[art+tech] Fwd: ITP Summer '05 Classes/Including Intro. to Physical Computing

douglas irving repetto douglas at music.columbia.edu
Fri Mar 4 17:11:28 EST 2005




>
>>INTERACTIVE TELECOMMUNICATIONS PROGRAM (ITP)/Tisch School of the Arts, NYU
>>SUMMER 2005 COURSE DESCRIPTIONS  http://www.nyu.edu/summer
>>NOTE: Courses are 4 points unless otherwise 
>>noted.  There is $175 lab fee for each class.
>>
>>Summer Session I:  May 16 - June 24
>>
>>Tier 2 -Workshops
>>Digital Sound Lab
>>H79.2266 (Daniel Palkowski) 
>>	Monday/Wednesday 6:30 p.m. to 9:00 p.m.
>>Advances in the field of digital sound have 
>>placed the art of soundtrack production 
>>directly into the hands of the artist.  Current 
>>technology now enables us to collect, combine, 
>>control and manipulate audio materials 
>>digitally, allowing us the artistic freedom to 
>>experiment with sound to a hitherto 
>>unprecedented degree.  In this course, students 
>>learn the skills needed to create and produce a 
>>digital soundtrack.  Topics include digital 
>>editing and sampling, mixing and MIDI. Through 
>>lab assignments, lectures, discussion, 
>>listening and observation, students learn basic 
>>and advanced concepts in audio production.  The 
>>goal of the course is to enable students to 
>>produce soundtracks of both artistic interest 
>>and professional sound quality for their own 
>>media projects.
>>
>>Video Art
>>H79.2281 (Tirtza Even) 
>>	Tuesday/Thursday 12:30 p.m. to 3:00 p.m.
>>The goal of the course is to understand, 
>>analyze and confront in practice various 
>>aspects of video art and digital video. This 
>>production course focuses on themes such as 
>>character/speaker, depiction of space and time, 
>>the frame and its margins, color and texture. 
>>The examples shown in accordance with each 
>>topic demonstrate various solutions to the 
>>issues discussed in class. Each topic unit 
>>involves a short exercise that itself entails 
>>further discussion in the students solutions. 
>>The unit consists of two classes -- one in 
>>which the topic is introduced, and another for 
>>project review. Throughout the course we look 
>>at principles of editing, videotaping and sound 
>>recording, as well as at compression schemes, 
>>video capturing techniques and tools for the 
>>production of video effects. Basic familiarity 
>>with video production is required.
>>
>>Dynamic Web Development
>>H79.2296 (Dan O'Sullivan) 
>>	Tuesday/Thursday 12:30 p.m. to 3:00 p.m.
>>Static web pages are a hold over from 
>>traditional publishing. Dynamic web pages allow 
>>you to truly unleash the power of computers and 
>>networks to accommodate more points of view. 
>>Dynamic pages can be reshaped "on the fly" to 
>>better suite individual readers.  Better yet, 
>>the content of those pages can evolve with the 
>>contributions of the readers.  Particular 
>>attention is given to applications that ask for 
>>input from users to be shared with others in 
>>the hopes community building or social 
>>interactions.  The production environment 
>>consists of MySQL database and the PHP 
>>programming language. Students develop a firm 
>>knowledge of database design, the SQL  query 
>>language, and use of PHP to create dynamic 
>>activity of both orthodox and unorthodox 
>>natures.  Other topics focus on interfacing the 
>>environment with other technologies such as 
>>Java or Flash. Intermediate programming 
>>experience is required.  Students are also 
>>expected to have fluency in HTML, or to come up 
>>to speed with it outside of class.  Class 
>>requirements include homework assignments to 
>>reinforce each week's concepts while 
>>simultaneously contributing to the student's 
>>"tool-kit" of code and design principles.  A 
>>final project of the student's choosing is also 
>>required.
