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ARCH-1200: Beginners Architecture Career Discovery Program
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<meta property="og:title" content="ARCH-1200: Beginners Architecture Career Discovery Program">
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<meta property="og:description" content="Two-week introduction to architecture for rising high school juniors and seniors includes morning programs and introductory lectures in history and theory of architecture, computing and simulation, freehand and extreme drawing, building ecologies, building conservation, and construction systems. There will be field trips and career counseling. Afternoons will have individually critiqued (tutored) design studios, group and individual projects, reviews, and public presentation. Acts as an opportunity for career discovery to decide whether a design education in architecture is appropriate. Summer term annually. Dates TBA. 9:00 am - 4:00 pm.">
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<meta property="og:description" content="Two-week introduction to architecture for rising high school juniors and seniors includes morning programs and introductory lectures in history and theory of architecture, computing and simulation, freehand and extreme drawing, building ecologies, building conservation, and construction systems. There will be field trips and career counseling. Afternoons will have individually critiqued (tutored) design studios, group and individual projects, reviews, and public presentation. Acts as an opportunity for career discovery to decide whether a design education in architecture is appropriate. Summer term annually. Dates TBA. 9:00 am - 4:00 pm.">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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ARCH-1200
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</h2>
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<p>
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Two-week introduction to architecture for rising high school juniors and seniors includes morning programs and introductory lectures in history and theory of architecture, computing and simulation, freehand and extreme drawing, building ecologies, building conservation, and construction systems. There will be field trips and career counseling. Afternoons will have individually critiqued (tutored) design studios, group and individual projects, reviews, and public presentation. Acts as an opportunity for career discovery to decide whether a design education in architecture is appropriate. Summer term annually. Dates TBA. 9:00 am - 4:00 pm.
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Two-week introduction to architecture for rising high school juniors and seniors includes morning programs and introductory lectures in history and theory of architecture, computing and simulation, freehand and extreme drawing, building ecologies, building conservation, and construction systems. There will be field trips and career counseling. Afternoons will have individually critiqued (tutored) design studios, group and individual projects, reviews, and public presentation. Acts as an opportunity for career discovery to decide whether a design education in architecture is appropriate. Summer term annually. Dates TBA. 9:00 am - 4:00 pm.
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</p>
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ARCH-1210: Advanced Architecture Career Discovery Program
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</title>
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<meta property="og:title" content="ARCH-1210: Advanced Architecture Career Discovery Program">
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<meta property="og:description" content="Similar structure as the Beginners program. The Advanced program will continue to cultivate design foundations explored in the Beginners course. Dates: TBA. 9:00 am - 4:00 pm.">
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<meta property="og:description" content="Similar structure as the Beginners program. The Advanced program will continue to cultivate design foundations explored in the Beginners course. Dates: TBA. 9:00 am - 4:00 pm.">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-1210
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</h2>
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<p>
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Similar structure as the Beginners program. The Advanced program will continue to cultivate design foundations explored in the Beginners course. Dates: TBA. 9:00 am - 4:00 pm.
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Similar structure as the Beginners program. The Advanced program will continue to cultivate design foundations explored in the Beginners course. Dates: TBA. 9:00 am - 4:00 pm.
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2150: The Ethos of Architecture
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</title>
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<meta property="og:title" content="ARCH-2150: The Ethos of Architecture">
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<meta property="og:description" content="This course will examine the spectrum of architectural phenomena and ideas without a specific chronology using examples ranging from antiquity to the contemporary world in western and non-western civilizations and produced in both vernacular and disciplinary cultures. An essential part of this course is to stimulate students' curiosity about architecture and the larger world and introduce them to key issues of architecture regarding space, form, critique, technology, aesthetics, societal and cultural contexts, etc. Particular emphasis will be given to the emergence of modernism in architecture. Crucial to the goals of this course is to encourage students to pursue and develop their own unique vision and voice in architecture throughout their education and practice. Fundamental to this process is making students aware of the necessity to challenge their own subjectivities, biases, and presuppositions.">
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<meta property="og:description" content="This course will examine the spectrum of architectural phenomena and ideas without a specific chronology using examples ranging from antiquity to the contemporary world in western and non-western civilizations and produced in both vernacular and disciplinary cultures. An essential part of this course is to stimulate students' curiosity about architecture and the larger world and introduce them to key issues of architecture regarding space, form, critique, technology, aesthetics, societal and cultural contexts, etc. Particular emphasis will be given to the emergence of modernism in architecture. Crucial to the goals of this course is to encourage students to pursue and develop their own unique vision and voice in architecture throughout their education and practice. Fundamental to this process is making students aware of the necessity to challenge their own subjectivities, biases, and presuppositions. Â Â Â">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2150
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</h2>
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<p>
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This course will examine the spectrum of architectural phenomena and ideas without a specific chronology using examples ranging from antiquity to the contemporary world in western and non-western civilizations and produced in both vernacular and disciplinary cultures. An essential part of this course is to stimulate students' curiosity about architecture and the larger world and introduce them to key issues of architecture regarding space, form, critique, technology, aesthetics, societal and cultural contexts, etc. Particular emphasis will be given to the emergence of modernism in architecture. Crucial to the goals of this course is to encourage students to pursue and develop their own unique vision and voice in architecture throughout their education and practice. Fundamental to this process is making students aware of the necessity to challenge their own subjectivities, biases, and presuppositions.
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This course will examine the spectrum of architectural phenomena and ideas without a specific chronology using examples ranging from antiquity to the contemporary world in western and non-western civilizations and produced in both vernacular and disciplinary cultures. An essential part of this course is to stimulate students' curiosity about architecture and the larger world and introduce them to key issues of architecture regarding space, form, critique, technology, aesthetics, societal and cultural contexts, etc. Particular emphasis will be given to the emergence of modernism in architecture. Crucial to the goals of this course is to encourage students to pursue and develop their own unique vision and voice in architecture throughout their education and practice. Fundamental to this process is making students aware of the necessity to challenge their own subjectivities, biases, and presuppositions. Â Â Â
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2330: Structures 1
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</title>
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<meta property="og:title" content="ARCH-2330: Structures 1">
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<meta property="og:description" content="Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: The following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost.">
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<meta property="og:description" content="Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: The following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost.">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2330
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</h2>
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<p>
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Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: The following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost.
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Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: The following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost.
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2370: Energy, Comfort, and Ecology
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</title>
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<meta property="og:title" content="ARCH-2370: Energy, Comfort, and Ecology">
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<meta property="og:description" content="This course addresses fundamental principles relating the environmental context to human needs and comfort. Topics include the principles of thermodynamics at the architectural scale, optimization versus variability, principles of building sites and orientations, psychometrics, and human comfort, and an introduction to energy modeling. This course is required of all students in the B.Arch. degree program.">
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<meta property="og:description" content="This course addresses fundamental principles relating the environmental context to human needs and comfort. Topics include the principles of thermodynamics at the architectural scale, optimization versus variability, principles of building sites and orientations, psychometrics, and human comfort, and an introduction to energy modeling. This course is required of all students in the B.Arch. degree program.">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2370
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</h2>
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<p>
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This course addresses fundamental principles relating the environmental context to human needs and comfort. Topics include the principles of thermodynamics at the architectural scale, optimization versus variability, principles of building sites and orientations, psychometrics, and human comfort, and an introduction to energy modeling. This course is required of all students in the B.Arch. degree program.
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This course addresses fundamental principles relating the environmental context to human needs and comfort. Topics include the principles of thermodynamics at the architectural scale, optimization versus variability, principles of building sites and orientations, psychometrics, and human comfort, and an introduction to energy modeling. This course is required of all students in the B.Arch. degree program.
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2466: History and Theory of Building Sciences
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</title>
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<meta property="og:title" content="ARCH-2466: History and Theory of Building Sciences">
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<meta property="og:description" content="The course is required as a foundation for the Building Sciences Program in the 21st century. It will examine a range of architectural projects from the global vernacular, significant historical projects, and contemporary case studies from a broader perspective of energy, climate, materials, resources, health, society and technology. This foundational course aims to contextualize significant built projects and work within the historical shifts in the discipline's roots in building physics originating from an 18th - century mechanical paradigm to a 21st century thermodynamic and eco-systemic view of building sciences. A critical part of this course intends to stimulate the capacity of students to recognize and develop their own insights, voice, and critical appreciation of architectural projects from a broader building sciences perspective.">
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<meta property="og:description" content="The course is required as a foundation for the Building Sciences Program in the 21st century. It will examine a range of architectural projects from the global vernacular, significant historical projects, and contemporary case studies from a broader perspective of energy, climate, materials, resources, health, society and technology. This foundational course aims to contextualize significant built projects and work within the historical shifts in the discipline's roots in building physics originating from an 18th - century mechanical paradigm to a 21st century thermodynamic and eco-systemic view of building sciences. A critical part of this course intends to stimulate the capacity of students to recognize and develop their own insights, voice, and critical appreciation of architectural projects from a broader building sciences perspective. Â">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2466
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</h2>
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<p>
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The course is required as a foundation for the Building Sciences Program in the 21st century. It will examine a range of architectural projects from the global vernacular, significant historical projects, and contemporary case studies from a broader perspective of energy, climate, materials, resources, health, society and technology. This foundational course aims to contextualize significant built projects and work within the historical shifts in the discipline's roots in building physics originating from an 18th - century mechanical paradigm to a 21st century thermodynamic and eco-systemic view of building sciences. A critical part of this course intends to stimulate the capacity of students to recognize and develop their own insights, voice, and critical appreciation of architectural projects from a broader building sciences perspective.
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The course is required as a foundation for the Building Sciences Program in the 21st century. It will examine a range of architectural projects from the global vernacular, significant historical projects, and contemporary case studies from a broader perspective of energy, climate, materials, resources, health, society and technology. This foundational course aims to contextualize significant built projects and work within the historical shifts in the discipline's roots in building physics originating from an 18th - century mechanical paradigm to a 21st century thermodynamic and eco-systemic view of building sciences. A critical part of this course intends to stimulate the capacity of students to recognize and develop their own insights, voice, and critical appreciation of architectural projects from a broader building sciences perspective. Â
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2468: Digital Constructs for Building Sciences
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</title>
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<meta property="og:title" content="ARCH-2468: Digital Constructs for Building Sciences">
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<meta property="og:description" content="This course will examine and teach methods for the representation and visual communication of measured data within the built environment with a strong focus on environmental datasets. Students will be introduced to digital modeling, environmental plug-ins and graphic design softwares that effectively translate and visualize information from building environmental surroundings, site, and building performance. Students will demonstrate the capacity to employ methods for data visualization as they pertain to a range of highly contextual case studies and spaces mapping daylight, temperature, humidity, air quality and other sensory information. Skills taught will enable students to produce two-dimensional and three-dimensional synthetic data visualizations in digital modeling environments. This course is offered in the fall semester and is required of all first-year undergraduates in the Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course.">
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<meta property="og:description" content="This course will examine and teach methods for the representation and visual communication of measured data within the built environment with a strong focus on environmental datasets. Students will be introduced to digital modeling, environmental plug-ins and graphic design softwares that effectively translate and visualize information from building environmental surroundings, site, and building performance. Students will demonstrate the capacity to employ methods for data visualization as they pertain to a range of highly contextual case studies and spaces mapping daylight, temperature, humidity, air quality and other sensory information. Skills taught will enable students to produce two-dimensional and three-dimensional synthetic data visualizations in digital modeling environments. This course is offered in the fall semester and is required of all first-year undergraduates in the Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course. Â">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2468
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</h2>
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<p>
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This course will examine and teach methods for the representation and visual communication of measured data within the built environment with a strong focus on environmental datasets. Students will be introduced to digital modeling, environmental plug-ins and graphic design softwares that effectively translate and visualize information from building environmental surroundings, site, and building performance. Students will demonstrate the capacity to employ methods for data visualization as they pertain to a range of highly contextual case studies and spaces mapping daylight, temperature, humidity, air quality and other sensory information. Skills taught will enable students to produce two-dimensional and three-dimensional synthetic data visualizations in digital modeling environments. This course is offered in the fall semester and is required of all first-year undergraduates in the Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course.
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This course will examine and teach methods for the representation and visual communication of measured data within the built environment with a strong focus on environmental datasets. Students will be introduced to digital modeling, environmental plug-ins and graphic design softwares that effectively translate and visualize information from building environmental surroundings, site, and building performance. Students will demonstrate the capacity to employ methods for data visualization as they pertain to a range of highly contextual case studies and spaces mapping daylight, temperature, humidity, air quality and other sensory information. Skills taught will enable students to produce two-dimensional and three-dimensional synthetic data visualizations in digital modeling environments. This course is offered in the fall semester and is required of all first-year undergraduates in the Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course. Â
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2469: Building Sciences Media
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</title>
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<meta property="og:title" content="ARCH-2469: Building Sciences Media">
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<meta property="og:description" content="This course focuses on the investigative methods of gathering and representing the physically measurable phenomena within the built environment as they pertain to material thermal and moisture performance, heat, daylight, air velocity, air quality and sound. Students will be introduced to both handheld instruments and investigative learning sensor kit networks for studying the built environment. Students will learn to visualize digitally information that is taken from "investigative learning kits". The course will also introduce students to open-source databases of physically measurable phenomena within the built environment. This course is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course.">
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<meta property="og:description" content="This course focuses on the investigative methods of gathering and representing the physically measurable phenomena within the built environment as they pertain to material thermal and moisture performance, heat, daylight, air velocity, air quality and sound. Students will be introduced to both handheld instruments and investigative learning sensor kit networks for studying the built environment. Students will learn to visualize digitally information that is taken from "investigative learning kits". The course will also introduce students to open-source databases of physically measurable phenomena within the built environment. This course is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. Â This is a data-intensive course.">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2469
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</h2>
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<p>
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This course focuses on the investigative methods of gathering and representing the physically measurable phenomena within the built environment as they pertain to material thermal and moisture performance, heat, daylight, air velocity, air quality and sound. Students will be introduced to both handheld instruments and investigative learning sensor kit networks for studying the built environment. Students will learn to visualize digitally information that is taken from "investigative learning kits". The course will also introduce students to open-source databases of physically measurable phenomena within the built environment. This course is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. This is a data-intensive course.
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This course focuses on the investigative methods of gathering and representing the physically measurable phenomena within the built environment as they pertain to material thermal and moisture performance, heat, daylight, air velocity, air quality and sound. Students will be introduced to both handheld instruments and investigative learning sensor kit networks for studying the built environment. Students will learn to visualize digitally information that is taken from "investigative learning kits". The course will also introduce students to open-source databases of physically measurable phenomena within the built environment. This course is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch and M.Arch students can register for this course. Students from other majors will need permission of the instructor. Â This is a data-intensive course.
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</p>
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<div id="cattrs-container">
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<span id="credits-pill" class="attr-pill">
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ARCH-2520: Digital Constructs 1
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</title>
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<meta property="og:title" content="ARCH-2520: Digital Constructs 1">
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<meta property="og:description" content="This course will examine and teach methods of representation and the communication of design concepts. Skills taught will enable students to produce two-dimensional and three-dimensional digital models, as well as drawings from multiple perspectives. Students will understand virtual environments as they pertain to model making, drawing, scale, and materiality. Students will be introduced to digital modeling and graphic design softwares. This course is offered in the fall semester and is required of all first-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 1 will be between the Digital Constructs 1 faculty instructor and the first-year architectural design studio coordinator and faculty.">
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<meta property="og:description" content="This course will examine and teach methods of representation and the communication of design concepts. Â Skills taught will enable students to produce two-dimensional and three-dimensional digital models, as well as drawings from multiple perspectives. Â Students will understand virtual environments as they pertain to model making, drawing, scale, and materiality. Students will be introduced to digital modeling and graphic design softwares. This course is offered in the fall semester and is required of all first-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 1 will be between the Digital Constructs 1 faculty instructor and the first-year architectural design studio coordinator and faculty. Â">
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<link rel="stylesheet" href="../css/common.css">
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<link rel="stylesheet" href="../css/coursedisplay.css">
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<script src="../js/fuse.js"></script>
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ARCH-2520
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</h2>
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<p>
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This course will examine and teach methods of representation and the communication of design concepts. Skills taught will enable students to produce two-dimensional and three-dimensional digital models, as well as drawings from multiple perspectives. Students will understand virtual environments as they pertain to model making, drawing, scale, and materiality. Students will be introduced to digital modeling and graphic design softwares. This course is offered in the fall semester and is required of all first-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 1 will be between the Digital Constructs 1 faculty instructor and the first-year architectural design studio coordinator and faculty.
