Interactivity (DESMA 28)
UCLA Department of Design Media Arts
Professor: Casey Reas (Office Hour Monday, 1pm to 2pm in 3224)
TA: Adam Ferriss (Office Hour Thursday, 2:30 to 3:30 in Untitled)
Monday & Wednesday
Broad Art Center Room 4230
This course is an introduction to writing code within the context of the visual arts. It promotes conditional and systemic thinking. The concepts and skills taught in this course set a foundation for future Design Media Arts courses about the internet (161), game design (157), and media arts (159A, 171).
This course asks 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 have integrated software into their process. Prominent architects and designers 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.
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 and 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 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.
There are six projects, six in-class workshops, and one final project. Each workshop introduces new ideas, while each project is a mix of visual and technical challenges. The final project will refine one of the prior projects.
The % breakdown follows:
10% Project 1
10% Project 2
10% Project 3
10% Project 4
10% Project 5
10% Project 6
30% Final project
All projects are evaluated on how well they demonstrate an understanding of the material, as well as their originality and aesthetic qualities. Feedback will be primarily qualitative but numeric scores will also be given for all work. Participation means punctuality, focus, articulation of your concepts, and contribution to class discussions.
More than two absences will lower your 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.
Class starts at 9:00 AM. If you are 10 minutes late, you will receive a tardy. 3 tardies will turn into 1 absence.
If there is an emergency and you will be late or absent from the class, please email me to discuss the situation.
No cellphones in class. No checking personal e-mails, Facebook, IM, etc. during class.
Ask questions, make comments, contribute to discussions.
Learn from your peers; the class is a collaboration.
If you feel frustrated or you come across other problems please communicate with me directly and immediately.
- Processing: A Programming Handbook for Visual Designers and Artists, 2nd Edition, by Casey Reas and Ben Fry.
- "ICM Video Series" by Dan Shiffman. (Available online.)
- Getting Started with Processing by Casey Reas and Ben Fry. O'Reilly / MAKE, 2010
- FORM+CODE in Design, Art, and Architecture by Casey Reas and Chandler McWilliams. Princeton Architectural Press, 2010