Synthetic Identity: Building Expressible Individuality Across Mediums (Topics in ITP) +

Scarlet Dame | Syllabus | ITPG-GT.2379 | Thur 3:20pm to 5:50pm in 370 Jay St, Room 411 Meetings:7-Second Half
Last updated: March 24, 2025

I hope to teach a class about synthetic identity and how the architecture, operation, and misuse of technical, social, and political systems has shaped the narratives that we use to tell the stories of who we are and what we’re meant to do. Different technologies present different perceivable surface areas of our identity and distort our presentations in way both harmful and liberating. Can we trace the ways the uniqueness of the individual leaks past the boundaries of different mediums, say handwriting, print, email, SMS, voice, video chat, and virtual reality? Can we explore generative AI not as a stepping stone to general intelligence, but as a already extant synthetic identity – full of perspective, narrative, voice, tone, history, context, presentation, etc. Can we construct a general model for the properties of synthetic identity? Can we use this to create identities that are stored within different physical and digital mediums and that are able to generate and express themselves? Can we encode and represent parts of ourselves, our environments, and the changes we wish to see in the world and place them in direct relationship with others?

Bioprinters & Biofabrication for Artists (Topics in ITP) +

Matt Griffin | Syllabus | ITPG-GT.2379 | Fri 12:20pm to 2:50pm in 370 Jay St, Room 411 Meetings:7-Second Half
Last updated: March 24, 2025

Biofabrication has existed as a concept for many decades to refer to technologies for fabricating living tissue constructs in the field of tissue engineering and regenerative medicine. The collective ambition across thousands of scientists, hospitals, and labs remains the creation of entire solid human organs to address the urgent demand for transplantable living organs that the donor system is unable to meet. Within this research are also approaches to organ-on-a-chip/microphysiological systems that are already transforming the trajectory of how we develop medicines, evaluate cosmetics and materials without animal testing, and finally gain more systemic understanding of pivotal under-researched areas such as human reproductive health and the behavior of nimble systemic cancers.

But this phrase has now also been co-opted by industrial design and product development as the label for the customer and designer driven movement to get beyond traditional manufacturing methods towards sustainable and nature-inspired approaches that lean on living organisms and biological materials as the means to create new materials and products. Everything from fibers and textiles, “vegan leather,” and carbon-capturing construction materials, to fully compostable packing peanuts and highly optimized hypoallergenic skin contact materials that outperform conventional animal-grown hairs and synthetic fibers.

This course gleefully embraces both of these definitions at the same time!

This Topics in ITP 2-credit course starts with the students modifying off-the-shelf low-costs 3D printers into a syringe-extruder bioprinting platform suited to FRESH bioprinting, a unique form of embedded fabrication that is well suited to a range of compelling biomaterials and biofabrication targets within the scope of what materials are safe for students to handle and process in the ITP Materials Kitchen. By building these extruders, modifying these printers, and learning to process a wide range of unique biomaterials, students will have mastered the skills needed to build, tune, and operate this equipment in future collaborations with local area science labs and startups. As a bonus, this course works directly with the inventors of the open source FRESH bioprinting process to evaluate and test unreleased new innovations in bioprinter extruder designs, and the students will join the instructor to participate as affiliates in the collaborative FRESH scientific community, including sharing back improvements in machine modification, slicing, and machine operation with other scientists and physicians working with FRESH.

On the biofabrication side, the “analog materials” that we use with the FRESH bioprinters that mimic the natural extracellular matrix (ECM) of biological systems are not only a means of testing and exploring the type of embedded fabrication used in “direct writing” delivery of living cells, these materials are also the key materials used in the industrial design research into sustainable design via biofabrication: collagen, gelatin, alginate, hyaluronic acid, fibrin, chitosan, PEG, and several others. Drawing on a wide range of safe biomaterial exploration introduced by molecular gastronomy and sustainable materials research, students will learn protocols and modifications of materials that may prove useful to them elsewhere in their art and design practices.