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This course will examine and teach methods of representation and the communication of design concepts. Â Skills taught will enable students to produce two-dimensional and three-dimensional digital models, as well as drawings from multiple perspectives. Â Students will understand virtual environments as they pertain to model making, drawing, scale, and materiality. Students will be introduced to digital modeling and graphic design softwares. This course is offered in the fall semester and is required of all first-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 1 will be between the Digital Constructs 1 faculty instructor and the first-year architectural design studio coordinator and faculty. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
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||||
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|
|||
ARCH-2530: Digital Constructs 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-2530: Digital Constructs 2">
|
||||
<meta property="og:description" content="This course builds upon topics covered in Digital Constructs 1 by focusing upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 2 will build upon those software programs taught in Digital Constructs 1. This course is required of all first-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 2 will be between the Digital Constructs 2 faculty instructor and the first-year architectural design studio coordinator and faculty.">
|
||||
<meta property="og:description" content="This course builds upon topics covered in Digital Constructs 1 by focusing upon contemporary means of producing and communicating architectural ideas. Â Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. Â The use of digital modeling as a sketch and iterative tool will be emphasized. Â Tools taught in Digital Constructs 2 will build upon those software programs taught in Digital Constructs 1. This course is required of all first-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 2 will be between the Digital Constructs 2 faculty instructor and the first-year architectural design studio coordinator and faculty.">
|
||||
<link rel="stylesheet" href="../css/common.css">
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||||
<link rel="stylesheet" href="../css/coursedisplay.css">
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||||
<script src="../js/fuse.js"></script>
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|
|||
ARCH-2530
|
||||
</h2>
|
||||
<p>
|
||||
This course builds upon topics covered in Digital Constructs 1 by focusing upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 2 will build upon those software programs taught in Digital Constructs 1. This course is required of all first-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 2 will be between the Digital Constructs 2 faculty instructor and the first-year architectural design studio coordinator and faculty.
|
||||
This course builds upon topics covered in Digital Constructs 1 by focusing upon contemporary means of producing and communicating architectural ideas. Â Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. Â The use of digital modeling as a sketch and iterative tool will be emphasized. Â Tools taught in Digital Constructs 2 will build upon those software programs taught in Digital Constructs 1. This course is required of all first-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 2 will be between the Digital Constructs 2 faculty instructor and the first-year architectural design studio coordinator and faculty.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|||
ARCH-2540: Digital Constructs 3
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-2540: Digital Constructs 3">
|
||||
<meta property="og:description" content="This course introduces computational and procedural design approaches that are a logical extension to topics covered in Digital Constructs 2. Students will develop an understanding of computational logic through introductory design applications, both as advanced tooling and as generative design techniques. Methodological approaches will be contextualized by a presentation of historical and theoretical precedents. Techniques introduced will include scripting, Java, geospatial mapping. This course is offered in the fall semester and is required of all second-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 3 will be between the Digital Constructs 3 faculty instructor and the second-year architectural design studio coordinator and faculty.">
|
||||
<meta property="og:description" content="This course introduces computational and procedural design approaches that are a logical extension to topics covered in Digital Constructs 2. Students will develop an understanding of computational logic through introductory design applications, both as advanced tooling and as generative design techniques. Methodological approaches will be contextualized by a presentation of historical and theoretical precedents. Â Techniques introduced will include scripting, Java, geospatial mapping. This course is offered in the fall semester and is required of all second-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 3 will be between the Digital Constructs 3 faculty instructor and the second-year architectural design studio coordinator and faculty. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
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||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
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|
|||
ARCH-2540
|
||||
</h2>
|
||||
<p>
|
||||
This course introduces computational and procedural design approaches that are a logical extension to topics covered in Digital Constructs 2. Students will develop an understanding of computational logic through introductory design applications, both as advanced tooling and as generative design techniques. Methodological approaches will be contextualized by a presentation of historical and theoretical precedents. Techniques introduced will include scripting, Java, geospatial mapping. This course is offered in the fall semester and is required of all second-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 3 will be between the Digital Constructs 3 faculty instructor and the second-year architectural design studio coordinator and faculty.
|
||||
This course introduces computational and procedural design approaches that are a logical extension to topics covered in Digital Constructs 2. Students will develop an understanding of computational logic through introductory design applications, both as advanced tooling and as generative design techniques. Methodological approaches will be contextualized by a presentation of historical and theoretical precedents. Â Techniques introduced will include scripting, Java, geospatial mapping. This course is offered in the fall semester and is required of all second-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 3 will be between the Digital Constructs 3 faculty instructor and the second-year architectural design studio coordinator and faculty. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-2550: Digital Constructs 4
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-2550: Digital Constructs 4">
|
||||
<meta property="og:description" content="Building on techniques taught in Digital Constructs 3, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic software programs. This course is offered in the spring semester and is required of all second-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 4 will be between the Digital Constructs 4 faculty instructor and the second-year architectural design studio coordinator and faculty.">
|
||||
<meta property="og:description" content="Building on techniques taught in Digital Constructs 3, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Â Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic software programs. This course is offered in the spring semester and is required of all second-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 4 will be between the Digital Constructs 4 faculty instructor and the second-year architectural design studio coordinator and faculty. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-2550
|
||||
</h2>
|
||||
<p>
|
||||
Building on techniques taught in Digital Constructs 3, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic software programs. This course is offered in the spring semester and is required of all second-year architecture undergraduates in the B.Arch. program. Coordination of the relationship of course content to Architectural Design Studio 4 will be between the Digital Constructs 4 faculty instructor and the second-year architectural design studio coordinator and faculty.
|
||||
Building on techniques taught in Digital Constructs 3, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Â Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic software programs. This course is offered in the spring semester and is required of all second-year architecture undergraduates in the B.Arch. program. Â Coordination of the relationship of course content to Architectural Design Studio 4 will be between the Digital Constructs 4 faculty instructor and the second-year architectural design studio coordinator and faculty. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-2800: Architectural Design Studio 1
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-2800: Architectural Design Studio 1">
|
||||
<meta property="og:description" content="This course introduces students to design as a way of thinking, creating, and making through a series of short projects. The projects stress critical and creative thinking and invention, interdisciplinary collaboration, observation and perception, communication and visualization. Using sketching, photography, model making, and computing students pursue open-ended investigations of form, space, materials, and the ideas that both generate and are generated by them. This course is required of all first-year architecture undergraduates in the B.Arch. program.">
|
||||
<meta property="og:description" content="This course introduces students to design as a way of thinking, creating, and making through a series of short projects. The projects stress critical and creative thinking and invention, interdisciplinary collaboration, observation and perception, communication and visualization. Using sketching, photography, model making, and computing students pursue open-ended investigations of form, space, materials, and the ideas that both generate and are generated by them. This course is required of all first-year architecture undergraduates in the B.Arch. program.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-2800
|
||||
</h2>
|
||||
<p>
|
||||
This course introduces students to design as a way of thinking, creating, and making through a series of short projects. The projects stress critical and creative thinking and invention, interdisciplinary collaboration, observation and perception, communication and visualization. Using sketching, photography, model making, and computing students pursue open-ended investigations of form, space, materials, and the ideas that both generate and are generated by them. This course is required of all first-year architecture undergraduates in the B.Arch. program.
|
||||
This course introduces students to design as a way of thinking, creating, and making through a series of short projects. The projects stress critical and creative thinking and invention, interdisciplinary collaboration, observation and perception, communication and visualization. Using sketching, photography, model making, and computing students pursue open-ended investigations of form, space, materials, and the ideas that both generate and are generated by them. This course is required of all first-year architecture undergraduates in the B.Arch. program.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4010: Seminar in Sensory Culture
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4010: Seminar in Sensory Culture">
|
||||
<meta property="og:description" content="This seminar examines human perception from a designer's perspective. It draws on perspectives from the sciences, arts, and humanities in order to build an understanding of how people perceive and interact with the environments they create. One cannot only read about perception; the seminar will augment reading with a range of direct experiences as source material for discussion.">
|
||||
<meta property="og:description" content="This seminar examines human perception from a designer's perspective. It draws on perspectives from the sciences, arts, and humanities in order to build an understanding of how people perceive and interact with the environments they create. One cannot only read about perception;Â the seminar will augment reading with a range of direct experiences as source material for discussion. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-4010
|
||||
</h2>
|
||||
<p>
|
||||
This seminar examines human perception from a designer's perspective. It draws on perspectives from the sciences, arts, and humanities in order to build an understanding of how people perceive and interact with the environments they create. One cannot only read about perception; the seminar will augment reading with a range of direct experiences as source material for discussion.
|
||||
This seminar examines human perception from a designer's perspective. It draws on perspectives from the sciences, arts, and humanities in order to build an understanding of how people perceive and interact with the environments they create. One cannot only read about perception;Â the seminar will augment reading with a range of direct experiences as source material for discussion. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4070: Twisted Siblings: Relationships Between Contemporary Painting and Digital Architecture
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4070: Twisted Siblings: Relationships Between Contemporary Painting and Digital Architecture">
|
||||
<meta property="og:description" content="Architecture and painting are two of the oldest forms of societal expression and have been historically linked in complex and dynamic ways. In the 20th century, the movements of Cubism, Futurism, Neo-Plasticism, Constructivism, Purism, Surrealism, and Dadaism consisted of dynamic dialogs between architecture and painting. These exchanges allowed each to have a profound and deep impact upon the other. By contrast, in early 21st century, there seems to be all but a mute relationship between the two. This course intends to help break that silence. This course will begin to bridge the divide by establishing new connections between the current preoccupations with materials, procedures, and affects that are emerging in both contemporary painting and architecture. Twisted Siblings seeks to explore and discover new relationships between the most cutting-edge digital technologies and how painting may influence the expressive capacities of these technologies. As contemporary painting and architecture seek to establish future directions, a new dialog and exchange of ideas should be emerging, to ensure a dynamic and radical future for both. The course will consist of a series of lectures, discussions, and presentations. Students will be expected to research a number of individual architects, painters, and writers who are producing work of related interest. Students will be responsible for completing a research project, which synthesizes the content of the course.">
|
||||
<meta property="og:description" content="Architecture and painting are two of the oldest forms of societal expression and have been historically linked in complex and dynamic ways. In the 20th century, the movements of Cubism, Futurism, Neo-Plasticism, Constructivism, Purism, Surrealism, and Dadaism consisted of dynamic dialogs between architecture and painting. These exchanges allowed each to have a profound and deep impact upon the other. By contrast, in early 21st century, there seems to be all but a mute relationship between the two. This course intends to help break that silence. This course will begin to bridge the divide by establishing new connections between the current preoccupations with materials, procedures, and affects that are emerging in both contemporary painting and architecture. Twisted Siblings seeks to explore and discover new relationships between the most cutting-edge digital technologies and how painting may influence the expressive capacities of these technologies. As contemporary painting and architecture seek to establish future directions, a new dialog and exchange of ideas should be emerging, to ensure a dynamic and radical future for both. The course will consist of a series of lectures, discussions, and presentations. Students will be expected to research a number of individual architects, painters, and writers who are producing work of related interest. Students will be responsible for completing a research project, which synthesizes the content of the course.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-4070
|
||||
</h2>
|
||||
<p>
|
||||
Architecture and painting are two of the oldest forms of societal expression and have been historically linked in complex and dynamic ways. In the 20th century, the movements of Cubism, Futurism, Neo-Plasticism, Constructivism, Purism, Surrealism, and Dadaism consisted of dynamic dialogs between architecture and painting. These exchanges allowed each to have a profound and deep impact upon the other. By contrast, in early 21st century, there seems to be all but a mute relationship between the two. This course intends to help break that silence. This course will begin to bridge the divide by establishing new connections between the current preoccupations with materials, procedures, and affects that are emerging in both contemporary painting and architecture. Twisted Siblings seeks to explore and discover new relationships between the most cutting-edge digital technologies and how painting may influence the expressive capacities of these technologies. As contemporary painting and architecture seek to establish future directions, a new dialog and exchange of ideas should be emerging, to ensure a dynamic and radical future for both. The course will consist of a series of lectures, discussions, and presentations. Students will be expected to research a number of individual architects, painters, and writers who are producing work of related interest. Students will be responsible for completing a research project, which synthesizes the content of the course.
|
||||
Architecture and painting are two of the oldest forms of societal expression and have been historically linked in complex and dynamic ways. In the 20th century, the movements of Cubism, Futurism, Neo-Plasticism, Constructivism, Purism, Surrealism, and Dadaism consisted of dynamic dialogs between architecture and painting. These exchanges allowed each to have a profound and deep impact upon the other. By contrast, in early 21st century, there seems to be all but a mute relationship between the two. This course intends to help break that silence. This course will begin to bridge the divide by establishing new connections between the current preoccupations with materials, procedures, and affects that are emerging in both contemporary painting and architecture. Twisted Siblings seeks to explore and discover new relationships between the most cutting-edge digital technologies and how painting may influence the expressive capacities of these technologies. As contemporary painting and architecture seek to establish future directions, a new dialog and exchange of ideas should be emerging, to ensure a dynamic and radical future for both. The course will consist of a series of lectures, discussions, and presentations. Students will be expected to research a number of individual architects, painters, and writers who are producing work of related interest. Students will be responsible for completing a research project, which synthesizes the content of the course.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4410: Lighting for Intelligent Spaces
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4410: Lighting for Intelligent Spaces">
|
||||
<meta property="og:description" content="The primary objective of this course is to provide students with a basic understanding of the physics and engineering of light and lighting. It introduces the process and mechanics of vision, some of the important concepts in lighting metrics, calculations, and technologies including light sources, optics, sensors and controls, and luminaires needed to illuminate built environments. This is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch, MArch students can register for this course. Students from other majors will need permission of the instructor.">
|
||||
<meta property="og:description" content="The primary objective of this course is to provide students with a basic understanding of the physics and engineering of light and lighting. It introduces the process and mechanics of vision, some of the important concepts in lighting metrics, calculations, and technologies including light sources, optics, sensors and controls, and luminaires needed to illuminate built environments. This is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch, MArch students can register for this course. Students from other majors will need permission of the instructor. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-4410
|
||||
</h2>
|
||||
<p>
|
||||
The primary objective of this course is to provide students with a basic understanding of the physics and engineering of light and lighting. It introduces the process and mechanics of vision, some of the important concepts in lighting metrics, calculations, and technologies including light sources, optics, sensors and controls, and luminaires needed to illuminate built environments. This is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch, MArch students can register for this course. Students from other majors will need permission of the instructor.
|
||||
The primary objective of this course is to provide students with a basic understanding of the physics and engineering of light and lighting. It introduces the process and mechanics of vision, some of the important concepts in lighting metrics, calculations, and technologies including light sources, optics, sensors and controls, and luminaires needed to illuminate built environments. This is required of all architecture undergraduates in the B.S. in Building Sciences program. B.Arch, MArch students can register for this course. Students from other majors will need permission of the instructor. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4520: Construction Industry Seminar 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4520: Construction Industry Seminar 2">
|
||||
<meta property="og:description" content="This course continues the examination of the diverse and interconnected aspects of the construction industry as an essential context for realizing architecture. It surveys the history and current developments of the people, organizations, and professional and industry groups involved in design, construction, finance, insurance, and regulation of building. Current issues influencing design quality are identified by the class and are explored in a series of student-organized in-depth seminars with industry participants. This is required of all architecture undergraduates in the B.S. in Building Sciences program.">
|
||||
<meta property="og:description" content="This course continues the examination of the diverse and interconnected aspects of the construction industry as an essential context for realizing architecture. It surveys the history and current developments of the people, organizations, and professional and industry groups involved in design, construction, finance, insurance, and regulation of building. Current issues influencing design quality are identified by the class and are explored in a series of student-organized in-depth seminars with industry participants. This is required of all architecture undergraduates in the B.S. in Building Sciences program. Â Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-4520
|
||||
</h2>
|
||||
<p>
|
||||
This course continues the examination of the diverse and interconnected aspects of the construction industry as an essential context for realizing architecture. It surveys the history and current developments of the people, organizations, and professional and industry groups involved in design, construction, finance, insurance, and regulation of building. Current issues influencing design quality are identified by the class and are explored in a series of student-organized in-depth seminars with industry participants. This is required of all architecture undergraduates in the B.S. in Building Sciences program.
|
||||
This course continues the examination of the diverse and interconnected aspects of the construction industry as an essential context for realizing architecture. It surveys the history and current developments of the people, organizations, and professional and industry groups involved in design, construction, finance, insurance, and regulation of building. Current issues influencing design quality are identified by the class and are explored in a series of student-organized in-depth seminars with industry participants. This is required of all architecture undergraduates in the B.S. in Building Sciences program. Â Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4770: Architectural Design Studio 5
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4770: Architectural Design Studio 5">
|
||||
<meta property="og:description" content="This is an upper division architectural design studio that explores topics of contemporary interest to the discipline. Students apply for this studio based on their personal interest and professional objectives. Three such studios Architectural Design Studio 5, Architectural Design Studio 6, and Architectural Design Studio 7, are required for the degree. This course is offered in the fall and spring semesters and is required of all architecture undergraduates in the B.Arch. program.">
|
||||
<meta property="og:description" content="This is an upper division architectural design studio that explores topics of contemporary interest to the discipline. Students apply for this studio based on their personal interest and professional objectives. Three such studios Architectural Design Studio 5, Architectural Design Studio 6, and Architectural Design Studio 7, are required for the degree. This course is offered in the fall and spring semesters and is required of all architecture undergraduates in the B.Arch. program.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-4770
|
||||
</h2>
|
||||
<p>
|
||||
This is an upper division architectural design studio that explores topics of contemporary interest to the discipline. Students apply for this studio based on their personal interest and professional objectives. Three such studios Architectural Design Studio 5, Architectural Design Studio 6, and Architectural Design Studio 7, are required for the degree. This course is offered in the fall and spring semesters and is required of all architecture undergraduates in the B.Arch. program.
