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ITP Courses

Photo credit: Tommy Payne

Tier 1 Courses


Taught by: Nancy Hechinger

This introductory class is designed to allow students to engage in a critical dialogue with leaders drawn from the artistic, non-profit and commercial sectors of the new media field, and to learn the value of collaborative projects by undertaking group presentations in response to issues raised by the guest speakers. Interactive media projects and approaches to the design of new media applications are presented weekly; students are thus exposed to both commercial as well as mission-driven applications by the actual designers and creators of these innovative and experimental projects. By way of this process, all first year students, for the first and only time in their ITP experience, are together in one room at one time, and as a community, encounter, and respond to, the challenges posed by the invited guests. The course at once provides an overview of current developments in this emerging field, and asks students to consider many questions about the state of the art. For example, with the new technologies and applications making their way into almost every phase of the economy and rooting themselves in our day to day lives, what can we learn from both the failures and successes? What are the impacts on our society? What is ubiquitous computing, embedded computing, physical computing? How is cyberspace merging with physical space? Class participation, group presentations, and a final paper are required.

Comm Lab: Animation

Taught by: Marianne Petit, Gabe Barcia-Colombo, Molly Schwartz, Antonius Oktaviano Wiriadjaja, Erica Gorochow

This course explores the fundamentals of storytelling through animation. Students will create two short animation pieces over the course of seven weeks. The first part of the course is devoted to the stop motion sing Dragon Stop Motion. The second part of the course is devoted to digital collage animation using After Effects. Drawing skills are not necessary for this class, however, you will keep a sketchbook. Basic video and sound skills are required. This two-credit course will meet the last seven weeks of the semester.


Comm Lab: Networked Media

Taught by: Shawn Van Every, Lauren McCarthy, Robyn Overstreet, Daniel Shiffman

The network is one of our most fundamental mediums for interactivity. It makes possible our interaction with machines, data, and, most importantly, other people. Though the base interaction it supports is simple, a client sends a request to a server, which replies; an incredible variety of systems can be and have been built on top of it.

In this course, students will utilize JavaScript as both a client and server side programming language to build creative network systems. Additionally, HTML and CSS will be used to define the structure and look. 


Comm Lab: Video and Sound

This course explores the fundamentals of sound and video. Students will learn the basics of both audio and video recording using audio field recorders and a variety of cameras (from the Panasonic Xacti through the Canon 5D D-SLR) as well as editing and exporting in Final Cut Pro. Students will work in teams to produce both an audio soundscape and a three-minute video short. 


Comm Lab: Visual Language

Taught by: Katherine Dillon, Nancy Nowacek

The goal of this course is to provide students who are new to the principles of visual design with the practical knowledge, critical skills and confidence to effectively express their ideas in a visually pleasing and effective way. Over the course of 7-weeks an overview of the many tools and techniques available to convey an idea, communicate a message and influence an experience will be presented, discussed and applied. Topics covered in the course include: typography, color, composition, branding, logo and information design. This class is intended for students who do not have formal graphic design or visual arts training but recognize the powerful impact of visual decisions in their work.

Class 1 – Principles of Visual Communication
Class 2 – Signage and Information Systems
Class 3 – Typography/Composition
Class 4 – Logo and Brand Design
Class 5 – Color Theory
Class 6 – Information Design

Each meeting a new topic will be presented. The format will be a class discussion with a focus on examples of the theme for the week. Each topic will have a related assignment that will done by each student individually and presented and critiqued in the following class. For students new to or with limited skills in Photoshop or Adobe Illustrator there will be a series of informal weekly workshops led by residents to teach the basics and answer questions on use of the software. Completion of the assignments and participation in the class discussion is required. Students must maintain a blog where they post their assignments.


Introduction to Computational Media

Taught by: Liesje Hodgson, Daniel Rozin, Daniel O'Sullivan, Daniel Shiffman, Christopher Kairalla, Matt Parker, Mimi Yin, Roopa Vasudevan

What can computation add to human communication? Creating computer applications, instead of just using them, will give you a deeper understanding of the essential possibilities of computation. The course focuses on the fundamentals of programming the computer (variables, conditionals, iteration, functions, and objects) and then touches on some more advanced techniques such as image processing, computer vision, data parsing and 3D graphics. The Java-based 'Processing' programming environment is the primary vehicle for the class. Students with one semester of programming experience, or equivalent, should enroll in Daniel Shiffman's *Tuesday* section (CALL #8552) which will move more quickly through the basics. All other sections will assume no programming experience at all. The end of the semester is spent developing an idea for a final project and implementing it using computer programming.   


Introduction to Physical Computing

Taught by: Scott Fitzgerald, Thomas Igoe, Benedetta Piantella, Dustyn Roberts, Jeffrey Feddersen, Arlene Ducao

This course expands the students' palette for physical interaction design with computational media. We look away from the limitations of the mouse, keyboard and monitor interface of today's computers, and start instead with the expressive capabilities of the human body. We consider uses of the computer for more than just information retrieval and processing, and at locations other than the home or the office. The platform for the class is a microcontroller, a single-chip computer that can fit in your hand. The core technical concepts include digital, analog and serial input and output. Core interaction design concepts include user observation, affordances, and converting physical action into digital information. Students have weekly lab exercises to build skills with the microcontroller and related tools, and longer assignments in which they apply the principles from weekly labs in creative applications. Both individual work and group work is required.  


Tier 2 Electives

Always On, Always Connected

Taught by Shawn Van Every

With their always on and always connected nature, mobile devices (phones and tablets) have become the center of our connected self. They offer us the ability to access the network anywhere at anytime, enabling us to share our experiences and share in the experiences of others. They are also starting to emerge as the hub of an emerging set of smart personal accessories such as watches, glasses and jewelry.

In this class, we’ll examine the current state-of-the art in mobile technology and smart devices. We’ll focus on developing applications using Cordova, a set of cross-platform APIs for creating mobile applications with HTML, CSS, and JavaScript as well as connecting to and interacting other devices using BlueTooth.

ICM level programming experience is required.

Animals, People and Those In Between

Taught by Marina Zurkow

This class will use animals, humans, and other creatures as a way to think about art-making and character representation . Claude Levi-Strauss’ observation that “Animals are Good to Think” is the starting point from which we will make, discuss, and examine the ways in which art works imagine the interrelationships between the human, the animal, and our environment. If we can only perceive these things through mediation (media representations), then how we represent them is the fundamental question, reflecting our ideologies, prejudices, hopes, and fears. Do we speak for animals, and if so what are we saying for them? Are they friends, pets, environmental equals or beasts? How are hybrid monsters (chimera) created and what do they mean? How do we understand our places as subjects in a landscape or a datascape? How can anthropomorphic cuteness be subversive? This class focuses on questions of intention, relation, and subjectivity, through critical engagement with representations of people, animals, monsters, and mutants, in their respective environments. The class is further focused on the use of character in context, via toy design, robotics, animation, video, image generation or data visualization. There will be introductory texts on character development, and generally an emphasis on literary, philosophical and natural history texts.

