Angela Ferraiolo

BLS, SUNY–Purchase. MFA, CUNY Hunter College. MFA, Brown University. Professional work includes RKO, H20 Studios, Westwood Studios, Electronic Arts, Hansen Literary. Solo and group screenings in the United States and Europe, including SIGGRAPH (Los Angeles), ISEA (Hong Kong), New York Film Festival, Courtisane Festival (Ghent), Collectif Jeune Cinéma (Paris), Copacabana Media Festival (Ghent), Australian Experimental Film Festival (Melbourne), International Conference of Generative Art (Rome), Digital Fringe (Melbourne), Die Gesellschafter Filmwettbewerb (Germany), Granoff Center for the Arts (Providence), Microscope Gallery (Bushwick), Nouspace Gallery (Vancouver), D-Art Gallery (London), International Conference on Information Visualization (Montpellier), International Conference of Computer Graphics, Imaging and Visualization (Taiwan), and TechFest (Mumbai). Interests include interaction design, narrative, immersive environment, playability, mobile art, experimental video, generative art, installation, media architecture, and new media urbanism. SLC, 2010–

Undergraduate Courses 2021-2022

Visual and Studio Arts

Art From Code

Open, Seminar—Fall

A “live-coding,” practice-based introduction to visual-arts programming, including color, shape, transformations, and motion, this course is designed for artists with little or no prior programming experience. We’ll meet twice weekly to code together live, working on short, in-class exercises within a larger analysis of the social, cultural, and historical nature of programming cultures. All students will be required to keep a sketchbook and participate in installation. Artists include Reas, Davis, Riley, MacDonald, and others. Taught in Processing, a free and open-source software.

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FYS Project

Open, FYS—Fall

FYS Project is a weekly, small-workshop class that introduces first-years to each of the disciplines in the program. Meetings alternate between discussion and critique while also offering small experimental studio projects in printmaking, painting, drawing, sculpture, photography, and new genres. FYS Project brings all first-years together from the start of their program and encourages a broad range of art-making disciplines and ways of thinking about art. The class ends with a group exhibition intended to introduce first-year artists to the wider college community.

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New Genres: Abstract Video

Open, Concept—Spring

Although amateurs often confuse the two terms, abstract video is a new art form that is very different from the experimental film movement of the 1970s and ’80s. Often drawing from the digital worlds of games, signal processing, 3D modeling, and computational media, abstract video has become an important new aspect of art installation, site-specific sculpture, and gallery presentations. This small-project concept class is an introduction to the use of video as a material for visual artists. Using open-source software and digital techniques, students will create one small work of video abstraction intended for gallery installation, ambient surrounds, and new media screens. Artists studied include Ryoji Ikeda, Ian Cheng, Bill Viola, Nam June Paik, Jacolby Satterwhite, Jane and Louise Wilson, and more.

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New Genres: Cultural HiJack

Sophomore and Above, Seminar—Spring

Is art talking about all the wrong things? In all the wrong ways? Are artists, gallerists, and curators missing the point? Do you see “an elephant in the room”? Would you like to turn things around? How would you do that? How have people done it before? This semester, Cultural HiJack looks at the ways in which the art world itself gets “hijacked”—by outsiders, insiders, upstarts, free thinkers, liberationists, subversives, anti-artists, and anyone else who intends to “open a window.” We will begin with a few small exercises, fast projects that get us thinking about ways in which the contemporary art world is “saying it wrong.” From there, students will move on to one longer, more substantial artwork—a new piece that proposes some fresh way of thinking, seeing, or acknowledging an idea. Along the way, we will consider the many strategies that artists themselves have used to “change the conversation,” including the attention grab of the New York School, the curatorial insight of Okwui Enzenor, the consumerist strategies of pop and street art, the paradigm break of the blockchain and crypto, and more. Artists studied include Tracey Emin, Damien Hirst, Banksy, Philip Guston, Dave Hammons, Coco Fusco, Jeremy Deller, and more. Students from all art disciplines are welcome. Interdisciplinary projects are encouraged.

