Web Art as Site +

Theo Ellin Ballew | Syllabus | ITPG-GT 2094 | Tues 12:20pm to 2:50pm in 370 Jay St, Room 410 Meetings:14
Last updated: October 31, 2025

WEB ART AS SITE addresses the history and practice of art made for and inseparable from the web, while teaching basic coding for the web. We explore key examples of web art from the early days of the internet through today, asking questions about this idiosyncratic artistic medium like: How do different forms of interaction characterize the viewer and/or the artist? What happens to our reading practice when text is animated or animates? How is an internet-native work encountered, and how does the path we take to reach it affect our reading? Who is able to see a work of web art, and what does access/privilege look like in this landscape? How are differently-abled people considered in a web artwork? What feels difficult or aggressive in web art, and when is that useful? How do artists obscure or reveal the duration of a work, and how does that affect our reading? What are the many different forms of instruction or guidance online? As we ask these questions, we exploit the internet pedagogically, collaborating online, playing with anonymity, and breaking the internet spaces we know.

Students learn web coding through specialized online tutorials; most of class time is reserved for discussion (of web art and supplementary readings) and critique. Throughout the semester, students will produce two major works of web art. Students need only a standard laptop, and will not be expected to purchase any software or text (cost of materials: $0).

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 407 Meetings:14
Last updated: October 31, 2025

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.

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

Gabe Barcia-Colombo | ITPG-GT 2378 | Wed 6:00pm to 8:30pm in 370 Jay St, Room 413 Meetings:14
Last updated: October 31, 2025

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.

Apply Here: forms.gle/qqff8t2DHuxhqsj78

Kinetic Sculpture Workshop (Topics in ITP) +

Daniel Rozin | Syllabus | ITPG-GT 2378 | Wed 12:20pm to 2:50pm in 370 Jay St, Room 410 Meetings:14
Last updated: October 31, 2025

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.

Investing in Futures: The Art of Worlding (Topics in ITP) +

Marina Zurkow | Syllabus | ITPG-GT 2378 | Tues 3:20pm to 5:50pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

What would it mean to unhinge the present from its current conditions and wildly create a world you want to live in? Through world-building exercises, students in this course will develop detailed alternate worlds, reimagining everything from laws of physics to societal habits and customs.

The term “world-building” originates primarily in science fiction and gaming. World-building and “futuring” models are often based on constraints—design limitations— that spark new imaginaries liberated from business-as- usual predictions. Future studies—also known as futurology—has been used since the 1970s by business and military interests as part of a strategic planning toolkit. This framework of speculating about the future in systemic ways has been adapted by many contemporary artist collectives and mission-driven organizations, in order to challenge present assumptions about future outcomes. In these artistic quests, the notion of the “future” has led to the development of productive utopias, foreboding dystopias, and queer heterotopias.

 

Similarly, in this course, students will engage in a combination of collaborative and individual creative work and research to imagine their desired future or alternate worlds. Students will complete three variously-scaled worldbuilding projects, in the forms of invented artifacts, writing, and storytelling, whose features will draw from Investing in Futures, a constraint-design platform, co-created by the instructor and Sarah Rothberg, which explores topics such as governance, living conditions, food, climate, and technology, and whose specific conditions range from the possible to the absurd.

The class will also draw on research and readings by neuroscientists, science fiction authors, anthropologists, artists, and worldbuilding experts, and touch upon future scenario design thinking and speculative design. In addition to a series of creative assignments and presentations, the class will culminate in co-producing a document of the worlds created, as well as reflections, backcasting, and commentary.

Biodesign Studio: The Intersection of Biology, Design, and Tech (Topics in ITP) +

Nikita Huggins | Syllabus | ITPG-GT 2378 | Thur 3:20pm to 5:50pm in 370 Jay St, Room 411 Meetings:14
Last updated: October 31, 2025

This immersive studio course guides students through the process of conceptualizing, developing, and showcasing a cutting-edge biodesign project for submission to the distinguished Biodesign Challenge. The course offers a unique opportunity to explore the dynamic intersection of biology, design, and technology, fostering innovative solutions to real-world challenges.

The Biodesign Challenge is an international education program that explores the intersection of biotechnology, art, and design. In this program, students work in groups to develop projects that examine biotechnology’s relationship with sustainability, fashion, agriculture, architecture, biomaterials, medicine, water, ethics, and more.

