New Media New Form

A&HA 4089 |New Media New Form is part of the sequence of the Creative Technology Certificate program offered by Program in Art and Art Education, Department of Arts and Humanities, at Teachers College, Columbia University. I taught this course with the following curriculum during Spring and Summer semesters between 2016 to 2019. Other sections of the same course was taught by professor Richard Jochum from this department. Some resources presented in this curriculum also borrowed from professor Jaymes Dec’s Digital Foundation course curriculum. 

Faculty Information 

Instructor: Zhenzhen Qi

Email: zq2145@tc.columbia.edu

Meeting time: Weekly Wednesdays 7:00pm – 9:30pm

Office Hours: After class and by appointment. Feel free to email any time for questions. Please write NMNF on the title of the email. 

Classroom Information

Myers Art Studio

51C Thorndike Hall (basement)

Software Usage: Adobe Creative Suite, After Effect, Processing, Arduino

Equipment Checkout: sound recorders, DSLR Cameras, Camcorders, Tripods, xbox kinect, wacom tablet, iPads, high resolution archival printing, green screen 

Studio Managers: 

Eric Mason, ebm2150@tc.columbia.edu, instructor of sculpture classes, expert on digital photography and music composition

Autumn Lin Riser, aek2187@tc.columbia.edu, expert on digital art, design and fabrication

Thingspace:

55 Macy Hall (basement)

Fabrication Usage: woodshop, metalshop, 3D Printer, CNC router, plaster, laser cutter, soldering Station

Studio Managers: 

Emma Adair, emmatron@gmail.com, expert on digital fabrication sculpture, woodshop and medal shop. 

Kristina Davis, kd2681@tc.columbia.edu, expert on  digital fabrication and printmaking.

Course Description & Aims

A big part of the creative process is the hands-on dialog with materials. What can this dialog look like when the materials in question expand and include digital materials? New Media New Forms is a survey-style, inquiry-based studio course that explores and reflects the creative possibilities of new and emerging technologies in art education, the impact of technology in the art room, the changing role of the art educator, and the convergence of materials. The outcome is a playful and transformative inquiry into new media and how we can utilize them to create new forms. At the end of the semester, students will develop a solid understanding of the fundamentals of software/hardware based art and digital fabrication processes. No prerequisites, no prior knowledge needed. Enrollment is limited.  

Method of Instruction

This survey-style studio course will include short demonstrations, readings, discussions, written assignments, and a series of learning adventures and explorations that employ digital tools in art making and creative expression with technologies. Students will reflect on their experiences in a blog and share the process and product of their learning adventures in a digital portfolio. The class will begin by sharing previous week’s individual projects. At the end of the course, students will present a final project during a presentation. 

Attendance

Students are required to attend every session of their courses. Irregular attendance not only hurts a student’s coursework, it weakens the class as a whole and is not permitted. Since this course has frequent in-class coding and making exercise, missing class will also affect your progress in the course. Attendance is recorded prior to every lecture, and students with excessive absences will be officially dropped from the course in accordance with college rules. Arriving late interferes with other students’ learning and is not acceptable. Repeated late attendance will be counted absent. 

Grading

As a project based, survey style production class, there is no written quiz or exams. Performance is highly depended on attendance and meaningful efforts towards projects. 
Final grades will be calculated based on the following formula:

  • Participation, attendance, contribution to class environment 30%
  • Weekly Projects 40%
  • Final Project Presentation and Documentation 30%

New Media Art Reference

New Media Art entry in Wikipedia provides a concise introduction which links to more subcategories and practices within New Media Art. 

Elektra is the world’s largest electronic music festival hosted annually in Montreal, Canada. It features electronic musicians and video artists who create original audio visual effects using software and hardware. 

Leonardo is a professional academic journal published by MIT Press. It features electronic art theory and practice on a regular basis. 

Prix Ars Electronica is a major electronic art award, incorporated in Linz, Austria. 

Bitforms Gallery, Postmasters Gallery, The Knockdown Center, Pioneer Works, Flux Factory, Transfer Gallery, CutureHub, AC Institute, BabyCasltes frequently feature artists who work with digital and computational media. 

Eyebeam and SFPC(School for poetic computation) are leading New Media Art education and research centers located within New York city. 

Blogs like Rhizome, Hyperallergic, Creators, Creative Applications, Motherboard, MoMaPS1, New Museum frequently feature projects that fall within the space between Art and Technology. 

Below is a list of New Media Artists who frequently use code and digital technology in their artistic practice. Hopefully, their unique practices crossing multiple disciplines could inspire you and your own students to combine technology and art in your own way. 

