Introduction to Sound Practices |
2001 (001) |
Eric Leonardson |
Mon/Wed
6:45 PM - 9:15 PM
In Person
|
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details.
Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number
1140
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Digital Communication
Location
MacLean 420
|
Introduction to Sound Practices |
2001 (002) |
Austen Brown |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details.
Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number
1141
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Digital Communication
Location
MacLean 420
|
Introduction to Sound Practices |
2001 (003) |
Bonnie Han Jones |
Mon
9:00 AM - 3:00 PM
In Person
|
Description
This course will introduce students to basic techniques of working with sound as an artistic material. As a prerequisite for many of the department?s upper level offerings, the class is designed to familiarize the student with both the technology and the historical and aesthetic background relevant to our facilities and courses, to the field of ?sound art? and experimental music in general, and to the application of sound in other disciplines (video, film, performance, installations, etc.) Equipment covered will include microphones, mixers, analog and digital audio recorders, signal processors and analog synthesizers. Hard-disk based recording and editing (ProTools) is introduced, but the focus is on more traditional analog studio technology. The physics of sound will be a recurring subject.
Examples of music and sound art, created using similar technology to that in our studios, will be played or performed and discussed in class. The listening list will vary according to the instructors? preferences. Readings are similarly set according to the instructors? syllabus: some sections employ more or less reading than others, contact specific instructors for details.
Students are expected to use studio time to complete weekly assignments, which are designed to hone technical skills and, in most cases, foster artistic innovation. Some of these projects can incorporate outside resources (such as the student?s own computers and recordings), but the emphasis is on mastering the studio.
|
Class Number
1142
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Digital Communication
Location
MacLean 420
|
Intro to Games and Immersive Media |
2011 (001) |
Kristin McWharter |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
A class to develop games and immersive media experiences that reflect your creative voice. Over 15 weeks, ¿Intro to Games and Immersive Media¿ introduces a broad range of analog and digital game design techniques spanning from table top to virtual reality games. This course introduces students to game-making as a form of artistic practice, teaching foundational techniques and tools to develop analog and digital games that reflect their own creative voice and vision. No previous game-making skills are required, but students with an interest in games, or augmented and virtual reality technologies, will be guided through aesthetic and technical foundations in various aspects of game design and immersive media. By the end of the semester, students will have created complete games or immersive media artworks ready to present in their portfolio. Readings and screenings will vary but typically include Mary Flanagan, Eric Zimmerman and Katie Salen Tekinbas. Course work will vary but typically includes weekly reading responses, a mid-term, and a group final project. Students can expect to complete several exercises that explore a number of gaming media including working with game engines such as Unity or Unreal, character development and animation and motion capture. Students will complete a final culminating project in the form of a game or immersive media artwork.
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Class Number
2268
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Digital Imaging
Location
MacLean 402
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Activated Objects: Coding Hardware |
2027 (001) |
Brett Ian Balogh |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
A rapidly increasing variety of objects in everyday life are acquiring an awareness of their environments, a repertoire of behaviors, and the ability to communicate with other objects, their owners, or, through networks, with more comprehensive integrated systems. This class explores the design processes, skills, and tools necessary to thrive in this exciting creative domain. The course incorporates substantial hands-on development experience in a lab environment. Students will conceptualize, prototype, and build working objects that respond to and cooperate with their owners and with each other.
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Class Number
1146
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
MacLean 423
|
Art and Technology Practices |
2101 (001) |
Christine Anne Shallenberg, Joseph Michael Kramer |
Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM
In Person
|
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
|
Class Number
1123
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Game Design, Art and Science
Location
MacLean B1-07, MacLean 401
|
Art and Technology Practices |
2101 (001) |
Christine Anne Shallenberg, Joseph Michael Kramer |
Thurs, Thurs
9:00 AM - 3:00 PM, 9:00 AM - 3:00 PM
In Person
|
Description
This team-taught, introductory course provides a foundation for most additional coursework in the Art and Technology Studies department. Students are given a broad interdisciplinary grounding in the skills, concepts, and hands-on experiences they will need to engage the potentials of new technologies in art making. Every other week, a lecture and discussion group exposes students to concepts of electronic media, perception, inter-media composition, emerging venues, and other issues important to artists working with technologically based media. Students will attend a morning & afternoon section each day to gain hands-on experience with a variety of forms and techniques central to technologically-based art making.
|
Class Number
1123
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Game Design, Art and Science
Location
MacLean B1-07, MacLean 401
|
Neon Techniques |
2112 (001) |
Kacie Lees |
Wed
9:00 AM - 3:00 PM
In Person
|
Description
This course examines neon techniques used in both traditional and current sign making and their application in creating artworks. Contemporary technical developments are explored.
