纽大交互传播核心选修课设置

100 DAYS OF MAKING Taught by Katherine Dillon Iteration an its impact on your creative process is the theme of this class. The format of the course turns its hea on the traitional class structure an instea of focusing on syllabus that buils to a final project, the course is focuse on a aily, iterative practice. Stuents will ientify a theme, iea or topic they woul like to explore over the course of 100 ays an must commit to making or proucing a variation on that iea an posting social evience of their work every ay for 100 ays. Projects can focus on builing, writing, rawing, programming, photographing, esigning, composing or any creative expression. In parallel to the making, in-class lectures will examine the work of artists whose work has been efine by iteration an iscuss the role of iscipline an routine in the creative process. Please note this class will have two meetings in December (ates TBD) with Katherine Dillon to establish the groun rules an to help stuents ientify projects

ALGORITHMIC COMPOSITION Taught by R. Luke DuBois This class looks at ways to compose music using algorithms. Drawing from both computer-age an pre-computer repertoire an literature on writing music proceurally, the class will look at ifferent topics an issues in the automatic or rule-base generation of music in both pre-compositional an real-time interactive environments. Stuents are expecte to make a series of musical stuies investigating ifferent systems covere in class, ranging from stochastic music to rule-base grammar moels to ata mining. No specific knowlege of music theory is require, though a basic unerstaning of MIDI, igital soun, an some of the tools for manipulating them are useful. A broa overview of the history an repertoire of algorithmic music is covere in weekly listening presentations.

ALT DOCS: INVENTING NEW FORMATS FOR NON-FICTION STORYTELLING Taught by Ziv Schneier an Julia Irwin How oes the ability to capture an publish transmeia pieces len itself to ocumentary storytelling an journalism? How are traitional genres enriche by the aition of new-meia techniques, incluing 360 film, photogrammetry, epth sensing an spatialize auio? An how can the use of these techniques help to evolve the efinition of nonfiction storytelling?

This is a prouction class in which the projects will be content-riven. The subject an the story shoul rive the stuents’ choice in meia formats use to present the material. The interplay between ifferent meiums shoul a to the experience of the story. A successful final project will be a piece in which the story is better tol through the incorporation of the meiums chosen over a traitional cinematic ocumentary or journalistic piece.

The goal of the class is to investigate the merging an branching of ocumentary, journalism an games an to invent new formats. The class focuses on two main technical areas:

1. Capture techniques (incluing 360 vieo, photogrammetry an epth sensing)
2. Composition of material in a 3D environment (Unity 3D, aing interactivity, interface esign, publishing platform consierations)

The first two short assignments will cover ifferent capture methos an ocumentary techniques. The final project will focus on creating one interactive ocumentary piece in a igital 3D environment compose with Unity. However, the igital element can be accompanie by other components (immersive installation, sculpture, performance, web experiment, public intervention, etc.).

ALWAYS ON, ALWAYS CONNECTED Taught by Shawn Van Every With their always on an always connecte nature, mobile evices (phones an tablets) have become the center of our connecte self. They offer us the ability to access the network anywhere at anytime, enabling us to share our experiences an share in the experiences of others. They are also starting to emerge as the hub of an emerging set of smart personal accessories such as watches, glasses an jewelry. In this class, we'll examine the current state-of-the art in mobile technology an smart evices. We’ll focus on eveloping applications using Corova, a set of cross-platform APIs for creating mobile applications with HTML, CSS, an JavaScript as well as connecting to an interacting other evices using BlueTooth. ICM level programming experience is require.

ART TOY DESIGN Taught by Benjamin Light Is it a plaything? Sculpture? Nostalgia? A Prouct? Art toys exist at the center of a unique Venn iagram. Each stuent in this class will evelop an original limite eition art toy. We will cover toy fabrication, character esign, material selection, packaging esign, an art toy culture. The class will be fabrication heavy, there will be weekly assignments, an a final project. 7 week class, 2 creits.

ARTISTS IN THE ARCHIVE Taught by Jer Thorp The Library of Congress hols more than 160 million physical items, alongsie countless more igital resources. The collection spans vast swaths of subject areas, geographical places, historical perios, an political eras. In this course we’ll learn about the unique properties of these holings, about the ways that these objects are encoe in ata, an how we can access the archive both remotely an in person. Most importantly, we’ll ream up ways that artists might interact with an interrogate the collections, to prouce work in a variety of meia from software to sculpture to performance.

AUTONOMOUS ARTIFICIAL ARTISTS Taught by Gene Kogan Autonomous Artificial Artists (AAA) is a class to explore ways of making artworks "autonomous." In this context, "autonomy" brings together three inepenent but relate criteria: 1) artificial intelligence being a primary eterminant in an artwork's aesthetics 2) autonomous software principles culle from peer-to-peer network esign, blockchain an ecentralization technology, serverless an feerate machine learning, cryptoeconomics, an agent-base multiplayer simulation. 3) crow-source art where mass, unboune cooperation of many participants creates novel artworks which represent the "hive min" or collective input. The goal of this class is to learn a little bit about each of these seemingly isparate fiels, an see how they may interact in interesting new ways. The iea of autonomous artworks is very new, an is being actively iscusse by a small group of interisciplinary researchers an artists since 2016/2017. Although the topic is highly experimental, it is nevertheless base on concrete technologies, making simultaneous use of several techniques which are uner active evelopment an have potentially far-reaching ramifications well outsie the omain of art. The time is ripe for people within more esign-oriente fiels to begin thinking about how they might be use in a broaer context. The class has both a theoretical component (learning about each of the iniviual technologies an their interplay) as well as a practical component: training an eploying generative moels on computational environments that are as close to ecentralize or autonomous as possible. In aition, we will explore prior notions of crow-source or mass-collaborative art, touching on oler principles an strategies such as Oulipo, exquisite corpse, an crow-source computational artworks like Electric Sheep, Exhausting a Crow, an others.

AUTOMATING VIDEO Taught by Sam Lavigne In this experimental vieo class stuents will learn to use Python an comman line tools to explore the possibilities of automating the film-making process. We will cover techniques for capturing, analyzing, eiting an manipulating vieo with coe. We’ll treat vieo as a textual as well as visual meium, repurposing foun footage to generate new compositions an narratives, an experiment with home-mae camera rigs that can be controlle remotely an algorithmically.

AVANT-GARDE PROCEDURAL ART Taught by Marina Zurkow This class is an introuction to using the strategies of Proceure an Instruction in visual, moving image, performance an soun art. It is a mixture of making, reaing, analysis an critique. We will look at the historical preceents to toay’s practices that range from algorithmic art to socially engage art, an their roots in the artistic revolts of avant-gare movements beginning in the early 20th century. These inclue Surrealism, Situationist International, Fluxus, Neo Daa, Conceptual Art, an Happenings. We will examine the artistic motives an contexts for using these strategies, an stuents will esign an test their own art experiments using these techniques to create meaningful an responsive prototypes.

BASIC ANALOG CIRCUITS Taught by Eric Rosenthal Toays mostly igital worl also requires a basic knowlege of circuits that o not require computer processing. Analog circuits are simpler, lower cost, smaller an require less power an still perform many of the functions of igital circuits. In this course stuents will learn about the basic principles of electricity, components such as resistors, capacitors, ioes, transistors, auio amplifiers, power supplies an timers an circuits that interface to igital evices. The course inclues circuits esign an fabrication through lectures an hans on labs. Stuents will also learn the operation of electronic test equipment such as the igital multimeter, oscilloscope an function generator.

BEYOND BINARY: ANALYTICAL METHODS FOR NAVIGATING UNCERTAIN FUTURES Taught by Michelle Shevin The purpose of this course is to push beyon quotiian “problem solving” methos to equip stuents with the analytical capacity to tackle insoluble (“wicke”) problems an strategic uncertainty, with a particular focus on forecasting methoologies an “long-term thinking.” Taking a critical lens on analytical capacity builing, the course will quickly progress from classical methos (i.e., critical thinking / esign thinking / systems thinking) to more specific practices (i.e., forecasting, scenario planning, preiction markets). Reaings from iverse isciplines, an exploration of timely an important issues such as information isorer, Surveillance Capitalism, bioiversity loss, persistent colonialism, climate change, algorithmic intermeiation, an more will form the setting for collective inquiry. Specific esign methoologies incluing human-centere esign, esign fiction theory, biomimicry, speculative esign, agile, etc. will be both problematize an use to locate an expan on the “esigner’s role” within critical forecasting projects. Throughout, participants will interrogate the cultural narratives, power ynamics, epistemological ichotomies, myths, an assumptions that uphol ominant paraigms of strategy, esign, an planning.

BIG LEDS Taught by Aaron Parsekian This course will cover the process of creating large LED systems. The main goal of this course will be to explain the harware relate to large LED arrays, an how to interface it with software like touch esigner, ma mapper, an processing. We will go through every major part of the harware - ifferent styles of LED arrays, rivers an gateways, cables, ata protocols, an how to safely power all of them. We will also cover what paperwork it takes to furnish a professional LED installation - creating the riser iagram, plan view, section view, elevation, bill of materials, an instructions.

BIG GAMES Taught by Gregory Trefry What happens to games when they escape the bounaries of our tabletops, esktops an living rooms? From massively multiplayer online games to mobile games that turn the city into a gigantic game gri, super-size gaming opens up new spaces in which to play an seeps into the interstices of our ays. Whether these games are measure in terms of number of players, geographical imensions or temporal scope, they represent a new tren in which the ‘little worl” create by a game threatens to swallow up the "real worl" in which it is situate. This class is a hans-on workshop focuse on the particular esign problems of large-scale games. In this class stuents: evelop a founation of basic game esign unerstaning from which to approach the specific issues particular to big games; analyze existing igital an non-igital large-scale games, taking them apart to unerstan how they work as interactive systems; an work on a series of esign exercises that explore the social, technological, an creative possibilities of large-scale games.

BIG SCREENS Taught by Mimi Yin This class is eicate to experimenting with interactivity on large-scale screens. Stuents will work in pairs to evelop one project over the course of the semester, culminating with a showing at InterActive Corps' 120 X 12-foot vieo wall at their corporate heaquarters on 18th St. an the West Sie Highway. A mock-up of the system is available at ITP for testing. Class time is ivie between inepenent project evelopment, critique, technical emonstrations, an fiel trips to IAC. Registration for this course will happen through a separate lottery which you will enter in pairs.

BIODESIGNING THE FUTURE OF FOOD Taught by Stefani Barin Moern farming is built for monocultures with its large scale machines ispersing synthetic fertilizers, pesticies an herbicies an the collateral estruction of bioiversity an seasonal harvesting. Permaculture is agricultural ecosystems intene to be sustainable an self-sufficient like the The Three Sisters Agriculture practice of Native Americans where three cops plante near each other are mutually beneficial by proviing nitrogen or blocking sunlight or iscouraging the growth of wees. How can we esign systems an harware an software that aresses the iniviual nees of permaculture ecosystems at the scale of monocultures? How can we combine the ancient an analog practices of using biologicals (soil microbes, fungi, bio-pesticies) with sensor, light an robotic technologies to maximize our foo yiels without sacrificing taste an health benefits an not estroy our planet in the process?

In this class we will look at speculative an ecosystem esign, biotechnologies relate to agriculture, top own an bottom up esign an the scalability of these systems an practices. Stuents will work on small esign-buil projects that incorporate elements of contemporary technologies, current science an applicable methos of observation an analysis into centuries ol practices of bioiversity an permaculture.

BLOCKCHAIN FICTION Taught by Joerg Blumtritt "Blockchain is the new Internet" - something bigger is going on here, than just another form of igital payment like Bitcoin. The blockchain enthusiasts promise applications from smart contracts, to autonomous organizations, to anarchistic systems of government. This course introuces funamental concepts an functionalities of the blockchain an its applications, an offers a way to playfully explore its multiple imensions. The goal of the course is not only to improve skills in this utopian however very real technology, but also to creatively apply it, to come up with esign fiction an push the concept to the ege. Stuents will learn the basics of blockchain technology, cryptography, an the functions specific to the blockchain like crypto-currencies, smart contracts, an autonomous organizations. Stuents will create their own esigns an applications (real or fictional) of blockchain, an their speculative esigns what the technology might become. The course inclues reaing an practical work as homework an in class work. This is a 1 point class.

BLUETOOTH LE Taught by Don Coleman Bluetooth is a short range (~100m) wireless technology for connecting evices. Bluetooth low energy peripherals such as lights, sensors, an wearable evices broacast their presence an the services they provie. Applications on phones, tablets, or laptops can iscover an connect to these Bluetooth evices without any configuration.

The goal of this class is for you to unerstan Bluetooth concepts, learn to create Bluetooth peripherals, an buil Bluetooth applications.

The class will introuce the low energy features of Bluetooth, explain the Bluetooth attribute protocol, an teach the esign of Bluetooth services. You will learn to buil Bluetooth peripherals using Aruino. You will buil iOS or Anroi applications to connect to these peripherals. (The phone applications will be written using JavaScript an Apache Corova.)

You'll also use Noe.js to buil peripherals an applications that can run on a Raspberry Pi or laptop. We'll see how iBeacons an Eystone beacons can be use to etermine a user's location or transfer information without a connection.

BODIES IN MOTION Taught by To Bryant, Francisco Javier Molina Course Description : This course provies an introuction to the concepts of motion capture an the motion capture prouction pipeline to perform an recor 3D animations for film an vieo games as well as stream for live performances. Stuents will learn all of the tools for tracking props an performers using MAGNET’s cutting ege motion capture stuio. Stuents will also evelop concepts aroun the technology an integrate their ata into 3D computer graphics along with keyframe an proceural animation an custom 3D assets to buil final projects using the Unreal game engine.

Program Learning Objectives : To esign a workflow of MoCap an ‘how to’ guies for iverse type of projects using motion capture an the basics of worl an character builing in the game engine Unreal. Reaing assignments introuce stuents to constructe historical perspective of MoCap an investigates principles particular to animation an performance. The objective of the course is to allow stuents to unerstan the importance of pre-prouction an planning which inclues notions of storytelling, 3D moelling an texturing, best practices to capture the sessions, worl builing methos in vieo art an game evelopment, an live show running.

Course Objectives

● To create storyboars an efine recoring shots before capturing ata. ● To unerstan an use the correct motion capture pipeline ● To learn the skills to irect an effective motion capture session (best calibration) ● To learn the best practices for capturing an cleaning ata ● To be able to apply the ata to moels in Maya, Unreal Engine, an Max/Jitter ● To be able to perform real-time retargeting for Live Performances

Course Structure The class consists of a weekly lecture an a weekly 2 hour lab session. Stuents will work in groups an will be require to atten a self-selecte lab session on weekens. Examples of motion capture projects will be presente in lectures an iscusse in the classroom. Stuents must emonstrate satisfactory achievement of course objectives through fulfillment of one final project at the en of the semester an a manatory submission for the programs showcase. Final projects will require stuents to use a wie variety of software an stuio time at MAGNET’s black box mocap stuio. Stuents will be able to process their motion capture ata for use in an animation or live performance. Collaboration with stuents an faculty from other programs is encourage.

BODIES OF WAR: ENGINEERING ETHICS Taught by Jessica Behm This course examines 21st-century technologies of war an asks: What is the ege of ethical engineering? Stuents will critically examine U.S. Military technologies incluing robotic exoskeletons, military robots, neural prosthetics an networking (brain warfare), biometric scanning, an UAVs (rone warfare). Soliers from the U.S. Air Force, U.S. Army, an U.S. Marine Corps branches will join class sessions along with guest speakers to iscuss the role of new technologies an robotic warfare uring their service in Iraq an Afghanistan. Stuents will prouce a final course project that may be submitte as an essay, multimeia project, or applie technology that engages with the ethical questions pose in the class. Each project will be esigne over the course of the semester in irect collaboration with a U.S. Military former or active-uty solier who will work with stuents on a theoretical, technical, or performative final project.

In 1992, French theorist Gilles Deleuze observe, “There is no nee to fear or hope, but only to look for new weapons.” In the 21st century, the U.S. government, universities, an private institutions collaborate to “look for new weapons” by engineering technologies for American warfare. These technologies often focus on the human boy as the site of military innovation. If the U.S. Military is primarily concerne with engineering “technologies of war,” is there an opportunity for engineers, such as ITP grauates, to engineer “technologies of peace”? What esign an function woul such emboie “technologies of peace” play an can they intervene in an increasingly militarize U.S. society where Google owns military robotic companies an Apple iPhones are use to etonate bombs throughout the Mile East?

CABINETS OF WONDER Taught by Nancy Hechinger If you were inventing a museum toay, what woul it look like? Who woul be there? What woul its main purpose be? The first museums were calle Cabinets of Woner. Usually, a viewer with a guie, often the collector, woul open oors an rawers to see what was insie--amazing things from ifferent parts of the worl, ifferent times. They were winows on the worl to places the visitors woul probably never be able to go; to see things they woul never otherwise be able to see. An now there’s television, movies, the internet an travel. Why o people go to museums now? Will they in the future? Toay, most museums seek to eucate an to inclue more an more iverse visitors than they use to. How o people learn in public spaces? How o we know that they o? How can they make use of the new interactive technologies an not lose what’s special about them? The class is an exploration, observation an theory class with some esign mixe in. Museum an exhibit visits are your primary assignments for the first half of the course—usually accompanie by a reaing. You will also make some recor of your visit (incluing a sketchbook, a ioramas, reviews) There will be guest speakers from Museums an exhibit esign firms, an several fiel trips. In the secon half of the course, you begin to imagine how you might reinvent a museum an evelop a full-scale presentation of your own Cabinet of Woner.

CANVAS FOR PUBLIC DISCOURSE Taught by Anrew Lazarow When you are given a large public canvas, how o you fin something to say? This is a course with two primary goals. The first is to provie toolsets for working with a small group to express yourself in ways that are accessible to a wier auience. The other explores the various tactics use over time to change the appearance of physical objects with controlle light an projections. We will look both at projection mapping projects, but also large scale public art projects. There will be several exercises focusse on stuents honing their own ways of expressing themselves clearly. There will also be some small scale mapping projects in the beginning of the course. Thee will be a final project, which coul be a large scale mapping presentation.