Students will:

Explore the Landscape of Biodesign: Engage with foundational concepts in biodesign through readings, discussions, and workshops.

Conduct Research: Collaborate with science mentors to investigate biological systems and emerging technologies.

Develop and Test Hypotheses: Frame research questions and iteratively test ideas to refine their understanding and approach.

Create Prototypes: Design and fabricate tangible or digital prototypes that embody their innovative vision.

Pitch Idea: Hone communication and storytelling skills to deliver a compelling pitch that effectively conveys the impact of their project.

Curate an Exhibition: Craft an engaging gallery exhibition experience to share their work with a broader audience, showcasing its potential for intended impact.

This course emphasizes interdisciplinary collaboration, hands-on experimentation, and critical engagement with biodesign. By the end of the semester, students will not only develop a competitive entry for the Biodesign Challenge but also gain invaluable experience in working at the forefront of design and biological innovation. 

Prerequisites: Open to ITP and IMA students. No prior experience in biology required.

Phase 1: Explore topics in biodesign and advancements in scientific research

Phase 2: Conduct Research with the guidance of a scientist mentor

Phase 3: Prototype

Phase 4: Prepare pitch, exhibition design, video and website

Phase 5: Present at the Biodesign Challenge

The New Arcade +

Mark Kleback | Syllabus | ITPG-GT 2063 | Thur 6:00pm to 8:30pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

With platforms like Steam and Itch.io making independent games more accessible to the public, we’re starting to see a movement toward physical installations of indie games as well. The New Arcade pays tribute to arcade cabinet designs of the 80’s and 90’s, but infuses them with new interfaces and digitally fabricated components.

In this class, students will learn how to use the Unity game engine to design a simple arcade game. They’ll learn about aspects that separate an arcade game from other types of games, and interface their game with different kinds of hardware using microcontrollers.

In the second half of the class, students will use Fusion360 to construct a new arcade experience using digital fabrication tools like laser cutters, and CNC machines. The class will culminate in a physical installation that showcases their game in a public gallery.

Prerequisites: Physical Computing

About Mark Kleback: wonderville.nyc

The Nature of Code +

Can we capture the unpredictable evolutionary and emergent properties of nature in software? Can understanding the mathematical principles behind our physical world help us to create digital worlds? This class focuses on the programming strategies and techniques behind computer simulations of natural systems. We explore topics ranging from basic mathematics and physics concepts to more advanced simulations of complex systems. Subjects covered include physics simulation, trigonometry, self-organization, genetic algorithms, and neural networks. Examples are demonstrated in JavaScript using p5.js.

natureofcode.com/

The Code of Music +

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.

Prerequisites: Introduction to Computational Media (ICM) or equivalent programming experience is required.

About Luisa Hors: www.luisapereira.net/

Synthetic Architectures +

For better or worse humanity is heading down the virtual rabbit hole. We’re trading an increasingly hostile natural environment for a socially networked and commercially driven artificial one. Whether it’s the bedrooms of YouTube streaming stars, the augmented Pokestops of Pokemon Go, the breakout rooms of a Zoom meeting, or even the “airspace” of Airbnb; we are witnessing a dramatic transformation of what occupying space means. The socially distanced measures as a result of the COVID-19 pandemic have only accelerated this societal embrace of the virtual.

So where are these dramatic spatial paradigm shifts occurring? Who owns and occupies these spaces? Who are the architects and what historical and ethical foundations are they working from? What world do they want to build for humanity and where does the creative individual fit into it? Will it be a walled garden, a role-playing adventure or a tool for creating more worlds?

The course will ask students to embrace the role of virtual architect, not in the traditional brick-and-mortar sense of constructing shelter, but in terms of the engagement with the raw concept of space. However this virtual space must be considered and evaluated as a “site,” that is activated and occupied by real people and all the limitations of physical space that they bring with them from the real world. This is the foundation of synthetic architecture; simulated space met with biological perception.

This conceptual architecture is free from the confines of physics but host to a whole new set of questions: How do we embrace the human factors of a dimensionless environment? How do we make or encourage meaningful interactions within the limits of current technology? New models of interaction must inform and shape the architecture of virtual space – what does that look like? How can architecture and aesthetics inform the creation of virtual environments and immersive narratives? How do we acutely consider the psychological and social impacts of the worlds we design and what is the metaphorical ground plane to make sense of this virtual world, unbound by physics?