It might be something of a lucky coincidence that both the biological research and new materials research overlap with so many of their materials exploration, but this course will make a claim that these parallel efforts share commonalities. This course aims to introduce students to this pioneering technology with attention to how creative technologists might also repurpose these approaches for working with their own target materials and objectives, intervening with these technologies. The creative problem solving that scientists, engineers, clinicians, and biomaterials experts go through to find their route to sustaining living cells and tissues parallels how artists, designers, engineers, and architects look to harvest new properties and capabilities out of their materials. Just as the bioprinting platforms we construct in this course are flexible to multiple goals and materials processes, we will encourage our thinking to also look to learn unexpected properties and potentials from the materials and protocols we encounter.

Disrupting (with) Technology: Computational Political Action (Topics in ITP) +

Theo Ellin Ballew | Syllabus | ITPG-GT.2379 | Fri 12:20pm to 2:50pm in 370 Jay St, Room 410 Meetings:7-First Half
Last updated: March 24, 2025

This course explores “disruptive” political action that employs new technology. We look at initiatives with various ends and means—some noble, some explosively controversial, and others patently abhorrent. The level of “disruption” also varies extremely—from bureaucratic inconvenience to civilian casualties. However, all the actions express ideological or political protest, either by disrupting technology-driven systems themselves, or by appropriating technology to disrupt non-technical systems of power. Organized via mode of disruption, the class will focus less on the political ends of each action, and more on the modes of achieving those ends. We will also read theorists like Audre Lorde, Laboria Cuboniks, Tung Hui-Hu, Mark Fisher, Hito Steyerl and McKenzie Wark, to help us think about how/when/if recent technology may disrupt, rather than preserve, the status quo. In a world where our technology seems ever more aligned with hegemonic power structures, we must look at the moments where it is used, instead, to veer from them—if we are to see that technology clearly at all. Students will leave the class with a solid grasp of what it means for technology to be complicit in political disruption. Throughout, students will keep an ideation journal in the medium of their choosing, in which they plan their own disruptions and document one guided mini-disruption.

Immersive Music & Haptics: Creating Music for the Skin (Topics in ITP) +

Daniel Belquer | Syllabus | ITPG-GT.2380 | Sat 12:10pm to 6:25pm in 370 Jay Street Room 450> Sun 12:10pm to 6:25pm in 370 Jay Street Room 450 Meetings:S-Special
Last updated: March 24, 2025

This is a demo single day workshop to introduce you to a part of the future of music: how to create an immersive, emotional and engaging experience using the multi-awarded Music:Not Impossible haptic devices. MUSIC:NOT IMPOSSIBLE (M:NI) Music:Not Impossible started 10 years ago to create a better live music experience for the deaf and hard of hearing. We passed this threshold a while ago and we are now creating experiences worldwide for all to experience music regardless of hearing level. We have won Time’s Magazine Best Inventions of 2023, the Edison Awards two times and many other important awards and acknowledgements. We also have been praised by the likes of Pharrell Williams, Lady Gaga and Jon Batiste. THE INSTRUCTOR Daniel Belquer is a composer, inventor and intermedia artist that has been teaching and creating artworks blending music, theater and interactive technology for decades. He is one of the co-founders of Music:Not Impossible, and has been developing the project since its inception.

The Body Everywhere and Here (Topics in ITP) +

Lisa M Jamhoury | Syllabus | ITPG-GT.2380 | Sat 11:40am to 6:10pm in > Sun 12:10pm to 6:10pm in Meetings:S-Special
Last updated: March 24, 2025

For an estimated 300,000 years, human experience has been rooted in the physical body. In the past two decades, we’ve evolved to engage through digital mediations—video calls, text messages, social profiles—where presence is fragmented, and embodiment is abstracted. How do we design digital experiences that acknowledge and activate the body rather than ignore it?