|
||||
This is an upper division architectural design studio that explores topics of contemporary interest to the discipline. Students apply for this studio based on their personal interest and professional objectives. Three such studios Architectural Design Studio 5, Architectural Design Studio 6, and Architectural Design Studio 7, are required for the degree. This course is offered in the fall and spring semesters and is required of all architecture undergraduates in the B.Arch. program.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-4810: Sonics Research Lab 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4810: Sonics Research Lab 2">
|
||||
<meta property="og:description" content="The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and the school's research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab 2 emphasizes more training on independent hands-on and problem-solving skills (than the Sonics Research Lab 1). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S. in Architecture students must register only for the 6000 level of this course. This course is required of all graduate students in the M.S. in Architectural Sciences with Concentration in Acoustics, and in co-term. Other undergraduate students from Architecture and Engineering can take it as a minor course at the 4000 level.">
|
||||
<meta property="og:description" content="The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and the school's research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab 2 emphasizes more training on independent hands-on and problem-solving skills (than the Sonics Research Lab 1). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S. in Architecture students must register only for the 6000 level of this course. This course is required of all graduate students in the M.S. in Architectural Sciences with Concentration in Acoustics, and in co-term. Other undergraduate students from Architecture and Engineering can take it as a minor course at the 4000 level. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
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||||
<script src="../js/fuse.js"></script>
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|
|||
ARCH-4810
|
||||
</h2>
|
||||
<p>
|
||||
The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and the school's research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab 2 emphasizes more training on independent hands-on and problem-solving skills (than the Sonics Research Lab 1). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S. in Architecture students must register only for the 6000 level of this course. This course is required of all graduate students in the M.S. in Architectural Sciences with Concentration in Acoustics, and in co-term. Other undergraduate students from Architecture and Engineering can take it as a minor course at the 4000 level.
|
||||
The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and the school's research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab 2 emphasizes more training on independent hands-on and problem-solving skills (than the Sonics Research Lab 1). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S. in Architecture students must register only for the 6000 level of this course. This course is required of all graduate students in the M.S. in Architectural Sciences with Concentration in Acoustics, and in co-term. Other undergraduate students from Architecture and Engineering can take it as a minor course at the 4000 level. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
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|
|||
ARCH-4890: Engineering Acoustics
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4890: Engineering Acoustics">
|
||||
<meta property="og:description" content="Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.">
|
||||
<meta property="og:description" content="Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids,  governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
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|
|||
ARCH-4890
|
||||
</h2>
|
||||
<p>
|
||||
Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.
|
||||
Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids,  governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|||
ARCH-4910: Final Project Design Research Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-4910: Final Project Design Research Seminar">
|
||||
<meta property="og:description" content="This seminar is the first required course of the two-semester, 5 th -year Final Project course sequence in the undergraduate program and as such serves as a prerequisite to the spring semester ARCH 4920 Final Project Design Studio. The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This 3-credit course is required of all architecture undergraduates in the B.Arch. program.">
|
||||
<meta property="og:description" content="This seminar is the first required course of the two-semester, 5 th -year Final Project course sequence in the undergraduate program and as such serves as a prerequisite to the spring semester ARCH 4920 Final Project Design Studio. Â The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Final Project instructor's thematic framework. Â The seminar also covers fundamentals related to standard methods of research and analysis. This 3-credit course is required of all architecture undergraduates in the B.Arch. program.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
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|
|||
ARCH-4910
|
||||
</h2>
|
||||
<p>
|
||||
This seminar is the first required course of the two-semester, 5 th -year Final Project course sequence in the undergraduate program and as such serves as a prerequisite to the spring semester ARCH 4920 Final Project Design Studio. The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This 3-credit course is required of all architecture undergraduates in the B.Arch. program.
|
||||
This seminar is the first required course of the two-semester, 5 th -year Final Project course sequence in the undergraduate program and as such serves as a prerequisite to the spring semester ARCH 4920 Final Project Design Studio. Â The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Final Project instructor's thematic framework. Â The seminar also covers fundamentals related to standard methods of research and analysis. This 3-credit course is required of all architecture undergraduates in the B.Arch. program.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|||
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@ -5,7 +5,7 @@
|
|||
ARCH-5140: Structures 1
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-5140: Structures 1">
|
||||
<meta property="og:description" content="Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost. This course is required of all architecture graduate students in the M.Arch. program.">
|
||||
<meta property="og:description" content="Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost. This course is required of all architecture graduate students in the M.Arch. program.                                         Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-5140
|
||||
</h2>
|
||||
<p>
|
||||
Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost. This course is required of all architecture graduate students in the M.Arch. program.
|
||||
Introduction to Structures introduces the student of Architecture to the principles of structural mechanics and their application to basic architectural structures comprised primarily of wood. The fundamentals of statics are presented in order to gain an understanding of the way in which external forces produce internal stresses in individual members and, in essence, flow through the building system to be resolved at the foundation level. The principles of strength of materials are studied to understand how particular structural materials and configurations manage to resist these forces without unacceptable distortions, or even failure. Wood structural properties are studied in all their complexity as a means to internalize the more theoretical topics broached. Through in-class presentations, reading, homework and project work, computer lab, field trips, and case studies, the student will be aided in developing this intuitive (while practical) understanding. It is recognized that intuitions of building technologies are not acquired quickly but result from much study, observation, and practice. Introduction to Structures makes use of the several approaches above to ensure that the beginning student is provided with a broad, solid base for future structural investigations. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the following notions are introduced as important attributes of sustainable structures and construction: durability and service life and life cycle cost. This course is required of all architecture graduate students in the M.Arch. program.                                         Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-5160: Digital Constructs 1
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-5160: Digital Constructs 1">
|
||||
<meta property="og:description" content="This course focuses upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 1 will support softwares taught in Digital Constructs 2. This course is required of all first-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 1 will be between the Digital Constructs 1 faculty instructor and the architectural design studio coordinator and faculty.">
|
||||
<meta property="og:description" content="This course focuses upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 1 will support softwares taught in Digital Constructs 2. This course is required of all first-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 1 will be between the Digital Constructs 1 faculty instructor and the architectural design studio coordinator and faculty.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
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@ -27,7 +27,7 @@
|
|||
ARCH-5160
|
||||
</h2>
|
||||
<p>
|
||||
This course focuses upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 1 will support softwares taught in Digital Constructs 2. This course is required of all first-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 1 will be between the Digital Constructs 1 faculty instructor and the architectural design studio coordinator and faculty.
|
||||
This course focuses upon contemporary means of producing and communicating architectural ideas. Students will use digital methodologies through all phases of a project as well as advanced representation and digital fabrication techniques. The use of digital modeling as a sketch and iterative tool will be emphasized. Tools taught in Digital Constructs 1 will support softwares taught in Digital Constructs 2. This course is required of all first-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 1 will be between the Digital Constructs 1 faculty instructor and the architectural design studio coordinator and faculty.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
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@ -5,7 +5,7 @@
|
|||
ARCH-5170: Digital Constructs 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-5170: Digital Constructs 2">
|
||||
<meta property="og:description" content="Building on techniques taught in Digital Constructs 1, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic softwares. This course is required of all second-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 2 will be between the Digital Constructs 2 faculty instructor and the studio coordinator and faculty.">
|
||||
<meta property="og:description" content="Building on techniques taught in Digital Constructs 1, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic softwares. This course is required of all second-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 2 will be between the Digital Constructs 2 faculty instructor and the studio coordinator and faculty.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-5170
|
||||
</h2>
|
||||
<p>
|
||||
Building on techniques taught in Digital Constructs 1, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic softwares. This course is required of all second-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 2 will be between the Digital Constructs 2 faculty instructor and the studio coordinator and faculty.
|
||||
Building on techniques taught in Digital Constructs 1, this course will expand upon the role of technology in architecture by introducing advanced methods of design analysis and resolution. Students will learn to address issues of optimization, environmental surroundings, structure, and site by using various contemporary analytic softwares. This course is required of all second-year architecture graduate students in the M.Arch. program. Coordination of the relationship of course content to Graduate Architecture Design 2 will be between the Digital Constructs 2 faculty instructor and the studio coordinator and faculty.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
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|
@ -5,7 +5,7 @@
|
|||
ARCH-5300: Materials and Construction Systems
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-5300: Materials and Construction Systems">
|
||||
<meta property="og:description" content="This course centers on the development of a technical knowledge of, sensibility to, and intuition for the process by which an architectural design is realized in built form. The interdependence among building materials, acoustic qualities, enclosure systems, interior, finish, and other systems is investigated, with an emphasis on the broader architectural design endeavor. Drawing as a means of understanding forms the basis for a semester-long project to be done in small groups. Case studies will center on concepts and systems that have not yet found their way into mainstream practice. The course approach will involve in-class presentations, project work, field trips and case studies. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the notion that design intentions can be nullified through incorrect construction is stressed. The importance of proper detailing, construction, and maintenance to accomplish lasting and efficient enclosures is highlighted. Skills to diagnose and treat incorrect construction are developed.">
|
||||
<meta property="og:description" content="This course centers on the development of a technical knowledge of, sensibility to, and intuition for the process by which an architectural design is realized in built form. The interdependence among building materials, acoustic qualities, enclosure systems, interior, finish, and other systems is investigated, with an emphasis on the broader architectural design endeavor. Drawing as a means of understanding forms the basis for a semester-long project to be done in small groups. Case studies will center on concepts and systems that have not yet found their way into mainstream practice. The course approach will involve in-class presentations, project work, field trips and case studies. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the notion that design intentions can be nullified through incorrect construction is stressed. The importance of proper detailing, construction, and maintenance to accomplish lasting and efficient enclosures is highlighted. Skills to diagnose and treat incorrect construction are developed. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-5300
|
||||
</h2>
|
||||
<p>
|
||||
This course centers on the development of a technical knowledge of, sensibility to, and intuition for the process by which an architectural design is realized in built form. The interdependence among building materials, acoustic qualities, enclosure systems, interior, finish, and other systems is investigated, with an emphasis on the broader architectural design endeavor. Drawing as a means of understanding forms the basis for a semester-long project to be done in small groups. Case studies will center on concepts and systems that have not yet found their way into mainstream practice. The course approach will involve in-class presentations, project work, field trips and case studies. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the notion that design intentions can be nullified through incorrect construction is stressed. The importance of proper detailing, construction, and maintenance to accomplish lasting and efficient enclosures is highlighted. Skills to diagnose and treat incorrect construction are developed.
|
||||
This course centers on the development of a technical knowledge of, sensibility to, and intuition for the process by which an architectural design is realized in built form. The interdependence among building materials, acoustic qualities, enclosure systems, interior, finish, and other systems is investigated, with an emphasis on the broader architectural design endeavor. Drawing as a means of understanding forms the basis for a semester-long project to be done in small groups. Case studies will center on concepts and systems that have not yet found their way into mainstream practice. The course approach will involve in-class presentations, project work, field trips and case studies. WebCT will be used to expand the student's access to course materials and allow for a measure of distance learning. Sustainability: the notion that design intentions can be nullified through incorrect construction is stressed. The importance of proper detailing, construction, and maintenance to accomplish lasting and efficient enclosures is highlighted. Skills to diagnose and treat incorrect construction are developed. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6320: Built Ecologies 1
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6320: Built Ecologies 1">
|
||||
<meta property="og:description" content="Advanced graduate level course focusing on the collection, analysis, and application of data for the generation of criteria within the design process. Multiple scales will be investigated, from the material and product scale, to the building/architectural scale, and finally to the urban, regional, and global scales. Course taught in New York City.">
|
||||
<meta property="og:description" content="Advanced graduate level course focusing on the collection, analysis, and application of data for the generation of criteria within the design process. Multiple scales will be investigated, from the material and product scale, to the building/architectural scale, and finally to the urban, regional, and global scales. Course taught in New York City.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6320
|
||||
</h2>
|
||||
<p>
|
||||
Advanced graduate level course focusing on the collection, analysis, and application of data for the generation of criteria within the design process. Multiple scales will be investigated, from the material and product scale, to the building/architectural scale, and finally to the urban, regional, and global scales. Course taught in New York City.
|
||||
Advanced graduate level course focusing on the collection, analysis, and application of data for the generation of criteria within the design process. Multiple scales will be investigated, from the material and product scale, to the building/architectural scale, and finally to the urban, regional, and global scales. Course taught in New York City.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6330: Built Ecologies 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6330: Built Ecologies 2">
|
||||
<meta property="og:description" content="In this seminar, students develop and analyze an ecologically sensitive built system related to their thesis topic with particular attention to the architectural, social, and political implications of the work and their inter-relationships. An awareness of the political and economic forces that are instrumental in the development of contemporary built ecologies creates opportunities for innovation in the cultures of making. Course taught in New York City.">
|
||||
<meta property="og:description" content="In this seminar, students develop and analyze an ecologically sensitive built system related to their thesis topic with particular attention to the architectural, social, and political implications of the work and their inter-relationships. An awareness of the political and economic forces that are instrumental in the development of contemporary built ecologies creates opportunities for innovation in the cultures of making. Course taught in New York City. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
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|
|||
ARCH-6330
|
||||
</h2>
|
||||
<p>
|
||||
In this seminar, students develop and analyze an ecologically sensitive built system related to their thesis topic with particular attention to the architectural, social, and political implications of the work and their inter-relationships. An awareness of the political and economic forces that are instrumental in the development of contemporary built ecologies creates opportunities for innovation in the cultures of making. Course taught in New York City.
|
||||
In this seminar, students develop and analyze an ecologically sensitive built system related to their thesis topic with particular attention to the architectural, social, and political implications of the work and their inter-relationships. An awareness of the political and economic forces that are instrumental in the development of contemporary built ecologies creates opportunities for innovation in the cultures of making. Course taught in New York City. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
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|
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|
|||
ARCH-6350: Design Research Studio
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6350: Design Research Studio">
|
||||
<meta property="og:description" content="This initial studio segment will explore variable phases of data collection, processing, and synthesis through explorative visualization methods. These methods will bear the complexity of mapping dynamic forces present in nature juxtaposed to cultural and economical factors. Course taught in New York City.">
|
||||
<meta property="og:description" content="This initial studio segment will explore variable phases of data collection, processing, and synthesis through explorative visualization methods. These methods will bear the complexity of mapping dynamic forces present in nature juxtaposed to cultural and economical factors. Course taught in New York City.    Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
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@ -27,7 +27,7 @@
|
|||
ARCH-6350
|
||||
</h2>
|
||||
<p>
|
||||
This initial studio segment will explore variable phases of data collection, processing, and synthesis through explorative visualization methods. These methods will bear the complexity of mapping dynamic forces present in nature juxtaposed to cultural and economical factors. Course taught in New York City.
|
||||
This initial studio segment will explore variable phases of data collection, processing, and synthesis through explorative visualization methods. These methods will bear the complexity of mapping dynamic forces present in nature juxtaposed to cultural and economical factors. Course taught in New York City.    Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
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@ -5,7 +5,7 @@
|
|||
ARCH-6360: Interdisciplinary Research Studio
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6360: Interdisciplinary Research Studio">
|
||||
<meta property="og:description" content="The studio addresses interdisciplinary exchange within research practice, understanding that buildings operate within complex dynamic systems. Buildings and their material systems are composed of interdependent systemic relationships at multiple scales – 'Built Ecologies' – operating as metabolic systems within and upon existent natural and made systems. Design is a method of research, discovering and developing new systems and strategies transferable to many sites. Course taught in New York City.">
|
||||
<meta property="og:description" content="The studio addresses interdisciplinary exchange within research practice, understanding that buildings operate within complex dynamic systems. Buildings and their material systems are composed of interdependent systemic relationships at multiple scales â 'Built Ecologies' â operating as metabolic systems within and upon existent natural and made systems. Design is a method of research, discovering and developing new systems and strategies transferable to many sites. Course taught in New York City.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6360
|
||||
</h2>
|
||||
<p>
|
||||
The studio addresses interdisciplinary exchange within research practice, understanding that buildings operate within complex dynamic systems. Buildings and their material systems are composed of interdependent systemic relationships at multiple scales – 'Built Ecologies' – operating as metabolic systems within and upon existent natural and made systems. Design is a method of research, discovering and developing new systems and strategies transferable to many sites. Course taught in New York City.
|
||||
The studio addresses interdisciplinary exchange within research practice, understanding that buildings operate within complex dynamic systems. Buildings and their material systems are composed of interdependent systemic relationships at multiple scales â 'Built Ecologies' â operating as metabolic systems within and upon existent natural and made systems. Design is a method of research, discovering and developing new systems and strategies transferable to many sites. Course taught in New York City.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6750: Final Project Design Research Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6750: Final Project Design Research Seminar">
|
||||
<meta property="og:description" content="This seminar is the first required course of the two-semester, 3rd-year Final Project course sequence in the M.Arch program and as such serves as a prerequisite to the spring semester Final Project Design Studio (ARCH 6XXX). The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Graduate Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This course is required of all architecture graduate students in the M.Arch. program.">
|
||||
<meta property="og:description" content="This seminar is the first required course of the two-semester, 3rd-year Final Project course sequence in the M.Arch program and as such serves as a prerequisite to the spring semester Final Project Design Studio (ARCH 6XXX). The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Graduate Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This course is required of all architecture graduate students in the M.Arch. program.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6750
|
||||
</h2>
|
||||
<p>
|
||||
This seminar is the first required course of the two-semester, 3rd-year Final Project course sequence in the M.Arch program and as such serves as a prerequisite to the spring semester Final Project Design Studio (ARCH 6XXX). The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Graduate Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This course is required of all architecture graduate students in the M.Arch. program.
