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Click here to expand all course descriptions
Ali Santana Mon 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio + video production, and A/V performance using a combination of technical and hands-on approaches.
This course requires CL: Hypercinema or equivalent experience.
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio + video production, and A/V performance using a combination of technical and hands-on approaches.
This course requires CL: Hypercinema or equivalent experience.
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Kevin Cunningham Mon 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
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. The course centers on the creation of live experiences within a surround video mapped space that incorporates immersive audio and can include interactive elements. Autofictions is an interdepartmental course that may include students from Film, ITP and Theater disciplines. Students will create interdisciplinary production teams. Each team will make an original project and students will help each other create their work through intensive collaboration.
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. The course centers on the creation of live experiences within a surround video mapped space that incorporates immersive audio and can include interactive elements. Autofictions is an interdepartmental course that may include students from Film, ITP and Theater disciplines. Students will create interdisciplinary production teams. Each team will make an original project and students will help each other create their work through intensive collaboration.
Molly Soda Mon 3:20pm to 5:50pm in Meetings:7-Second Half
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2 pts |
Syllabus
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.
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.
Melissa Jackson-Parsey Mon 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus
How do you get more teens to participate in sport? Ensure that generative AI tools don’t perpetuate bias? Or make the process of renting a car suck less? These are some the big, broad questions you’ll tackle as part of this course.
The format: Each week you’ll be tasked with a new, real-world challenge to address as part of a team. To help you, subject-matter experts in research, strategy and design will share valuable, relevant knowledge and frameworks for you to pressure-test. Your team will be expected to use these frameworks to break-down the problem, ideate quickly and present-back solutions. The form and shape of these solutions is for you to define. The only limitation is time.
The goal is to help you hone your skills through rapid, practical application, while also exposing you to new methodologies and expertise that can elevate your craft. Innovation is a practice, not just a process, and at the end of 7 weeks we hope you’ll be more confident approaching ambiguous questions and working with others to shape new, unexpected solutions.
We can’t predict the future, but we know the questions we’ll need to collectively solve will only become bigger, and more urgent. This is a bootcamp for everyone and anyone who’s up for taking them on.
How do you get more teens to participate in sport? Ensure that generative AI tools don’t perpetuate bias? Or make the process of renting a car suck less? These are some the big, broad questions you’ll tackle as part of this course.
The format: Each week you’ll be tasked with a new, real-world challenge to address as part of a team. To help you, subject-matter experts in research, strategy and design will share valuable, relevant knowledge and frameworks for you to pressure-test. Your team will be expected to use these frameworks to break-down the problem, ideate quickly and present-back solutions. The form and shape of these solutions is for you to define. The only limitation is time.
The goal is to help you hone your skills through rapid, practical application, while also exposing you to new methodologies and expertise that can elevate your craft. Innovation is a practice, not just a process, and at the end of 7 weeks we hope you’ll be more confident approaching ambiguous questions and working with others to shape new, unexpected solutions.
We can’t predict the future, but we know the questions we’ll need to collectively solve will only become bigger, and more urgent. This is a bootcamp for everyone and anyone who’s up for taking them on.
Elliot Cole Mon 12:10pm to 2:40pm in Meetings:7-Second Half
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2 pts |
Syllabus
Students will gain competency in the music production and performance software Ableton Live through a series of creative exercises. These exercises are heuristics in the sense that they’re designed to help students find well-formed musical solutions quickly and improvisationally, without presupposing a background in musical theory or performance.
I’ll introduce these technical topics alongside their artistic applications: audio editing (collage), midi (rhythm/melody/harmony), synthesis and effects (sound design), randomness (generative systems design), recording, and interfacing with external sensors, controllers and data (instrument design).
Weekly assignments will solidify skills explored in class.
Students will gain competency in the music production and performance software Ableton Live through a series of creative exercises. These exercises are heuristics in the sense that they’re designed to help students find well-formed musical solutions quickly and improvisationally, without presupposing a background in musical theory or performance.
I’ll introduce these technical topics alongside their artistic applications: audio editing (collage), midi (rhythm/melody/harmony), synthesis and effects (sound design), randomness (generative systems design), recording, and interfacing with external sensors, controllers and data (instrument design).
Weekly assignments will solidify skills explored in class.