CHOREOGRAPHIC INTERVENTIONS Taught by Mimi Yin Most of us are intimately familiar with interfaces where our movement serves as input to control interactive meia. Less familiar are systems esigne to compel us to ance, to groove, to move in new an unexpecte ways. This class explores the use of interactive meia to “choreograph” in the broaest sense of the wor from choreography as ance-making to choreography as crow control. How o you get someone to soften their chest? Eat space? Change level? How o you shake the entire room? How o you orchestrate uets between strangers? Conceive as a (re-)introuction to computational meia through the lens of ance, stuents will practice how to apply computational thinking to the craft of choreography. Using computer vision an a broa range of meia from graphics an vieo, to soun an text, we will look at irecting both how people move (quality of movement) as well as where they move (pathways an spatial relationships). We will evaluate the strengths an weaknesses of the various sensing technologies available to us toay. What is the elta between what we can see an feel (strength, harness, contortion) an what a computer can see an interpret (locations, contours, velocity, acceleration)? STRUCTURE Over the course of the semester, we will cover 4 topic areas: Pathways, Shape, Space an Soun+Text. Topics will be introuce through movement-base improvisation exercises. Computational strategies will be examine through coe examples an custom software tools. For each topic, stuents will create a small movement stuy in 2 stages: the first analog, the secon computational. The class will culminate in a showing of stuent work. Final projects can either be in the form of a tool to ai in movement practice, an interactive installation or a live performance. Because course topics are organize aroun movement concepts, technical topics will be introuce an built upon week to week. See syllabus for working list of technical topics. PREREQUESITES The course is intene both for anyone looking to eepen their practice in working with movement-base interaction regarless of previous experience with movement technique or programming. As a result, there is no pre-requisite for ance an no pre-requisite for coe.

CIRCUIT DESIGN AND FABRICATION Taught by Eric Rosenthal This class is a series of lectures an emonstrations focuse on the technical criteria for esign an fabrication of electronic circuits for ITP stuent projects. For example, when esigning an analog auio circuit or an analog sensing circuit, a groun plane is neee to reuce electrical noise. When esigning raio circuits, the physical geometry an location of the antenna on the circuit boar matters. The class woul introuce some common technical esign consierations for electronic evices, an also explore some more experimental cases of circuit esign, like flexible circuits, printing circuits, or preparing circuits on a fabric substrate. Stuents will be encourage to engage in iscussion of how to apply these concepts to their project work. Prerequisite: Stuents coming to the class shoul unerstan the electronics concepts covere in Basic Analog Circuits, or have equivalent electronics experience. The Energy Class (Jeff's), Homemae Harware (Any's), Protoyping Electronic Devices (Deqing an Peiqi's), or electronics experience prior to ITP woul suffice.

CITIZEN SCIENCE: BIOTECHNOLOGY Taught by Stefani Barin Genspace is collaborating on this course with ITP so that stuents can learn science literacy through several specialize workshops that will take place Genspace – topics inclue Biohacking (with an introuction to CRISPR) + Biomaterials. Stuents will create projects throughout the semester utilizing both Genspace an ITP resources. Aitionally, stuents will learn the basics of bioesign an bioinformatics to help them frame an conceptualize their research an their projects an how best to use these skills ethically an responsibly in aesthetic an scientific ways. Since 2009 Genspace has operate a community biology laboratory in Brooklyn stemming from the hacking, biohacking, an DIYbio movements. It currently supports citizen science an public access to biology, biotechnology, synthetic biology, genetic engineering, citizen science, open source software, open source harware.

COLLABORATIVE DESIGN: HOW TO BUILD PRODUCTS IN THE AGE OF AI Taught by Marc Maleh This hans-on collaborative workshop will explore how to make AI an other new technologies part of one’s creative process without being an expert in coing or ata science. We will start by breaking own the most common myths an misconceptions about AI, followe by test-riving a new ieation process to help stuents create raically innovative proucts an customer experiences powere by AI, ata an new technologies. The course will focus on the process of collaboration to buil valuable, user-centere experiences that incorporate these technologies in meaningful ways. Along the way we will explore some of the emerging esign principles an ethical consierations that guie the creation of AI- powere experiences. Co-taught by Marc Blanchar, Global Hea of Experience Design at Havas, an Marc Maleh, Global Director of Havas Cognitive (ITP Gra from 2005).

COLLECTIVE NARRATIVE Taught by Marianne Petit This two-point workshop is centere on the examination an creation of collective storytelling environments. We will examine a wie-range of storytelling spaces incluing participatory an user-generate environments, site-specific works, community base arts practices, an transmeia storytelling. Weekly assignments, fiel trips, an stuent presentations.

COLLECTIVE PLAY Taught by Mimi Yin Rules of play shape competitive games from checkers to football. But how o the rules of interaction shape non-competitive play? In this course, we will explore, coe an test esign strategies for playful group interactions while at the same time interrogating both what it means to play an how iniviual ientities an group behaviors. Some of the questions we will ask an attempt to answer: What motivates participation? What hiners it? When oes participation become oppressive? What's the ifference between self-consciousness an self-awareness? Who has power? Who oesn't? Are leaers necessary? What’s the ifference between taking turns an engaging in conversation? What happens when the slowest person sets the pace? Interaction inputs we will play with will inclue: mouse, keyboar, mobile evice sensors, an microphone. Outputs will inclue, visuals, text an soun. We will use p5, websockets an noe.js for real-time interaction. Class time will be split between playing with an critiquing examples an translating esign strategies into coe an logic.

COMICS Taught by Tracy White Coe without content gets boring fast. This seven week course will show you how to create stories aroun which you can weave the technology learne in other classes. When content comes first, interesting problems arise to solve. Participants will get soli grouning in how to tell a visual story using wors an images in a traitional format, so then they can take that format an reimagine it in entirely new an unique ways. The first few classes are evote to getting basic comic skills. The remaining classes will hone an expan these abilities while posing the question: what can be one ifferently, an how can technology a to what we have create? At the en of the semester you will have a something that sets you apart; – original content AND technological know how. Stuents will combine wors an images, look at each other's work, look at examples of publishe works. Reimagine how these stories can be tol in new an unique ways. This a emaning course. There is a lot of work involve, they will en up with a lot of original content. During the first half we look at an make traitional comics. Secon half we experiment with comic format WHILE honing storytelling skills. Relevant speakers will come in to iscuss what they o an how they work etc.

COMPUTATIONAL APPROACHES TO NARRATIVE Taught by Allison Parrish Beginning with the release of Crowther an Woos' "Colossal Cave Aventure" in 1977, the potential an unique afforances of computation as a means of storytelling have become more an more apparent. Combining approaches from literary theory, anthropology, computational creativity an game esign, this class consiers how narrative structure can be represente as ata an enacte through computation, an invites stuents to implement practical prototypes of their own interactive an proceurally-generate narratives using a variety of technologies. Topics inclue (but are not limite to) hypertext fiction, "choose your own aventure"-style branching narratives, text aventures, visual novels, story generation from grammars an agent-base simulations. Stuents will complete a series of bite-size weekly assignments to present for in-class critique. Each session will also feature lectures, class iscussion, an technical tutorials. Prerequisites: Introuction to Computational Meia or equivalent programming experience.

COMPUTATIONAL APPROACHES TO TYPOGRAPHY Taught by Allison Parrish This course consiers aspects of the materiality of typography an type esign in the context of electronic meia. Stuents will gain an unerstaning of how letterforms, typefaces an the layout of text have been represente as ata throughout the history of electronic meia, an experiment with ifferent ways to author, manipulate an misuse that ata through computation. Our eclectic an opinionate historical cross-section of topics inclues (but is not limite to) typewriter art, minimalist an asemic poetry, 8-bit home computer text moes, interactive/kinetic text, parametric an generative fonts, an emoji. Stuents will complete a series of weekly assignments for presentation an critique in each session. In aition to critique, each session will feature lectures, class iscussion, an technical tutorials. Prerequisites: Introuction to Computational Meia or equivalent programming experience.

CONNECTED DEVICES AND NETWORKED INTERACTION Taught by Tom Igoe The Worl Wie Web no longer stops at the ege of your screen. When it comes to proucts, if it powers up, it talks to another evice. There's an increasing number of appliances coming on the market that feature web interfaces, but o they work well? This class take a hans-on critical look at the emerging market for connecte evices, an will present an overview of methos for connecting the physical worl to web-base applications. We on't interact with connecte appliances in the same way as we o when they're not connecte. It's not enough just to bolt a touchscreen on an appliance an call it networke. In this course we'll consier what the emerging interaction patterns are, if any, an we'll evelop some of our own as neee. This class can be seen as a narrower an more interaction esign-base complement to Unerstaning Networks. The latter class provies a broaer overview of the ynamics of ata networks, while this class focuses specifically on the challenges of connecting embee evices to web-base services. Neither class is a prerequisite for the other, however. The class will begin with a review of some existing connecte evices on the market, in which we'll critique them as proucts of interaction esign. Then we'll have several short exercises to introuce ifferent tools, an a final harware an software prouction project in which stuents evelop a more fully realize networke evice.

CONTENT (AND ITS DISCONTENTS) Taught by Sarah Rothberg Ever make a cool platform, instrument, or some super abstract reusable coe an tol yourself you' make some actual content for it…later? Ever see an awesome camera/isplay/musical instrument one of your classmates has mae an say, wow I' really like to use that thing to make something else!? Using a unique tool/framework/process invente by yourself or someone else at ITP, this class will focus on making compelling content, while also examining critically the rise of "the content creator" an the relationship between meium an message.This is a crash course in working with the afforances (an shortcomings) of a new tool, a skill which many real-worl roles for "creative technologists" requires. We will go against the impulse to throw the paintbrush away after making one painting, an learn an practice creative an generative techniques for iterating, eveloping concepts, refining an presenting work. Come to this class with 2-3 ieas for a project that you or a fellow ITP-er has create in semesters prior that you want to evelop content for. In special cases, you may also propose working with a platform/tool/framework create outsie of ITP.

CREATIVE COMPUTING Taught by Davi Rios This course combines two powerful areas of technology that will enable you to leap from being just a user of technology to becoming a creator with it: Physical Computing an Programming. The course begins with Physical Computing, which allows you to break free from both the limitations of mouse, keyboar & monitor interfaces an stationary locations at home or the office. We begin by exploring the expressive capabilities of the human boy an how we experience our physical environment. The platform for the class is a microcontroller (Aruino bran), a very small inexpensive single-chip computer that can be embee anywhere an sense an make things happen in the physical worl. The core technical concepts inclue igital, analog an serial input an output.

The secon portion of the course focuses on funamentals of computer programming (variables, conitionals, iteration, functions & objects) as well as more avance techniques such as ata parsing, image processing, networking, computer vision. The Javascript ‘p5’ programming environment is the primary vehicle. P5 is more oriente towars visual isplays on esktops, laptops, tablets or smartphones but can also connect back to the physical sensor & actuators from the first part of the class. The course is esigne for computer programming novices but the project-centere peagogy will allow more experience programmers the opportunity to go further with their project ieas an collaborate with other stuents.

The secon portion of the course focuses on funamentals of computer programming (variables, conitionals, iteration, functions & objects) as well as more avance techniques such as ata parsing, image processing, networking, computer vision. The Java-base ‘Processing’ programming environment is the primary vehicle. Processing is more oriente towars visual isplays on esktops, laptops, tablets or smartphones but can also connect back to the physical sensor & actuators from the first part of the class. The course is esigne for computer programming novices but the project-centere peagogy will allow more experience programmers the opportunity to go further with their project ieas an collaborate with other stuents.

What can computation a to human communication? You will gain a eeper unerstaning of the possibilities of computation–– possibilities that will augment an enhance the perspectives, abilities an knowlege you bring from your fiel of stuy (e.g. art, esign, humanities, sciences, engineering). At first it may feel foreign, as foreign as learning a new language or way of thinking. But soon, once you get some basic skills uner your belt, you’ll be able to make projects that reflect your own interests an passions.

CRITICAL OBJECTS Taught by Pero Galvao Cesar e Oliveira Art, esign an experimental electronics can be great tools for inciting iscussions of complex issues such as privacy, sexism, racism, economic inequality an climate change. This course aims to provoke thoughtful iscussions of pressing issues through the combination of Art, Inustrial Design an Embee Electronics (sensors, actuators, wifi enable microcontrollers - ESP32, raspberry pis). Topics will inclue technological isobeience, aversarial esign an critical engineering. In this 14 week class, stuents will combine technology, esign, an critical theory to buil Art Objects / Interactive Sculptures that are aesthetically intriguing while socially relevant. This is a prouction heavy four-creit course, where stuents will learn about new-meia critical theory, esign an electronics. Prerequisites inclue an open min, the rive to make, an physical computing.

CULINARY PHYSICS Taught by Stefani Barin This stuio an seminar course explores the basic principles of foo biochemistry, enzymology an foo processing an how they relate to memory, the senses an the processing of information. Stuents will also learn basic principles of molecular gastronomy an moernist cuisine as framing evices for unerstaning how foo also functions in the context of boily health, environmental health as well as cultural an political narratives. Our foo system consists of more than foo prouction an consumption an this class will aress how science an foo science plays a more integral role in this system an how this knowlege can be mine for work that creatively an functionally contributes to this emerging fiel. Assignments for the class will be base on the incorporation of foo science into esign an technology projects that uses foo as a substrate to explore an illuminate information within the foo system. Workshops involve using liqui nitrogen + hyrocollois as well as creating performative foo objects an a Futurist meal.

DATA ART Taught by Jer Thorp Fascinating an terrifying things are happening at the intersection of ata an culture. Our lives are being constantly measure, an information about us is being surveille, stolen, an commoifie. Dialogue aroun this ata revolution has been ominate by corporations, governments, an inustry – but what about the arts? In this class, we’ll investigate the means by which artists can engage (an are engaging) in the collection, processing, an representation of ata. Using a research-focuse, prototype-base approach, we’ll buil a series of collective an iniviual projects to interrogate the ‘new ata reality’. Stuents will use Processing, along with a variety of open-source ata tools (such as D3.js, Miso, OpenRefine, MapBox & CartoDB).

DESIGN AND SOURCING FOR MANUFACTURING Taught by Sarah Krasley Navigating the roa between a working prototype an a mass prouce prouct is tough. How much will it cost? How long will it take to ship? How o I fin a factory? Where will my prouct be manufacture an with what machines? Knowing the answers to these questions is crucial for something as involve as a business plan for post ITP life or for something as simple as etermining how much money you want to raise on Kickstarter.

This class, formerly known as From Prototype to Fabrication: Planning for Mass Prouction is for stuents who have ientifie a well-efine prouct iea an/or igital or physical prototype. Coursework will focus on increasing the stuent's unerstaning of how they woul attempt to mass prouce their prouct an how much it woul cost. Alongsie this, stuents will gain experience moeling their prouct in CAD an builing an information set that’s specific enough for them to successfully interact with a factory. We will learn what goes into a Bill of Materials (BOM) an how to structure a request for quote (RFQ). The course will culminate in stuent presentations of their prototype an prouction plan an cost estimates. Classes will be a combination of lecture, hans-on work, an stuent presentations.

DESIGN AS STRATEGY AND PRACTICE Taught by Despina Papaopoulos Jasper Johns once wrote in his notebook: "Take an object. Do something to it. Do something else to it." In this class we investigate what it means to "o things" to objects in ways that transforms them an our relationship to them. We will experiment with materials an objects, stretching their limits an exploring their relationship to space an the self. These investigations are groune in an unerstaning of the interactional possibilities of gestures, social an spatial ynamics, an on the recursive relationship between making an inventing.

Softness, moularity, aaptability an re-configurability, connectors an ways to engage the senses (an sensors), social an sustainable esign are just some of the ieas an topics we examine through weekly assignments an social experiments.

The course is base on the iea that esign is a practice that emans rigor, experimentation, curiosity an openness. Stuents will be aske to frame their work an uncover the essential tension of esign artifacts an how they communicate meaning an intention. Stuents will be aske to create a new project each week in response to the previous week's topic. Each week stuents will be expose to reaings an examples from various practices (architecture, ance, philosophy, music, computer science etc) an will be aske to create artifacts that capture the essential meaning of grouning concepts.

DESIGN FOR ACCESSIBILITY Taught by Claire Kearney-Volpe This course will bring together stuents from NYU's Interactive Telecommunications & Integrate Digital Meia programs in orer to reimagine the exhibitions of the Cooper Hewitt, Smithsonian Design Museum for museum goers with isabilities. Set in the Anrew Carnegie Mansion on the Upper East Sie an part of the Smithsonian Institution, the Cooper Hewitt is the national museum of esign for the Unite States, an has engage with the NYU Ability Project on a research pilot to evelop better strategies for accessibility. With multiple site visits, the Cooper Hewitt will serve as both a client an playgroun for us to reesign without barriers to enjoying their collection. Stuents will learn an employ a human-centere approach to the evelopment of an accessibility framework for the museum an reimagine their galleries, website, an API for a more inclusive museum-going experience.

Expectations ● Demonstrate an unerstaning of an implement iterative & human centere esign research an prototyping processes (incluing client consultation, esign/prototyping an user testing). ● Acquire an awareness of experiences for people with a variety isabilities. ● Demonstrate unerstaning of various technologies use by people with isabilities. ● Demonstrate the ability to communicate an work within a group to evelop a prototype. ● Demonstrate critical an creative thinking in researching solutions to problems ● Develop a prototype evice. ● Develop extensive ocumentation for your part of the project. ● Develop the ability to work uner project constraints an client nees This is a 3 creit course

DESIGN FOR CHANGE Taught by Katherine Dillon This 12- week course will examine the psychology of behavior an apply that insight as a framework to affect change. The first half of the semester will focus on researching an iscussing human behavior an looking at case stuies of how behavioral theories have been applie to motivate change. In the secon half of the semester stuents, working in pairs, will ientify a societal issue that they are passionate about an evelop a project that attempts, at scale, to move the neele on the issue in a positive way. This class is for stuents with passion for an issue an enthusiasm to apply their creative an technical skills to solve real problems in meaningful ways. The course is both a seminar class an a prouction stuio. The secon half of the semester stuents will focus on applying the learning. Stuents will ientify a social problem that they hope to influence at scale. They will research an ocument the problem, evelop a concept to influence the behavior associate with the issue an prototype (or buil) their solution.

DESIGN FOR THE REAL WORLD: BEATROCKERS @ THE LAVELLE SCHOOL Taught by Claire Kearney-Volpe In this multiisciplinary course, stuents will work collaboratively to research, esign, an evelop a system of client-centere ata-management, musical interfaces an interactive learning tools for the Beat Rocker beat boxing program at the Lavelle School for the Blin. The Beat Rocker Program incorporates a unique beat-boxing/speech therapy curriculum an chilren that are engage in the program excel in both areas. Stuents in the class are expecte to gain practical experience in user research/testing, human-centere esign an the prototyping process. The class will be split into three sections: 1) Client/User Research, 2) Design an Prototyping 3) Testing

DESIGN TOOL STUDIO Taught by Patrick Hebron Process is everything. Any programming language can theoretically prouce any program. In practice, though, every tool has its own proclivities an point-of-view, which subtly embe themselves in every aspect of the user’s output. In this class, we will explore software-base toolmaking as an artistic practice in its own right. We will stuy the process of ecomposing complex, high-level features into their granular programmatic elements within a low-level, multiparaigm language, C++. Through the granular control of C++, we will think critically about the process of curating a set of high-level features within a tool an form opinions about how these curations influence the user’s own creative process. Each stuent will test his or her ieas through an iterative, semester-long software evelopment project of the stuent’s own choosing. Though broaly interpretable, projects shoul relate to the theme of builing software that ais its user in a creative or intellectual process. This coul be a user-facing esign application (a la Photoshop, Maya, Logic, etc, though obviously less full-feature than those commercial applications) or a eveloper-facing coe library. Stuents can think expansively about these efinitions an challenge these elineations. Weekly assignments will be given to help guie the esign, evelopment an presentation elements of the final project. Stuents will also be expecte to spen time engaging with an responing to the tools built by their peers. Our technical work will be supplemente with theoretical reaings from Seymour Papert, Nicholas Negroponte, Buckminster Fuller an others.