Generative Art: Casey Reas, Raven Kwok

Interaction Art and Design: Zach Libberman 

Simulation Art: Ian Cheng, John Gerrard

3D Animation: David O’reilly 

3D Scanning: Ziv Schneider 

Digital Fabrication: Addie Wagenknecht, Hyphen Labs

Kinetic Sculpture: Ruben Margolin, Arthur Ganson

Sound Art: Zimoun, Ryoji Ikeda 

Audio Visual: Axis Gan 

Projection Mapping: Joanie Lemercier, Anthony McCall 

Physical Computing: Jean Tinguely  

Net Art: Sam Lavign, Ying Miao, exonemo  

Bio Art:  Heather Dewy-Haborg, Zach Blaz 

Robotics: Simone Girtz, Bill Vorn 

Web Game: Mollenindustria 

Wearable Electronics for games: Abe Kaho  

Electronics Art: Nam Jun Paik 

Gif Art: Carla Gannis

DataViz: Roopa Vasudevan 

Art Game: Robert Yang, Jenova Chen, Anna Anthropy  

Technical Reference

Learning 2D/3D design softwares such as Photoshop/Illustrator/Blender isn’t required for this class as a prerequisite. We will cover relevant technical design skills for each week’s learning objectives as the semester goes along. However, if you are interested in learning more about digital art and design software on your own, below is a list of tutorials you can follow, listed with the easier tutorials on top. Feel free to bring any question into class. Use me and your classmate as a resource to learn anything digital and computational art/design related, as long as it’s what you are passionate about! 

Introduction of Graphic Design(introduction to illustrator, photoshop, inDesign)

Compositing your own art piece (photoshop)

Import and work with 3D Models in photoshop(photoshop)

Blender Essential Training(Blender – 3D modeling and rendering) 

Please also note that for Lynda.com tutorials, you don’t need to pay any money. You have FREE access as a Columbia student. Follow these steps:

⇒ Go to lynda.com ⇒ Click Sign in Button on upper right corner ⇒ Click Institutional Sign-in⇒ Put in Columbia.edu as sign-in credential ⇒ Now you will be redirected to a screen that looks very similar to myTC login page ⇒ put in your TC username and password and you will see one of the world’s largest online tutorial databases on learning a wide array of digital media software and hardware. 

Former student project examples: 

Dylan: https://dylanmryder.wordpress.com/2017/06/29/mr-cam-final-project-aha-4084-summer-a-2017/

Roxanne:  https://nma3012spring17.wordpress.com/2016/11/22/two-faced-glitch-roxanne-branford/

Course Synopsis

In order to responds to a wide array of students’ ongoing needs and interests, the syllabus and class instructions are subject to change and are intentionally left open-ended. Below is a tentative weekly synopsis. This synopsis will be adjusted on an ongoing basis, and also accompanied by a weekly note section that contains updates and details. 

WeekDateTopicHomework
1Jan 23Introduction of digital and computational Media. Critique of New Media Artists and their work.Set up class blog. Review Syllabus. 200 word write-up on something you made and why you enjoyed making it.
2Jan 30Scratch Interface OverviewSet up Scratch account. Drawing inspiration from a weird dream, create a simple gif. 
3Feb 6Scratch Sprite and ScriptBuilding on your last week’s homework, control timing, inter-object interaction, background, and build a leveled game/animation/digital narrative.
4Feb 13Introduction to ProcessingPlay freely with Processing, a procedural drawing tool. Alternatively, add sound/art/animation sequence to your scratch project.
5Feb 20Generative Art with Processing /ScratchPattern generation with Processing or Scratch
6Feb 272D Design and Digital FabricationUse illustrator to create a design file and etch it out as a gift. Think about a DIY coaster design for a friend’s birthday
7Mar 63D Modeling, Scanning, and PrintingUse tinkercad to create a 3d design and print it out on 3d printers. Optional: use xbox kinect to make a 3d scan of your own head, and modify it with additional objects
8Mar 13Digital Embroidery MachineUse illustrator to create a patch design and embroider it out from our digital embroidery machine
9Mar 20Spring Break.Class Does Not Meet
10Mar 27Intro of physical computing with MakeyMakeyPost initial final project documentation. Critique of digital fabrication artifact
11Apr 3Intro of physical computing with paper circuit, conductive ink and threadPrototyping for final project
12Apr 10Intro of Interactive digital Imaging with UnityPrototyping for final project
13Apr 17Intro of Interactive digital Imaging with Unity IIPrototyping for final project
14Apr 24Intro of Interactive digital Imaging with Unity IIIPrototyping for final project
15May 1User Testing. Final Project DocumentationDocumentation for final project
16May 8Final Project ShowcaseInvite friends, family over for soft gallery opening. Individual project presentation and critique

