The listing of courses eligible for CTC credit from across the College is available at this link.
This listing is currently in progress.
CTC-sponsored courses (2017-18)
Introduction to Computation
CTC-1000: Fall 2017, Wintersession 2018, Spring 2018 TBA, Mark Cetilia, Chris Novello
Introduction to Computation focuses on computational techniques, methods, and ideas in the context of art and design.
Studio projects first center on the design of algorithms then shift to involve computer programming and scripting.
Critical attention is given to code as a body of crafted text with significant aesthetic, philosophical, and social dimensions,
as well as the tension, conflict, and potential possible when computation generates, informs, or interacts with drawings, materials,
forms, and spaces. Historical and contemporary works of computational art and design will be presented and assigned for analysis.
This course is open to students of all majors and is designed for those with little or no experience in programming.
In order to conduct work in this course, students will need a laptop computer. This course fulfills one of two core studio requirements for CTC Concentration.
CTC: Research Studio CTC-3000: Fall 2017, Spring 2018 Clement Valla, Asli Serbest, Daniel Lefcourt
CTC Research Studio is a required, advanced course for all CTC Concentrators taken after a student has earned 12 CTC credits.
In this course, students develop and complete a large-scale project that draws from the students' prior studies in the CTC Concentration.
Students write source code, author software, and program hardware for making their own works of art and design.
Complementing this work, students engage in critical discourse surrounding computation, technology, and culture through dialogue and writing.
Coding as a technology with implications for making and authorship is explored through a pedagogy of code sharing and collaborative learning.
Differences in programming cultures across languages and disciplines is one of the motive forces in this course.
Throughout the semester, seminar discussions are organized and around canonical computational texts and the course's parallel lecture series.
Programming Sound: Performance Systems CTC-2001: Fall 2017 Mark Cetilia
Programming Sound: Performance Systems focuses on programming and designing computer-based systems for sound art and music performance.
Centered on the dataflow programming language, Pure Data (Pd), the course will be of substantial benefit to students who desire a rigorous and
fast-moving foundation in algorithmic approaches to sound design. The course simultaneously facilitates explorations in sound synthesis, audio
signal processing, electronics, mobile platforms, gesture-based human computer interaction, and instrument building with microcontrollers and sensors.
Coursework involves weekly homework in the form of online lectures and exercises with class sessions reserved for demonstrations, workshops, and
project assistance. The course emphasizes modularity and reuse of code. Students will present their work in a public concert during the last week of
the semester. Additional notes: In order to conduct work in this course, students will need a laptop computer running a recent OS: Mac, Windows, or Linux.
Previous programming experience is recommended, but not required.
Ambient Interfaces: Activated Objects CTC-2000: Spring 2018 Alejandro Borsani
This course is a practical and conceptual exploration into electronics sensors, processors and actuators in the context of interactive art and design.
Students will turn everyday objects into "ambient interfaces" or "responsive systems" that respond to the conditions of the human body, data networks,
and the environment. Contemporary works of art and design - from kinetic sculpture and sound art to installation, architecture and product design -
will be examined through readings and presentations. Open source hardware (Arduino) and software (Processing) will be taught along with the fundamentals of
electronic circuitry. Emphasis is given to the development of creative projects (individual or collaborative), followed by an iterative implementation process
(planning, prototyping, testing, analyzing, and refining). The course is structured around a series of tutorials and exercises, culminating in a final project.
Students also present work-in-progress and prototypes during class reviews to receive qualitative feedback from the class and the instructor.
Participants will engage with physical computing conceptually and technically in their studio work and are encouraged to leverage their individual backgrounds
to excel in the respective context. Prior experience with electronics and programming is recommended but not required.
Seeing Machines CTC-2005: Spring 2018 Clement Valla
‘Seeing Machines’ are imaging technologies that produce and distribute pictures. (1)
Google maps, surveillance networks, museum digital archives, QR codes, and facial recognition systems are some examples.
Their quantity and reach is vast: more images are being created by these systems today than the combined sum of all images before the year 2000.
In 2017, picture production largely happens within automated networks, distributed by computers in a massive flow of data, (and most won’t ever be seen by the human eye).
This class will explore how artists intervene and subvert Seeing Machines’ tools—scripts, programs, automation and other technologies — to systematize, classify and distribute images.
Through a set of projects, student-led presentations, readings and discussions, we will understand how Seeing Machines operate and control, and create methods to make artwork in response.
Topics will include: images that have never been seen by humans, making images for machines, programming and automation, security & privacy, databases & their lack of objectivity,
are pixels real?, the Enlightenment as precursor, the quantification of space & time, lenses without photographers
(1) Trevor Paglen, Seeing Machines, 2014 [https://www.fotomuseum.ch/en/explore/still-searching/articles/26978]