IM Requirements

Fall 2019 Courses

IIMC-500: Conversations on Technology, Media and Practice
Tom Leeser
An overview of the history of art and technology and a series of talks given by visiting artists and writers from various disciplines. The class is designed to promote interaction and dialogue with students around issues of technology, artistic practice and media culture.

IIMC-590: Computation Reconsidered
Stephanie Cheng Smith
How can computation be reconsidered within the critical contexts of an art practice? In the first half of the semester, the student will be introduced to the aesthetic possibilities of combining art making, computer programming and digital technology. The classes will explore the fundamentals of programming and the more advanced techniques of screen based image processing, and computer graphics. During the second half of the semester, the students will investigate physical media, installation and interactive design. The focus of the class assignments will be the expressive capabilities of the human body in a sensor-based environment. The core concepts will involve a dialogue between physical action and digital information. A final group project will implement the body, sensors, and micro-controllers using computer programs written in class.

IIMC-620: Lens Space Code
Hillary Kapan
A six week technical course in which students will make a simple working piece utilizing code written in the Processing programming language. This course introduces the creation and use of code modules which will be fitted together to form a working piece. Each student will create a piece that uses the modules learned in class. The piece may be anything time-based, and can include participatory aspects, interactivity, and other approaches. Topics/modules include acquiring camera data, using that data for triggers, timing, user interaction, thresholding strategies, display of graphical items (video, images, and text), and basic playing of sound files. Each student will create their own variation on the following flow. Programming building blocks (constructs, such as if-then, loops, and arrays) will be introduced briefly and in such a way that students can make both immediate and repeated use of those building blocks. In the process, students will learn ways in which those building blocks can be connected. No prior programming experience required.

IIMC-635: Algorithmic Practices
Daniel Jackson
There is a long history of algorithmic processes in art. We will approach our study through the history of Fluxus and conceptual art, and use rules, scripts and scores to understand computers as performers. We will use both analog and digital means to communicate and visualize ideas, so that collaborators can implement them in actual matter. Computers are in the hands of technologists whose sole purpose is commerce. As artists, how can we utilize this system for our own ends? We will find methods and approaches of instructing computers that are friendly to open-ended artful creativity. Designed for the student with no programming experience, this course will require analog and digital experimentation and making throughout the semester to produce work that engages directly with the computer and algorithms as a collaborator and executor, fundamental to the meaning and context for our work. Also you’ll learn Processing.

IIMC-670: IM Project Development
Tom Leeser
IM Faculty
Course open to MFA2 Integrated Media students only.   IM Project Development is designed to allow the student concentrated studio time to continue their pursuit of advanced creative and technical practices and research in consultation with their Integrated Media faculty.   It is required for all MFA-2 Integrated Media students. The faculty will meet with the students on a weekly basis to discuss concepts, processes, technologies and critical issues in the continuing development of the student’s required Integrated Media project.

Spring 2019 Course Descriptions

IIMC-510: Research and Practice Seminar: Media and Culture
Tom Leeser
Section 1 open to MFA1 Integrated Media students only. Section 2 available by Permission of Instructor Only. This seminar is an advanced graduate seminar focusing on topics in history and theory with in-depth analysis and discussion of critical issues inherent in the use of technology in art practice, interdisciplinary collaboration, performance disseminaton and display of work with multiple forms of media. Readings will be used to address the history of interdisciplinary, interactive work and the developments in many fields that have led to the present state of the art. We will be reviewing works by artists that lectures in the “Conversations on Technology, Media and Practice” class, in addition to texts that provide an insight to recent media theory and global networked culture.

IIMC-550: SoundGameSpaceVR
Daniel Jackson
SoundGameSpaceVR is a CIM workshop designed to use strategies of gaming and play theory to investigate interactive sound, movement and the body in virtual space. The workshop will review and research traditional forms of public art, public play space and site specific narrative. There will be an emphasis on examining the translation of public space into digital terrain and changes to private space in our social environments. Virtual social spaces will be examined as a contrast to the physical environment and the social and political issues that arise around the conditions that determine our definitions of the public sphere. We will develop our responses through readings, discussions and through the production of virtual environments and games during the course of the semester. We will also collaborate on a final project for exhibition at the end of the semester.