Art Strategies

Taught by Marina Zurkow

Art is not a monolithic category!

This class is an introduction to the diverse practices gathered under the category “Visual Art.”

This world of visual art includes sound installation and performance, and happens not only in galleries and museums, but also on streets, parks, rivers, in nail salons and rowboats. Artists now are hybrid beings, bringing into their work personal orientations of race, class, gender – even interspecies interests, focuses ranging from law, neuroscience, beekeeping, and the legacies of 125 years of “modern” experimentation.

Whether you want an introduction to art-making and the concerns that inform it, or have an established practice, this class is an opportunity to workshop new approaches for your own work, and begin to encounter the strategies and contexts of established artists working in the fields filed under Art.

“Art Strategies” connects your studio practice with a survey class. In the spirit of “borrowing” or trying on, you may find newly resonant connections between your desire for expression, and an introduction to the practices and theoretical contexts of established artists.

This 12-week class will cover 6 art strategies, combining research with bi-weekly assignments. You will work individually on assignments, and in teams to present research. The assignments are structured as responses to the strategy topic – for instance, how can you create a quick prototype for a project using appropriation as your framework? How can you use a lens of feminist critique?

The class will be rich in individualized resources and critique, and will provide a topical survey of artists working in diverse ways. We will be conscious of the ways in which these practices integrate and challenge the uses of technology, and will also briefly address funding models, presentation, and contexts.

Example strategies include agit-prop, appropriation, corporate drag, counterfactual fiction, ethnography, expanded cinema, fictional documentary, identity politics, institutional critique, intervention, irony, kitsch, post-internet, procedural actions, social practice, the archive, theater of the absurd.

Movements we will look at include animal studies, bio-art, bio-politics, collectivism, Dada, environmental art, feminism (first-third wave), Fluxus, the post-natural, post-structuralism, post-black, occupy, queer theory, Situationists.

Basic Analog Circuits

Taught by Eric Rosenthal

Todays mostly digital world also requires a basic knowledge of circuits that do not require computer processing. Analog circuits are simpler, lower cost, smaller and require less power and still perform many of the functions of digital circuits. In this course students will learn about the basic principles of electricity, components such as resistors, capacitors, diodes, transistors, audio amplifiers, power supplies and timers and circuits that interface to digital devices. The course includes circuits design and fabrication through lectures and hands on labs. Students will also learn the operation of electronic test equipment such as the digital multimeter, oscilloscope and function generator.

Big Games

Taught by Gregory Trefry

What happens to games when they escape the boundaries of our tabletops, desktops and living rooms? From massively multiplayer online games to mobile games that turn the city into a gigantic game grid, super-sized gaming opens up new spaces in which to play and seeps into the interstices of our days. Whether these games are measured in terms of number of players, geographical dimensions or temporal scope, they represent a new trend in which the ‘little world” created by a game threatens to swallow up the "real world" in which it is situated. This class is a hands-on workshop focused on the particular design problems of large-scale games. In this class students: develop a foundation of basic game design understanding from which to approach the specific issues particular to big games; analyze existing digital and non-digital large-scale games, taking them apart to understand how they work as interactive systems; and work on a series of design exercises that explore the social, technological, and creative possibilities of large-scale games.      

Big Screens

Taught by Mimi Yin

This class is dedicated to experimenting with interactivity on large-scale screens. Students will work in pairs to develop one project over the course of the semester, culminating with a showing at InterActive Corps' 120 X 12-foot video wall at their corporate headquarters on 18th St. and the West Side Highway. A mock-up of the system is available at ITP for testing. Class time is divided between independent project development, critique, technical demonstrations, and field trips to IAC. Registration for this course will happen through a separate lottery which you will enter in pairs. 



Taught by Oliver Medvedik

In this course we will be exploring alterations in microbial motion in response to a variety of different stimuli and how this can be applied to make the invisible visible. Specifically we will be using protozoans, eukaryotic microorganisms that are fairly large, to induce and measure chemotaxis (attraction or repulsion to a chemical), phototaxis (attraction or repulsion to light) and galvanotaxis (attraction or repulsion to voltage).

Each of these various stimuli inputs can provoke responses that can then be incorporated into a variety of devices and applications. For example, biotic games can be constructed that allow you to control in real time the direction of movement of paramecia in response to a voltage field that is regulated by a joystick. This raises some interesting philosophical questions as well. The direction of movement of protozoans to a variety of water-borne chemicals can also be employed as a “biosensor”, to test for pollutants.

Challenges: Using microbes as the central “component”, design a system that enables you to visualize the unseen.

Bluetooth LE

Taught by Don Coleman

Bluetooth LE allows low-energy wireless connections between devices like lights, temperature and motion sensors, and wearable and portable devices. You can easily discover and connect to these devices without configuration from your phone, tablet, or laptop. The goal of the class is to introduce the concepts of Bluetooth Low Energy (BLE), explain the BLE protocol, teach students how to design BLE services, and how to build BLE devices.

This one credit class will be taught using Arduino, mobile phones and computers. Programming for the phones and computers will be done with JavaScript using Apache Cordova and Node.js.

Students will learn how to build Bluetooth Low Energy projects to exchange data between devices. They will learn the fundamentals of using Arduino, Apache Cordova and Node.js to create and use BLE services. Students will build a project that demonstrates their understanding of BLE. There will be a suggested project, but students will have the option to design and build their own project.

The class will meet 3 times over 4 to 5 weeks at the beginning of the semester. The first class will be the longest (5 hours) and go over most of the material, examples and give an assignment. The second class (2+ hours) will meet one week later to cover the additional material, answer questions, and help with things in progress. The last class (2 hours) will be a few weeks later to review and critique the student projects.

• Arduino
• Node.js (Mac, Windows, Linux)
• Apache Cordova (Android, iOS)

• Required Hardware
• Basics of BLE
• Advertising & Discovery
• Connecting
• Read, Write, Notify
• Using generic BLE apps
• Building BLE Peripherals
• Arduino & BLE Peripheral
• Dimmable LED
• BLE Button
• BLE Temperature Sensor
• Node.js & Bleno
• Demo examples using a Raspberry Pi and Bleno
• Controlling BLE Peripherals (BLE Central)
• Apache Cordova
• BLE plugin
• Scan for devices
• Connect to a device and explore Services
• Control a LED peripheral
• Read/Notify from a BLE button
• Read/Notify from a BLE sensor
• Node.js & Noble
• Repeat Cordova Examples use a Mac
• Connectionless Data Transfer
• iBeacons
• EddyStone Beacons
• Broadcasting characteristic data
• Examples using Node.js
• Possible Advanced Topics
• Peer-to-peer / Mesh (IPv6/6lowpan, GZLL)
• BLE peripherals on iOS and Android (requires native code)
• BlueZ

Bodies In Motion

Taught by Todd Bryant, Francisco Javier Molina

Course Description: This course provides an introduction to the concepts of motion capture and the motion capture production pipeline to perform and record 3D animations for film and video games as well as stream for live performances. Students will learn all of the tools for tracking props and performers using MAGNET’s cutting edge motion capture studio. Students will also develop concepts around the technology and integrate their data into 3D computer graphics along with keyframe and procedural animation and custom 3D assets to build final projects using the Unreal game engine.

