This is an orientation to the interdisciplinary field of art and technology. The course explores the territory at the intersection of the technical, scientific, entertainment and fine arts communities. We will cover topics in contemporary media forms, online communities, the history of the art/technology field, as well as provide an overview of software used in the Internet, print, entertainment, design and communications industries. The seminar will encourage critical and analytical thinking through a stimulating range of hands-on and scholarly activities, including seminar lectures, readings, exposure to various kinds of media, discussions, field trips, a series of research papers and presentations, and a final project.
This course traverses through the elemental study of two-dimensional art and design--structural elements, organizational principles, psychological effects, and communicative functions--focusing on both the technical and the imaginative. Problem-solving studio assignments and critiques combined with visits to museums and galleries enable students to develop criteria for the analysis and evaluation of images created both by themselves and by others.
This course is designed for undergraduate students in Business and Liberal Arts majors. It includes the following basic topics in calculus: the definition of functions, their graphs, limits and continuity; derivatives and differentiation of functions; applications of derivatives; and definite and indefinite integrals. Properties of some elementary functions, such as the power functions, exponential functions, and logarithmic functions, will be discussed as examples. The course also covers methods of solving the first-order linear differential equations and separable equations, and some basic concepts in multi-variable calculus, such as partial derivatives, double integrals, and optimization of functions.
This is a first course in computer programming for students with no prior experience. Students will learn the core process of programming: given a problem statement, how does one design an algorithm to solve that particular problem and then implement the algorithm in a computer program? The course will also introduce elementary programming concepts like basic control concepts (such as conditional statements and loops) and a few essential data types (e.g., integers and doubles). Exposure to programming will be through a self-contained user-friendly programming environment, widely used by the scientific and engineering communities, such as Matlab. The course will cover problems from all fields of science, engineering, and business.
This course introduces students to key moments in the history of modern art in the newly industrial societies of America, Europe, and the [former] Soviet Union. Painting, sculpture, and photography from the 1850s to the 1980s will be examined. Focusing on a wide range of methodological questions, this course will also consider the relationship between avant-garde culture and mass culture, the implications of emergent technologies for cultural production, and the development of radical avant-gardism in the context of authoritarian political formations and advancing global capitalism.
This studio course explores the concepts of form and space, focusing on hands-on experiences using different types of materials to create three-dimensional sculptural works. Students are encouraged to be experimental with their combination and use of materials. This course will address formal elements of design and construction in relation to contemporary art works through video documentation, slides and books. Readings that accompany class discussions and a visit to Manhattan will be assigned throughout the semester.
This course will approach the basics of drawing as an integrative tool where ideas and processes are explored and expanded through the drawing medium. Skills will be rendered through observation, manipulation, and coordinating and understanding these practices. Through problem solving within a range of projects, each student will begin to develop a visual language and the drawing skills that can be applied to conceptual, visual, and technical disciplines. Does not fulfill general humanities requirements; may be taken as a free elective.
This course is designed only for undergraduate students in Business and Liberal Arts majors. It introduces basic concepts and methods in probability. Topics includes the definition of sample spaces, events, and their probabilities; elementary combinatorics and counting techniques; and conditional probability, the total probability, and Bayes' Theorem. The course also deals with concepts of discrete and continuous random variables and probability distributions; multi-random variables and their joint distributions; the mean, variance, and covariance of random variables; and the Central Limit Theorem and t-distributions.
This course will serve as an introduction to video production using current video technologies. Students will learn basic production skills and they will be introduced to the history of experimental film and video. There will also be a discussion of visual structure. In this course students will develop and shoot footage that may be used for Video II.
This course introduces students to modeling and simple computer animation using the industry-standard tool, Autodest Maya. It also provides a foundation for further work with 3-D and imaging tools. In addition to technical subjects, students will learn about the history, artistic practice, and developmental trajectory of 3-D graphics. It is recommended (but not required) that the student consider Animation as a two-semester sequence, with the student planning to register for HAR 331 Animation II the second semester. Does not fulfill general humanities requirements; may be taken as a free elective.
This is the first course of a two-course, algebra-based conceptual general physics sequence for students in the Department of Humanities and Social Sciences. This course covers the basic principles and applications of mechanics and electricity and magnetism. The course consists of 3 lectures per week, with certain lectures designated as recitations and/or demonstrations at the discretion of the instructor.
Fall semester.
Typical text: Cutnell and Johnson or any other algebra-based general physics text complemented by supplemental handouts, as needed.
New digital technologies have had a profound impact on contemporary art making. This course will examine digital imaging concepts, methods, history, and aesthetics. Students will capture, edit, alter, and publish digital images and work on a variety of projects.