About Jonathan Turner: http://www.jonathanwilliamturner.com/about/

Reading and Writing Electronic Text +

This course introduces the Python programming language as a tool for reading and writing digital text. This course is specifically geared to serve as a general-purpose introduction to programming in Python, but will be of special interest to students interested in language and computer-generated text. Among the topics we’ll discuss are: the history and aesthetics of computer-generated writing in literature and the arts; computational linguistics; ethics and authorship in the context of computer-mediated language; poetic structure and sound symbolism; performance and publishing. Programming topics covered include: data structures (lists, sets, dictionaries); strategies for making code reusable (functions and modules); natural language processing; grammar-based text generation; predictive models of text (Markov chains and neural networks); and working with structured data and text corpora. Weekly programming exercises and readings culminate in a final project. Prerequisites: Introduction to Computational Media or equivalent programming experience.

Prerequisite: ICM

Project Development Studio +

Daniel Rozin | Syllabus | ITPG-GT 2564 | Tues 12:20pm to 2:50pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

This is an environment for students to work on their existing project ideas that may fall outside the topic areas of existing classes. It is basically like an independent study with more structure and the opportunity for peer learning. This particular studio is appropriate for projects in the area of interactive art, programing, physical computing and digital fabrication. There are required weekly meetings to share project development and exchange critique. Students must devise and then complete their own weekly assignments updating the class wiki regularly. They also must present to the class every few weeks. When topics of general interest emerge, a member of the class or the instructor takes class time to cover them in depth. The rest of the meeting time is spent in breakout sessions with students working individually or in groups of students working on related projects.

Programming with Data +

Allison Parrish | Syllabus | ITPG-GT 3049 | Mon 6:00pm to 8:30pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

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)

Playful Experiences +

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.

About Greg Trefry: www.giganticmechanic.com/our-team/#trefry

Playful Communication of Serious Research +

Exhibition design is the art of marrying experience and information. The best does so seamlessly; the very best surprise and delight you along the way. In this class, you will explore the craft of interactive exhibition design through practice. Working in small groups, you will select an NYU researcher whose work is of interest to you and create an interactive experience that presents this research to a broader, public audience. In the process, you will learn to interrogate content and form, audience and environment, medium and message to create a meaningful and playful exhibit experience.

Modern Artifacts: Interactive Public Art for the People +

Ali Santana | Syllabus | ITPG-GT 3005 | Thur 12:20pm to 2:50pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

In an era of remote everything, how can we create artwork that brings us back together IRL? This course explores our connection to physical objects within the context of community. How can sculpture, installation, immersive, and public art nurture our neighborhoods via collaboration, play, ritual, self-expression, and awe?

Students will work collaboratively to radically imagine bold, sculptural, immersive works using innovative and lo-fi techniques integrated with technology. Hands-on workshops include experiments creating found sculptures, AR prototypes, projection mapping, real-time interactive multimedia content, and more. We’ll reference ancient monuments, sacred objects, NYC relics, street art and contemporary works to envision new artifacts that create awareness by reflecting the needs of our communities.

Prerequisite: Comm Lab: Hypercinema
About Ali Santana: http://www.alisantana.com/bio

Machine Learning for the Web +

Yining Shi | Syllabus | ITPG-GT 2465 | Fri 6:00pm to 8:30pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

Libraries like TensorFlow.js and ml5.js unlocked new opportunities for interactive machine learning projects in the browser. The goal of this class is to learn and understand common machine learning techniques and apply them to generate creative outputs in the browser.

This class will start with running pre-trained models and re-training models in the browser using high-level APIs from ml5.js, as well as explore the Layer APIs from TensorFlow.js to create models from scratch using custom data. This class will also cover preparing the dataset for training models.

At the completion of this course, students will have a better understanding of common and popular machine learning models, how do they work, how to train these models, and their use case to creative projects. The output of the class will be examples of interactive ML web applications.

The topics that will be covered are Image/Sound/Doodle Classification, Face/Pose Recognition, Image Style Transfer, pix2pix Image Transformation, and Image Synthesis. The techniques and neural networks we will use and build include Transfer Learning, Convolutional Neural Network, Generative Adversarial Network, Reinforcement Learning, and more.