This weekend course explores embodied interaction in digital spaces through both theory and practice. We will examine the history and politics of motion capture, the role of presence in mediated environments, and the ways computers perceive and package the body. The course will include group discussions of influential works in the development of real-time embodied interaction, including those by Kit Galloway and Sherrie Rabinowitz, Susan Kozel, Myron Krueger, and Laurie Anderson. Students will work in groups with computer vision and real-time motion data to build interactive experiences that explore digital forms and their spatial impacts.

Emphasizing accessibility and experimentation, this course will focus on using low-fidelity and inexpensive tools that are easy to get up and running with, making them ideal for rapid prototyping and creative exploration. ICM-level programming experience is required.

Bioprinting & Biofabrication for Artists & Designers (Topics in ITP) +

Matt Griffin | Syllabus | ITPG-GT.2379 | Fri 3:20pm to 5:50pm in Meetings:7-First Half
Last updated: March 21, 2025

Biofabrication has existed as a concept for a very long time to refer to technologies for fabricating living tissue constructs, with the aim of creating entire solid organs. But only within the past fifteen years have scientists and engineers created machine platforms suited to repeatable results that bring them closer to their goals, bringing into existence 3D bioprinters with a wide array of strategies and materials. Some of this development was made possible by scientists modifying, manipulating, or reverse engineering open-source 3D printers and RepRaps to create the equipment they needed. (Technology that many at ITP may already have familiarity with.) The initial machine-assisted fabrication stage is often only the starting point for much longer research studies in tissue engineering and regenerative medicine, involving the translations of form, chemistry, cell-types, and biomaterials and other interventions that make it possible for scientists to collaborate with cells and living systems to produce living matter. Sometimes (often!) the fabricated structures contain no cells themselves: they are a biomaterial scaffold, or similar forms that are more about making the conditions right for the next stage of the experiment. 

And this leads to a compelling opportunity for artists and designers. The creative problem solving that scientists, engineers, clinicians, and biomaterials experts go through to find their route to living cells and tissues parallels how artists, designers, engineers, and architects produce their work. While not every student at ITP intends to become a bioengineer, many are interested in biological systems, biomaterials and bioplastics, mycelium forming, and bio-inspired design. This course draws on a selection of open-source bioprinting & biofabrication processes (that are closely tied with 3D printing technology) to introduce students to this pioneering technology with attention to how artists and designers might also repurpose these approaches for working with their own target materials and objectives, intervening with these technologies.

Restorative Spaces (Topics in ITP) +

John Henry Thompson | Najma Dawood | Syllabus | ITPG-GT.2379 | Wed 09:30am to 12:00pm in 370 Jay Street Room 450 Meetings:7-First Half
Last updated: November 11, 2024

Taking time to unwind is restorative and essential given the nature of our lives and the media rich environments inhabit. This couldn’t be any more true than it is for those attending interactive and digital media programs in NYC.

There are many ways individuals and groups engage in this from taking walks in parks to meditation or yoga. Recently, more immersive environments have begun to pop up that leverage sound and projection.  In this class, students will explore these new opportunities for developing restorative spaces, augmented with immersive technology, and more.

Whatever Generative AI is Doing Now (Topics in ITP) +

Derrick Schultz | Syllabus | ITPG-GT.2379 | Fri 3:20pm to 5:50pm in Meetings:7-Second Half
Last updated: November 11, 2024

This course will be a survey of current generative AI tools, with an emphasis on open source tools that any artist can build into their practice. Topics will include LLMs, and image and video generation. We will cover practical applications as well as the theory behind these set of technologies and how that theory influences their outputs. We’ll explore everything using Google Colab and ComfyUI, as well as other APIs and services that can be integrated into creative coding frameworks and media production environments. No prior coding experience beyond Introduction to Computational Media is needed for this course.