Program Learning Objectives: To design a workflow of MoCap and ‘how to’ guides for diverse type of projects using motion capture and the basics of world and character building in the game engine Unreal. Reading assignments introduce students to constructed historical perspective of MoCap and investigates principles particular to animation and performance.
The objective of the course is to allow students to understand the importance of pre-production and planning which includes notions of storytelling, 3D modelling and texturing, best practices to capture the sessions, world building methods in video art and game development, and live show running. 

Course Objectives 

● To create storyboards and define recording shots before capturing data.
● To understand and use the correct motion capture pipeline
● To learn the skills to direct an effective motion capture session (best calibration)
● To learn the best practices for capturing and cleaning data
● To be able to apply the data to models in Maya, Unreal Engine, and Max/Jitter
● To be able to perform real-time retargeting for Live Performances 

Course Structure
The class consists of a weekly lecture and a weekly 2 hour lab session. Students will work in groups and will be required to attend a self-selected lab session on weekends.
Examples of motion capture projects will be presented in lectures and discussed in the classroom. Students must demonstrate satisfactory achievement of course objectives through fulfillment of one final project at the end of the semester and a mandatory submission for the programs showcase. Final projects will require students to use a wide variety of software and studio time at MAGNET’s black box mocap studio. Students will be able to process their motion capture data for use in an animation or live performance. Collaboration with students and faculty from other programs is encouraged. 


Body Electric

Taught by Conor Russomanno

The human body is comprised of many complex systems, all of which are governed by the analog, electrical messages of the nervous systems. We sense. We perceive. We think. And we act. Or maybe we don’t. At every point in the chain electrons are flowing. Where this is true, electrical potentials can be measured with increasingly accessible tools. This class will be a hands investigation of the electricity produced by your heart (ECG) muscles (EEG) and brain (EEG). We will use novel devices to tap in, measure, analyze, and make inferences about how our bodies are affected by our environments, and in turn, we will learn to harness the electricity of our bodies to control our environments.

Cabinets of Wonder

Taught by Nancy Hechinger

If you were inventing a museum today, what would it look like? Who would be there? What would its main purpose be? The first museums were called Cabinets of Wonder. Usually, a viewer with a guide, often the collector, would open doors and drawers to see what was inside--amazing things from different parts of the world, different times. They were windows on the world to places the visitors would probably never be able to go; to see things they would never otherwise be able to see. And now there’s television, movies, the internet and travel. Why do people go to museums now? Will they in the future? Today, most museums seek to educate and to include more and more diverse visitors than they used to. How do people learn in public spaces? How do we know that they do? How can they make use of the new interactive technologies and not lose what’s special about them? The class is an exploration, observation and theory class with some design mixed in. Museum and exhibit visits are your primary assignments for the first half of the course—usually accompanied by a reading. You will also make some record of your visit (including a sketchbook, a dioramas, reviews) There will be guest speakers from Museums and exhibit design firms, and several field trips. In the second half of the course, you begin to imagine how you might reinvent a museum and develop a full-scale presentation of your own Cabinet of Wonder.

Choreographic Interventions

Taught by Mimi Yin

Most of us are intimately familiar with interfaces where our movement serves as input to control interactive media. Less familiar are systems designed to compel us to dance, to groove, to move in new and unexpected ways.

This class explores the use of interactive media to “choreograph” in the broadest sense of the word from choreography as dance-making to choreography as crowd control. How do you get someone to soften their chest? Eat space? Change level? How do you shake the entire room? How do you orchestrate duets between strangers?

Conceived as a (re-)introduction to computational media through the lens of dance, students will practice how to apply computational thinking to the craft of choreography.

Using computer vision and a broad range of media from graphics and video, to sound and text, we will look at directing both how people move (quality of movement) as well as where they move (pathways and spatial relationships).

We will evaluate the strengths and weaknesses of the various sensing technologies available to us today. What is the delta between what we can see and feel (strength, hardness, contortion) and what a computer can see and interpret (locations, contours, velocity, acceleration)?

Over the course of the semester, we will cover 4 topic areas: Pathways, Shape, Space and Sound+Text. Topics will be introduced through movement-based improvisation exercises. Computational strategies will be examined through code examples and custom software tools. For each topic, students will create a small movement study in 2 stages: the first analog, the second computational.

The class will culminate in a showing of student work. Final projects can either be in the form of a tool to aid in movement practice, an interactive installation or a live performance.

Because course topics are organized around movement concepts, technical topics will be introduced and built upon week to week. See syllabus for working list of technical topics.

The course is intended both for anyone looking to deepen their practice in working with movement-based interaction regardless of previous experience with movement technique or programming. As a result, there is no pre-requisite for dance and no pre-requisite for code.

Collective Storytelling

Taught by Marianne Petit

A workshop is centered on the examination and creation of collective storytelling environments. We will examine a wide-range of storytelling spaces including participatory and user-generated environments, site-specific works, community based arts practices, and transmedia storytelling. Weekly assignments, field trips, and student presentations. 

Computational Portraiture

Taught by James George

Ten percent of all photographs ever taken were created in just the last year. How has the ubiquity of cameras changed our culture's relationship to images and altered photography as an artistic medium? By combining digital imaging, new sensing technology, algorithms, and metadata like geolocation, scientists and artists are discovering ways to synthesize new forms of vision out of vast data sets. Have these processes revealed new ways of seeing? What possibilities await in the near future?

During this 2-point course we will survey recent artworks made with techniques such as photogrammetry, 3D scanning, and computer vision, and research the tools used to create them. Students will have one week to conduct a portrait study using one of the techniques explored. 

Computer Vision with C++ and OpenFrameworks

Taught by Kyle McDonald

“Computer Vision” refers to a broad collection of techniques that allow computers to make intelligent assertions about what’s going on in digital images and video. Sometimes this means understanding the difference between an image of someone smiling and frowning, or something as low level as whether there is motion in front of a camera. Participants will be introduced to a brief history of computer vision and its relationship to media arts, but most of the
time will be spent learning how to work with computer vision addons for openFrameworks: ofxCv for direct access to OpenCV, ofxKinect and ofxOpenNI for skeleton and depth sensing, and ofxFaceTracker for understanding faces. Both computer vision classes will cover similar material with different toolkits, and students are welcome to take one or both. Before taking this class, students should have installed openFrameworks, compiled examples, and written some C++.

