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Click here to expand all course descriptions
Anita Perr | Amy Hurst Tues 5:00pm to 7:50pm in Meetings:14
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3 pts |
This multidisciplinary course allows students from a variety of backgrounds to work together to learn about and develop assistive technology. Partnering with outside organizations, students will work in teams to identify a clinical need relevant to a certain clinical site or client population, and learn the process of developing an idea and following that through to the development of a prototype product.
This course provides an overview of some of the assistive technologies currently used by people with disabilities to participate in life’s activities, including those used for computer access, mobility, and activities of daily living (ADLs). Working in small groups, you will work with a mentor with a disability to solve a problem by creating a tech solution making the problem easier to deal with. We have a number of ongoing projects such as developing interactive activities to improve balance of preschoolers with hearing impairments and cochlear implants, or working with a deaf woman in Argentina to develop a tool that can allow her to participate in group discussions. Other projects may include working with people with physical and sensory disabilities. This course provides you your own evidence of the benefit of using client centered design with input from multiple professionals.
This multidisciplinary course allows students from a variety of backgrounds to work together to learn about and develop assistive technology. Partnering with outside organizations, students will work in teams to identify a clinical need relevant to a certain clinical site or client population, and learn the process of developing an idea and following that through to the development of a prototype product.
This course provides an overview of some of the assistive technologies currently used by people with disabilities to participate in life’s activities, including those used for computer access, mobility, and activities of daily living (ADLs). Working in small groups, you will work with a mentor with a disability to solve a problem by creating a tech solution making the problem easier to deal with. We have a number of ongoing projects such as developing interactive activities to improve balance of preschoolers with hearing impairments and cochlear implants, or working with a deaf woman in Argentina to develop a tool that can allow her to participate in group discussions. Other projects may include working with people with physical and sensory disabilities. This course provides you your own evidence of the benefit of using client centered design with input from multiple professionals.
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.
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
Melissa Jackson-Parsey Mon 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus
How do you get more teens to participate in sport? Ensure that generative AI tools don’t perpetuate bias? Or make the process of renting a car suck less? These are some the big, broad questions you’ll tackle as part of this course.
The format: Each week you’ll be tasked with a new, real-world challenge to address as part of a team. To help you, subject-matter experts in research, strategy and design will share valuable, relevant knowledge and frameworks for you to pressure-test. Your team will be expected to use these frameworks to break-down the problem, ideate quickly and present-back solutions. The form and shape of these solutions is for you to define. The only limitation is time.
The goal is to help you hone your skills through rapid, practical application, while also exposing you to new methodologies and expertise that can elevate your craft. Innovation is a practice, not just a process, and at the end of 7 weeks we hope you’ll be more confident approaching ambiguous questions and working with others to shape new, unexpected solutions.
We can’t predict the future, but we know the questions we’ll need to collectively solve will only become bigger, and more urgent. This is a bootcamp for everyone and anyone who’s up for taking them on.
How do you get more teens to participate in sport? Ensure that generative AI tools don’t perpetuate bias? Or make the process of renting a car suck less? These are some the big, broad questions you’ll tackle as part of this course.
The format: Each week you’ll be tasked with a new, real-world challenge to address as part of a team. To help you, subject-matter experts in research, strategy and design will share valuable, relevant knowledge and frameworks for you to pressure-test. Your team will be expected to use these frameworks to break-down the problem, ideate quickly and present-back solutions. The form and shape of these solutions is for you to define. The only limitation is time.
The goal is to help you hone your skills through rapid, practical application, while also exposing you to new methodologies and expertise that can elevate your craft. Innovation is a practice, not just a process, and at the end of 7 weeks we hope you’ll be more confident approaching ambiguous questions and working with others to shape new, unexpected solutions.
We can’t predict the future, but we know the questions we’ll need to collectively solve will only become bigger, and more urgent. This is a bootcamp for everyone and anyone who’s up for taking them on.
Mia Rovegno Mon 6:00pm to 8:30pm in Meetings:7-First Half
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2 pts |
Syllabus
This course introduces students to modalities for creating site-specific and immersive art and performance. Assignments will examine the work of artists who challenge the limitations of the physical, psychological and transactional spaces that have come to define conventional production models. Students will regularly receive prompts from which collaborative work will be workshopped, generated and presented. The sites and practices explored will de-center script/text as spine, institutional space as gathering place, linear storytelling as narrative, and separation between audience and artist as social contract. Through group performance projects and presentations, students will investigate how Site evokes Narrative and Event differently in brick & mortar, virtual, historic, liminal, dead, found, contested, democratized and community spaces. Our work will unpack the challenges and opportunities presented when we relinquish creative control of such unfixed elements as serendipity, impermanence, improvisation, audience agency, public space, weather, and pandemic.
This course introduces students to modalities for creating site-specific and immersive art and performance. Assignments will examine the work of artists who challenge the limitations of the physical, psychological and transactional spaces that have come to define conventional production models. Students will regularly receive prompts from which collaborative work will be workshopped, generated and presented. The sites and practices explored will de-center script/text as spine, institutional space as gathering place, linear storytelling as narrative, and separation between audience and artist as social contract. Through group performance projects and presentations, students will investigate how Site evokes Narrative and Event differently in brick & mortar, virtual, historic, liminal, dead, found, contested, democratized and community spaces. Our work will unpack the challenges and opportunities presented when we relinquish creative control of such unfixed elements as serendipity, impermanence, improvisation, audience agency, public space, weather, and pandemic.