Creative Code Orchestra: Improvising with Computers (Topics in ITP) +

Daniel Fishkin | Syllabus | ITPG-GT.2378 | Mon 12:10pm to 2:40pm in 370 Jay St, Room 412 Meetings:14
Last updated: November 11, 2024

In this class, students use computers to play music together, improvising and composing with code. Using the Max graphical language, students will learn to create their own software for musical improvisation, exploring sample manipulation, digital synthesis, and also principles of psychoacoustics and sound spatialization. Students are encouraged to bring in their own instruments in order to explore sound processing of acoustic instruments. In the beginning of the class, students will solder and assemble their own portable amplifiers to create a spatialized laptop sound system. As students develop code together, the class forms a laptop ensemble, moving from theory to practice by designing software instruments for live-computer improvisation in the classroom. The class explores large format ensemble pieces, as well as smaller groups such as trios and duets. Students will learn to improvise, play existing repertoire for laptop, and can compose their own pieces. The class also explores hardware hacking topics such as microphone design and pressure transducers, bringing the sounds of the acoustic world inside and outside of our computers. The class will culminate in a group concert that features a range of performances, involving acoustic instruments, some duets, and large ensemble pieces.

Telling Stories with Real-Time Engines (Topics in ITP) +

Victor Morales | Syllabus | ITPG-GT.2378 | Tues 6:00pm to 8:30pm in 370 Jay St, Room 411 Meetings:14
Last updated: November 11, 2024

This course explores the intersection of narrative storytelling and real-time game engines, focusing on the practical application of Unreal Engine to create immersive interactive and non-interactive narratives. Students will learn how to harness the power of this tool to blend traditional storytelling techniques with the unique capabilities of game engines. Through a combination of theoretical discussions, hands-on exercises, and a short final project, students will develop the basic skills required to begin to create immersive and dynamic interactive narratives.

Storytelling and media are deeply interconnected and complement each other. Understanding  different kinds of narratives is crucial for the effective delivery of a rich and meaningful message. How can we use these new real-time technologies to compose a story? What are the advantages and disadvantages of using real-time media in storytelling?  The students will review and experience different kinds of storytelling in video games, movies, and other interactive media in order to get a critical understanding of the power behind stories.

COURSE OBJECTIVES:

At the completion of this course, the student will be able to:

Understand the different kinds of storytelling and how they can be delivered using real-time media

Being able to explore real-time media as an inspiration and vehicle for delivering a story.

Utilize the knowledge and skills presented in class to create a final project.

Have a critical point of view of how to use real-time media in the creation of contemporary storytelling.

Expressive Environments: Building 3D Worlds (Topics in ITP) +

Thomas Martinez | Syllabus | ITPG-GT.2379 | Thur 12:10pm to 2:40pm in Meetings:7-First Half
Last updated: November 11, 2024

In this course, we will explore the history and practice of virtual world building for art, games, and (sub)cultural expression. Lessons will be structured around the Unity game engine, but participants will be encouraged to experiment with socially networked creator tools such as Roblox, and Second Life as well. Coursework will take the form of creative, and technical exercises, with some critical responses to readings and other media. Guiding our practice will be an attunement to our own creative voice, and the ways in which it can take shape in virtual worlds. Students will come away with a broad grounding in contemporary approaches to game and immersive experience design through an art context. The class will culminate in a student showcase of experimental and interactive 3D works. Though some instruction in computer programming will be covered, no previous coding experience is required.

Reconstructing Lost Spaces (Topics in ITP) +

Yuliya Parshina-Kottas | Syllabus | ITPG-GT.2378 | Fri 09:30am to 12:00pm in 370 Jay St, Room 410 Meetings:14
Last updated: November 11, 2024

Using Blender as our primary software, we will create digital reconstructions of physical spaces lost to violence, natural disasters, climate change, urban renewal and eminent domain. Students will explore techniques such as photogrammetry, machine learning and Blender’s modeling tools to turn archival and contemporary references into 3D models. We will analyze evidence from maps, photographs, newspapers, archival documents and social media with a special emphasis on source inclusivity, journalistic ethics and cultural sensitivity. Students will be challenged to create 3D models in the service of telling human stories. Pre-requisite: Hypercinema or equivalent experience.

