The Venture Studio, with support from the Chicago Innovation Exchange and Kickstarter, will examine contemporary art and design entrepreneurship. The course will provide instruction and resources for student project teams to research and develop artworks, objects, environments, products, systems and services for Kickstarter funding campaigns. Class work culminates in candidate projects being reviewed for business incubation, toward launch, at the Chicago Innovation Exchange. Portfolio application is required for this course. Please go to Slideroom at https://saicscholarships.slideroom.com/#/login.

This course prepares students to start and manage arts businesses and/or organizations, blending techniques of for-profit and non-profit management so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. We survey the entrepreneurial practices of the for-profit sector, as well as the mission-driven operations of the nonprofit sector. Students learn the basics of how to strategically develop a business plan and successfully implement it. Skill Sets Learned include: writing a brief business plan with an understanding of the components and activities that are important to a plan; choosing among the different legal forms for a business, considering which is most appropriate for your business at a particular stage; basic staff management, interviewing, hiring, and directing; designing and implementing a Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); understanding the basic terminology and documentation for Accounting and Financial Records; familiarity with the basics of Contracts and Intellectual Property so as to protect you and your creative work; understanding of the basic principles of Economics which affect your business; seeking business loans or investors, knowing potential sources as well as terminology and provisions; selecting appropriate business Insurance; and, making prudent business and staff decisions based on appropriate Business Ethics.

This course prepares students to start and manage arts businesses and/or organizations, blending techniques of for-profit and non-profit management so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. We survey the entrepreneurial practices of the for-profit sector, as well as the mission-driven operations of the nonprofit sector. Students learn the basics of how to strategically develop a business plan and successfully implement it. Skill Sets Learned include: writing a brief business plan with an understanding of the components and activities that are important to a plan; choosing among the different legal forms for a business, considering which is most appropriate for your business at a particular stage; basic staff management, interviewing, hiring, and directing; designing and implementing a Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); understanding the basic terminology and documentation for Accounting and Financial Records; familiarity with the basics of Contracts and Intellectual Property so as to protect you and your creative work; understanding of the basic principles of Economics which affect your business; seeking business loans or investors, knowing potential sources as well as terminology and provisions; selecting appropriate business Insurance; and, making prudent business and staff decisions based on appropriate Business Ethics.

This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

DIY has become a widespread movement in the artistic community. Modifying, tinkering, tweaking and downright hijacking have become a commonplace practice among today?s artists. Many everyday electronic objects are yearning to be liberated from their banal existences. This course explores readily available materials with a goal of bringing out the hidden aesthetic potentials of electronic devices. Students dig beneath the shiny surfaces to uncover underlying workings, principles and mechanisms. Class projects result in new artworks by reanimating the physical presences and behaviors of the reassembled artifact.

Electronics can be a kind of language that, when an artist becomes fluent in it, opens doors to numerous aesthetic possibilities. Students will learn the basic principles of electronics along with hands-on techniques for putting the power of electrons into their work. They will be introduced to electronic components and circuits for switching, sensing, making decisions, and, to a limited degree, linking to computers. Students will encounter digital and analog answers to some of the most common art-making needs, gaining a foundation which will enable them to continue to expand their repertoire of aesthetic technological skills.

Writing in the twenty-first century is computational, writes literary critic N. Katherine Hayles. While this is true, she explains, of any work that uses digital software as its production environment before being output to print, it is particularly evident in works of electronic literature that are designed to be encountered on the computer screen. The practitioner of electronic writing is an author who combines human language and computer code to create new kinds of literary experience. Works of electronic literature can exceed the possibilities of print in their scale, dynamic variability, visual and temporal qualities, and attentiveness to the reader. The environment of the network (internet) also provides new opportunities for collaboration and sampling of found material. In this writing studio, we will survey varied forms of electronic literature including interactive hypertext / hypermedia, multi-user environments, codeworks, e-poetry, writing for virtual reality, and text-driven digital performance. Students will engage the potential of computational literature by creating original works using a variety of web-based programming languages taught in the weekly sessions. No previous programming experience is required.

Once a centralized, monolithic system, the computer has shrunk and transformed itself into the mobile, wireless devices that ride in our pockets. Smart-phones and tablets with built-in web browsers, cameras, GPS trackers and a growing list of sensors, 'smart' badges and clothes, all are components of an emerging area of so-called ubiquitous computing. In marketing rhetoric and in actuality, these technologies have the potential to alter the way we think about space in paradoxical ways elevating the personal space of the individual, celebrating constant movement in physical space, while erasing the distinctions between geographic locales. These technologies offer new possibilities for artists, a mode of presentation that is intimate and personal, a tool for creating networks, a way to explore the boundaries between physical and virtual spaces. Students explore ways to create art with wireless devices and networks as they are introduced to programming tools for wireless platforms.