Mia Rovegno Mon 6:00pm to 8:30pm in Meetings:7-First Half
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2 pts |
Syllabus
This course introduces students to modalities for creating site-specific and immersive art and performance. Assignments will examine the work of artists who challenge the limitations of the physical, psychological and transactional spaces that have come to define conventional production models. Students will regularly receive prompts from which collaborative work will be workshopped, generated and presented. The sites and practices explored will de-center script/text as spine, institutional space as gathering place, linear storytelling as narrative, and separation between audience and artist as social contract. Through group performance projects and presentations, students will investigate how Site evokes Narrative and Event differently in brick & mortar, virtual, historic, liminal, dead, found, contested, democratized and community spaces. Our work will unpack the challenges and opportunities presented when we relinquish creative control of such unfixed elements as serendipity, impermanence, improvisation, audience agency, public space, weather, and pandemic.
This course introduces students to modalities for creating site-specific and immersive art and performance. Assignments will examine the work of artists who challenge the limitations of the physical, psychological and transactional spaces that have come to define conventional production models. Students will regularly receive prompts from which collaborative work will be workshopped, generated and presented. The sites and practices explored will de-center script/text as spine, institutional space as gathering place, linear storytelling as narrative, and separation between audience and artist as social contract. Through group performance projects and presentations, students will investigate how Site evokes Narrative and Event differently in brick & mortar, virtual, historic, liminal, dead, found, contested, democratized and community spaces. Our work will unpack the challenges and opportunities presented when we relinquish creative control of such unfixed elements as serendipity, impermanence, improvisation, audience agency, public space, weather, and pandemic.
Jeffrey Feddersen Mon 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
Allison Parrish Mon 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
Data is the means by which we turn experience into something that can be published, compared, and analyzed. Data can facilitate the production of new knowledge about the world—but it can also be used as a method of control and exploitation. As such, the ability to understand and work with data is indispensable both for those who want to uncover truth, and those who want to hold power to account. This intensive course serves as an introduction to essential computational tools and techniques for working with data. The course is designed for artists, designers, and researchers in the humanities who have no previous programming experience. Covered topics include: the Python programming language, Jupyter Notebook, data formats, regular expressions, Pandas, web scraping, relational database concepts, simple data visualization and data-driven text generation. Weekly technical tutorials and short readings culminate in a self-directed final project.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Data is the means by which we turn experience into something that can be published, compared, and analyzed. Data can facilitate the production of new knowledge about the world—but it can also be used as a method of control and exploitation. As such, the ability to understand and work with data is indispensable both for those who want to uncover truth, and those who want to hold power to account. This intensive course serves as an introduction to essential computational tools and techniques for working with data. The course is designed for artists, designers, and researchers in the humanities who have no previous programming experience. Covered topics include: the Python programming language, Jupyter Notebook, data formats, regular expressions, Pandas, web scraping, relational database concepts, simple data visualization and data-driven text generation. Weekly technical tutorials and short readings culminate in a self-directed final project.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Phil Caridi Mon 12:10pm to 2:40pm in Meetings:7-First Half
Phil Caridi Wed 09:30am to 12:00pm in Meetings:7-Second Half
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2 pts |
Syllabus Tags: fabrication, prototyping, the shop, woodworking |
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.
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.
David Rios Mon 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
In this course students create digital musical instruments and do a live performance using them. Over the semester, we look at examples of current work by creators of musical interfaces, and discuss a wide range of issues facing technology-enabled performance – such as novice versus virtuoso performers, discrete versus continuous data control, and the relationship between musical performance and visual display. Readings and case studies provide background for class discussions on the theory and practice of designing controllers for musical performance. Students design and prototype a musical instrument – a complete system encompassing musical controller, algorithm for mapping input to sound, and the sound output itself. A technical framework for prototyping performance controllers is made available. Students focus on musical composition and improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where students (or invited musicians) will demonstrate their instruments. Prerequisites: ITPG-GT.2233 (Introduction to Computational Media) and ITPG-GT.2301 (Physical Computing)
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
In this course students create digital musical instruments and do a live performance using them. Over the semester, we look at examples of current work by creators of musical interfaces, and discuss a wide range of issues facing technology-enabled performance – such as novice versus virtuoso performers, discrete versus continuous data control, and the relationship between musical performance and visual display. Readings and case studies provide background for class discussions on the theory and practice of designing controllers for musical performance. Students design and prototype a musical instrument – a complete system encompassing musical controller, algorithm for mapping input to sound, and the sound output itself. A technical framework for prototyping performance controllers is made available. Students focus on musical composition and improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where students (or invited musicians) will demonstrate their instruments. Prerequisites: ITPG-GT.2233 (Introduction to Computational Media) and ITPG-GT.2301 (Physical Computing)
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
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