On Permanence: The Lifecycle of Art in Digital Works +

Tarikh Korula | Erin Sparling | Syllabus | ITPG-GT.3045 | Fri 09:30am to 12:00pm in Meetings:7-First Half
Last updated: November 11, 2024

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.

Art as Activism: Empowering Creative Change Makers through Socially Engaged Art Practice (Topics in ITP) +

Camila Morales | Syllabus | ITPG-GT.2379 | Mon 3:20pm to 5:50pm in Meetings:7-First Half
Last updated: November 11, 2024

Art as Activism: Empowering Creative Change Makers through Socially Engaged Art Practices” offers a hands-on curriculum for aspiring artists, designers, and creative technologists, inviting them to explore the intersection of art and technology as a catalyst for social change. This course introduces students to socially engaged art and design practices by presenting case studies and guest lectures by artists and technologists at the forefront of this field. Throughout the semester students will examine fundamental questions about the role of art and technology in fostering equity, social and environmental justice while emphasizing ethical considerations and community engagement in the digital realm.

Students will develop a final project researching a specific topic to apply concepts and techniques learned throughout the semester to foster tangible real-world transformations. In a world increasingly shaped by technological advances, this course equips students to emerge as empowered changemakers, capable of leveraging their creative and technological skills to enact meaningful and lasting impact.

Intro to Programming in Unity (Topics in ITP) +

Matt Parker | Syllabus | ITPG-GT.2378 | Mon 12:10pm to 2:40pm in Meetings:14
Last updated: November 11, 2024

Unity is one of the premiere Game Engines, used not just for developing games, but also interactives and installations. It boasts a powerful GUI (Graphical User Interface) that allows for easy configuration and setup of projects and an asset store that provides thousands of resources for creative development. However, the heart of Unity is programming custom behaviors in the entity component model, which centers around adding gameObjects with components scripts to scene graphs. Using the C# programming language, we will explore how to use code to create original and diverse projects. There will be an emphasis on programming fundamentals; they will be motivated through the lens of design. We will discuss how platforms, libraries, frameworks, and engines impact design, in both empowering and limiting ways. This class will have weekly homework assignments, in class work, as well as midterm and final projects. ICM or equivalent programming knowledge is a prerequisite.

Kinetic Sculpture Workshop (Topics in ITP) +

Daniel Rozin | Syllabus | ITPG-GT.2378 | Wed 12:10pm to 2:40pm in 370 Jay St, Room 410 Meetings:14
Last updated: November 11, 2024

This class is a workshop, this means students will be working on a single project throughout the semester. The goal of the workshop is to develop skills and implement them in the creation of a kinetic sculpture. Topics that will be explored are – computer vision and sensing, on screen simulation, CAD, mechanics and fabrication. Topics will be explored individually, in groups and with demos by the instructor. 

• Develop on-screen interactive experience using computer vision and sensors.

• Imagine the on-screen interactive experience as a physical object and simulate it.

• Develop the mechanics necessary for the sculpture.

• Design the kinetic sculpture.

• Fabricate the kinetic sculpture.

Machine Learning for Creative Coders (Topics in ITP) +

Daniel Shiffman | Syllabus | ITPG-GT.2378 | Fri 12:10pm to 2:40pm in Meetings:14
Last updated: November 11, 2024

This introductory course provides students with practical experience in developing creative coding projects using machine learning. The class begins with a focus on p5.js and ml5.js, then progresses to other open-source frameworks like TensorFlow.js and Transformers.js. Students will learn how to work with pre-trained models, apply transfer learning and fine-tuning to those models, as well as train their own models from the ground up. The course also covers writing server-side applications with node.js to connect to cloud-based APIs, often necessary for working with cloud-hosted models for generative text and images. Alongside technical demonstrations and weekly practical exercises, the course includes readings and discussions on ethics, bias in machine learning, data collection best practices, and responsible model training. Students will build a final project incorporating machine learning over four weeks.