DESIGNING FOR DATA PERSONALIZATION Taught by Samuel Slover The worl is awash with new ata, but how can esigners take the next step to make this ata more meaningful in people's ay-to-ay lives an interactions? Put ifferently, instea of giving people yet more ata an visualizations to interpret, how can we personalize this ata to provie simple insights that more intimately connect with what people really care about?

In this class, we'll examine how personalize esign can give people more meaningful an pleasant experiences with their ata interactions. We'll explore how new technologies an esigns are implementing these personalization strategies an how they're being successful (or not). The course will cover 3 main topic areas, each with a lecture an stuio component:

1. Making (Dry) Data Personal & Playful - Personality an playfulness can go a long way in creating richer interactions aroun ata. We’ll examine how to make seemingly 'boring' ata interesting through esign an personalization strategies.

2. Designing for the Self - It often helps to start by esigning for our own problems. We'll explore how to track an esign aroun a ataset of our own that we' like to better unerstan.

3. Re-Contextualizing Everyay Data - Given the sheer number of aily ata interactions, there's so many opportunities to o it better. We'll explore how to take ata we encounter everyay (the weather, foo labels, subway elays) an re-contextualize it to give people more pleasant an smarter interactions.

Stuents will learn techniques on how to work with existing Web APIs, how to buil an use their own Web APIs (with Noe.js an Mongob), an will implement user-facing esigns utilizing p5.js an other Web technologies. Class examples will be presente in Javascript. Javascript tutorials will be assigne as a pre-requisite for those with little to no Javascript experience.

DESIGNING FOR DIGITAL FABRICATION Taught by Daniel Rozin The ability to igitally fabricate parts an whole pieces irectly from our computers or esign files use to be an exotic an expensive option not really suitable for stuent or esigner projects, but changes in this fiel in the past 5 years have brought these capabilities much closer to our means, especially as ITP stuents. ITP an NYU now offer us access to laser cutting, CNC routing, an 3D stereolithography. In this class we will learn how to esign for an operate these machines. Emphasis will be put on esigning functional parts that can fit into a larger project or support other components as well as being successful on a conceptual an aesthetic level. In this class we will iscover methos to esign projects on CAD applications for total control of the result, an we will evelop algorithmic ways to create esigns from software (Processing) to take avantage of the ability to make parts an projects that are unique, customizable, epenent on external ata or ranom. The class will inclue 3 assignments to create projects using the three machines (laser, router, 3D) an the opportunity to work on a final project.

DESIGNING FOR LIVE PERFORMANCE Taught by Anrew Lazarow For centuries, great works of music, theater, an ance, have combine art an science to make integrate performances that move auiences. Toay, we are seeing exciting changes as artists experiment with vieo an real-time interactivity to raw auiences even eeper into the performance, an enhance the share experience of the moment. This class explores conceptual approaches to esign, inustry-stanar software, prototyping frameworks, an ata flow programming to provie stuent esigners with the cutting-ege tools necessary to confiently collaborate with writers, irectors, an performers. Structure as a stuio course, stuents will make esigns for contemporary performance pieces, an collaborate with working artists to esign original projects.

DESIGNING FOR SENIORS IN THE INFORMATION AGE Taught by Staff Design is a fiel which occupies itself with the hypothetical questions of 'what if?' an 'what coul be?'. In any esign process we are presente with ozens or hunres of questions along the way. Like in a geometric proof, each ecision we make will have an effect on subsequent questions an answers. How an why we make these ecisions will etermine whether a esign will succee or fail. This course will teach research, analytical, an esign techniques which will help esigners ientify critical opportunities an make informe an efensible esign ecisions which will stan up to the scrutiny of clients an resonate with en users. We will focus on ientifying opportunities to create physical an technological esign solutions which will help seniors an Baby Boomers remain relevant an integrate in mainstream society an exten the quality of their lives. Consier that there are over 80 million Boomers in the US controlling over one trillion ollars in assets (80%+ of the US total). The olest Boomers are now only 73 years ol but, as a group, they have alreay come to ominate the meical evice market. Still, most proucts an brans are geare for Traitionals (the previous generation) whose cultural priorities an values iffer significantly from the 'consumer culture' oriente an tech aware Boomers. " Through irect research an analysis, we will ientify latent opportunities for isruptive esign solutions, both physical an technological which will help preserve an exten societal engagement an the quality of life for the target emographic. Stuents will conuct various forms of fiel research working with iniviuals an organizations in our target emographic to test their assumptions an hone their solutions. They will then buil prototypes which can be teste by the targete en user. Possible organizations will inclue; AARP, Senior Planet, Aging 2.0, OATS (Oler Aults Technology Services) "The course will require a significant amount of fiel research an iterative stuio work. It will inclue: • Research: Qualitative an quantitative methoologies for collecting target information, problem ientification an analysis. 'Design Research Methos an Perspectives' eite by Brena Laurel will be use as a guie. • Iterative Exploration: Ieation, sketching, sketch moeling (on computer an real life), 3D analysis, testing for feeback • Design Development: Choosing irection, honing supporting material (research) into compelling case, prioritizing problems to aress in esigns, human factors, usability, refining rawings, moels, etailing, materials, colors, finishes, etc. • Presentation: eliverables may inclue; igital graphic presentation, renerings, research, rawings, scale moel/prototype, vieo, process book. Final presentations will be presente, by the stuents, to our participating organization(s) for evaluation. Syllabus DESIGNING GAMES FOR KIDS Taught by Greg Trefry Making games for kis ain’t easy, but it sure can be rewaring. Kis can be the harshest of critics an also the most appreciative of players. Designing a game entails crafting a complex an ynamic system to prouce engagement. Designing games for kis emans that you o all of that an make it look super simple. No 20 page booklets of rules. No relying on the goo will of the player to hol their attention. Stir in the reality that a 4-year ol is raically ifferent from a 7-year ol an you’ve got a formiable, but exciting esign challenge in front of you. Designing games for kis forces you to strip your games own to their essence honing your skills as an interaction esigner. This class will lay out a basic framework for game esign. Then we’ll use that framework to analyze an esign games for ifferent age ranges, skill levels an attention spans. We will also look at the interplay between games an eucation, focusing on ways to raw out learning through scaffoling. The class will focus heavily on prouction an playtesting. Stuents will make a series of games for ifferent age ranges. They will also create curricular materials that scaffol one of their games to raw out elements of learning. Syllabus DESIGNING HEALTHCARE Taught by Chris Anthony What oes it mean to esign for iniviual patients or healthcare systems? What are common problems patients encounter as they traverse the healthcare system an what unique solutions an creative inspirations can we propose? In Designing Healthcare stuents will experience 4 patient case scenarios that intimately illustrate patient isease onset, initial interaction with the healthcare system, hospital stay, surgical encounters an post operative or post treatment course. Each patient case presentation will be followe by iscussion of observations an ientification of inspirations, problems an esign opportunities. Stuents will then ientify a single esign they woul like to execute as their final project. This class will take place on two Saturays space 1 month apart. Final project options will be broa an might manifest as coe, an interface or meical evice prototype, hacking the interior esign of a healthcare space, a systems esign proposal or art inspire by a patient case. This is a 1 point class. Syllabus DESIGNING MEANINGFUL INTERACTIONS Taught by Katherine Dillon This class will focus on how to create interfaces that get people to take the action you intene them to take an how to make that interaction a compelling experience. We will look at a wie range of examples of interaction esign an explore ifferent approaches to solving user experience problems across a number of platforms an at a wie range of scales. The class format will inclue lecture, stuent presentations, class iscussion in-class esign exercises an some guest lectures. The class will be very hans-on with assignments each week that focus on a particular aspect of user experience esign incluing research, wire-framing, rapi prototyping, critique an user testing. Tools will inclue pen an paper, moels an igital tools. Stuents will be active participants in the class an all assignments will be iscusse an reviewe in class. Stuents shoul come to every class with a computer an sketchbook.

DESIGNING PARTICIPATION IN THE NETWORKED ECONOMY Taught by Liz Barry, Bill Wetzel Chances are, your latest project or enterprise features ways for people to “get involve” an “take action.” But what oes it mean to truly participate? This class introuces the iea that participation itself, from igital to non-igital, nees to be esigne. We will explore collaboration ventures occurring in the knowlege prouction, transportation, housing, eucation, foo, an finance sectors. We will analyze these moels of participation for their social an economic impact, then evelop our own participation spectrum an apply it towar crafting new problem statements. Throughout this course, we will explore when technology can serve as a emocratizing force, while assessing the limits of virtual participation.

Keywors: collaboration, power, facilitation, ecision making, community management, network economy, igital labor, platform cooperativism" "In aition to the survey across sectors, an the evelopment an application of our own spectrum of participation, after mi-term we will spen time getting into the etails of online community management an group facilitation.

The final project woul be to craft a problem statement for a particular issue/sector that clearly articulates a participation esign. Problem statements will be elivere to a relevant auience (via PublicLab.org, Meium, others). " Seminar with possible fiel trips an guest speakers.

DETOURNING THE WEB Taught by Sam Lavigne "Detournement" is the practice of "hijacking" cultural or artistic materials an reusing them to prouce new works that both counter an explicate the original intent or ieology of the source material. In this class stuents will learn how to scrape massive quantities of material from the internet using Python, an then use that material to make satirical, critical an political projects. The class will cover a variety of web scraping techniques, encouraging stuents to work with text, images an vieo. Stuents will be expecte to prouce three projects using the Python programming language. Stuents will also be assigne reaings that cover the history of artistic "hijackings" as well as the history of satire. Each week we will cover a ifferent web scraping technique, with prouction assignments relating to text, image an vieo.

DEVELOPING ASSISTIVE TECHNOLOGIES Taught by R. Luke DuBois, Anita Perr, Marianne Petit This multi-isciplinary course allows stuents from a variety of backgrouns to work together to learn about an evelop assistive technology. Partnering with outsie organizations, stuents will work in teams to ientify a clinical nee relevant to a certain clinical site or client population, an learn the process of eveloping an iea an following that through to the evelopment of a prototype prouct.

DEVELOPMENT IN THE PUBLIC INTEREST Taught by Harlo Holmes Over the course of the semester, stuents will team up with people who work in in high-octane environments (journalists, human rights efeners, cop watchers, whistleblowers, an ocumentary filmmakers) to buil technical solutions for the public interest. Stuents will be presente with a unique set of esign challenges irectly from omain experts, an respon with harware an software solutions specially-hone to meet the client’s nee. This will require a lot of listening: together, we will work har to unerstan the aversaries, threat moels, an operational challenges frontline workers face aily. Stuents will then be split into teams, an work together in a “sprint” tackling the nees of the client of their choice. First, we will get to know the fiel through the eyes of our client. Then, we’ll work with our client to esign a solution. Finally, we’ll buil. This course will be prouction-heavy, an incorporate two funamental principles: Human-centere, collaborative esign focus: In our esign phases, stuents will work with people in the fiel. We will incorporate input an feeback from those who will ultimately use our tools. Development in the open: Stuents will not only be grae on the work they prouce, but also their evelopment process. Stuents will be expecte to contribute to Stack Overflow, master Github’s pull request an issue tracker features, an learn to work with Transifex.

DIGITAL FABRICATION FOR ARCADE CABINET DESIGN Taught by Mark Kleback

In the past five years, we’ve seen a strong influx in the inie game community here in NYC. Babycastles gallery, the NYU Game Center, an the Death By Auio arcae are all showcasing games in public spaces. Many of these galleries are starting to isplay custom arcae cabinets that are impressive manifestations of these games. In this class, stuents will use Unity to create a simple multiplayer game that can run on a Winows, Mac, or Linux computer. They will learn to use scripts that will launch this game on startup, an interface with harware like buttons an joysticks using microcontrollers. In the secon half of the class, they will learn how to construct an arcae cabinet with igital fabrication tools like laser cutters, 3D printers, an CNC cutters. The class will culminate in a finishe arcae cabinet that isplays the game an can run uninterrupte for months in a public venue.

DIGITAL IMAGING: RESET Taught by Eric Rosenthal Digital cameras an printers are making photography more ubiquitous an more useful than ever. This course is a workshop that looks at changing the rules for capturing an printing igital imagery. By gaining a better unerstaning of the engineering funamentals an limitations of igital photography, stuents can prouce breathtaking images with all the benefits of igital meia but with an image quality that rivals film. Stuents experiment using low cost, hans-on tips an tricks in software an harware to capture high ynamic range, expane color, night color, 3D, time lapse, an stop motion images using a igital camera an printer. While using mostly off-the-shelf tools, these experiments require stuents to ig own to see the nitty-gritty of toay's an tomorrow's technologies for igitally sensing, encoing, compressing, transmitting an isplaying images.

DIRECTING VIRTUAL REALITY Taught by Sarah Rothberg How oes an interesting piece of technology become a tool for making art?

When the Steaicam was invente, it was revolutionary technology, because it was a way to move a camera without laying track. But when Kubrick an the cinematographer who invente it, Garret Brown, got together on The Shining, it began to have a language an a meaning all its own.

In this class, Gra Film irecting an cinematography stuents an ITP stuents will look at Virtual Reality an experiment with VR storytelling techniques with the goal of a final collaborative project using a methoology of the teams choice or invention.

The ifference from the last time this course was offere, is this is now more like project evelopment stuio -- we will work together in class an with exercises for the first five weeks, an once you have foun a collaborator -- you will begin eveloping an researching for a collaborative final project. This is to keep up with the changing nature of technology an reach in the VR lanscape.

We will:

• investigate what has come before -- how it has been use narratively, for museum/art installations, an in ocumentary
• compare an contrast the meium's afforances with those of film, an test what film style elements can be brought into VR --- 360 mise-en-scene
• look at the current elivery systems an publication platforms
• explore newest techniques use at ifferent stuios an by inepenent makers through site visits an guest lectures
• ientify an create a vocabulary for the artistic effects create with our own experiments
• Focus on creating a share language between storytellers an interaction esigners.

Above all, this class will be experimental, focussing on the artistic possibilities of narrative or ocumentary VR -- an antiote to the tech inustry's impulse to churn out emos for the next newest harware.

The first half of the class will be more exercise heavy, where the latter part will focus on prouction. The course is 12 weeks scheule over the course of 14 weeks-- with two weeks off (TBD) for out-of-class prouction. The stuents will form cross-epartmental teams, creating several short experiments an one more evelope final piece.

DIY-VR Taught by Christopher Kairalla The fiel of Virtual Reality is changing almost aily. New proucts an techniques now give us increible control over the immersive VR experience, an the vocabulary for VR communication is now being written. Powerful game engines like Unity3D have lowere the bar for VR hobbyists an artists, an moern-ay cell phones have all of the components necessary to rener convincing VR in real-time. This class will focus on experimental an narrative VR projects. We will look at the history of visual storytelling an art, as well as critical analysis of meia, as a starting point for conceiving our VR projects. We will continuously compare oler meiums to VR in orer to best unerstan what works well in a VR experience. We will also iscuss the history of VR, an look at recent VR projects. The class will cover 3 broa conceptual themes, which will give focus to the projects. The themes are recontextualization, symbolism, an mythology. Some techniques that we will explore are 2D meia in a 3D space, 3D worl builing, VR GUI, an external networke interfaces.

DOING GOOD IS GOOD BUSINESS Taught by Beneetta Piantella This course, in partnership with the UNICEF Office of Innovation, focuses on the two-to-five-year horizon of technology an human nees in orer to evaluate emerging opportunities an investigate how public an private sectors can collaborate to create goo businesses an solve pressing problems. The class will be structure aroun specific areas of global nee an opportunity such as transport & elivery, ientity an personal ata, learning, lack of financial services. We will investigate how businesses an inustries can be influence an leverage to aress these growing nees. How can we provie ientity to the 30% of chilren who on't have formal IDs? How o we create financial access for the approximately 2 billion unbanke aults? How o we work to protect the 50 million chilren who have been isplace because of conflict an violence? These issues can't be solve by any single technology or by any one organization but require a network of collaborations among entrepreneurs, governments an corporate entities. Interisciplinary teams an partnerships are key for the success of any project or initiative in the social sphere. Through a speaker series an conversations stuents will be expose to both private sector companies as well as current nees an will work in groups to research an investigate where those worls converge an overlap an which future opportunities exist for collaboration. Shorter assignments will have stuents focuse on unerstaning potential technologies, their current limitations an future potential in the context of a specific problem, while the final project will allow for a more thorough exploration of a concept or strategy aime at helping UNICEF think through future approaches. The final project coul take the form of a working prototype or a lo-fi prototype that explores the potential for collaboration, a proof of concept, a esign proposal, a business case or other. A series of workshops will help stuents on this path. At the en of the semester, stuents will present their work at UNICEF HQ to staff an invite guests. This class is all about collaboration,structuring partnerships (interisciplinary an cross-sector), learning from failures, research an rapi iteration, forming an rejecting ieas, feeback an presentations to a larger auience.

DRAWING ON EVERYTHING Taught by Shantell Martin The objective of this course is to explore analog an igital rawing not only as a static exercise, but also as a tool for performance installation an collaboration. The course will explore ifferent methos for expression an capturing output. Examples inclue rawing uner camcorers, igital projection, igital rawing software, an simple coe platforms. Stuents will gain the skill an confience to raw in real time using a variety of ifferent meiums, improve their improvising skills, an learn to perform without elay.

DYNAMIC WEB - MOBILE Taught by Calli Higgins This 6-week, 2 point course will be focuse on eveloping an eploying front-en mobile web applications using HTML5, CSS, JavaScript. Aitional focus will be on capabilities suite to the mobile evice such as the geolocation, touch interfaces, responsive esign, sensor ata (gyroscope, accelerometer, magnetometer), an meia capture. Finally, the course will cover using the open-source Framework PhoneGap to export these web applications as cross-platform mobiles apps that can be istribute via Google Play an/or the Apple App Store.

Some programming experience with JavaScript is require (ICM with p5.js or Comm Lab Web).

EDUCATE THE FUTURE Taught by Greg Dorsainville The New York Times reporte in the spring of 2014 that fewer High School gras have opte to atten College, halting a tren of increasing matriculation for four plus ecaes. What is going on? As eucation in the US experiences a shift from being perceive as the most obvious metho of higher social mobility, the viability of Higher Eucation is in oubt. The prouct of Higher Eucation is ripe for upheaval with new thinking in the presence of the igital, mobile, an social meia revolutions that have change many inustries this ecae.