In BioArt studio students participate in classroom exercises and individual projects exploring the manipulation of living matter as artistic material. The basic protocols of molecular biology will serve as departure points for study of more sophisticated and advanced techniques utilized by artists and scientists. Together we will examine food, microbes, plants, human and non-human animals, through methods of observation, imaging, listening, scientific experiments and analysis. No previous laboratory experience required.

Teaches the design, construction and programming of robotic projects, both artworks and designed objects, such as interactive furniture, objects, and habitable spaces. Topics to be covered include sensors, embedded micro-controllers, and motor control, lighting, etc. Student projects ranging from embedded interactive devices to autonomous spatial object-scaled, will be designed and built with a critical approach to normal market forces and human factors. Discussions investigate a range of robotic endeavors, examining connections with related fields such as interaction design, artificial intelligence, kinetic sculpture, etc., and critically examine works embodying these strategies.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

Art therapy considers many aspects of the interplay of art and the human experience: health, suffering, healing, and creativity. This course will entail the viewing and making of videos to investigate and critique these and related issues. Students will explore the documentary and educational potential of video, its use as a clinical tool, and its capacity as a medium for personal creative expression within the context of art therapy and beyond. Reading, discussion, AV presentations, and digital video production constitute the structure of this class.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making; and how image and sound should be considered at the inception of each piece. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.

Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making; and how image and sound should be considered at the inception of each piece. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.

Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making; and how image and sound should be considered at the inception of each piece. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.

This introductory course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web-based technologies are introduced from the perspective of media art making. New media works are screened, discussed and demonstrated.

This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed.

This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed.

Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prior enrollment in FILM 2003 is recommended.

Publishing yourself and publishing others will both be addressed in a start-to-finish manner as we cover the key aspects of publishing as a creative enterprise, from pitching and editing to fundraising and promotion. We will look at various historical and current models for both digital and print publications as students develop and produce their own publishing projects.

Artists usually don't think in a linear manner -- there are no specific steps to making art and certainly no rules. Business, on the other hand, is relatively specific -- there are ways to do things and there definitely are rules to follow that are both legal and financial. It's probably easier to teach an artist how to make a business plan than teach someone with an MBA how to make. However, there are many times in business when that intuitive/creative/non-linear capacity is exactly what is required to make the right business decision. A union of the two approaches is optimal. This is high-functioning right brain and left brain integration. When an artist gains business skills, the possibilities multiply, both for entrepreneurial ideas and for the understanding of how the business of the art world itself operates. This is a pragmatic, real-world, hands-on course taught by an artist and a lawyer, giving students the basic skills for thinking about life after art school in all of its varied potentials. Artists who have either been successful in a business or who have creatively used their business smarts to actualize a conceptual idea will share with the class how they did it. This is a course that will benefit students' careers and their understanding of how business smarts are an essential tool for functioning in the 21st century art world.

Using the Columbus building courtyard and garden as a classroom, students will consider ways that humans, plants, architecture, designed objects and materials are enmeshed in complex ecological systems. We will work to more deeply illuminate human and nonhuman relationships through readings, field trips, presentations and the collaborative production of work. During this spring term we will set out to achieve a goal: to sit together on the final day of class and share a meal. To achieve this goal, we will research the history of the table across cultures, consider the history and production of table wear and the materials from which they are made, design and construct a table and shelter using reclaimed materials imbued with history, consider the ritual and craft processes of building as a performed gesture, and research the botanical history of, grow and forage our own plants to eat.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