|
||||
This seminar is the first required course of the two-semester, 3rd-year Final Project course sequence in the M.Arch program and as such serves as a prerequisite to the spring semester Final Project Design Studio (ARCH 6XXX). The Design Research Seminar provides a forum for readings and discussions as well as design and/or material experimentation as it relates to the respective Graduate Final Project instructor's thematic framework. The seminar also covers fundamentals related to standard methods of research and analysis. This course is required of all architecture graduate students in the M.Arch. program.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6810: Research Design Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6810: Research Design Seminar">
|
||||
<meta property="og:description" content="The principal objective of this introductory seminar is to provide students with the opportunity to learn the fundamentals of research design. Research design includes: (1) identifying and selecting focused research problems/opportunities/ideas; (2) documenting the state of the art in the selected research area; (3) identifying the critical resources and settings to carry out the research; (4) designing the research program including strategies and tactics for carrying out the research. It is hoped that the knowledge gained in the RD Seminar will assist students in the development of their own individual thesis proposals while they contribute to active research. B.Arch. students can only register for the 4000 level of this course and M.Arch. students must register only for the 6000 level of this course.">
|
||||
<meta property="og:description" content="The principal objective of this introductory seminar is to provide studeÂÂÂnts with the opportunity to learn the fundamentals of research design. Research design includes: (1) identifying and selecting focused research problems/opportunities/ideas; (2) documenting the state of the art in the selected research area; (3) identifying the critical resources and settings to carry out the research; (4) designing the research program including strategies and tactics for carrying out the research. It is hoped that the knowledge gained in the RD Seminar will assist students in the development of their own individual thesis proposals while they contribute to active research. B.Arch. students can only register for the 4000 level of this course and M.Arch. students must register only for the 6000 level of this course.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6810
|
||||
</h2>
|
||||
<p>
|
||||
The principal objective of this introductory seminar is to provide students with the opportunity to learn the fundamentals of research design. Research design includes: (1) identifying and selecting focused research problems/opportunities/ideas; (2) documenting the state of the art in the selected research area; (3) identifying the critical resources and settings to carry out the research; (4) designing the research program including strategies and tactics for carrying out the research. It is hoped that the knowledge gained in the RD Seminar will assist students in the development of their own individual thesis proposals while they contribute to active research. B.Arch. students can only register for the 4000 level of this course and M.Arch. students must register only for the 6000 level of this course.
|
||||
The principal objective of this introductory seminar is to provide studeÂÂÂnts with the opportunity to learn the fundamentals of research design. Research design includes: (1) identifying and selecting focused research problems/opportunities/ideas; (2) documenting the state of the art in the selected research area; (3) identifying the critical resources and settings to carry out the research; (4) designing the research program including strategies and tactics for carrying out the research. It is hoped that the knowledge gained in the RD Seminar will assist students in the development of their own individual thesis proposals while they contribute to active research. B.Arch. students can only register for the 4000 level of this course and M.Arch. students must register only for the 6000 level of this course.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6830: Graduate Thesis Seminar: Acoustics
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6830: Graduate Thesis Seminar: Acoustics">
|
||||
<meta property="og:description" content="The Graduate Thesis Seminar: Acoustics is designed to provide support to graduate students who are engaged in independent thesis research projects. It is a required course for all graduate students in the Architectural Acoustics programs. This seminar provides a formal opportunity for students and faculty from a range of concentrations to meet together and discuss thesis work in progress.">
|
||||
<meta property="og:description" content="The Graduate Thesis Seminar: Acoustics is designed to provide support to graduate students who are engaged in independent thesis research projects. It is a required course for all graduate students in the Architectural Acoustics programs. This seminar provides a formal opportunity for students and faculty from a range of concentrations to meet together and discuss thesis work in progress.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6830
|
||||
</h2>
|
||||
<p>
|
||||
The Graduate Thesis Seminar: Acoustics is designed to provide support to graduate students who are engaged in independent thesis research projects. It is a required course for all graduate students in the Architectural Acoustics programs. This seminar provides a formal opportunity for students and faculty from a range of concentrations to meet together and discuss thesis work in progress.
|
||||
The Graduate Thesis Seminar: Acoustics is designed to provide support to graduate students who are engaged in independent thesis research projects. It is a required course for all graduate students in the Architectural Acoustics programs. This seminar provides a formal opportunity for students and faculty from a range of concentrations to meet together and discuss thesis work in progress.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6840: Engineering Acoustics
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6840: Engineering Acoustics">
|
||||
<meta property="og:description" content="Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.">
|
||||
<meta property="og:description" content="Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6840
|
||||
</h2>
|
||||
<p>
|
||||
Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.
|
||||
Introductory materials of engineering acoustics for students with basic knowledge in mathematics (at least one level of first-year college). Much of the course material is taken from the textbook "Acoustics for Engineers" by Blauert and Xiang (2nd Ed.). The course includes mechanic and acoustic oscillations, the wave equations in fluids, governing equations for horns and ducts, spherical sound sources and arrays, piston membranes, diffraction and scattering, dissipation, reflection, refraction and absorption, isolation of air- and structure-borne sounds, noise propagation and noise control. B.S. and B.Arch. students can only register for the 4000 level of this course and M.S.Arch. Acoustics students must register only for the 6000 level of this course.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6860: Applied Psychoacoustics
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6860: Applied Psychoacoustics">
|
||||
<meta property="og:description" content="This course covers the fundamentals of psychoacoustics with a focus on Architectural Acoustics. Topics include the functional overview of the auditory system, loudness, pitch, timbre perception, masking, binaural hearing, auditory scene analysis, multi-modal integration, and auditory perception in rooms. Required signal processing methods will be covered as well. The graduate-level course requires an extensive individual project and more advanced analysis.">
|
||||
<meta property="og:description" content="This course covers the fundamentals of psychoacoustics with a focus on Architectural Acoustics. Topics include the functional overview of the auditory system, loudness, pitch, timbre perception, masking, binaural hearing, auditory scene analysis, multi-modal integration, and auditory perception in rooms. Required signal processing methods will be covered as well. The graduate-level course requires an extensive individual project and more advanced analysis.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6860
|
||||
</h2>
|
||||
<p>
|
||||
This course covers the fundamentals of psychoacoustics with a focus on Architectural Acoustics. Topics include the functional overview of the auditory system, loudness, pitch, timbre perception, masking, binaural hearing, auditory scene analysis, multi-modal integration, and auditory perception in rooms. Required signal processing methods will be covered as well. The graduate-level course requires an extensive individual project and more advanced analysis.
|
||||
This course covers the fundamentals of psychoacoustics with a focus on Architectural Acoustics. Topics include the functional overview of the auditory system, loudness, pitch, timbre perception, masking, binaural hearing, auditory scene analysis, multi-modal integration, and auditory perception in rooms. Required signal processing methods will be covered as well. The graduate-level course requires an extensive individual project and more advanced analysis.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6880: Sonics Research Laboratory 2
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6880: Sonics Research Laboratory 2">
|
||||
<meta property="og:description" content="The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and school research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab II emphasizes more training on independent hands-on and problem-solving skills (than the SRL I). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S.Arch. students must register only for the 6000 level of this course.">
|
||||
<meta property="og:description" content="The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and school research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab II emphasizes more training on independent hands-on and problem-solving skills (than the SRL I). Â B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S.Arch. students must register only for the 6000 level of this course. Â Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6880
|
||||
</h2>
|
||||
<p>
|
||||
The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and school research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab II emphasizes more training on independent hands-on and problem-solving skills (than the SRL I). B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S.Arch. students must register only for the 6000 level of this course.
|
||||
The second semester of the Sonics Research Lab includes advanced acoustical measurement techniques. Another important part of the semester curriculum concerns noise sources, noise control, and vibration measurements. State-of-the-art, commercial software and school research-based software will be used for simulation/analysis/measurement of room acoustics in order to show the students how such technical tools assist in acoustics research and consulting practice for the design of performance and public spaces. The course will also give students a deeper theoretical understanding of architectural acoustics in order to assist them in room acoustics research. There will also be labs to reflect typical measurement procedures and (if time permits) site visits to acoustics research labs and different types of acoustical spaces. The Sonics Research Lab II emphasizes more training on independent hands-on and problem-solving skills (than the SRL I). Â B.S. and B.Arch., and other school students can only register for the 4000 level of this course and M.S.Arch. students must register only for the 6000 level of this course. Â Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6890: Aural Architecture
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6890: Aural Architecture">
|
||||
<meta property="og:description" content="In this course, design processes in architectural acoustics will be studied from a psychoacoustical perspective. Different concepts to create physical and virtual acoustic spaces will be discussed based on perceptual design goals. Topics include ecological psychoacoustics, sound quality, auditory virtual environments, and auditory computational modeling.">
|
||||
<meta property="og:description" content="In this course, design processes in architectural acoustics will be studied from a psychoacoustical perspective. Different concepts to create physical and virtual acoustic spaces will be discussed based on perceptual design goals. Topics include ecological psychoacoustics, sound quality, auditory virtual environments, and auditory computational modeling. Â Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6890
|
||||
</h2>
|
||||
<p>
|
||||
In this course, design processes in architectural acoustics will be studied from a psychoacoustical perspective. Different concepts to create physical and virtual acoustic spaces will be discussed based on perceptual design goals. Topics include ecological psychoacoustics, sound quality, auditory virtual environments, and auditory computational modeling.
|
||||
In this course, design processes in architectural acoustics will be studied from a psychoacoustical perspective. Different concepts to create physical and virtual acoustic spaces will be discussed based on perceptual design goals. Topics include ecological psychoacoustics, sound quality, auditory virtual environments, and auditory computational modeling. Â Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARCH-6980: Master's Project
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-6980: Master's Project">
|
||||
<meta property="og:description" content="Active participation in a master's-level project, under the supervision of a faculty adviser, leading to a master's project report. Grades S or U are assigned at the end of the semester. If recommended by the adviser, the master's project may be accepted by the Office of Graduate Education to be archived in the library.">
|
||||
<meta property="og:description" content="Active participation in a master's-level project, under the supervision of a faculty adviser, leading to a master's project report. Grades S or U are assigned at the end of the semester. If recommended by the adviser, the master's project may be accepted by the Office of Graduate Education to be archived in the library.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-6980
|
||||
</h2>
|
||||
<p>
|
||||
Active participation in a master's-level project, under the supervision of a faculty adviser, leading to a master's project report. Grades S or U are assigned at the end of the semester. If recommended by the adviser, the master's project may be accepted by the Office of Graduate Education to be archived in the library.
|
||||
Active participation in a master's-level project, under the supervision of a faculty adviser, leading to a master's project report. Grades S or U are assigned at the end of the semester. If recommended by the adviser, the master's project may be accepted by the Office of Graduate Education to be archived in the library.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
|
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|
|||
ARCH-9990: Dissertation
|
||||
</title>
|
||||
<meta property="og:title" content="ARCH-9990: Dissertation">
|
||||
<meta property="og:description" content="Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.">
|
||||
<meta property="og:description" content="Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.  Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARCH-9990
|
||||
</h2>
|
||||
<p>
|
||||
Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.
|
||||
Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.  Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-1050: Art History
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-1050: Art History">
|
||||
<meta property="og:description" content="A survey of visual arts from Paleolithic Era to today. Materials are presented in a form accessible to students without previous knowledge of Art History.">
|
||||
<meta property="og:description" content="A survey of visual arts from Paleolithic Era to today. Materials are presented in a form accessible to students without previous knowledge of Art History.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-1050
|
||||
</h2>
|
||||
<p>
|
||||
A survey of visual arts from Paleolithic Era to today. Materials are presented in a form accessible to students without previous knowledge of Art History.
|
||||
A survey of visual arts from Paleolithic Era to today. Materials are presented in a form accessible to students without previous knowledge of Art History.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
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|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-1380: Fundamentals of Music and Sound
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-1380: Fundamentals of Music and Sound">
|
||||
<meta property="og:description" content="This course is a hands-on introduction to the primary building blocks of music and musicianship in a 21st Century context. No formal musical background is expected. The course will explore acoustics and psychoacoustics, rhythm, pitch, harmony, melody, timbre, improvisation, composition, and music notation through performance, listening, written exercises, and creative projects.">
|
||||
<meta property="og:description" content="This course is a hands-on introduction to the primary building blocks of music and musicianship in a 21st Century context. No formal musical background is expected. The course will explore acoustics and psychoacoustics, rhythm, pitch, harmony, melody, timbre, improvisation, composition, and music notation through performance, listening, written exercises, and creative projects.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-1380
|
||||
</h2>
|
||||
<p>
|
||||
This course is a hands-on introduction to the primary building blocks of music and musicianship in a 21st Century context. No formal musical background is expected. The course will explore acoustics and psychoacoustics, rhythm, pitch, harmony, melody, timbre, improvisation, composition, and music notation through performance, listening, written exercises, and creative projects.
|
||||
This course is a hands-on introduction to the primary building blocks of music and musicianship in a 21st Century context. No formal musical background is expected. The course will explore acoustics and psychoacoustics, rhythm, pitch, harmony, melody, timbre, improvisation, composition, and music notation through performance, listening, written exercises, and creative projects.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2020: Music and Technology I
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2020: Music and Technology I">
|
||||
<meta property="og:description" content="Music technology-based research and composition taught in the context of modern computerized production methods. Technical topics include basic principles of music programming languages, digital sound synthesis and sampling, and the use of computer systems for musical control of electronic instruments. Musical topics include a study of important musical works and compositional techniques of the 21st century. Student projects involve hands-on work on a variety of computer programming languages, instruments, and software. This course is a prerequisite for further creative work with Rensselaer's computer music facilities.">
|
||||
<meta property="og:description" content="Music technology-based research and composition taught in the context of modern computerized production methods. Technical topics include basic principles of music programming languages, digital sound synthesis and sampling, and the use of computer systems for musical control of electronic instruments. Musical topics include a study of important musical works and compositional techniques of the 21st century. Student projects involve hands-on work on a variety of computer programming languages, instruments, and software. This course is a prerequisite for further creative work with Rensselaer's computer music facilities. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2020
|
||||
</h2>
|
||||
<p>
|
||||
Music technology-based research and composition taught in the context of modern computerized production methods. Technical topics include basic principles of music programming languages, digital sound synthesis and sampling, and the use of computer systems for musical control of electronic instruments. Musical topics include a study of important musical works and compositional techniques of the 21st century. Student projects involve hands-on work on a variety of computer programming languages, instruments, and software. This course is a prerequisite for further creative work with Rensselaer's computer music facilities.
|
||||
Music technology-based research and composition taught in the context of modern computerized production methods. Technical topics include basic principles of music programming languages, digital sound synthesis and sampling, and the use of computer systems for musical control of electronic instruments. Musical topics include a study of important musical works and compositional techniques of the 21st century. Student projects involve hands-on work on a variety of computer programming languages, instruments, and software. This course is a prerequisite for further creative work with Rensselaer's computer music facilities. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2080: Contemporary Improvisation Ensemble
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2080: Contemporary Improvisation Ensemble">
|
||||
<meta property="og:description" content="This ensemble explores a variety of contemporary non-idiomatic group improvisational practices. Non-idiomatic improvisation is spontaneous music that does not attempt to replicate or realize a particular historical style (such as swing or bebop jazz), but rather emphasizes the unique creative input of the performers to create original music. Among the techniques explored will be conduction, musical games, graphic and text scores, and cell-structure improvisation. Students will also be coached in techniques to expand and develop musical ideas individually and as a framework for group improvisation. No prior experience with improvisation is required, and participants from any musical background, including electronic and computer music, are encouraged to join. Repertoire and practices will be tailored to the make-up of the group.">
|
||||
<meta property="og:description" content="This ensemble explores a variety of contemporary non-idiomatic group improvisational practices. Non-idiomatic improvisation is spontaneous music that does not attempt to replicate or realize a particular historical style (such as swing or bebop jazz), but rather emphasizes the unique creative input of the performers to create original music. Among the techniques explored will be conduction, musical games, graphic and text scores, and cell-structure improvisation. Students will also be coached in techniques to expand and develop musical ideas individually and as a framework for group improvisation. No prior experience with improvisation is required, and participants from any musical background, including electronic and computer music, are encouraged to join. Repertoire and practices will be tailored to the make-up of the group. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2080
|
||||
</h2>
|
||||
<p>
|
||||
This ensemble explores a variety of contemporary non-idiomatic group improvisational practices. Non-idiomatic improvisation is spontaneous music that does not attempt to replicate or realize a particular historical style (such as swing or bebop jazz), but rather emphasizes the unique creative input of the performers to create original music. Among the techniques explored will be conduction, musical games, graphic and text scores, and cell-structure improvisation. Students will also be coached in techniques to expand and develop musical ideas individually and as a framework for group improvisation. No prior experience with improvisation is required, and participants from any musical background, including electronic and computer music, are encouraged to join. Repertoire and practices will be tailored to the make-up of the group.