This course will ask you to observe, imagine an create the vision of Higher Eucation, 1 year, 5 years, 10 years into the future. How will people learn? How will teachers teach? How will you measure your acaemic success? How will stuents connect to peers an experts? Who will be able to atten this future? Will higher e be on your wrist or in a builing? Will eucation be gamifie?

Our weekly conversation will have voices from people helping to shape an improve eucation toay, with futurists, with esigners, an with content creators. We will explore the current eucation lanscape globally. We will restructure eucation in terms of experience esign, with the goal of improving the experience for the learner. We will iscuss how our experiences have motivate our learning. At the en we will esign experiences that capture the essences of these visions.

ELECTRONIC RITUALS, ORACLES AND FORTUNE-TELLING Taught by Allison Parrish Accoring to anthropologists Filip e Boeck an René Devisch, ivination "constitutes a space in which cognitive structures are transforme an new relations are generate in an between the human boy, the social boy an the cosmos." In this class, stuents will learn the history of ivination, engage in the practice of ivination, an speculate on what forms ivination might take in a worl where the human boy, the social boy, an even the cosmos(!) are igitally meiate. Starting with an unerstaning of ritual an folk culture, we will track the history of fortune-telling from the casting of lots to computer-generate ranomness to the contemporary revival of Tarot; from reaing entrails to astrology to ata science; from glossolalia to surrealist writing practices to the "ghost in the machine" of artificial intelligence. Weekly reaings an assignments culminate in a final project

EMOTIONS IN MOTION Taught by Alon Chitayat "I was giving the emo to someone a little while ago, an I finishe the emo an I sai what o you think? They sai 'You ha me at scrolling.'". (Steve Jobs)

Motion esign has become an increibly important component in UX/UI esign over the last few years.

When use as more than just a subtle esign etail, animation can provie cues, guie the eye, an soften the sometimes-har eges of igital interactions. It can improve the user experience.

Following Disney's 12 Principles of Animation, motion has the power of aing surprise an elight to functional interactions. Google's new "Material Design" language sets the groun for efining how to use motion as part of the esign process.

This course is focuse on basic an avance animation techniques an principles, to further a character an expression to igital an tangible interfaces. The main tool to be use is Aobe After Effects.

ENERGY Taught by Jeff Feersen “Energy has been calle the “universal currency” (Vaclav Smil) but also “a very subtle concept… very, very ifficult to get right” (Richar Feynman). Builing on skills evelope in physical computing, we will, through generating an measuring electricity, gain a more nuance an quantitative unerstaning of energy in various forms. We will turn kinetic an solar energy into electrical energy, store that in batteries an capacitors, an use it to power small projects. Several sessions will inclue hans-on labs. We will evelop skills useful in a variety of unertakings, from citizen science to art installations, an aress a range of topics through the lens of energy. Stuents will buil a final project using skills learne in the class.”

EVERYTHING IS SPATIAL: DATA AND DIGITAL MAPPING Taught by Mimi Onuoha Digital technologies have create new opportunities an resources for mapping, cartography, an geolocation-base visual investigation. It has also brought the nee to consier issues concerning power, representation, an space. In this seven-week course, stuents will be introuce to GIS (geographical information system) basics an learn the practical realities of working with spatial ata using igital mapping tools an technologies like mapshaper, Leaflet.js, TileMill, MapBox, an 3.js. Special attention will be pai to working with ifferent types of ata (specifically geoata) formats. Time will also be evote to investigating the conceptual questions that inform geographic ata collection/representation an strategies for counter-mapping.

Topics of iscussion will inclue: what o maps represent as visual information artifacts? What happens when we consier claims to space as topics for art-base investigations? How is the expression of geoata a result of political processes? What oes it mean for virtual creations to refer to physical realities, an in what ways o the two shape one another?

Stuents will work iniviually on weekly assignments, but will have the opportunity to collaborate on a final project that aresses the techniques an topics stuie in the course.

To get the most out of this course, stuents shoul alreay have an unerstaning of HTML, CSS, an Javascript basics. This two-creit course will meet the first seven weeks of the semester.

FAIRY TALES FOR THE 21ST CENTURY Taught by Marianne Petit Throughout time, fairy tales, myths, an stories of magic have serve as a way for both chilren an aults to make sense of the unpreictabilities of the worl aroun them. How o these stories serve us toay? How o new technologies allow us to present an reinterpret these tales so that they bring new meaning? Stuents will work with stories of their choosing an are free to work with the meium of their choice, however we will examine both traitional book art structures, as well as VR (Unreal Engine.) Weekly exercises, reaings, final project.

FANDOM Taught by Zoe Fraae-Blanar Fanom is the stuy of the communities that form aroun popular culture, whether base on a share love of Harley Davison bikes, PBR Beer, Miley Cyrus, or 3D printing. In esign, proper fan management can mean the life or eath of a project; well-thought-out interactions can lea to hoars of aoring, evangelical users, an ba interaction can spell shame an embarrassment. From Air Jorans to Worl of Warcraft, this class explores the influences an motivations that separate fans from mere users. We chart the evolution of fan culture as an important social an economic force, from early 16th century religious manias to its recent rebirth as moern-ay geek an ner culture. Along the way we'll iscuss fangroup commercialization, appropriation, monetization, an other techniques available to us as creators to get the most out of them.

FLYING ROBOTIC JOURNALISM Taught by Ben Moskowitz It use to be that only the wealthy an powerful coul put eyes in the sky. Dramatic aerial images of riots an other uprisings–capture by guerrilla rone journalists, activists an protestors—suggest a politically transformative leveling of the playing fiel. Yet even the cheapest quacopter can threaten evisceration or fatality, an unmanne flight is a legal minefiel. With all this uncertainty, what are the prospects for rone journalism in the US an globally? In this class, learn about the law, technology, an practice of rone journalism. You’ll meet pioneers of the fiel, evelop conceptual unerstaning by programming toy rones, an finally conceive & pilot a moest rone journalism mission. This is a 1 point class.

FOOD SYSTEMS: INTERVENTIONS + REMEDIATIONS Taught by Stefani Barin Super storms, rought, abunant chemical an fertilizer overuse an misuse, ozone epletion, fossil fuel exploitation an a loa of ba ecisions have contribute to the myria causes of Climate Change an the shifting lanscape of our Foo System. For example, ue to erratic weather patterns our coffee bean supply is preicte to iminish by 1/3 in the next 50 years or in the worse case scenario be completely wipe out. Strawberries nee a temperate climate an a ton of water to thrive, both of which are becoming more unattainable everyay. This stuio + seminar looks at the impact of human behavior on the environment through the lens of the very complex, ynamic an interconnecte Foo System an how the collateral of our behavior is swiftly changing what we grow, how we grow it an ultimately what we eat or will be eating in the future. Focusing on such evelopments as GMO’s an unerstaning the ways in which technology shoul not be shunne in favor of a more nostalgic embrace of foo systems that is not the golen ticket everyone is expecting. Therefore we will work on projects that examine how technology can be leverage to aress these issues by esigning small scale interventions in the areas of bio-remeiation, foo preservation, foraging an pollination. This stuio + seminar looks at the impact of human behavior on the environment through the lens of the very complex, ynamic an interconnecte Foo System an how the collateral of our behavior is swiftly changing what we grow, how we grow it an ultimately what we eat or will be eating in the future. Stuents will work on small esign projects that respon to, aress, perhaps even fix ruptures in our amage agricultural ecosystem, an the many players implicate in our environmental foo chain. These projects coul inclue see saving evices that help preserve an propagate heirloom hops; rainwater filtration systems that fee irectly to crops.

FROM PROTOTYPE TO FABRICATION: PLANNING FOR MASS PRODUCTION Taught by Sarah Krasley Navigating the worl of mass prouction can be challenging. Prototyping an making one of something for class is pretty straightforwar, but what happens when other people want one? How much will it cost to make five of what I mae once? How about 50? How about 5000? Where will it be manufacture an with what machines? Questions like these can feel aunting.

This class is for stuents who have ientifie a well-efine prouct iea an/or igital or physical prototype. Coursework will focus on increasing the stuent's unerstaning of how they woul attempt to mass prouce the prouct an how much it woul cost." Classes will be a combination of lecture, hans-on work, an stuent presentations. Between the first an secon session, stuents will be assigne to work through a network manufacturer to complete their BOM an RFQ. This two session class teaches an approach to planning for mass prouction. In the first session, we will learn what goes into a Bill of Materials (BOM) an how to structure a request for quote (RFQ). In the secon session, we will review stuent presentations of their results working with sourcing proviers an evaluate ifferent options for prouction against a set of criteria (hypothetical an real).

FUTURE INTERFACES Taught by Davi Lobser, Kenneth Perlin Traitional user interface elements, such as buttons, sliers an rop own menus, require computer users to conform to a regime of screen-base an evice-riven afforances. In this class we will envision a future where the human min an boy are unshackle by such anachronisms, an language itself extens to inclue intuitive gestures that can interact irectly with the worl aroun us.

Using a custom library for gesture an virtual/augmente reality evelope at Ken Perlin's lab, we will examine the roots of sign languages such as ASL, of Chinese logograms, an the ways in which chilren naturally evelop their own languages. We will imagine a future where we will share an immersive, computer augmente reality which we can manipulate an use to communicate visual ieas with each other just as naturally as we use speech an gesture toay.

FUTURE MOBILITY AND INFRASTRUCTURE Taught by Mitchell Joachim A wie-ranging course concerne with the fiels of esign an technology that efine the interrelationships of mobility an the environment. We will be exploring the totality of relations between all types of vehicles an their funamental patterns of movement in conitions of urban ensity. Vehicles meiate the experience of the city; they occupy vast quantities of real estate; they create a lot of clamor an they congest the streets. Yet esigners mostly take them as given, an are satisfie to plan streets an public spaces aroun whatever few enuring vehicle manufacturers happen to prouce. Here we test an reverse this well-worn supposition. We will esign vehicles to fit a new concept of the city, not the city to conform to the arbitrary specifications of gasoline riven automobiles, buses, an trucks. The technologies that make this probable are those of miniaturize electronics, avance telecommunications, low-cost istribute computation, an sophisticate control software. They empower us to purge most of the ol inustrial clutter that presently encumbers vehicle engines, power trains, ashboars, an steering wheels. They allow us to efine a profounly new, revolutionize architecture for mobility. The objective is to esign types of conveyance an/or transfer from one place to another by taking into account the human boy an its hyper saturate igital surrounings. We will eneavor to re-envision anything ranging from bicycles to buses, skateboars to airships, an parking to infrastructure to meet the ecological nees of the future. Each stuent will iniviually critique, evaluate, an esign multiple project-base urban mobility concepts an subsequently prescribe new innovations. This is a 3 creit course.

FUTURE OF NEW MEDIA Taught by Art Kleiner This course explores the next few years in the evelopment of meia an relate technologies, culture, an geopolitics. It uses scenario planning, a technique for making sense of complex future possibilities. The class works as a large project team, looking ahea 5-10 years. We istinguish preetermine elements from critical uncertainties, ientify the unerlying patterns that influence events, an come up with a few compelling, plausible stories about possible futures. We present the futures – an the strategies they suggest – to a public auience. The goal of the course is to enable you to make more robust ecisions in the face of uncertainty. This is valuable for ealing with technological change, starting a business, plotting a career or making major life ecisions. This class has evelope a longstaning following at ITP because it helps make sense of the complex worl that shapes (an is shape by) new meia.

HACKING CONTEMPORARY POLITICAL RHETORIC Taught by Ben Moskowitz We have come a long way from VHS tape ecks. Toay’s meia hackers have access to terabytes of captione vieo, speech recognition, open ata APIs, WebGL compositing, an HTML5 vieo in the browser—all hyper-linkable. In this class, set against the backrop of Election 2016, we will create new technologies an methos for remixing political vieo. We will creatively engage with the weirest election in moern history, gain experience as meia literacy eucators, an evelop historical an contemporary perspectives on how the meia shapes elections. We’ll esign new an better ways for people to unerstan an shape political iscourse, builing on an learning from tools evelope by the ITP community—incluing Vieogrep, Popcorn.js an Popcorn Maker, Hyperau.io, an the Internet Archive’s TV News Archive. Super News Time As part of this class, we’ll all be co-proucers of “Super News Time,” an open online event for the extene NYU community to learn about, collaboratively ocument, an make sense of the 2016 American presiential election using vieo. Super News Time will feature guest talks by journalists, historians, artists an others. Each stuent enrolle in the grauate course will serve as a “section leaer” for Super News Time, responsible for leaing asynchronous iscussion in 18 - 24 person groups, critiquing an elevating the best work.

HACKING HIGHER ED Taught by Daniel O'Sullivan, Clay Shirky New communications tools offer the opportunity to improve the accessibility, measurability, convenience, an cost of higher eucation. Doing so, however, means eciing which goals to esign for -- Skills transfer? Experiential learning? Personal re-invention? Networking? Certification? -- an how those competing goals shoul be bunle or unbunle. This class will ask stuents to look at ways to reinvent higher eucation to increase its accessibility an excee the current quality of the experience. Stuents will survey current experiments such as University of the People, Khan Acaemy, Coecaemy, Meetups, TED Talks, General Assembly, an hackerspaces. Guest speakers working in this space will join the class iscussions. Stuents will work iniviually an in groups to imagine re-esigne lectures, iscussions, stuent collaboration, assessment, an certification. The final project will be an eucation moule, of the stuent's own esign an construction, launche to the public for feeback.

HACKING STORY FRAMEWORKS: FOR SOCIAL IMPACT/SOCIAL ISSUES Taught by Yasmin Elayat There is a new storytelling lanscape evolving across journalism, film, meia an art riven by emerging technologies, cultural trens, an a new bree of auience that are themselves content creators. This class explores how technology can be leverage to tell stories in new ways for social issues by hacking narrative frameworks, pushing meiums forwar, an engaging auiences in the storytelling experience by inviting them as collaborators or immersing them on a eeper level. We will explore how technology can be transformative in creating empathy an promoting unerstaning. We will work on projects that raise awareness, transform perceptions or inspire change aroun a social justice issue, story or community. Because we are builing richer, more immersive experiences, new meia storytelling has become a esign exercise. We are no longer boun by frameworks or constructs, in fact, technology has opene up a new worl of more social, communal experiences. We nee to better unerstan an esign for our auiences an in this class we will learn experience esign principles in aition to social impact strategy an learn how to buil strong narrative worls. This class is technology agnostic, which means we will explore ifferent meiums an technology in service of our stories; i.e. story first, tech secon. Objectives The objectives of this course are for stuents to gain a eep unerstaning of this new emergent storytelling space, learn how ifferent inustry players are influencing various meiums, an to eliver a social impact project aroun a topic of their choosing. The focus of the first half of the semester is builing the skill set to become better story esigners, while the secon half of the semester we learn to use these tools an apply them to the final project from concept to prouction, testing along the way via workshops, prototypes an user tests. This class embraces experimentation as part of the esign process. Stuents will learn how to: Buil strong narrative experiences, Story Design an use experience esign principles, Prototype an user test, Use emergent tools, platforms an technologies (VR/AR/MR, multisensory, web), Develop projects from concept to prouction, Deliverables, One iniviual miterm project, One group final project, Class presentations an peer reviews, Weekly reaings or assignments

HACKING THE BROWSER Taught by Cory Forsyth Web browsers were originally only for isplaying web pages, but over the years they have become supercharge all-powerful web execution machines. In this class we’ll explore using experimental new browser capabilities an HTML5 APIs to buil small web projects that augment an subvert the traitional browsing experience. In class we will look at the mechanics of Chrome extensions, bookmarklets, Chrome Apps, APIs such as: Service Workers, Battery Status, Geolocation, full-screen-moe, notifications, accelerometer usage, vieo camera access, speech recognition an text-to-speech. Class workshops will inclue topics such as builing one’s own a blocker, programmatically replacing text an images on a website, making sites that respon to external events (such as location, battery life, weather), an creating a motion-base intrusion-etector. Some experience with HTML, CSS, an JavaScript (ICM with p5.js or Commlab Web/Networke Meia) are requirements for this class.

HARDWIRED FOR STORIES OUT LOUD: WHY STORIES MATTER Taught by Aaora Uoji Storytelling may be the "new" thing in technology, but it's way more than a buzzwor. It's so central to how we learn, communicate, think an invent that we may inee be harwire for storytelling. It may also be one of the most important skill you can learn for your career. It is the ability to to communicate your ieas effectively, an be the best spokesperson for those ieas. If you want to be reay an more confient in your presentation skills for Thesis..an the rest of your life…this course is for you. This course is part seminar an part training in the art of how to present your ieas well. In this course, you will: 1. explore what a story is, why stories work 2. esign an buil a framework base on the cross iscipline principles (you tell stories all the time, an have the power to o it well. 3. apply it to the work you are oing-- whether representing yourself, your ieas, the things you buil or want to buil.

HOMEMADE HARDWARE Taught by Anrew Sigler Harware is not har, an rapily prototyping circuit boars is easier than ever with new tools available at ITP. Stuents will learn how to grow from a breaboar to a custom surface mount boar, all without leaving the floor. This class is about artists an esigners taking control of their harware, an exploring the potential of embeing their projects into the worl aroun them.

Stuents will learn the multitue of tools an processes require to make a DIY circuit boar. These inclue Eagle CAD, micro-milling machines, rawing schematics, orering parts, surface-mount components, aci etching, soler paste an stenciling, reflow, pick-an-place, an others. In-class emonstrations will be one for each of the above, an stuents will complete assignments using online reference notes an vieos. Two smaller projects an one final project will be assigne (3 total), each a circuit of the stuent's’ choosing. These three assignments will be esigne to work off the most recently taught subjects, an to get the stuents to fail early. It’s a lot of new material to be learning across multiple omains, so the stuents will nee the entire semester to iterate

IMMERSIVE LISTENING: DESIGNING SOUND FOR VR Taught by TK Broerick Until recently 3D soun was a novelty reserve for special uses an reaching a limite auience, no meium in popular culture has been as inherently epenent upon spatial auio as virtual reality. The wiesprea an stanarize implementation of surroun soun in film brought cinema to a new level of immersion, but is limite to theatrical exhibition an home theater systems. Toay a consierable amount of content is consume on mobile evices an laptops which exclues the cinematic experience of spatial soun. With the current rise of cinematic VR an the blurring line between gaming an experiential VR, spatial auio is no longer just an ae bonus, but rather a necessity in esigning immersive VR experiences. In this course we will explore the emerging fiel of 3D soun esign an for both 360 vieo an game engine-built VR using a igital auio workstation, Unity, an 3D auio plugins.