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New Genres: Drawing Machines

Open, Seminar—Spring

In 2016, So Kanno and Takahiro Yamaguchi used skateboards and pendulums to create “The Senseless Drawing Bot,” a self-propelling device that sprays abstract lines on walls. Meanwhile, François Xavier Saint Georges used power tools to create “The Roto,” a small circular machine that prints orbital graphite patterns on flat surfaces. In 2011, Eske Rex, a designer in Copenhagen, built two nine-foot towers to stage a double harmonograph for Milan Design Week. Joseph Griffiths uses exercise bikes. Alex Kiessling uses robot arms. Olafur Eliasson simply vibrates balls covered in ink across paper. For centuries, artists have been obsessed with machines that make pictures; today, their ongoing experiments with softwares, robots, and weird bizarro contraptions have become a core aspect of the studio’s relationship to technology. While many drawing machines look backward through history for ideas about mechanized art, contemporary projects are often based on computer programs that engage programming as an artistic practice. This class includes readings on the histories of machine art and programming cultures.

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New Genres: Paranoia as a System

Open, Seminar—Fall

Through painting, photography, video editing, model making, surveillance demonstrations, art installation, mapmaking, diagramming, and the written word, artists of the late 20th and early 21st centuries have tried to alert us to their suspicion that there is more to reality than what meets the eye. These artists are willing to follow a hunch into unreason, anxiety, and the webs of the subterranean. This course looks at the processes and workings of “conspiracy aesthetics” from a variety of disciplines. Students will create one small work of paranoia or conspiracy in the medium of their choice. Artists surveyed include Mike Kelley, Hans Haacke, Roman Polanski, Peter Tscherkassky, Jenny Holzer, Mark Lombardi, Henry Darger, Alfredo Jaar, Rachel Harrison, Jane and Louise Wilson, and others.

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Previous Courses

Visual and Studio Arts

Art From Code

Open, Seminar—Fall

A “live coding,” practice-based introduction to visual arts programming—including color, shape, transformations, and motion—this course is designed for artists with little or no prior programming experience. We’ll meet twice weekly to code together live, working on short, in-class exercises within a larger analysis of the social, cultural, and historical nature of programming cultures. All students will be required to keep a sketchbook and participate in installation. Artists include Molnár, Nees, Hertlein, Rauschenberg, and others. Taught in Processing/Java.

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Beginning Games: Level Design

Open, Seminar—Spring

This is a guided code and tutorial class designed to introduce students to the basic tools, concepts, and techniques used in game development, including programming basics, game art, sound effects, music, narrative design, zones, bounds, player path, and game mechanics. Taught in Unity 2D/C#, with Pyskel, Tiled, and LMMS Studio.

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Digital Tools for Artists

Open, Seminar—Spring

This course provides fundamental instruction in art installation. Students will learn the basics of digital imaging, interaction, spatial design, and video mapping while working toward proficiency with the tools of installation art. We will meet twice weekly, once for a skills workshop and again for a guided work session. Artists surveyed include Albers, Klimt, Kusama, Menard, Mock, Nakamura, Holzer, and others. Taught in Photoshop, After Effects, VPT, and Max/MSP Jitter.

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First-Year Studies: New Genres: Drawing Machines

Open, FYS—Year

In 2016, So Kanno and Takahiro Yamaguchi used skateboards and pendulums to create “The Senseless Drawing Bot,” a self-propelling device that sprays abstract lines on walls. Meanwhile, François Xavier Saint Georges used power tools to create “The Roto,” a small circular machine that prints orbital graphite patterns on flat surfaces. In 2011, Eske Rex, a designer in Copenhagen, built two nine-foot towers to stage a double harmonograph for Milan Design Week. Joseph Griffiths uses exercise bikes. Alex Kiessling uses robot arms. Olafur Eliasson simply vibrates balls covered in ink across paper. For centuries, artists have been obsessed with machines that make pictures; today, their ongoing experiments with software, robots, and weird bizarro contraptions have become a core aspect of the studio’s relationship to technology. While many drawing machines look backward through history for ideas about mechanized art, contemporary projects are often based on computer programs that engage programming as an artistic practice. Part art studio, part history, part programming, and part mad scientist lab with a bit of eBay salvage thrown in, the goal of this FYS course is to study the history of drawing machines with the intent of turning ordinary objects into marvelous machines and goofy gadgets that know how to draw—hopefully, in a way all their own.

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FYS Project

Open, FYS—Fall

FYS Project is a weekly, small-workshop class that introduces first-years to each of the disciplines in the program. Meetings alternate between discussion and critique while offering small experimental studio projects in printmaking, painting, drawing, sculpture, photography, and new genres. FYS Project brings all first-years together from the start of their program and encourages a broad range of artmaking disciplines and ways of thinking about art. The class ends with a group exhibition intended to introduce first-year artists to the wider college community.

