BCNM Courses
| Course | Description | Instructor | Credits (Units) | Year | Semester |
|---|---|---|---|---|---|
|
THEATER 203 |
Theatrical Texts, Spaces, and Bodies Theater, Dance, & Performance Studies
One and one-half to three hours of seminar per week. Formerly Dramatic Art 203. Conceived as a bridge between the academic and practical aspects of theater studies, this course combines a research seminar with a performance workshop. The instructor uses the seminar portion of the course to develop a significant issue in the theory and practice of contemporary performance; students then conduct a six-week rehearsal and workshop performance in conjunction with the seminar. Course may involve visiting artists when possible. Enrollment is limited and requires permission of instructor. |
P. Glazer |
Variable | 2008 | Spring |
|
VIS SCI C280 CS C280 |
Computer Vision Vision Science
Three hours of lecture per week. Prerequisites: Knowledge of linear algebra and calculus. Mathematics 1A-1B, 53, 54 or equivalent. Paradigms for computational vision. Relation to human visual perception. Mathematical techniques for representing and reasoning, with curves, surfaces and volumes. Illumination and reflectance models. Color perception. Image segmentation and aggregation. Methods for bottom-up three dimensional shape recovery: Line drawing analysis, stereo, shading, motion, texture. Use of object models for prediction and recognition. Also listed as Computer Science C280. |
Jitendra Malik |
3 | 2008 | Spring |
|
HISTART 186C |
Art in the later 20th Century: Media and Meaning History of Art
This course examines a defining characteristic of the art of the past thirty-five years: its abandonment of the time-honored media of painting and sculpture in favor of—to give just a few examples—photography, the performing body, installations in space, earthworks, political activism, verbal texts, even the declarative absence of all of the above. In
fact, if there is one point of agreement about the arts since 1970, it is that they need not loyally adhere to any one format or medium.
Artists need no longer specialize. Oftentimes the producers of installations presented internationally, they have become quasi-nomads, who adopt whatever material or tactic suits their goals. As a result, the artwork is now everywhere and nowhere: it is frequently temporary, site specific, and/or conceptual; it may inhabit the internet, where its lifespan is short; its archival condition is often photographic, if it takes permanent form at all. |
Anne Wagner |
TBA | 2008 | Spring |
|
FILM 181 |
Game Design Methods Film Studies
|
Greg Niemeyer |
4 | 2008 | Spring |
|
ART 142 |
New Genres Practice of Art
|
K.P. Radley |
4 | 2008 | Spring |
|
ART 160 |
Special Topics in Visual Studies Practice of Art
Being a good artist nowadays means more than being able to create beautiful images or being an expert craftsperson. Professional contemporary artists are increasingly expected to act as public intellectuals possessing a basic fluency with the most important cultural, philosophical, and political questions of the times, especially as they relate to questions of representation and the nature of art. Over the course of the semester, we will conduct a broad survey over the major theories of representation that inform 20th and 21st Century thought. Along the way, we will consistently return to two questions: "Can art tell the truth?" and "Can art sculpt reality? |
Trevor Paglen |
4 | 2008 | Spring |
|
ART 174 |
Advanced Digital Video Practice of Art
|
Anne G. Walsh |
4 | 2008 | Spring |
|
ART C171 |
Digital Video: The Architecture of Time Practice of Art
|
J.M. Kopell |
4 | 2008 | Spring |
|
iSchool 205 |
Information Law and Policy School of Information
Law is one of a number of policies that mediates the tension between free flow and restrictions on the flow of information. This course introduces students to copyright and other forms of legal protection for databases, licensing of information, consumer protection, liability for insecure systems and defective information, privacy, and national and international information policy. |
Pamela Samuelson |
2 | 2008 | Spring |
|
MUSIC 209 |
Advanced Topics in Computer Music Music
Technical and musical issues in the design and development of computer-based music systems including digital signal processing for the analysis and synthesis of sound, scheduling of multiple musical control processes, perceptual and cognitive models, user-interface design, reactive real-time control, and the analysis and representation of musical structure. |
David Wessel |
4 | 2008 | Spring |
|
FILM 240-2 |