IN SHORT: RECURRING CONCEPTS IN ART Taught by Georgia Krantz What is the relationship between new meia art an the art that precee it? Has the revolutionary impact of igital meia prouce entirely inepenent spaces of art making an creativity? While observing how igital technologies prouce new arenas for artistic expression an interpretation, we will examine how 20th-century artists working before the igital boom utilize other meia, techniques an approaches to effect comparable formal, conceptual an experiential ynamics. This course will inclue reaing, ialogue an short projects.

IN THEIR SHOES Taught by Gabriel Barcia-Colombo “If you can learn a simple trick, Scout, you’ll get along a lot better with all kins of folks. You never really unerstan a person until you consier things from his point of view…until you climb into his skin an walk aroun in it.” — To Kill a Mockingbir In Their Shoes is a 7 week prouction class focuse on creating short 360 egree ocumentary an immersive vieos with the goal of creating empathy through virtual reality filmmaking. How oes virtual reality allow us to experience unique perspectives on social issues? What are the strengths an weaknesses of this new an provocative technology? How oes virtual reality filmmaking change or enhance the traitional ocumentary format? Is it possible to create compelling stories or points of view in the roun? This course will focus on the creation of 360 egree vieo not for the purposes of amusement an spectacle but rather to inspire compassion an social change. Technically the course will investigate new techniques for 360 egree vieo an soun recoring for portable virtual reality heasets such as the google carboar an samsung gear vr. Stuents will work in small groups to create a fully realize project within the 7 week class perio. This two-creit course will meet the last seven weeks of the semester.

INTEGRATED DATA THINKING 101 Taught by Tricia Wang This course will teach stuents a research process that is esigne for ata-rich environments. Stuents will learn Dataframing©, a framework that unifies iscovery an optimization research an integrates big ata an thick ata methoologies. We will introuce the funamentals of running Data Sprints©, a rapi an iterative process for learning about users. Stuents will walk away with a common language for working with quantitative an qualitative, a set of techniques on how to ask the right questions, an a founation for gathering insights for their projects.

INTERACTION DESIGN STUDIO Taught by Luke Dubois The Interaction Design Stuio is a grauate prouction course that looks at the ways in which we can buil compelling interactions through a combination of software engineering an best practices in HCI. For this course, stuents will investigate stanar (keyboars, mice), expane (controllers, cameras) an bespoke (custom-built) physical interfaces for sensing user input an look at ways in which these inputs can be mappe in software to evelop successful experiences. Stuents will be assigne regular case stuies an esign sketches exploring the pros an cons of ifferent interfaces; they will also evelop an user-test a semester-length esign project using a physical interface in a novel way to create a tool, a performance, an installation, or something in between. The course will be harware an software agnostic but will be taught primarily in Max/MSP/Jitter, a visual evelopment environment for real-time meia.

Course Objectives

Stuents in this course will: • familiarize themselves with best practices in HCI through a series of case stuies, informe by reaings in cognitive analysis. • apply these best practices to a variety of interface tasks using software. • learn stanar computer interface protocols (serial interfaces, network interfaces) to unerstan esign from a stanpoint of maximum interoperability an flexibility. • experiment with ifferent techniques for mapping a user input uner a variety of situations. • propose an evelop a complete experience as a final project.

INTERACTIVE MUSIC Taught by Yotam Mann Soun an music play an integral part in an interactive experience. What about the reverse: how can interaction can play a crucial role in a musical experience? Responsive, aaptive, an interactive auio have the ability to evelop a moo, create a sense of space an material, cue an foreshaow events, an allow people to participate in significant ways in soun-making processes. This class will focus on the relationship between interaction an soun, creating sonically-riven experiences, interfaces an environments in which music is realize as a collaboration between the composer an listener. This class takes a broa view of music as “organize soun”.

Prerequisites: willingness to listen critically, some programming experience (p5.js / js). No formal music training require.

The course will be structure aroun one final assignment: an interactive music experience. The technical part of the course will focus on Javascript , Web Auio (an HTML5 specification for auio synthesis, processing an playback) an Tone.js. Stuents will be encourage to use Javascript, but for the final, the language or platform is up to the stuent. The class will focus on esigning soun for interaction an esigning interaction for soun. Topics will inclue exploring the spectrum of interactive music ranging from hitting a play button to full-flege instruments or interactive songs. We will consier relevant artistic/aesthetic questions like how much an what kin of sonic control shoul composers give to their players/listeners. Stuents will be expose to prior-art interactives in contemporary music, game pieces, process-base music an vieo game music. Intermeiate projects will give stuents a chance to learn an apply the lessons on Javascript an Tone.js. Stuents will then combine the musical an technical lessons into their final projects. The format of the course will balance instruction, iscussion, jamming an performance.

INTRO TO PCB FAB Taught by Anrew Sigler This is 7-week skill builing course for stuents to learn how to grow from a breaboar to a custom surface mount boar, without leaving the floor. Prototyping circuitry is getting easier an cheaper, an the tools an processes available at ITP allow stuents to cheaply make their circuits any shape an aesthetic they want, while increasing robustness an reproucibility. Stuents will learn a new tool or process each week, an using using those new skills to buil a final project. They will learn such as how to work with surface mount parts, etch a boar esign, rea a schematic, esign a circuit, an use a micro-milling machine. Other areas that may be covere inclue aci etching, schematics, esigning circuits in illustrator an Eagle, an using the OtherMill. Stuents will present a final project of their choosing uring the final class.

INTRO TO 3D FOR PRINTING Taught by Xuei Chen 3D environments an objects are powerful prototyping tools. This class will introuce the basics of 3D moeling techniques in Rhino an stuents will learn to create assets for prototyping an 3D printing. The class will take an inustrial esign approach to esign an buil with specifications an materials in min. Stuents will learn to think, plan, esign, an prouce well thought out objects to fit their specific nees. (examples: motor mounts, enclosures, wearables etc.)

INTRODUCTION TO FABRICATION Taught by Ben Light Time to get your hans irty. Prototypes nee to be create, motors have to be mounte, enclosures must be built. Unerstaning how things are fabricate makes you a better maker.

But harware is har. You can’t simply copy an paste an object or working evice (not yet anyway), fabrication skills an techniques nee to be evelope an practice in orer to create quality work. You learn to make by oing.

In this class you will become familiar an comfortable with all the ITP shop has to offer. We will cover everything from basic han tools to the beginnings of igital fabrication. You will learn to use the right tool for the job.

There will be weekly assignments create to evelop your fabrication techniques. There will be in class lectures, emos, an builing assignments. Emphasis will be put on goo esign practices, material choice, an craftsmanship.

LABOR IN A MOBILE-FIRST WORLD Taught by Te Roen This course will explore the very recent history an the future of work, labor, an employment. We’ll research an iscuss how the nature of work will continue to evolve in a worl with istribute workforces, working primarily mobile on their own time, an how that will affect both the workers an applications. How will applications be built using these moels? How will our concept aroun “work” change? The course is a balance between a iscussion of the implications of new labor moels like Mechanical Turk an Uber an working irectly with technologies that have mae them possible. Stuents will create a series of small projects using javascript libraries, frameworks an APIs.

LEAN LAUNCHPAD Taught by Jennifer van er Meer, Joshua Knowles Lean Launchpa, the experiential course in entrepreneurship, will be offere for creit this Spring at NYU ITP. Base on the Steve Blank’s Lean Launchpa an the NYU Summer Launchpa Accelerator, we are applying the curriculum evelope at Stanfor an Berkeley for the NYU community. This course has been evelope with support from the NYU Entrepreneurship Initiative, an aims at mixing the best of the methos from the Lean Launchpa methoology with the best of ITP's methos.Over the spring semester, stuent teams participate in an iterative approach to startup evelopment, a combination of business moel esign + customer evelopment + agile evelopment. Participants from the New York Venture Capital community an leaing successful startup entrepreneurs will serve as mentors an avisors to selecte teams.Who can apply: Stuents apply in teams, 3-4 people, with an initial concept that can be fully evelope into a working prototype over the course of the semester (web, mobile, or physical prouct).

LEARNING MACHINES Taught by Patrick Hebron Over the last ecae, machine learning has unergone a philosophical Renaissance through the innovation of a set of computational moels an algorithms often referre to as Deep Learning. These ieas have le to concrete avancements in long-staning applie omains such as classification an time-series preiction. But the real excitement over Deep Learning lies in its yet untappe potential.

This course will introuce some of the core technical concepts within Deep Learning an explore how these emerging capabilities will transform the next generation of computing interfaces such as search engines, intelligent assistants, connecte homes an open-worl vieo games. Stuents will be aske to complete weekly incremental programming exercises, culminating in an applie project that relates the techniques stuie in this course to any fiel of human-computer interaction.

We will also explore some of the more abstract insights offere by Deep Learning into vexing phenomenological questions like: • Why o we replay an reconfigure memories in our reams? • Why o we use only a small portion of our brains at any given time? • Why can we catch a baseball without being able to recite Newton’s equations? An most importantly, what efines learning as a phenomenon?

Require Text:

Anerson, Britt. Computational Neuroscience an Cognitive Moelling: A Stuent's Introuction to Methos an Proceures. Los Angeles: SAGE, 2014.

Programming Platform:

This course will be taught in Python an will expose stuents to scientific computing an visualization libraries incluing SciPy an Matplotlib.

LIGHT AND INTERACTIVITY Taught by Tom Igoe We use light in all aspects of our lives, yet we selom notice it. Most of the time, that’s no accient. Lighting in everyay life, well-esigne, oesn’t call attention to itself. Instea it raws focus to the subjects an activities which it supports. In this class, you’ll learn how lighting esign is use for utilitarian, expressive, an informational purposes. We’ll consier the intersection of lighting esign an interaction esign, paying attention to how people interact with light. We’ll practice both analyzing lighting an escribing its effects, in orer to use it more effectively.

On the technical sie, you’ll learn the basics of the physics of light, its transmission an perception. We’ll talk about sources of light, both current an historical. We’ll work with computerize control systems for lighting an moern light sources, an we’ll create a number of lighting esigns for ifferent purposes.

Projects in this class will range from inicator lighting on evices to task lighting to stage an environmental lighting. We won’t spen time on projection, but will look at lighting people, objects, an spaces instea.

This class will be prouction-intensive throughout the course of the spring semester. As a result, it is not recommene for secon-year stuents who are focusing on their thesis.

LIGHTING WITHOUT THE BOARD Taught by Monty Taylor This course buils upon ITP’s expertise of lighting LED’s to explore how we can make artistic choices for both how to light an event, our own work, or even make lighting base sculptures. Traitionally this work was limite to those with access to large DMX boars; however, we will look at how to use the DMX protocol to power large scale lighting rigs with either coe or open source software that emulates the traitional boar approach. We will also explore the artistic sie of lighting to enable you to make more creative choices about angle, color, an which instruments to use. Assignments will inclue: • Lighting a still moment • Exercises in how to enhance a narrative with lighting • Lighting a small event • A final project: Applying all of the skills from the course

LIVE IMAGE PROCESSING AND PERFORMANCE Taught by Luke DuBois This course teaches the ins an outs of using imagery in real-time, whether in a performance or installation context. The class will use a variety of software manipulate visual meia (time-base, still, vector, an renere) in real-time to allow stuents to evelop interesting real-time systems. While the focus of this class is on using imagery for visual work (mainly a software package calle Jitter), it also looks at how to integrate interactive elements (soun, physical interfaces, etc.) into an integrate practice. Class time is spent on interface esign an software evelopment issues as well. The class explores some interesting capabilities of the software in terms of real-time computer vision, projection mapping, generative graphics systems, an meia transcoing. Throughout the class stuents evelop an share ieas on live performance an interactive installation as a meium for visual expression, an learn the software tools necessary to put these ieas into practice in the form of iiosyncratic performance systems. A final presentation in the form of a group performance will be arrange. Stuents shoul have some working knowlege of Max/MSP before taking this class, although class projects can be execute on a variety of platforms.

LIVE WEB Taught by Shawn Van Every The Worl Wie Web has grown up to be a great platform for asynchronous communication such as email an message boars which has extene into meia posting an sharing. Recently, with the rise of broaban, more powerful computers an the prevalence of networke meia evices, synchronous communications have become more viable. Streaming meia, auio an vieo conference rooms an text base chat give us the ability to create new forms of interactive content for live participants. In this course, we’ll focus on the types of content an interaction that can be supporte through web base an live interactive technologies as well as explore new concepts aroun participation. Specifically, we’ll look at new an emerging platforms on the web such as HTML5, WebSockets an WebRTC using JavaScript an Noe.js. Experience with web technologies are (HTML an JavaScript) are helpful but not require. ICM level programming experience is require. ( Social Software, Internet, Vieo)

LOOKING FORWARD Taught by Claire Kearney-Volpe This course surveys assistive technologies an access for people with low vision an blinness. Historical, contemporary an forwar thinking perspectives will be explore an guest lectures from leaers in the fiel an people with live experience will be inclue. Stuents will learn about low-vision an blinness access an technologies across several omains (web, wayfining, literacy, socialization, etc.) an will evelop the skills to transform an avance them. In partnership with each other an community members that have experience with low-vision an blinness, stuents will evelop their own projects in the secon half of the class.

MACHINE LEARNING FOR ARTISTS Taught by Gene Kogan This course will introuce machine learning for artistic practice. Machine learning is the technique of teaching computers to learn by example, enabling us to buil interactive systems that intelligently respon to a variety of real-time inputs. Example applications inclue builing new musical instruments, interactive installations, an vieo games whose behaviors are ynamically controlle by nontraitional inputs, such as a Kinect sensor, webcam, or internet ata stream. This course will not cover, nor assumes knowlege of, the technical or mathematical etails of machine learning, instea focusing on how to integrate available tools into existing interactive applications, although resources for learning the technical aspects will be provie. The tools we use will be platform-agnostic, making it easier to a machine learning into existing applications. Programming ability will be helpful in customizing the provie tools, but is not require. We will buil interactive systems which use classification — the ability of machines to assign categories, such as recognizing han gestures — as well as regression — the ability of machines to preict values, such as how happy or sa a facial expression is. We will show how to transmit these values in real-time into environments such as Processing, openFrameworks, Max/MSP, Ableton Live, an others. The course will also briefly touch upon the current frontiers of machine learning, incluing ata organization, clustering, an visualization, as well as style emulation — the ability of machines to generate images, auio, an text which imitate particular styles.

MAGIC WINDOWS AND MIXED-UP REALITIES Taught by Rui Pereira Magic winows that allow us to peek into ifferent realities without leaving our physical space, lenses that reveal hien layers of objects or navigating new universes within the same room. More than ever, mobile/wearable evices are getting a human-scale unerstaning of space an motion allowing us to create more intimate interactions with our surrouning spaces, leveraging them as a canvas to experience other realities. We now have the potential to give life to inanimate objects, tell stories through space, customizing private views of public spaces an recognize places we’ve never been.

We’ll question what it means an how can we blen reality exploring themes such as: augmente space an new paraigms in social interaction, public space an privacy; storytelling an navigating the physical space like turning pages in a book; tangible interfaces, mixe objects an animism; Magic winows, x-ray vision, time-machines an impossible universes; Far away so close: telepresence an remote collaboration.

The course will survey the past, current an up an coming technologies an experiences in Mixe Reality incluing environmental augmente reality an interactive projection mapping, hanhel evices an hea mounte isplays fostering a strong user experience perspective on the afforances an constraints of each. We’ll research an iscuss the esign principles an guielines for creating mixe reality experiences focusing on the links between real an virtual objects, interaction space an asymmetries between physical an igital worls, environmental semantics an multimoal an tangible interaction.

Technologies explore will inclue an are not exclusive to Unity3D, Vuforia, Microsoft Hololens, Google Project Tango, volumetric vieo, SLAM, image an object recognition, epth sensing, projection mapping.

Stuents shoul have previous working knowlege of Unity3D an feel comfortable with inepenently eveloping using this platform. Coe samples will be provie for each technology/platform taught. A working knowlege of Unity3D may be gaine by going through the Unity 5 3D Essential Training Lyna Course prior to the course (log in to Lyna for free via https://www.nyu.eu/lyna). Stuents shoul feel free an are invite to use any other technologies they might fin suitable to evelop their ieas.

MAKING POP-UP BOOKS AND PAPER ENGINEERING Taught by Sam ita This two-point workshop covers the basics of paper engineering techniques (incluing fols, layers, ials an pull-tabs) to make movable esigns that can be incorporate into your work. Weekly assignments an a final project.

MAPPING SYSTEMIC RELATIONSHIPS Taught by Howar Silverman Systems thinking is relational thinking, an the best way to unerstan systemic relationships is to map them out. In this class we will evelop, iscuss, an compare a range of mapping (i.e., iagramming) techniques, such as: social ecosystem mapping, analog mapping, concept mapping, causal mapping, influence mapping, an scenario mapping. We will use these mapping techniques to examine social an environmental issues, an the resulting maps will inform our conversations as we consier an critique strategies for effective engagement. No explicit familiarity with systems thinking is require; this class will serve as both introuction for newcomers an augmentation for ol hans. Stuents will work iniviually an collectively to apply mapping techniques to case stuies (provie as text, auio, vieo) of social an environmental issues. These mappings will challenge stuents to articulate an clarify both their unerstanings of complex situations an their hypotheses about affecting change in areas of concern or opportunity. Throughout the course, hans-on exercises will be woven together with introuctions to relevant systems theory an iscussions of mapping insights.

MECHANISM: IF IT MOVES IT BREAKS Taught by Stephan von Muehlen We will introuce the elightful possibilities of simple machines an funamental mechanical concepts–such as levers, gears, an linkages–through examples from the history of kinetic sculpture, interactive art, an manufacturing. Look to Alexaner Caler's Circus an Theo Jansen's Stranbeestas examples.

This class will teach the stuents the joy of making things that move, the pain of watching them fail, an the knowlege they will nee to ensure that what they esign won’t fail when it’s most important. Stuents will quickly engage these concepts with their own initial projects. We will share the challenges professional engineers an artists face when making something move an begin to ientify an aress those challenges. Discussions will focus on best practices in esigning mechanical systems, etermining requirements, simple prototyping, specifying, resourcing an manufacturing components, an testing. The stuents will fin examples of things that work, an things that have faile. Site visits to shops where things are mae will put these concepts into a real-worl context. Stuents will also be require to esign an buil a final project that meets a basic set of requirements (e.g. inclues at least 2 “simple machines,” is resettable, works, an looks goo).

MUSCLE: EXPANDED INTERACTION FOR BODIES AND TECHNOLOGY Taught by Nancy Nowacek MUSCLE is a class exploring the boy as technology through reaings, sketches, performance, irty prototypes an conceptual proposals.

For the past 79,850 years of evolution, the boy has been the primary tool for transforming the worl. Over the past 150 years, the boy's capacities an capabilities have been increasingly outsource to machinery, appliances, an evices, an essentialize to eyes, ears, an fingertips.

We will stuy the gap between what the boy wants an what technology currently asks of it with the goal of bringing the boy back into moern life. Stuents intereste in igital performance, physical computing, computer vision an motion tracking will leave the class with a broa founation in movement an conceptual methos an evelopment for future projects an applications.