Students in this course will design and produce visual communication via the letterpress method, with emphasis upon the integration of materials, structure, and content within visual/verbal formats such as single sheets, traditional books, artist's books, and 3-D sculptural multiples. Instruction encourages an interdisciplinary approach with a thrust toward expanding the media's boundaries. Lectures and video documentaries provide a historical and cultural context for type design and the printing revolution. Field trips provide exposure to the expanding applicability of letterpress in contemporary design. This course may be repeated for credit, to allow intermediate and advanced undergraduate and graduate students the opportunity to broaden and refine their skills through technical and theoretical problem-solving that focuses on the creation of meaning through independent, self-structured projects.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This studio travel course takes place is Japan and Chicago and is sponsored by the Tokyo University of the Arts. The course pairs Japanese and American students to examine cultural constructions of the real by examining and interrogating the garden as a semblance of nature. As a cultural expression, the concept of the garden reveals much about a culture?s history, values and aesthetics. The course will lead students to conduct primary and secondary research in Japanese and American public gardens, establishing and assembling a critical understanding of our interests and goals in capturing, organizing and nurturing plants for public display. Students will develop a project based on their research and cross-cultural experiences. Throughout the course, readings, workshops and discussions will encourage students to develop a critical position on the garden as a manifold cultural expression: a site as well as a concept, with implications and aesthetics specific to the Japanese and American contexts. As students interpret the cross-cultural concept of the garden, they will develop their artistic ideas, with an emphasis on the social and relational aspects of our research sites. Students will work in the medium of their choice, including but not limited to installation, film, 2D or 3D works. Students will exhibit their work in a group exhibition on site in the Ritsurin Garden, Takamatsu.

Moving between the classroom and the city, students in Art on Location will meet artists working in varied capacities through institutions, neighborhoods, and spaces. The course centers on guest artists to offer students a lens through which they can engage the implications and complications of working with communities and place. As a special feature, during the first week, acclaimed filmmaker Beatriz Santiago Mu?oz (MFA 1997), will introduce students to her upcoming project focusing on members of FALN (Fuerzas Armadas de Liberacion Nacional), a clandestine military anti-colonial group that operated from Chicago as well as New York and Puerto Rico in the 1970?s and 80?s. Using this project as an open case study, the class will consider the relations of a sensorial unconscious to colonialism and between formal experimentation and the transformation of subjectivity. In the remaining weeks students will carry these ideas forward by examining other case studies in Chicago's history of social practice and community engaged art. The course also features three visiting artists, currently based in Havana, Cuba, who pose questions of translation between time and cultural context. Students will directly interview contemporary practitioners and interrogate the language currently used within the field.

This studio travel course takes place is Japan and Chicago and is sponsored by the Tokyo University of the Arts. The course pairs Japanese and American students to examine cultural constructions of the real by examining and interrogating the garden as a semblance of nature. As a cultural expression, the concept of the garden reveals much about a culture?s history, values and aesthetics. The course will lead students to conduct primary and secondary research in Japanese and American public gardens, establishing and assembling a critical understanding of our interests and goals in capturing, organizing and nurturing plants for public display. Students will develop a project based on their research and cross-cultural experiences. Throughout the course, readings, workshops and discussions will encourage students to develop a critical position on the garden as a manifold cultural expression: a site as well as a concept, with implications and aesthetics specific to the Japanese and American contexts. As students interpret the cross-cultural concept of the garden, they will develop their artistic ideas, with an emphasis on the social and relational aspects of our research sites. Students will work in the medium of their choice, including but not limited to installation, film, 2D or 3D works. Students will exhibit their work in a group exhibition on site in the Ritsurin Garden, Takamatsu.

Positioned within and beyond the Columbus building courtyard and gardens, KLab: Assemblages will look to related organisms, and organizations, to investigate the complex material and social assemblages that form Chicago?s urban ecosystem. Looking to the class environment as its own assemblage, students will be encouraged to pursue both individual research interests and methods of collective inquiry as we investigate materials histories, contemporary conditions, and speculative futures. Class projects will encourage investigation of the sticky conglomerations that form when position ourselves among and between communities of human and nonhuman organisms, considering such complex systems as photosynethesis and solar energy production, rhetoric and realities of invasive species, and material as media. These discussions will also take a critical look at interdisciplinary and collaboration in contemporary artistic practices. Integrating critical readings, lectures, presentations, field trips, skill-building workshops, and discussions, students will be asked to design and build sculptural structures and surfaces that propose new forms of social and ecological engagement. There will be at least one group project with opportunity for students to design their own contribution.

The Venture Studio, with support from the Chicago Innovation Exchange and Kickstarter, will examine contemporary art and design entrepreneurship. The course will provide instruction and resources for student project teams to research and develop artworks, objects, environments, products, systems and services for Kickstarter funding campaigns. Class work culminates in candidate projects being reviewed for business incubation, toward launch, at the Chicago Innovation Exchange. Portfolio application is required for this course. Please go to Slideroom at https://saicscholarships.slideroom.com/#/login.

