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Click here to expand all course descriptions
Peiqi SU Fri 12:10pm to 2:40pm in Meetings:7-Second Half
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2 pts |
Syllabus
This 2-pt 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, apply proven research techniques for approaching and defining UX problems and apply design frameworks including mapping and testing techniques. The class format will include lectures, discussion, in-class design exercises and a final project.
Week 1: what is UX
Week 2: inclusive research methods
Week 3: frameworks for defining a problem
Week 4: understanding behavior and motivation
Week 5: mapping flow and visual strategies, final project intro
Week 6: testing methods and future UX
Week 7: final projects
This 2-pt 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, apply proven research techniques for approaching and defining UX problems and apply design frameworks including mapping and testing techniques. The class format will include lectures, discussion, in-class design exercises and a final project.
Week 1: what is UX
Week 2: inclusive research methods
Week 3: frameworks for defining a problem
Week 4: understanding behavior and motivation
Week 5: mapping flow and visual strategies, final project intro
Week 6: testing methods and future UX
Week 7: final projects
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.
Tony Patrick Thur 09:30am to 12:00pm in Online Meetings:7-First Half
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2 pts |
Juxtaposed to traditional comics, Experiential Comics combines emergent tech, unconventional comic book art/structure, and game engines to offer users a more immersive, continuous storyworld experience. Challenging the status quo of classic and contemporary digital comics, students will explore new technologies/world-building techniques better suited to craft innovative comic book narratives and formats –worthy of the Fourth Industrial Revolution.
Students will ingest a brief history of classic and digital comics formats, collaborate with comic book artists to design engrossing characters, engage in world-building sessions, play with Unity/Unreal engines to generate avatars/ virtual environments, work with actors in motion capture/volumetric capture studios, learn the latest iteration of the Experiential Comics format, and share their unique expressions of Experiential Comics in a final presentation.
Throughout a 7-week period, the course will be divided into 7 themes 1) The Disconnection of Digital Comics 2) Classic and Unconventional Comics Continuity 3) Marvel vs DC vs Insert Your Universe Here 4) Fourth Industrial Revolution Technologies 5) Capture & Creation 6) Infinite Engagement and Unlocking Immersive Format 7) Experiential Comics Presentations. Each weekly class will be divided into two halves 1) Exploration of Theme/Discussion 2) Process, Practices, & Play.
This course requires CL: Hypercinema or equivalent experience.
Juxtaposed to traditional comics, Experiential Comics combines emergent tech, unconventional comic book art/structure, and game engines to offer users a more immersive, continuous storyworld experience. Challenging the status quo of classic and contemporary digital comics, students will explore new technologies/world-building techniques better suited to craft innovative comic book narratives and formats –worthy of the Fourth Industrial Revolution.
Students will ingest a brief history of classic and digital comics formats, collaborate with comic book artists to design engrossing characters, engage in world-building sessions, play with Unity/Unreal engines to generate avatars/ virtual environments, work with actors in motion capture/volumetric capture studios, learn the latest iteration of the Experiential Comics format, and share their unique expressions of Experiential Comics in a final presentation.
Throughout a 7-week period, the course will be divided into 7 themes 1) The Disconnection of Digital Comics 2) Classic and Unconventional Comics Continuity 3) Marvel vs DC vs Insert Your Universe Here 4) Fourth Industrial Revolution Technologies 5) Capture & Creation 6) Infinite Engagement and Unlocking Immersive Format 7) Experiential Comics Presentations. Each weekly class will be divided into two halves 1) Exploration of Theme/Discussion 2) Process, Practices, & Play.
This course requires CL: Hypercinema or equivalent experience.
Ami Mehta Thur 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus
How can motion capture (MoCap) be used to archive, preserve, and share intangible heritage forms, such as performing arts, rituals, and other social practices and traditions? This course approaches motion capture through the lens of ethnography — drawing on techniques of observation, participation, and qualitative design research. This class will offer an overview of different motion capture technologies, such as 2D-3D pose estimation and depth mapping, with a practical focus on learning the OptiTrack system at ITP. We will start by covering the basics of OptiTrack and build up to other workflows and techniques used across animation, game design, and virtual production (e.g. OptiTrack to Unreal Engine or Unity).