Connected Devices and Networked Interaction

Taught by Tom Igoe

The World Wide Web no longer stops at the edge of your screen. When it comes to products, if it powers up, it talks to another device. There's an increasing number of appliances coming on the market that feature web interfaces, but do they work well? This class take a hands-on critical look at the emerging market for connected devices, and will present an overview of methods for connecting the physical world to web-based applications. We don't interact with connected appliances in the same way as we do when they're not connected. It's not enough just to bolt a touchscreen on an appliance and call it networked. In this course we'll consider what the emerging interaction patterns are, if any, and we'll develop some of our own as needed. This class can be seen as a narrower and more interaction design-based complement to Understanding Networks. The latter class provides a broader overview of the dynamics of data networks, while this class focuses specifically on the challenges of connecting embedded devices to web-based services. Neither class is a prerequisite for the other, however. The class will begin with a review of some existing connected devices on the market, in which we'll critique them as products of interaction design. Then we'll have several short exercises to introduce different tools, and a final hardware and software production project in which students develop a more fully realized networked device.

Conversation, Cooperation, Collaboration

Taught by Clay Shirky

People work and play in groups, so anything that changes the way groups form or interact will change the way people work and play. In the last decade, the social aspects of networked devices have moved from being regarded as an interesting side-effect to being one of the core design issues of the present era. The importance of shared online effort, from github and StackOverflow to Google Hangout and 4chan, is allowing us to re-think how and when people converse, cooperate, and collaborate. In this seminar, we will study what makes the design of software for group use special, and hard. The work of the class is a series of readings about social design problems generally (Prisoner's Dilemma, Tragedy of the Commons), alongside class discussion of interesting social spaces (github, Omegle, Branch, Discourse, Weird Twitter). You will examine existing social spaces and present your findings to the class, imagining how you might improve or degrade the social aspects of those sites. The final project will be a design proposal for a novel social space or service, or for a significant alteration of an existing one.

Cooking With Sound

Taught by T3db0t Hayes

What is it about the propagation of compressed air waves that gives rise to such a vast panoply of history, culture, ideas and artworks? What exactly does sound consist of, and how can we use (and abuse) it? Utilizing sound in our projects is a lot like cooking: we find and make ingredients, manipulate them, mix them together, bake at 400º, serve. Cooking With Sound explores the phenomenon of sound from the ground up, investigates its history, practice and potential as a medium for art, communication, and pleasure, and provides students the skills and knowledge for forming and shaping these potentials. Topics include acoustics and the physics of sound (and how a single vibrating string gives rise to music theories around the world), the digitization of sound (and how you can do it yourself with a handful of resistors), sound as art medium and its interpretation and criticism, and the many various tools and techniques for wielding this ephemeral yet eternal wonder.  


Crafting Mindful Experience

Taught by Frederick Muench

Over the last 10 years our sustained attention and gratitude have decreased while perceived stress, social and material comparison and entitlement have increased. There have been numerous attempts to build technologies that enhance our mindful awareness and wellbeing but few have gained the traction expected based on the scope of the problem. 
The goals of this course are to understand underpinnings of stress and wellbeing, methods used to improve wellbeing, and ingredients of affective computing systems and behavior change paradigms. Based on this foundation, we will perform in-depth reviews of existing services, products and applications, practice various forms of meditation, and you will design systems that foster positive experiences, mindful awareness, meditative and embodied states, physiological balance, etc. The projects you develop will be based on your personal goals and needs and you can use any medium of delivery (e.g. device, application, video, performance). The emphasis in this class is on theory and creatively tackling new methods to foster a higher state of internal harmony and wellbeing. 
The class will meet for the first 7 weeks of the semester.
Week 1 - What is the problem? Practice: Universality 
Week 2 - What is meditation and mindfulness? What are the physiological & neurological mechanisms of the different forms of practice? Practice: Mindfulness Meditation. 
Week 3 –Review: Traditional and Alternative methods of practice. Week 3 Practice: Cognitive Reframing.
Week 4 –Review: Technology based solutions. Week 4 Practice: Breath Retraining.
Week 5 –What are the ingredients of happiness and successful behavior change? Practice: Compassion and Gratitude.
Week 6 –How can we engineer our external world to foster internal wellbeing? Practice: Reshaping our Environment.
Week 7 –Present Final Projects. Practice: Class Guided 

Creative Computing/Interactions Lab - UNDERGRAD

Taught by Luisa Pereira Hors

What can computation add to human communication? Creating computer applications, instead of just using them, will give you a deeper understanding of the essential possibilities of computation. Conversely excitement about your computational project ideas whether they be in the domain of art, design, humanities, sciences or engineering will best propel your acquisition of skills necessary to realize those ideas. This course will begin with the expressive capabilities of the human body and how we experience our physical environment. The Physical Computing skills will allow you to go past the limitations of the mouse, keyboard & monitor interface and at locations other than the home or the office. The platform for the class is a microcontroller (Arduino brand), a very small inexpensive single-chip computer that can be embedded anywhere and sense and actuate in the physical world. The core technical concepts include digital, analog and serial input and output. The second portion of the course focuses on fundamentals of computer programming (variables, conditionals, iteration, functions & objects) as well as more advanced techniques such as data parsing, image processing, networking, computer vision. The Java-based ‘Processing’ programming environment is the primary vehicle. Processing is more oriented towards visual displays on desktops, laptops, tablets or smartphones but can also connect back to the physical sensor & actuators from the first part of the class. The course is designed for computer programming novices but the project centered pedagogy will allow more experienced programmers the opportunity to play further with their project ideas and make lots of friends by helping the other students.

Note: This is an undergraduate course for non-ITP students.


Creative Javascript

Taught by Lauren McCarthy, Daniel Shiffman

How do the tools and platforms we work with shape the things we create? How do creative and computational ideas transform across media, and what does it mean to create for the internet? Using a new Processing library for the web, students will learn the basics of the JavaScript language and explore interactive media online. In addition to canvas graphics, the course will also cover HTML5 and DOM manipulation,working with APIs, data and JSON, interactivity across a range of devices, and the integration and use of other JS libraries. Strategies for code organization and structure, sharing and documentation, and version control (github) will also be discussed. 

Creativity in the 21st Century Economy: Pitching Your Projects as Branded Content

Taught by Michael Rosenthal

Traditional advertising is dead. Brands have realized that in order to succeed in the 21st century they need to be associating themselves with cool content rather than hoping people stick around for the ads (they don't). As such there is a growing opportunity to have brands pay to be associated with your tech savvy, creative media project. In this class we'll do an overview of this emerging field, discuss some of the different approaches and what typical deals tend to look like, and then dive into your specific projects and discuss ways you can be presenting your work to brands and agencies. This class will take place on two subsequent Saturdays. You should come prepared with an existing project you want to work with. During the week between classes you'll be expected to prepare both a written and verbal pitch, both of which you will present on the second Saturday to the class and special guests from the industry for feedback. 

