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<!DOCTYPE html>
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<head>
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<title>Computation, Technology, and Culture</title>
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<ul class="navbar">
<li class="navbar"><a href="index.html">*</a></li>
<li class="navbar"><a href="overview.html">overview</a></li>
<li class="navbar"><a href="goals.html">goals</a></li>
<li class="navbar"><a href="paths.html">paths</a></li>
<li class="navbar"><a href="courses.html">courses</a></li>
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<h5>2018-19 CTC course listing</h5>
<p>The listing of courses eligible for CTC credit from across the College is available <a href="https://docs.google.com/a/risd.edu/spreadsheets/d/1aSplMfxEXM90AxrFjYHbet5sxy3tEDcfsbZ1xBumAso/edit?usp=sharing" target="_blank">at this link.</a>
This listing is currently in progress. <br></p>
<hr>
<section class="courses">
<h2>CTC Courses</h2>
<ul class="course-list-summary">
<li class="course-item-summary">
<a href="#introduction-to-computation">Introduction to Computation <span class="course-info-summary">[CTC-1000, Fall 2018, WS 2019, Spring 2019]</span></a>
</li>
<li class="course-item-summary">
<a href="#CTC-concentration-project">CTC Concentration Project <span class="course-info-summary">[CTC-3000, Fall 2018, Spring 2019]</span></a>
</li>
<li class="course-item-summary">
<a href="#ambient-interfaces">Ambient Interfaces: Activated Objects <span class="course-info-summary">[CTC-2000, Fall 2018]</span></a>
</li>
<li class="course-item-summary">
<a href="#seeing-machines">Seeing Machines <span class="course-info-summary">[CTC-2005, Spring 2019]</span></a>
</li>
<li class="course-item-summary">
<a href="#enquire-within">Inquire Within Upon Everything <span class="course-info-summary">[CTC-1537, Fall 2018]</span></a>
</li>
<li class="course-item-summary">
<a href="#systems-and-power">Systems and Power <span class="course-info-summary">[CTC-1538, Fall 2018]</span></a>
</li>
<li class="course-item-summary">
<a href="#augmented-spaces">Augmented Spaces <span class="course-info-summary">[CTC-1536, Fall 2018]</span></a>
</li>
<li class="course-item-summary">
<a href="#alt-history-of-computation">Alternative Histories of Computation <span class="course-info-summary">[CTC-1535, Spring 2019]</span></a>
</li>
<li class="course-item-summary">
<a href="#spatial-audio">Spatial Audio <span class="course-info-summary">[CTC-2006, Spring 2019]</span></a>
</li>
</ul>
<h2>CTC Courses Detailed Listing</h2>
<ul class="course-list grid gutter-1">
<li class="course-item column">
<a name="introduction-to-computation"></a>
<div class="course-info">
<h3 class="course-name">Introduction to Computation</h3>
<div class="course-number">CTC-1000</div>
<div class="course-semester">Fall 2018, WS 2019, Spring 2019</div>
<div class="course-instructor">Mattia Casalegno, Mattia Casalegno, Chris Novello</div>
<div class="course-about text">
<p>Introduction to Computation focuses on computational techniques, methods, and ideas in the context of art and design. Studio projects first center on the design of algorithms then shift to involve computer programming and scripting. Critical attention is given to code as a body of crafted text with significant aesthetic, philosophical, and social dimensions, as well as the tension, conflict, and potential possible when computation generates, informs, or interacts with drawings, materials, forms, and spaces. Historical and contemporary works of computational art and design will be presented and assigned for analysis. This course is open to students of all majors and is designed for those with little or no experience in programming. In order to conduct work in this course, students will need a laptop computer. This course fulfills one of two core studio requirements for CTC Concentration.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="CTC-concentration-project"></a>
<div class="course-info">
<h3 class="course-name">CTC Concentration Project</h3>
<div class="course-number">CTC-3000</div>
<div class="course-semester">Fall 2018, Spring 2019</div>
<div class="course-instructor">Clement Valla, Chris Novello</div>
<div class="course-about text">
<p>CTC Concentration is a required, advanced course for all CTC Concentrators taken after a student has earned 12 CTC credits. In this course, students develop and complete a large-scale project that draws from the students' prior studies in the CTC Concentration. Students write source code, author software, and program hardware for making their own works of art and design. Complementing this work, students engage in critical discourse surrounding computation, technology, and culture through dialogue and writing. Coding as a technology with implications for making and authorship is explored through a pedagogy of code sharing and collaborative learning. Differences in programming cultures across languages and disciplines is one of the motive forces in this course. Throughout the semester, seminar discussions are organized and around canonical computational texts and the course's parallel lecture series.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="ambient-interfaces"></a>