Theory and History of Digital Visual Effects Film Studies
This course will provide theoretical and historical analysis of digital visual effects in contemporary cinema. Our analysis will be organized around the visual, narrative, and aesthetic significance of five visual effects tendencies found in numerous films made between 1996 and the present: the increased exploitation of the screen's vertical axis; the rise of the digital "multitude"; the proliferation of artificial beings (i.e. synthespians); new forms of bodily and spatial plasticity; and the creation of digital imaginary worlds. While some attention will be paid to the technologies and processes that make such effects possible (wire removal software, particle animation, green screens, motion capture, etc.) we will for the most part focus on the visual, narrative and aesthetic effects of these processes and will situate each within the history of special and optical effects. Readings will draw from film theory and history, theories of digital media, theories of the body, time and space, trade/industry periodicals (such as American Cinematographer, Cinefex, and Computer Graphics World, etc.). |
Kristin Whissel |
4 | 2008 | Spring |
|
SOCIOL 167 |
Virtual Communities/Social Media Sociology
What do we mean by "community"? How do we encourage, discuss, analyze, understand, design, and participate in healthy communities in the age of many-to-many media? With the advent of virtual communities, smart mobs, and online social networks, old questions about the meaning of human social behavior have taken on renewed significance. Using a variety of online social media simultaneously, and drawing upon theoretical literature in a variety of dsiciplines, and upon empirical studies, this course delves into discourse about community across disciplines. |
Howard Rheingold |
3 | 2008 | Spring |
|
AFRICAM 139 |
Urban Neighborhoods African American Studies
This seminar surveys the available sociological and political science literature on ethnic, multicultural, digital, and transnational neighborhoods. It analyzes the transformation of the neighborhood in the US and the European Union as a result of the information technology revolution and the ongoing process of globalization. It discusses the history of the globalization of the neighborhood in tandem with the history of the digitization of the home. A typology of neighborhoods-as communities and as administrative units- will be presented and discussed. The themes covered include racial and gendered space, virtual geographical expansions, digital homes, convergence of technologies, digital environment, mobility of interactions, digital diasporas, social networking, transnational relationships, digital neighborhoods, and digital globalization. This seminar locates the discussion of the ethnic and non-ethnic neighborhoods within the context of global metropolitan studies. |
Michel Laguerre |
3 | 2008 | Spring |
|
ART 160 |
Sound Design for Film and Video Practice of Art
This class will explore sound in all its rich, tactile, physical dimension. We will approach sound as the collectors and inventors of bizarre and extraordinary specimens. We will train our microphones on microsounds and hidden sounds, and using this raw material we will make new and fantastic hybrids. We will explore sin waves and LFO's, white noise and pink noise, silence and loudness, timbre, pulse, formants and spectral shaping. Along the way you will learn about foley, hard effects, BG and ambiance, dialogue and ADR, editing, mixing and effects processing. At each step of the way we will explore the complex relationship between sound and image, and come up with strategies for creating meaningful and poetic alliances between the eyes and the ears. Think of this class as a sandbox for the ears: come play, and build your castles, wired for Dolby DTS. The open source object-oriented audio synthesis programming language SuperCollider will be taught as part of the class. |
Chris Kubick |
4 | 2008 | Spring |
|
CNM 201-1 IEOR 298-3 |
Interrogating New Media Center for New Media
CNM 201 meets weekly and is held in conjunction with the Art, Technology, and Culture Colloquium, a monthly lecture series which brings internationally-known speakers to campus to present their work on advanced topics in new media: Students will enhance skills in "interrogating" new media: how to think critically about advanced topics in new media, how to formulate incisive questions about new media, and how to evaluate and create effective presentations on topics in new media. Also listed as IEOR 298, Sec 3, “Advanced Topics in New Media”. |
Ken Goldberg |
2 | 2008 | Fall |