Class Blog

Jingyi(kayla): https://ljylin.wixsite.com/mysite 

Eden: https://edenblogart.wordpress.com

Nina: http://www.ninabellisio.com/blog/category/aha4089_nmnf/ 

Carolina https://nmnf826124325.wordpress.com/

Tyrone: http://santanacopeland.blogspot.com/ 

Meining: https://medium.com/@slithice2012 

YuTing: https://visualexperimentsfornewmedia.wordpress.com 

Holly: https://hollyrelyeaart.wordpress.com/

Chloe Zhao: https://chlochlozz.wordpress.com/ 

Yuntong Man: https://ymm2110.github.io/NewMediaNewFormsBlog

Xueyun Li: https://xueyun892410409.wordpress.com/2019/05/08/final-project/

Zhao Li: https://zlbloggercom.wordpress.com

Hyunsoo Alice Kim: https://hyunsookim82.wixsite.com/newmedia

Class Notes


Week1 

Syllabus Overview

Critique

Digital Interaction: Mollenindustria   

Review of selected student projects from past semester, which is made of a mixture of software, hardware, and digital fabrication techniques. 

Pengyuan: https://pengyuanlin.wordpress.com 

Kayla: https://tbhjasonblog.wordpress.com/?wref=bif

Jenn: https://jjj2133.wordpress.com/2017/05/03/interactive-piano/

Homework

  • Set up class blog and send me a link[If it’s your first blog, feel free to try https://wordpress.com/, which is free and beginner friendly. ]
  • Review Syllabus and bring questions zzzzz
  • Post a 200 word write-up on something you have made in the past, visual/audio reference, and why you enjoyed making it 

Announcement

Draw Your Dream Battle at Babycastles 


Week 2

Critique of student work

Critique of artists work: 

Physical interactivity

Physical Computing: drink-up fountain

Digital Fabrication: Roopa Vasudenven, Addie Wageknecht 

Introduction of Scratch

Set up an account at scratch.mit.edu

Scratch Demo 

Make A Gif with scratch  

Homework: 

  • Download and play Everything is Going to Be Ok(free) or Monument Valley 2 
  • Create a simple scratch gif inspired by your favorite novel/poem/cartoon/movie/meme/artist/friends a dream that keeps coming back to you. 
  • Write a simple 200 word reflection about your creation, and link/embed your scratch project to the blog. 
  • Browse through the list of scratch projects below(or featured scratch projects on scratch website). Click the “look inside” button to try to understand the coding logic, and reflect on 
  • what type of scratch projects you like. 

Inspirations: 

Example Scratch Apps: 

Generative Art: Ranbow

Platform Game: Taco Panda

Interactive Animation: Mysterious Forest

Traditional Animation: The New Job 

Teaching: Color Theory, Animation, Music Composition 

Fandom/Internet culture: Nyan Cat

Weird things we don’t know why we love: Freddie is Scared  


Week 3

Exhibition Viewing: Knowing Together 

Critique of student work 

Critique of new media practices

Sound Art: Zimoun 

Robotic art: Simone Giertz 

Kinetic Sculpture: Daniel Rozen 

BioArt: Heather Dewey-Hagborg 

Computer Art + Performance: Jacolby Satterwhite  

Art Game: David O’reilly 

WebArt: exonemo, Sam Lavign 

AR/VR: Marjan Moghaddam

InClass Lab: 

Computational Play – Prototyping generative and interactive experiences

Noface

Homework: 

  • Building on last week’s homework and in-class demo. If applicable, pay attention to timing,  inter-object interaction, background, and build a leveled game/animation/digital narrative.
  • Depending on your interest, you might also want to explore more visual and aesthetic side of Scratch and less coding. 
  • Write a 200 word blog post to reflect on your experience freely.

Resource for Scratch tutorials(TC students have free institutional access to Lynda tutorials):

Lynda tutorial on introduction to Scratch 

Youtube Tutorial Series on Scratch 

Scratch Cards for quick self-learning: http://scratch.redware.com/lessonplan

Scratch Game Design Cards

Structured Lesson Plan For Scratch: http://scratch.redware.com/lessonplan 

Companion Instruction Videos: http://scratch.redware.com/lessonplan 

Resources for K12 Scratch teaching: 

Computational Thinking Guide With Scratch: http://scratched.gse.harvard.edu/ct/assessing.html

Comprehensive Scratch Education Resource Database: http://scratched.gse.harvard.edu/resources

Creative Computing Curriculum: http://scratched.gse.harvard.edu/guide/ 

Scratch Projects Across Curriculum: http://scratched.gse.harvard.edu/resources/scratch-projects-across-curriculum

