Peter Terezakis began developing interactive works of varying scale and possessing a distinct technological character in 1974. His early work began with biofeedback machines and ESP tester-trainers, which then lead to the creation of electronic jewelry. In 1990 he completed a series of wall-mounted interactive constructions which responded to changes in light, presence, sound, and temperature. The following decade he explored a nexus of physics, hardware, and software in the creation participatory environments and installations. During this period he created Psyche, the first gallery installation controlled by a microcomputer. The Montgomery Project followed and showcased recurring concepts in his work within an architectural context. The 1995 installation of Heart Beats Light began the continuing series of temporary site specific light installations in deserts, festivals, and forests. In 2007 Heart Beats Light became part of a larger theatrical work entitled Sacred Sky Sacred Earth which was first shown in Alpine California. Peter’s work has been exhibited in Canada, Greece, Italy, Japan, Latvia, Norway, Mexico, Portugal, Romania, Slovakia, Spain, the United Kingdom, and the United States. His work is in corporate, private, and museum collections.
Courses taught Fall 2017 - Spring 2018:
Green World (OART-UT 1057):
Globally 6.5 million people will die prematurely this year due to air pollution. The air we breathe kills more people each year than HIV/AIDS, auto accidents, cholera, malaria, and war combined. A changing climate, loss of open spaces, deforestation, increasing consumption of fossil fuels, global shortages of drinking water, population growth, changes to the basic chemistry of our air, food, and water, along with the campaign to distrust science, are only some of the more critical problems which we are facing today and which will continue into our future.
Active denial of these issues has become the de facto cultural standard with only a fraction of the public taking action.
This course examines environmental issues through discussion, experimentation, field trips, lectures, and speaker presentations, as well as celebrating key individuals — just like you — who have helped to shape local, regional, and global environmental discussions for the better.
This class’s challenge is to encourage artist-storytellers to focus their passion and skill to enter into an existing environmental narrative. Students will create a final project which will further an important conversation using technology as a force multiplier to help create meaningful, positive social change.
This class is open to all NYU students interested in helping to improve and preserve the environment which sustains us all.
Art and Technology (OART-UT 1059):
All art uses technology. Technology is not art. Whether a work of art is created to bridge the preternatural, convey experience, thought, a world view, or something more, art is a three letter verb representing the result of an individual’s rebellion against the status quo and the desire to create something different.
This course is a crash course into contemporary technological literacy for all NYU students interested in expanding their range of artistic mediums, often using the history of art and technology as a point of reference. Prior knowledge of covered subject matter is not required, but would create an opportunity for deeper exploration by the student and enhance the classroom experience for others.
By course completion a student will be able to author digital media (audio, photos, and video), work alone, build a website, read a compass, print an image, publish content on their website, access their imagination, secure their data, invent a product, use FTP, tie a bowline, keep a door closed, use photoshop, make a dust mask, work with others, laser cut shapes, make paint, bias a transistor, code in Assembler, collect and visualize data, create vector files, tie half hitches, write a press release, build a battery, 3D print an object, build a circuit, tie a square knot, program a micro controller, use a pinhole camera, solder a wire, understand branding, privately publish content, lash a tripod, distinguish between vision and perception, code HTML, make glue, use a multimeter, understand AR-VR, and projection map video.
Documentation of finished projects are due on a weekly basis many of which will be worked on when we meet.
Laptops are required for every class.
Cell Phone Cinema (OART-UT 566 / OART-GT 2566)
Hollywood in your palm. That is what this combination of lectures, screenings, demonstrations and practical production workshop will offer to the students in this course. There will be several professional guests making presentations and Q&A sessions from the mobile phone filmmaking industry. In addition to the historical and critical overview of the emergence and exponential growth of global cell phone cinema, students will shoot all footage on cell phones and download it for computerized editing. The final project will be a three minute short film.
For the first time in our class, original scores will be created for use in final projects by students in Tisch’s Clive Davis Institute of Recorded Music. This will allow student films to be entered in national and international cellphone cinema film festivals.
Projects are open to any genre of film and television including: animation, drama, mini-documentaries, music videos, narrative, and news. Completed student projects will be posted to the class website, screened as a final project, and be eligible to enter into domestic and international mobile phone film festivals. Past Bollywood style music video shot on cell phones by students in this class were screened in a theater at the Tribeca Cinemas as part of the New York Indian Film Festival.
Cellphones capable of recording video and laptops are required for every class.