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
How can motion capture (MoCap) be used to archive, preserve, and share intangible heritage forms, such as performing arts, rituals, and other social practices and traditions? This course approaches motion capture through the lens of ethnography — drawing on techniques of observation, participation, and qualitative design research. This class will offer an overview of different motion capture technologies, such as 2D-3D pose estimation and depth mapping, with a practical focus on learning the OptiTrack system at ITP. We will start by covering the basics of OptiTrack and build up to other workflows and techniques used across animation, game design, and virtual production (e.g. OptiTrack to Unreal Engine or Unity).
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Tanika Williams Fri 12:10pm to 2:40pm in Meetings:7-First Half
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2 pts |
Syllabus
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!
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!
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.
Simone Salvo Wed 09:30am to 12:00pm in Meetings:7-Second Half
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2 pts |
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?
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?
John Henry Thompson | Shindy Johnson Tues 12:10pm to 2:40pm in Meetings:7-Second Half
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2 pts |
Tags: data, visualization |
This course will use the open source The COVID-19 Impact Project as an entry point to explore humanizing data on systemic inequity and injustice on a global and local scale.
In this course we will:
● Explore and invent creative uses of data for advocacy and change.
● Discover how data flows from public github repositories and tools needed to visualize the data.
● Review other data-centric open source projects for the public good and discuss the questions they are trying to answer or problems they are trying to solve.
● Examine and draw inspiration from historical and contemporary data visualizations developed by advocates for social justice and the public good.
● Use data visualization as a scaffold to explore ways to support community driven mourning and memorialization after mass death events.
Students can choose to participate as creatives, artists, javascript coders, p5js explorers, UI/UX designers, citizen journalists, data science explorers or social justice advocates.
Course Outline
● Open Source Projects for the Public Good
● Data: Sourcing, Humanizing and Creating Visual Narratives from Data
● Storytelling with and from Data
● Data storytelling as a scaffold to support grief, ritual and memorialization after mass death events
** Students wishing to pursue their final projects beyond the class will be provided with information about resources at NYU for supporting student projects that amplify underrepresented narratives.
** Students wishing to continue their participation in The COVID-19 Impact Project after the course ends should notify us as we are seeking grant funding to implement viable concepts.
This course will use the open source The COVID-19 Impact Project as an entry point to explore humanizing data on systemic inequity and injustice on a global and local scale.
In this course we will:
● Explore and invent creative uses of data for advocacy and change.
● Discover how data flows from public github repositories and tools needed to visualize the data.
● Review other data-centric open source projects for the public good and discuss the questions they are trying to answer or problems they are trying to solve.
● Examine and draw inspiration from historical and contemporary data visualizations developed by advocates for social justice and the public good.
● Use data visualization as a scaffold to explore ways to support community driven mourning and memorialization after mass death events.
Students can choose to participate as creatives, artists, javascript coders, p5js explorers, UI/UX designers, citizen journalists, data science explorers or social justice advocates.
Course Outline
● Open Source Projects for the Public Good
● Data: Sourcing, Humanizing and Creating Visual Narratives from Data
● Storytelling with and from Data
● Data storytelling as a scaffold to support grief, ritual and memorialization after mass death events
** Students wishing to pursue their final projects beyond the class will be provided with information about resources at NYU for supporting student projects that amplify underrepresented narratives.
** Students wishing to continue their participation in The COVID-19 Impact Project after the course ends should notify us as we are seeking grant funding to implement viable concepts.
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.
Joohyun Park Thur 6:00pm to 8:30pm in Meetings:7-First Half
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2 pts |
Syllabus
Your web browser is a digital canvas for 21st-century artists. While being one of the most common mediums today, web space has infinite possibilities for new aesthetics. This course covers Three.js fundamentals, providing students with the skills and insights to create arts in web 3D.
This course requires ICM or equivalent coding experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Your web browser is a digital canvas for 21st-century artists. While being one of the most common mediums today, web space has infinite possibilities for new aesthetics. This course covers Three.js fundamentals, providing students with the skills and insights to create arts in web 3D.
This course requires ICM or equivalent coding experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Dave Derby | Heidi Brant Thur 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus Tags: design, design_research, design_thinking, groupwork, ideate, iterate, prototyping, scenario_planning, service, service_design, strategic_thinking, ux |
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.
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.
Motomichi Nakamura Tues 3:20pm to 5:50pm in Meetings:7-First Half
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2 pts |
Syllabus
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.
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.
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