Narrative

This course covers the fundamentals of programming computers to control and generate music and sound compositions. It offers a general overview of specific programming strategies for the generation of sequences of events, and for generating and manipulating temporal information. Generative techniques based on approaches utilizing stochastic and other indeterminate approaches, as well as deterministic models are covered. Historical and theoretic approaches to the use of 'automatic' generative systems for composition are reviewed. Special emphasis is placed upon the use of programs for live performance, the interfacing of alternate controllers via MIDI, and hybrid physical/computational systems. All programming will be done in Max/MSP and Supercollider II.

This course explores programmatic approaches to sound creation using softwares such as PureData, SuperCollider, Processing, and more, as well as looking at sound libraries in programming languages such as Python. While intended primarily for sound artists looking to go beyond programs like Max/MSP it is also appropriate for anyone interested in code based sound, including web design, game creation, glitch artists, etc.

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.

This transdisciplinary studio course explores visual research, and emphasizes tools, techniques, and aesthetic approaches to digital imaging, illustration, and motion graphics. Students are introduced to established software packages as well as programming approaches to generating material for multimedia works. Tools covered in this course involve the Adobe Creative Suite, including Photoshop, Illustrator, and After Effects, and the Processing environment. Students are encouraged to experiment, while transforming and refining their ideas and visual research through a sequence of multimedia screen-based projects that build in scope and complexity. Projects focus on the development of visual systems that integrate concept through color, line, form, image, text, and media in meaningful and compelling ways.

This class will explore strategies and techniques for using emerging technology to create and convey stories in new ways, with particular focus on combining narratives and interaction. We will investigate the related formats and critical concepts in contemporary media art. Can a complex narrative be conveyed in a non-linear experience? How can interaction shape a narrative? How do new technologies change how and what we communicate? How does programmatically controlled medium enable new ways of telling? How does the viewer construct the narrative from representational, performative or procedural clues? Class meetings consist of a combination of artistic production and creative research -- reading, lectures, critiques and discussions. During the semester students will create smaller-scope projects and a more refined final project. The class will meet as a group for critiques and individually for work-in-progress consultations.

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.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

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 introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to 'invisible' texts--the writing before the script, free-writing, conceptual issues--as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of 'reading') of texts.

This course is an introduction to the concepts and processes utilized in the production of artworks with digital animation tools. A variety of techniques are explored for modeling, surface description, image mapping, lighting simulation, computer graphics in desktop video, installation, and print forms. This is a prerequisite for advanced computer animation.

This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound.

This course addresses various animation techniques and materials, analogue and digital. Students work with different drawing materials, cut-outs, cameraless animation, under the camera destructive and constructive animation, and compositing images in Flash and Photoshop. Expanding on skills developed in Animation I, students create more painterly and material looking work.

Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended.

Students complete the first draft of a feature-length screenplay (at least 90 pages) based on an original idea that they propose and develop in the first or second class. No adaptations or partially-completed scripts are allowed. Weekly class sessions include group reading of script pages and critique by classmates and instructor.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

Exploring and exploding the idea of what it means to be 'real' and 'fake' in performance, this course looks into the creation of artistic alter egos and the utilization of unreliable narratives as a means of reconfiguring and interrogating ones practice. The notion of 'inauthenticity' will be investigated as a performative strategy - from imaginary actions to imaginary oeuvres, what are the implications for the artists identity if a conscious decision is made not to do it 'for real'? Through biographical sleight of hand, and economy with the documented truth, the course will ask you to take your practice into a fictional realm, creating alternative histories and contradictory interpretations of yours and others work.

Students will explore how the body?s presence, movement and language was historically and is contemporarily used to frame, describe, subvert, and oppose normative expectations, legislation, and systems of power. Examining queerness and queer theory, students will explore how tactics of gender bending, shape shifting, flash mobbing, and protesting have been employed as performance acts in which the body becomes a subversive tool inciting dialogue. From Stonewall to Abu Ghraib, Judith Butler to Split Britches, students will learn the history of queered performance practices, and develop individual and collaborative works.

Sequences and series are the ubiquitous ways we most often see photographic images. This class concentrates on producing and looking at how series of images are structured and the significance those structures hold. Assignments help develop students' use and understanding of sequential and serial imagery by engaging narrative and non-narrative strategies in simple sequences, books, zines, web-based projects, installations, videos, and projected presentations.