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Game Studio: Level Design

Sophomore and Above, Small seminar—Fall

This is a guided code and tutorial class designed to introduce students to the basic tools, concepts, and techniques used in game development, including games programming basics, game art, sound effects, music, narrative design, interactables, and game mechanics. Taught in Unity 2D/C#, with Pyskel, Tiled, and LMMS Studio.

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Game Studio: Nonlinear and Interactive Narrative

Sophomore and Above, Small seminar—Fall

As more stories are delivered on interactive devices, our idea of narrative keeps changing. This course explores the strategies of nonlinear, multilinear, modular, and interactive forms of design, while analyzing several examples of the nonlinear story design found in games, electronic literature, and interactive art. Students will develop the critical tools to create and analyze interactive projects. All students will keep a sketchbook, participate in game night, develop one nonlinear or interactive narrative, and write one five-page design document. Artists include Leishman, Gysin, Eco, Calvino, Mateas, and others. Taught in Unity 2D/C#, with Pyskel, Tiled, and GarageBand.

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Game Studio: Nonlinear and Interactive Narratives

Sophomore and Above, Small seminar—Spring

>As more stories are delivered on interactive devices, our idea of narrative keeps changing. This course explores the strategies of nonlinear, multilinear, modular, and interactive forms of design while analyzing several examples of the nonlinear story design found in games, electronic literature, and interactive art. Students will develop the critical tools to create and analyze interactive projects. All students will keep a sketchbook, participate in game night, develop one nonlinear or interactive narrative, and write one five-page design document. Artists include Leishman, Gysin, Eco, Calvino, Mateas, and others. Taught in Unity 2D/C#, with Pyskel, Tiled, and LMMS Studio.

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Game Studio: Radical Game Design

Sophomore and Above, Small seminar—Spring

From Hopscotch to MolleIndustria, game designers have used play as a means of imprinting culture and subverting power. Games are small and viral. They emerge and disappear. They grip the online world obsessively or blend seamlessly into the underground. Above all, games are easily dismissed by authority, making them an ideal means of spreading social and political dissonance. This class surveys radical game design as practiced by artists like MoilleIndustria, Anne Marie Schleiner, Natalie Bookchin, Donna Leishman, Eddo Stern, Ian MacLarty, and others. We will also consider the historical roots of radical design, which finds its beginnings in Dada, Surrealist, Fluxus, and Situationist games, and play methods explored by artists like George Brecht, John Cage, and William Burroughs. Taught in Unity 2D/C#, with Pyskel, Tiled, and GarageBand.

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New Genres: Art From Code

Open, Seminar—Fall

A practice-based introduction to visual-arts programming, this course is designed for artists with little or no programming experience. We’ll meet twice weekly to code together, working on short, in-class exercises that start with basics like color, shape, and motion and then move on to small simulations, interaction, and installation. We’ll survey some of the pioneers of computer art, including Vera Molnár, Grace Hertlein, and Georg Nees, and try our hand at recreating a few of their famous works. This class tries to visit exhibitions of computer art, as well as galleries that support new forms. Students are encouraged to hold an end-of-semester exhibition. Attendance at the noncredit Visiting Artist Lecture Series is required.

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New Genres: Conceptual Art

Open, Seminar—Fall

Artists have always been rebellious, but nowhere do we see their rejection of “business as usual” as emphatically as in the field of conceptual art. “I will not make any more boring art,” Baldessari promised. “My intention,” Duchamp said “is to completely eliminate the existence of taste.” For conceptual artists—whether you shoot, draw, code, paint, sculpt, or perform—what is most important is the idea that you choose to get the thing started. In fact, as Sol LeWitt explained, “The idea becomes the machine that makes the art.” This studio takes an idea or concept as the basis for a finished work. Students will be encouraged to choose a material best-suited to their project and should be open to working in any medium: photography, sculpture, video games, installation, performance, interactive art, and so on. Since much of conceptual art is based in digital production, this course will include an overview of basic digital-art skills, including graphic design, simulation, visualization, interaction, projection, and video installation. In moving from concept to artwork, we’ll go through a series of exercises that explore the strategies of conceptual art, including enactment, counterproduction, abstraction, remix, reduction, appropriation, play, time, chance, risk, identity, and more. Readings will be chosen for their correspondence to student themes and concerns. Artists surveyed include Duchamp, Beuys, Cage, Acconci, McMillian, Gaines, Golden, Ono, Hammons, Kosuth, LeWitt, Denes, Eliasson, Creed, and others.

