Social Media and the Web

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

In this studio course the concept of network will be introduced and applied to the design of communication networks for everyday objects. The course implies no previous experience of computers, rather it will introduce students to methods for creating conceptual models of a network, and will introduce the use of the computer to simulate everyday objects communicating on the network model. Forms of communication will be explored based upon object characteristics. Object designs will be modified to include networking, which will impact the properties and behaviors of the objects. Using multiple computers and moving them around, students will study the impact of space on situated networks, and the impact of networks on different spaces. In the final project students will design a space, a network for the space, and the objects that inhabit the space/network, showing how each of three design has a working relationship with the others.

In this studio course the concept of network will be introduced and applied to the design of communication networks for everyday objects. The course implies no previous experience of computers, rather it will introduce students to methods for creating conceptual models of a network, and will introduce the use of the computer to simulate everyday objects communicating on the network model. Forms of communication will be explored based upon object characteristics. Object designs will be modified to include networking, which will impact the properties and behaviors of the objects. Using multiple computers and moving them around, students will study the impact of space on situated networks, and the impact of networks on different spaces. In the final project students will design a space, a network for the space, and the objects that inhabit the space/network, showing how each of three design has a working relationship with the others.

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.

The ever-increasing excess of online data has led to a proliferation of creative practices formulated around the collection, analysis, and sculpting of cultural materials. In this studio, we will engage with large bodies of content culled from archived and live information sources such as databases, search engines, media repositories, and social networks. Experiments will be informed by inquiries into historical archives and systems including libraries, memory theaters, astronomical clocks, and the stock exchange. Using contemporary web programming techniques that simplify real-time data acquisition and representation, we will attempt to give aesthetic form to human experience within worlds of information. Only basic HTML knowledge is required for the course (SAIC Wired: Culture and Community on the WWW, Web Art, or permission of instructor).

Immersive Environments is a studio course focused on setting up interactive, head and hand tracked, dynamic, collaborative, stereoscopic, three dimensional computer graphic spaces for large format displays such as the CAVE. The class will cover the necessary programming, modeling, interaction, and audio components to start mastering this digital craft. Through the course, we will consider various artworks realized in Virtual Reality as well as other immersive devices and mixed reality settings, and how they inform public consciousness of mental spaces. Accompanying readings are but a sample of current endeavors meant to open up a common discourse from where to discuss issues of immersion and human experience, such as metaphors of space, dynamic form in three dimensions, perception and representation, simulation, information, mapping, embodiment, and telepresence.

Art Games considers computer based games as New Media artworks and art as a game-like system. Computer-based games constitute a significant form of new screen media and cultural activity. Artists work with game-like structures and approaches to create New Media projects. Students will play, discuss and develop art games that share relationships to forms of gameplay from text-based adventure games to first-person shooters, strategy games and simulators to conceptual games of chance. This advanced level studio course enables students to hack, modify, and critique existing games, and independently author games as New Media artworks.

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 inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

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.

Systems, Codes & Spaces critically introduces the art of nonlinear media art via an understanding of its historical and theoretical trajectories. Students view and analyze structurally a variety of works in the mediums of video, installation, interactive media, new media and experimental 3D. Readings drawn from Jack Burnham, Pamela Lee, and Edward Shanken are discussed to assess the contemporary state of the field. Students must enroll in FVNM 2100 New Media: Crash Course simultaneously as a corequisite.

Art Games considers computer based games as New Media artworks and art as a game-like system. Computer-based games constitute a significant form of new screen media and cultural activity. Artists work with game-like structures and approaches to create New Media projects. Students will play, discuss and develop art games that share relationships to forms of gameplay from text-based adventure games to first-person shooters, strategy games and simulators to conceptual games of chance. This advanced level studio course enables students to hack, modify, and critique existing games, and independently author games as New Media artworks.

This class is inspired by Johannes Itten's radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.

How are the conventions of Design being re-invented for new screens? Who and where are the leading innovators? How would you conceive and produce work for new screen technology? New Screens introduces graduate and advanced BFA students to the new trends in media art, including historical, aesthetic, and theoretical analysis, with special emphasis on the changing role of design and it?s relationship to the screen. The course combines praxis studio work with readings, lectures, visiting speakers, and surveys of outside works. Topics for focus: multiplicity and framing, interactive screens, database imaging, public screen installations, live computed video.