Common Core and Scratch Guide: https://drive.google.com/file/d/0B-zqWBM9lxhta25xdWZvQmFNSEE/view

Scratch for non-English speaker: https://scratch.mit.edu/studios/276570/


Week 4

Critique of student homework

Casey Reas, an artist whose conceptual, procedural and minimal artworks explore ideas through the contemporary lens of software. Reas is best known for having created, with Ben Fry, the Processing programming language. Reas’s software generated images derive from short text instructions explaining processes that define a network of actions. The instructions are expressed in different media including natural language, machine code, and computer simulations, resulting in both dynamic and static images. Each translation reveals a different perspective on the process and combines with the others to produce continually evolving visual traces. Casey’s interview on how to draw with code. 

Example of generative artist: 

Raven Kwok, Ryoji Ikeda (superposition, quantum mechanics reference

Experimental video example by Adrien M and Claire B. 

4D experimental video game Migakurie  

In-class Lab:

Introduction of Processing:

Processing is a flexible software sketchbook and a language for learning how to code within the context of the visual arts. Since 2001, Processing has promoted software literacy within the visual arts and visual literacy within technology. There are tens of thousands of students, artists, designers, researchers, and hobbyists who use Processing for learning and prototyping. More about background information

Homework

  • Download Processing from official processing website: https://processing.org/ 
  • Refer to examples from chapter 1-3 of http://learningprocessing.com/examples/. Quickly click through the example links on the left hand side and observe the visual output on the right hand side of each page. When you see some interesting effect, try to identify which line of code created that effect, and copy/paste it to your own Processing environment to explore more. When you are happy with your exploration, take a screenshot/screen recording and post the result to your blog. 
  • If having a concrete project idea in mind helps you to direct your study, also go over the same materials mentioned in the previous step, but aim for painting an abstract self portrait of yourself, using lines, curves and other primitive shapes. Add simple mouse interaction if there is more time(ie., allow people to draw on your face or head). 
    • See this for reference as an example of non-interactive selfie. 
    • See this for reference on adding mouse tracing interaction. 
    • See this for reference on adding mouse click interaction. 

Alternatively, if you really connected with Scratch, keep following last week’s direction to introduce more leveled game structure/visual and audio effect to your Scratch project. See Example here. 

Helpful references:


Week 5

Critique of student homework

Sol Lewitt is regarded as a founder of both Minimal and Conceptual art. His prolific two and three-dimensional work ranges from wall drawings (over 1200 of which have been executed) to hundreds of works on paper extending to structures in the form of towers, pyramids, geometric forms, and progressions. These works range in size from gallery-sized installations to monumental outdoor pieces. Lewitt’s first serial sculptures were created in the 1960s using the modular form of the square in arrangements of varying visual complexity. We will research Sol Lewitt paintings and reproduce them by hand in class. More resource on Line Drawing. Video Documentation on Conceptual Art, including Line Drawing as an example. 

Jacolby Satterwhite works with Video, Performance, 3D animation, Fibers, Drawing and Printmaking, currently based in New York City, NY. Satterwhite’s work in dance performance draws from Voguing, martial arts, and choreographer William Forsythe’s dance techniques. His work often utilizes his mother’s schematic drawings/inventions of ordinary objects influenced by consumer culture, medicine, fashion, Surrealism, mathematics, sex, philosophy, astrology, and Matrilineal concerns. His series Reifying Desire was featured in the 2014 Whitney Biennial at the Whitney Museum of American Art. Combining 3D animation and live action, the work explores themes of memory and personal history in a virtual dreamlike environment. Satterwhite has also shown/performed in group exhibitions including MoMA PS1, The Smithsonian, The Kitchen, Rush Arts Gallery, and Exit Art. We will watch and discuss Jacolby Satterwhite interview, Dances With Himself

Lab

Drawing app review – incorporating your drawing app from last week with an png image of your choice. Refer to this example  for help on loading images into your processing software application. 

Drawing with variables(scratch), Drawing with variables(processing)

Mouse Pressed(optional)

Homework

Skim through chapter 4 of Learning Processing. 

Revisit last week’s homework, introduce variables. 

If you have more time, skim through chapter 5 and introduce conditionals. This is optional. 