Prospective students are expected to have taken an ICM (Introduction to Computational Media) course, or have equivalent programming experience with JavaScript, HTML, CSS.

About Yining Shi: http://1023.io

Live Web +

The web has become an amazing platform for live communication.  Streaming media, audio and video conferencing, text chat and other real-time data transmission give us the ability to create a wide array of platforms that enable live cooperative and collaborative performance, real-time games, and novel real-time communications experiences.  

In this course, we focus on the types of content and interaction that can be supported through these technologies as well as explore new concepts around live participation.  We utilize browser based technologies such as WebSockets and WebRTC in combination with JavaScript and Node to build client/server based applications.  Experience with HTML and JavaScript are helpful but not required.

Light and Interactivity +

Tom Igoe | Syllabus | ITPG-GT 2133 | Tues 3:20pm to 5:50pm in 370 Jay St, Room 410 Meetings:14
Last updated: October 31, 2025

We use light in all aspects of our lives, yet we seldom notice it. That is by design: lighting in everyday life, well-designed, doesn’t call attention to itself. Instead it places focus on the subjects and activities which it supports.

Solid state lighting technologies and digital control technologies have made major changes in the lighting industry. They support a wide range of color rendering and control than earlier lighting technologies, an ability to change light over a wider range of time, and they can communicate with all kinds of digital systems and devices.

On the design side, this class takes a “post-pixelist” approach: rather than making images with light, we’ll use it to illuminate people and the spaces and activities in which they engage. We won’t focus on pixels or projections, but rather on casting light on the subject at hand. We’ll consider the intersection of lighting design and interaction design. We’ll analyze lighting and describe its effects, in order to design and use it more effectively.

On the technical side, you’ll learn the basics of the physics of light, its transmission and perception. We’ll talk about how the materials which we cast light on or through affect how we perceive it. We’ll talk about sources of light, both current and historical. We’ll work with computerized control systems for lighting, and we’ll design a few lighting fixtures for different purposes. You’ll get practice planning and building electronic and microcontroller-driven circuits for lighting, and you’ll learn digital communications protocols used in the lighting industry.

Assignments will cover lighting observation and description; sensing and measurement of light; design of new lighting fixtures; and control of existing fixtures and lighting systems.

This class will be production-intensive throughout the course of the spring semester. Second-year students should consider that the assignments in this class must be done in addition to their thesis work, regardless of the topic of their thesis.

Intangible Interaction +

This course will focus on researching, designing, and defining Intangible Interactions together, and unveiling artistic potential in it. Intangible interactions are those that we engage in without involving direct physical contact. Some examples would be automatic toilets, shopping carts that stop rolling outside the shop, contactless thermometers, gesture-based interactions, theremin, artwork activated by your presence, and mid-air haptic experiences. Intangible interfaces don’t have a tangible form that explicitly instructs us how to interact with them, and these interactions utilize other forms of feedback than those we feel through touch. Hence, Intangible Interactions tend to be more nuanced rather than direct, and the system is intricately designed to read your intentions using sensors. While technologies used for intangible interaction–such as computer vision and sensors are now more available and accessible, knowledge around the design and implementation of effective intangible interactions is a much less explored subject.

We will explore practical, artistic, and whimsical applications of intangible interaction and look at the ways it can enhance human-computer interactions in our everyday lives. For example, it can allow new ways to interact with educational exhibits, artifacts, and artworks. We will explore intangibility as a poetic medium that can open up possibilities for creating work that challenges human senses and perception. We will discuss what are cultural and social implications that we need to consider in designing intangible interactions—what does it mean for an interaction to be “intuitive” and what are some of the assumptions that are embedded into designs that we need to challenge? You will also be introduced to working with sound frequencies that are outside the hearable spectrum to create mid-air haptic feedback.

Technical topics that will be discussed in the class include: non touch-based sensors including optical sensors; proximity sensing; presence detection; optimizing sensor readings on Arduino; extending capability of sensors with light pipes and lenses; body tracking with cameras; signals outside visible spectrums; environmental sensing; mid-air haptic.

