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Click here to expand all course descriptions
Ali Santana Mon 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio + video production, and A/V performance using a combination of technical and hands-on approaches.
This course requires CL: Hypercinema or equivalent experience.
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Throughout history, musicians have channeled their creativity into outrageous fashion statements and invented personas: think MF DOOM, Sun Ra, Ghostface Killah, Daft Punk, Leikeli47 and Rammellzee. By embracing their alter egos in extreme and outlandish ways, artists have found their authentic creative voices. This course will introduce participants to the art of masquerade using their resourcefulness to create costumes from found materials, and performance as an exploration in creative expression using new media and technology. Students will be introduced to ideas surrounding abstract storytelling, experimental audio + video production, and A/V performance using a combination of technical and hands-on approaches.
This course requires CL: Hypercinema or equivalent experience.
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
Winslow Porter Thur 3:20pm to 5:50pm in Meetings:14
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4 pts |
In this course, we will explore how to create immersive narratives that leverage our full suite of senses like touch, taste and smell as well as lesser-known ones like space, time, balance and scale. We will dig into the history of experiential storytelling, starting from immersive theater and Smell-O-vision to cutting-edge haptics and mind-bending illusions of proprioception. To help center this back in practical applications, we will also explore how this evolving art is commonly used in exhibition design, experiential marketing and brick and mortar retail. The class will be a healthy mixture of game theory as well as experienced based learning (meaning there will be field trips and many multisensory VR projects to explore).
We will dig into the process of making the immersive experiences Forager (SXSW, NAB, SIGGRAPH) and Tree VR ( Sundance, Tribeca, WEF, TED), looking at both the project files as well as all of the work that went into ideation and pre-production. All of this will culminate with a show to exhibit all of your final projects.
A basic knowledge of Unreal Engine is extremely advantageous because it is our primary tool for both creating and experiencing projects during the class semester.
In this course, we will explore how to create immersive narratives that leverage our full suite of senses like touch, taste and smell as well as lesser-known ones like space, time, balance and scale. We will dig into the history of experiential storytelling, starting from immersive theater and Smell-O-vision to cutting-edge haptics and mind-bending illusions of proprioception. To help center this back in practical applications, we will also explore how this evolving art is commonly used in exhibition design, experiential marketing and brick and mortar retail. The class will be a healthy mixture of game theory as well as experienced based learning (meaning there will be field trips and many multisensory VR projects to explore).
We will dig into the process of making the immersive experiences Forager (SXSW, NAB, SIGGRAPH) and Tree VR ( Sundance, Tribeca, WEF, TED), looking at both the project files as well as all of the work that went into ideation and pre-production. All of this will culminate with a show to exhibit all of your final projects.
A basic knowledge of Unreal Engine is extremely advantageous because it is our primary tool for both creating and experiencing projects during the class semester.
Lauren Race Thur 6:00pm to 8:30pm in Meetings:14
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4 pts |
Our users have senses that they use to perceive information in different ways. Some perceive best through sight, some through hearing, others through touch. Designers often prioritize visual information, excluding those who benefit from other sensory modalities. In this class, we’ll take a multisensory approach to design that makes interfaces more accessible to disabled and nondisabled users. Students will learn how to design for the senses (think tactile controls combined with atmospheric sounds and olfactory or taste experiences), while gaining an understanding of the assumptions we make about our users’ sensory preferences. Students should come with prior experience with physical computing and fabrication techniques and can expect to learn technical processes for the user research, usability testing, and iterative design of multisensory interfaces. Over the course of 14 weeks, students will design an interface for the 5 senses (sight, hearing, touch, taste, smell), culminating in one final project that includes at least 3 sensory modalities.
Our users have senses that they use to perceive information in different ways. Some perceive best through sight, some through hearing, others through touch. Designers often prioritize visual information, excluding those who benefit from other sensory modalities. In this class, we’ll take a multisensory approach to design that makes interfaces more accessible to disabled and nondisabled users. Students will learn how to design for the senses (think tactile controls combined with atmospheric sounds and olfactory or taste experiences), while gaining an understanding of the assumptions we make about our users’ sensory preferences. Students should come with prior experience with physical computing and fabrication techniques and can expect to learn technical processes for the user research, usability testing, and iterative design of multisensory interfaces. Over the course of 14 weeks, students will design an interface for the 5 senses (sight, hearing, touch, taste, smell), culminating in one final project that includes at least 3 sensory modalities.
