New Genres and Interactive Art

New genres and interactive art span offerings in visual arts, film and media, and computer science to foster technical and digital literacy in the arts. Designed for experimentation, this initiative helps students establish digital proficiency while supporting the exploration of a wide range of new media forms and technologies. Courses of study might include visual programming, artificial intelligence, gaming, robotics, experimental animation, computer arts, experimental media design, data visualization, real-time interactivity, digital signal processing, cross-platform media environments, and mobile media development. Students are encouraged to coordinate these project-based investigations of the digital throughout their studies in the humanities, including literature, philosophy, politics, sociology, theatre, and writing.

New Genres and Interactive Art 2021-2022 Courses

Introduction to Computer Science: The Way of the Program

Open, Small Lecture—Fall

This lecture course is a rigorous introduction to computer science and the art of computer programming, using the elegant, eminently practical, yet easy-to-learn programming language Python. We will learn the principles of problem-solving with a computer while gaining the programming skills necessary for further study in the discipline. We will emphasize the power of abstraction and the benefits of clearly written, well-structured programs, beginning with imperative programming and working our way up to object-oriented concepts such as classes, methods, and inheritance. Along the way, we will explore the fundamental idea of an algorithm; how computers represent and manipulate numbers, text, and other data (such as images and sound) in binary; Boolean logic; conditional, iterative, and recursive programming; functional abstraction; file processing; and basic data structures such as lists and dictionaries. We will also learn introductory computer graphics, how to process simple user interactions via mouse and keyboard, and some principles of game design and implementation. All students will complete a final programming project of their own design. Weekly hands-on laboratory sessions will reinforce the concepts covered in class through extensive practice at the computer.

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Lighting in Life and Art

Component—Year

Light is a form of electromagnetic radiation that allows us to see. Light’s qualities and its interaction with space have profound effects on the affect of an experience. We all know that the feel of a midsummer afternoon is not the same as that of a cloudy, gray afternoon or a subway car or a sunset or a night with a full moon. What qualities of light generate these disparate feelings? The art and practice of crafting light is the subject of this component. We will examine the theoretical and practical aspects of light in multiple settings. This will begin with a practice of noticing what we might typically ignore. From there, we will approach learning how to craft the conditions of light primarily, though not exclusively, within a theatrical environment. Understanding the historical conventions of theatre—in particular, those of theatrical dance in the United States—will provide a point of departure to begin to think beyond those historical conventions. Emphasis will be on learning basic lighting skills, including those of stagecraft. Students will collaborate with, and create original lighting designs for, the Time-Based Art works when such needs are appropriate to the artistic proposal.

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Digital Imaging Studio

Open, Seminar—Fall

This course focuses on contemporary techniques for digital image manipulation with an emphasis on Photoshop skills, including imaging, retouching, and compositing workflow. We will cover proper use of adjustment layers, layer masks, retouching, and even design and basic animation. The skills covered will build a solid basis for further exploration and interventions within the realm of photography, illustration, and more radical digital experiments. While proper technical processes are emphasized, we will equally explore expressive use of the software, creating original, personal work through independent projects. The broader class discussion will emphasize computer-generated and -manipulated imagery beyond the basics of Photoshop as a driving force in art and media that now informs all imagemaking and reflects and informs our culture in general. Students are encouraged to explore the potential of digital tools within this greater context and that of their individual work and interests—visual arts-related or otherwise—stressing open-ended visual possibilities, as well as technical and conceptual rigor.

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3D Modeling

Open, Seminar—Spring

This course introduces students to the process of constructing digital objects and environments within the virtual space of the computer. Emphasis will be on a strong grasp of form, space, and composition. Fundamentals of hard-edge and organic surface modeling will be thoroughly exercised, while further exploration of the digital tools will cover shading and texturing, lighting, and rendering with the virtual camera. Over the course of the semester, students will be challenged to create increasingly complex objects, environments, and imagery. Through intensive hands-on studio time, as well as through readings and discussion, students will also be encouraged to consider the conceptual ramifications of working in illusionistic digital space. Contemporary examples of computer-generated imagery in art, film, and media—juxtaposed with historical views on visual illusion from art and philosophy—will form a broader context in which to examine the medium.

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Performance Art

Open, Seminar—Spring

Since the early 20th century, artists have explored performance art as a radical means of expression. In both form and function, performance art pushes the boundaries of contemporary art. Through this form of expression, artists have produced powerful works about the body and the politics of gender, sexuality, and race. This course surveys performance art as a porous, transdisciplinary medium open to students from all disciplines, including painting, drawing, printmaking, photography, sculpture, video, filmmaking, theatre, dance, music, creative writing, and digital art. Students will learn about the history of performance art and explore some of the concepts and aesthetic strategies used to create works of performance. Drawing on historical and critical texts, artists’ writings, video screenings, and slide lectures, students will use a series of simple prompts to help shape their own performances. Artists and art movements surveyed in this class include Dada, Happenings, Fluxus, Viennese Actionism, Gutai Group, Act-Up, Joseph Beuys, Judson Church, Ana Mendieta, Gina Pane, Helio Oiticica, Jack Smith, Leigh Bowery, Rachel Rosenthal, Jo Spence, Chris Burden, Vito Acconci, Bas Jan Ader, Terry Adkins and the Lone Wolf Recital Corps, Carolee Schneemann, Martha Wilson, Adrian Piper, Martha Rosler, Lorraine O’Grady, Joan Jonas, Karen Finley, Janine Antoni, Patty Chang, Papo Colo, Paul McCarthy, Matthew Barney, Ron Athey, Orlan, Guillermo Gomez Pena, Narcissister, Annie Sprinkle, Vaginal Davis, Kris Grey, Carlos Martiel, Autumn Knight, Amanda Alfieri, Hennessey Youngman, Savannah Knoop, Shaun Leonardo, Francis Alys, Andrea Fraser, Tania Bruguera, Zhang Huan, Regina Jose Galindo, Aki Sasamoto, Pope.L, and many more.

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Photogrammetry

Open, Concept—Spring

Photogrammetry is the process by which, using specialized software, multiple photographic views of an object or space are analyzed and reconstructed into digital 3D models. These uncanny virtual recreations from the real world can then be used as digital props and environments in rendering, games, and animation projects. In this course, we will work with this exciting process, generating our own models and importing them into 3D software to edit, texture, and combine them into larger virtual scenes or export them as assets for games, visual effects, or other more experimental uses. We will work in both controlled studio environments as well as “en plein air,” with the ability to capture manmade as well as natural objects and spaces, subsequently generating their virtual doppelgangers in the computer and transforming their meaning as digital art objects.

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