Assignments will include relatively small-scale production assignments, labs, thinking, ideating, and reading. For the final project, you will be prompted to conceptualize a project that is larger than a classroom scope. You will respond to a call-for-projects with a proposal along with a solid prototype for the project so you have fully fleshed materials to apply to resources such as grants and other opportunities in the near future. I want you to think big and equip yourself with practical and essential skills to build a sustainable art or design practice! A proposal writing workshop and structured peer reviews will be provided to support this process.

Tags: intangible, interaction, artistic, poetic, physical, sensors, physicalcomputing, haptic, hci, research, art, design, environment, playful, fun, proposalwriting

Future Mapper +

CHIKA | Syllabus | ITPG-GT 2362 | Tues 09:30am to 12:00pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

As you know, projection mapping and Light Art are becoming popular again because of large-scale pop-up installations worldwide: ARTECHOUSE, SuperReal, Meow Wolf, and TeamLab.
Technology has advanced over the years, but how people enjoy light art have not changed so much.

How do your ideas and artwork fit into these site-specific installations? This class is for anyone interested in creating a site-specific installation using mapping technologies to create new experiences for the public audience.

This class guides students through conceptual and technical processes of project and artist development. It consists of three parts: Project & Artist Development, Projection Mapping, and LED Mapping.

We will research and discuss the history of visual artwork, public engagement, and technical exercises using real international contests and festival sites. The student will learn the latest Projection and LED Mapping techniques using Madmapper.

And we will also focus on advanced techniques like multi-projector projection, projector calculation, Interactive Mapping, and software & hardware to culminate in a final project.

The class will also invite guest speakers to discuss the nuts and bolts of their art and business.

About Chika Iijima: www.mappathon.com, www.imagima.com

Exploring Concepts From Soft Robotics +

Kari Love | Syllabus | ITPG-GT 2125 | Fri 12:20pm to 2:50pm in 370 Jay St, Room 411 Meetings:14
Last updated: October 31, 2025

Because the full potential of the emerging field of soft systems is unrealized, there are countless opportunities for curious innovators to discover or develop novel soft systems. Soft robotic skills and techniques also open up a world of possibilities for large scale or surprising artwork. This course teaches hands-on fabrication techniques for constructing simple pneumatic actuators from cast silicone and heat-sealed mylar, and challenges participants to design and build their own. Lectures and discussion center on concepts from soft innovation history, the current state-of-the-art, and sister disciplines of bio-inspired and hybrid (soft/hard) robotics. Consideration of both brand new soft materials, from a class visit to Material ConneXion library, and everyday overlooked soft mechanisms, found in average retail stores, will require participants to look at softness through a new lens. Final projects will be the development of an original soft/flexible/hybrid research or artistic concept presented with context, material swatches with justifications for choices, and physical or modeled proof-of-concept.

About Kari Love: http://www.karimakes.com

Energy +

Jeffrey Feddersen | Syllabus | ITPG-GT 2466 | Mon 3:20pm to 5:50pm in 370 Jay St, Room 413 Meetings:14
Last updated: October 31, 2025

From the most ephemeral thought to the rise and fall of civilizations, every aspect of your life, and indeed the universe, involves energy. Energy has been called the “universal currency” by prolific science author Vaclav Smil, but also “a very subtle concept… very, very difficult to get right” by Noble physicist Richard Feynman. It is precisely this combination of importance and subtlety that motivates the Energy class. Maybe you fear the existential threat of anthropogenic climate change, or maybe you just want your physical computing projects to work better. Either way, the class will help you understand energy quantitatively and intuitively, and incorporate that knowledge in your projects (and perhaps your life).

How? Building on skills introduced in Creative Computing, we will generate and measure electricity in order to see and feel energy in its various forms. We will turn kinetic and solar energy into electrical energy, store that in batteries and capacitors, and use it to power projects. We will develop knowledge useful in a variety of areas, from citizen-science to art installations, and address topics such as climate change and infrastructure access through the lens of energy. Students will build a final project using skills learned in the class.

Prerequisites: Creative Computing

Instructor Jeffrey Feddersen Website: www.fddrsn.net/

Electronics for Inventors +

Pedro Galvao Cesar de Oliveira | Syllabus | ITPG-GT 2036 | Thur 2:50pm to 5:50pm in 370 Jay Street Room 450 Meetings:S-Special
Last updated: October 31, 2025

Today we are no longer solely connected to the digital world through computers. The result of this push to connect the digital and the analog world is the increasing necessity for low cost, low power, and self-contained electronics.

