background preloader

Syllabi & other resources

Facebook Twitter

Syllabus § Understanding and Developing Interactive Media (Fall 2012) Hi everyone, and welcome to class! You are probably wondering how class will work this term. Here's a few points that you should keep in mind. 1. This class is wholly online, which means there is no synchronous portion of the class. That having been said, this is a technology class. 2. 3. 4. 5. 6. 7. We will occasionally ask you to post emailed questions in the forum where they can be answered, rather than answering them by email. 8.

Jen's email is Rob's email is 9. Having said this: we do NOT have hard deadlines for assignments. Be warned: each lecture builds on the last one. If you have any questions on expectations for this class, please ask! Lecture Videos § Understanding and Developing Interactive Media (Fall 2012) Syllabus | interactive media. I will be doing my best to update this syllabus with our explorations and discoveries. COURSE SYLLABUS INSTRUCTOR: Sean Cohen OFFICE: no office, but we can schedule times to meet Email: sean.r.cohen at (please put “[WEB II]” in your subject so I know it is you) COURSE EXPECTATIONS: The grading policy will be cumulative in nature involving the following; Attendance is mandatory.

Unexcused absences can affect a students grade. 3 unexcused absences will lower the students cumulative final grade by one letter grade. Each absence thereafter by one third of a letter grade. Students should be present for the entire class period. This course is designed to help the student develop intermediate to advanced level skills in visual and conceptual problem solving. Sessions - Lincoln School Scratch Club. Introduction to Interactivity and Media Art.

Schedule Week 01 Mo. Jan. 10: Introduction / Syllabus Review / Project 0 (Introduction Project) Assigned (due Wed. Jan 19), Reading Assigned: David Rokeby: Transforming Mirrors (due Wed. Wed. Week 02 Mo. Wed. Week 03 Mo. Wed. Week 04 Mo. Wed. Week 05 Mo. Wed. Week 06 Mo. Wed. Week 07 Mo. Wed. Week 08 Mo. Wed. Week 09 Mo. Wed. Week 10 Mo. Wed. Color Scheme Designer 3. T284 || Schedule. January 14 Week 1 Lecture January 15 Week 1 Lab Useful Unix Unix file permissions (use Absolute form: chmod 644, etc.) By the end of class today, you should have the following: A T284 subdirectory in your www directory. A page in the T284 directory named index.html which has your name on it and any other details you'd like to include. This page is where you will put links to all of the assignments that you turn in for the class. Another page in the T284 directory named journal01.html with the text "This first journal will critique a website with information about the Space Shuttle Challenger" Another page in the T284 directory named resumes.html with the text "All of my resume versions will be linked from here.

" Great all-around discussion of Mercury w/resource links It may also be helpful to use our HTML & CSS book to get a broad view of how everything works together. January 21 Week 2 Lecture January 28 Week 3 Lecture February 4 Week 4 Lecture February 11 Week 5 Lecture Quiz 8 VSB critique. PHI 315 - Philosophy & Science Fiction - Fall 2012 | Philosophy.

In this course students will actively explore the philosophical aspects of that wonderful genre known as science fiction. Works of science fiction have the capacity to inspire an audience to ask questions about the most basic aspects of existence—to ask the same sorts of questions that eternally transfix philosophers. Confrontations with the alien other, the alien self, or the alien environment inevitably engender deep and desperate questions. For some thinkers, of course, philosophy is not the first thing that comes to mind upon being exposed to science fiction’s enacted thought experiments. Yves Chevrier, for example, in analyzing Ridley Scott's film, Blade Runner, called "inescapable" the "puerile intrigues and infantile philosophical messages" of science fiction film. He stated, "Blade Runner's story is likewise impudently dull and conventional, and its metaphysics aren't worth a plug nickel" (1984:51).