Helpful Resources & inspirations: 

Variable Tutorial: https://www.youtube.com/watch?v=rZ36BzXFT6Q

Diana Langne open processing portfolio: https://www.openprocessing.org/user/5969

Vintage Computer Art Tutorial with Processing: https://www.youtube.com/watch?v=LaarVR1AOvs&t=744s

Painting with Pixel Tutorial:

More visual inspiration: 

https://www.facebook.com/SuPer.Art.Modern.Museum/

For Art Education:

Take a look at these examples from Turtle Art, and reinvent your own version into Scratch or Processing

http://www.inventtolearn.com/wp-content/uploads/2013/10/Garys-new-turtle-art-cards.pdf


Week 6  – Digital Fabrication I

In-class demo and instructional guides: fabrication instructions, design templates 

fabrication resources: 

3D modeling Resources: 

Homework: 

  1. Review Technical Reference Section of the syllabus, go over illustrator, photoshop tutorial, and Tinkercad interactive tutorials.
  2. Complete a 2D ai design file or 3D stl file on your own. Be mindful of which part of your design is inspired by new technologies and which part is inspired by your own voice and identity. 
  3. We will fabricate these designs during next week’s class. 

Week 7 – Digital Fabrication II

Artist Critique

Exonemo, the Japanese duo made up of Sembo Kensuke and Yae Akaiwa, have developed several experimental works ranging from sound and video processing, software programming, hardware circuit bending, installations as well as live performance. With enough crossing over, exonemo continue to blur the lines of discipline and if you ask them whether they are designers, programmers, visual or media artists, you’ll find they don’t really care. Formed in 1996. Art unit by AKAIWA Yae and SEMBO Kensuke based in exonemo.com. Crossing over freely between digital and analog, the world of computer network and the real world, they reveal the relationship between technology and its users. They work on many experimental projects that create humorous and innovative artworks, depicting the effects of digital media on modern society. “The Road Movie” won the Golden Nica for Net Vision category at Prix Ars Electronica 2006. They started Internet secret society named “IDPW” in 2012 and organized the event “Internet Yami-Ichi (Black Market)”. Currently, they are a member of NEW INC(http://newinc.org/) and live and work in New York since 2015. 

inClass demo: digital embroidery machine, roland vinyl cutter, 3d scanner

Homework

Continue to finalize your digital fabrication process and blog documentation. 


Week 8 – Digital Fabrication III

Announcement: create your utility box in Thingspace

inClass demo: 3d scanning, digital embroidery machine, vinyl cutter

Homework

Continue to finalize your digital fabrication process and blog documentation. Please get ready for a digital fabrication critique when we come back from spring break in two weeks. 

Helpful Resources

Meaningful making book by FabLearn

Optional: Gallery visit of three new media art exhibitions

Bob by Ian Cheng(free): https://gladstonegallery.com/exhibition/16819#&panel1-1 

Sol by Daniel Rosen(free): https://bitforms.art/ 

Programmed at the Whitney(costs $25): https://whitney.org/exhibitions/programmed


Week 9 – Physical Computing I 

Critique of digital fabrication artifact, discussion on new media art exhibition visit(optional)

NAEA new media art education presentation and discuss led by Holley. Discussion on future lecture/discussion schedule(optional). 


Week 10 – Final Project Proposal and Intro of Physical Computing I

Discussion regarding creative technology studio exhibition in summer 2019. See HERE for documentation on the 2018 exhibition. See HERE for artist label format requirement. 

Discuss material purchase list for the summer exhibition. 

Critique of history of electronic and interactive art: John Tinguely and Nam June Paik 

Guiding question: How has the relationship between Art and Technology changed since neodata and flux movement in the 1950s started? What’s the motivation behind this movement? 

Jean Tinguely(22 May 1925 – 30 August 1991) – What’s left of an object when there is no longer functional usage for it? Jean Tinguely was a Swiss painter and sculptor. He is best known for his sculptural machines or kinetic art, in the Dada tradition; known officially as metamechanics. Tinguely’s art satirized the mindless overproduction of material goods in advanced industrial society. 

Nam Jun Paik(July 20, 1932 – January 29, 2006) – Information Superhighway. Technology will drive down costs, shatter barrier, and create a new authorship of art, where “everyone will become an artist for 5 minutes”.  Error as Art – Glitch Art. Link to Nam Jun Paik’s practice. 

inClass Lab: Musical interface with MakeyMakey

MakeyMakey project video 

MakeyMakey demo – friendstrument. Follow this tutorial to set up your MakeyMakey. Consult with this Scratch project to trigger to trigger a set of music notes with your classmates. Make a song. 