<div class="course-info">
<h3 class="course-name">Ambient Interfaces: Activated Objects</h3>
<div class="course-number">CTC-2000</div>
<div class="course-semester">Fall 2018</div>
<div class="course-instructor">Alejandro Borsani</div>
<div class="course-about text">
<p>This course is a practical and conceptual exploration into electronics sensors, processors and actuators in the context of interactive art and design. Students will turn everyday objects into "ambient interfaces" or "responsive systems" that respond to the conditions of the human body, data networks, and the environment. Contemporary works of art and design - from kinetic sculpture and sound art to installation, architecture and product design - will be examined through readings and presentations. Open source hardware (Arduino) and software (Processing) will be taught along with the fundamentals of electronic circuitry. Emphasis is given to the development of creative projects (individual or collaborative), followed by an iterative implementation process (planning, prototyping, testing, analyzing, and refining). The course is structured around a series of tutorials and exercises, culminating in a final project. Students also present work-in-progress and prototypes during class reviews to receive qualitative feedback from the class and the instructor. Participants will engage with physical computing conceptually and technically in their studio work and are encouraged to leverage their individual backgrounds to excel in the respective context. Prior experience with electronics and programming is recommended but not required.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="seeing-machines"></a>
<div class="course-info">
<h3 class="course-name">Seeing Machines</h3>
<div class="course-number">CTC-2005</div>
<div class="course-semester">Spring 2019</div>
<div class="course-instructor">Clement Valla</div>
<div class="course-about text">
<p>‘Seeing Machines’ are imaging technologies that produce and distribute pictures. (1) Google maps, surveillance networks, museum digital archives, QR codes, and facial recognition systems are some examples. Their quantity and reach is vast: more images are being created by these systems today than the combined sum of all images before the year 2000. In 2017, picture production largely happens within automated networks, distributed by computers in a massive flow of data, (and most won’t ever be seen by the human eye). This class will explore how artists intervene and subvert Seeing Machines’ tools—scripts, programs, automation and other technologies — to systematize, classify and distribute images. Through a set of projects, student-led presentations, readings and discussions, we will understand how Seeing Machines operate and control, and create methods to make artwork in response. Topics will include: images that have never been seen by humans, making images for machines, programming and automation, security & privacy, databases & their lack of objectivity, are pixels real?, the Enlightenment as precursor, the quantification of space & time, lenses without photographers<br>
(1) Trevor Paglen, Seeing Machines, 2014 [<a href="https://www.fotomuseum.ch/en/explore/still-searching/articles/26978">https://www.fotomuseum.ch/en/explore/still-searching/articles/26978</a>]</p> </div>
</div>
</li>
<li class="course-item column">
<a name="enquire-within"></a>
<div class="course-info">
<h3 class="course-name">Inquire Within Upon Everything</h3>
<div class="course-number">CTC-1537</div>
<div class="course-semester">Fall 2018</div>
<div class="course-instructor">Maralie Armstrong</div>
<div class="course-about text">
<p>In this course we will critically inquire into ways artists and thinkers reimagine digital technologies as we ourselves work to do the same. We will experiment with digital photography, video, nonlinear storytelling, digital/networked performance. Throughout the semester, we will work on a series of short projects and a final individual or collaborative piece. We’ll cover works by Keith + Mendi Obadike, Nam June Paik, E.A.T., Meriem Bennani, Laurie Anderson, MONGREL, VNS Matrix, Madeline Gins, Signe Pierce, Roy Ascott, Lilian Schwartz among many others!</p> </div>
</div>
</li>
<li class="course-item column">
<a name="systems-and-power"></a>
<div class="course-info">
<h3 class="course-name">Systems and Power</h3>
<div class="course-number">CTC-1538</div>
<div class="course-semester">Fall 2018</div>
<div class="course-instructor">Edek Sher</div>
<div class="course-about text">
