DIY

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.

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.

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.

Few artists can become experts in every system and language necessary for their work, but that is no reason to limit creative vision. Students can join with screen-based, responsive or electronic projects already in mind or develop projects during the course. Stuents develop the ability to evaluate their programming needs and learn to confidently teach themselves to use and connect the specific components they need.

Through hands-on experience, students are introduced to the wide range of motors and actuators available for integration in art projects. This course looks at various forms of motor control, and the necessary means to power these devices, including DC and AC motors, pneumatics, solenoids, electromagnets and stepper motors. In workshops students learn to utilize various mechanical devices and fabricate necessary connections. Ultimately students will develop a project that incorporates one or more of the devices covered in class. How artists and scientists utilize these motion systems is investigated through video screenings and discussions.

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.

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.

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.

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.

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.

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.

This class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

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.

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.

Through hands-on experience, students are introduced to the wide range of motors and actuators available for integration in art projects. This course looks at various forms of motor control, and the necessary means to power these devices, including DC and AC motors, pneumatics, solenoids, electromagnets and stepper motors. In workshops students learn to utilize various mechanical devices and fabricate necessary connections. Ultimately students will develop a project that incorporates one or more of the devices covered in class. How artists and scientists utilize these motion systems is investigated through video screenings and discussions.

Art on Location: Materials Lab will explore the sculptural potential of both traditional and innovative materials. Beginning with a series of exercises that delve into the physical and chemical properties of material on a micro level, the class will weekly broaden its scope to consider the function and meaning of material systems on a macro scale. Part alchemy, part research, part hands-on material exploration, the class will look at both the physical properties of materials and their interconnected meaning (social, political, personal, scientific, sculptural, historical, etc.).

How do artists, designers and others generate new knowledge? How do breakthrough innovations occur? How can new knowledge come from collaborative research and trandisciplinary inquiry? In today's world of such extraordinary complexity, what are the limits of individual research and singular disciplinary practice and how can alliances outside the art world be made? What is research-based art practice and how can it generate new knowledge? Through readings, discussions, case studies, and in conversation with thinkers in other fields, students will look at knowledge, innovation, and research, both as topics and processes. This collaborative community of inquiry will identify important subjects (such as technology, energy, waste, alternative economies, and urban issues), undertake in-depth research, and formulate transdisciplinary projects aimed at the production of new knowledge which can make a meaningful contribution to the future.

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.

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.

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.

Chicago has played a huge role in what we have come to know today as socially engaged art practice. This much-debated genre is nonetheless here to stay, contending with needs of our world, while addressing essential questions of artmaking. Chicago's historical trajectory and the omnipresence of work today offer lessons not just here but in the international arena. Join in probing the strategies and ethics of this practice. Visit the city in a new way and hear others who take a moment to reflect with us in the classroom. Participate in shaping SAIC?s 2014 Chicago Social Practice initiative of publications and exhibitions. Extensive readings form a base for making new contributions. Professor Jacob has organized some of the seminal exhibitions and projects in the social practice field and written extensively on the subject.

Chicago has played a huge role in what we have come to know today as socially engaged art practice. This much-debated genre is nonetheless here to stay, contending with needs of our world, while addressing essential questions of artmaking. Chicago's historical trajectory and the omnipresence of work today offer lessons not just here but in the international arena. Join in probing the strategies and ethics of this practice. Visit the city in a new way and hear others who take a moment to reflect with us in the classroom. Participate in shaping SAIC?s 2014 Chicago Social Practice initiative of publications and exhibitions. Extensive readings form a base for making new contributions. Professor Jacob has organized some of the seminal exhibitions and projects in the social practice field and written extensively on the subject.

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 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 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.

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 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.