Kevin Cunningham Mon 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
Auto Fictions is a studio class focusing on the creation of immersive, multi-path and interactive experiences based on personal narrative. Documentary art has included the art of installation for decades, but new technologies have given artists affordable tools that allow them to rapidly prototype and then refine immersive media experiences. The course centers on the creation of live experiences within a surround video mapped space that incorporates immersive audio and can include interactive elements. Autofictions is an interdepartmental course that may include students from Film, ITP and Theater disciplines. Students will create interdisciplinary production teams. Each team will make an original project and students will help each other create their work through intensive collaboration.
Auto Fictions is a studio class focusing on the creation of immersive, multi-path and interactive experiences based on personal narrative. Documentary art has included the art of installation for decades, but new technologies have given artists affordable tools that allow them to rapidly prototype and then refine immersive media experiences. The course centers on the creation of live experiences within a surround video mapped space that incorporates immersive audio and can include interactive elements. Autofictions is an interdepartmental course that may include students from Film, ITP and Theater disciplines. Students will create interdisciplinary production teams. Each team will make an original project and students will help each other create their work through intensive collaboration.
Nikita Huggins Fri 3:20pm to 5:50pm in Meetings:14
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4 pts |
Syllabus
For centuries, food production practices such as permaculture fostered ecosystems intended to be sustainable and self-sufficient, while producing nutrient-dense food. Modern farming has introduced harmful monoculture practices proven to cause collateral destruction of biodiversity and seasonal harvesting, distancing us from our food ecosystems. The future of food can be regenerative or continue to contribute to massive health and environmental issues. How can we challenge ourselves to regain connection to our food system? How might we use innovation, personal prowess, design, and biotechnology to reimagine healthier ecosystems? This course examines the historical context of the food ecosystems and encourages students to identify with these systems that we (in urban settings) are disconnected with. Students will build a project around exploring innovative approaches to the future of food and our relationships with it. These projects will incorporate design, technology, science, and research elements.
For centuries, food production practices such as permaculture fostered ecosystems intended to be sustainable and self-sufficient, while producing nutrient-dense food. Modern farming has introduced harmful monoculture practices proven to cause collateral destruction of biodiversity and seasonal harvesting, distancing us from our food ecosystems. The future of food can be regenerative or continue to contribute to massive health and environmental issues. How can we challenge ourselves to regain connection to our food system? How might we use innovation, personal prowess, design, and biotechnology to reimagine healthier ecosystems? This course examines the historical context of the food ecosystems and encourages students to identify with these systems that we (in urban settings) are disconnected with. Students will build a project around exploring innovative approaches to the future of food and our relationships with it. These projects will incorporate design, technology, science, and research elements.
Art Kleiner | Juliette Powell Tues 12:10pm to 2:40pm in Meetings:14
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4 pts |
Tags: discussion, reading, theory |
This course covers the next several years of evolution in technology, culture, and other trends. It uses scenario planning, a technique for considering complex interrelationships that can’t be predicted, distinguishing predetermined elements from critical uncertainties, and exploring the underlying patterns that influence events. Students will conduct original research on significant trends, use those trends to develop compelling, sophisticated, plausible stories about possible futures, and present the futures – and the strategies they suggest – to a public audience. The course will take place at a pivotal moment of historical uncertainty: recovering from a global pandemic, with AI and other digital technologies crossing a threshold, and dramatic political and economic tensions. All of these, and more, affect media development – and are deeply affected by them. The goal of the course is to enable you to make more robust decisions now in the face of uncertainty — applicable to planning for technological change, starting a business, plotting a career or making major life decisions. This class has developed a longstanding following at ITP because it helps us make sense of complex issues without oversimplifying them. In a climate of candid, respectful discussion and debate, the class explores theories about system dynamics, long-wave organizational and societal change, and economic and technological development.
Addendum from former student:
As I wake up to the serious news of Ukraine, I am reminded of the prediction that I and my classmates Jerllin Cheng and Susanne Forchheimer made while taking a class at NYU-ITP called “Future of New Media,” taught by the great Art Kleiner , which is easily one of the most important classes I’ve ever taken in my life. In this class, Art taught us the craft of prediction in order to make tech art/products that speak to the near future.
