Interdisciplinary seminar traversing art, philosophy and media studies to consider the network as infrastructure, aesthetic, theory, and figure for interconnection.
An introduction to photography from its origins in the 1800's through its contemporary transformations--an art form, a practice of scientific inscription, and a pervasive mode of visual and material culture.
Old Media, New Ideas. An exploration of media archeology as an interdisciplinary approach to the materiality of media and the archival imagination of media history.
Examines the history and theory of the interface, and of the concept of interactivity. How are interface and interactivity mutually defined as aesthetic and material constructs, but also as cultural metaphors for embodiment, perception, and encounter.
This course explores the history, theory, and current landscape of virtual reality. Focusing on immersive and interactive VR technologies, we will consider how 19th century techniques of panoramic and stereoscopic display have been reinvented through changing technologies from photography through cinema and digital and mobile media. We will analyze specific examples, revisit how the future has been repeatedly reimagined, and develop speculative designs to challenge what could be possible. Throughout, we will see how VR negotiates questions about reality and representation, “being there” in embodied experience, and how we presume to know, see, and act through--not despite--different forms of mediation.
This course develops skills for understanding media, art, and technology, using a comparative approach. Building on skills students have learned in foundations courses within their discipline, it expands and deepens methods for to critically analyzing forms of media and visual culture that span traditional fields of study. We follow thematic threads across multiple formats: for example, comparing ideas of the viewer /spectator /participant /user from cinema and installation art to mobile media.
What is cinema? This course introduces students to basic elements of film history, theory, and form, focusing on foundational skills of critical analysis. Different semesters take different themes, but each term we will cover basic elements such as: cinema’s origins and changing relationships with other media, cinema’s formal aesthetics (i.e., editing, cinematography), cinema’s global cultural contexts, changing modes of spectatorship and circulation, and critical approaches to interpreting and writing about film.
Incorporating frameworks from the fields of film studies and media studies, this course offers students a broad basis for critically engaging lens-based, screen-based, and/or moving image media. We focus on questions of: realism/indexicality, embodiment and affect, duration, aesthetic form, “liveness” and the televisual, the changing contexts of genre, and the politics of interpretation. Students will receive traditional training in the canon of film theory, but will also come away with methods for engaging contemporary forms of the moving image that take place outside movie theaters, such as in art museums, on cellphones, or in interactive games.
As a “boot camp” for academia, this workshop-style course trains graduate students in the skills, formats, and methods that they will need in order to succeed in graduate school and after. Students are guided though research and writing tasks to define their individual orientations within their broader disciplines, identify framing debates and key interlocutors, and prepare original contributions. We discuss strategies for stronger pedagogy, research design, and academic writing; and students develop concrete materials toward conference calls, publications, graduate examinations, the thesis or dissertation, and the job market.