This course covers the fundamentals of programming computers to control and generate music and sound compositions. It offers a general overview of specific programming strategies for the generation of sequences of events, and for generating and manipulating temporal information. Generative techniques based on approaches utilizing stochastic and other indeterminate approaches, as well as deterministic models are covered. Historical and theoretic approaches to the use of 'automatic' generative systems for composition are reviewed. Special emphasis is placed upon the use of programs for live performance, the interfacing of alternate controllers via MIDI, and hybrid physical/computational systems. All programming will be done in Max/MSP and Supercollider II.

This course explores programmatic approaches to sound creation using softwares such as PureData, SuperCollider, Processing, and more, as well as looking at sound libraries in programming languages such as Python. While intended primarily for sound artists looking to go beyond programs like Max/MSP it is also appropriate for anyone interested in code based sound, including web design, game creation, glitch artists, etc.

The documentary, once regarded a vehicle for the heroic confrontation of artist and society, has been questioned in recent years. This seminar studies readings and selected documentaries that illustrate certain key issues: 1) truth claims: Does the documentary seek to validate its claim to truth or does it problematize such claims? 2) the authority of the documentaries: By what right does he/she speak for the subject of the documentary? How are subjects allowed or made to speak for themselves? How is the authority of the maker of documentaries undercut? and, 3) construction of the audience: Do the documentaries or their subjects seek to address or ignore the beholder/audience? How does it try to move its audience to action or participation?

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.

This class will explore both traditional and non-traditional approaches to firing and using clay to explore the topics of humor, exaggeration and perception. Historical references such as 1960s California Funk Ceramics, High Victorian Rococo, as well as more contemporary approaches to clay will serve as starting points for sculptural, installation and performative projects.

This course focuses on creating promotional posters and book covers, from concept to the final product; telling a story through a single illustration. Divided into four major projects, it covers different stages of creation of a visually engaging illustration; from collecting references, thumbnails, preliminary illustration, to finishing in a medium of choice. It combines fine art with the professional, taking into consideration format, placement, visual hierarchy, and creation of a dynamic figure interacting with a setting. Some classes include guest lecturers.

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.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

Editing Strategies and Critical Histories is a rigorous investigation of the art of film editing and should provide a historical and theorectial understanding of film editing based on the study of past works. Close reading of films will train the student in the core aesthetic decisions, structures, strategies and demands of editing. This will involve not only screening works but also analyzing these works through shot by shot contemplation of selected scenes. In addition, we will be reading several classic theroretical texts and will involve ourselves with discussion of these texts in relation to the works whown in class. Students should be taking Film 1 Film as Capture simultaneously with this class Editing Strategies and Critical Histories is a theoretically based course and is not designed to offer critique for works-in-progress. Instead, each student will be using ideas learned from this class along with the material shot in Film 1 :Film as Capture to prepare for next semester when students will take shot material into the Editing Practicum Class to actually finish a project.

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 class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This class introduces the traditional animation techniques of creating movement through successive drawings. Techniques include metamorphosis, walking cycles, holds, squash and stretch, blur and resistance. Students use the pencil test Lunch-Box to view their work . Students complete a series of exercises encouraging a full range of animation skills and a final project. Films illustrating drawn-animation techniques are screened regularly.

This is a Production Laboratory class for students interested in working with the ideas and techniques of directing performers for the camera. We will consider issues of scripting, pre-production, rehearsing, shooting, and editing performances. The course requires active participation in 3 roles -- as a director, performer, and camera operator -- as these constitute the primary collaborative relationships of a director. The main objective of this class is to get students to consider various methods of directing performers that both explore and elaborate on traditional theatrical schools of directing. Through hands-on experience, readings, critique and screenings, students will begin to carve out their own style of working.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

This course introduces students to the basic elements of a screenplay, including format, terminology, exposition, characterization, dialogue, voice-over, adaptation, and variations on the three-act structure. Weekly meetings feature a brief lecture, screenings of scenes from films, extended discussion, and assorted readings of class assignments. This is primarily a writing class, with students required to write a four-to-five page weekly assignment related to the script topic of the week.

An interdisciplinary studio that develops skills specific to the challenges of writing for time-based projects, especially works in film, video, installation, and performance. The primary focus is in-class writing, a range of textual experiments, and workshop /critique of students' writing in relation to their own works-in-progress. We pay attention to 'invisible' texts--the writing before the script, free-writing, conceptual issues--as well as overt ones. Special emphasis is placed on developing the ear in work on monologue, dialogue, and voice-over. The class reads and discusses selected scripts and writings by artists, screens films and videos, attends exhibitions and performances, and performs close analyses (another form of 'reading') of texts.

This course is an introduction to the concepts and processes utilized in the production of artworks with digital animation tools. A variety of techniques are explored for modeling, surface description, image mapping, lighting simulation, computer graphics in desktop video, installation, and print forms. This is a prerequisite for advanced computer animation.