|
||||
This ensemble explores a variety of contemporary non-idiomatic group improvisational practices. Non-idiomatic improvisation is spontaneous music that does not attempt to replicate or realize a particular historical style (such as swing or bebop jazz), but rather emphasizes the unique creative input of the performers to create original music. Among the techniques explored will be conduction, musical games, graphic and text scores, and cell-structure improvisation. Students will also be coached in techniques to expand and develop musical ideas individually and as a framework for group improvisation. No prior experience with improvisation is required, and participants from any musical background, including electronic and computer music, are encouraged to join. Repertoire and practices will be tailored to the make-up of the group. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2090: Radical Graphics/Screenprinting
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2090: Radical Graphics/Screenprinting">
|
||||
<meta property="og:description" content="Radical Graphics/Screenprinting seeks to expand on the definition of print graphics from one that traditionally creates multiple images on paper to a practice that includes art-making activities as varied as mud-stenciling, t-shirt printing, "fine art" prints, animation, sculpture, and political protest graphics. Students will focus on the concept of the art "matrix": a template for image-making that can work across media. Students will create matrices that can be applied across multiple art-making platforms.">
|
||||
<meta property="og:description" content="Radical Graphics/Screenprinting seeks to expand on the definition of print graphics from one that traditionally creates multiple images on paper to a practice that includes art-making activities as varied as mud-stenciling, t-shirt printing, "fine art" prints, animation, sculpture, and political protest graphics. Students will focus on the concept of the art "matrix": a template for image-making that can work across media. Students will create matrices that can be applied across multiple art-making platforms. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2090
|
||||
</h2>
|
||||
<p>
|
||||
Radical Graphics/Screenprinting seeks to expand on the definition of print graphics from one that traditionally creates multiple images on paper to a practice that includes art-making activities as varied as mud-stenciling, t-shirt printing, "fine art" prints, animation, sculpture, and political protest graphics. Students will focus on the concept of the art "matrix": a template for image-making that can work across media. Students will create matrices that can be applied across multiple art-making platforms.
|
||||
Radical Graphics/Screenprinting seeks to expand on the definition of print graphics from one that traditionally creates multiple images on paper to a practice that includes art-making activities as varied as mud-stenciling, t-shirt printing, "fine art" prints, animation, sculpture, and political protest graphics. Students will focus on the concept of the art "matrix": a template for image-making that can work across media. Students will create matrices that can be applied across multiple art-making platforms. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2180: Deep Listening
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2180: Deep Listening">
|
||||
<meta property="og:description" content="Deep Listening is a practice developed by pioneering composer and humanitarian Pauline Oliveros to enhance and expand listening abilities and to encourage creativity. Students will develop a heightened awareness to sound and their sonic environment through experiential exercises, creative projects, collaborations, readings, lectures, and discussion. Musicians and non-musicians of all abilities and backgrounds are welcome!">
|
||||
<meta property="og:description" content="Deep Listening is a practice developed by pioneering composer and humanitarian Pauline Oliveros to enhance and expand listening abilities and to encourage creativity. Students will develop a heightened awareness to sound and their sonic environment through experiential exercises, creative projects, collaborations, readings, lectures, and discussion. Musicians and non-musicians of all abilities and backgrounds are welcome! Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2180
|
||||
</h2>
|
||||
<p>
|
||||
Deep Listening is a practice developed by pioneering composer and humanitarian Pauline Oliveros to enhance and expand listening abilities and to encourage creativity. Students will develop a heightened awareness to sound and their sonic environment through experiential exercises, creative projects, collaborations, readings, lectures, and discussion. Musicians and non-musicians of all abilities and backgrounds are welcome!
|
||||
Deep Listening is a practice developed by pioneering composer and humanitarian Pauline Oliveros to enhance and expand listening abilities and to encourage creativity. Students will develop a heightened awareness to sound and their sonic environment through experiential exercises, creative projects, collaborations, readings, lectures, and discussion. Musicians and non-musicians of all abilities and backgrounds are welcome! Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2200: Intermediate Drawing
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2200: Intermediate Drawing">
|
||||
<meta property="og:description" content="Intermediate Drawing focuses on the exploration of the possibilities of visual translation using a variety of media and techniques. Over the term, each successive project will provide the student the opportunity to develop and control a particular set of media, technique, and perspective, which reveals a unique and personal approach to image making. Participation in critiques, discussions, and lectures will enable the student to become fluent with the vocabulary and language of drawing, and focus their preferred methods and developed skill-sets into appropriate and actionable processes.">
|
||||
<meta property="og:description" content="Intermediate Drawing focuses on the exploration of the possibilities of visual translation using a variety of media and techniques. Over the term, each successive project will provide the student the opportunity to develop and control a particular set of media, technique, and perspective, which reveals a unique and personal approach to image making. Participation in critiques, discussions, and lectures will enable the student to become fluent with the vocabulary and language of drawing, and focus their preferred methods and developed skill-sets into appropriate and actionable processes. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2200
|
||||
</h2>
|
||||
<p>
|
||||
Intermediate Drawing focuses on the exploration of the possibilities of visual translation using a variety of media and techniques. Over the term, each successive project will provide the student the opportunity to develop and control a particular set of media, technique, and perspective, which reveals a unique and personal approach to image making. Participation in critiques, discussions, and lectures will enable the student to become fluent with the vocabulary and language of drawing, and focus their preferred methods and developed skill-sets into appropriate and actionable processes.
|
||||
Intermediate Drawing focuses on the exploration of the possibilities of visual translation using a variety of media and techniques. Over the term, each successive project will provide the student the opportunity to develop and control a particular set of media, technique, and perspective, which reveals a unique and personal approach to image making. Participation in critiques, discussions, and lectures will enable the student to become fluent with the vocabulary and language of drawing, and focus their preferred methods and developed skill-sets into appropriate and actionable processes. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2230: 3D Digital Modeling
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2230: 3D Digital Modeling">
|
||||
<meta property="og:description" content="A foundational course in concepts and techniques in digital 3D, for animation, games, and digital art. This course focuses on methods and aesthetics in creating digital 3D objects, spaces, and characters, including modeling, texturing, and lighting, as preparation for further courses in the 3D Animation curriculum.">
|
||||
<meta property="og:description" content="A foundational course in concepts and techniques in digital 3D, for animation, games, and digital art. This course focuses on methods and aesthetics in creating digital 3D objects, spaces, and characters, including modeling, texturing, and lighting, as preparation for further courses in the 3D Animation curriculum. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2230
|
||||
</h2>
|
||||
<p>
|
||||
A foundational course in concepts and techniques in digital 3D, for animation, games, and digital art. This course focuses on methods and aesthetics in creating digital 3D objects, spaces, and characters, including modeling, texturing, and lighting, as preparation for further courses in the 3D Animation curriculum.
|
||||
A foundational course in concepts and techniques in digital 3D, for animation, games, and digital art. This course focuses on methods and aesthetics in creating digital 3D objects, spaces, and characters, including modeling, texturing, and lighting, as preparation for further courses in the 3D Animation curriculum. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2380: Music and Sound I
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2380: Music and Sound I">
|
||||
<meta property="og:description" content="The first in a two-course sequence combining music theory, musicianship, and engaged listening practices applicable to a broad range of traditional and contemporary musical styles, with an emphasis on creative practice. This course covers the fundamentals of tonal harmony including scales, chord symbols and figured bass notation, diatonic chord progressions, and counterpoint. Musicianship includes aural identification of intervals, scales, and chords, rhythm and exercises in sight-singing, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance.">
|
||||
<meta property="og:description" content="The first in a two-course sequence combining music theory, musicianship, and engaged listening practices applicable to a broad range of traditional and contemporary musical styles, with an emphasis on creative practice. This course covers the fundamentals of tonal harmony including scales, chord symbols and figured bass notation, diatonic chord progressions, and counterpoint. Musicianship includes aural identification of intervals, scales, and chords, rhythm and exercises in sight-singing, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2380
|
||||
</h2>
|
||||
<p>
|
||||
The first in a two-course sequence combining music theory, musicianship, and engaged listening practices applicable to a broad range of traditional and contemporary musical styles, with an emphasis on creative practice. This course covers the fundamentals of tonal harmony including scales, chord symbols and figured bass notation, diatonic chord progressions, and counterpoint. Musicianship includes aural identification of intervals, scales, and chords, rhythm and exercises in sight-singing, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance.
|
||||
The first in a two-course sequence combining music theory, musicianship, and engaged listening practices applicable to a broad range of traditional and contemporary musical styles, with an emphasis on creative practice. This course covers the fundamentals of tonal harmony including scales, chord symbols and figured bass notation, diatonic chord progressions, and counterpoint. Musicianship includes aural identification of intervals, scales, and chords, rhythm and exercises in sight-singing, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2500: Histories of Western Music
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2500: Histories of Western Music">
|
||||
<meta property="og:description" content="This course surveys multiple approaches to the Western art music traditions from a contemporary global, multicultural context. The inter-relationships between music, society and cultural forces is emphasized. Students learn to recognize and describe the basic components of music, like texture, tonality, rhythm, dynamics, and melody Lectures are supplemented by listening assignments and in-class demonstrations.">
|
||||
<meta property="og:description" content="This course surveys multiple approaches to the Western art music traditions from a contemporary global, multicultural context. The inter-relationships between music, society and cultural forces is emphasized. Students learn to recognize and describe the basic components of music, like texture, tonality, rhythm, dynamics, and melody Lectures are supplemented by listening assignments and in-class demonstrations. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2500
|
||||
</h2>
|
||||
<p>
|
||||
This course surveys multiple approaches to the Western art music traditions from a contemporary global, multicultural context. The inter-relationships between music, society and cultural forces is emphasized. Students learn to recognize and describe the basic components of music, like texture, tonality, rhythm, dynamics, and melody Lectures are supplemented by listening assignments and in-class demonstrations.
|
||||
This course surveys multiple approaches to the Western art music traditions from a contemporary global, multicultural context. The inter-relationships between music, society and cultural forces is emphasized. Students learn to recognize and describe the basic components of music, like texture, tonality, rhythm, dynamics, and melody Lectures are supplemented by listening assignments and in-class demonstrations. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2510: Histories of Jazz and Improvised Music
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2510: Histories of Jazz and Improvised Music">
|
||||
<meta property="og:description" content="Since its emergence over a century ago, the energy, vitality, and challenging nature of jazz have had a significant impact on music throughout the world. The question of "what is jazz" remains a lively and contentious discussion to this day. This course charts the emergence, evolution, and expanded influence of jazz and jazz-inspired music, as well as the many controversial musical, social, and philosophical questions it continues to provoke. Through listening, analysis, discussion, writing, and creative projects, students will develop a greater appreciation and understanding of improvised music in a great variety of contexts, and the crucial role American jazz played in revitalizing improvisational practice throughout the 20th and 21st Centuries. No musical background is required.">
|
||||
<meta property="og:description" content="Since its emergence over a century ago, the energy, vitality, and challenging nature of jazz have had a significant impact on music throughout the world. The question of "what is jazz" remains a lively and contentious discussion to this day. This course charts the emergence, evolution, and expanded influence of jazz and jazz-inspired music, as well as the many controversial musical, social, and philosophical questions it continues to provoke. Through listening, analysis, discussion, writing, and creative projects, students will develop a greater appreciation and understanding of improvised music in a great variety of contexts, and the crucial role American jazz played in revitalizing improvisational practice throughout the 20th and 21st Centuries. No musical background is required. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2510
|
||||
</h2>
|
||||
<p>
|
||||
Since its emergence over a century ago, the energy, vitality, and challenging nature of jazz have had a significant impact on music throughout the world. The question of "what is jazz" remains a lively and contentious discussion to this day. This course charts the emergence, evolution, and expanded influence of jazz and jazz-inspired music, as well as the many controversial musical, social, and philosophical questions it continues to provoke. Through listening, analysis, discussion, writing, and creative projects, students will develop a greater appreciation and understanding of improvised music in a great variety of contexts, and the crucial role American jazz played in revitalizing improvisational practice throughout the 20th and 21st Centuries. No musical background is required.
|
||||
Since its emergence over a century ago, the energy, vitality, and challenging nature of jazz have had a significant impact on music throughout the world. The question of "what is jazz" remains a lively and contentious discussion to this day. This course charts the emergence, evolution, and expanded influence of jazz and jazz-inspired music, as well as the many controversial musical, social, and philosophical questions it continues to provoke. Through listening, analysis, discussion, writing, and creative projects, students will develop a greater appreciation and understanding of improvised music in a great variety of contexts, and the crucial role American jazz played in revitalizing improvisational practice throughout the 20th and 21st Centuries. No musical background is required. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2540: The Multimedia Century
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2540: The Multimedia Century">
|
||||
<meta property="og:description" content="This course will survey the history and theory of the diverse artistic practices of the twentieth century in relation to the development of the mass media and new technologies. Topics will include the Bauhaus, Surrealism, Pop Art, and Postmodernism and will span a spectrum of media from the more traditional, such as painting and photography, to electronic and new media, such as video and digital arts.">
|
||||
<meta property="og:description" content="This course will survey the history and theory of the diverse artistic practices of the twentieth century in relation to the development of the mass media and new technologies. Topics will include the Bauhaus, Surrealism, Pop Art, and Postmodernism and will span a spectrum of media from the more traditional, such as painting and photography, to electronic and new media, such as video and digital arts.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2540
|
||||
</h2>
|
||||
<p>
|
||||
This course will survey the history and theory of the diverse artistic practices of the twentieth century in relation to the development of the mass media and new technologies. Topics will include the Bauhaus, Surrealism, Pop Art, and Postmodernism and will span a spectrum of media from the more traditional, such as painting and photography, to electronic and new media, such as video and digital arts.
|
||||
This course will survey the history and theory of the diverse artistic practices of the twentieth century in relation to the development of the mass media and new technologies. Topics will include the Bauhaus, Surrealism, Pop Art, and Postmodernism and will span a spectrum of media from the more traditional, such as painting and photography, to electronic and new media, such as video and digital arts.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2550: Popular Music and Society
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2550: Popular Music and Society">
|
||||
<meta property="og:description" content="This topics-based course examines popular music in society, considering the ways it may express identities, motivate political movements, and function within various economic, mediated, and technological environments. This course explores popular music representing diverse genres (country, hip hop, EDM, Top 40) as it relates to social life, the intersections of race, gender, class, and sexuality, and media and technology.">
|
||||
<meta property="og:description" content="This topics-based course examines popular music in society, considering the ways it may express identities, motivate political movements, and function within various economic, mediated, and technological environments. This course explores popular music representing diverse genres (country, hip hop, EDM, Top 40) as it relates to social life, the intersections of race, gender, class, and sexuality, and media and technology. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2550
|
||||
</h2>
|
||||
<p>
|
||||
This topics-based course examines popular music in society, considering the ways it may express identities, motivate political movements, and function within various economic, mediated, and technological environments. This course explores popular music representing diverse genres (country, hip hop, EDM, Top 40) as it relates to social life, the intersections of race, gender, class, and sexuality, and media and technology.
|
||||
This topics-based course examines popular music in society, considering the ways it may express identities, motivate political movements, and function within various economic, mediated, and technological environments. This course explores popular music representing diverse genres (country, hip hop, EDM, Top 40) as it relates to social life, the intersections of race, gender, class, and sexuality, and media and technology. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2560: Game Sound and Musical Play
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2560: Game Sound and Musical Play">
|
||||
<meta property="og:description" content="What makes play musical and music playful? How does game sound and music contribute to gameworld creation, gameplay, and virtual performance? Ludomusicology—the relation of music to play—addresses these questions and challenges us to take play seriously. This course considers the diverse relationships among music, play, media, and performance, including game sound, music-stylistic features of game consoles and systems, children's games, remixing and sampling, the role musical games play in cultural identity, and more.">
|
||||
<meta property="og:description" content="What makes play musical and music playful? How does game sound and music contribute to gameworld creation, gameplay, and virtual performance? Ludomusicologyâthe relation of music to playâaddresses these questions and challenges us to take play seriously. This course considers the diverse relationships among music, play, media, and performance, including game sound, music-stylistic features of game consoles and systems, children's games, remixing and sampling, the role musical games play in cultural identity, and more. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2560
|
||||
</h2>
|
||||
<p>
|
||||
What makes play musical and music playful? How does game sound and music contribute to gameworld creation, gameplay, and virtual performance? Ludomusicology—the relation of music to play—addresses these questions and challenges us to take play seriously. This course considers the diverse relationships among music, play, media, and performance, including game sound, music-stylistic features of game consoles and systems, children's games, remixing and sampling, the role musical games play in cultural identity, and more.
|
||||
What makes play musical and music playful? How does game sound and music contribute to gameworld creation, gameplay, and virtual performance? Ludomusicologyâthe relation of music to playâaddresses these questions and challenges us to take play seriously. This course considers the diverse relationships among music, play, media, and performance, including game sound, music-stylistic features of game consoles and systems, children's games, remixing and sampling, the role musical games play in cultural identity, and more. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2570: Music, Sound, & the Environment
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2570: Music, Sound, & the Environment">
|
||||
<meta property="og:description" content="This course addresses relationships among society, culture, the more-than-human world, and the environment. We explore the diverse and interconnected ways in which contemporary composers, popular musicians, sound artists, and global music practices draw on natural and built environments to comment on current environmental and energy issues, articulate relationships among the arts, humanities, and science and technology studies, represent past, present and future environments, and engage in social activism. In this course, music is approached as artistic expression as well as a form of knowledge that can heighten our sensitivity and awareness of the environment, incorporating reading and writing assignments, and individual and group creative projects.">
|
||||
<meta property="og:description" content="This course addresses relationships among society, culture, the more-than-human world, and the environment. We explore the diverse and interconnected ways in which contemporary composers, popular musicians, sound artists, and global music practices draw on natural and built environments to comment on current environmental and energy issues, articulate relationships among the arts, humanities, and science and technology studies, represent past, present and future environments, and engage in social activism. In this course, music is approached as artistic expression as well as a form of knowledge that can heighten our sensitivity and awareness of the environment, incorporating reading and writing assignments, and individual and group creative projects. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2570
|
||||
</h2>
|
||||
<p>
|
||||
This course addresses relationships among society, culture, the more-than-human world, and the environment. We explore the diverse and interconnected ways in which contemporary composers, popular musicians, sound artists, and global music practices draw on natural and built environments to comment on current environmental and energy issues, articulate relationships among the arts, humanities, and science and technology studies, represent past, present and future environments, and engage in social activism. In this course, music is approached as artistic expression as well as a form of knowledge that can heighten our sensitivity and awareness of the environment, incorporating reading and writing assignments, and individual and group creative projects.
|
||||
This course addresses relationships among society, culture, the more-than-human world, and the environment. We explore the diverse and interconnected ways in which contemporary composers, popular musicians, sound artists, and global music practices draw on natural and built environments to comment on current environmental and energy issues, articulate relationships among the arts, humanities, and science and technology studies, represent past, present and future environments, and engage in social activism. In this course, music is approached as artistic expression as well as a form of knowledge that can heighten our sensitivity and awareness of the environment, incorporating reading and writing assignments, and individual and group creative projects. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2600: Ensemble Nonlinear
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2600: Ensemble Nonlinear">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements or once as a 4-credit seminar at either the 4000 or 6000 level.">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements or once as a 4-credit seminar at either the 4000 or 6000 level.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2600
|
||||
</h2>
|
||||
<p>
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements or once as a 4-credit seminar at either the 4000 or 6000 level.