Homework

  1. Fill out this resource purchase list for your final project. 
  2. Consult with the lab instruction and make a MakeyMakey based musical instrument interface. 
  3. Continue prototyping for your final project

Resources

Makey Makey Website: http://makeymakey.com/ 

Applications that work well with the Makey Makey: http://makeymakey.com/apps/ 

Makey Makey Intro video: https://www.youtube.com/watch?v=rfQqh7iCcOU 

Makey Makey Music Examples 1: https://www.youtube.com/watch?v=wkPt9MYqDW0

Makey Makey Music Examples 2: https://www.youtube.com/watch?v=STHZ2FFKYBs                                     

Family Creative Learning Workshops: http://family.media.mit.edu/

Great collection of Scratch and Makey Makey projects for inspiration: https://www.pinterest.com/zackboston/makey-makey/ 


Week 11 – Final Project Proposal II and Unity, an AR, VR compatible game development environment

Announcement: Messier 87 

Finish final project proposal critique

MakeyMakey demo

Unity Demo

Lecture: Contemporary practices in electronic art and digital fabrication 

Heather Dewey-Hagborg is a transdisciplinary artist and educator who is interested in art as research and critical practice. Her controversial biopolitical art practice includes the project Stranger Visions in which she created portrait sculptures from analyses of genetic material (hair, cigarette butts, chewed up gum) collected in public places. Heather has shown work internationally at events and venues including the World Economic Forum, Shenzhen Urbanism and Architecture Biennale, the New Museum, the Centre Pompidou and PS1 MOMA. Her work has been widely discussed in the media, from the New York Times and the BBC to TED and Wired. Heather has a PhD in Electronic Arts from Rensselaer Polytechnic Institute and is an affiliate of Data & Society. Notable Work: Stranger Vision, DNA Spoofing 

Addie Wagenknecht: Addie Wagenknecht’s work explores the tension between expression and technology. She seeks to blend conceptual work with forms of hacking and sculpture. Previous exhibitions include MuseumsQuartier Wien, Vienna, Austria; La Gaîté Lyrique, Paris, France; The Istanbul Modern; Whitechapel Gallery, London and MU, Eindhoven, Netherlands. In 2016 she collaborated with Chanel and I-D magazine as part of their Sixth Sense series and in 2017 her work was acquired by the Whitney Museum for American Art. Notable Work: Liberator vases, Liberator rounds, Asymmetric Love, optimization of parenting

Exeonome – Relationship between physical and digital world. Object oriented ontology. Non-human. 

Exonemo, the Japanese duo made up of Sembo Kensuke and Yae Akaiwa, have developed several experimental works ranging from sound and video processing, software programming, hardware circuit bending, installations as well as live performance. With enough crossing over, exonemo continue to blur the lines of discipline and if you ask them whether they are designers, programmers, visual or media artists, you’ll find they don’t really care. Formed in 1996. Art unit by AKAIWA Yae and SEMBO Kensuke based in exonemo.com. Crossing over freely between digital and analog, the world of computer network and the real world, they reveal the relationship between technology and its users. They work on many experimental projects that create humorous and innovative artworks, depicting the effects of digital media on modern society. “The Road Movie” won the Golden Nica for Net Vision category at Prix Ars Electronica 2006. They started Internet secret society named “IDPW” in 2012 and organized the event “Internet Yami-Ichi (Black Market)”. Currently, they are a member of NEW INC(http://newinc.org/) and live and work in New York since 2015. 

David O’Reilly: 

David O’Reilly (born 1985 in Kilkenny, Ireland) is an Irish film maker and artist based in Los Angeles, California, US. He is known for creating distinctive 3D animated films. His father is the artist Patrick O’Reilly. OReilly’s work is often characterised by the use of intentionally stripped down 3d graphics. He is known for popularising the use of low-poly 3d and the use of 3d software as a personal and artistic tool, as outlined in his 2009 essay “Basic Animation Aesthetics”. He was an early adopter of glitch effects[17] and uses elements of the software used inside his work. “[David] has been the man to lead animation through a conceptual blockage—3D animation was being dominated by commercial aesthetics….he deconstructed 3D to the point of absurdity. 

Notable Work: 

Octocat Adventure

RGB XYZ

The External World

Mountain

Please Say Something   

EVERYTHING 

Homework: 

Continue to work towards your final project

(optional) Install Unity personal edition and try the following intro tutorials:

https://unity3d.com/learn/tutorials/s/interactive-tutorials

https://unity3d.com/learn/tutorials/s/roll-ball-tutorial


Week 12

Artist talk

Autumnlin Riser is best known for her one-of-a-kind couture zipper pieces. Her designs have been worn by celebrities including Cher, Kylie Minogue, and Steve Aoki. Her work has been published in Harper’s Bazaar Vietnam, Vogue UK, and ZINK; and she has been featured in national ad campaigns for YKK USA and MAC Cosmetics. She was one of the top 3 finalists on Bravo’s “Styled to Rock”; hand-picked by Rihanna to be mentored by Mel Ottenberg and Pharrell Williams. She was the winner of the 2012 RAW ARTIST “Fashion Designer of the Year” award, was a Designer-in-Residence in the 2012 Philadelphia Fashion Incubator, and has had the honor of showing her work at New York Fashion Week, Philadelphia Fashion Week, Boston Fashion Week, RAW Hollywood and the San Francisco MOMA. She has a passion for creative technology and is currently developing her digital fabrication skills in lasercutting,  Shima Seiki computerized knitting, digital embroidery, soft circuit electronics, and 3D modeling. Autumnlin is a faculty at Drexel University’s college of Media Arts and Design.  