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.

This class is a survey of alternative animation, primarily from the United States, Canada and Europe, with some work from Asia. We look at this work in relationship to experimental work in film, video, performance and installation. Students write two papers for the class - one at midterm and a final. Students are exposed to a world of cinema that is vital though often ignored in discussions of contemporary Cinema. We will see works by Jim Dine, Tony Oursler, Red Grooms, Robert Breer, Larry Jordan, Susan Pitt, Jan Svankmajor, Caroline Leaf, Janie Gieser and William Kentridge, to name a few. Readings for the class address ideas about manipulation of sculptural objects, puppetry, narrative and allegory, the real and the unreal.

This interdisciplinary seminar introduces, deepens and extends writing skills and helps to develop concepts that can sustain, guide and propel artistic practice after graduation. Central to the class is the professional completion of two grant applications, followed by a mock jury event that simulates actual jurying procedure. In conjunction with the applications, students write artist statements and develop project proposals. We also discuss how the arts and the public intersect, whether in popular opinion, historic context or professional settings. This includes an assessment of the relations of artists and audiences, artists and administrators and curators, and artists and critics.

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 course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.

This course is designed to offer students a didactic and experiential overview of the field of art therapy. Material covered will include history, theory, and practice of art therapy processes and approaches as well as a survey of populations, settings, and applications. Lecture, readings, discussion, audio-visual presentations, experiential exercises, and guest presentations comprise the structure of this course.

Explore the connections between fashion, costume, performance, and production. This summer course works toward the goal of exhibiting works created in class at the Art Institute of Chicago in conjunction with the opening of Impressionism, Fashion and Modernity for the Benefit Gala. Alternative methods of garment construction is used as well as established methods. Focusing on four elements: time, space, the performer's body, and costume, students work both within and between the areas of fashion, costume and performance art.

This course explores major themes in the history of the United States since the Second World War. The themes include ones that most Americans know something about (such as the civil rights movement and the Vietnam War) and developments that many people take for granted (like the rise of the supermarket and the diner). Readings include historical documents produced by individuals from a wide range of backgrounds and experiences?Harry Truman, Betty Friedan, and Fidel Castro, for instance?as well as scholarship written by professional historians. The goal of the course is to help students understand the rough and varied texture of U.S. history and how scholars use evidence to make judgments about the past.

The oceans and the animals that dwell there are a key resource to planet earth, providing food, medicine, the bases for sacred cultural customs, and much more. However, they are in trouble. This course is a survey of marine ecosystems and the organisms that make them up from diatoms and dinaflagellates, to seahorses and great white sharks. We will discuss the abysmal forecast for the future of the planetary sea and how we can change the outcome now.

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).

Explore the connections between fashion, costume, performance, and production. This summer course works toward the goal of exhibiting works created in class at the Art Institute of Chicago in conjunction with the opening of Impressionism, Fashion and Modernity for the Benefit Gala. Alternative methods of garment construction is used as well as established methods. Focusing on four elements: time, space, the performer's body, and costume, students work both within and between the areas of fashion, costume and performance art.

This is an intermediate/advanced level course for students seriously committed to producing sequentially developed ideas, and explores traditional and nontraditional book formats.

The contemporary form of comics is explored in this studio course, in which each participant creates and produces a self-published comic. Writing, storyboarding, penciling, inking, and prepress preparations are covered, and a range of comics are read and discussed.

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.

KLab: Local Needs, Regional Networks, Global Concerns This course explores creative responses to the extreme environmental, social and economic changes facing our local and global communities. By drawing from Permaculture (holistic design principles), students will imagine, research, and build projects that focus on local needs and address soil health, water conservation, food production and distribution, and building sustainable communities.