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements or once as a 4-credit seminar at either the 4000 or 6000 level.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2610: Designing Musical Games
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2610: Designing Musical Games">
|
||||
<meta property="og:description" content="Students will explore the artistic role of music and sound in gaming by building their own interactive sound and music-rich games and 2D/3D rendered environments. Within the context of their own creative game projects, students will learn the basics of designing sound and composing music for interactive game spaces. Using workflow programming languages and software tools, students will program basic gaming interactions, link them to interactive audio software, and create musical gaming experiences.">
|
||||
<meta property="og:description" content="Students will explore the artistic role of music and sound in gaming by building their own interactive sound and music-rich games and 2D/3D rendered environments. Within the context of their own creative game projects, students will learn the basics of designing sound and composing music for interactive game spaces. Using workflow programming languages and software tools, students will program basic gaming interactions, link them to interactive audio software, and create musical gaming experiences. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2610
|
||||
</h2>
|
||||
<p>
|
||||
Students will explore the artistic role of music and sound in gaming by building their own interactive sound and music-rich games and 2D/3D rendered environments. Within the context of their own creative game projects, students will learn the basics of designing sound and composing music for interactive game spaces. Using workflow programming languages and software tools, students will program basic gaming interactions, link them to interactive audio software, and create musical gaming experiences.
|
||||
Students will explore the artistic role of music and sound in gaming by building their own interactive sound and music-rich games and 2D/3D rendered environments. Within the context of their own creative game projects, students will learn the basics of designing sound and composing music for interactive game spaces. Using workflow programming languages and software tools, students will program basic gaming interactions, link them to interactive audio software, and create musical gaming experiences. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2750: Private Music Lessons
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2750: Private Music Lessons">
|
||||
<meta property="og:description" content="Private applied music lessons provide weekly instruction in instrumental and vocal performance. The goal of this class is to develop the student's musical ability relative to capacity and interest. A supplementary lesson fee is charged.">
|
||||
<meta property="og:description" content="Private applied music lessons provide weekly instruction in instrumental and vocal performance. The goal of this class is to develop the student's musical ability relative to capacity and interest. A supplementary lesson fee is charged. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2750
|
||||
</h2>
|
||||
<p>
|
||||
Private applied music lessons provide weekly instruction in instrumental and vocal performance. The goal of this class is to develop the student's musical ability relative to capacity and interest. A supplementary lesson fee is charged.
|
||||
Private applied music lessons provide weekly instruction in instrumental and vocal performance. The goal of this class is to develop the student's musical ability relative to capacity and interest. A supplementary lesson fee is charged. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-2940: Studies in the Arts
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-2940: Studies in the Arts">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments at the 2000 level adapted to the needs of individual students.">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments at the 2000 level adapted to the needs of individual students.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-2940
|
||||
</h2>
|
||||
<p>
|
||||
Individual and collaborative projects and assignments at the 2000 level adapted to the needs of individual students.
|
||||
Individual and collaborative projects and assignments at the 2000 level adapted to the needs of individual students.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4040: Rethinking Documentary: Video Production
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4040: Rethinking Documentary: Video Production">
|
||||
<meta property="og:description" content="This is a production course investigating non-traditional approaches to documentary or non-fiction film/video. Taking a broad look at what defines "documentary" media, this course will incorporate criticism with production. Students will produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques. Students will study traditional documentary works including ethnographic films, cinema verité, propaganda films, "home movies," reality TV, tabloid news, autobiographic and activist videos.">
|
||||
<meta property="og:description" content="This is a production course investigating non-traditional approaches to documentary or non-fiction film/video. Taking a broad look at what defines "documentary" media, this course will incorporate criticism with production. Students will produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques. Students will study traditional documentary works including ethnographic films, cinema verité, propaganda films, "home movies," reality TV, tabloid news, autobiographic and activist videos.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4040
|
||||
</h2>
|
||||
<p>
|
||||
This is a production course investigating non-traditional approaches to documentary or non-fiction film/video. Taking a broad look at what defines "documentary" media, this course will incorporate criticism with production. Students will produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques. Students will study traditional documentary works including ethnographic films, cinema verité, propaganda films, "home movies," reality TV, tabloid news, autobiographic and activist videos.
|
||||
This is a production course investigating non-traditional approaches to documentary or non-fiction film/video. Taking a broad look at what defines "documentary" media, this course will incorporate criticism with production. Students will produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques. Students will study traditional documentary works including ethnographic films, cinema verité, propaganda films, "home movies," reality TV, tabloid news, autobiographic and activist videos.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4050: Advanced Video Media Studio
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4050: Advanced Video Media Studio">
|
||||
<meta property="og:description" content="The course is designed to help students continue to develop as media-makers/filmmakers. Students will work on short video projects that are shot in the studio and in the field. Studio experimentations, including projection work, multi-camera production, generating ideas, and realizing a well-developed final project. Students write their own scripts, learn new technical skills and direct videos.">
|
||||
<meta property="og:description" content="The course is designed to help students continue to develop as media-makers/filmmakers. Students will work on short video projects that are shot in the studio and in the field. Studio experimentations, including projection work, multi-camera production, generating ideas, and realizing a well-developed final project. Students write their own scripts, learn new technical skills and direct videos.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4050
|
||||
</h2>
|
||||
<p>
|
||||
The course is designed to help students continue to develop as media-makers/filmmakers. Students will work on short video projects that are shot in the studio and in the field. Studio experimentations, including projection work, multi-camera production, generating ideas, and realizing a well-developed final project. Students write their own scripts, learn new technical skills and direct videos.
|
||||
The course is designed to help students continue to develop as media-makers/filmmakers. Students will work on short video projects that are shot in the studio and in the field. Studio experimentations, including projection work, multi-camera production, generating ideas, and realizing a well-developed final project. Students write their own scripts, learn new technical skills and direct videos.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4120: Biopunk: Arts Lab Practice
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4120: Biopunk: Arts Lab Practice">
|
||||
<meta property="og:description" content="Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species.">
|
||||
<meta property="og:description" content="Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4120
|
||||
</h2>
|
||||
<p>
|
||||
Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species.
|
||||
Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4130: New Media Theory
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4130: New Media Theory">
|
||||
<meta property="og:description" content="This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective to equip students with multiple perspectives - aesthetic, communications, historical - with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.">
|
||||
<meta property="og:description" content="This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective to equip students with multiple perspectives - aesthetic, communications, historical - with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4130
|
||||
</h2>
|
||||
<p>
|
||||
This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective to equip students with multiple perspectives - aesthetic, communications, historical - with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.
|
||||
This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective to equip students with multiple perspectives - aesthetic, communications, historical - with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4150: Media Watch
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4150: Media Watch">
|
||||
<meta property="og:description" content="This seminar is an investigation of the successes and failures of the news media, set within historical and contemporary contexts. The title "media watch" is intended to evoke a watch-dog approach found in independent media sources and organizations like human rights watch. Assignments involve analyzing how issues are portrayed in the media, and students choose their topics according to their interests. The course can therefore enhance capstone, thesis, or dissertation work.">
|
||||
<meta property="og:description" content="This seminar is an investigation of the successes and failures of the news media, set within historical and contemporary contexts. The title "media watch" is intended to evoke a watch-dog approach found in independent media sources and organizations like human rights watch. Assignments involve analyzing how issues are portrayed in the media, and students choose their topics according to their interests. The course can therefore enhance capstone, thesis, or dissertation work.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4150
|
||||
</h2>
|
||||
<p>
|
||||
This seminar is an investigation of the successes and failures of the news media, set within historical and contemporary contexts. The title "media watch" is intended to evoke a watch-dog approach found in independent media sources and organizations like human rights watch. Assignments involve analyzing how issues are portrayed in the media, and students choose their topics according to their interests. The course can therefore enhance capstone, thesis, or dissertation work.
|
||||
This seminar is an investigation of the successes and failures of the news media, set within historical and contemporary contexts. The title "media watch" is intended to evoke a watch-dog approach found in independent media sources and organizations like human rights watch. Assignments involve analyzing how issues are portrayed in the media, and students choose their topics according to their interests. The course can therefore enhance capstone, thesis, or dissertation work.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4180: Topics in Deep Listening
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4180: Topics in Deep Listening">
|
||||
<meta property="og:description" content="This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening.">
|
||||
<meta property="og:description" content="This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4180
|
||||
</h2>
|
||||
<p>
|
||||
This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening.
|
||||
This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4230: Inflatable Sculpture
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4230: Inflatable Sculpture">
|
||||
<meta property="og:description" content="This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout the class will explore, design, and build inflated structures that may include video and sound elements.">
|
||||
<meta property="og:description" content="This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout the class will explore, design, and build inflated structures that may include video and sound elements.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4230
|
||||
</h2>
|
||||
<p>
|
||||
This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout the class will explore, design, and build inflated structures that may include video and sound elements.
|
||||
This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout the class will explore, design, and build inflated structures that may include video and sound elements.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4250: Art, Community, and Technology
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4250: Art, Community, and Technology">
|
||||
<meta property="og:description" content="Through direct experience in the community, this course explores the complex roles and relationships of art, education, and technology. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that ultimately will be realized as significant additions to their professional portfolio. The projects can include a range from traditional arts practice to creative writing, creative IT models, to community art and activism.">
|
||||
<meta property="og:description" content="Through direct experience in the community, this course explores the complex roles and relationships of art, education, and technology. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that ultimately will be realized as significant additions to their professional portfolio. The projects can include a range from traditional arts practice to creative writing, creative IT models, to community art and activism.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4250
|
||||
</h2>
|
||||
<p>
|
||||
Through direct experience in the community, this course explores the complex roles and relationships of art, education, and technology. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that ultimately will be realized as significant additions to their professional portfolio. The projects can include a range from traditional arts practice to creative writing, creative IT models, to community art and activism.
|
||||
Through direct experience in the community, this course explores the complex roles and relationships of art, education, and technology. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that ultimately will be realized as significant additions to their professional portfolio. The projects can include a range from traditional arts practice to creative writing, creative IT models, to community art and activism.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4280: 3D Technical Direction
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4280: 3D Technical Direction">
|
||||
<meta property="og:description" content="In 3D Animation, the technical director (or "TD") covers roles including character rigging, lighting setup, custom tools, and other parts of the pipeline that involve the technical work needed to support artistic creativity. In this course we will focus on rigging, covering basic and intermediate rigging techniques for characters in Maya including bipeds, facial rigs, motion capture and game engine pipelines and basic scripting in MEL and Python. We will emphasize an animator-friendly approach to rig design, utilizing both the technical capabilities of Maya and good UI and UX principles to produce rigs that are both powerful and easy to use.">
|
||||
<meta property="og:description" content="In 3D Animation, the technical director (or "TD") covers roles including character rigging, lighting setup, custom tools, and other parts of the pipeline that involve the technical work needed to support artistic creativity. In this course we will focus on rigging, covering basic and intermediate rigging techniques for characters in Maya including bipeds, facial rigs, motion capture and game engine pipelines and basic scripting in MEL and Python. We will emphasize an animator-friendly approach to rig design, utilizing both the technical capabilities of Maya and good UI and UX principles to produce rigs that are both powerful and easy to use. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4280
|
||||
</h2>
|
||||
<p>
|
||||
In 3D Animation, the technical director (or "TD") covers roles including character rigging, lighting setup, custom tools, and other parts of the pipeline that involve the technical work needed to support artistic creativity. In this course we will focus on rigging, covering basic and intermediate rigging techniques for characters in Maya including bipeds, facial rigs, motion capture and game engine pipelines and basic scripting in MEL and Python. We will emphasize an animator-friendly approach to rig design, utilizing both the technical capabilities of Maya and good UI and UX principles to produce rigs that are both powerful and easy to use.
|
||||
In 3D Animation, the technical director (or "TD") covers roles including character rigging, lighting setup, custom tools, and other parts of the pipeline that involve the technical work needed to support artistic creativity. In this course we will focus on rigging, covering basic and intermediate rigging techniques for characters in Maya including bipeds, facial rigs, motion capture and game engine pipelines and basic scripting in MEL and Python. We will emphasize an animator-friendly approach to rig design, utilizing both the technical capabilities of Maya and good UI and UX principles to produce rigs that are both powerful and easy to use. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4380: Music and Sound II
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4380: Music and Sound II">
|
||||
<meta property="og:description" content="The second in a two-course sequence combining music theory, aural skills, and engaged listening practices applicable to a broad range of musical styles, with an emphasis on creative practice. This course covers chromatic, extended, and contemporary tonal harmony and its interrelationship with form. Musicianship exercises include advanced chord identification, rhythm exercises, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance.">
|
||||
<meta property="og:description" content="The second in a two-course sequence combining music theory, aural skills, and engaged listening practices applicable to a broad range of musical styles, with an emphasis on creative practice. This course covers chromatic, extended, and contemporary tonal harmony and its interrelationship with form. Musicianship exercises include advanced chord identification, rhythm exercises, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4380
|
||||
</h2>
|
||||
<p>
|
||||
The second in a two-course sequence combining music theory, aural skills, and engaged listening practices applicable to a broad range of musical styles, with an emphasis on creative practice. This course covers chromatic, extended, and contemporary tonal harmony and its interrelationship with form. Musicianship exercises include advanced chord identification, rhythm exercises, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance.
|
||||
The second in a two-course sequence combining music theory, aural skills, and engaged listening practices applicable to a broad range of musical styles, with an emphasis on creative practice. This course covers chromatic, extended, and contemporary tonal harmony and its interrelationship with form. Musicianship exercises include advanced chord identification, rhythm exercises, dictation, and improvisation. Engaged listening practices include responsive listening, reading, and written exercises as well as in-class discussion. Weekly assignments include composition, analysis, and performance. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4390: Composition Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4390: Composition Seminar">
|
||||
<meta property="og:description" content="This seminar builds on skills acquired in the Music and Sound sequence. Through a series of exercises, students investigate sound as a medium for artistic expression while addressing the basics of orchestration, notation, and the development of musical and sonic ideas. Acoustic, electronic, and non-traditional contemporary approaches to composition will be explored, including performance, intermedia, and sound installation. The course culminates in a final composition project to be performed in an end of semester concert.">
|
||||
<meta property="og:description" content="This seminar builds on skills acquired in the Music and Sound sequence. Through a series of exercises, students investigate sound as a medium for artistic expression while addressing the basics of orchestration, notation, and the development of musical and sonic ideas. Acoustic, electronic, and non-traditional contemporary approaches to composition will be explored, including performance, intermedia, and sound installation. The course culminates in a final composition project to be performed in an end of semester concert. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4390
|
||||
</h2>
|
||||
<p>
|
||||
This seminar builds on skills acquired in the Music and Sound sequence. Through a series of exercises, students investigate sound as a medium for artistic expression while addressing the basics of orchestration, notation, and the development of musical and sonic ideas. Acoustic, electronic, and non-traditional contemporary approaches to composition will be explored, including performance, intermedia, and sound installation. The course culminates in a final composition project to be performed in an end of semester concert.
|
||||
This seminar builds on skills acquired in the Music and Sound sequence. Through a series of exercises, students investigate sound as a medium for artistic expression while addressing the basics of orchestration, notation, and the development of musical and sonic ideas. Acoustic, electronic, and non-traditional contemporary approaches to composition will be explored, including performance, intermedia, and sound installation. The course culminates in a final composition project to be performed in an end of semester concert. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4460: Animation Production
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4460: Animation Production">
|
||||
<meta property="og:description" content="Animation Production is designed to give an animation industry experience by completing the entire process of creating an animated short. Learning long-term time management and finding the key time cost/benefits will be essential to success. The course schedule is setup to replicate the industry model of frequent updates and feedback – dailies.">
|
||||
<meta property="og:description" content="Animation Production is designed to give an animation industry experience by completing the entire process of creating an animated short. Learning long-term time management and finding the key time cost/benefits will be essential to success. The course schedule is setup to replicate the industry model of frequent updates and feedback â dailies. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4460
|
||||
</h2>
|
||||
<p>
|
||||
Animation Production is designed to give an animation industry experience by completing the entire process of creating an animated short. Learning long-term time management and finding the key time cost/benefits will be essential to success. The course schedule is setup to replicate the industry model of frequent updates and feedback – dailies.
|
||||
Animation Production is designed to give an animation industry experience by completing the entire process of creating an animated short. Learning long-term time management and finding the key time cost/benefits will be essential to success. The course schedule is setup to replicate the industry model of frequent updates and feedback â dailies. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4560: Hactivism
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4560: Hactivism">
|
||||
<meta property="og:description" content="This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force.">
|
||||
<meta property="og:description" content="This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4560
|
||||
</h2>
|
||||
<p>
|
||||
This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force.
|
||||
This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4600: Ensemble Nonlinear
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4600: Ensemble Nonlinear">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level.">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4600
|
||||
</h2>
|
||||
<p>
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level.