Data Art

Taught by Jer Thorp

Fascinating and terrifying things are happening at the intersection of data and culture. Our lives are being constantly measured, and information about us is being surveilled, stolen, and commodified. Dialogue around this data revolution has been dominated by corporations, governments, and industry – but what about the arts? In this class, we’ll investigate the means by which artists can engage (and are engaging) in the collection, processing, and representation of data. Using a research-focused, prototype-based approach, we’ll build a series of collective and individual projects to interrogate the ‘new data reality’. Students will use Processing, along with a variety of open-source data tools (such as D3.js, Miso, OpenRefine, MapBox & CartoDB).

Data in Conflict

Taught by Christina Goodness

Streams of data leak out of environments under duress: journalists and activists in repressive conditions; civilians and organised groups in wartime and conflict zones; prisoners and captives in detention. By nature, the sources of information may be at high risk, and the concept that “privacy is dead” puts human life in danger. Additionally information is a weapon used for advocacy in both sides of conflicts, to convince, to persuade, to create noise. What techniques and tools are used to collect, aggregate, visualise and report on conflict? Are our ethical systems outdated or are there still core principles worth preserving (e.g., “do no harm”, “protect victim identity”)? This course will look closely at real-life scenarios and the tools and techniques used within conflict environments. Key issues may include the use of open-source intelligence, human-sourced data, big data, evasive tactics, surveillance systems. working in groups, students will be asked to do a series of design exercises with specific constraints for the first half of the semester, like a series of design warm-ups. The second half of the semester students would work individually or in groups to create a prototype of a tool which could be implemented in conflict zones or environments. Students are encouraged to combine this class with lab classes, so that the prototype is sufficiently functioning for the ITP Show. The class will include guest speakers who will provide expert knowledge on specific information problems in conflict zones, to present their own tools, and to provide feedback at end of semester evaluations. The class will also aim to connect students with groups and organizations for further exploration beyond ITP.

Design Tool Studio

Taught by Patrick Hebron

Process is everything.

Any programming language can theoretically produce any program. In practice, though, every tool has its own proclivities and point-of-view, which subtly embed themselves in every aspect of the user’s output. In this class, we will explore software-based toolmaking as an artistic practice in its own right. We will study the process of decomposing complex, high-level features into their granular programmatic elements within a low-level, multiparadigm language, C++. Through the granular control of C++, we will think critically about the process of curating a set of high-level features within a tool and form opinions about how these curations influence the user’s own creative process.

Each student will test his or her ideas through an iterative, semester-long software development project of the student’s own choosing. Though broadly interpretable, projects should relate to the theme of building software that aids its user in a creative or intellectual process. This could be a user-facing design application (a la Photoshop, Maya, Logic, etc, though obviously less full-featured than those commercial applications) or a developer-facing code library. Students can think expansively about these definitions and challenge these delineations.

Weekly assignments will be given to help guide the design, development and presentation elements of the final project. Students will also be expected to spend time engaging with and responding to the tools built by their peers. Our technical work will be supplemented with theoretical readings from Seymour Papert, Nicholas Negroponte, Buckminster Fuller and others.

Designing for Data Personalization

Taught by Samuel Slover

The world is awash with new data, but how can designers take the next step to make this data more meaningful in people's day-to-day lives and interactions? Put differently, instead of giving people yet more data and visualizations to interpret, how can we personalize this data to provide simple insights that more intimately connect with what people really care about?

In this class, we'll examine how personalized design can give people more meaningful and pleasant experiences with their data interactions. We'll explore how new technologies and designs are implementing these personalization strategies and how they're being successful (or not). The course will cover 3 main topic areas, each with a lecture and studio component:

1. Making (Dry) Data Personal & Playful - Personality and playfulness can go a long way in creating richer interactions around data. We’ll examine how to make seemingly 'boring' data interesting through design and personalization strategies.

2. Designing for the Self - It often helps to start by designing for our own problems. We'll explore how to track and design around a dataset of our own that we'd like to better understand. 

3. Re-Contextualizing Everyday Data - Given the sheer number of daily data interactions, there's so many opportunities to do it better. We'll explore how to take data we encounter everyday (the weather, food labels, subway delays) and re-contextualize it to give people more pleasant and smarter interactions.

Students will learn techniques on how to work with existing Web APIs, how to build and use their own Web APIs (with Node.js and Mongodb), and will implement user-facing designs utilizing p5.js and other Web technologies. Class examples will be presented in Javascript. Javascript tutorials will be assigned as a pre-requisite for those with little to no Javascript experience.

Designing for Digital Fabrication

Taught by Daniel Rozin

The ability to digitally fabricate parts and whole pieces directly from our computers or design files used to be an exotic and expensive option not really suitable for student or designer projects, but changes in this field in the past 5 years have brought these capabilities much closer to our means, especially as ITP students. ITP and NYU now offer us access to laser cutting, CNC routing, and 3D stereolithography. In this class we will learn how to design for and operate these machines. Emphasis will be put on designing functional parts that can fit into a larger project or support other components as well as being successful on a conceptual and aesthetic level. In this class we will discover methods to design projects on CAD applications for total control of the result, and we will develop algorithmic ways to create designs from software (Processing) to take advantage of the ability to make parts and projects that are unique, customizable, dependent on external data or random. The class will include 3 assignments to create projects using the three machines (laser, router, 3D) and the opportunity to work on a final project.

Designing for Live Performance

Taught by Andrew Lazarow

For centuries, great works of music, theater, and dance, have combined art and science to make integrated performances that move audiences. Today, we are seeing exciting changes as artists experiment with video and real-time interactivity to draw audiences even deeper into the performance, and enhance the shared experience of the moment. This class explores conceptual approaches to design, industry-standard software, prototyping frameworks, and data flow programming to provide student designers with the cutting-edge tools necessary to confidently collaborate with writers, directors, and performers. Structured as a studio course, students will make designs for contemporary performance pieces, and collaborate with working artists to design original projects.

Designing for Seniors in the Information Age

Taught by Staff

Design is a field which occupies itself with the hypothetical questions of 'what if?' and 'what could be?'. In any design process we are presented with dozens or hundreds of questions along the way. Like in a geometric proof, each decision we make will have an effect on subsequent questions and answers. How and why we make these decisions will determine whether a design will succeed or fail. 
This course will teach research, analytical, and design techniques which will help designers identify critical opportunities and make informed and defensible design decisions which will stand up to the scrutiny of clients and resonate with end users. 
We will focus on identifying opportunities to create physical and technological design solutions which will help seniors and Baby Boomers remain relevant and integrated in mainstream society and extend the quality of their lives.
Consider that there are over 80 million Boomers in the US controlling over one trillion dollars in assets (80%+ of the US total). The oldest Boomers are now only 73 years old but, as a group, they have already come to dominate the medical device market. Still, most products and brands are geared for Traditionals (the previous generation) whose cultural priorities and values differ significantly from the 'consumer culture' oriented and tech aware Boomers. 
" Through direct research and analysis, we will identify latent opportunities for disruptive design solutions, both physical and technological which will help preserve and extend societal engagement and the quality of life for the target demographic. Students will conduct various forms of field research working with individuals and organizations in our target demographic to test their assumptions and hone their solutions. They will then build prototypes which can be tested by the targeted end user. Possible organizations will include; AARP, Senior Planet, Aging 2.0, OATS (Older Adults Technology Services) "The course will require a significant amount of field research and iterative studio work. It will include:
• Research: Qualitative and quantitative methodologies for collecting target information, problem identification and analysis. 'Design Research Methods and Perspectives' edited by Brenda Laurel will be used as a guide. 
• Iterative Exploration: Ideation, sketching, sketch modeling (on computer and real life), 3D analysis, testing for feedback
• Design Development: Choosing direction, honing supporting material (research) into compelling case, prioritizing problems to address in designs, human factors, usability, refining drawings, models, detailing, materials, colors, finishes, etc. 
• Presentation: deliverables may include; digital graphic presentation, renderings, research, drawings, scale model/prototype, video, process book. Final presentations will be presented, by the students, to our participating organization(s) for evaluation.