Makeymakey demo

Arduino introduction

Student Projects

potusvirusaffirmation mirror

Tutorials(listed in the order of easiness):

Download Arduino IDE  

Programming a single LED (what does the command digitalWrite do to an electronic circuit?)

Programming multiple LEDs(try figuring it out without looking at the tutorial first?)

Controlling LED with push button(what’s the difference between digitalRead and digitalWrite?)

Controlling Flex Sensor (what’s does command serial.println do?)

Controlling Pressure Sensor (what’s the difference between digital and analog pins on Arduino?)

Controlling Light Sensor  

Controlling DC Motor 

Controlling Proximity Sensor

Controlling Accelerometer(advanced) 

Wireless communication with xbee shield(advanced)

Resources:

Soft circuit (intro level)

Tech DIY – Chapters 1-4

Soft Circuit Beginner Project Guide

Hands On With Soft Circuits – Workshop Facilitator’s Guide 

Sew Electric Projects 

KOBAKANT DIY WEARABLE TECHNOLOGY DOCUMENTATION 

Adafruit Wearable Technology Documentation 

Soft Circuit Supply Guide 

Conductive Thread Tips and Tricks 

Conductive Fabric Supplier

E Waste Jewlery by Godoy Marcela  

Electronic Circuit (intermediate level)

https://learn.adafruit.com/search?q=Arduino

https://www.sparkfun.com/search/results?term=Arduino

Arduino Project Hub   

Homework: Prototyping final project

Week 13 

Homework: 

Prototyping towards final project. 

Week 14  Guest Speaker Series:

Trisha Barton has her EdM in Art and Creative Technology Education from Columbia University, Teachers College and B.A. in Psychology from Spelman College.. Trisha has been working with students in education and mentorship since 2015. Trisha has been developing curriculum focusing on STEAM-based curriculum since 2015 with the Children’s Museum of the Arts, her Zankel Fellowship, STEM Kids NYC, Hypothkids Inc., and EdLab. She has designed and taught after-school programs such as Creative Robotics, Creative Engineering, and Hypothe-Sis (all girls STEM empowerment program). As a STEAM teacher, Trisha takes students on field trips, teaches lessons, and has lead design challenges focusing on environmental science, ecology, human biology, mathematics, simple machines, hydroponics, and water pollution for Hypothekids, Inc.. She also works as an education interaction designer at EdLab, education technology and research company. She uses her knowledge of teaching, art, design, and the latest creative engineering practices to co-develop deeply meaningful learning experiences such as Play Table, a project for students to take breaks from studying while gaining new skills while playing with different creative tools (3D Photogrammetry/Design, Object Oriented Processing, and Stop Motion). 

Jihyun Kim (b. 1986) is a multimedia artist-researcher who was born in South Korea and now lives and works in Seoul and New York. She has participated in numerous art projects and residencies in the United States and Europe, as well as exhibited internationally over the last ten years. Her recent solo exhibitions were held at ArtSpaceO (2018) and O’NewWall E’Juheon, Seoul, South Korea (2017). She received her BA in Aesthetics and BFA in Painting from Seoul National University, MA in Fine Art from Utrecht School of Visual Art and Design, and MFA in Art from California Institute of the Arts. Currently, she is a doctoral student in Art and Art Education in College Teaching of Visual Art at the Teachers College Columbia University. For Jihyun Kim, art is a process of finding/questioning her and others’ positions and roles, and art-making involves the power play of different roles and positions. Also, she believes that understanding power dynamics and mechanisms is significant both in art and education. Recently she is focusing on producing video and interactive installation besides daily performative situations. She is exploring how our daily performative gestures are closely engaged with the societal and political conditions of our life, and trying to make her practice as platforms or devices to examine how this mechanism is working with the institution which is called ‘art.’  

