Syllabus

Time:
MW 9:00 - 11:50
Location:
BROAD 4230
Office Hours:
Tuesday 13:00 -14:00 (BROAD 2275), Thursday 13:00 -14:00 (BROAD 3211)

Overview

This course is an introduction to the concepts and principles of interactivity. We will discuss what constitutes interactive work and how aesthetic and conceptual concerns can impact interactive design, while developing computer programming skills required for creating interactivity. The concepts and skills taught in this course will set a foundation for future DMA courses about the Internet, game design, and media arts.

Context

This course aspires to answer a few questions:

How has software affected the visual arts?
What is the potential of software within the visual arts?
As a designer or artist, why would I want (or need) to write software?

Software influences all aspects of contemporary visual culture. Many established artists such as Gilbert and George, Jeff Koons, and Takashi Murakami have totally integrated software into their process. Many prominent architects and designers including Frank Gehry, Toyo Ito, Stefan Sagmeister, and Rick Valicenti not only use software, they commission custom software to help them realize their unique ideas. The creators of every innovative video game and Hollywood animated film write custom software to enhance their work. For example, to create each new film, Pixar writes software to create the style of the characters and the dynamics of their environment. In contemporary video games such as Will Wright’s Spore, the entire environment and the behavior of the characters are defined through code.

While these exciting developments are taking place at the highest levels of their respective professions, integrating them into education is a challenge. For even the most motivated student, the technical boundaries are difficult to overcome getting beyond them requires tremendous dedication. As a comprehensive first introduction to the potential of software development within a broad range of the arts, this course aspires to encourage the required enthusiasm.

In reference to the emerging media of his time, the eminent media theorist Marshall McLuhan wrote: “Today we’re beginning to realize that the new media aren’t just mechanical gimmicks for creating worlds of illusion, but new languages with new and unique powers of expression.” Writing code is one gateway into these “new and unique powers of expression.” Learning to program and to engage the computer more directly with code opens the possibility to create not only tools, but systems, environments, and new modes of expression. It is here that the computer ceases to be a tool and becomes a medium.

Assignments

There are thirteen exercises and three projects given in this order:

Exercise A: Introduction
Exercises B and C: Form + Repetition
Exercise D: Computers + Form
Exercises E and F: Drawing + Text
Exercises G, H and I: Parameter + Event
Project 1: Exploration
Exercise J: Behavior + Intention
Exercise K: Objects + Behavior
Project 2: Play
Exercises L, M: Lists + Multiples
Project 3: Perform

The exercises are a mix of reading, writing, and technical challenges. Projects are the opportunity to apply the knowledge gained from the exercises to a more conceptually engaging context.

Evaluation

The grading is based on the exercises, projects, and on the participant’s comments, feedback, and active participation during the class meetings. All work is evaluated on how well it demonstrates an understanding of the material, originality, and aesthetic qualities. Feedback will be primarily qualitative but numeric scores will also be given for all work. All assignments must be uploaded to the class server
and functioning within the website before the beginning of class on its due date. Late work will not be accepted. More than two absences without the Instructor or TA’s prior approval will lower the participants final grade by one unit (i.e. an A will become an B). With each additional unexcused absence, the grade will drop an additional unit. All exercises and projects must be completed to pass the course. In addition, participants must attend at least two DMA sponsored lectures during
the quarter.

Grading

39% Exercises (3 points for each exercise)
14% Project 1
20% Project 2
20% Project 3
07% Participation

Required Readings

Casey Reas and Ben Fry, Processing: A Programming Handbook for Visual Designers and Artists. MIT Press. 2007.

In-class handouts.