<p>This cross-disciplinary studio course explores systems and their relationship to power, economy, society and culture, through interventions in, dismantling of, hacking within, or building our own systems. In the late 1960s, American culture began to transition from being object-oriented to being systems-oriented. Fifty years later, global systems such as supply chains, social media algorithms, neoliberal policies, surveillance infrastructure, and systemic oppression seem at the forefront of conversation. Meanwhile, the intersection of systems and power has become a dominant thread in artistic discourse. In this studio, students will choose a system from the contemporary world that they wish to explore, and will make work that employs or works against aspects of this system. Students will complete small assignments and work towards one significant final project. We will look at international artists and writers such as Hito Steyerl, Trevor Paglen, Zach Blas, Jill Magid, Cameron Rowland, and more. These individuals (in order) make work about the global circulation of images, the ethics of government vision systems, the gendered politics of pattern recognition, the poetics of bureaucracies, and the prison system’s role in systemic oppression. By discussing these individuals’ works, amongst others’, students will leave the class with the skills necessary to deconstruct complex topics, critique artworks through the lens of power, distill nuanced perspectives into their works of art and design, and make works that center on the way things are done instead of on the things themselves.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="augmented-spaces"></a>
<div class="course-info">
<h3 class="course-name">Augmented Spaces</h3>
<div class="course-number">CTC-1536</div>
<div class="course-semester">Fall 2018</div>
<div class="course-instructor">Mattia Casalegno</div>
<div class="course-about text">
<p>This course explores the relationships between new media languages and physical space.</p>
<p>Building from the history and aesthetics of installation art and relational theater, and based on conceptualizations such as “Relational Architecture” by Lozano Hemmer and the “Poetics of Augmented Space” by Lev Manovich, we will learn to leverage interactive and audiovisual elements in order to enhance and re-contextualize spatial experiences that are media-rich, relational, and responsive.</p>
<p>We will use softwares, video-projectors, micro-controllers, sensors and VR equipment to investigate various interactive techniques including video-mapping, video-audio design, surround sound systems and computer vision. We will learn to deploy not only vision, but also hearing, olfaction, and touch to create true immersive and multi-sensorial environments.</p>
<p>The class comprises of lectures, hands-on workshops and individual projects. The students will gain a deep understanding of topics of spatial thinking and user-generated experiences related to space, as well as a theoretical and critical understanding of the history of installation and interactive art.</p>
<p>Also offered as DM-1536; Register in the course for which credit is desired.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="alt-history-of-computation"></a>
<div class="course-info">
<h3 class="course-name">Alternative Histories of Computation</h3>
<div class="course-number">CTC-1535</div>
<div class="course-semester">Spring 2019</div>
<div class="course-instructor">Asha Tamirisa</div>
<div class="course-about text">
<p>In thinking about how we design our future, it is crucial to look critically at the past. Alternative Histories of Computation is a studio course that situates creative computation within a critical context. Drawing from science and technology studies, digital media studies, and archival material and ephemera, we will cover various trajectories in computation as they relate to labor, race and ethnicity, gender, and sexuality. Students will generate creative projects alongside these topics, allowing the critical discourses to frame and inform their work.</p> </div>
</div>
</li>
<li class="course-item column">
<a name="spatial-audio"></a>
<div class="course-info">
<h3 class="course-name">Spatial Audio</h3>
<div class="course-number">CTC-2006</div>
<div class="course-semester">Spring 2019</div>
<div class="course-instructor">Shawn Greenlee</div>
<div class="course-about text">
<p>Spatial Audio focuses on the creation of immersive 3D sound experiences. In this course, students analyze and explore how the sensation of space is activated in the listener by making works using spatial audio techniques. These methods include high-order ambisonics, vector-based amplitude panning, multichannel surround, and binaural audio, among others. Throughout the semester, a series of exercises addressing technical and theoretical issues provide students with the necessary experience to produce midterm and final projects. Coursework involves computational approaches to sound design and composition, with instruction in the audio programming language Max and digital audio workstations, i.e. Ableton Live and Reaper. Students have recurring access to a 25-channel loudspeaker array for the development of works. Readings from psychology, philosophy, the arts, and sound studies support class discussions and critiques. </p>
<p>Students will need a laptop computer (Mac or Windows) and a Max software license (educational pricing available from cycling74.com). Previous experience with digital audio software recommended.<br>
Estimated Materials Cost: $100.00<br>
Permission of Instructor required.<br>
Open to sophomore and above.<br>
Priority registration to CTC Concentrators.</p> </div>
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