>>
>>Code and Me
>>H79.2400 (Amit Pitaru)                      
>>	Tuesday/Thursday 6:30 p.m. to 9:00 p.m.
>>Through learned techniques and hands-on 
>>training, this course helps students forge 
>>connections between their initial interests 
>>(music, architecture, dance etc.) and 
>>computational media. Using Processing (Java) 
>>and Flash, we will investigate the foundation 
>>of computational media in arts and science: 
>>Visual Analysis/Synthesis, Sound 
>>Analysis/Synthesis, and Interaction Design. 
>>Weekly exercises will establish control over 
>>the craft, allowing its creative and expressive 
>>usage. Class critique and discussions of 
>>prominent works will help students establish 
>>context for their efforts, as well as apply 
>>newly acquired ‘computational/algorithmic’ 
>>knowledge back into their personal interests. 
>>This is not an introductory course to 
>>programming, yet welcomes self-motivated 
>>students that are willing to spend adequate 
>>time on weekly exercises. The course aims to 
>>provide students with proper knowledge and 
>>perspective to continue developing their skills 
>>independently, in light of their personal 
>>interests.
>>
>>Live Image Processing and Performance 
>>H79.2422 (Luke DuBois) 
>>	Monday/Wednesday 3:30 p.m. to 6:00 p.m.
>>This course teaches the ins and outs of using 
>>image processing software with an aim towards 
>>some type of real-time use (e.g. a performance 
>>or installation). The class looks at ways to 
>>manipulate different visual media (time-based, 
>>still, vector, and rendered) in real-time to 
>>allow students to develop interesting real-time 
>>performance systems. While the focus of this 
>>class is on using Max for visual work (through 
>>a software package called Jitter), it also 
>>looks at how to integrate interactive elements 
>>(sound, physical interfaces, etc.) into the 
>>work. Class time is spent on interface design 
>>and software development issues as well. The 
>>class explores some interesting capabilities of 
>>the software in terms of real-time camera input 
>>and tracking, generative graphics systems, and 
>>media transcoding. Throughout the class 
>>students develop and share ideas on live 
>>performance as a medium for visual expression, 
>>and learn the software tools necessary to put 
>>these ideas into practice in the form of 
>>idiosyncratic performance systems. A final 
>>presentation may take the form of a group 
>>performance.
>>
>>Systems:  Hacking Everyday Objects
>>H79.2460 (Todd Holoubek) 
>>Monday/Wednesday 12:30 p.m. to 3:00 p.m
>>In this class students create an interactive 
>>piece by hacking into common everyday devices 
>>and machines and repurposing the components 
>>within.  We learn alternative and low cost 
>>methods of developing circuit boards.  In this 
>>way we explore systems by examining the 
>>components and repurposing them for a new 
>>system designed by the student.  This includes 
>>using elements from existing appliances and 
>>constructing ones own homemade circuit boards. 
>>We focus on cost effective methods of 
>>construction.  On a larger scale, we also look 
>>at how entire systems can be repurposed with 
>>little modification to the original system. 
>>This may include looking into the workings of 
>>common appliances. The class examines both the 
>>hardware and the software sides of recycling 
>>technology. Students also look at "throwaway 
>>culture" -- and the surrounding issues of 
>>ethics, impacts, and alternative solutions for 
>>discarded technology (currently only 2% of 
>>consumers will hold onto a particular device 
>>for 5 years or more).  Students are asked, 
>>"What can we recycle from this throwaway 
>>technology and what should we do with what 
>>can't be reused?"  This deconstructionist 
>>approach to physical computing includes taking 
>>an appliance apart, then creating components 
>>from the ground up as part of the new system. 
>>By by co-opting the components of other systems 
>>and combining them with our own, the students 
>>have the opportunity to explore the make up of 
>>a system, create a new one, and provide 
>>commentary about technology in today's culture.
>>A final project is required.