Storytelling for Project Development (Topics in ITP) +

Sharon De La Cruz | Syllabus | ITPG-GT.2379 | Fri 3:20pm to 5:50pm in Meetings:7-First Half
Last updated: November 11, 2024

This course challenges how you use technology to tell a story. We will start with storytelling linear basics and progress towards non-linear storytelling and new media arts considerations. This course is helpful for participants who want more grounding in storytelling, want to strengthen their voice, and are interested in building worlds beyond the one we currently experience. This course considers a range of mediums but does not expect you to be an expert in any; it allows you to experiment and explore different mediums throughout the semester.  

We will spend the beginning of the semester researching and engaging in small assignments based on storytelling basics, primarily focused on writing and prepping storyboards and scripts, basics of visual design, and interaction design. Our midterm will ask the class to retell the same story by translating a prose text into the medium of your choice. The last section of the course will focus on a survey of new media storytelling. Students will concentrate on a final project which asks them to present a story (original or adopted) via the medium of their choice. Final projects are critiqued based on storytelling techniques discussed in class, clarity of story, and presentation. You do not have to come in with a project in mind; however, if you do, there will be plenty of space in your final assignment to explore it, considering the techniques practiced in class.

Outdoor Video Art: Projection in DUMBO (Topics in ITP) +

Gabe Barcia-Colombo | Syllabus | ITPG-GT.2378 | Tues 3:20pm to 5:50pm in Meetings:14
Last updated: November 11, 2024

Dumbo has a long, storied history of presenting projections / video art throughout the neighborhood. From mapping the Dumbo Archway during the Dumbo Arts Festival, to Light Year, a nine-year video art series that projected its 100th show on the Manhattan Bridge Anchorage in August 2023, the neighborhood has long been a canvas for light art. Additionally, the neighborhood is among the most iconic locations in New York City, photographed thousands of times a day by visitors from across the City and around the globe. This by application only course is a one time collaboration with the Dumbo Improvement District to create outdoor large scale video projections at several sites in DUMBO. The course will focus on content creation for outdoor video projection. How do we make time based media content that is mapped to specific outdoor spaces while retaining artistic context and meaning? Students will work in groups to produce video content which if selected will be featured outdoors in DUMBO through the month of May. This course will give students real world experience in pitching crafting and exhibiting public art. Please note that all students must apply in groups of 3 with a concept in order to be considered for this course. All final presentations will need to be vetted and approved by the Dumbo Improvement District before they will be projected.

Motion Design for User Feedback +

Alon Chitayat | Syllabus | ITPG-GT.2059 | Sat 12:10pm to 6:25pm in > Sun 12:10pm to 6:25pm in Meetings:S-Special
Last updated: November 11, 2024

Microinteractions are everywhere, you interact with them on a regular basis.
We communicate emotions through animated emojis, we burst heart buttons with love
whenever we like a post or password fields that shake when you type in the wrong password

These small but significant animations offer users delightful moments and valuable feedback. They serve to intuitively guide your users without the need for explicit instructions, and lend your interface a distinct personality and essence. As designers, you have the power to infuse soul and character into every interaction with the secret power of motion, creating memorable experiences that resonate with your audience.

What is a Lottie animation?
Lottie is a JSON-based animation format that has garnered significant attention from designers and developers alike, due to its lightweight and cross-platform capabilities. With Lottie, animations can be seamlessly integrated into websites and apps, and play effortlessly on any device or browser.

What will we learn?
Using LottieLab, a free online Lottie animation editor, we’ll learn how to design, animate and
export playful Lottie animations as interactive UI components (such as loaders, animated
buttons or icons)as whimsical moments of user delight.
We’ll learn how to integrate & trigger them in prototypes and web interfaces.
We’ll examine the basic principles of designing motion for user experience, we’ll learn how to translate human body language into micro animations.

We’ll cover how to create interactive animated states with fluid transitions between them.

