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 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 provides an introduction to the techniques, processes, history, and language of photography. Students will gain a technical understanding of cameras, production techniques, and post-production/presentation in order to develop their abilities to communicate creatively through studio exercises, discussion, and homework projects.
The cultural convergence of music, performance, theater, and visual art has variously been termed multimedia, hybrid arts, intermedia, interdisciplinary arts, and transmedia, among others. This course looks at how artistic disciplines inform one another and how parallel developments in technology have played a significant role in the history of the arts and music, from early tribal rituals to our contemporary digital age. Organized as a historical survey of technology and the arts, the course will move beyond the idea of the arts as simple modes of expression to consider how it has been an active site of cultural practice. The course will begin with the concept of “techne,” first used in antiquity, as a means of establishing the philosophical basis of creative practice and showing the fundamental unity between art, science and technology. Through weekly lectures, readings, and discussion, we will explore the many ways that science and technology informs and inspires the creative production. By the end of the course students will understand the ways in which diverse modalities of artistic practice function as forms of symbolic communication with aesthetic material, cultural and political dimensions.
This course will introduce the formal vocabularies specific to works of art and familiarize the student with the complex interaction between form, meaning, and historical context. Course readings will consist of historical documents, as well as recent critical and historical writing. Western and non-Western objects and architecture dating from pre-history to the mid-nineteenth century will be discussed at length in the classroom and at museums. Group B, 100-level course.
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 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 introduces students to theoretical and practical experiences in interdisciplinary production technologies, with an emphasis on visual and aural design principles. Projects may include creating and editing digital images, music, sound, video, text, and motion graphics. Students will work in teams to create projects. Not for general Humanities credit.
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.
The primary focus of this course will be the theoretical study of sound and light wave theory as it relates to productions techniques: for audio, the basics of transducer technology and signal flow; for vision, electromagnetic waveforms, theory of optics, and the different applications of capturing visuals through digital means. At the completion of the course, students will be able to understand wave theory, transducer theory, basic acoustic properties of sound and hearing, basic understanding of characteristics of light and color, signal flow and practical applications of the above. Ultimately students will have the theoretical foundations to develop their audio/visual engineering skills as an art form. Not for general Humanities credit.
Webtools for the Arts will examine current internet technologies and web portal developments and their application to the Arts. Through the implementation of basic principles of php, MySql, html, Java and other webtools, students will learn to not only incorporate media content representing their particular interest in the arts but also implement authentication and Ecommerce tools, customize, embed and implement external web content, explore creative and alternative blog usages and explore the next generation cloud environment. Not for general Humanities credit.
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.
This interdisciplinary course introduces students to programming languages created for artists and designers for making practical and experimental interactive artworks. Leveraging the power of custom-written software, this project-based class focuses on interactivity through the lens of videogames. Students will design a series of games, as well as learn about artists/designers using code for creative projects, and the mechanics and history of popular and art games.
This course introduces students to key moments in the history of modern art in the newly industrial societies of America, Europe, and the Soviet Union. Painting, culpture, 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 course covers the essentials of being a professional artist or designer: professional writing, portfolio preparation, finding exhibition and job opportunities, and finances for creatives. By the end of the semester, students will have crafted a portfolio of their work, as well as a professional packet for seeking internships, jobs, and exhibition opportunities. Additionally, the course marks the beginning of the Visual Art & Technology thesis process. Students will conduct research and write an artist statement outlining other artists and creatives whose work is an influence.
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.
This is an advanced studio art course in digital image-making concepts and techniques, allowing in-depth exploration of extended computer-based photo and compositing projects. Aesthetic issues are balanced with technical issues, and artistic criteria such as composition, lighting, and the creative process are emphasized. The class combines demonstrations/ presentations/tutorials followed by independent hands-on project-based activities applying acquired techniques. There will be opportunity for in-class discussions, critiques and presentations. Students are expected to demonstrate time management skills, work independently and meet deadlines.
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.
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.
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.
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 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 introductory studio-based class designed to teach students the methods and applications for creating graphic- and text-based animation for digital video, film and the Internet, and introduces students to the aesthetics and creative philosophies in the field. Through lectures, in-class tutorials, readings, discussions, and weekly projects, students learn professional techniques to develop creative projects and practical approaches to visual problem solving. The class covers techniques ranging from simple animations to complex special effects, and students are required to create all resources for animation purposes including digital image and recorded content. Does not fulfill general humanities requirements; may be taken as a free elective.