The course will survey a range of movement languages an practices — from sign language to crossfit, martial arts, an contemporary cultural forms like ance an slang —an examine the history of movement in inustrial esign an the physical choreography of tools, an the history of gesture in harware an software. We will engage with ieas of interface, afforance, prosthetic, an avatar to marry movement, meaning, an evice in new an experimental ways.

The course is conceptually focuse, but we will perform research-in-practice through small, weekly experiments that take the form of sketches, iagrams, vieos, an prototypes. Classes may involve moving.

NATURE OF CODE (ANIMATION AND PHYSICS) Taught by Daniel Shiffman Can we capture the unpreictable evolutionary an emergent properties of nature in software? Can unerstaning the mathematical principles behin our physical worl worl help us to create igital worls? This class focuses on the programming strategies an techniques behin computer simulations of natural systems. We explore topics ranging from basic mathematics an physics concepts to more avance simulations of complex systems. This is a new 2 point version of the course. Topics covere are the mathematics of vectors an trigonometry, how to buil your own physics engine as well as use existing ones. The course will en with an exploration of autonomous agents an complex systems. Examples will be emonstrate in JavaScript using p5.js, but stuents are welcome to evelop their work in the environment of their choice. Stuents who have previously enrolle in Nature of Coe shoul not take this course, but can choose to take the new "Intelligence an Learning" 2-point course.

NATURE OF CODE (INTELLIGENCE AND LEARNING) Taught by Daniel Shiffman Can we capture the unpreictable evolutionary an emergent properties of nature in software? Can unerstaning the mathematical principles behin our physical worl worl help us to create igital worls? This 2 point course explores the latter half of The Nature of Coe book in greater etail an with an eye towars expaning the book with recent evelopments in machine learning. The course will begin by examining classic machine learning concepts: Genetic Algorithms an classification techniques like nearest neighbor, naive bayes, an ecision trees. From there we'll explore recent avances in neural networks in the context of creative projects at ITP. JavaScript an p5.js will be the starting point, but we'll branch into other tools like wekinator, Java, noe, an more when necessary. Stuents who took Nature of Coe last year are welcome to register for this new 2-point, although it will inclue a small amount of repeat material. Part 1 is not require for Part 2, however, if you have not taken Part 1, you will likely want to rea chapters 1-6 of the textbook as backgroun.

NETWORKED MEDIA Taught by Shawn Van Every The network has become a funamental meium for interactivity. It makes possible our interaction with machines, ata, an, most importantly, other people. Though the base interaction it supports is simple, a client sens a request to a server, which replies; an increible variety of systems can be an have been built on top of it. An equally impressive boy of meia theory has also arisen aroun it's use.

This hybri theory an technology course will be 50% project riven technical work an 50% theory an iscussion. The technical work will will utilize JavaScript as both a client an server sie programming language to buil creative systems on the web. Technical topics will inclue server an client web frameworks, such as Express an Angular, HTML, CSS, templating, an atabases. The theory portion of the course will inclue reaing an iscussion of past an current meia theory texts that relate to the networks of toay; inclue in this will be works by Marshal Mcluhan, Weny Chun, Lev Manovich, Philip Agre, Tiziana Terranova, an more.

In short, this course will be about eveloping full-stack web applications (such as anything from the beginnings of Google, YouTube, an Twitter to class registration systems an other purpose built system) as well as thinking, reaing, an iscussing the implications with a culture an meia theory perspective.

NEUROMACHINA Taught by Conor Russomano This course will be focuse on the convergence of man an machine. We will explore a variety of biosensing technologies, incluing but not limite to: brain sensors, muscle sensors, heart rate monitors, galvanic skin response evices, respiration sensors, neurostimulators, an eye trackers. The objective of this course is to explore what exists with regars to human-computer interface (HCI) evices, an to also push the fiel of HCI forwar. The collision of esign an technology is integral to the progression of the relationship between humans an computing technologies. We cannot simply engineer solutions to humanity's biggest challenges; we must also esign intuitive, ergonomic, an socially responsible systems that improve the human experience. The human boy is an ocean of electricity an ata that we can both listen to an influence. This cybernetic ynamic—of input an output—will unoubtely influence the evolution of our species. What will stuents o? Stuents will: • Learn about a variety of ifferent biosensing tools an approaches • Learn about an iscuss the ethics of introucing such tools into society • Create projects that implement the tools stuie in the course • Go on occasional fiel trips to local NYC-base groups an institutions that are paving the way in the omain of HCI • Be encourage to work collaboratively (both insie an outsie of ITP) • How will the course be structure? • The first half of the course will be primarily learning, through a series of in-class workshops where stuents will be learning how to implement a variety of ifferent evices (EMG, ECG, EEG, GSR, eye-tracking, etc). The secon half of the course will be implementation an creation. Stuents will work iniviually or in groups to creatively implement the technology stuie in the first half of the course. This is a 2 point course

NEUROSCIENCE AND ART Taught by Sonja Blum This course will explore briges/ links between neuroscience an art. After covering basic concepts relate to structure an function of the nervous system, we will focus on how the properties of our nervous system affect art making an viewing. We will particularly focus on the vision system, memory an attention.

Ieas/ concepts covere will inclue: 1.) basic architecture of the central nervous system an its known properties/ functions, incluing neuronal architecture axons/ entrites / synapses an basic molecular concepts (what is a neurotransmitter / synaptic junction)], 2.) localization of brain functions (from focal lesions to cells an molecules to brain wie networks an back), 3.) basic structural an functional components of the sensory system with particular focus on the visual system, 4.) the relationship between sensory system an perception / approximations an preictions mae by the nervous system to interpret incoming sensory stimuli (ex. blin spot fille in, etc), 5.) common abnormalities in perception (benign hallucinations/ Charles Bonnet synrome, etc.), 6.) case stuies of famous artists an writers whose work was possibly affecte by neurological isorer (Kant, Van Gogh, Caspar Davi Frierich, Egar Allan Poe, Nietzche). This is a 1 point class.

NEW INTERFACES FOR MUSICAL EXPRESSION Taught by Greg Shakar The course focus is on the esign an creation of igital musical instruments. Music in performance is the primary subject of this class. We approach questions such as “What is performance?” “What makes a musical interface intuitive an emotionally immeiate?” an “How o we create meaningful correlations between performance gestures an their musical consequences?” Over the semester, we look at many examples of current work by creators of musical interfaces, an iscuss a wie range of issues facing technology-enable performance – such as novice versus virtuoso performers, iscrete versus continuous ata control, the importance of haptic responsiveness as well as the relationship between musical performance an visual isplay. Extensive reaings an case stuies provie backgroun for class iscussions on the theory an practice of esigning gestural controllers for musical performance. Stuents esign an prototype a musical instrument – a complete system encompassing musical controller, algorithm for mapping input to soun, an the soun output itself. A technical framework for prototyping performance controllers is mae available. Stuents focus on musical composition an improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where stuents (or invite musicians) will emonstrate their instruments. Prerequisites: ITPG-GT.2233 (Introuction to Computational Meia) an ITPG-GT.2301 (Physical Computing).

NOTHING: CREATING ILLUSIONS Taught by Anrew Lazarow How o we make something from nothing, an nothing from something? The iea of nothing, an optical illusions have been linke since the western iscovery of zero lea to the beginning of linear perspective. In this course we will explore an array of optical illusions, ranging from traitional approaches to new technologies. Structure as primarily a stuio course, we will work irectly with Pepper’s Ghost, isappearing acts, making soli objects appear transparent, invisibility, false sense of epth, an approaches to esigning negative space. Assignments will inclue: • Reaings an blog post responses. • Creating small-scale illusions with an without the ai of new technologies • Exercises in camera analysis an projection mapping • Calibrating camera values with projector values • Making user interactions invisible, an then transmittable • A Miterm: Creating a small scale prototype with controlle interactions • A Final: Designing a full scale prototype accounting for user interactions

ONE STORY, SEVEN WAYS Taught by Elena Parker Course Title – One Story, Six Ways – 7 Weeks “A work of art is realize when form an content are inistinguishable. When they are in synthesis. In other wors, when they fuse.” – Paul Ran Storytelling – the rehearsal of a narrative in a structure an meaningful way – can take many forms. This class asks how each form in which you tell a single story changes the way that the auience receives that narrative. You will choose a public omain short story an iterate upon it in seven ifferent meia. We will examine how to leverage the unique tools of each meium to best communicate a narrative. How o you articulate a character ifferently in auio versus performance? What part of your narrative is better suite to physical expression? Are there aspects of storytelling that a image or game just o better? After choosing your short story, you will aapt it to performance, auio, image sequence, physical/installation an as a system or game. Along the way, we will look at outstaning examples of storytelling in each meium an examine how the authors fuse form an content.

OPEN SOURCE CINEMA Taught by Dan O'Sullivan Have you you ever seen a movie set take over several city blocks with trucks an trailers, tents an an an army of crew members? Even in movies that rely more on special effects than location shooting you can see thousans of names roll by in the creits. Who can affor to tell stories that way? How can you interact with stories mae that way? Stories tol with motion pictures are the strongest tool for change in our culture an nee to be in the hans of more people.

Tools like panoramic vieo might save the nee to shoot on location by allowing irectors to later change their shot angles. We will look at how epth cameras like the kinect can separate foregroun elements like people an props from a scene so they can be rearrange or substitute. New scanning technology has mae it easier creating 3D moels instea of more immutable images an new abilities to realtime rener those moels is fining its way into small inexpensive evices. We will look at how story plots an sequences might be template into reusable formulas for no experts to fin ramatic arcs. Most importantly we will look at how these new elements are usefully aressable to be share an compare in a way that pixels are not. You coul fin exactly how your story overlaps an intersects with other in a share “space” of stories. Once filmmaking becomes a process of arranging share elements within the frame instea of just sequencing clips, it coul prouce cultural avancements like what followe the analogous innovation of movable type in the printing press.

In the near term the aesthetic will likely be rough juxtapositions in the traition of comics or storyboaring. The goal of this class is not to make the lives of professional film irectors easier but rather empower the en user to be a irector of a motion storyboar that may never be finishe. While it is the mutability of “VR” tools that enable this class, the aim is towars emocratizing conventional stories probably elivere on a conventional screen. This class will raw on ieas coming out of ITP’s “Consumer Light an Magic” research project so stuents will be expecte to have a pioneering attitue. Stuent will have assignment to gather compose an istributes parts of a story. Examples will mostly be in javascript with Unity or Unreal being a viable alternative platforms.

This class use to be calle "Prototyping Movies". This is a 2 creit course.

PERFORMING PARTICIPATION Taught by Taeyoon Choi Is there a script behin our participation in everyay events? What are the factors that are engineere into human experience? This class will explore the coes of participation embee in technological spectacle of aily life by staging experimental happenings. Happening, a term coine by a performance artist Allan Kapprow in the 50s, transforms space as an interface for unconventional situations to occur an a site of confrontation an stimulation. Contemporary performance artists create work outsie the ivision of stage an time events, towar art work that seeks to establish sense of affect an presence. This class will explore participation as an artistic meium to create an unconventional performance art piece. The classes will be split between 40% lecture an 60% stuent participation through physical activities.

Learning outcome:

Become confient improvising in unexpecte situation. Create series of happenings with instruction an ocumentation.

Objective:

Interpret the meaning of participation we perform in aily life, consumption an communication.

Perform participation in the public sphere, using technology to buil commons between iniviuals.

PERFORMING USER Taught by Lauren McCarthy How o the technologies we use on a aily basis choreograph our actions, cause us to perform, an open spaces for improvisation? What are the ways we perform for each other, an how o the internet, mobile phones, an other networke technologies create new performance sites an possibilities? The course will be structure aroun four performance assignments, requiring stuents to perform with physical harware, on the internet, via telepresence, an in collaboration with a crow. An important part of the course will be learning to critique each other’s work constructively—experiencing with an open min, an thoughtfully an articulately responing. The performance activities will be supplemente with stuy of prior performance art engaging technology, short reaings, an technical workshops. The workshops will introuce technical tools the stuents may choose to incorporate into their work, such as IFTTT, Twitter bots, WebRTC, an Mechanical Turk. However, the focus will be on consiering the context, function, an meaning of these technologies an translating this into novel ways of performing with them. No technical experience is require, though stuents may incorporate existing skills into their work. A esire to take risks an step outsie of one’s comfort zone is necessary.

PERSUASIVE DESIGN Taught by Katherine Dillon In subtle an not-so-subtle ways technology is influencing our behavior – from buying more books on Amazon than we intene to, to helping us change ba personal habits to leveraging the voices of many– technology presents an opportunity to be an agent of change. This 4pt class will explore how technology can be use to influence behavior. We will look at a number of behavioral theories incluing incentive–base esign, gamification an social influence. We will review case stuies on how these techniques have been use to effectively motivate behavior change. After researching theories on behavior motivation, working in pairs, stuents will ientify a problem or issue that they hope to influence. Stuents will ocument the problem, evelop a concept to influence the behavior associate with that problem an prototype (or buil) their solution. They will test their solution an raw conclusions from the experiment. Projects can attempt to influence social change at a large, social scale or at a personal level. The unifying theme behin the projects will be that they inten to inspire positive change. The goal of the course is to provie stuents with a sol unerstaning of the potential technology provies to motivate an affect change in behavior. Stuents will evelop projects that aim to influence behavior.

PIECING IT TOGETHER Taught by Eric Hagan Designing an builing physical objects can feel like putting together a puzzle without the box top. Even if you have all the pieces, an extra challenge lies in figuring out how they fit together. Digital fabrication tools make it possible to newly imagine an prouce pieces that allow us to recreate or moify the “puzzle” as we see fit. Utilizing historic mechanical equipment (e.g. winmills, clocks, spee governors) as esign inspiration, we will explore the possibilities of igital fabrication tools to solve issues of fastening, synchronicity, replaceable parts, repeatability, an moification of existing esigns. A central goal of this class is to come to terms, an work prouctively, with the limitations of these otherwise revolutionary igital fabrication tools—particularly in regars to materials, scale, an aesthetics. By the en of the semester, stuents will be familiar with Aobe Illustrator, 2D an 3D CAD software, laser cutting, CNC routing, an 3D printing. No prior fabrication or esign backgroun is require for this course.

PLAYFUL COMMUNICATION OF SERIOUS RESEARCH Taught by Lillian Preston Exhibition esign is the art of marrying experience an information. The best o so seamlessly; the very best surprise an elight you along the way. In this class you will explore the craft of interactive exhibition esign through practice. Working in small groups, you will select an NYU researcher whose work is of interest to you an create an interactive experience that presents this research to a broaer, public auience. In the process, you will learn to interrogate content an form, auience an environment, meium an message to create a meaningful an playful exhibit experience.

This class is taught by Lillian Preston, Executive Proucer at Bluecaet Interactive

POP UP WINDOW DISPLAYS Taught by Gabe Barcia-Colombo In New York City, every storefront winow has the possibility to tell a story, spark a conversation or inspire an interaction. This workshop will focus on creating innovative interactive pop up installations esigne for public winow isplays. A successful winow is one that clearly elivers a message irectly to the public. How o we create interactive isplays that engage the public with a istinctive voice or style? Over seven weeks, stuents will concept, prototype an buil an interactive experience meant to be installe in a storefront or commercial isplay. This course will explore lighting, esign, an bugeting of urable interactive winow installations. Previous fabrication or programming experience is encourage.

PRINTING CODE Taught by Rune Masen In this course stuents explore the use of computational techniques to prouce physical prints, focusing on the intersection between graphic esign an creative coing. Class time will be ivie between exploring esign topics like colors, gris an typefaces, an applying these towars computational topics like ranomization, repetition an generative form.

Weekly reaings inclue relevant writings from the history of graphic esign (Josef Muller-Brockmann, Paul Ran), articles from the history of computation (Vannevar Bush, Douglas Englebart, Martin Krampen) an everything in between (Sol Lewitt, Ewar Tufte, etc).

Weekly homework can be prouce using the igital printers at NYU’s Avance Meia Stuio, however stuents are encourage to utilize whatever physical printing techniques they prefer, that being stencils, letter press, silk screen, weaving or home-mae printers.

The class aims not only to teach the stuents how to create physical prints via coe, but also to have something interesting to say about it.

The class requires ICM or similar programming backgroun.

PRODUCT AUTOPSY Taught by Leonaro Bonanni Where o things come from? What are they mae of? How o they impact society an the environment? That is what this class is about. Prouct Autopsy is the process of revealing the hien life of things: the people, the places, an the ieas that mae them possible. Over the course of this half-semester class, stuents will select personally relevant proucts or services an isassemble them to reveal their impact. Along the way we will become familiar with the state of the art in impact assessment, incluing environmental footprinting / Life-Cycle Assessment, social impact assessment, cultural sustainability an operational risk an resilience. Over the course of seven sessions stuents will prepare a etaile autopsy of their selecte proucts using the most relevant impact metrics an present the results in a mi-term exhibit/review. Projects will be evaluate with an eye towar fining opportunities for raically sustainable alternatives to the way things are mae toay.

PROGRAMMING DESIGN SYSTEMS Taught by Rune Masen Until recently, the term Graphic Designer was use to escribe artists firmly roote in the fine arts. However, as esign proucts are becoming increasingly ynamic, the fiel of esign is changing too. In this course stuents explore the fiel of graphic esign through coe. Class time will be ivie between exploring esign topics like colors, gris an typefaces, an applying these towars computational topics like ranomization, repetition an generative form. A significant part of the class will be evote to unerstaning systems as an important part of our esign history. Weekly reaings inclue relevant writings from the history of graphic esign (Josef Muller-Brockmann, Paul Ran), articles from the history of computation (Vannevar Bush, Douglas Englebart, Martin Krampen) an everything in between (Sol Lewitt, Ewar Tufte, etc). The class aims not only to teach the stuents how to create esign systems in coe, but also to have something interesting to say about it. The class requires ICM or similar programming backgroun. This class is built on the class “Printing Coe”, an stuents who took that class shoul not take “Programming Design Systems”

PROGRAMMING FROM A TO Z Taught by Daniel Shiffman This course focuses on programming strategies an techniques behin proceural analysis an generation of text-base ata. We'll explore topics ranging from evaluating text accoring to its statistical properties to the automate prouction of text with probabilistic methos to text visualization. Stuents will learn server-sie an client-sie JavaScript programming an evelop projects that can be share an interacte with online. There will be weekly homework assignments as well as a final project.

PROJECT DEVELOPMENT STUDIO Taught by Stefani Barin, Daniel Rozin This is an environment for stuents to work on their existing project ieas that may fall outsie the topic areas of existing classes. It is basically like an inepenent stuy with more structure an the opportunity for peer learning. This particular stuio is appropriate for projects in the area of interactive art, programing, physical computing an igital fabrication. There are require weekly meetings to share project evelopment an obtain critique. Stuents must evise an then complete their own weekly assignments upating the class wiki regularly. They also must present to the class every few weeks. When topics of general interest emerge, a member of the class or the instructor takes class time to cover them in epth. The rest of the meeting time is spent in breakout sessions with stuents working iniviually or in groups of stuents working on relate projects.