'Resistance' is both the subject and the object of this course title, both product and producer. We will look both at how resistance is produced, and at what is produced by resistance: images, texts, actions. Is there an aesthetics of resistance? Does art truly serve as resistance? Let's be skeptical of the claim that artists are forever at the forefront of rebellion. Art and artists will have to provide evidence of their revolutionary bona fides.

This course prepares students to start and manage arts businesses and/or organizations, blending techniques of for-profit and non-profit management so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. We survey the entrepreneurial practices of the for-profit sector, as well as the mission-driven operations of the nonprofit sector. Students learn the basics of how to strategically develop a business plan and successfully implement it. Skill Sets Learned include: writing a brief business plan with an understanding of the components and activities that are important to a plan; choosing among the different legal forms for a business, considering which is most appropriate for your business at a particular stage; basic staff management, interviewing, hiring, and directing; designing and implementing a Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); understanding the basic terminology and documentation for Accounting and Financial Records; familiarity with the basics of Contracts and Intellectual Property so as to protect you and your creative work; understanding of the basic principles of Economics which affect your business; seeking business loans or investors, knowing potential sources as well as terminology and provisions; selecting appropriate business Insurance; and, making prudent business and staff decisions based on appropriate Business Ethics.

This course prepares students to start and manage arts businesses and/or organizations, blending techniques of for-profit and non-profit management so that students can see the similarities and differences between the two types of organizations which comprise the field of arts administration. We survey the entrepreneurial practices of the for-profit sector, as well as the mission-driven operations of the nonprofit sector. Students learn the basics of how to strategically develop a business plan and successfully implement it. Skill Sets Learned include: writing a brief business plan with an understanding of the components and activities that are important to a plan; choosing among the different legal forms for a business, considering which is most appropriate for your business at a particular stage; basic staff management, interviewing, hiring, and directing; designing and implementing a Marketing strategy using the 5Ps approach (Product, Price, Packaging, Promotion, and Place); understanding the basic terminology and documentation for Accounting and Financial Records; familiarity with the basics of Contracts and Intellectual Property so as to protect you and your creative work; understanding of the basic principles of Economics which affect your business; seeking business loans or investors, knowing potential sources as well as terminology and provisions; selecting appropriate business Insurance; and, making prudent business and staff decisions based on appropriate Business Ethics.

A rapidly increasing variety of objects in everyday life are acquiring an awareness of their environments, a repertoire of behaviors, and the ability to communicate with other objects, their owners, or, through networks, with more comprehensive integrated systems. This class explores the design processes, skills, and tools necessary to thrive in this exciting creative domain. The course incorporates substantial hands-on development experience in a lab environment. Students will conceptualize, prototype, and build working objects that respond to and cooperate with their owners and with each other.

This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.

This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.

This course offers an exploration of computer-aided design and manufacture from concept and modeling through file creation and cutting processes, and addresses the aesthetic and critical concerns of its use in an artistic context. Using professional software and a state of the art four-axis CNC milling machine, students ranging from artists and beyond can build the elements of detailed models, fabricate a range of finished objects, or even create entire pieces. Class sessions will include hands-on tutorials in the use of software and machinery, examination and critique of art and design utilizing this technology, and class discussions informed by reading assignments. Students are REQUIRED to have a personal laptop.

This course explores the use of radio, light and sound as media through which an artist can create a public voice. This course takes a hands-on, do-it-yourself approach to these media, providing a basic background in electronics theory and practice, as well as in programming and use of microcontrollers. Topics covered in this course include, but are not limited to, low-power radio, locative media, hactivism and culture-jamming. Some examples of activities include the construction of AM/FM radio transmitters and receivers, laser projectors, persistence-of-vision displays and mobile audio rigs. A survey of the artistic significance of these media will be conducted throughout the course. Students are expected to research and present their findings in class, as well as to produce a personal or collaborative final project that augments their own practices.

While there has been neon animation almost as long as there has been neon, the technology has, until recently, been unchanged. Until the advent of simple microprocessors and solid state transformers, the potential remained untapped. Students learn basic programming and circuit design skills with an emphasis on time and motion studies.

Electronics can be a kind of language that, when an artist becomes fluent in it, opens doors to numerous aesthetic possibilities. Students will learn the basic principles of electronics along with hands-on techniques for putting the power of electrons into their work. They will be introduced to electronic components and circuits for switching, sensing, making decisions, and, to a limited degree, linking to computers. Students will encounter digital and analog answers to some of the most common art-making needs, gaining a foundation which will enable them to continue to expand their repertoire of aesthetic technological skills.

