A wide shot of a ceramics studio, featuring students working with pottery wheels and other tools.

Shawn Decker

Professor

Bio

Shawn Decker is a composer, artist, and teacher who creates sound and electronic media installations and writes music for live performance, film, and video. His is positioned at the intersection of music composition, the visual arts, and performance, using physical and electronic media to investigate, simulate and praise the natural (and unnatural) worlds. He frequently collaborates with other artists, including most recently Jan Erik-Andersson, Anne Wilson, and Jan Tichy. As an artist whose work spans multiple disciplines, from making use of technology and technological processes on the one hand and incorporating the study of birdsong and ornithology, and traditional elements such as Irish and American folk fiddle-traditions on the other – merging physical elements and techniques from sculpture with environmental sound and music performance, Decker sees art and art-making within a very broad context. As a senior faculty member at the School of the Art Institute of Chicago, education is another element within his broad-based practice, with teaching supporting artistic production, and vice-versa.

His work has been frequently performed, seen, and heard in the US, Europe, and Asia at a wide variety of venues. He frequently collaborates with other artists, including most recently Jan Erik-Andersson and Anne Wilson. Recent exhibitions of both solo and collaborative work have shown at venues such as: the Kiasma Museum in Helsinki, the Museum of Art and Design in New York, the Chicago Cultural Center, the Pritzker Pavillion in Chicago’s Millenium Park, the Minnesota Museum of American Art, the Victoria and Albert Museum in London, CAM Houston, the 2003 Biennial of Electronic Art in Australia, Art Basel Miami, the Klosterruine in Berlin, ISEA2002 in Nagoya, the 21st Century Museum in Kanazawa, Japan, the Indianapolis Museum of Art, CAM Houston , ISEA2000 Paris, the Waino Aalto museum in Turku, Finland and numerous others. Decker is a Professor in the Art and Technology and Sound departments at the School of the Art Institute of Chicago.

For More information on Decker’s work, visit his web site at www.shawndecker.com.

 

Courses

Title Department Catalog Term

Description

This class is intended for advanced undergraduates and graduates who are interested in the use of sound in an installation context. It is expected that students may come from a diverse set of backgrounds, and as such this course will be to some degree determined by the background of the students, and their specific needs. The course will include critical discussions of sound art and related installation and media art practices: a brief history of the sound/art interface, a brief introduction to acoustics, and readings by theorists and artists such as R.M. Schafer, Sterne, LaBelle, Cage, Lucier, Kahn, Lockwood, Fontana, Panhuysen, Lerman, Neuhaus, Monahan, Kim-Cohen, Kubitsch, Hellstrom, and Wollscheid. The topic of real-life sound installation exhibition and social context will also be covered, with input from the SAIC Exhibitions and Events Department. The course will also cover various methodologies for using/creating sound in installations through tutorials that are designed to give functional knowledge of each particular technique, as well as an introduction to the possibilities these techniques. Depending on the students? backgrounds and needs, potential topics for these tutorials include: basic sound recording and playback techniques, basic sound synthesis and electronics for audio, digital sound recording and editing, the fabrication of mechanical systems which create sound, using MAX (a visual MIDI programming language used for control and for processing audio), basic electronics for environmental sensing (sound, light, motion, etc.). In addition to working on various preliminary individual and collaborative projects during the semester, students will write a proposal for and present an installation as their final project.

Class Number

2302

Credits

3

Description

This online version of The Programming Sound class will feature an introduction to various synthesis methods, tracing the history of sound synthesis, starting with traditional analog synthesis techniques and methodologies, and then moving to a history of digital sound synthesis techniques. The class will review the histories surrounding sound synthesis, and students will learn various software and hardware techniques and pursue a number of creative projects. These projects will retrace the development of these important techniques and their aesthetic and compositional potential in a series of smaller creative projects, concluding with a more substantial final project. The class will make use of various software including Max/MSP as well as Ableton Live, and will feature various software synthesis plugins that will allow students to engage with the various techniques being discussed.

Students are required to have a laptop that can run Max/Msp and Ableton Live, and a good set of headphones or a stereo monitoring system. Software licenses will be supplied to students who need them.

Class Number

1761

Credits

3

Description

This hands-on course embraces and develops a radically wider concept of computation that includes responsive, purposeful behavior that may be embodied in many types of physical media, objects and environments. Artists from many disciplines explore answers to such questions as: How can the computer perceive and understand the environment outside its box? Can the computer be taught to respond astutely to human gestures and actions in its vicinity? How can previously inert materials be given life? Basic programming and interfacing techniques for sensory awareness, embedded intelligence, communications, and purposeful behaviors are applied to the creation of intelligent objects and responsive environments in this multidisciplinary course.

Class Number

2233

Credits

3

Description

This course is meant to provide an informal critical backdrop for those working within the broad range of art and technology. Students meet once a week to present and discuss their work. The faculty leader facilitates the dialog, which is designed to aid students to formulate their ideas and articulate a critique of their own work as well as that of their peers.

Class Number

2121

Credits

3

Description

Taken every semester, the Graduate Projects courses allow students to focus in private sessions on the development of their work. Students register for 6 hours of Graduate Project credit in each semester of study.

Class Number

1736

Credits

3