This course is an applications-driven intro to electronics for inventors. Through a hands-on approach, students will learn basic concepts about analog circuits, Boolean logic, digital devices interfaces, and low-cost code-free electronics.

Topics will include basic principles of electricity, as well as an understanding of electronics components such as resistors, capacitors, diodes, transistors, audio amplifiers, and timers. Students will also learn what it takes to build an arduino-like microcontroller.

This class will use as a backbone the book “Practical Electronics for Inventors – 4th Edition” by Paul Scherz and Simon Monk.

Format: Lectures + In-class LABs + Readings

Designing for Messy Humans +

Aleks Krotoski | Syllabus | ITPG-GT 3047 | Mon 12:20pm to 2:50pm in 370 Jay St, Room 410 Meetings:14
Last updated: October 31, 2025

“How can we create services – digital or otherwise – that scratch psychological itches in ways that take into consideration the uncontrollable nature of users? In this course, we marry the art of design with the science of psychology. The offspring of this match is complicated, unexpected and never predictable – but indelibly informed by both its binary and analogue parentage.

Leaning on a variety of international case studies that tickle our human passion for enquiry, for storytelling, for sensation, and for sense-making, plus short philosophical readings about the nature of the indefinable, each class will dissect what we know about something inherently human (from beauty to joy to elegance), and how technologists and machine-makers have tried to predict it. We will spend time in this course reverse engineering black boxes and imagining how they could have been designed otherwise. The final project will be an “”engine”” or machine – mock-up, paper design or working prototype – that proposes to produce the solution to a messy human question every single time.

The course will be divided into three thematic sections of three classes each: a theory week, an analysis week, and a prototyping week. Each thematic section will examine single-topic human “needs” frequently designed for in apps and tech. Students will be expected to take part in group discussions, and brainstorming sessions that will imagine systems that could achieve that topic. Latterly, the last session will be workshops, in which students will work together or alone on their own projects based on one topic of their choice.”

Connected Devices and Networked Interaction +

Tom Igoe | Syllabus | ITPG-GT 2565 | Tues 09:30am to 12:00pm in 370 Jay Street Room 450 Meetings:14
Last updated: October 31, 2025

The World Wide Web no longer stops at the edge of your screen. When it comes to products, if it powers up, it talks to another device. This class provides an overview of methods for connecting the physical world to web-based applications. We’ll consider what the emerging interaction patterns are, if any, and we’ll develop some of our own as needed. This class can be seen as a narrower and more interaction design-based complement to Understanding Networks. The latter class provides a broader overview of the dynamics of communications networks, while this class focuses specifically on the challenges of connecting embedded devices to web-based services. Neither class is a prerequisite for the other, however. This class will introduce network connection techniques for devices using networked microcontrollers and processors running an embedded operating system.

Prerequisites: Intro to Physical Computing and Intro to Computational Media, or equivalent experience with the topics covered in those classes.

Learning Objectives: Students will gain an understanding of the basics of network programming for devices with limited computing power. They will learn about current protocols for communication between devices and networked servers, and about the rudiments of security for that communication.

Reading: There will be an article or two to read each week, to foster discussion about the design of connected things.

Assignments: There will be several one-week software and hardware assignments to get familiar with different technologies and communications protocols, and one hardware and software final application project.

Code Your Way +

Ellen Nickles | Syllabus | ITPG-GT 3007 | Mon 09:30am to 12:00pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

This course provides students an opportunity to sharpen their coding skills in several ways: by reviewing fundamental programming concepts, acquiring techniques to systematically develop code-driven projects, and then implementing those to develop an independent project with the structure and support of a classroom learning community.

The first part of the semester consists of weekly exercises to practice strategies for learning new algorithms, writing pseudocode, pair programming, debugging, refactoring, version control, and more. Screen-based code examples for the activities and assignments draw inspiration from the history of creative coding. The second part of the semester shifts to a project development studio format for students to apply these strategies to a self-directed project. This could be an existing idea or one devised during the course.

Ultimately this course aims to empower students to reflect on their process and teach themselves how to program with greater efficiency and independence. It is a direct follow-up to Introduction to Computational Media (ICM) or for anyone interested in advancing their coding practice.

Examples and exercises will be provided in JavaScript using the p5.js library. However, students are welcome to consult the instructor about working with another programming library, framework, or language with which they have interest or prior experience.