It was 2014, and using his strategic workflow, he asked our class to predict what would 2020 be like. Although no one predicted a pandemic, some did predict things likes smart homes etc. But our group was bold enough to predict a “Cyber Cold War,” given Russia’s annexation of Crimea and other developments in China going on during the time of the class. Our presentation went into interesting detail that speculated the end of an open internet, and a further lockdown of borders and increase in video chats for that reason (which did happen in 2020 but for the pandemic), but let’s hope that is not the case now!
Certainly no fear-mongering happening here- just wanted to share that we made a pretty good prediction and that Art Kleiner’s method is incredible (buy his books). Our hearts are with Ukraine and the world.
This course covers the next several years of evolution in technology, culture, and other trends. It uses scenario planning, a technique for considering complex interrelationships that can’t be predicted, distinguishing predetermined elements from critical uncertainties, and exploring the underlying patterns that influence events. Students will conduct original research on significant trends, use those trends to develop compelling, sophisticated, plausible stories about possible futures, and present the futures – and the strategies they suggest – to a public audience. The course will take place at a pivotal moment of historical uncertainty: recovering from a global pandemic, with AI and other digital technologies crossing a threshold, and dramatic political and economic tensions. All of these, and more, affect media development – and are deeply affected by them. The goal of the course is to enable you to make more robust decisions now in the face of uncertainty — applicable to planning for technological change, starting a business, plotting a career or making major life decisions. This class has developed a longstanding following at ITP because it helps us make sense of complex issues without oversimplifying them. In a climate of candid, respectful discussion and debate, the class explores theories about system dynamics, long-wave organizational and societal change, and economic and technological development.
Addendum from former student:
As I wake up to the serious news of Ukraine, I am reminded of the prediction that I and my classmates Jerllin Cheng and Susanne Forchheimer made while taking a class at NYU-ITP called “Future of New Media,” taught by the great Art Kleiner , which is easily one of the most important classes I’ve ever taken in my life. In this class, Art taught us the craft of prediction in order to make tech art/products that speak to the near future.
It was 2014, and using his strategic workflow, he asked our class to predict what would 2020 be like. Although no one predicted a pandemic, some did predict things likes smart homes etc. But our group was bold enough to predict a “Cyber Cold War,” given Russia’s annexation of Crimea and other developments in China going on during the time of the class. Our presentation went into interesting detail that speculated the end of an open internet, and a further lockdown of borders and increase in video chats for that reason (which did happen in 2020 but for the pandemic), but let’s hope that is not the case now!
Certainly no fear-mongering happening here- just wanted to share that we made a pretty good prediction and that Art Kleiner’s method is incredible (buy his books). Our hearts are with Ukraine and the world.
Josh Corn Thur 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
How do we make things move, produce sounds, or maybe even emit light without batteries? Through this course, each student will design their own purely mechanical automaton. We will learn how to use simple materials and tools to hand prototype mechanisms in their early stages. CAD software will be used to refine the designs and then a series of traditional and digital fabrication tools (various wood shop tools, laser cutter, CNC, 3D printers, etc.) will be used to produce the final pieces. We will learn how to work iteratively in the shop through weekly exercises, and a midterm and final project.
How do we make things move, produce sounds, or maybe even emit light without batteries? Through this course, each student will design their own purely mechanical automaton. We will learn how to use simple materials and tools to hand prototype mechanisms in their early stages. CAD software will be used to refine the designs and then a series of traditional and digital fabrication tools (various wood shop tools, laser cutter, CNC, 3D printers, etc.) will be used to produce the final pieces. We will learn how to work iteratively in the shop through weekly exercises, and a midterm and final project.
Melissa Parker Wed 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
As game and interaction designers we create systems and choices that can either prey upon our psychological foibles or help us avoid decision pitfalls. It is our responsibility to understand how we decide, to consider the ethics of the systems we create and to practice designing systems in a purposeful manner.
Game Design & The Psychology of Choice will provide interaction and game designers with an understanding of the factors that influence behavior and decision-making by looking at the intertwining of cognitive psychology and economics through the development of behavioral economics. These disciplines study behavior on the individual and group level, often revealing some of the why behind the rules of thumb and folk wisdom that game designers come to intuitively. But understanding the why—why we fall into decision traps; why certain tradeoffs tax our brain more than others; why we are overconfident about our abilities; why certain decisions make us uncomfortable—allows us to more purposefully apply our design craft, both in and out of games. Finally, as a class, we will take what we learn about how we think and create series of game experiences based around key cognitive science concepts.