|
Class Number
1136
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
MacLean B1-16
|
Code Sourcery: Algorithmic Practices |
2125 (001) |
Alan Perry |
Thurs
3:30 PM - 9:15 PM
In Person
|
Description
Coding in time and space is as old as pottery or drumbeats. Magic was an executable code interfaced to the world long before computers and networks. Through selected readings and hackable code in Processing, this course will provide a perspective on algorithmic practices from incantations, weaving and tiling patterns to generative systems, glitching and software sourcery. The instructor, a master digital printmaker, will share his expertise, but student projects can be developed in any medium.
|
Class Number
1147
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science, Interaction and Participation, Theory
Location
MacLean 521
|
Light Experiments |
2130 (001) |
Gregory Mowery |
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This class will be an exploration of the electric light as an art medium. Through the demonstration of various electric light technologies the student will learn both the traditional use of lighting and installation and also an experimental approach to lighting that will produce unexpected visual effects. Students may work in individual or group projects that will span the range of light use from architectural design to performance as well as merging with other media such as sound.
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Class Number
1133
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Public Space, Site, Landscape, Art and Science
Location
MacLean B1-16
|
Analog Sound Studio |
3000 (001) |
Whitney D. Johnson |
Wed
9:00 AM - 3:00 PM
In Person
|
Description
Studio Techniques is an intermediate-level course that approaches the analog recording studio and its technologies as a creative environment for sound manipulation and exploration. Beginning with the sound sample as a material basis, the course combines a detailed approach to the fundamentals of acoustics and auditory perception with thorough instruction on analog signal processing and mixing. Students produce assigned and independent projects using these sample-based analog techniques. Topics are supplemented by listening exercises and examples of various artists? works to give historical and cultural context.
Topics in acoustics and auditory perception include sound localization, spatial characteristics of sound, frequency spectrum, and dynamics and loudness. Artists and musicians whose works serve as examples include Carl Stone, Jaap Blonk, John Wall, Laetitia Sonami, Moreno Veloso, and others.
Assigned projects include generating disparate sound materials from simple sources; composing sound/music works using self-generated samples and sources; live mixing/composing using analog technologies; independent projects using technologies and strategies introduced in the course content.
Prerequisites
Prerequisite: SOUND 2001 or permission of instructor.
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Class Number
1153
|
Credits
3
|
Department
Art & Technology / Sound Practices
Location
MacLean 416
|
Digital Audio Production |
3003 (001) |
William Harper |
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This course is offered for those students interested in developing skills in the creation and application of digital audio. Using Apple's Logic software, students interested in exploring sound or music are introduced to audio manipulation techniques that allow them to create soundtracks, to record and produce songs or dance tracks, realize abstract sound pieces or manipulate sound for installations. Techniques of sound manipulation are introduced, including audio recording and editing, looping, and sound destruction. MIDI, drum programming, the use of software synthesis and basic music and composition techniques are addressed according to the needs of individual students. The class is structured to encourage the interaction of students with a wide range of technical ability in audio from beginners to advanced artists in the early stages of a professional practice.
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Class Number
1154
|
Credits
3
|
Department
Art & Technology / Sound Practices
Location
MacLean 431
|
Top:Archives, Sampling, and Appropriation |
3004 (001) |
Kamau A. Patton |
Tues
3:30 PM - 6:15 PM
In Person
|
Description
This course is a sound production practicum with a focus on sampling and appropriation. Students will engage sound archives as a resource for creative sound design and music production. The seminar will consider contemporary strategies of sampling and appropriation in the context of popular culture, media preservation and intermedia design. Special attention will be given to public sound archives and library collections.
Coursework includes bi-weekly reading responses, a mid-term, and a final project. Final projects can take form as a research based text or as a creative project that blends modes of creative production. Students are expected to actively and critically engage the social, political and cultural factors that inform their practice. Course readings explore the scholarly discourse on Interculturalism with focus on processes, structures, systems, and methodology in relation to the moral, ethical and aesthetic questions raised by working with cultural artifacts as material.
The seminar encourages trans-disciplinary methodology and cross-media production and is structured as a modified in-person course. The hybrid format includes weekly online topics lectures, student led group discussions and individual student meetings. Online discussion groups will be created for each unit. Students are expected to participate in online discussions in response to unit readings, case studies and discussion prompts. In person studio and access to technology and tech support will be facilitated for students who wish to have access to campus resources.
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Class Number
2294
|
Credits
3
|
Department
Art & Technology / Sound Practices
Location
MacLean 417
|
Digital Music: Concepts, Structures, Materials |
3005 (001) |
Allie n Steve Mullen |
Wed
9:00 AM - 3:00 PM
In Person
|
Description
This course introduces students to the fundamental materials of music composition, the structures used to shape these materials, and techniques and strategies students can use to create fully formed pieces of music. Referencing traditional and experimental practices from many cultures and histories, we examine the basic musical elements of rhythm, meter, tonal organization, harmony, and timbre. These are applied in a digital studio environment via sampling, sound synthesis, looping, and live recording using Apple's Logic digital audio workstation. Musical works by artists from diverse backgrounds and identities are analyzed to understand how these materials and concepts are used to sculpt emotional expressions, narrative forms, abstract constructions, or conceptual statements. Students work with these references, elements, and materials to make their own work in genres of their own choice. No style of music is off limits. Course work will vary but typically includes participation in weekly experiments and the presentation of self-devised projects at midterm and the end of the semester. Students work with the materials, structures, and techniques introduced to make their own work in genres of their own choice.