Designing Games for Kids

Taught by Greg Trefry

Making games for kids ain’t easy, but it sure can be rewarding. Kids can be the harshest of critics and also the most appreciative of players.

Designing a game entails crafting a complex and dynamic system to produce engagement. Designing games for kids demands that you do all of that and make it look super simple. No 20 page booklets of rules. No relying on the good will of the player to hold their attention. Stir in the reality that a 4-year old is radically different from a 7-year old and you’ve got a formidable, but exciting design challenge in front of you.

Designing games for kids forces you to strip your games down to their essence honing your skills as an interaction designer. This class will lay out a basic framework for game design. Then we’ll use that framework to analyze and design games for different age ranges, skill levels and attention spans. We will also look at the interplay between games and education, focusing on ways to draw out learning through scaffolding. The class will focus heavily on production and playtesting. Students will make a series of games for different age ranges. They will also create curricular materials that scaffold one of their games to draw out elements of learning.

Designing Meaningful Interactions

Taught by Katherine Dillon

This class will focus on how to create interfaces that get people to take the action you intended them to take and how to make that interaction a compelling experience. We will look at a wide range of examples of interaction design and explore different approaches to solving user experience problems across a number of platforms and at a wide range of scales. The class format will include lecture, student presentations, class discussion in-class design exercises and some guest lectures. The class will be very hands-on with assignments each week that focus on a particular aspect of user experience design including research, wire-framing, rapid prototyping, critique and user testing. Tools will include pen and paper, models and digital tools. Students will be active participants in the class and all assignments will be discussed and reviewed in class. Students should come to every class with a computer and sketchbook.

Designing Participation in the Networked Economy

Taught by Liz Barry, Bill Wetzel

Chances are, your latest project or enterprise features ways for people to “get involved” and “take action.” But what does it mean to truly participate? This class introduces the idea that participation itself, from digital to non-digital, needs to be designed. We will explore collaboration ventures occurring in the knowledge production, transportation, housing, education, food, and finance sectors. We will analyze these models of participation for their social and economic impact, then develop our own participation spectrum and apply it toward crafting new problem statements. Throughout this course, we will explore when technology can serve as a democratizing force, while assessing the limits of virtual participation.

Keywords: collaboration, power, facilitation, decision making, community management, network economy, digital labor, platform cooperativism" "In addition to the survey across sectors, and the development and application of our own spectrum of participation, after mid-term we will spend time getting into the details of online community management and group facilitation. 

The final project would be to craft a problem statement for a particular issue/sector that clearly articulates a participation design. Problem statements will be delivered to a relevant audience (via PublicLab.org, Medium, others). " Seminar with possible field trips and guest speakers.

Developing Assistive Technologies

Taught by R. Luke DuBois, Anita Perr, Marianne Petit

This multi-disciplinary course allows students from a variety of backgrounds to work together to learn about and develop assistive technology. Partnering with outside organizations, students will work in teams to identify a clinical need relevant to a certain clinical site or client population, and learn the process of developing an idea and following that through to the development of a prototype product.

Development in the Public Interest

Taught by Harlo Niani Holmes

Over the course of the semester, students will team up with people who work in in high-octane environments (journalists, human rights defenders, cop watchers, whistleblowers, and documentary filmmakers) to build technical solutions for the public interest.

Students will be presented with a unique set of design challenges directly from domain experts, and respond with hardware and software solutions specially-honed to meet the client’s need. This will require a lot of listening: together, we will work hard to understand the adversaries, threat models, and operational challenges frontline workers face daily.

Students will then be split into teams, and work together in a “sprint” tackling the needs of the client of their choice. First, we will get to know the field through the eyes of our client. Then, we’ll work with our client to design a solution. Finally, we’ll build. This course will be production-heavy, and incorporate two fundamental principles:

Human-centered, collaborative design focus: In our design phases, students will work with people in the field. We will incorporate input and feedback from those who will ultimately use our tools.

Development in the open: Students will not only be graded on the work they produce, but also their development process. Students will be expected to contribute to Stack Overflow, master Github’s pull request and issue tracker features, and learn to work with Transifex.

Digital Fabrication for Arcade Cabinet Design

Taught by Mark Kleback

In the past five years, we’ve seen a strong influx in the indie game community here in NYC. Babycastles gallery, the NYU Game Center, and the Death By Audio arcade are all showcasing games in public spaces. Many of these galleries are starting to display custom arcade cabinets that are impressive manifestations of these games.

In this class, students will use Unity to create a simple multiplayer game that can run on a Windows, Mac, or Linux computer. They will learn to use scripts that will launch this game on startup, and interface with hardware like buttons and joysticks using microcontrollers.

In the second half of the class, they will learn how to construct an arcade cabinet with digital fabrication tools like laser cutters, 3D printers, and CNC cutters. The class will culminate in a finished arcade cabinet that displays the game and can run uninterrupted for months in a public venue.

Digital Imaging: Reset

Taught by Eric Rosenthal

Digital cameras and printers are making photography more ubiquitous and more useful than ever. This course is a workshop that looks at changing the rules for capturing and printing digital imagery. By gaining a better understanding of the engineering fundamentals and limitations of digital photography, students can produce breathtaking images with all the benefits of digital media but with an image quality that rivals film. Students experiment using low cost, hands-on tips and tricks in software and hardware to capture high dynamic range, expanded color, night color, 3D, time lapse, and stop motion images using a digital camera and printer. While using mostly off-the-shelf tools, these experiments require students to dig down to see the nitty-gritty of today's and tomorrow's technologies for digitally sensing, encoding, compressing, transmitting and displaying images.  


Directing Virtual Reality

Taught by Sarah Rothberg

This is a collaboration between Grad Film and ITP.

How does an interesting piece of technology become a tool for making art?

When the Steadicam was invented, it was revolutionary technology, because it was a way to move a camera without laying track. But when Kubrick and the cinematographer who invented it, Garret Brown, got together on The Shining, it began to have a language and a meaning all its own.

In this class, Grad Film directing and cinematography students and ITP students will look at Virtual Reality and experiment with VR storytelling techniques.