Assignments may include:
•Mod a cognitive science experiment into a game or experience
•Analyze and present a game through the lens of cognitive science and behavioral economics
•Create game or experience based around a particular insight from cognitive science or behavioral economics
As game and interaction designers we create systems and choices that can either prey upon our psychological foibles or help us avoid decision pitfalls. It is our responsibility to understand how we decide, to consider the ethics of the systems we create and to practice designing systems in a purposeful manner.
Game Design & The Psychology of Choice will provide interaction and game designers with an understanding of the factors that influence behavior and decision-making by looking at the intertwining of cognitive psychology and economics through the development of behavioral economics. These disciplines study behavior on the individual and group level, often revealing some of the why behind the rules of thumb and folk wisdom that game designers come to intuitively. But understanding the why—why we fall into decision traps; why certain tradeoffs tax our brain more than others; why we are overconfident about our abilities; why certain decisions make us uncomfortable—allows us to more purposefully apply our design craft, both in and out of games. Finally, as a class, we will take what we learn about how we think and create series of game experiences based around key cognitive science concepts.
Assignments may include:
•Mod a cognitive science experiment into a game or experience
•Analyze and present a game through the lens of cognitive science and behavioral economics
•Create game or experience based around a particular insight from cognitive science or behavioral economics
Michelle Cortese Thur 09:30am to 12:00pm in Meetings:14
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4 pts |
To be a VR creator, it’s not enough to learn the hard skills—it’s also our responsibility to prime ourselves for the human impact of our work. As a means to design VR that is both enjoyable and accountable, this class proposes we borrow design principles from Hedonomics, a branch of ergonomic science that facilitates pleasurable human-technology interaction. Through the Hedonomic Pyramid, we’re able to section our thinking off into regions (Safety, Function, Usability, Pleasure and Individuation) and map out industry-tested VR design guidance for each. The result is a hierarchical checklist of proven principles, specifications and practices—that promote a culture of inclusive and holistic design—built to serve as a quickstart guide to designing accountable VR interfaces and systems. This class, divided into units that represent each level of the Hedonomic pyramid, will unpack both technical and conceptual strategies for creating VR, from visual interface fidelity to avoiding locomotion cybersickness to designing safer social VR spaces.
To be a VR creator, it’s not enough to learn the hard skills—it’s also our responsibility to prime ourselves for the human impact of our work. As a means to design VR that is both enjoyable and accountable, this class proposes we borrow design principles from Hedonomics, a branch of ergonomic science that facilitates pleasurable human-technology interaction. Through the Hedonomic Pyramid, we’re able to section our thinking off into regions (Safety, Function, Usability, Pleasure and Individuation) and map out industry-tested VR design guidance for each. The result is a hierarchical checklist of proven principles, specifications and practices—that promote a culture of inclusive and holistic design—built to serve as a quickstart guide to designing accountable VR interfaces and systems. This class, divided into units that represent each level of the Hedonomic pyramid, will unpack both technical and conceptual strategies for creating VR, from visual interface fidelity to avoiding locomotion cybersickness to designing safer social VR spaces.
Yuguang Zhang Fri 3:20pm to 5:50pm in Meetings:14
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4 pts |
Syllabus
Over the past few years, the unprecedented advancement in text-to-image artificial intelligence models has sparked widespread attention, discussion, and mainstream adoption of these innovative co-creative interfaces, which has resulted in novelty, excitement, and curiosity, as well as concern, anger, and insult. Alongside this, the booming open-sourced text-to-image model development contributes to expanding access to working with AI tools beyond experts, tech giants, and professional technologists.
In this 14-week course, we will go over the landscape of text-to-image AIs and dive deep into some of the most well known ones (such as Stable Diffusion and its variants), to see what potential they have in terms of exploring new modes of content creation and helping us re-examine our language pattern. This will be a practice + technique course – in the first half, we’ll focus on building good prompting practices, and in the second half, we’ll explore different image synthesis skills related to text-to-image AIs, use Python to train our own models to create customized visuals, and create animations from text. We’ll also discuss how such tools could intervene in the workflows of artists and technologists, what they can provide for researchers, and what are the caveats and things we should look out for when we’re creating with these AIs.
Pre-requisites: Introduction to Computational Media (ICM) or the equivalent.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Over the past few years, the unprecedented advancement in text-to-image artificial intelligence models has sparked widespread attention, discussion, and mainstream adoption of these innovative co-creative interfaces, which has resulted in novelty, excitement, and curiosity, as well as concern, anger, and insult. Alongside this, the booming open-sourced text-to-image model development contributes to expanding access to working with AI tools beyond experts, tech giants, and professional technologists.