Building upon the fundamentals of animation and how they can be applied through Autodesk Maya, the focus of this course will be for the students to develop the skills necessary to create a final project that shows the ultimate type of animation character. Students will accomplish this task through observation and practice and are encouraged, in their own creative expression, to explore non-discursive modes of articulation and communication. Does not fulfill general humanities requirements; may be taken as a free elective.
This is the second course of a two-course, algebra-based conceptual general physics sequence for students in the Department of Humanities and Social Sciences. This course covers the basic principles and applications of oscillations and waves in mechanics, acoustics, electricity and magnetism, and optics and provides an introduction to modern physics. The course consists of three lectures per week, with certain lectures designated as recitations and/or demonstrations at the discretion of the instructor.
Spring course.
Typical text: Cutnell and Johnson or any other algebra-based general physics text complemented by supplemental handouts as needed.
This course will survey key benchmarks and documents in the history of media technologies, while also introducing critical readings of 20th- and 21st-Century media culture, both from the theoretical field of media studies and the creative works of artists, filmmakers, and writers. We will explore how media technologies from print and photography through film, radio, television, video, the Internet, games, and social software have been successively introduced, disseminated, and commodified, and how their mediations have profoundly affected the way we experience and interpret our contemporary society and culture. Students will be required to complete readings every week, to contribute to a class Web project including blogs and wiki, and to produce short papers and presentations that respond to and analyze the readings, in-class screenings, and other material we discuss.
This rigorous and intensive computer animation course builds upon Animation I & II. The course is designed for the serious 3-D animation student who is expecting to continue working in animation. It continues the approach of increasing skills and artistic practice in all areas of 3-D animation: concept, modeling, animation, and rendering. This is not just a software training course. While understanding advanced software tools will be necessary to attain the objectives of this course, grade evaluation is based on the student’s development and successful demonstrations of mastery of timing, visual design, and storytelling abilities. Throughout the class, students will be encouraged to find their own artistic voice. Does not fulfill general humanities requirements; may be taken as a free elective.
This is an intermediate course in digital print media, with an emphasis on how it informs and evolves visual language for artistic expression. Students will consider multiples, sequencing, notation, gesture, and narrative concerns, combining formal elements with experimentation across media; these media may include: printmaking, drawing, painting, photography, and sculpture. Students continue to work with computer software applications as tools to develop a more in-depth knowledge and vocabulary of the technical, theoretic, and aesthetic possibilities inherent in the medium. Classroom lectures and hands-on lab exercises compliment readings and problem-solving projects. One trip to Manhattan and one scheduled Media Industry Forum on campus is required.Prerequisite: HAR 310 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
Students will focus and expand their visual and conceptual knowledge and technical skills, as well as explore new issues, dialogues, and skills surrounding the medium of drawing. The class will include studio course work and independent projects, as well as group field trips to see current drawing exhibitions in New York City. A class presentation of a chosen artist, as well as a supporting written paper, will be required of each student. The final project will be an interdisciplinary independent project designed and created by each student. All students will be expected to have completed Drawing I successfully, or have the professor’s permission to register, i.e. presenting a portfolio that demonstrates working knowledge of the basic principals of beginning drawing.
An introduction to the principles and strategies of net art through readings, encounters with artwork, projects, and practical instruction in graphic, multimedia, and interaction design for the Web. Techniques and design problems will be studied through historical and current examples of networked artistic practices. This is a studio course, focused on creative production and peer critique, which meets for four hours, once a week, and also requires students to put in weekly lab time outside of class to complete their assignments. Students will be expected to produce and present three net art projects over the course of the semester, including one final project that must be launched online. Students are not expected to have previous programming experience but should already be familiar with the digital imaging, audio, and/or video tools necessary to produce media that they wish to include in their projects. While this course will introduce students to some of the technologies used by net artists, it should not be taken as a programming class, and cannot be used as an equivalent to technical courses offered by other departments.
In this course, students explore the tools and techniques of advanced writing and research. Students write four research papers and give several oral presentations. This course is required for single degree B.A. students and strongly recommended for double degree students.
An internship is a short-term work experience that emphasizes learning. It is an essential way to try out a career, develop new skills, combine academic theory with “hands-on” experience, and build up a resume. This is an independent and individually-initiated program of work arranged between the student and an institution, organization, or business. Internship requires a plan (prepared with the job supervisor) to be presented to the Internship faculty sponsor, per approval, in the Program in Art & Technology, outlining the scope of work before starting the internship. It is expected that Internship will run approximately 8 to 12 hours per week for 14 weeks (or 112 to 168 hours per academic session) per 3 credits. A scheduled bi-weekly meeting with a group to discuss internships and career interests is expected. The student's internship performance will be evaluated by the following: a) a weekly journal describing the student's involvement in various activities and projects; b) an approximately five-page reflective essay in which the student integrates prior coursework with the internship experience (a theory and practice exercise); c) a basic report indicating the extent to which scope of work was accomplished; d) attendance and participation in group meetings; e) a written evaluation from the student's supervisor; f) a portfolio of work accomplished during the internship, if appropriate. Does not fulfill general humanities requirements; may be taken as a free elective.