We will:
investigate what has come before — how it has been used narratively, for museum/art installations, and in documentary
compare and contrast the medium’s affordances with those of film, and test what film style elements can be brought into VR — 360 mise-en-scene
look at the current delivery systems and publication platforms
explore newest techniques used at different studios and by independent makers through site visits and guest lectures
identify and create a vocabulary for the artistic effects created with our own experiments
learn and practice varied techniques for creating 360 content — from the Ricoh Theta to Multi-camera rigs
Above all, this class will be experimental, focussing on the artistic possibilities of cinematic VR — an antidote to the tech industry’s impulse to churn out demos for the next newest hardware.

The first half of the class will be more technique heavy, where the latter part will focus on production. The course is 12 weeks scheduled over the course of 14 weeks– with two weeks off (March 23 + April 6) for out-of-class production. The students will form cross-departmental teams, creating several short experiments and one more developed piece, and a deep familiarity with the new possibilities of cinematic VR.


Taught by Christopher Kairalla

The field of Virtual Reality is changing almost daily. New products and techniques now give us incredible control over the immersive VR experience, and the vocabulary for VR communication is now being written. Powerful game engines like Unity3D have lowered the bar for VR hobbyists and artists, and modern-day cell phones have all of the components necessary to render convincing VR in real-time. This class will focus on experimental and narrative VR projects. We will look at the history of visual storytelling and art, as well as critical analysis of media, as a starting point for conceiving our VR projects. We will continuously compare older mediums to VR in order to best understand what works well in a VR experience. We will also discuss the history of VR, and look at recent VR projects.  The class will cover 3 broad conceptual themes, which will give focus to the projects. The themes are recontextualization, symbolism, and mythology. Some techniques that we will explore are 2D media in a 3D space, 3D world building, VR GUI, and external networked interfaces.

Drawing on Everything

Taught by Shantell Martin

The objective of this course is to explore analog and digital drawing not only as a static exercise, but also as a tool for performance installation and collaboration. The course will explore different methods for expression and capturing output. Examples include drawing under camcorders, digital projection, digital drawing software, and simple code platforms. Students will gain the skill and confidence to draw in real time using a variety of different mediums, improve their improvising skills, and learn to perform without delay.  

Dynamic Web - Mobile

Taught by Calli Higgins

This 6-week, 2 point course will be focused on developing and deploying front-end mobile web applications using HTML5, CSS, JavaScript. Additional focus will be on capabilities suited to the mobile device such as the geolocation, touch interfaces, responsive design, sensor data (gyroscope, accelerometer, magnetometer), and media capture. Finally, the course will cover using the open-source Framework PhoneGap to export these web applications as cross-platform mobiles apps that can be distributed via Google Play and/or the Apple App Store.

Some programming experience with JavaScript is required (ICM with p5.js or Comm Lab Web)

Educate the Future

Taught by Greg Dorsainville

The New York Times reported in the spring of 2014 that fewer High School grads have opted to attend College, halting a trend of increasing matriculation for four plus decades. What is going on? As education in the US experiences a shift from being perceived as the most obvious method of higher social mobility, the viability of Higher Education is in doubt. The product of Higher Education is ripe for upheaval with new thinking in the presence of the digital, mobile, and social media revolutions that have changed many industries this decade. 

This course will ask you to observe, imagine and create the vision of Higher Education, 1 year, 5 years, 10 years into the future. How will people learn? How will teachers teach? How will you measure your academic success? How will students connect to peers and experts? Who will be able to attend this future? Will higher ed be on your wrist or in a building? Will education be gamified? 

Our weekly conversation will have voices from people helping to shape and improve education today, with futurists, with designers, and with content creators. We will explore the current education landscape globally. We will restructure education in terms of experience design, with the goal of improving the experience for the learner. We will discuss how our experiences have motivated our learning. At the end we will design experiences that capture the essences of these visions.


Taught by Jeff Feddersen

“Energy has been called the “universal currency” (Vaclav Smil) but also “a very subtle concept… very, very difficult to get right” (Richard Feynman). Building on skills developed in physical computing, we will, through generating and measuring electricity, gain a more nuanced and quantitative understanding of energy in various forms. We will turn kinetic and solar energy into electrical energy, store that in batteries and capacitors, and use it to power small projects. Several sessions will include hands-on labs. We will develop skills useful in a variety of undertakings, from citizen science to art installations, and address a range of topics through the lens of energy. Students will build a final project using skills learned in the class.”

Everything is Physical: The Art of Digital Mapping

Taught by Mimi Onuoha

Digital technology has created new opportunities and resources for mapping, cartography, and geolocation-based visual investigation. It has also brought the need to consider issues concerning power, representation, and space. In this seven-week course, students will be introduced to GIS (geographic information system) basics and learn the practical realities of working with spatial data using digital mapping tools and technologies like mapshaper, Leaflet.js, TileMill, and d3.js. Time will also be devoted to investigating the conceptual questions that inform mapping and strategies for counter-mapping. Topics of discussion will include: what do maps represent as visual information artifacts? What happens when we consider maps as art objects? How is the expression of geodata a result of political processes? What does it mean for virtual creations to refer to physical realities, and in what ways do the two shape one another?

Students will work individually on weekly assignments, but will have the opportunity to collaborate on a final project that addresses the techniques and topics studied in the course.


Taught by Zoe Fraade-Blanar

Fandom is the study of the communities that form around popular culture, whether based on a shared love of Harley Davidson bikes, PBR Beer, Miley Cyrus, or 3D printing. In design, proper fan management can mean the life or death of a project; well-thought-out interactions can lead to hoards of adoring, evangelical users, and bad interaction can spell shame and embarrassment. From Air Jordans to World of Warcraft, this class explores the influences and motivations that separate fans from mere users. We chart the evolution of fan culture as an important social and economic force, from early 16th century religious manias to its recent rebirth as modern-day geek and nerd culture. Along the way we'll discuss fangroup commercialization, appropriation, monetization, and other techniques available to us as creators to get the most out of them.


Food Systems: Interventions + Remediations

Taught by Stefani Bardin

Super storms, drought, abundant chemical and fertilizer overuse and misuse, ozone depletion, fossil fuel exploitation and a load of bad decisions have contributed to the myriad causes of Climate Change and the shifting landscape of our Food System. For example, due to erratic weather patterns our coffee bean supply is predicted to diminish by 1/3 in the next 50 years or in the worse case scenario be completely wiped out. Strawberries need a temperate climate and a ton of water to thrive, both of which are becoming more unattainable everyday.
This studio + seminar looks at the impact of human behavior on the environment through the lens of the very complex, dynamic and interconnected Food System and how the collateral of our behavior is swiftly changing what we grow, how we grow it and ultimately what we eat or will be eating in the future. Focusing on such developments as GMO’s and understanding the ways in which technology should not be shunned in favor of a more nostalgic embrace of food systems that is not the golden ticket everyone is expecting. Therefore we will work on projects that examine how technology can be leveraged to address these issues by designing small scale interventions in the areas of bio-remediation, food preservation, foraging and pollination.
This studio + seminar looks at the impact of human behavior on the environment through the lens of the very complex, dynamic and interconnected Food System and how the collateral of our behavior is swiftly changing what we grow, how we grow it and ultimately what we eat or will be eating in the future. Students will work on small design projects that respond to, address, perhaps even fix ruptures in our damaged agricultural ecosystem, and the many players implicated in our environmental food chain. These projects could include seed saving devices that help preserve and propagate heirloom hops; rainwater filtration systems that feed directly to crops.