'Reality television,' despite the furor, is not a particularly new idea. Direct precedents for shows like 'Survivor' and 'Big Brother' can be traced back to 1970, to 'An American Family' or its subcultural counterpart, 'The continuing story of Carel and Ferd'. Some of the most powerful and provocative independent film and video being produced today draws on the age-old fascination with the border between 'document' and 'fiction'. The class would provide a context for producing and critiquing student work, and provide a historical/critical grounding in examining work of video and cinema 'verite' as well as 'experimental narrative' and 'new documentary'.

This course introduces methods of animating to a soundtrack and the relationship between dialogue, voiceover, sound and image. Animating to logged audio, students learn the most normative pipeline for creating animated images. Advanced camera movements and digital 2-D animation with backgrounds are also covered. Students complete weekly assignments that build toward a final project, an animation with sync sound.

This course addresses various animation techniques and materials, analogue and digital. Students work with different drawing materials, cut-outs, cameraless animation, under the camera destructive and constructive animation, and compositing images in Flash and Photoshop. Expanding on skills developed in Animation I, students create more painterly and material looking work.

Students further develop 2-D drawing animation skills, with focus on complex movement, animating dialogue, and drawing with backgrounds. Drawings on paper are scanned into Toon-Boom Studio for digital cell production. Time is spent on creating backgrounds and camera moves in the program. Some Knowledge of Final-Cut Pro, After Effects or Flash is recommended.

Students complete the first draft of a feature-length screenplay (at least 90 pages) based on an original idea that they propose and develop in the first or second class. No adaptations or partially-completed scripts are allowed. Weekly class sessions include group reading of script pages and critique by classmates and instructor.

This is a production class that will focus on idea development for time based media, through the use of storyboards, treatments, location photos, sketchbooks, and script readings. Students working in film, video, performance, and animation will learn classical and experimental ways to negotiate these thechniques as an integral part of the production of time based works. The final project for this class will be a loose-leaf volume containing treatment, storyboards and research scrapbook for a major work. This volume will be used for idea develpment and presentation of your project to collaborators, granting agencies, fellowship organizations and most importantly you, the maker.

Students dissect, expand, subvert, and critique computer games to develop new hybrid forms of interactive art. Beyond alluring graphics and fast reflexes, computer games often operate as stories, as simulations, or as social events. Screenings and examples in class analyze the language and structure of computer games, and the ways artists can use them to manifest new content. Technical workshops introduce methods of hacking games, building interactive artworks with game engines, and deploying them on both PCs and virtual reality environments.

Recent developments in many disciplines, from brain science to cultural studies--what has been called the 'affective turn' -- are exerting an enormous influence in how we make theory, make art, and think about 'feelings.' In film theory, much has been written about the 'construct' of real time. This course uses both these lenses to critically investigate an eclectic group of film and video works, primarily from the 1960s and 1970s, that re-imagine politics and consciousness through an excess of imagination and feeling, from exuberance to loss.

Sequences and series are the ubiquitous ways we most often see photographic images. This class concentrates on producing and looking at how series of images are structured and the significance those structures hold. Assignments help develop students' use and understanding of sequential and serial imagery by engaging narrative and non-narrative strategies in simple sequences, books, zines, web-based projects, installations, videos, and projected presentations.

This course investigates the artistic potentials of language in recording, performance, and transmission. Both the acoustic and the semantic properties of language will be explored, as well as the collision and symbiosis of the two. Topics to be considered include: presence (the voicing body) and absence (the disembodied voice); voices of authority; uses of text -- communication, propaganda, seduction, translation, misinformation, poeticization, interruption, etc.; language as a malleable material; simulacra and appropriation; scales of transmission (broadcast and narrowcast); non-radio forms of transmission -- telephone, playing telephone, 'public speaking', etc.

Many of the so-called authoritative lists of the great innovative prose writers are, more often than not, made up mostly of men, but in fact women have been at the forefront of literary innovation for quite some time. Women are responsible for much of the most provocative, energetic, stirring, hilarious, and intelligent experimental fiction of the 20th and 21st centuries. We will read a number of texts by authors which may include Gertrude Stein, Nathalie Sarraute, Yoko Ono, Lydia Davis, Julie Doucet, Renee Gladman, and more, and consider whether we see a pattern in how they address questions about tradition, identity, memory, time, sex, politics, narrative, and much more. Students will do one presentation each, and, inspired by the reading, we will do numerous prose exercises, which will turn into full pieces for workshop.