

Will AI diminish or enhance human creativity? It’s up to us.

Take your digital fabrication skills to the next level. This class will focus on 3-axis CNC, 4-axis CNC, the Shaper Origin, the Bantam Desktop Mill, Metal Laser Cutting, advanced handheld router techniques, and the wood lathe. This course will also focus on exploring design considerations for digital fabrication.

Ubiquitous, inexpensive, and often overlooked, cardboard can serve a wide variety of purposes. This two-credit studio class will familiarize students with this sustainable material while exploring its unique virtues and challenges. We will utilize techniques borrowed from disciplines such as sewing, woodworking, sculpture, packaging, origami, and papercraft. Projects will range from temporary, three-dimensional prototypes to sturdy, scalable finished products.

When we see the shape of an uppercase serif letterform, we may subconsciously be reminded of the Roman Empire. What we may not consciously realize is that this association has its roots in the technology used to make these letters, thousands of years ago. Serifs are a wedge-shaped artifact that occurs when a chisel hits stone—the tool used by the Roman Empire to carve their letterforms into monuments called capitals (now a word synonymous with “uppercase” due to this same history.) Though some debate exists among historians, it is widely believed that “capital” letters get their geometric shape from the constraints of the tool of the chisel itself. To understand how the wide stylistic variety of letterforms arrived in our font library (and to understand where our own hazy associations with letterforms originate), one must look to the technology which produced them. From the exigencies of the sign painter’s brush to the psychedelic warping of 1960s Phototype to the 8-bit pixel-based typefaces found in 80s video games, letterforms contain the technological history of the world in microcosm. The subtle choices in each typeface’s form bear the imprint of their moment’s philosophical, technological, and visual conditions, capturing an era’s zeitgeist with a miraculous economy of expression. The letters that we use today are more than 2,000 years old—persisting longer than any other artifacts in common use—but have undergone dramatic fluctuations alongside tech’s major physical transitions from stone to paper to metal to celluloid to digital information. Parallel to this technological history, letters shifted context from cuneiform to letterpress to Linotype to phototype to digital screens in a continual reinterpretation of the the fundamental question “what is a letter?” In the 1970s, technologists and computer scientists found themselves grappling with this same fundamental question as they carried letterforms over into the digital realm: What are letters? Are they fixed visual information? Or are they an idea—a set of executable, gestural instructions? Are letters best understood as reconfigurations of a set of modular parts— building-block components rather than the choreographed gestures of calligraphy? Are they the organic product of the human hand or the output of a system? Early digital technologies wagered “is this what computers are for?” with typefaces in tow—choosing which aspects of the old analog world to reconstruct—in deciding what attributes to port-over. The world we live in today has been impacted by how technologists answered these questions. Questions which, just as easily, could have been answered differently. This course will begin from a place of reflection on our own lived associations with typographic morphology. We will then explore the possible technological origins of those associations while reflecting upon how [what seemed like] tiny digitization decisions delivered us the typographic reality we inhabit today. Students will be asked to look to history for “reasons” for typographic form (which is fun!) But we will also practice looking to history for alternate futures—to examine the “dead ends” that might have otherwise been and daydream about where these paths lead. Typographic technological history offers a manageable jumping-off point for such a thought experiment. This thought experiment scales up to larger problem-solving (and conceptualization) skills related to understanding the implications and effects of tech.

This course will explore current and historical misinformation, disinformation and propaganda campaigns in the global media landscape through the lens of visual information design. Students will identify misleading and malignant visual content in online and broadcast media and analyze it using a design framework grounded in information design principles, visual storytelling concepts, user research practices and journalistic ethics. Working in groups, students will apply the same design framework to create a media literacy campaign addressing a specific misinformation, disinformation or propaganda trend.