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.
Computation, Technology, and Culture Interdisciplinary Critique is an advanced course for juniors, seniors, and graduate students who have already demonstrated a high level of commitment to pursuing art/design work that involves computational platforms, software systems, and digital technologies, and which explores associated histories, theories, and practices. In this course, students work on an individual project that incorporates research and theoretical exploration of a topic of their choice, with the aim of producing a refined body of work or large scale piece that advances their understanding of and practice with computation and technology. Students regularly meet individually with faculty and receive feedback in recurring group critiques. Additionally, seminar discussions are held focused on pertinent readings, screenings, and lectures.
Successful completion of any CTC course or equivalent coursework is preferred, but not required. For CTC concentrators this course qualifies for the CTC-3000 core requirement.
Permission of instructor is required.
Open to juniors and above.
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.
Estimated Materials Cost: $100.00
Open to sophomore and above. Permission of Instructor required.
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.
This intensive studio course investigates computational approaches to generating sound and image in real time. Precedents from experimental film and video, as well as sound, installation, and performance art will be examined in relationship both to human perception and the students' artistic practice. The course will include discussion of key historical works and texts, hands-on demonstrations and in-class projects, as well as critical engagement with new works by class members. Students will use programming environments such as Max and its object libraries for sound and video, MSP and Jitter, to explore the creative and expressive potentials of an intermedia production practice, culminating in the development of a larger work that incorporates knowledge gained throughout the course.
Throughout the past century, electronically generated sound has challenged the aesthetic and conceptual boundaries of art and music. In this intensive studio course, students will focus on the creation of experimental sound works utilizing hybrid analog / digital systems. We will investigate synthesis techniques using the SuperCollider programming language / environment in conjunction with the Digital + Media department's Serge modular synthesizer. Students will leverage the strengths of these tools towards uniquely personal production platforms that are more than the sum of their parts, and utilize them in the creation of fixed media, generative compositions, and improvised performances. The course will include discussion of historical works / texts, hands-on demonstrations, in-class projects, and critical engagement with new works by class members, culminating in a final project that incorporates knowledge gained throughout the semester.
Students will need a laptop computer running a recent OS: Mac, Windows, or Linux. Previous programming experience is recommended, but not required.
Estimated Materials Cost: $100.00
Open to juniors and above.
Also offered as DM-2043; Register in the course for which credit is desired.
Spatial Audio focuses on the creation of immersive 3D sound experiences. In this course, students analyze and explore how the sensation of space is activated in the listener by making works using spatial audio techniques. These methods include high-order ambisonics, vector-based amplitude panning, multichannel surround, and binaural audio, among others. Throughout the semester, a series of exercises addressing technical and theoretical issues provide students with the necessary experience to produce midterm and final projects. Coursework involves computational approaches to sound design and composition, with instruction in the audio programming language Max and digital audio workstations, i.e. Ableton Live and Reaper. Students have recurring access to a 25-channel loudspeaker array for the development of works. Readings from psychology, philosophy, the arts, and sound studies support class discussions and critiques.