Jeffrey Feddersen Mon 6:00pm to 8:30pm in Meetings:14
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4 pts |
Syllabus
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
“A computer is a clock with benefits” writes Paul Ford in Bloomberg’s issue dedicated to code. Time, at once fundamental and mysterious, is of course a basic part of any time-based media, but uniquely more so for programmed media that can evolve as it runs. In this course, we’ll reflect on the deep mysteries of time while also building hands-on skills that will improve our command of temporal media and technologies.
Specific topics will range from the marvelous engineering of historical clocks and orreries through modern computer architecture. We’ll draw inspiration from a technological tradition stretching back at least 2000 years to the Antikythera Mechanism that includes humanity’s earliest efforts to understand temporal patterns in nature. Practically, we’ll build mechanical and software clocks; experiment with time-series data and time protocols; and survey techniques for digital signal processing and software state transitions.
Students will improve their skills in:
– Extracting meaning from data in time-series sets, like sequential sensor readings in a physical computing project or a public API;
– Creating experiences with a beginning, middle and end; a narrative arc;
– Getting to the “metal” in microcontrollers and CPUs;
– Integrating real-time clock modules and network time protocols with projects;
– Using programmatic timelines and variable ‘tweening’ to add grace and sophistication to our creations
Students will execute production assignments throughout the semester. Students should have taken or be taking physical computing, a programming course, or have equivalent experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048) & Intro to Phys. Comp. (ITPG-GT 2301)
Joohyun Park Thur 6:00pm to 8:30pm in Meetings:7-First Half
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2 pts |
Syllabus
Your web browser is a digital canvas for 21st-century artists. While being one of the most common mediums today, web space has infinite possibilities for new aesthetics. This course covers Three.js fundamentals, providing students with the skills and insights to create arts in web 3D.
This course requires ICM or equivalent coding experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
Your web browser is a digital canvas for 21st-century artists. While being one of the most common mediums today, web space has infinite possibilities for new aesthetics. This course covers Three.js fundamentals, providing students with the skills and insights to create arts in web 3D.
This course requires ICM or equivalent coding experience.
Prerequisite: ICM / ICM: Media (ITPG-GT 2233 / ITPG-GT 2048)
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.
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)
Dave Derby | Heidi Brant Thur 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus Tags: design, design_research, design_thinking, groupwork, ideate, iterate, prototyping, scenario_planning, service, service_design, strategic_thinking, ux |
This course will focus on a range of human-centered design research and innovation workshop methodologies including Design Thinking, LEGO Serious Play, Lean UX, Google Ventures Sprints, Gamestorming, Futurecasting, and Service Design. Students will look for design opportunities within the unprecedented challenges that we are currently facing as global citizens. Students will define a problem space based on the drivers that they’re most interested in exploring and will have the option to work alone or form small design research teams. They will learn how to conduct primary and secondary research, creating deliverables such as personas, journey maps, concept canvasses, and prototypes. Students will be required to apply design research approaches and workshop methodologies, develop and test a rapid prototype and then share their work in a final presentation.
This course will focus on a range of human-centered design research and innovation workshop methodologies including Design Thinking, LEGO Serious Play, Lean UX, Google Ventures Sprints, Gamestorming, Futurecasting, and Service Design. Students will look for design opportunities within the unprecedented challenges that we are currently facing as global citizens. Students will define a problem space based on the drivers that they’re most interested in exploring and will have the option to work alone or form small design research teams. They will learn how to conduct primary and secondary research, creating deliverables such as personas, journey maps, concept canvasses, and prototypes. Students will be required to apply design research approaches and workshop methodologies, develop and test a rapid prototype and then share their work in a final presentation.
Ami Mehta Thur 6:00pm to 8:30pm in Meetings:7-Second Half
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2 pts |
Syllabus
How can motion capture (MoCap) be used to archive, preserve, and share intangible heritage forms, such as performing arts, rituals, and other social practices and traditions? This course approaches motion capture through the lens of ethnography — drawing on techniques of observation, participation, and qualitative design research. This class will offer an overview of different motion capture technologies, such as 2D-3D pose estimation and depth mapping, with a practical focus on learning the OptiTrack system at ITP. We will start by covering the basics of OptiTrack and build up to other workflows and techniques used across animation, game design, and virtual production (e.g. OptiTrack to Unreal Engine or Unity).
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
How can motion capture (MoCap) be used to archive, preserve, and share intangible heritage forms, such as performing arts, rituals, and other social practices and traditions? This course approaches motion capture through the lens of ethnography — drawing on techniques of observation, participation, and qualitative design research. This class will offer an overview of different motion capture technologies, such as 2D-3D pose estimation and depth mapping, with a practical focus on learning the OptiTrack system at ITP. We will start by covering the basics of OptiTrack and build up to other workflows and techniques used across animation, game design, and virtual production (e.g. OptiTrack to Unreal Engine or Unity).
Prerequisite: CL: Hypercinema (ITPG-GT 2004)
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