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4620: Exploring Movement and Sound
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4620: Exploring Movement and Sound">
|
||||
<meta property="og:description" content="The exploration of movement often reveals sensitivities concerning the body, identity, gesture, culture, sensory awareness, perception, space, orientation, kinesthesia, time, relationships to people and objects, as well as cultural notions of embodiment and the senses. This course employs practice-based work, creative experimentation, and traditional forms of research (reading, viewing media, writing, discussions) as the primary methods to illuminate the issues concerning enactive (movement) knowledge. This is a Deep Listening-related course.">
|
||||
<meta property="og:description" content="The exploration of movement often reveals sensitivities concerning the body, identity, gesture, culture, sensory awareness, perception, space, orientation, kinesthesia, time, relationships to people and objects, as well as cultural notions of embodiment and the senses. This course employs practice-based work, creative experimentation, and traditional forms of research (reading, viewing media, writing, discussions) as the primary methods to illuminate the issues concerning enactive (movement) knowledge. This is a Deep Listening-related course.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4620
|
||||
</h2>
|
||||
<p>
|
||||
The exploration of movement often reveals sensitivities concerning the body, identity, gesture, culture, sensory awareness, perception, space, orientation, kinesthesia, time, relationships to people and objects, as well as cultural notions of embodiment and the senses. This course employs practice-based work, creative experimentation, and traditional forms of research (reading, viewing media, writing, discussions) as the primary methods to illuminate the issues concerning enactive (movement) knowledge. This is a Deep Listening-related course.
|
||||
The exploration of movement often reveals sensitivities concerning the body, identity, gesture, culture, sensory awareness, perception, space, orientation, kinesthesia, time, relationships to people and objects, as well as cultural notions of embodiment and the senses. This course employs practice-based work, creative experimentation, and traditional forms of research (reading, viewing media, writing, discussions) as the primary methods to illuminate the issues concerning enactive (movement) knowledge. This is a Deep Listening-related course.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4630: Writing and Directing for Video
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4630: Writing and Directing for Video">
|
||||
<meta property="og:description" content="The course introduces students to the art of writing and directing short videos, with an emphasis on generating ideas, and realizing them in a well-developed final project. Major theories and principles are studied through a comparative analysis of scripts and films. Students learn to work with actors, write their own scripts, and direct videos. Two final projects – a script and a video – will integrate all of the elements covered in class. Lecture/Practicum.">
|
||||
<meta property="og:description" content="The course introduces students to the art of writing and directing short videos, with an emphasis on generating ideas, and realizing them in a well-developed final project. Major theories and principles are studied through a comparative analysis of scripts and films. Students learn to work with actors, write their own scripts, and direct videos. Two final projects â a script and a video â will integrate all of the elements covered in class. Lecture/Practicum.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4630
|
||||
</h2>
|
||||
<p>
|
||||
The course introduces students to the art of writing and directing short videos, with an emphasis on generating ideas, and realizing them in a well-developed final project. Major theories and principles are studied through a comparative analysis of scripts and films. Students learn to work with actors, write their own scripts, and direct videos. Two final projects – a script and a video – will integrate all of the elements covered in class. Lecture/Practicum.
|
||||
The course introduces students to the art of writing and directing short videos, with an emphasis on generating ideas, and realizing them in a well-developed final project. Major theories and principles are studied through a comparative analysis of scripts and films. Students learn to work with actors, write their own scripts, and direct videos. Two final projects â a script and a video â will integrate all of the elements covered in class. Lecture/Practicum.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4640: Science Fictions
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4640: Science Fictions">
|
||||
<meta property="og:description" content="Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what is known about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fiction films and themes from the early 1900s to the present.">
|
||||
<meta property="og:description" content="Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what is known about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fiction films and themes from the early 1900s to the present.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4640
|
||||
</h2>
|
||||
<p>
|
||||
Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what is known about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fiction films and themes from the early 1900s to the present.
|
||||
Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what is known about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fiction films and themes from the early 1900s to the present.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4840: Creative Seminar I
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4840: Creative Seminar I">
|
||||
<meta property="og:description" content="This course is for senior EMAC and EART majors and is the core creative forum for the development and presentation of the senior thesis. The course is the first part of a two-semester study provided in two seminar courses. The focus of the course is to develop a proposal for for a written thesis and a creative project that students will execute in the second seminar and exhibit in an exhibition.">
|
||||
<meta property="og:description" content="This course is for senior EMAC and EART majors and is the core creative forum for the development and presentation of the senior thesis. The course is the first part of a two-semester study provided in two seminar courses. The focus of the course is to develop a proposal for for a written thesis and a creative project that students will execute in the second seminar and exhibit in an exhibition.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4840
|
||||
</h2>
|
||||
<p>
|
||||
This course is for senior EMAC and EART majors and is the core creative forum for the development and presentation of the senior thesis. The course is the first part of a two-semester study provided in two seminar courses. The focus of the course is to develop a proposal for for a written thesis and a creative project that students will execute in the second seminar and exhibit in an exhibition.
|
||||
This course is for senior EMAC and EART majors and is the core creative forum for the development and presentation of the senior thesis. The course is the first part of a two-semester study provided in two seminar courses. The focus of the course is to develop a proposal for for a written thesis and a creative project that students will execute in the second seminar and exhibit in an exhibition.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4850: Creative Seminar II
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4850: Creative Seminar II">
|
||||
<meta property="og:description" content="This course is for senior EMAC and EART majors. The goal of the Creative Seminar II is to develop and formulate ideas from Creative Seminar I into a unique project for the artists/communicator that will demonstrate his/her independent ideas, research, writing, and design skills. Students will develop a written thesis, creative project (e.g., art, graphic design, interaction design, music, performance), prepare and present their project in a public exhibition, and design the publicity for the show.">
|
||||
<meta property="og:description" content="This course is for senior EMAC and EART majors. The goal of the Creative Seminar II is to develop and formulate ideas from Creative Seminar I into a unique project for the artists/communicator that will demonstrate his/her independent ideas, research, writing, and design skills. Students will develop a written thesis, creative project (e.g., art, graphic design, interaction design, music, performance), prepare and present their project in a public exhibition, and design the publicity for the show.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4850
|
||||
</h2>
|
||||
<p>
|
||||
This course is for senior EMAC and EART majors. The goal of the Creative Seminar II is to develop and formulate ideas from Creative Seminar I into a unique project for the artists/communicator that will demonstrate his/her independent ideas, research, writing, and design skills. Students will develop a written thesis, creative project (e.g., art, graphic design, interaction design, music, performance), prepare and present their project in a public exhibition, and design the publicity for the show.
|
||||
This course is for senior EMAC and EART majors. The goal of the Creative Seminar II is to develop and formulate ideas from Creative Seminar I into a unique project for the artists/communicator that will demonstrate his/her independent ideas, research, writing, and design skills. Students will develop a written thesis, creative project (e.g., art, graphic design, interaction design, music, performance), prepare and present their project in a public exhibition, and design the publicity for the show.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4880: Interdisciplinary Research Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4880: Interdisciplinary Research Seminar">
|
||||
<meta property="og:description" content="This is a course introducing music majors to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.">
|
||||
<meta property="og:description" content="This is a course introducing music majors to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4880
|
||||
</h2>
|
||||
<p>
|
||||
This is a course introducing music majors to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.
|
||||
This is a course introducing music majors to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4940: Studies in the Arts
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4940: Studies in the Arts">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments at the 4000 level adapted to the needs of individual students.">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments at the 4000 level adapted to the needs of individual students.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4940
|
||||
</h2>
|
||||
<p>
|
||||
Individual and collaborative projects and assignments at the 4000 level adapted to the needs of individual students.
|
||||
Individual and collaborative projects and assignments at the 4000 level adapted to the needs of individual students.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-4990: B.S. EARTS Thesis
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-4990: B.S. EARTS Thesis">
|
||||
<meta property="og:description" content="The purpose of this course is to demonstrate the student's capacity for independent work integrating concepts and media from the full range of their studio, history, and theory studies. It is a project-based class, culminating in a written thesis paper and a public presentation of work determined by the student. This course may be taken multiple times, but is a requirement in the student's final two semesters.">
|
||||
<meta property="og:description" content="The purpose of this course is to demonstrate the student's capacity for independent work integrating concepts and media from the full range of their studio, history, and theory studies. It is a project-based class, culminating in a written thesis paper and a public presentation of work determined by the student. This course may be taken multiple times, but is a requirement in the student's final two semesters.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-4990
|
||||
</h2>
|
||||
<p>
|
||||
The purpose of this course is to demonstrate the student's capacity for independent work integrating concepts and media from the full range of their studio, history, and theory studies. It is a project-based class, culminating in a written thesis paper and a public presentation of work determined by the student. This course may be taken multiple times, but is a requirement in the student's final two semesters.
|
||||
The purpose of this course is to demonstrate the student's capacity for independent work integrating concepts and media from the full range of their studio, history, and theory studies. It is a project-based class, culminating in a written thesis paper and a public presentation of work determined by the student. This course may be taken multiple times, but is a requirement in the student's final two semesters.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6030: Multimedia Performance Systems
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6030: Multimedia Performance Systems">
|
||||
<meta property="og:description" content="Multimedia Performance Systems explores the composition and programming of real-time performance systems. The course will examine the basics of MIDI, sound synthesis, digital signal processing, and image/video manipulation. Final projects will consist of a real-time performance system or interactive installation.">
|
||||
<meta property="og:description" content="Multimedia Performance Systems explores the composition and programming of real-time performance systems. The course will examine the basics of MIDI, sound synthesis, digital signal processing, and image/video manipulation. Final projects will consist of a real-time performance system or interactive installation.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6030
|
||||
</h2>
|
||||
<p>
|
||||
Multimedia Performance Systems explores the composition and programming of real-time performance systems. The course will examine the basics of MIDI, sound synthesis, digital signal processing, and image/video manipulation. Final projects will consist of a real-time performance system or interactive installation.
|
||||
Multimedia Performance Systems explores the composition and programming of real-time performance systems. The course will examine the basics of MIDI, sound synthesis, digital signal processing, and image/video manipulation. Final projects will consist of a real-time performance system or interactive installation.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6040: Rethinking Documentary: Video Production
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6040: Rethinking Documentary: Video Production">
|
||||
<meta property="og:description" content="Rethinking Documentary is a graduate level production course in film and video. Taking a broad look at what defines "documentary" media, this course incorporates criticism with production to examine key issues in the discipline, such as truth versus fiction, personal responsibility, community involvement, the efficacy of video intervention and the authority of mass media. Students are required to produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques to tell compelling or poetic stories.">
|
||||
<meta property="og:description" content="Rethinking Documentary is a graduate level production course in film and video. Taking a broad look at what defines "documentary" media, this course incorporates criticism with production to examine key issues in the discipline, such as truth versus fiction, personal responsibility, community involvement, the efficacy of video intervention and the authority of mass media. Students are required to produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques to tell compelling or poetic stories.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6040
|
||||
</h2>
|
||||
<p>
|
||||
Rethinking Documentary is a graduate level production course in film and video. Taking a broad look at what defines "documentary" media, this course incorporates criticism with production to examine key issues in the discipline, such as truth versus fiction, personal responsibility, community involvement, the efficacy of video intervention and the authority of mass media. Students are required to produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques to tell compelling or poetic stories.
|
||||
Rethinking Documentary is a graduate level production course in film and video. Taking a broad look at what defines "documentary" media, this course incorporates criticism with production to examine key issues in the discipline, such as truth versus fiction, personal responsibility, community involvement, the efficacy of video intervention and the authority of mass media. Students are required to produce a range of video works questioning conventional documentary styles, using radical and interventionist techniques to tell compelling or poetic stories.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6080: Graduate Studio Critique
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6080: Graduate Studio Critique">
|
||||
<meta property="og:description" content="Development and completion of individual creative projects with a focus on studio production, method, and process. Students are expected to foster an environment in which serious and sophisticated peer critique can take place.">
|
||||
<meta property="og:description" content="Development and completion of individual creative projects with a focus on studio production, method, and process. Students are expected to foster an environment in which serious and sophisticated peer critique can take place.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6080
|
||||
</h2>
|
||||
<p>
|
||||
Development and completion of individual creative projects with a focus on studio production, method, and process. Students are expected to foster an environment in which serious and sophisticated peer critique can take place.
|
||||
Development and completion of individual creative projects with a focus on studio production, method, and process. Students are expected to foster an environment in which serious and sophisticated peer critique can take place.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6090: Art and Code and Interactivity
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6090: Art and Code and Interactivity">
|
||||
<meta property="og:description" content="This course is primarily concerned with learning how to build any interactive experience or artwork from concept to completion. It will introduce open-source, cross-platform programming libraries and tools used by artists and programmers to create interactive experiences and artworks for museum installations, festivals, VJ-ing, projection mapping, interactive experiences/artworks, and more. Then, the course starts to address the questions: Is code an art form? What is interactive art? Is software art?">
|
||||
<meta property="og:description" content="This course is primarily concerned with learning how to build any interactive experience or artwork from concept to completion. It will introduce open-source, cross-platform programming libraries and tools used by artists and programmers to create interactive experiences and artworks for museum installations, festivals, VJ-ing, projection mapping, interactive experiences/artworks, and more. Then, the course starts to address the questions: Is code an art form? What is interactive art? Is software art?">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6090
|
||||
</h2>
|
||||
<p>
|
||||
This course is primarily concerned with learning how to build any interactive experience or artwork from concept to completion. It will introduce open-source, cross-platform programming libraries and tools used by artists and programmers to create interactive experiences and artworks for museum installations, festivals, VJ-ing, projection mapping, interactive experiences/artworks, and more. Then, the course starts to address the questions: Is code an art form? What is interactive art? Is software art?
|
||||
This course is primarily concerned with learning how to build any interactive experience or artwork from concept to completion. It will introduce open-source, cross-platform programming libraries and tools used by artists and programmers to create interactive experiences and artworks for museum installations, festivals, VJ-ing, projection mapping, interactive experiences/artworks, and more. Then, the course starts to address the questions: Is code an art form? What is interactive art? Is software art?