This course has a different topic or theme each semester, and can be taken twice, subject to advisor approval. Visiting artists who have been invited to work at Stevens will design this course, which will be studio-based or in a seminar format. Teaching methods and evaluation will vary with the instructor. Registration by permission of the instructor or ARTC director only. Topics might include: “The Artist’s Book,” “The Body and New Physicality,” "Database Art,” “Negotiating the Everyday,” “Transmedia.”
This class continues with technical, theoretical, historical, and aesthetic approaches to video as a time-based art medium. Students continue to: recognize and control video's formal parameters of image, sound, shot, transition, and sequence; explore the history of video as an experimental art form; and gain an understanding of how concepts and compositions can be developed in time as well as space. Traditional camera, sound, and lighting techniques in production are reviewed, and non-linear video editing using Apple's Final Cut Pro is refined. One trip to Manhattan and one scheduled screening/lecture/event on campus is required. HAR 320 or permission of the instructor. Does not fulfill general humanities requirements; may be taken as a free elective.
In this project-based course, students will produce three site-specific interactive installations which successfully integrate image and sound through audience interaction within a predetermined space and time, using video cameras, microphones, midi, radio waves, live video software, and analog mixers. We will focus on collaboration, process, and contextualizing work within the history of interactive media art, and include research projects, writing/presentations, sketches, critiques, and technical workshops.
An individual program of study arranged between student and instructor. A tutorial plan must be prepared (and presented to the Tutorial Committee) outlining the program and indicating the nature and scope of the project. Upon completion of the program, the student receives a grade and credit for a Humanities elective.
An internship is a short-term work experience that emphasizes learning. It is an essential way to try out a career, develop new skills, combine academic theory with “hands-on” experience, and build up a resume. This is an independent and individually-initiated program of work arranged between the student and an institution, organization, or business. Internship requires a plan (prepared with the job supervisor) to be presented to the Internship faculty sponsor, per approval, in the Program in Art & Technology, outlining the scope of work before starting the internship. It is expected that Internship will run approximately 8 to 12 hours per week for 14 weeks (or 112 to 168 hours per academic session) per 3 credits. A scheduled bi-weekly meeting with a group to discuss internships and career interests is expected. The student's internship performance will be evaluated by the following: a) a weekly journal describing the student's involvement in various activities and projects; b) an approximately five-page reflective essay in which the student integrates prior coursework with the internship experience (a theory and practice exercise); c) a basic report indicating the extent to which scope of work was accomplished; d) attendance and participation in group meetings; e) a written evaluation from the student's supervisor; f) a portfolio of work accomplished during the internship, if appropriate. Does not fulfill general humanities requirements; may be taken as a free elective.
Art & Technology students are required to produce a significant body of work or major project in the last semester of their senior year in which the ideas, methods of investigation, and execution are determined by the student under the guidance and direction of a faculty advisor. HAR 498, in combination with the prerequisite (HUM 499) is the culmination of their undergraduate experience. Students are responsible for finding faculty advisors in their area of choice, which may be one person for both HUM 499 and HAR 498, or two faculty members working together during the yearlong process. During the seventh semester, students work in HUM 499 tutorial to begin their research and create a model for their senior projects. Their final semester at Stevens is spent in production. Plans and a schedule are developed with their advisor(s), and they meet every week or two to discuss and evaluate student progress. Group meetings with other seniors and advisors are encouraged. At the end of the semester, the project and substantial analytical paper situating the project are juried by a committee of three, and the project is publicly exhibited. The paper with accompanying visual documentation of the project is submitted to the library.
This course is projects-centered for advanced students who have already built up technical skill, historical knowledge and formal vocabularies in the video medium through their earlier studies, and are now motivated to produce more intensive video projects of their own design. Video III will build on the skills and concepts introduced in Video I and II, giving students the opportunity to explore the theory, history and practice of video as a timebased art medium in more depth through screenings of artists’ work and reading of artists’ texts. Video III will also give students the opportunity to develop projects with more formal and technical complexity through technical lectures in special topics in advanced production and post-production, focused around issues relevant to the interests of students enrolled in the course – for example, surround sound mixing, interactive authoring or multichannel editing.