Next-Gen Design: Crafting AI-Driven Products +

Helene Alonso | Syllabus | ITPG-GT.2380 | Sat 09:30am to 3:45pm in > Sun 09:30am to 3:45pm in Meetings:S-Special
Last updated: November 11, 2024

Designing AI products is not the same as traditional UX design + AI, you need to have a completely different approach where the capacities of the technology and the modalities of interaction are embedded in the design process from the start. By the end of this hands on class, you’ll be empowered to create innovative, intelligent products that resonate with and delight users.

Immersive Web +

Staff | Syllabus | IMALR-UT.XXXX | TBD Meetings:
Last updated: November 5, 2024

In Immersive Web, students break out beyond the confines of static 2D web pages and explore the affordances created by 3D. This course hopes to introduce new avenues for creative expression and experimentation via the web and promote practical web development skills through experiential learning. Students use libraries such as Three.js, A-Frame, Theatre.js, GSAP, Lenis, and more to create dynamic and immersive web-based experiences that push the boundaries of what is possible online. While there are no course prerequisites for this course, students are expected to have some familiarity with web development principles and technologies, specifically HTML, CSS, and Javascript.

Topics in ITP: Innovation at Speed +

Melissa Jackson-Parsey | Syllabus | ITPG-GT.2379 | Mon 6:00pm to 8:30pm in Meetings:7-Second Half
Last updated: March 7, 2024

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.

Topics in ITP: Music Design and Discovery +

Elliot Cole | Syllabus | ITPG-GT.2379 | Mon 12:10pm to 2:40pm in Meetings:7-Second Half
Last updated: March 7, 2024

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.

Topics in ITP: Real World Client Centered Design Studio +

Phil Caridi | Noah Pivnick | Syllabus | ITPG-GT.2378 | Fri 12:10pm to 2:40pm in Meetings:14
Last updated: March 7, 2024

At its most wondrous, ITP is a lavish imaginarium rich with abundant opportunity for individual creative expression. But outside the walls of 370 Jay, reality awaits. Post graduation most creative engagements will be work for hire compounded by the unique wants, needs, and desires of multiple parties, not least of which: the client.

This is a production-focused class predicated on satisfying a brief from a real-world client. The brief will likely come with its own set of specific, prescriptive requirements. As a collective, we will be tasked with the design and fabrication of an experiential interactive the scale and depth of which warrants a life of its own beyond the confines of ITP. Together, we will engage in a semester-long exercise in project planning, resource allocation, project management, and client relations born of concrete expectations and deliverables. We’re putting the Professional back into Master of Professional Studies.

This class is open to 2nd year graduate students only. To be considered you must submit an application. Students will interview and submit a portfolio for review. Ideal candidates are multidisciplinary; the sum of their contribution to the class will be a function of more than one kind of work. Resource scheduling and allocation are a significant part of this exercise, ensuring the load is distributed equitably across all class members. We’re targeting 2nd year students and running the class in the fall so as to give students an opportunity to develop skills and practices that hold them in good stead once thesis transitions to production in the spring.

Programming with Data +

Allison Parrish | Syllabus | ITPG-GT.3049 | Mon 6:00pm to 8:30pm in Meetings:14
Last updated: March 7, 2024

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)

Topics in ITP: The Art of Projection Mapping +

Motomichi Nakamura | Syllabus | ITPG-GT.2379 | Tues 3:20pm to 5:50pm in Meetings:7-First Half
Last updated: March 7, 2024

The course aims to teach the technical and artistic aspects of
Projection Mapping, enabling the creation of immersive and
experiential art installations. The focus extends beyond acquiring the
necessary technical skills for producing Projection Mapping works; it
also emphasizes the effective use of the medium to bring concepts to
life. Encompassing various types of projection mapping, such as
outdoor mobile projection, interactive wall, and holographic
projection, the curriculum encourages students to experiment with the
medium as much as possible. The goal is to produce work that
authentically represents each artist and achieves a harmonious balance
between art and the technologies they employ.