Kristina Davis is a conceptual artist and educator at the Macy ThingSpace. Digital fabrication has informed and liberated her traditional training as a printmaker and she enjoys challenging her luddite sensibilities through new technology. She is the co-founder of the collective Bruxas Bruxas, which formed like Voltron in 2016 from the growing political alliances of artists, poets, drag queens, theorists, scientists, and historians across the United States. Throughout her career, she has used activism to guide her professional compass with art and education as forms of agency for the complexity of an art-making, freight hopping, mother, scholar, revolutionary-squatter-sexworkers/drug users rights advocate-goddess. She is currently marking a critical mess at Columbia’s Teachers College and can be found in the obscure discount aisle at any local art supply store. Kristina’s presentation slide on Whitney Biennial. 

Homework: prototyping towards final project


Week 15 – Artist Talk and Final Project Presentation

Announcement: 

Online submission for Creative Technologies exhibition – summer 2019

https://docs.google.com/forms/d/1hXtl-azPLV24XbEHgx0ffwUXbwlSo3svQ0fyN6mwT80/edit

Artist Talks: 

Michael Sobolak, ms5273@tc.columbia.edu 

Michael completed a Bachelor of Music Education at Eastern Michigan University in 2011 and a Masters of Arts in Music Education at Teachers College, in 2017. Michael’s teaching has taken him to Seoul South Korea, Frankfurt Germany, New York, and in Fall 2019, Shenzhen China. Michael has taught many different iterations of music including band, orchestra, chorus, theory, and electronic ensembles to students from kindergarten through university. Michael has turned a focus towards the “Maker” movement and is exploring DIY musical instruments and accessibility of musical experiences for students of all ages with the goal of delivering a curriculum in which students dream, design, build and perform on instruments of their own invention. Michael has shared his research and instruments at The Pratt Institute, NYU, Processing Foundation, Teachers College Community School and The Crane School of Music. Michael was part of a team that was the recipient of the 2019 EdTech Innovation Award. This June, Michael will be presenting at conferences hosted by The Association for Popular Music Education, and the Electronic Computer Music Conference. 

Hellyn Teng, Creative Director, Wearable Media

Hellyn Teng is a fashion tech designer, web developer and musician. Her interest, joy, and passion are in realizing concepts through uncommon media, utilizing computational fashion, sound, physical computing and creative coding, as mediums for exploration and how they can coalesce. Hellyn completed her Master degree at New York University, Interactive Telecommunications Program (ITP).


College-wide policies and statements

Statement regarding the Americans with Disabilities Act:

The College will make reasonable accommodations for persons with documented disabilities. Students are encouraged to contact the Office of Access and Services for Individuals with Disabilities (OASID) for information about registering with the office. You can reach OASID by email at oasid@tc.columbia.edu, stop by 163 Thorndike Hall or call 212-678-3689. Services are available only to students who are registered and submit appropriate documentation. As your instructor, I am happy to discuss specific needs with you as well.

Statement about the Teachers College Incomplete policy:

The grade of Incomplete will be assigned only when the course attendance requirement has been met but, for reasons satisfactory to the instructor, the granting of a final grade has been postponed because certain course assignments are outstanding. If the outstanding assignments are completed within one calendar year from the date of the close of term in which the grade of Incomplete was received and a final grade submitted, the final grade will be recorded on the permanent transcript, replacing the grade of Incomplete, with a transcript notation indicating the date that the grade of Incomplete was replaced by a final grade. If the outstanding work is not completed within one calendar year from the date of the close of term in which the grade of Incomplete was received, the grade will remain as a permanent Incomplete on the transcript. In such instances, if the course is a required course or part of an approved program of study, students will be required to re-enroll in the course including repayment of all tuition and fee charges for the new registration and satisfactorily complete all course requirements. If the required course is not offered in subsequent terms, the student should speak with the faculty advisor or Program Coordinator about their options for fulfilling the degree requirement. Doctoral students with six or more credits with grades of Incomplete included on their program of study will not be allowed to sit for the certification exam.

Statement regarding Activation of the CU Network ID:

Teachers College students have the responsibility for activating the Columbia University Network ID (UNI) and a free TC Gmail account. As official communications from the College – e.g., information on graduation, announcements of closing due to severe storm, flu epidemic, transportation disruption, etc. — will be sent to the student’s TC Gmail account, students are responsible for either reading email there, or, for utilizing the mail forwarding option to forward mail from their account to an email address which they will monitor.

Statement regarding Religious Holidays:

It is the policy of Teachers College to respect its members’ observance of their major religious holidays. Students should notify instructors at the beginning of the semester about their wishes to observe holidays on days when class sessions are scheduled. Where academic scheduling conflicts prove unavoidable, no student will be penalized for absence due to religious reasons, and alternative means will be sought for satisfying the academic requirements involved. If a suitable arrangement cannot be worked out between the student and the instructor, students and instructors should consult the appropriate department chair or director. If an additional appeal is needed, it may be taken to the Provost.