This course introduces students to the history of photography from its beginnings in the 1830s to the recent practices of artists working with photographic technologies in the context of postmodernity. The primary task of the course will be to develop visual literacy and familiarity with the complex and contradictory genres and social functions of photographic image production. At the same time, this course will introduce the difficulty of writing the history of photography as a separate discipline that operates both inside and outside histories of modern art.
This course surveys a range of issues and creative practices that bring art and biology into close alignment. A number of areas are investigated, including: the literature of the outdoors; emergent, biomorphic cultural forms and systems; neuronets and the Internet as virtual nervous systems; and recent innovations in green art, culture and architecture. This course combines a survey with hands-on art projects. Students read and discuss selected writings and visual images, then make projects with self-selected materials and tools. Collaborations with biologists, ecologists, bio- ethicists, artists, and others are encouraged. This course is taught by an artist.
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 course examines American fiction films in terms of their historical development through the studio system and in terms of current narrative theory. The course is concerned with ways in which narratives are constructed and ways in which they provide the appearance of "meaning." Particular attention is given to film noir. Various European films that strongly influenced, or parallel, merican works are also examined.
This course is a survey of the myriad art and architectural forms of the Middle East. From earliest origins in Mesopotamia and Egypt, the course examines Byzantine and Sassanid influences on the development of Islamic Art under the Umayyids and Abbassids, as well as the Ottomans and Persians. It follows these influences through the nineteenth and twentieth centuries, examining the current state of art, including film, in the Middle East.
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.
Students will focus and expand their visual and conceptual knowledge and technical skills by drawing from the nude model, 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. Does not fulfill general humanities requirements; may be taken as a free elective
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 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.
This course is an overview of a broad range of topics about contemporary fine art. We examine theoretical issues, modern and post-modern styles, and the industry and practice of visual art through bi-weekly visits to galleries and museums in Manhattan. Readings, papers, and presentations are required. This course approaches its subject matter from the artists' standpoint and is taught by a professional artist.
This course is an overview of a broad range of topics about contemporary fine art combined with complementary hands-on experiences in the creative process. We examine theoretical issues, modern and post-modern styles, and the industry of visual art, as well as make art to further enhance our awareness and understanding of visual imagery. This course approaches its subject matter from the artist¹s standpoint and is taught by a professional artist.
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.”
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 intended as the capstone experience for Visual Art & Technology students, a focused time to prepare your thesis project and paper. During this semester, we will have a series of group and individual critiques of thesis work in progress, as well as work together to plan, promote, install, and host a reception for the thesis exhibitions, and organize participation in Innovation Expo through posters or other presentations.
This course examines American fiction films in terms of their historical development through the studio system and in terms of current narrative theory. The course is concerned with ways in which narratives are constructed and ways in which they provide the appearance of “meaning.” Particular attention is given to film noir. Various European films that strongly influenced, or parallel, American works are also examined.
This course is an advanced elective concerned with cultural aspects of American arts from the nineteenth century to the present. The course centers on the ways in which images in literature, painting, photography, films, and other arts reflect, reinforce and stimulate cultural norms. Trends in European arts are studied in relation to their influence on American art.
The theatre's ability to cultivate empathy, to raise questions about societal practices, to explore the human condition, to foster collaboration, and to create community make it a dynamic and unique forum in which to participate as audience or practitioner. This course examines the development of the theatre from its roots in Ancient Greece to the present day. Students will examine that evolution from a number of critical points: theatre's literature, history, technological innovations, and social role. The class will read works of dramatic literature and historical texts. Attendance at NYC theatrical productions and "hands-on" exposure to the process of theatrical creation will complement the course readings.
This course introduces students to theatrical design. The course will examine the collaborative nature of theater and the interrelationship between art and technology in the design fields. An emphasis will be placed on the historic contributions of such key theater artists as Richard Wagner, Edward Gordon Craig, and Bertolt Brecht in the area of design and how their influence is still felt today. In the classroom, students will create a design element for the hypothetical production of a play or musical. Studio Course: Not for General Humanities credit.