Chicago has played a huge role in what we have come to know today as socially engaged art practice. This much-debated genre is nonetheless here to stay, contending with needs of our world, while addressing essential questions of artmaking. Chicago's historical trajectory and the omnipresence of work today offer lessons not just here but in the international arena. Join in probing the strategies and ethics of this practice. Visit the city in a new way and hear others who take a moment to reflect with us in the classroom. Participate in shaping SAIC?s 2014 Chicago Social Practice initiative of publications and exhibitions. Extensive readings form a base for making new contributions. Professor Jacob has organized some of the seminal exhibitions and projects in the social practice field and written extensively on the subject.

Chicago has played a huge role in what we have come to know today as socially engaged art practice. This much-debated genre is nonetheless here to stay, contending with needs of our world, while addressing essential questions of artmaking. Chicago's historical trajectory and the omnipresence of work today offer lessons not just here but in the international arena. Join in probing the strategies and ethics of this practice. Visit the city in a new way and hear others who take a moment to reflect with us in the classroom. Participate in shaping SAIC?s 2014 Chicago Social Practice initiative of publications and exhibitions. Extensive readings form a base for making new contributions. Professor Jacob has organized some of the seminal exhibitions and projects in the social practice field and written extensively on the subject.

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 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.

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.

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 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.

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.

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.

With the introduction of World Wide Web (WWW) browsers to the Internet, a whole new potential venue has emerged for artists. In this course, students will learn the Hypertext Mark-Up Language (HTML), which is the basis of WWW authoring. Students will learn to integrate text, images, sound, and video into their own web page, which they will create. Also, newer developments such as Java, and any other up-to-date concepts and possibilities for networked hypertext authoring will be introduced. Potential overall format and conceptual frameworks for developing a 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. This course is a valuable preparation for advanced courses such as the Telecommunication Arts course.

Data Viz Collaborative is a new class that will be team taught in the summer of 2013 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 three 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 meet for six weeks and culminate in a group exhibition. (Note: Students taking the course for science credit in Liberal Arts will be grouped together on the same research team).

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.

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 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 class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

This class is essentially an intense cinematography class exclusively given over to beginning 16mm film production. All shooting is done on film. Camerea, lighting, mise-en-scene, camera language, figure placement, film- stocks, and exposure reading are a few of the areas that will be of special concern. We will not be dealing with sound or with editing; those are areas of study that have their own classes, and those important areas of the filmic process will be covered with the kind of attention they deserve in those courses. Of course, we will come to appreciate, through studying finished films, how to anticipate and prepare our ideas for editing and sound in the way we construct and handle the shooting of the work. Students at this level will be exposed to potential finishing paths that will impact editing and completion issues. Students will be required to participate in several in-class assignments. In addition, each student will undertake the shooting of a personal project to be critiqued at the end of the term.

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.

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.

Realtime explores audio-visual systems and performances of live experimental new media art. Artists create, control, effect and transform digital media in realtime using systems created by and for artists. Digital and computational systems allow improvisation, live audio-video performance, and synthesis of complex works and projects. Students learn, play and perform with artware, open source tools and systems (PureData, GEMS and dyne:bolic!) and commercially available software (Max/MSP and Jitter). This studio course includes a historical approach to realtime systems, and features use of the Sandin Image Processor, an analog patch programmable computer optimized for video processing from 1971?1973. Current praxis is discussed in relation to the earlier realtime forms from early cinema (such as Oskar Fischinger?s Lumigraph), video (such as the Dan Sandin?s Sandin Image Processor) and New Media.

As computers continue to shape contemporary cultural perception, they provide artists with a never ending pallet of breaks, fixes, fissures, and malfunctions to navigate and with which to interact. Lost Signals: The Glitch, explores media, history, and culture through failures and accidents in the creation or presentation of media art. Digital technology has its own misfires and breakdowns, from scrambled images to computer translations. These new glitches have important historic parallels to bad processing, hairs in the film gate, and video-tube burns. Students develop projects that engage 'the glitch' in creating and/or viewing work in contemporary media culture.

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.

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.

Data Viz Collaborative is a new class that will be team taught in the summer of 2013 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 three 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 meet for six weeks and culminate in a group exhibition. (Note: Students taking the course for science credit in Liberal Arts will be grouped together on the same research team).