In this 14-week course, we will go over the landscape of text-to-image AIs and dive deep into some of the most well known ones (such as Stable Diffusion and its variants), to see what potential they have in terms of exploring new modes of content creation and helping us re-examine our language pattern. This will be a practice + technique course – in the first half, we’ll focus on building good prompting practices, and in the second half, we’ll explore different image synthesis skills related to text-to-image AIs, use Python to train our own models to create customized visuals, and create animations from text. We’ll also discuss how such tools could intervene in the workflows of artists and technologists, what they can provide for researchers, and what are the caveats and things we should look out for when we’re creating with these AIs.
Pre-requisites: Introduction to Computational Media (ICM) or the equivalent.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Yuliya Parshina-Kottas Fri 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus Tags: dataviz, journalism, visualization |
This course is designed to provide an overview of visual storytelling in the newsroom. We will explore a variety of narrative formats and design principles, learn about reporting techniques for visual stories, touch on the best practices and ethics of journalism and work on collaborative exercises and assignments.
This course is designed to provide an overview of visual storytelling in the newsroom. We will explore a variety of narrative formats and design principles, learn about reporting techniques for visual stories, touch on the best practices and ethics of journalism and work on collaborative exercises and assignments.
Dan O'Sullivan Wed 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus
This class asks students to think about thinking. Based on first person introspection, meditation and readings in psychology, students will examine the experience of their minds. Then we look at how computation works as a medium to capture and share that experience. Class time is evenly divided between conceptual discussions around psychology of media, looking at student work and learning coding skills for the following week.
On the technical side, the class gently picks up from ICM moving away from P5 to create 2D interfaces with vanilla javascript in an environment of Visual Studio Code, Github and Copilot. It moves to 3D using the three.js library, and to 4D by adding persistence (and sharing) using Firebase databases. With machine learning APIs and optionally Python Colab Notebooks the class then moves into hyperdimensional space using embeddings to navigate and compare within it. Finally the class returns to 2D or 3D to reach your body using UMAP dimensions reduction and embodied interfaces like VR, ML5 or P5LiveMedia. These are all web technologies (game engines will not work for this class). Each week students are expected to produce a quick sketch playing with the tech and imagine its application as a tool of improved communication.
In tandem with this technical journey each week there are conceptual readings and prompts asking students about how the technology aligns with the way they think. In a short blog post students are asked to take a critical look for the shortcomings of existing computational media and for ways we can make better media for connecting people with a better understanding of the mind. At the end of the semester students work on a final project using some or all of the concepts and technologies from the class.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
This class asks students to think about thinking. Based on first person introspection, meditation and readings in psychology, students will examine the experience of their minds. Then we look at how computation works as a medium to capture and share that experience. Class time is evenly divided between conceptual discussions around psychology of media, looking at student work and learning coding skills for the following week.
On the technical side, the class gently picks up from ICM moving away from P5 to create 2D interfaces with vanilla javascript in an environment of Visual Studio Code, Github and Copilot. It moves to 3D using the three.js library, and to 4D by adding persistence (and sharing) using Firebase databases. With machine learning APIs and optionally Python Colab Notebooks the class then moves into hyperdimensional space using embeddings to navigate and compare within it. Finally the class returns to 2D or 3D to reach your body using UMAP dimensions reduction and embodied interfaces like VR, ML5 or P5LiveMedia. These are all web technologies (game engines will not work for this class). Each week students are expected to produce a quick sketch playing with the tech and imagine its application as a tool of improved communication.