PROTOTYPING ELECTRONIC DEVICES Taught by Deqing Sun, Peiqi Su The most ifficult part of prototyping is not the builing process, but the process of eciing how to buil. If we choose proper technology for prototypes, we can improve their robustness an simplicity. This course will cover available an afforable technologies for ITP stuents to buil prototypes. The course will start from solering, wiring an LED basics. Then it extens to multitasking, signal processing, communication an avance skills beyon PCom class. Each session will have lectures followe by in class practice with guiance. Workshop sessions uring miterm an final perio allow stuents to work on their own project with help from instructors. No require assignment. Stuents will listen to lectures an o han-on practice in class. There will be workshops for stuents to work on their miterm an final project for other classes.

PROTOTYPING INTERACTIVE SPACES WITH SPACEBREW Taught by Brett Renfer Spacebrew is an open-source tool for builing an experimenting with interactive spaces. It facilitates rapi prototyping of interactive an responsive environments by enabling esigners an evelopers to easily an quickly connect real-time interactive applications across microcontrollers, computers an the clou. This workshop will introuce Spacebrew from a technical perspective an explore ways to prototype large scale interactive installations with Spacebrew. On the technical sie, we will cover: a high-level introuction to Spacebrew; an overview of how to connect to Spacebrew with Processing, openFrameworks, Aruino, an Javascript; an emonstrations on how to use Spacebrew to connect all of the above together. Stuents will then be split into small groups an will be taske with creating prototypes aroun a specific interactive scenario. Finally, we will explore narratives that can be create when these iniviual prototypes are networke together.

PROTOTYPING MOVIES Taught by Dan O'Sullivan Have you you ever seen a movie set take over several city blocks with trucks an trailers, tents an a crew of one hunre. Even in movies that rely more on special effects than location shooting you can see thousans of names roll by in the creits. Who can affor to tell stories that way? How can you interact with stories mae that way? This course will look at how tools like the kinect camera, panoramic vieo, an XML transmission might allow people to sketch stories out of parts that are more easily compose, reconfigure an share. The goal is not seamless special effects but rather the rough juxtapositions in the traition of comics or storyboaring. Using these traitions as templates we will look at the ramatic parts of a story in aition to the auio visual parts. Stories in a living storyboar that can be create by anyone, evolve an intersect with others may never nee to be mae into a more finishe movie. This class will raw on ieas coming out of ITP’s “Consumer Light an Magic” research project so stuents will be expecte to have a pioneering attitue. Stuent will have assignment to gather compose an istributes parts of a story. Examples will mostly be in javascript with Unity being a viable alternative platform. ICM is a prerequisite an the Comics class might make an interesting compliment.

RADIO GA GA Taught by Surya Mattu

Raio waves have been harnesse for communication for over a century. From simple morse coe signals to high efinition vieo, this meium has playe a critical role in enabling how we, an our evices interact with each other. Thanks to increasingly accessible harware platforms, the barrier of entry has been lowere for harnessing this meium. Making a project that uses wireless has become cheaper an easier than ever before, however, the protocols use (Wi-Fi, BLE, Zigbee) are still a small part of the entire Raio Frequency (RF) spectrum. This class will start by iving into Wi-Fi as a way of better unerstaning some RF funamentals that a lot of wireless infrastructure relies on. We will then ive eeper an look at Software efine Raios an listen to other parts of the spectrum that were previously off limits for creative exploration. These inclue air traffic control, weather satellites, GSM, an many more! This class hopes to make raios exciting for the uninitiate with an explanation of the technical funamentals they are base on along with the social an political impact they have in our current igital lanscape. We will use the FCC allocate raio spectrum as our playgroun an explore the waves!

READING AND WRITING ELECTRONIC TEXT Taught by Allison Parrish This course introuces the Python programming language as a tool for reaing an writing igital text. This course is specifically geare to serve as a general-purpose introuction to programming in Python, but will be of special interest to stuents intereste in poetics, language, creative writing an text analysis. Weekly programming exercises work towar a miterm project an culminate in a final project. Poetics/text analysis topics covere inclue: character encoings (an other technical issues); cut-up an appropriate text; the algorithmic nature of poetic form (proposing poetic forms, generating text that conforms to poetic forms); transcoing/transcription (from/to text); n-gram analysis an Markov chain generation; performing igital writing. Programming topics covere inclue: ata structures (lists, sets, ictionaries); strategies for making coe reusable (functions an moules); functional programming (list comprehensions, recursion); getting ata from the web; simple web applications; an parsing ata formats (e.g., markup languages). Prerequisites: Introuction to Computational Meia or equivalent programming experience.

READYMADES Taught by Gabe Barcia-Colombo This course is about taking ol things an making them new. Loosely base on the traition of Marcel Duchamp’s “Reaymaes,” stuents will re-imagine ol technological evices an antiques as new meia installations or art objects in the form of scientific, ethnographic, artistic an historic relics. By embeing new technology (sensors, micro-controllers an small projectors) into foun objects, stuents will explore a combination of anthropology an new-meia storytelling. Can we create interactive art evices that tell a human story? How o we maintain artistic control while builing artwork that requires human interaction? How can we re-appropriate foun objects in a meaningful way to create new-meia installations? This is a prouction heavy four creit course taught in Max/Msp/Jitter an focuse on making museum reay interactive urable installations. Possible projects inclue: time traveling typewriters, boomboxes from mars, ghost phones an musical bicycles. Pre-requisites inclue a flair for the absur…an solering.

REINVENTING THE WHEEL Taught by Ben Light The class will ive eep into one of the simplest machines. The humble wheel has been with us for millennium, but is ripe for reinvention. We will investigate an create wheele mechanisms, toys, kinetic sculptures, an robots. Our objects will roll, spin, an slie. We will cover fabrication, mechatronics, esign, an engineering techniques. This class will be prototype an fabrication heavy with multiple projects an a final.

REST OF YOU Taught by Daniel O'Sullivan We buil computers aroun an illusory image of ourselves. In particular, the illusion that our consciousness is the full extent of our experience limits how we might use computers to give fuller expression of our lives. This class looks at how you can use computational meia to connect with the rest of your existence.

The class begins by looking at simple optical illusions but quickly moves on to illusions of time, agency, an economic an moral rationality. Then by analogy just as camera technology allows us to revisit the evolutionary traeoffs of our visual system, computation might bring tireless, statistically vali processing an memory as a prosthesis to our quick an irty systems for juging the worl.

At a practical level the class looks at interfaces for capturing the less consciously controlle parts of your boy. It then moves on to trying to fin meaning in the mouns of alreay igitize expression your prouce everyay by using electronic evices. Finally the class looks at how this approach of more fully exposing an giving expression to the rest of us, might help groups get along better. Exercises will inclue the use of bio-sensors, cameras, ata logging, analysis an visualization. This class will use skills from Physical Computing an ICM.

RETHINKING PRODUCTION TOOLS Taught by Rune Masen / Patrick Hebron In recent years, we have seen a proliferation of new technologies an techniques in the meia inustry. This has ha a profoun impact on most content creators: Film irectors are now challenge to think in more imensions, sculptors nee thorough knowlege about 3D scanning an printing, an esigners are increasingly taking avantage of machine learning to esign for complex systems. However, the tools we use to prouce these new types of content are still moele on manual processes that existe before the computer.

This is a class eicate to researching an eveloping new prouction tools for igital meia. Over the course of the semester, stuents will work in groups to ientify an aspect of this theme to work on, lay out a plan for execution, an follow this plan to success. Stuents are expecte to create roles within their group, come up with user stories, evelop feature sets, perform user testing to valiate their assumptions, an create ocumentation that explains how to use their tools. Class time will be eicate to group emos an feature iscussions, as stuents evelop their ieas from simple prototypes to fully functional applications.

SENSE ME, MOVE ME Taught by Mimi Yin A re-working of Choreographic Interventions (Spring 2016), this class is intene for anyone intereste in using sensing technologies an movement to create interactive experiences.

We are surroune by interfaces where swipes an taps control elements on a screen. Less familiar are systems esigne to compel us to move in new an unexpecte ways. How o you make someone feel soft insie? How o you shake an entire room? How o you orchestrate uets between strangers?

Every class, we will move in orer to push the bounaries of how you think you’re capable of moving while experimenting with computational methos for builing interactions that excite our curiosity, engage our whole boy an provie an outlet for expression through movement.

We will evaluate the strengths an weaknesses of the various motion-tracking technologies, from “traitional computer vision” (blobs, contours, faces) to “new CV” (Kinect skeletons an 3D epth maps) to motion capture suits. What is the gap between what we can see an feel in our boies as we move (strength, softness, contortion) an what a computer can sense an interpret (locations, contours, skeletons, velocity, acceleration)?

Pre-requisites: Introuction to Computational Meia or its equivalent.

SENSORY DRIVEN STORYTELLING Taught by Stacey Mulcahy Narratives are often linear, with a start an an en, an sometimes even formulaic. How can we create new stories, reactive or even ynamic ones using sensory input to help irect or even efine the irection of the narrative? We will explore narrative riven games or environments in either 2 or 3 focusing on how sensory input can contribute to play an or performance. Technologies an software to be covere will be Unity3, communication protocols such as Web Sockets an OSC within the context of Unity3 to capture an share ata, an the Kinect. Other harware input will be aresse as neee through lab times.

SHADER STUDIO Taught by Patricio Gonzalez Vivo This 1 point stuio course will focus on avance graphics programming skills using OpenGL/WebGL Shaing Language to moify the renering pipeline. This course will only cover GLSL version 1.0 an will focus on fragment shaers, using glslEitor online tool (https://eitor.thebookofshaers.com/) or its native counterpart glslViewer (https://github.com/patriciogonzalezvivo/glslViewer). Because this language is compatible with OpenGL ES an WebGL, later stuents will be able to apply the knowlege to other tools, libraries an frameworks such as: Processing, p5.js, openFrameworks, Ciner, Three.js, Shaertoy an more. Due to the complex mathematics require for shaer programming, this course will ask you to stretch your comfort zone. This is a 1 point class.

SOCIAL HACKING: APPROPRIATING INTERACTION TECHNOLOGIES Taught by Lauren McCarthy This course explores the structures an systems of social interactions, ientity, an representation as meiate by technology. We will investigate ways that technology can be use to augment, subvert, alter, meiate, an ultimately eepen interaction in a lasting way. How o the things we buil an use limit an expan the way we unerstan an relate to each other? We’ll explore this question by builing new tools an creating new situations for breaking us out of existing patterns, an iscussing contextual examples from meia art, performance art, psychology an pop culture. Technologies explore will inclue computer vision (face/boy/eye tracking with openFrameworks), ata representation an glitch, browser extensionsan plugins (in Chrome), computer security, mobile platforms, an social automation an APIs (Facebook, Twitter, Mechanical Turk). Stuents will evelop projects that alter or isrupt social space in an attempt to reveal existing patterns or truths about our experiences an technologies, an possibilities for richer interactions. Different tactics for intervention an performance will be explore, first through a set of short prompts or experiments, an then through a larger, more thorough intervention. Technical requirements: A conviction that creative people can erail society for the best, a eep love for coe, an a willingness to explore uncomfortable situations. You shoul at least have taken Introuction to Computational Meia or have similar experience with programming.

SOFT ROBOTS AND OTHER ENGINEERED SOFTNESS Emergent technologies increasingly leverage the avantage of soft an flexible materials. Integrate soft systems, particularly soft actuators, apply to health an assistive tech, human-object integration, space an eep sea exploration, an more. This course covers concepts from soft innovation history, current state-of-the-art, sister isciplines of bio-inspire an hybri (soft/har) robotics paire with hans-on fabrication techniques (silicone casting in 3D printe mols, heat-seale films, flexing Stuents start with a short exploration of historical context an current state-of-the art to prevent reinvention of the wheel. Aitional omains will be introuce by pairing of high-level concepts to grow-on combine with achievable hans-on fabrication an evaluation techniques: Cable controlle force/Flex an ben cable structures Pneumatics an inflatables/heat-seale flat patterne prototypes Emboie complexity/silicone casting in 3D printe mols, Hybri robotics/Mini Tensegrity structures, Materials suitability/Swatching an collaborative or estructive testing. Final projects can be a soft/flexible/hybri esign concept presente with context, materials swatches with justifications for choices, an physical or moele proof-of-concept. This is a 2 creit course.

SPECULATION AS PROCESS Taught by Chris Woebken The Speculation as Process course is built aroun ongoing research on futuring methos at The Extrapolation Factory. Over the course of the class, we will evelop imagination evices an futuring process followe by an iterative series of rapi investigations, incorporating esign-fiction prototyping an re-contextualization of the ieas generate. The class will research new tools an methos for generating speculative concepts with the intention to suggest evelop new interactions an tools aroun emerging scientific research in the area of to be re-contextualize back into New York City (ie. Finance worl, Psychic Reaing Salon or Office of Emergency Management). The multiplicity of speculative prototypes aims to evelop a new language for engaging with these emerging scientific an technological evelopments in the efforts for proviing a system for situating near-term efforts with future guieposts, shape esign iscussions an ultimately evaluate those evelopments an influence our collective futures.

STORYTELLING WITH NON-LINEAR VIDEO Taught by Alon Benari Throughout history, as new storytelling meiums have emerge, content has aapte to fit the eveloping form. From oral narratives to theater, cinema, an television, storytelling will always evolve to fit the possibilities enable by the platform. Yet, espite being interactive by nature, igital storytelling has not fully aapte to the meium. So - how is non-linear vieo shaping the future of igital storytelling?

This 6-week workshop will combine filmmaking an classic storytelling with gaming mechanics an interface esign. The class will introuce the epths of non-linear vieo an allow stuents to create their own interactive experience. The focus is on what makes a goo story in an interactive narrative environment. Stuents will have access to the Interlue platform - the inustry leaer in interactive vieo (behin vieos such as Bob Dylan’s “Like a Rolling Stone”). In aition they will be given "backoor" access to further customize the software for their own projects.

During the course of the semester, they will works in teams of 2-3 stuents to prouce a short interactive vieo experience. Weekly lessons will mimic their project creation process - proviing tools an knowlege for creative ieation, scriptwriting, film prouction, an prouct integration. Stuents will acquire basic Javascript an CSS skills in the class. This is a 2 creit course.

SUBTRACTION Taught by Ben Light Subtractive fabrication is a common manufacturing process that prouces urable an functional objects. This class will cover multiple techniques on machining an milling raw material into custom parts. We will focus on both traitional an igital fabrication tools: lathe, CNC router, 4 axis mill, etc. We will cover CAD, CAM, an machine setups as well as research afforable esktop milling solutions for personal shops. The class will be hans on an fabrication heavy, paying close attention to precision, accuracy, an craftsmanship. There will be weekly fabrication exercises, a miterm, an a final project. It’s mill-er time.

SURVEILLANCE SOCIETY: MAKING SENSE OF THE DATA TRAILS WE LEAVE BEHIND Taught by anah boy / Gila Lotan Data are create an collecte all aroun us, trails left from interactions in social meia, accessible through streams, fees, APIs, an ata-stores. These ata are use to power a growing number of services, moele not only off our own interactions but also interactions of our friens an larger network of connections. Even if well intene, the growing range of uses of systems that algorithmically ingest our ata means there are a growing number of unintene consequences an inherent biases. In orer to untangle some of these issues, we’ll ive into the literature, while running our own ata analyses on capture surveillance ata, from system logs, an NYPD atasets to mobile phone logs.

This is an avance technical class. There will be a manatory tutorial session beforehan. You are expecte to be proficient in the Python programming language before the start of the class. We will hit the groun running, an move aggressively fast. We will use the iPython notebook environment, an get to know libraries such as: Panas for time series analysis, NLTK for Natural Language Processing, an Scikit-learn for some Machine Learning. We’ll also learn to leverage existing API’s to enhance our atasets an moels. There will be both reaing an coing assignments every week. Your final projects will be group base.

TANGIBLE INTERACTION WORKSHOP Taught by Tom Igoe Tangible interfaces are interfaces that you touch. You control them with your hans, feet, an other boy parts. Their shape, feel, an arrangement provie feeback. In this seven-week class, you'll buil evices with tangible controls in orer to better unerstan how we learn about an manipulate the worl through our sense of touch.

We'll iscuss physical interaction concepts such as expressive interfaces an utilitarian ones, real-time control vs. elaye control, an implicit vs. explicit interactions. We'll iscuss programming an electronic techniques to sense state change, threshols, peaks, an other signs of user action. The primary tools will be the microcontroller an common tangible controls: pushbuttons, switches, rotary encoers, rotary an slie potentiometers, force sensors, touch sensors an others. The class will also cover on-evice feeback through LEDs, speakers, an force-feeback actuators.

Weekly projects will be esigne (an parts specifie) in pairs in in-class esign sessions, an execute as homework. Projects will be mostly microcontroller-riven, an will buil on the programming an sensor-interfacing skills learne in Intro to Physical Computing.

Prerequisites: Intro to Physical Computing an Intro to Computational Meia, or a working knowlege of microcontroller programming in Aruino; Intro to Fabrication or basic knowlege of laser cutter. This is a 2 creit course.

TEACHING AS ART Taught by Taeyoon Choi This class is for artists an creative practitioners who want to teach. Goo teachers are also goo stuents themselves. They transform their curiosity into knowlege an share their learning process with others. One can learn to become a better teacher by staying fearless about ‘not knowing’ something, embracing raically open ieas an connecting various expertise an knowlege. Teaching can be a form of artistic an creative practice in collaboration with a iverse community. Teachers can invent new forms of learning spaces such as Artist-run schools, Hackerspaces an Museums.

Learning objective: In this class, stuents will learn about applying artistic processes to teaching. Stuents will rea about the history of artists in an out of acaemic institutions, Black Mountain College as well as more recent experiments. Stuents are expecte to engage in a critical iscussion about the topic.

Learning Outcome: Stuents will become knowlegeable about various ways of teaching. Stuents will create a lesson plan for a workshop. This is a 2 creit course.

TEMPORARY EXPERT: DESIGN + SCIENCE IN THE ANTHROPOCENE Taught by Stefani Barin / Marina Zurkow This class provies founational unerstaning of the scientific an social issues relate to the esign of resilient urban futures. It provies ways of unerstaning our shifting ecological lanscapes an the nee to engage in esign that aresses the conitions of the time we are living in now = the Anthropocene = the epoch when human beings began to problematically impact global climate an ecosystems. Following the methoology of “The Temporary Expert,” stuents will combine traitional research an analysis with hans-on experimental project evelopment. We will use the scientific metho as an investigative an evaluative tool for these esign interventions by learning to test an measure a variety of ifferent kins of ata an then creating projects to evaluate, share an even perform this information. Stuents will learn to pinpoint an begin to unerstan the increasingly mercurial geological conitions of our planet supplemente by fiel trips to bio-labs, workshops with scientists an visits from artists working within the scientific worl. Weekly work consists of reaings, interviews, writing, aily artistic practice an systems thinking exercises.