Constructing art objects that incorporate real or apparent motion often requires skills in a number of areas: physical shaping and fastening of elements, linking them to an actuator (such as a motor), and controlling the motion, most typically through electronics. This course will give students a grounding in all these techniques as well as initiate a discussion of some of the problems and possibilities inherent in the aesthetic use of motion.

This course focuses on wearables and 'soft' computing as a vehicle for subversion and artistic appropriation. Readings emphasize theoretical discourse on the relationships of the body, technology, fashion, social interactions and environment. Concepts are developed, designed and prototyped into working pieces by participants addressing personal expression and social dialog. Soft circuits (conductive paint, fabric, etc), new and recycled materials are explored in the development of expressive computational forms.

In BioArt studio students participate in classroom exercises and individual projects exploring the manipulation of living matter as artistic material. The basic protocols of molecular biology will serve as departure points for study of more sophisticated and advanced techniques utilized by artists and scientists. Together we will examine food, microbes, plants, human and non-human animals, through methods of observation, imaging, listening, scientific experiments and analysis. No previous laboratory experience required.

This course is a creative laboratory for experiments that foreground poetics as a model for the arrangement and performance of any number of potential forms. We will frame our work and discourse in relation to practices including hypertext, code poetry, text generation, mixed reality poetics, and bio-poetry as we discover and develop unique interdisciplinary projects. Open to a multiplicity of influences and outputs, text-oriented or otherwise, the course is appropriate to artists with an interest in language, code and systems.

Video game music spans and pushes the boundaries on music both popular and avant-grade. Music contextualizes the events of a game, and sound effects emphasize particular actions and ambiences. Through composition assignments and critiques, students will hone sound and music production skills and learn about the design concerns of writing music and creating effects for games. Listening assignments draw from the body of alt, indie, art, and AAA games. Class discussion breaks down how assigned material is constructed and contributes to its game. The class uses Logic Pro, but any Digital Audio Workstation is fine. Background in sound/music production, theory, or performance recommended.

Data Viz Collaborative is a class that will be team taught in the fall of 2014 by a group of interdisciplinary faculty based at both the School of the Art Institute of Chicago (SAIC) and Northwestern University (NU). The course has two primary goals: (1) to establish a critical dialogue about information visualization across multiple disciplines and (2) to engage students in collaborative research on information visualization using existing data sets. The first goal will be accomplished by engaging students in a series of short lectures delivered by both the science and studio faculty that discuss how images that picture complex data sets help move their own research projects forward or how images might enhance/problematize/critique/promote new knowledge acquisition in science, art, and/or design. The second goal is addressed by inviting students to join one of two research teams, which meet weekly to collectively work on a large data set to experiment with translation of numeric information into various forms. Open to both undergraduate and graduate students from either institution, the course will culminate in a group exhibition in the Neiman Center. To register for this class you must apply for a space via a SlideRoom: https://saicscholarships.slideroom.com/#/permalink/program/20388/XddAHLLTGu Any student who has never used SlideRoom before will have to create a unique user login.

Professional Practice: Web Art is a course that combines creative and practical knowledge related to web site development. Launched in 1989 as a remote file sharing system for scientists, the World Wide Web is nearly thirty years old. Today, the web functions as an exhibition space, a communications hub as well as a nexus for creative expression. Students in the Web Art class will learn the Hypertext Mark-Up Language (HTML), which is the basis of WWW authoring. Potential overall format and conceptual frameworks for developing a media-rich web site will be investigated, and ways of subverting the traditional web page format in order to create unique approaches to the dynamics of the web will be explored. Course activities include technical tutorials, preparation of a CV, writing of a project statement, and the creation of a web site.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

This is an entry-level experiential class which explores and implements concepts from art therapy and related fields. The course presents a blend of approaches including Eastern traditions, Jungian psychology, and other sources. Studio work and writing will be used as tools to understand and cultivate the discipline of self-awareness. The class will be structured as a community of participants engaging in and studying the phenomenon of the creative process. Each class meeting will involve art making and writing as well as discussion of ideas based on readings and experiences. This course is for anyone wanting to explore the relationship between art and life, self, other, and community in experiential and theoretical ways within an art therapy framework. It will be of value to those considering working with others using art, such as teachers or art therapists, as well as for those who may wish to establish art and/or writing as a form of practice and discipline in their lives. Open to all students.