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New Genres: Cultural HiJack

Sophomore and Above, Small seminar—Fall

Is art the new politics? Cultural HiJack examines the work of artists attempting to subvert, critique, and overthrow the dominant paradigm though street art, anti-advertising, meme wars, flash mobs, instant theatre, guerilla projection, and spatial intervention. Artists surveyed include Guerrilla Girls, RTMark, Rosler, Holzer, Marchessault, Banksy, Fairey, Acconci, and Franco and Eva Mattes, along with readings from Dery, Klein, Debord, Gramsci, Lacy, and others. Working either individually or in small groups, students will collaborate on campaigns of détournement, designing and implementing inventions of their own through alternative and hybrid forms.

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New Genres: Drawing Machines

Open, Seminar—Spring

In 2016, So Kanno and Takahiro Yamaguchi used skateboards and pendulums to create “The Senseless Drawing Bot,” a self-propelling device that sprays abstract lines on walls. Meanwhile, François Xavier Saint Georges used power tools to create “The Roto,” a small circular machine that prints orbital graphite patterns on flat surfaces. In 2011, Eske Rex, a designer in Copenhagen, built two nine-foot towers to stage a double harmonograph for Milan Design Week. Joseph Griffiths uses exercise bikes. Alex Kiessling uses robot arms. Olafur Eliasson simply vibrates balls, covered in ink, across paper. For centuries, artists have been obsessed with machines that make pictures; today, their ongoing experiments with software, linkages, and weird bizarro contraptions have become a core aspect of the studio’s relationship to technology. While many drawing machines look backward through history for ideas about mechanized art, contemporary projects are often based on computer programs that engage programming as an artistic practice. Part code and part cardboard, this class studies the history of drawing machines and uses recycled materials to make gadgets that draw.

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New Genres: Interactive Art

Sophomore and Above, Small seminar—Spring

This course focuses on the cutting-edge technologies behind interactive art and dynamic installation. Students will work in a programming environment called Max/MSP/Jitter to create installations that dynamically generate on-screen visuals, spectacle, and noise while combining multiple types of media to create an overall theme. Topics include an introduction to Max, basic patching, control logic, external/live video input, reactive visuals, color/object tracking, openCV in Jitter, sensors, and the glitch aesthetic. Artists surveyed are Ikeda, Rokeby, Benson, Liddell, TeamLAB, and others. Taught in MAX/MSP Jitter with LEAP, Kinect, sensors, and cameras.

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New Genres: Systems Aesthetics

Sophomore and Above, Small seminar—Spring

From Gordon Pask’s Colloquy of Mobiles to Paolo Cirio’s Google Will Eat Itself, the shift from object to process or system has had a profound influence on contemporary art. This class looks at the history, theory, and practice of systems aesthetics through art making, readings, lectures, demonstrations, discussions, critiques, and writing. Class time consists of demonstrations of technique, balanced with presentations of artist examples and discussions of systems theorists presenting these practices within the broader social, material, and political aspects of the field. Artists and theorists include Benjamin, Weaver, Shannon, Burnham. Ascott, Luhmann, and others.

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MFA Theatre

New Genres: I EXPECT YOU TO DIE—Algorithms and Performance

Component—Fall

I EXPECT YOU TO DIE is a special collaboration between New Media Lab and Theatre. The course will explore the algorithm as an expression of mind, a type of consciousness, a method by which we unpack and reorganize research and source material, as well as utilize as a set of rules that the performance can follow. In this inaugural version, Ferraiolo and Neumann will have students mine various James Bond films with lines of inquiry into the cultural, sociopolitical, artistic/aesthetic, and philosophical structures found there. Blending code, video mapping, and performance, students will then write a series of algorithms that “remix” the scripts, visuals, gestures, and narrative elements of three classic Bond films to create an entirely new stage version of the Bond villains and their eternal struggle against 007. The class will meet once a week for the first eight weeks, then add four evenings and one daytime weekend for three more weeks as it shifts into a rehearsal process, culminating in two performances.

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