TEMPORARY EXPERT: RESEARCH-BASED ART AND DESIGN PRACTICE Taught by Marina Zurkow Cultivating a “Research-base Practice” requires an artist/esigner to be a pioneer, a etective an a mystic all in one. What oes it look like to make work in, through an as research? How o you follow a hunch? Engage experts an passersby to explore both legitimate AND preposterous leas? Be expansive? How o you leave your own trail of ocumentation that can contribute to a boy of knowlege beyon the proucts of your own art? These forms of research may mix a variety of scientific an intuitive methos. The artist/esigner is free to employ speculation, open-eneness, an irony; to use esign as a way to probe or even provoke the chosen fiels of inquiry. The class is evote to the question of how to initiate an investigate research an incorporate it intelligently an sensitively into your work. This class is about eveloping your own iiosyncratic an well-ocumente means of pulling threas, following leas, an becoming fearless about asking for help an others’ expertise. You become a temporary expert. Through hans-on practice, case stuies, guest speakers from both art an science, an reaings on ethnography, research, an the iea of a public, we will explore metho, ocumentation an presentation of your research, an the merits of both success an failure.

TESTING TOMORROW: SPECULATION AS PROCESS Taught by Chris Woebken / Richar The The image of the city of New York is significantly efine by technologies. From Eison’s electricity gri enabling artificial light at night, to elevators enabling skyscrapers, to Uber rivers enable by smartphones to navigate the city without knowing the streets by heart. How might we guie evelopments of future systems an technologies to influence how we experience New York in the future?

The class will start with an introuction to speculative esign methos an a rapi prototyping sprint base on stuents’ own observations in the city. This introuction is followe by a workshop with experts touching on societal, economic, environmental an ecological issues relevant to NYC toay. Using this research as a basis for extrapolation, stuents evelop speculative prototypes of potential future technologies aressing these issues. The speculative prototypes investigate possible tomorrows from a conceptual, critical an aesthetic point of view. These speculative concepts will be “teste” by placing them in real worl situations in the city toay to create a forum for iscourse an ebate.

The process will be informe by a fiel trip an lectures by relevant research organizations, a crit with external esigners, short workshops, weekly reaings an a final exhibition.

THE FUNGUS AMONG US Taught by Marina Zurkow We live among the vast an relatively unknown Kingom of Fungi. Mycelial networks have been likene to social an communications networks. What o we have in common with mushrooms? What can we learn from them? Fungi communicate, remeiate, an ecompose. Fungi are closer to Animals than to Plants, an only a small percentage of Fungi have been classifie.

They are use as foo, meicine, spiritual guies, remeiation partners, an more recently, material builing blocks.

The material output of this class focuses on fabricating materials with mycelium. Stuents will learn how to combine mycelium an agricultural byproucts, to create Styrofoam-like materials. In the first class you will learn basic techniques, with a min towars prototyping a project that explores both physical an conceptual concerns. In aition, stuents will also explore fungi through reaings, meia an your own written responses. Texts spanning the biological, theoretical, social an creative will inclue Paul Stamets, Dale Penell, Anna Tsing, an Peter McCoy.

Please bring a flexible casting mol or plastic container to the first class. This is a 1 point class.

THE STRATOSPHERE OF SURVEILLANCE Taught by Aam Harvey Mass surveillance is a vast yet largely invisible infrastructure that enmeshes our cities, workplaces, homes, borers, an even our social interactions. From the atabases that store our most personal meia to the satellites that peer own from space, this class explores the stratosphere of surveillance technologies that are reshaping the worl orer.

This class begins by inverting Bentham's architecture of the Panopticon an placing the iniviual at the center. From here we will look outwar at the myria ways of being seen, analyze, an tracke through real worl examples an emonstrations of both lo-fi an avance surveillance techniques. Technologies covere inclue biometrics (face, iris, fingerprint, an gait); online tracking (cookies, browser fingerprinting, network analysis, an packet sniffing); avance imaging (thermal, IR, aerial, computer vision, an capturing "meia in the wil"); an hacking (using examples from Kali/PwnPi). Selecte texts will accompany each set of technologies an we will iscuss their implications in class.

After eveloping an unerstaning of the iversity of surveillance technologies, stuents will work collaboratively to evelop a well researche response to subvert, critique, improve or aapt to the type of surveillance they fin most relevant.

Through topics covere in this class stuents will gain a technical unerstaning of surveillance, security, an privacy enhancing technologies; be able to communicate securely using encryption; an learn how to better navigate the emerging lanscape of mass surveillance. A working proficiency with the comman line an basic programming techniques is recommene.

THE USER OF ASSISTIVE TECH: ENGAGING WITH PEOPLE WITH DISABILITIES Taught by Georgia Krantz Creating useful assistive technology means truly unerstaning the user. Misconceptions about a user’s abilities, nees or esires can quickly isrupt the best ieas an intentions. User research an testing is a must for all assistive tech projects, yet many people o not feel comfortable interacting with people with isabilities. This course aims to buil an unerstaning of the importance of user input in assistive tech projects, an best practices for interacting with people with isabilities. This is a 1 point class.

THE WORLD-PIXEL BY PIXEL Taught by Daniel Rozin This class focuses on the art of computer graphics an image processing. We explore the concepts of pixilation, image representation an granularity an the tension between reality an image. Stuents are introuce to the tools an techniques of creating ynamic an interactive computer images from scratch, manipulating an processing existing images an vieos, compositing an transitioning multiple images, tracking an masking live vieo, compositing an manipulating live vieo as well as manipulating epth information from Kinect. The class uses Processing.

THESIS Taught by Nancy Hechinger, Robin Rei, Kathy Wilson, Katherine Dillon, Gabe Barcia-Colombo, Anrew Lazarow This course is esigne to help stuents efine an execute their final thesis project in a setting that is both collegial an critical. It is structure as a series of critique an presentation sessions in which various aspects of iniviual projects are iscusse: the project concept, the elaboration, the presentation, the process an time-table, the resources neee to accomplish it, an the ocumentation. Critique sessions are e a combination of internal sessions (i.e., the class only) an reviews by external guest critics. Stuents are expecte to complete a fully articulate thesis project escription an relate ocumentation. Final project prototypes are isplaye both on the web an in a public showcase either in May or the following semester

TIMES SQUARE ELECTRONIC GARDEN Taught by Mitchell Joachim This full-scale esign-buil course will engage a new conception of public space from a point of eparture that is both technological an ecological. The aim is to examine the wie-ranging possibilities of sensors, igital fabrication, living vegetation, an public architecture locate in the heart of Times Square. The stuents will be freely supplie with most working materials by the renowne Material Connexion library an sponsore at the citywie NYCXDesign celebration. A final stuent riven life-size group project will be installe outoors for public isplay throughout the entirety of the NYCXDesign festival in May 2016. Toay’s scarcity of public spaces ue to rampant privatization leaves little room for truly enjoyable outoor respites. In orer to prouce a unique interpretation of future public space, stuents will be challenge to explore the ynamic networke relationships between living an non-living elements. While there have been many points of confluence traitionally between the meia-base igital realm an the architecture of open space, the specificity of these relationships an how they are embee in the urban tapestry often remains unrecognize within the iscourses of both isciplines. This course will attempt to fuse that relationship an prouce an integrate life-size artifact. Stuents will be introuce to a series of place making exercises propose in Times Square to tease out the most exciting an builable scheme. A sequence of group iscussions aroun heterogeneous approaches will be reviewe an teste in igital mock-up form. Stuents are encourage to present their own ieas as big-picture concepts or iscreet fragments to be combine into a larger narrative. An introuction to the skills an resources for esigning, growing, an fabricating with ecological materials, incluing CAD/CAM/CAE; NC machining, 3-D printing, sketching, laser cutting, thermoforming, mol making/ casting with composite materials an carbon fibre, nonferrous/ sheet metal work an DIY garen sensors. This course also puts an emphasis on learning about open spaces, urban farms, an public installations.

TOWERS OF POWER Taught by Ewin Ree-Sanchez In NYC we take our cellphone an wifi signals for grante. Its always on an we are always connecte. This not the case for 2 billion people who lack afforable communication an 700 Million people who have no coverage at all. New technologies are emocratizing communications infrastructure; Software efine raios, lowere harware pricing an open source solutions have mae it possible to install low cost infrastructure that can be controlle by communities instea of multinational corporations.

In this class you learn how to create your own communications networks. We will cover the software, an harware use toay in community base cellular networks in Mexico an Nicaragua. We will also elve into the business of international evelopment through guest speakers working in the evelopment or telecommunications fiels. This is a 2 creit course.

TRANSFORMATIONAL DESIGN: MINDFULNESS AND PHYSICAL COMPUTING FOR EXPERIENCE-DRIVEN DESIGN Taught by Daniel Rosenberg This class brings together Minfulness an Physical Computing through hans-on, playful, an collaborative exercises. You will learn how to become minful in esign, that is, how to irect your awareness towars the experience of the proucts you are putting together. An you will learn how to use what you experience irectly as a means to talk an think about the experience of the people you are esigning for. Our tools will be Aruinos, sensors an effectors that we will learn an explore from the point of view of our boies an mins—meitating by paying attention to what we o an feel with these materials in the moment, as we are putting them together an trying things out. As a result, we will learn how to create interactive objects/spaces never experience before, an how to esign for others without trying to prescribe their experiences.

TWITTER BOT WORKSHOP Taught by Allison Parrish Over the past ecae, the "artbot" has emerge as an exciting new genre of artistic practice. Bots like @thinkpiecebot, @censusAmericans, an @tinystarfiel emonstrate that bots aren't limite to being anoyne conversational agents—they can be incisive satirists, insightful reporters, even graffiti artists. This class guies stuents through the process (both conceptual an technical) of making bots—not just as interfaces, but as vehicles for rhetoric an expression in an of themselves. Diving eep into the afforances of Twitter as a software platform, stuents will learn how to write computer programs that post tweets automatically, hol conversations, interact with other bots an make use of Twitter's search functionality. Weekly technical exercises an reaings will culminate in a final project. Example coe will be provie in both Python an Javascript. This is a 2 creit course.

UNDERSTANDING NETWORKS Taught by Tom Igoe Interactive technologies selom stan alone. They exist in networks, an they facilitate networke connections between people. Designing technologies for communications requires an unerstaning of networks. This course is a founation in how networks work. Through weekly reaings an class iscussions an a series of short hans-on projects, stuents gain an unerstaning of network topologies, how the elements of a network are connecte an aresse, what protocols hol them together, an what ynamics arise in networke environments. This class is intene to supplement the many network-centric classes at ITP. It is broa survey, both of contemporary thinking about networks, an of current technologies an methos use in creating them. Prerequisites: Stuents shoul have an unerstaning of basic programming (Intro to Computational Meia or equivalent). Familiarity with physical computing (Intro to Physical Computing or equivalent) is helpful, but not essential. Some, though not all, prouction work in the class requires programming an possibly physical an electronic construction. There is a significant reaing component to this class as well.

VISUAL LISTENING Taught by Jonny Golstein In this mini-course, we will explore the art an craft of rawing to support listening an unerstaning. The class will meet for three weekly sessions of three hours each. We will practice using an iconic rawing an iagramming style to capture the who, what, where, when, how much, an how of what someone is saying. We will also look at an practice using visual metaphors an visual templates to capture information from people who are speaking. As homework, we will conuct visual interviews of people, an share our experiences in class. In the final class session, we will have a question an answer session with 1 or more guest professional visual listeners, an iscuss applications of, an further avenues for exploration of visual listening. All rawing abilities are welcome. Expect to listen, raw, write, an iagram extensively an in quick succession. This class will be conucte in English an will involve listening carefully to spoken English an rawing representations of that speech in real time. Non native English speakers are welcome, but prepare to have the extra challenge of turning spoken wors into pictures in real time in a language that is not your mother tongue. If you are reay for that challenge, you will get a lot out of the class.” Stuents will learn an practice using ifferent visual frameworks to elicit an capture information from other people. Mini course: 3 sessions: Session 1: Introuction to funamental visual frameworks. Practice using them to capture information from other people with the help of markers an whiteboar. Homework: conuct visual interview with someone an visually ocument. Session 2: Introuction to visual metaphors as a catalyst for conversation. Introuction to using visual templates to guie an interview for specific ens. Homework: use a visual template to conuct a visual interview an visually ocument. Session 3: Practice visually capturing conversation in a group context. Presentations by an Q & A with one or more professionals who use visual listening in their work. Meanwhile stuents will practice visually capturing this Q & A. This is a 1 point class

VISUALIZING THE UNIVERSE Taught by Carter Emmart Toay, astronomers have charte the universe an astrophysicists make ynamic simulations of it to better unerstan how it all works. The Hayen Planetarium’s millennium rebuil prouce new ways to view all of this an share it with the worl. This course offers a quick overview that covers the concept of visualizing the universe within theater base immersive ata visualization. A look at how ata across the largest measurable scales can be presente continuously within proper context an isplaye through techniques of immersive graphics, interactive presentation an prouction to tell the most funamental stories we can ever hope to resolve.

WEARABLE TECH DESIGN Taught by Despina Papaopoulos Twenty o years trening an still we have few (if any) examples of truly integrate wearable technology examples that have reache market scalability. Most examples of wearable technology are akin to a “cottage-inustry”– hanmae, bespoke an expressive, more couture than reay-to-wear, reminiscent of the pre-inustrial revolution methos of prouction for textiles an clothing. The challenges we ha 20 years ago remain largely the same espite growing market interest in the area. But with new evelopments in rapi prototyping an e-textiles we are in a much better place toay to aress some of the major roablocks in taking wearable technologies to scale an isrupting the current manufacturing infrastructure. In this class we will emulate a concept an esign to go-to-market process an break the semester in 4 stages:

1. Develop compelling use-cases an gathering requirements – ientify applications, services an wearable environments that aress human nees an an engagement moel that goes beyon the much quote 6-month rop-off rate for most existing wearable evices. How o we activate behavioural change, a nee for elight an magic, or look at the nees of emergency responers, nurses, an chronically ill patients? Whether we esign a wearable environment for ance performers, first responers or expectant mothers, our focus will be in esigning a compelling system that aresses the nees of sai user’s an environment an goes beyon single use scenarios.
2. Turn requirements to esign an technology specifications – having ientifie a target auience an their nees, we will work to select existing technologies an solutions an specify how our wearable solutions aresses each requirement, making sure that intention, esign an creative vision are retaine in specifications.
3. Experiment with solutions with an eye to manufacturability an scale – we will look at existing manufacturing processes an come up with solutions that can be aapte to manufacturing or create solutions that o not yet exist. Experimentation an rapi prototyping will be the focus of this phase while we evelop esign guielines an evelopment specs.
4. Develop a final prototype an prouction plan – at this stage we will buil a robust prototype that aresses prouction nees an outlines how we will source an take prototypes to scalable proucts. We will o these with an eye to integration an scalability an with placing special emphasis on esign an rapi, iterative prototyping. Visiting guests will provie context on processes in the apparel an footwear inustry as well as upates on emerging solutions in e-textiles an conuctive yarn evelopments.

WEB DEVELOPMENT WITH OPEN DATA Taught by James Cropcho This 7-week, 2-point course will provie a framework for learning how to evelop impactful an socially relevant web applications, with emphasis on presentation of freely-available atasets. It will focus on server-sie programming using JavaScript, Noe.js with Express, the PostgreSQL atabase, an clou-base hosting, an will lightly touch on front-en web evelopment. Stuents will learn to navigate New York City’s an The Unite States’ official atasets. The course will be a mixture of lecture an in-class collaborative coing, with weekly programming an reaing homework.

WHO OWNS DIGITAL SOCIAL MEMORY? WEB ARCHIVING AND ITS DISCONTENTS Taught by Michael Connor This mixe stuio/seminar will focus on ethics, aesthetics, an strategies for creating an reperforming narrative igital archives.

In this mixe stuio/seminar, we will create an critique igital archives. We will consier the role of web archives as a site for the elaboration of social memory, an as a tool of state control. We will explore case stuies such as UbuWeb, Documenting the Now, Wikileaks, an the GeoCities archive, as well as projects by artists who compile, narrate, an/or interrogate the archive, incluing Guaalupe Rosales, Dragan Espenschie an Olia Lialina, an Wali Raa.

What will stuents o? The stuents will o reaings on the subject of social memory; make use of igital archiving tools incluing curl an wget, webrecorer an web archive player, an various emulation tools; conuct case stuies of igital archives for in-class presentation; an create their own archival projects.

How will the course be structure? Each class will inclue iscussion of the week's reaing, presentation an iscussion of case stuies le by one or more stuents, an a focus on a particular practical topic within web archiving. There will be one final project. This is a 2 creit course.

WORLDS ON A WIRE: NARRATIVE STORYTELLING IN VR Taught by To Bryant With the release of consumer hea mounte isplays the current wave of virtual reality is in full swing. It seems that everyone is making software an harware for VR or is in the istribution game. One issue still remains an coul be the biggest challenge for virtual reality to be embrace by the masses - there isn’t that much goo content yet. Worls on a Wire will explore the history, current status, an future of hea mounte isplays for use in virtual, augmente, an mixe reality an teach the necessary tools for creating meaningful experiences an narratives that transcen the harware an the hype. Stuents will work to prouce a hea mounte isplay experience using the Unreal Engine with strong physical computing an fabrication components.

Course Prerequisites: Introuctory level coing skills an familiarity with 3D computer graphics workflow. Previous experience using 3D content creation tools an game engines is a plus.

XYZ Taught by Ben Light In this class we will be creating robots that travel along the XYZ axes. Our bots will raw, push, plant, an cut. You will gain an unerstaning of both the best practices of esign an the anatomy of our machines by assembling existing CNC kits. We will exploit robust off-the-shelf solutions for the X an Y, an reinvent the Z. There will be heavy focus on concept, mechatronics, an fabrication. This is a 2 creit course.

100 DAYS OF MAKING Taught by Katherine Dillon Iteration an its impact on the creative process is the theme of this class. Stuents will ientify a theme, iea or topic they woul like to explore over the course of 100 ays an commit to making or proucing a variation on that iea every ay for 100 ays. Stuents who enroll must commit to proucing an ocumenting physical evience of their efforts. Projejcts can focus on builing, writing, rawing, programming, photographing,esigning, composing or any creative outlet. In parallel to the making, in-class lectures will examine the work of artists who’s work has been efine by iteration an iscuss the role of iscipline an routine in the creative process. Towar the en of the class we will focus on ocumentation an reflection on the experience an each stuent will prouce a compilation of their 100 ay efforts.