>>
>>3D: from Games to Scientific Visualization
>>H79.2510 (Jean-Marc Gauthier)		Tuesday/Thursday 3:30 p.m. to 6:00 p.m.
>>This workshop explores the convergence and 
>>synergy between computer games and scientific 
>>visualization.  Participants explore how to use 
>>Maya and Virtools software for creating virtual 
>>reality applications inspired by video games, a 
>>genre that favors rules, behaviors, physics and 
>>artificial intelligence.  Students discover a 
>>more holistic approach of relationships between 
>>players and the virtual environment by using a 
>>CAVE, an immersive environment made up of 
>>multiple screens. The workshop also covers 
>>examples of virtual reality applications 
>>created for film production, dance, medical 
>>research, architecture, archeology, interactive 
>>TV and web design.  Suggested readings include 
>>selections from Building Interactive Worlds in 
>>3D: Virtual Sets and Pre-visualization for 
>>Games, Film & the Web by Jean-Marc Gauthier 
>>(available in 2005 from Focal Press).
>>
>>Reconstructing Radio
>>H79.2514 (Eric Fixler)		        
>>Monday/Wednesday 12:30 p.m. to 3:00 p.m.
>>Radio is dead.  The concentration of radio 
>>spectrum in the hands of a small number of 
>>megacorporations has practically eliminated any 
>>opportunity to distribute interesting audio 
>>programming to the masses.  Actually, the 
>>internet provides an alternative, and 
>>increasingly popular way of distributing audio, 
>>and more and more people are producing audio 
>>content aimed at listeners using computers, 
>>iPods, and other digital music players.  But 
>>distribution is only a part of the picture. 
>>Audio can be a powerful storytelling medium, 
>>intense and intimate, engaging the soul and the 
>>imagination.  The tools for producing high 
>>quality audio using field recordings are widely 
>>available at relatively low monetary cost; 
>>using them to their potential requires some 
>>understanding of the journalistic process, 
>>montage, and, of course, audio technology and 
>>human perception of sound.  This course will 
>>cover the production of documentary audio 
>>segments, starting with tracking down a story 
>>and interviewing subjects using portable 
>>recorders and microphones.  After logging their 
>>interviews, planning stories, and collecting 
>>additional sounds, students will assemble and 
>>edit their pieces using DAW (Digital Audio 
>>Workstation) software.  Completed projects will 
>>be distributed via audioblog, podcast, and 
>>online radio.  We'll cover the fundamentals of 
>>setting up and using these distribution methods 
>>and brainstorm and prototype other 
>>possibilities for interactive audio 
>>applications.
>>
>>
>>Summer Session II:  June 27 - August 5
>>
>>Tier 1 -Foundation Courses
>>Introduction to Physical Computing
>>H79.2301 (Tom Igoe) 
>>	Tuesday/Thursday 12:30 p.m. to 3:00 p.m.
>>This course expands the students' palette for 
>>physical interaction design with computational 
>>media.  We look away from the limitations of 
>>the mouse, keyboard and monitor interface of 
>>today's computers, and start instead at the 
>>untapped expressive capabilities of the human 
>>body. We consider uses of the computer for more 
>>than just information retrieval and processing, 
>>and at locations other than the home or the 
>>office. The platform for the class is a 
>>microcontroller, a single-chip computer the 
>>size of a postage stamp, programmed using 
>>BASIC. The core technical concepts are digital, 
>>analog and serial input and output. Students 
>>have weekly lab exercises to build skills with 
>>the microcontroller and related tools, and 
>>longer assignments in which they apply the 
>>design principles in a creative application. 
>>Some programming skill is suggested; otherwise 
>>the willingness to learn some coding 
>>independently as the class progresses.
>>
>>
>>
>>Tier 2 -Workshops
>>Video for New Media
>>H79.2256 (Morgan Barnard) 
>>	Tuesday/Thursday 6:30 p.m. to 9:00 p.m.