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Class Number
1155
|
Credits
3
|
Department
Art & Technology / Sound Practices
Location
MacLean 431
|
Olfactory Art |
3009 (001) |
Tedd Neenan |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
Students will investigate scent as an expressive medium. They will have access to the ATS Perfume Organ and specialized lab equipment. Course content includes basic aromatic blending, hydro-distillation extraction techniques and how to impregnate scent into various media. At least TWO works of Olfactory Art are to be completed. The last one is considered the FINAL and should be an opus ready for gallery/performance/experiential application.Students should leave this class with the ability to thoughtfully engage Olfactory Work as practitioners, researchers and thinkers within personal, historical, theoretical and conceptual contexts.
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Class Number
1130
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
Michigan B1-19
|
Sound and Image |
3011 (001) |
James Paul Wetzel |
Tues
9:00 AM - 3:00 PM
In Person
|
Description
This course focuses on the relationship of sound to moving image, and introduces post-production techniques and strategies that address this relationship as a compositional imperative. Thorough instruction is given on digital audio post-production techniques for moving image, including recording, sound file imports, soundtrack composition and assembly, sound design, and mixing in stereo and surround-sound. This is supplemented by presentations on acoustics and auditory perception. Assigned readings in theories and strategies of sound-image relationships inform studio instruction. Assigned projects focus on gaining post-production skills, and students produce independent projects of their own that integrate sound and moving image.
Artists include Chantal Dumas, Walter Verdin, Deborah Stratman, Lucrecia Martel, Martin Scorcese, Abigail Child, Frederic Moffet, Gyorgi Palvi, Francis Ford Coppola, Gary Hill, and others. Writings in theory include texts by Michel Chion, Rick Altman, and others.
The student?s independent image-and-sound work is foregrounded and supported; supplemental assigned projects include sound sequence composition and ADR recording and mixing.
Prerequisites
SOUND 2001 or FVNM 2004 or FVNM 5020
|
Class Number
1143
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Digital Communication
Location
MacLean 1413
|
Tactical Media |
3024 (001) |
Brett Ian Balogh |
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This course explores the use of radio, light and sound as media through which an artist can create a public voice. This course takes a hands-on, do-it-yourself approach to these media, providing a basic background in electronics theory and practice, as well as in programming and use of microcontrollers. Topics covered in this course include, but are not limited to, low-power radio, locative media, hactivism and culture-jamming. Some examples of activities include the construction of AM/FM radio transmitters and receivers, laser projectors, persistence-of-vision displays and mobile audio rigs. A survey of the artistic significance of these media will be conducted throughout the course. Students are expected to research and present their findings in class, as well as to produce a personal or collaborative final project that augments their own practices.
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Class Number
1125
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
MacLean 423
|
Hacking the Object |
3045 (001) |
Joseph Michael Kramer |
Fri
9:00 AM - 3:00 PM
In Person
|
Description
DIY has become a widespread movement in the artistic community. Modifying, tinkering, tweaking and downright hijacking have become a commonplace practice among today?s artists. Many everyday electronic objects are yearning to be liberated from their banal existences. This course explores readily available materials with a goal of bringing out the hidden aesthetic potentials of electronic devices. Students dig beneath the shiny surfaces to uncover underlying workings, principles and mechanisms. Class projects result in new artworks by reanimating the physical presences and behaviors of the reassembled artifact.
|
Class Number
2199
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
MacLean B1-07
|
Digital Light Projections |
3050 (001) |
Jan Tichy |
Thurs
9:00 AM - 3:00 PM
In Person
|
Description
This course embraces the concept of projection as a broad field of art practice. Starting with the magic lantern, the course investigates the history of projection related practices that shape the parameters of visual perception and communication. Deconstructing the concept of the screen, the course focuses on projection in sculptural and installation contexts.
Microcontrollers and Adobe software is used in unorthodox ways to shape visual elements for digital light projection. History of visual, technical and conceptual use of light is accessed to investigate the interactions of projections with objects and space.
|
Class Number
1139
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Public Space, Site, Landscape
Location
MacLean 414
|
Programming for Sound:Max/MSP |
3052 (001) |
James Paul Wetzel |
Mon
8:30 AM - 11:15 AM
In Person
|
Description
This course will provide an introduction to programming for sound synthesis and real-time performance using the Max/MSP and Supercollider II languages. Students will learn the basic structures, strategies, concepts, and vocabularies of these two languages in order to prepare them for using these techniques within other sound department courses.
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Class Number
1145
|
Credits
3
|
Department
Art & Technology / Sound Practices
Area of Study
Art and Science
Location
MacLean 522
|