Below you will find links to the course syllabus and the assigned PDF readings. PoetBot! | CMU EMS2, Fall 2012, Section A. For this project, I wanted to make a machine that took numerical input and produced something creative out of it. I was inspired by John Keats’ poem “This Living Hand” (which can be found in my Processing code), which deals with the life of the poet/resurrection of the poet when you read his work. I like the idea of having a machine that creates art, and since I wanted to incorporate Twitter, I decided to make a robot that writes poetry and tweets it at the push of a button. After some googling, I discovered Rita (link here), a library that can be used to intelligently parse English words/sentences.

Then, I used the Gutenberg Project (link here) as well as other online poetry resources to collect .txt files filled with poetry: Shakespeare’s sonnets, Keats’ odes (+ “This Living Hand”), “Nothing but Death” by Pablo Neruda, and some works by Poe and a Russian poet named Marina Tsvetaeva. There are two main components to my project: the Arduino code and the Processing code. Pics: Interactive Art and Computational Design, Spring 2013 | An Advanced Studio in Arts Engineering and Freestyle Computing // Prof. Golan Levin, Carnegie Mellon University. Time: Mondays/Wednesdays, 8:30am-11:30am (course calendar here)Location: CFA-111 (STUDIO for Creative Inquiry, College of Fine Arts building, CMU)Course Numbers: 60-412 (Art), 62-726 (CFA), 51-482 (Design UG), 51-882 (Design G) Instructor: Golan Levin (contact information)Office Hours: M/W afternoons, 1:30-3:00pmOffice Locations: CFA-111 (Frank-Ratchye STUDIO for Creative Inquiry)Teaching Assistant: Dan Wilcox (MFA ’13, Art) This is an advanced studio course in arts-computing and new media practice.

Our core objective is the creation of new culture through exploratory software development. Enrolled students are expected to have demonstrable programming skills, without exception, beyond the level of an introductory class such as 15-112. Teaching with Sketchpad : sketchpad blog. If you teach workshops or classes with Processing, and are interested to try out Sketchpad with your students, drop me a note. I’d be happy to offer suggestions, connect you with others who have tried this in their classes, give you a guided tour, or simply answer your questions. Canvas found in the studio gallery of a recent workshop that used Sketchpad:Código de la imagen: visualización de datos con I’m starting to compile a list of interesting and meaningful ways that people have incorporated Sketchpad into classes.

Some of these are from my own teaching experiences with Sketchpad, and many were contributed by others. If you have had success with techniques that I haven’t listed below, please let me know and I’ll add them to the list. Worked examples: You can prepare example sketches (with your own comments) for your students to work with. I think of as an open studio. Some of courses & workshops that have used Sketchpad: CTCS 505 Syllabus. Sep 23 Julian Bleecker, "Getting the Reality You Deserve" Screening: Strange Days (1995) Kathryn Bigelow 145 min Week 6: Agency Sep. 30 Jonathan Crary, “Techniques of the Observer” Janet Murray, “Agency” from Hamlet on the Holodeck Screening: Being John Malkovich (1999) Spike Jonze 112 min Week 7: Bodies Oct. 7 Marshall McLuhan, Understanding Media Intro. and Ch. 1 Screening: Videodrome (1983) David Cronenberg 87 min Week 8: Remix Oct. 14 Lev Manovich, “Remixing and Remixability” Screenings: Unsere Afrikareise, Peter Kubelka (1966) 12 min A Movie (1958) Bruce Conner 12 min Week 9: Space Oct 21 Read Willis, New Digital Cinema Screenings: Serene Velocity (1970) Ernie Gehr 23 min Production Stills (1970) Morgan Fisher 12 min Week 10: Post-linearity Oct 28 Read Willis, New Digital Cinema Screening: Run Lola Run (1998) Tom Tykwer 80 min Week 11: Temporality Nov. 4 William Uricchio, “Technologies of Time” Read Willis, New Digital Cinema Screening: Eureka (1974) Ernie Gehr 38 min Week 12: Scopophilia.