Prerequisite: ICM or equivalent experience

CAD for Virtual and Reality +

Siman Li | Syllabus | ITPG-GT 2086 | Mon 09:30am to 12:00pm in 370 Jay St, Room 408 Meetings:14
Last updated: October 31, 2025

The goal of this class is to gain an understanding and proficiency with Computer Aided Design (CAD). We will become familiar with CAD software, mechanical design, and simulation. The class will cover common CAD modeling techniques. We will use our designs to get physical parts made as well as use them in virtual projects. We will create parts both real and impossible.

Cabinets of Wonder +

Emily Conrad | Syllabus | ITPG-GT 2470 | Wed 6:00pm to 8:30pm in 370 Jay St, Room 407 Meetings:14
Last updated: October 31, 2025

If you were inventing a museum today, what would it look like? Who would be there? What would its main purpose be? What would the audience experience? The first museums were called Cabinets of Wonder. Usually, a viewer with a guide, often the collector, would open doors and drawers to see what was inside–amazing things from different parts of the world, different times. They were windows on the world to places the visitors would probably never be able to go; to see things they would never otherwise be able to see. And now there’s television, movies, the internet, and travel. Why do people go to museums now? Will they in the future? Today, most museums seek to educate and to include more and more diverse visitors than they used to. How do people learn in public spaces? How do we know that they do? How can they make use of the new interactive technologies to support the experience and not lose what’s special about them? The class is an exploration, observation, theory, and design class for you to imagine the future of museums and exhibits. Museum and exhibit visits are your primary assignments for the first half of the course—usually accompanied by a reading. You will also make some record of your visit (including a sketchbook, a diorama, reviews). There will be guest speakers from Museums and exhibit design firms, and several field trips. In the second half of the course, you begin to imagine how you might reinvent a museum and develop a full-scale presentation of your own Cabinet of Wonder.

About Emily Conrad: www.linkedin.com/in/emily/

Bioart as Biopolitics–Genomics and Identity +

Heather Dewey-Hagborg | Syllabus | ITPG-GT 3048 | Fri 12:10pm to 5:10pm in 370 Jay Street, Room 426 Meetings:7-Second Half
Last updated: October 31, 2025

What does biology have to do with art? Bioart is a discipline in which artists use life itself as a medium for creative experimentation and reflection on the social implications of cutting edge biological science. Biopolitics describes the ways in which DNA and other forms of biological knowledge combine with the accumulation of data to segment, categorize, and predict our behavior. In this course we will take a tour of the materials and techniques utilized by artists in the emerging field of biological art, with a focus on genomics and its political and social implications. This hybrid art and science class will introduce concepts in personal genomics, genetic engineering, speculative design, bioart, biopolitics, critical engineering, and bioethics as sites for activism and artistic exploration. Students will extract and analyze their own DNA while discussing human evolution and the social construction of identity. They will learn how DNA extraction and sequencing works, how to analyze real genomic data, and will incorporate this in creative and critical projects. Regular readings and in-class discussions will supplement artistic projects.

Auto Fictions +

Kevin Cunningham | Carol Dysinger | Syllabus | ITPG-GT 2066 | Mon 09:30am to 12:00pm in 370 Jay Street Room 450 Meetings:14
Last updated: October 31, 2025

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.

Reconstructing Lost Spaces (Topics in ITP) +

Yuliya Parshina-Kottas | Syllabus | ITPG-GT 2378 | Wed 12:20pm to 2:50pm in 370 Jay St, Room 408 Meetings:14
Last updated: October 31, 2025

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. Prerequisite: Hypercinema or equivalent experience.

Reconstructing Lost Spaces (Topics in ITP) +

Yuliya Parshina-Kottas | Syllabus | ITPG-GT 2378 | Wed 12:20pm to 2:50pm in 370 Jay St, Room 408 Meetings:14
Last updated: October 31, 2025

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. Prerequisite: Hypercinema or equivalent experience.

Reconstructing Lost Spaces (Topics in ITP) +

Yuliya Parshina-Kottas | Syllabus | ITPG-GT 2378 | Wed 12:20pm to 2:50pm in 370 Jay St, Room 408 Meetings:14
Last updated: October 30, 2025

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. Prerequisite: Hypercinema or equivalent experience.