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
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|
|||
ARTS-6110: Electronic Arts Overview
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6110: Electronic Arts Overview">
|
||||
<meta property="og:description" content="This seminar will provide a historical context for understanding and analyzing practices and theories of contemporary electronic art. The curriculum is a mix of field surveys, readings of primary sources in aesthetic, media and critical theory, and examination of contemporary topics and controversies. The seminar is also intended to support the development and articulation of the student's creative practice. Open to graduate students across the Institute.">
|
||||
<meta property="og:description" content="This seminar will provide a historical context for understanding and analyzing practices and theories of contemporary electronic art. The curriculum is a mix of field surveys, readings of primary sources in aesthetic, media and critical theory, and examination of contemporary topics and controversies. The seminar is also intended to support the development and articulation of the student's creative practice. Open to graduate students across the Institute. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6110
|
||||
</h2>
|
||||
<p>
|
||||
This seminar will provide a historical context for understanding and analyzing practices and theories of contemporary electronic art. The curriculum is a mix of field surveys, readings of primary sources in aesthetic, media and critical theory, and examination of contemporary topics and controversies. The seminar is also intended to support the development and articulation of the student's creative practice. Open to graduate students across the Institute.
|
||||
This seminar will provide a historical context for understanding and analyzing practices and theories of contemporary electronic art. The curriculum is a mix of field surveys, readings of primary sources in aesthetic, media and critical theory, and examination of contemporary topics and controversies. The seminar is also intended to support the development and articulation of the student's creative practice. Open to graduate students across the Institute. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
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|
|||
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|
@ -5,7 +5,7 @@
|
|||
ARTS-6120: Biopunk: Arts Lab Practice
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6120: Biopunk: Arts Lab Practice">
|
||||
<meta property="og:description" content="Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species.">
|
||||
<meta property="og:description" content="Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6120
|
||||
</h2>
|
||||
<p>
|
||||
Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species.
|
||||
Biopunk: Arts Lab Practice is a studio, lab and lecture class introducing students to bioart, and microbial life and resilient ecological practices. We use punk, queer and biological laboratory techniques to creatively produce science, design and art works. Students will be required to complete readings, experiment, and create their own visions of a speculative biofuture. Emphasis will be on the history and contemporary investigations of the microbiome and how to culturally explore these scenarios of how we live amongst multiple diverse communities and species. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6130: New Media Theory
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6130: New Media Theory">
|
||||
<meta property="og:description" content="This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective is to equip students with multiple perspectives — aesthetic, communications, historical — with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.">
|
||||
<meta property="og:description" content="This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective is to equip students with multiple perspectives â aesthetic, communications, historical â with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6130
|
||||
</h2>
|
||||
<p>
|
||||
This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective is to equip students with multiple perspectives — aesthetic, communications, historical — with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.
|
||||
This course asks what is really new about New Media, and looks at creative practices, theoretical discourses, and social contexts to find answers. The course concentrates on cutting edge cultural expression using information and communication technologies. The objective is to equip students with multiple perspectives â aesthetic, communications, historical â with which to analyze, critique, and develop original concepts about the uses of new media in art and culture.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6140: Queer Ecologies
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6140: Queer Ecologies">
|
||||
<meta property="og:description" content="Queer Ecologies is an undergraduate and graduate arts course that uses art to think about our eco-futures. We will look at the disruptive nature of Cartesian thinking and binary positioning in relation to sexuality and ecologies. The "queering" is a means to refuse this binary thinking and consider expansive interdisciplinary practices that have evolved from LGBTQ+ and feminist theory, decolonial thinking, extinction and death studies, environmental justice, critiques of science and big pharma, biopolitics, bioethics, biology, science fiction, aesthetics, art and play.">
|
||||
<meta property="og:description" content="Queer Ecologies is an undergraduate and graduate arts course that uses art to think about our eco-futures. We will look at the disruptive nature of Cartesian thinking and binary positioning in relation to sexuality and ecologies. The "queering" is a means to refuse this binary thinking and consider expansive interdisciplinary practices that have evolved from LGBTQ+ and feminist theory, decolonial thinking, extinction and death studies, environmental justice, critiques of science and big pharma, biopolitics, bioethics, biology, science fiction, aesthetics, art and play. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6140
|
||||
</h2>
|
||||
<p>
|
||||
Queer Ecologies is an undergraduate and graduate arts course that uses art to think about our eco-futures. We will look at the disruptive nature of Cartesian thinking and binary positioning in relation to sexuality and ecologies. The "queering" is a means to refuse this binary thinking and consider expansive interdisciplinary practices that have evolved from LGBTQ+ and feminist theory, decolonial thinking, extinction and death studies, environmental justice, critiques of science and big pharma, biopolitics, bioethics, biology, science fiction, aesthetics, art and play.
|
||||
Queer Ecologies is an undergraduate and graduate arts course that uses art to think about our eco-futures. We will look at the disruptive nature of Cartesian thinking and binary positioning in relation to sexuality and ecologies. The "queering" is a means to refuse this binary thinking and consider expansive interdisciplinary practices that have evolved from LGBTQ+ and feminist theory, decolonial thinking, extinction and death studies, environmental justice, critiques of science and big pharma, biopolitics, bioethics, biology, science fiction, aesthetics, art and play. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6180: Topics in Deep Listening
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6180: Topics in Deep Listening">
|
||||
<meta property="og:description" content="This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening.">
|
||||
<meta property="og:description" content="This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6180
|
||||
</h2>
|
||||
<p>
|
||||
This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening.
|
||||
This course continues the practice and study of Deep Listening beyond the foundational course "Deep Listening." Topics include a wide range of investigations, research, and creativity in Deep Listening. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6230: Inflatable Sculpture
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6230: Inflatable Sculpture">
|
||||
<meta property="og:description" content="This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout, the class will explore, design, and build inflated structures that may include video and sound elements. Graduate students will also be required to write a paper.">
|
||||
<meta property="og:description" content="This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout, the class will explore, design, and build inflated structures that may include video and sound elements. Graduate students will also be required to write a paper.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6230
|
||||
</h2>
|
||||
<p>
|
||||
This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout, the class will explore, design, and build inflated structures that may include video and sound elements. Graduate students will also be required to write a paper.
|
||||
This class studies, creates, and publicly presents inflatable sculptures. The history of inflatables are examined, with special attention paid to how they have been used in political movements that imagine utopian social futures, and how those applications contrast with commercial uses (such as advertising) that have become commonplace in public spaces today. Throughout, the class will explore, design, and build inflated structures that may include video and sound elements. Graduate students will also be required to write a paper.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6240: Eco Chic: Living Art
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6240: Eco Chic: Living Art">
|
||||
<meta property="og:description" content="Eco Chic: Living Art is an upper level production and theory class about art, biology, and the study of life covering topics such as environmentalism, land art, food art, sustainable practices with art, body art, bio-art. Part lecture, part hands-on workshop, Eco Chic encourages students to redefine and experimentally express their relationships with the varied aspects of everyday living systems and manipulating life.">
|
||||
<meta property="og:description" content="Eco Chic: Living Art is an upper level production and theory class about art, biology, and the study of life covering topics such as environmentalism, land art, food art, sustainable practices with art, body art, bio-art. Part lecture, part hands-on workshop, Eco Chic encourages students to redefine and experimentally express their relationships with the varied aspects of everyday living systems and manipulating life.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6240
|
||||
</h2>
|
||||
<p>
|
||||
Eco Chic: Living Art is an upper level production and theory class about art, biology, and the study of life covering topics such as environmentalism, land art, food art, sustainable practices with art, body art, bio-art. Part lecture, part hands-on workshop, Eco Chic encourages students to redefine and experimentally express their relationships with the varied aspects of everyday living systems and manipulating life.
|
||||
Eco Chic: Living Art is an upper level production and theory class about art, biology, and the study of life covering topics such as environmentalism, land art, food art, sustainable practices with art, body art, bio-art. Part lecture, part hands-on workshop, Eco Chic encourages students to redefine and experimentally express their relationships with the varied aspects of everyday living systems and manipulating life.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6250: Art, Community, and Technology
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6250: Art, Community, and Technology">
|
||||
<meta property="og:description" content="This course explores the complex roles and relationships of art, education, and technology by giving students direct experience in the community. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that can become significant additions to their professional portfolio. The projects can include a range of practices including but not limited to traditional arts, creative writing, creative IT, community art, and activism. Graduate students who take this course will write a mid-term and final paper, plus offer an independent public presentation of their work.">
|
||||
<meta property="og:description" content="This course explores the complex roles and relationships of art, education, and technology by giving students direct experience in the community. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that can become significant additions to their professional portfolio. The projects can include a range of practices including but not limited to traditional arts, creative writing, creative IT, community art, and activism. Graduate students who take this course will write a mid-term and final paper, plus offer an independent public presentation of their work.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6250
|
||||
</h2>
|
||||
<p>
|
||||
This course explores the complex roles and relationships of art, education, and technology by giving students direct experience in the community. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that can become significant additions to their professional portfolio. The projects can include a range of practices including but not limited to traditional arts, creative writing, creative IT, community art, and activism. Graduate students who take this course will write a mid-term and final paper, plus offer an independent public presentation of their work.
|
||||
This course explores the complex roles and relationships of art, education, and technology by giving students direct experience in the community. Students will develop a plan to work with a media arts center, community organization, or school; final teams will produce real-world arts and education projects that can become significant additions to their professional portfolio. The projects can include a range of practices including but not limited to traditional arts, creative writing, creative IT, community art, and activism. Graduate students who take this course will write a mid-term and final paper, plus offer an independent public presentation of their work.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6400: Experimental Game Design
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6400: Experimental Game Design">
|
||||
<meta property="og:description" content="Experimental Game Design is an upper level studio arts course focusing on the creation of innovative, workable game prototypes using a variety of interactive media. Games are considered as a new genre and are analyzed as cultural artifacts. The aesthetics of game design including character development, level design, game play experience, and delivery systems are covered. Flow, game theory, and game play gestalt are considered. Alternate gaming paradigms and emerging forms are encouraged.">
|
||||
<meta property="og:description" content="Experimental Game Design is an upper level studio arts course focusing on the creation of innovative, workable game prototypes using a variety of interactive media. Games are considered as a new genre and are analyzed as cultural artifacts. The aesthetics of game design including character development, level design, game play experience, and delivery systems are covered. Flow, game theory, and game play gestalt are considered. Alternate gaming paradigms and emerging forms are encouraged.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6400
|
||||
</h2>
|
||||
<p>
|
||||
Experimental Game Design is an upper level studio arts course focusing on the creation of innovative, workable game prototypes using a variety of interactive media. Games are considered as a new genre and are analyzed as cultural artifacts. The aesthetics of game design including character development, level design, game play experience, and delivery systems are covered. Flow, game theory, and game play gestalt are considered. Alternate gaming paradigms and emerging forms are encouraged.
|
||||
Experimental Game Design is an upper level studio arts course focusing on the creation of innovative, workable game prototypes using a variety of interactive media. Games are considered as a new genre and are analyzed as cultural artifacts. The aesthetics of game design including character development, level design, game play experience, and delivery systems are covered. Flow, game theory, and game play gestalt are considered. Alternate gaming paradigms and emerging forms are encouraged.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6420: Experimental Telepresence
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6420: Experimental Telepresence">
|
||||
<meta property="og:description" content="Research, plan, create, and execute portfolio projects involving networked improvisation, composition, and performance via Internet and Internet 2. Study and use telematic technology such as Lola, JackTrip, SKYPE, mobile, and other devices in performances with others in distant locations. Participate in multimedia improvisation ensemble (Tintinnabulate) as a resource for implementing projects.">
|
||||
<meta property="og:description" content="Research, plan, create, and execute portfolio projects involving networked improvisation, composition, and performance via Internet and Internet 2. Study and use telematic technology such as Lola, JackTrip, SKYPE, mobile, and other devices in performances with others in distant locations. Participate in multimedia improvisation ensemble (Tintinnabulate) as a resource for implementing projects.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6420
|
||||
</h2>
|
||||
<p>
|
||||
Research, plan, create, and execute portfolio projects involving networked improvisation, composition, and performance via Internet and Internet 2. Study and use telematic technology such as Lola, JackTrip, SKYPE, mobile, and other devices in performances with others in distant locations. Participate in multimedia improvisation ensemble (Tintinnabulate) as a resource for implementing projects.
|
||||
Research, plan, create, and execute portfolio projects involving networked improvisation, composition, and performance via Internet and Internet 2. Study and use telematic technology such as Lola, JackTrip, SKYPE, mobile, and other devices in performances with others in distant locations. Participate in multimedia improvisation ensemble (Tintinnabulate) as a resource for implementing projects.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6560: Hactivism
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6560: Hactivism">
|
||||
<meta property="og:description" content="This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking, and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force. Graduate students will produce an ethnographic record and analysis of a publicly recognized hacking event or figure.">
|
||||
<meta property="og:description" content="This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking, and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force. Graduate students will produce an ethnographic record and analysis of a publicly recognized hacking event or figure.Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6560
|
||||
</h2>
|
||||
<p>
|
||||
This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking, and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force. Graduate students will produce an ethnographic record and analysis of a publicly recognized hacking event or figure.
|
||||
This course explores the history, methods, and goals of hackers with special attention paid to their role in social movements. It broadly interprets the term "hacktivism" to include computer hacking, media hacking, and "reality hacking" in the service of social change. Students will gain an understanding of how and why hackers have emerged as a major social force. Graduate students will produce an ethnographic record and analysis of a publicly recognized hacking event or figure.Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6600: Ensemble Nonlinear
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6600: Ensemble Nonlinear">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level.">
|
||||
<meta property="og:description" content="A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6600
|
||||
</h2>
|
||||
<p>
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level.
|
||||
A technology-based performance ensemble, as well as a practice-based studio course, focused on the composition, design, and programming of new musical works and instruments. Students create and perform electronic music using laptops, microprocessors, digital networks and a range of new interfaces for musical expression. ARTS 4600/6600 combines studio and ensemble. The ensemble only section (ARTS 2600) may be taken multiple times as a 1-credit performance ensemble in partial satisfaction of the Music major or minor ensemble requirements, or once as a 4-credit seminar at either the 4000 or 6000 level. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6640: Science Fictions
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6640: Science Fictions">
|
||||
<meta property="og:description" content="Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what we know about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fictions film and themes from the early 1900s to the present.">
|
||||
<meta property="og:description" content="Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what we know about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fictions film and themes from the early 1900s to the present.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6640
|
||||
</h2>
|
||||
<p>
|
||||
Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what we know about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fictions film and themes from the early 1900s to the present.
|
||||
Science Fictions is an advanced narrative video production and theory course. The class looks at thematic areas of science fiction, utopia and dystopia, paranormal, and speculative fiction. 'Speculative fiction' is a genre that looks at the real world and extends what we know about it, building on the 'real.' The class has two threads: to study narrative structure and create a series of sci-fi videos; to discuss and analyze mainstream and avant-garde science fictions film and themes from the early 1900s to the present.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6880: Interdisciplinary Research Seminar
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6880: Interdisciplinary Research Seminar">
|
||||
<meta property="og:description" content="This is a course introducing upper-year undergraduates and graduate students to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music, and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.">
|
||||
<meta property="og:description" content="This is a course introducing upper-year undergraduates and graduate students to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music, and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice. Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6880
|
||||
</h2>
|
||||
<p>
|
||||
This is a course introducing upper-year undergraduates and graduate students to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music, and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice.
|
||||
This is a course introducing upper-year undergraduates and graduate students to advanced research topics of the Rensselaer music faculty. Each semester a member of the music faculty will focus the seminar on a research topic or paradigm related to their own body of artistic and technological research. Sample topics might include Spatial music and sound, New Instrument Design, Network Music, Music Information Retrieval, Ethnomusicology, Sonification Art and Science, Music and Logic, Spectralism and Beyond, Music Herstory (feminist music composition), Experimental music, and sound history. Through hands-on creative research, students will explore questions of both musical and technological significance while engaging that same topic through their own hands-on creative practice. Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6900: Arts Graduate Colloquium
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6900: Arts Graduate Colloquium">
|
||||
<meta property="og:description" content="This course provides a forum for interdisciplinary graduate discourse and community at Rensselaer. Students will curate a series of presentations by guest speakers, faculty, and graduate students. Related readings and writing assignments will be based on colloquium presentations. Arts Ph.D. students are required to take the colloquium each semester until the semester they take their qualifying examination and enroll for dissertation credits.">
|
||||
<meta property="og:description" content="This course provides a forum for interdisciplinary graduate discourse and community at Rensselaer. Students will curate a series of presentations by guest speakers, faculty, and graduate students. Related readings and writing assignments will be based on colloquium presentations. Arts Ph.D. students are required to take the colloquium each semester until the semester they take their qualifying examination and enroll for dissertation credits.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6900
|
||||
</h2>
|
||||
<p>
|
||||
This course provides a forum for interdisciplinary graduate discourse and community at Rensselaer. Students will curate a series of presentations by guest speakers, faculty, and graduate students. Related readings and writing assignments will be based on colloquium presentations. Arts Ph.D. students are required to take the colloquium each semester until the semester they take their qualifying examination and enroll for dissertation credits.
|
||||
This course provides a forum for interdisciplinary graduate discourse and community at Rensselaer. Students will curate a series of presentations by guest speakers, faculty, and graduate students. Related readings and writing assignments will be based on colloquium presentations. Arts Ph.D. students are required to take the colloquium each semester until the semester they take their qualifying examination and enroll for dissertation credits.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-6940: Studies in Electronic Arts
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-6940: Studies in Electronic Arts">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments adapted to the needs of individual students at the graduate level.">
|
||||
<meta property="og:description" content="Individual and collaborative projects and assignments adapted to the needs of individual students at the graduate level.">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-6940
|
||||
</h2>
|
||||
<p>
|
||||
Individual and collaborative projects and assignments adapted to the needs of individual students at the graduate level.
|
||||
Individual and collaborative projects and assignments adapted to the needs of individual students at the graduate level.
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
|
|
@ -5,7 +5,7 @@
|
|||
ARTS-9990: Dissertation
|
||||
</title>
|
||||
<meta property="og:title" content="ARTS-9990: Dissertation">
|
||||
<meta property="og:description" content="Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.">
|
||||
<meta property="og:description" content="Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.  Â">
|
||||
<link rel="stylesheet" href="../css/common.css">
|
||||
<link rel="stylesheet" href="../css/coursedisplay.css">
|
||||
<script src="../js/fuse.js"></script>
|
||||
|
|
@ -27,7 +27,7 @@
|
|||
ARTS-9990
|
||||
</h2>
|
||||
<p>
|
||||
Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.
|
||||
Active participation in research, under the supervision of a faculty adviser, leading to a doctoral dissertation. Grades of S or U are assigned by the adviser each term to reflect the student's research progress for the given semester. Once the dissertation has been publicly defended, approved by the doctoral committee, and accepted by the Office of Graduate Education, it will be archived in a standard format in the library.  Â
|
||||
</p>
|
||||
<div id="cattrs-container">
|
||||
<span id="credits-pill" class="attr-pill">
|
||||
|
|
|
|||
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