In tandem with this technical journey each week there are conceptual readings and prompts asking students about how the technology aligns with the way they think. In a short blog post students are asked to take a critical look for the shortcomings of existing computational media and for ways we can make better media for connecting people with a better understanding of the mind. At the end of the semester students work on a final project using some or all of the concepts and technologies from the class.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Allison Parrish Mon 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
Data is the means by which we turn experience into something that can be published, compared, and analyzed. Data can facilitate the production of new knowledge about the world—but it can also be used as a method of control and exploitation. As such, the ability to understand and work with data is indispensable both for those who want to uncover truth, and those who want to hold power to account. This intensive course serves as an introduction to essential computational tools and techniques for working with data. The course is designed for artists, designers, and researchers in the humanities who have no previous programming experience. Covered topics include: the Python programming language, Jupyter Notebook, data formats, regular expressions, Pandas, web scraping, relational database concepts, simple data visualization and data-driven text generation. Weekly technical tutorials and short readings culminate in a self-directed final project.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Data is the means by which we turn experience into something that can be published, compared, and analyzed. Data can facilitate the production of new knowledge about the world—but it can also be used as a method of control and exploitation. As such, the ability to understand and work with data is indispensable both for those who want to uncover truth, and those who want to hold power to account. This intensive course serves as an introduction to essential computational tools and techniques for working with data. The course is designed for artists, designers, and researchers in the humanities who have no previous programming experience. Covered topics include: the Python programming language, Jupyter Notebook, data formats, regular expressions, Pandas, web scraping, relational database concepts, simple data visualization and data-driven text generation. Weekly technical tutorials and short readings culminate in a self-directed final project.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Jeffrey Feddersen Mon 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
Phil Caridi | Noah Pivnick Fri 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus
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.
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.
David Rios Mon 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
In this course students create digital musical instruments and do a live performance using them. Over the semester, we look at examples of current work by creators of musical interfaces, and discuss a wide range of issues facing technology-enabled performance – such as novice versus virtuoso performers, discrete versus continuous data control, and the relationship between musical performance and visual display. Readings and case studies provide background for class discussions on the theory and practice of designing controllers for musical performance. Students design and prototype a musical instrument – a complete system encompassing musical controller, algorithm for mapping input to sound, and the sound output itself. A technical framework for prototyping performance controllers is made available. Students focus on musical composition and improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where students (or invited musicians) will demonstrate their instruments. Prerequisites: ITPG-GT.2233 (Introduction to Computational Media) and ITPG-GT.2301 (Physical Computing)
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
In this course students create digital musical instruments and do a live performance using them. Over the semester, we look at examples of current work by creators of musical interfaces, and discuss a wide range of issues facing technology-enabled performance – such as novice versus virtuoso performers, discrete versus continuous data control, and the relationship between musical performance and visual display. Readings and case studies provide background for class discussions on the theory and practice of designing controllers for musical performance. Students design and prototype a musical instrument – a complete system encompassing musical controller, algorithm for mapping input to sound, and the sound output itself. A technical framework for prototyping performance controllers is made available. Students focus on musical composition and improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where students (or invited musicians) will demonstrate their instruments. Prerequisites: ITPG-GT.2233 (Introduction to Computational Media) and ITPG-GT.2301 (Physical Computing)
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
Daniel Shiffman Wed 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus Tags: programming, textual_analysis |
This course is a survey of programming strategies and techniques for the procedural analysis and generation of text-based data. Topics include analyzing text based on its statistical properties, automated text production using probabilistic methods, and text visualization. Students will learn server-side and client-side JavaScript programming and build single-page web applications as well as bots for social media networks. Additionally, this course will also include examples on how to interface with the latest open-source and commercial machine learning models for text and image generation. The writing of this course description may or may not have been assisted by one of these so-called “AI” models The course will include weekly homework coding exercises and an open-ended final project.
This course is a survey of programming strategies and techniques for the procedural analysis and generation of text-based data. Topics include analyzing text based on its statistical properties, automated text production using probabilistic methods, and text visualization. Students will learn server-side and client-side JavaScript programming and build single-page web applications as well as bots for social media networks. Additionally, this course will also include examples on how to interface with the latest open-source and commercial machine learning models for text and image generation. The writing of this course description may or may not have been assisted by one of these so-called “AI” models The course will include weekly homework coding exercises and an open-ended final project.
Pedro Galvao Cesar de Oliveira Thur 3:20pm to 5:50pm in Meetings:14
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4 pts |
Syllabus
Inspired by the Japanese art of Chindōgu, this class will introduce a playful and whimsical approach to learn industrial design.
In this 14-week studio format class, students will develop gadgets, inventions, and electronic devices that present absurd solutions to problems, while learning concepts and techniques of design ideation, prototyping, model making, CMF (color, material, and finishes), and manufacturing.
This is a production heavy four-credit course, where students will learn about industrial design and tangible interactions.
Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
Inspired by the Japanese art of Chindōgu, this class will introduce a playful and whimsical approach to learn industrial design.
In this 14-week studio format class, students will develop gadgets, inventions, and electronic devices that present absurd solutions to problems, while learning concepts and techniques of design ideation, prototyping, model making, CMF (color, material, and finishes), and manufacturing.
This is a production heavy four-credit course, where students will learn about industrial design and tangible interactions.
Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
Deqing Sun Fri 09:30am to 12:00pm in Meetings:14
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4 pts |
Syllabus
The most difficult part of prototyping is not the building process, but the process of deciding how to build. If we choose proper technology for prototypes, we can improve their robustness and simplicity.
This course will cover available and affordable technologies for ITP students to build prototypes. The course will start with soldering, wiring and LED basics. Then students will design an Arduino compatible board in Eagle, get it fabricated, assembled. And then using the debugger to dig deeper to understand how a microcontroller works.
The class will also cover multitasking, signal processing, communication, document writing and advanced skills beyond the Intro to Physical Computing class.
Each session will have lectures followed by in-class practices with guidance. The 14-week long assignment is called Do It Once – Do It Again. Bringing an idea or ongoing projects is highly encouraged.
This course requires Physical Computing or equivalent experience.
Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
The most difficult part of prototyping is not the building process, but the process of deciding how to build. If we choose proper technology for prototypes, we can improve their robustness and simplicity.
This course will cover available and affordable technologies for ITP students to build prototypes. The course will start with soldering, wiring and LED basics. Then students will design an Arduino compatible board in Eagle, get it fabricated, assembled. And then using the debugger to dig deeper to understand how a microcontroller works.
The class will also cover multitasking, signal processing, communication, document writing and advanced skills beyond the Intro to Physical Computing class.
Each session will have lectures followed by in-class practices with guidance. The 14-week long assignment is called Do It Once – Do It Again. Bringing an idea or ongoing projects is highly encouraged.
This course requires Physical Computing or equivalent experience.
Prerequisite: Intro to Phys. Comp. (ITPG-GT 2301)
Pedro Galvao Cesar de Oliveira Tues 6:00pm to 8:30pm in Meetings:14
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4 pts |
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.
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.
Digital tools of all kinds are deeply embedded in how our society operates. Innovations in basic communication, data processing, image manipulation, and even financial systems have transformed our social worlds and our artistic practice. This became even clearer and more present during the global pandemic, where, during times of social isolation, digital and networked tools almost fully replaced in-person social life.
This course will examine the ethical and esthetic implications of a digital and networked world through the lens of socially engaged art and explore how digital tools are and can be used in socially engaged art practice, where art and creative work intersect directly with people and civic life. This includes discussion of how digital and networked tools both increase and complicate physical, economic, and cultural accessibility, and the ethical and social implications of the newest technologies, including AI, Web3, and quantum computing.
We will work on how digital tools have been used in socially engaged art and how they could be used further, guided by the understanding that working digitally with socially engaged concepts means both using digital tools within projects AND interrogating the inner workings of how digital practices operate socially and culturally. We will also have some meetings and activities in public spaces, field trips to organizations such as Eyebeam and Genspace, and guest lecturers.
Please feel free to reach out to me directly if you have questions about taking the course, or the course content.
Digital tools of all kinds are deeply embedded in how our society operates. Innovations in basic communication, data processing, image manipulation, and even financial systems have transformed our social worlds and our artistic practice. This became even clearer and more present during the global pandemic, where, during times of social isolation, digital and networked tools almost fully replaced in-person social life.
This course will examine the ethical and esthetic implications of a digital and networked world through the lens of socially engaged art and explore how digital tools are and can be used in socially engaged art practice, where art and creative work intersect directly with people and civic life. This includes discussion of how digital and networked tools both increase and complicate physical, economic, and cultural accessibility, and the ethical and social implications of the newest technologies, including AI, Web3, and quantum computing.
We will work on how digital tools have been used in socially engaged art and how they could be used further, guided by the understanding that working digitally with socially engaged concepts means both using digital tools within projects AND interrogating the inner workings of how digital practices operate socially and culturally. We will also have some meetings and activities in public spaces, field trips to organizations such as Eyebeam and Genspace, and guest lecturers.
Please feel free to reach out to me directly if you have questions about taking the course, or the course content.
Daniel Rozin Wed 12:10pm to 2:40pm in Meetings:14
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4 pts |
Syllabus Tags: design, fabrication |
The ability to digitally fabricate parts and whole pieces directly from our computers or design files used to be an exotic and expensive option not really suitable for student or designer projects, but changes in this field in the past 5 years have brought these capabilities much closer to our means, especially as ITP students. ITP and NYU now offer us access to laser cutting, CNC routing, and 3D stereolithography. In this class, we will learn how to design for and operate these machines. Emphasis will be put on designing functional parts that can fit into a larger project or support other components as well as being successful on a conceptual and aesthetic level. In this class, we will discover methods to design projects on CAD applications for total control of the result, and we will develop algorithmic ways to create designs from software (Processing) to take advantage of the ability to make parts and projects that are unique, customizable, dependent on external data or random. The class will include 3 assignments to create projects using the three machines (laser, router, 3D) and the opportunity to work on a final project.