IIMC-560: Sound as Object: Media, Space & Sound

A research and studio workshop leading to a collective sonic environment, using experience, performance, text and space as our material. Contemporary essays on sound, technology and cultural theory will be presented in readings ranging from peer-reviewed journals, online texts and videos.
How are real and virtual cultures forming your logic by co-forming noise, movements and stillness? As physical computing increasingly embeds itself in our daily activities, what buried technologies and subliminal biases are being imposed on our minds and bodies? This workshop can be thought of as a think-tank focused on questions and speculations about “physical thinking” and “sonic possibilities.” We will exorcise, exercise and mess with some of the ghosts driving our proprioception.
We will make one or more collective projects, so please introduce us to your related readings, concerns, projects and skills and we will see what we can make together. There will be an opportunity to incorporate composition, improvisation and “cracked media” into our shared environments, objects and/or performances . This workshop will focus on actual experiences and interactions, more than purely virtual or screen based environments.

IIMC-690: Integrated Media Project & Critique – IM Faculty

IM PROJECT & CRITIQUE – Reading List 2019

IM Project – Critique Schedule Spring 2019

Members of the CIM faculty and fellow students participate in the Integrated Media Studio & Critique. In the fall semester, the students work with the faculty to develop an Integrated Media project. Each week in the spring semester, one student or collaborative team gives a formal presentation of their Integrated Media project to be followed by an extended discussion with the their peers and faculty. This is a rigorous but supportive forum for considering technology-based artworks, and discussing current trends and issues in the field of new media. There will also be opportunities for hands-on workshops and demonstrations of new technology and new media during the fall semester.

IIMC-540: Design Research Group
Scott Benzel
This is an elective class for Integrated Media MFA2 students. This course may be open to students at other year levels, and in other Schools, by Permission of Instructor The class as a group will analyze and critique an Integrated Media Research Project, from the proposal stage through conceptual development, production and to the final output. The students will present their proposal within a critique format to their peers and faculty for feedback and advisement on a weekly basis.

Presentations of research, works-in-progress, technology applications, methodologies and critical analysis will all be a part of the discussions within the class. Upon completion the students will present their IM Research Project and their associated body of work to the class for the final class review.

IIMC-544: Archaeologies of the Present
Tom Leeser (not offered in the 2018-19 academic year)
This class is a cross-disciplinary graduate seminar and workshop focusing on our contemporary cultural condition through in-depth analysis, discussion and art making.

Our archaeology of the present essentially begins in 1964, with massive shifts in the role of the nation state, in digital technologies, in biotechnology, in urban planning and in new forms of media production and communication. We’ll trace these shifts and their 20th century origins through the emergence of a 21st century form of neo-feudalism with its risks and potential: new forms of narrative and cultural production, modernism as a ruin and the dismantling of the American psyche.

We will collectively develop various artistic and critical tools in creative research, analysis and historical/geneological investigations. These tools will be introduced to the class and then articulated through student projects and presentations (for example, how to apply methods from anthropology, sociology and social history to the visual arts, cinema, video, social networks, etc.).

We will define the outcomes according to how students apply these content creation tools, to effective discussions, creative prototypes, media presentations and exploratory essays. The students will investigate sociological and historical strategies that will support and may even invalidate their approach to creative practice.

IIMC-580: Philosophical Toys
(not offered in the 2018-19 academic year)                    
This course will investigate toy design, philosophy and play as a hybrid art practice. It will focus on the design, production and use of performative objects and the implications of calling them toys. Beginning with a historical perspective, the class will investigate the evolution and classifications of toys and play in culture. We will then negotiate an understanding of interactivity and use-value through Winnicott’s transitional object theory and Baudrillard’s notion of the gizmo.

Toys will be produced using various materials and media through the invention, inversion and invalidation of objects. The role of fantasy and imagination in art-making and viewership will be prioritized. The trajectory of the class will lead us to toy design as cultural critique. This hands-on course will entail collaboration and individual assignments, punctuated by readings and discussions.