Art therapy considers many aspects of the interplay of art and the human experience: health, suffering, healing, and creativity. This course will entail the viewing and making of videos to investigate and critique these and related issues. Students will explore the documentary and educational potential of video, its use as a clinical tool, and its capacity as a medium for personal creative expression within the context of art therapy and beyond. Reading, discussion, AV presentations, and digital video production constitute the structure of this class.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

Students are introduced to a full range of fiber/fabric equipment, materials, processes, forms, and philosophy, including surface design on fabric, weaving, and hand construction techniques. Both traditional and nontraditional approaches to process and materials are explored, while conceptual and historic issues are discussed using the resources of artists, galleries, and museums within Chicago.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

This seminar is designed to introduce the student to the language of the moving image, its history and the ways in which artists have used moving images in this century. The course will explore the idea of radical contecnt and experimental form by establishing the normative models and procedures of cinema and video, and then showing the ways artists have challenged these conventions. The course will define and differentiate the two dominant forms of mocing image: film and video, and begin a consideration of new and expanding forms for the moving image. The course is a prerequesite to both Film I and Video I and intends to introduce the student to the moving image through a series of group excercises.

Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making; and how image and sound should be considered at the inception of each piece. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.

Sonics and Optics is an intensive study of lenses, optics, sensors, stocks, materials, laboratory processes, microphones, and recorders as essential tools in film/video making; and how image and sound should be considered at the inception of each piece. Throughout the semester students will learn the fundamentals of a lens (focal length, aperture), its relationship to the camera (shutter, ISO), and aesthetic options available. The course will offer the same immersive perspective of sound technologies; including choosing microphones (stereo, cardioid, shotgun, contact, etc), recording options (sound device, field recorder, mixing board), and methods of field recording. This course is an essential technical base for all advanced moving image work.

This introductory course focuses on screen-based new media works, their historical contexts, their specific aesthetics and theoretical concerns. Students gain an understanding of the emerging culture and historical antecedents of new media. Interactive, network and web-based technologies are introduced from the perspective of media art making. New media works are screened, discussed and demonstrated.

This course introduces video as a medium for artistic expression and social inquiry. Students gain an understanding of the video image-making process and develop proficiency with video equipment, including portable and studio production and editing systems. Strategies for the use of video as an art-making tool are explored. Works by video artists are viewed and discussed.

Filmmakers often run into a problem of depending too much on equipment. This makes one believe that it is impossible to be creative without elaborate 'tools.' Artists of film can produce images in any circumstance-with or without complicated tools. If a filmmaker understands the process and mechanism of how images can be generated, equipment can be as minimal as one paper clip. This class is designed to introduce a variety of skills and ideas to make images with simple tools. Students are encouraged to make their own equipment to produce their own image effects. The course mainly focuses on reproduction of images without using large equipment. Some of the ideas introduced in this course are making images without camera and/or lenses; animation; pixilation; time exposure; time lapse; images using slides, stills, and newspapers; all phases of in-camera effects; rephotographing frames; printing in camera; optical printing; and contact printing. Prior enrollment in FILM 2003 is recommended.

This advanced-level production course introduces students to two methodologies of large-scale moving-image making--hierarchical and collaborative. Following a project-selection process based on a submitted student proposals/scripts, students will perform roles as part of a production team, shifting responsibilities between 2 selected projects. Projects created will explore pre-production and production in traditional or hybrid narrative, documentary, experimental and/or installation-based forms. The course will include site-visits and in-class visits from production and curatorial specialists.

This course introduces students to the use of RISOgraph image duplication as a creative, independent publishing tool. Attention will be paid to ways artists' publishing has publishing has been used to bypass traditional cultural and institutional gatekeepers, to foster community, as well as the distribution of independent ideas and content. Studio work will be supplemented with readings, visits to SAIC special collections and class discussion addressing contemporary and modern artists. Studio experimentation and research will be encouraged.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.

This course, emphasizing use by the student artist, introduces the practical applications of sound equipment, techniques, and theory. Subjects covered include microphones, amplifiers, loudspeakers, the basic physics of sound, and magnetic tape recordings and associated skills. The concept of sound as a material with basic structural properties that may be manipulated is introduced. Students explore methods of composition, using various sound materials in assigned projects. A critical survey of sound art and experimental music introduces students to various approaches to understanding and experiencing sound within an art context. Students have studio time for individual hands-on access to equipment. No technical background is necessary.