The ability to digitally fabricate parts and whole pieces directly from our computers or design files used to be an exotic and expensive option not really suitable for student or designer projects, but changes in this field in the past 5 years have brought these capabilities much closer to our means, especially as ITP students. ITP and NYU now offer us access to laser cutting, CNC routing, and 3D stereolithography. In this class, we will learn how to design for and operate these machines. Emphasis will be put on designing functional parts that can fit into a larger project or support other components as well as being successful on a conceptual and aesthetic level. In this class, we will discover methods to design projects on CAD applications for total control of the result, and we will develop algorithmic ways to create designs from software (Processing) to take advantage of the ability to make parts and projects that are unique, customizable, dependent on external data or random. The class will include 3 assignments to create projects using the three machines (laser, router, 3D) and the opportunity to work on a final project.
Tom Igoe Wed 09:30am to 12:00pm in Meetings:14
Tom Igoe Thur 3:20pm to 5:50pm in Meetings:14
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4 pts |
Syllabus
Interactive technologies seldom stand alone. They exist in networks, and they facilitate networked connections between people. Designing technologies for communications requires an understanding of networks. This course is a foundation in how networks work. Through weekly readings and class discussions and a series of short hands-on projects, students gain an understanding of network topologies, how the elements of a network are connected and addressed, what protocols hold them together, and what dynamics arise in networked environments. This class is intended to supplement the many network-centric classes at ITP. It is broad survey, both of contemporary thinking about networks, and of current technologies and methods used in creating them.
Prerequisites: Students should have an understanding of basic programming. This class can be taken at the same time as, or after, Intro to Computational Media or an equivalent intro to programming. Some, though not all, production work in the class requires basic programming. There is a significant reading component to this class as well.
Learning Objectives
In this class, you will learn about how communications networks are structured, and you will learn how to examine those structures using software tools. By the end of this class, you should have a working knowledge of the following concepts:
* The basics of network theory, some history of the internet and the organizations and stakeholders involved in its creation and maintenance
* The Open Systems Interconnect (OSI) model and standard internet protocols such as Internet Protocol (IP), Transmission Control Protocol (TCP) , Universal Datagram Protocol (UDP), and Hypertext Transport Protocol (HTTP).
* Network addressing, private and public IP addresses
* What hosts, servers, and clients are and a few ways in which they communicate
* What a command line interface (CLI) is and how to use the tools available in one
* The basics of internet security
* How telecommunications networks are similar to other infrastructural networks, like power and transportation, and how they are different.
Interactive technologies seldom stand alone. They exist in networks, and they facilitate networked connections between people. Designing technologies for communications requires an understanding of networks. This course is a foundation in how networks work. Through weekly readings and class discussions and a series of short hands-on projects, students gain an understanding of network topologies, how the elements of a network are connected and addressed, what protocols hold them together, and what dynamics arise in networked environments. This class is intended to supplement the many network-centric classes at ITP. It is broad survey, both of contemporary thinking about networks, and of current technologies and methods used in creating them.
Prerequisites: Students should have an understanding of basic programming. This class can be taken at the same time as, or after, Intro to Computational Media or an equivalent intro to programming. Some, though not all, production work in the class requires basic programming. There is a significant reading component to this class as well.
Learning Objectives
In this class, you will learn about how communications networks are structured, and you will learn how to examine those structures using software tools. By the end of this class, you should have a working knowledge of the following concepts:
* The basics of network theory, some history of the internet and the organizations and stakeholders involved in its creation and maintenance
* The Open Systems Interconnect (OSI) model and standard internet protocols such as Internet Protocol (IP), Transmission Control Protocol (TCP) , Universal Datagram Protocol (UDP), and Hypertext Transport Protocol (HTTP).
* Network addressing, private and public IP addresses
* What hosts, servers, and clients are and a few ways in which they communicate
* What a command line interface (CLI) is and how to use the tools available in one
* The basics of internet security
* How telecommunications networks are similar to other infrastructural networks, like power and transportation, and how they are different.
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