>>A production class focused on exploring the use 
>>of digital video in narrative, interactive, and 
>>experimental projects. The course content 
>>covers production techniques, post-production 
>>work-flow, and distribution methods. The use of 
>>camera equipment, lighting, sound equipment and 
>>production strategies are explored through in 
>>class demonstrations. Post-production work-flow 
>>including editing, effects, motion graphics, 
>>and media management, is covered through 
>>hands-on experience and in class instruction. 
>>DVD-authoring, web streaming, live-video, and 
>>video installation techniques are covered as 
>>means of distribution. Students are expected to 
>>work in teams and on their own to create 
>>digital video-based projects. Outside 
>>exercises, a final project, discussion and 
>>critique are required.
>>
>>Digital Sound Workshop: MIDI and Synthesis
>>H79.2284 (Dan Palkowski) 
>>	Monday/Wednesday 6:30 p.m. to 9:00 p.m.
>>Probably the most significant trend of the 
>>decade so far in digital audio has been the 
>>gradual shift away from the dedicated hardware 
>>synthesizer to the 'soft' synthesizer, that is, 
>>a synthesizer that is simply a programming 
>>environment on a general-purpose computer. With 
>>the increase in CPU speed and disk capacity, 
>>such soft synths are becoming more powerful and 
>>flexible. This course serves as an introduction 
>>to tools which allow you to repurpose the 
>>computer to be a soft synth. The main focus is 
>>on Cycling 74's Max/MSP software, as well as 
>>its video component Jitter. Students learn to 
>>use the tools to manipulate synthesizers (both 
>>hard and soft), generate and manipulate audio 
>>signals and alter live audio and video, and 
>>much more. The Musical Instrument Digital 
>>Interface (MIDI) specification is also explored 
>>as a control system both generally and from 
>>within the Max environment. Exploration of 
>>synth methods in a typical MIDI device leads in 
>>turn to DSP techniques including FM, Additive 
>>Synthesis, Granular Synthesis, Waveshaping, and 
>>Physical Modeling. Video is treated as an 
>>extension to the sonic palette, and integration 
>>between visual and aural creations is explored. 
>>Portability is stressed, and students are 
>>encouraged to work with their own tools and 
>>projects as appropriate.
>>
>>Design and Development with Flash 
>>H79.2512 (Eric Socolofsky) 
>>	Monday/Wednesday 6:30 p.m. to 9:00 p.m.
>>Programming is often viewed as an arcane art, 
>>an esoteric skill opposite from design and far 
>>removed from user experience.  With the advent 
>>and evolution of higher-level programming 
>>languages, however, the power of coding is 
>>becoming accessible to an increasingly broad 
>>audience of designers, artists, and curious 
>>onlookers.  This course explores the use of 
>>programming as a tool to sculpt interactive 
>>experiences, in the context of Macromedia 
>>Flash's Actionscript programming language. 
>>Students begin with a focus on core programming 
>>concepts, and move quickly into using these 
>>concepts to prototype personal projects.  While 
>>the focus of the course is on developing with 
>>Actionscript, emphasis is placed on keeping 
>>within the context of designing usable systems 
>>and rich user experiences.
>>NOTE: Courses are 4 points unless otherwise 
>>noted, with the exception of Independent Study 
>>and Internship, which range from 2 - 6 points. 
>>There is a $175 lab fee for each course.
>>
>>ITP/NYU  Tisch School of the Arts  721 
>>Broadway, 4 floor   New York, NY  10003 
>>212.998.1880   http://www.itp.nyu.edu / or for 
>>online registration http://www.nyu.edu/summer
>>
>>Registration questions:  contact George Agudow 
>>at ITP (george.agudow at nyu.edu or phone# 
>>212-998-1891)
>


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.....douglas.....irving........................ http://dorkbot.org
................................ http://ceait.calarts.edu/musicdsp
.......... repetto............. http://music.columbia.edu/organism
............................... http://music.columbia.edu/~douglas



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