IIMC-620: Lens Space Code – Hillary Kapan (not offered in the 2019-20 academic year)
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-560: Sound as Object: Media, Space & Sound (not offered in the 2019-20 academic year)
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-544: Archaeologies of the Present Tom Leeser (not offered in the 2019-20 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 2019-20 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.