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 involves the use of typography to create meaning. Students experiment in typographic composition, contrast, text, and value in combination with language. Students learn the technical aspects of typography (specification and copyfitting) and are exposed to historical developments in typography.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

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 course presents a series of inquiries and conversations about the origins of the theories and practices collectively referred to as New Media. From Marshal McLuhan?s use of the phrase ?new media? in the 1960s to later usages by video artists in the 1970s and 80s, to those working in the network and computer cultures of the 1990s and in currently emerging discourses, New Media includes a set of contested, multiple, and modular histories as well as an implicit impulse to discard the past. While arising from the parallel, overlapping and resistant codes of experimental media art culture and socially engaged technology, New Media has become both simultaneously clearer and more ambiguous. This course explores the many precedents, exceptions, disputes, and connections that constitute the prehistories of New Media.

This transdisciplinary studio course explores visual research, and emphasizes an introduction to tools, techniques, and aesthetic approaches to computer-based 3D graphics for use in a range of screen-based scenarios and platforms including motion graphics, game engines, augmented reality, and interactive media. Using Autodesk Maya software and developing technologies, students are introduced to the basics of 3D graphic techniques including modeling, materials, mapping, lighting, and rendering. Students produce a series of 3D works. Projects focus on the conditions and constraints for creating simulated photographic images, developing motion graphic sequences, and integrating 3D assets in virtual environments.

The objective is to build virtual environments that incorporate 3D space, ambient/reactive audio, interactivity, weather, life forms, and/or objectives. Students develop the virtual space as an art practice in support of games space. The class introduces the Unity3D authoring tool and covers content production using 3D rendering in Maya, audio in Puredata/Max/MSP as well as on-site audio and recordings. Students are introduced to programming for Unity. We review the work of artists and game designers from Marcel Duchamp, to James Tai (Saints Row 2). The course begins with introductions to possibilities in virtual environments, ultimately focusing on the skills necessary to complete individual project(s).

This studio course investigates the creative possibilities in programming, from interactivity to information visualization. Students explore interactive narratives and games, software art, simulations and emergent behaviors, and other code-based forms. Lectures and demonstrations provide a conceptual, aesthetic and technical foundation in programming as a creative practice. Techniques and concepts are presented through the open-source programming environment Processing, with an introduction to advanced topics such as C++ and OpenFrameworks.

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.

With the continuing ubiquity of physical computing and advances in wearable technologies, artists can bring new media art into expanding landscapes. This course examines ideas of nature and technology via Chicago's urban ecosystem, starting with on-site explorations within the Park District and public landscapes. Workshops focus on sensing and interfacing with the environment, implementing the arduino and the lily pad, and various methods of information storage/transmission. Critical readings, research and discussions about evolving ideas of landscape and environment support student work. Final projects employ new media techniques to interface with the urban ecosystems.

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

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

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

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

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

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

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 inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

This class is inspired by Johannes Itten?s radical early twentieth-century basic art course developed for the Weimar Bauhaus School of Art, but here using the Maya 3D software, typically used for commercial productions by the entertainment industry. Students will solve a series of formal problems, introduced in increasing levels of complexity. Moving from the 2-dimensional to the 3-dimensional and ultimately to the four-dimensional or time-based, students will evolve their abilities to utilize aspects of light and dark, form, rhythm, color, proportion and volume but in terms of a post photographic discourse, with the intention of advancing a new virtual cinema.

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.

Systems, Codes & Spaces critically introduces the art of nonlinear media art via an understanding of its historical and theoretical trajectories. Students view and analyze structurally a variety of works in the mediums of video, installation, interactive media, new media and experimental 3D. Readings drawn from Jack Burnham, Pamela Lee, and Edward Shanken are discussed to assess the contemporary state of the field. Students must enroll in FVNM 2100 New Media: Crash Course simultaneously as a corequisite.

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.

This course is an introduction to world-wide web digital design. The class will review current visual communication practices on the net, considering the basic concepts of information architecture, developing core technical and design competencies, and exploring the fundamentals of motion and interaction design. Students projects will employ a range of communication metaphors-from static, page-based work to responsive, multimedia-influenced approaches. The class encourages a critical examination of net culture and challenges students to expand the creative potential of the medium.

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.

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

This course examines how the moving image communicates, combining theory, skills labs, and studio creations. Students are introduced to the major critical theories of how moving images communicate, create narrative, and transmit information. The course moves, semi-historically, through concepts of animation, framing, sequence and montage, materiality in moving media, live-video, and interactivity. Students learn basic techniques of stop-frame animation, video editing, live-effects, and compositing.