From Prototype to Fabrication: Planning for Mass Production

Taught by Sarah Krasley

Navigating the world of mass production can be challenging. Prototyping and making one of something for class is pretty straightforward, but what happens when other people want one? How much will it cost to make five of what I made once? How about 50? How about 5000? Where will it be manufactured and with what machines? Questions like these can feel daunting.

This class is for students who have identified a well-defined product idea and/or digital or physical prototype. Coursework will focus on increasing the student's understanding of how they would attempt to mass produce the product and how much it would cost." Classes will be a combination of lecture, hands-on work, and student presentations. Between the first and second session, students will be assigned to work through a network manufacturer to complete their BOM and RFQ. This two session class teaches an approach to planning for mass production. In the first session, we will learn what goes into a Bill of Materials (BOM) and how to structure a request for quote (RFQ). In the second session, we will review student presentations of their results working with sourcing providers and evaluate different options for production against a set of criteria (hypothetical and real). 


Future Interfaces

Taught by David Lobser, Kenneth Perlin

Traditional user interface elements, such as buttons, sliders and drop down menus, require computer users to conform to a regime of screen-based and device-driven affordances. In this class we will envision a future where the human mind and body are unshackled by such anachronisms, and language itself extends to include intuitive gestures that can interact directly with the world around us.

Using a custom library for gesture and virtual/augmented reality developed at Ken Perlin's lab, we will examine the roots of sign languages such as ASL, of Chinese logograms, and the ways in which children naturally develop their own languages. We will imagine a future where we will share an immersive, computer augmented reality which we can manipulate and use to communicate visual ideas with each other just as naturally as we use speech and gesture today.

Future of New Media

Taught by Art Kleiner

This course explores the next few years in the development of media and related technologies, culture, and geopolitics. It uses scenario planning, a technique for making sense of complex future possibilities. The class works as a large project team, looking ahead 5-10 years. We distinguish predetermined elements from critical uncertainties, identify the underlying patterns that influence events, and come up with a few compelling, plausible stories about possible futures. We present the futures – and the strategies they suggest – to a public audience. The goal of the course is to enable you to make more robust decisions in the face of uncertainty. This is valuable for dealing with technological change, starting a business, plotting a career or making major life decisions. This class has developed a longstanding following at ITP because it helps make sense of the complex world that shapes (and is shaped by) new media.

Hacking Higher Ed

Taught by Daniel O'Sullivan, Clay Shirky

New communications tools offer the opportunity to improve the accessibility, measurability, convenience, and cost of higher education. Doing so, however, means deciding which goals to design for -- Skills transfer? Experiential learning? Personal re-invention? Networking? Certification? -- and how those competing goals should be bundled or unbundled. This class will ask students to look at ways to reinvent higher education to increase its accessibility and exceed the current quality of the experience. Students will survey current experiments such as University of the People, Khan Academy, Codecademy, Meetups, TED Talks, General Assembly, and hackerspaces. Guest speakers working in this space will join the class discussions. Students will work individually and in groups to imagine re-designed lectures, discussions, student collaboration, assessment, and certification. The final project will be an education module, of the student's own design and construction, launched to the public for feedback. 

Hacking the Browser

Taught by Cory Forsyth

Web browsers were originally only for displaying web pages, but over the years they have become supercharged all-powerful web execution machines. In this class we’ll explore using experimental new browser capabilities and HTML5 APIs to build small web projects that augment and subvert the traditional browsing experience. In class we will look at the mechanics of Chrome extensions, bookmarklets, Chrome Apps, APIs such as: Service Workers, Battery Status, Geolocation, full-screen-mode, notifications, accelerometer usage, video camera access, speech recognition and text-to-speech. Class workshops will include topics such as building one’s own ad blocker, programmatically replacing text and images on a website, making sites that respond to external events (such as location, battery life, weather), and creating a motion-based intrusion-detector. Some experience with HTML, CSS, and JavaScript (ICM with p5.js or Commlab Web/Networked Media) are requirements for this class.

Hardwired for Stories Out Loud: Why Stories Matter

Taught by Adaora Udoji

Storytelling may be the "new" thing in technology, but it's way more than a buzzword. It's so central to how we learn, communicate, think and invent that we may indeed be hardwired for storytelling.  It may also be one of the most important skill you can learn for your career. It is the ability to to communicate your ideas effectively, and be the best spokesperson for those ideas. If you want to be ready and more confident in your presentation skills for Thesis..and the rest of your life...this course is for you. This course is part seminar and part training in the art of how to present your ideas well.

In this course, you will: 1. explore what a story is, why stories work 2. design and build a framework based on the cross discipline principles (you tell stories all the time, and have the power to do it well. 3. apply it to the work you are doing-- whether representing yourself, your ideas, the things you build or want to build.


Homemade Hardware

Taught by Andrew Sigler

Hardware is not hard, and rapidly prototyping circuit boards is easier than ever with new tools at ITP. This class is about artists and designers taking control of their hardware, and exploring the potential of embedding their projects into the world around them.

We will begin with a study of popular microcontrollers, how they work, how they’re made, and how we program them. We will then dive into how printed circuit boards (PCBs) are made at ITP, through hands-on experience with each machine and process on the floor. Some tools include micro-milling machines, surface mount parts (SMD), and Eagle CAD. We will then touch upon some new problems and opportunities that arise when making and designing embedded things. These include designing and ordering parts, low-power and energy harvesting, and incorporating sensors and radios in a design.

The first half of the course will include small weekly projects to help teach the process. Classes will be split equally between lecture and workshop, either in the classroom or with the equipment. Students will finish a midterm project around Spring break, and a final project of their choosing at the end of the semester. Introduction to Physical Computing is a prerequisite.

In Short: Recurring Concepts in Art

Taught by Georgia Krantz

What is the relationship between new media art and the art that preceded it? Has the revolutionary impact of digital media produced entirely independent spaces of art making and creativity? While observing how digital technologies produce new arenas for artistic expression and interpretation, we will examine how 20th-century artists working before the digital boom utilized other media, techniques and approaches to effect comparable formal, conceptual and experiential dynamics. This course will include reading, dialogue and short projects.

In Their Shoes

Taught by Gabriel Barcia-Colombo

“If you can learn a simple trick, Scout, you’ll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view…until you climb into his skin and walk around in it.”
— To Kill a Mockingbird

In Their Shoes is a 7 week production class focused on creating short 360 degree documentary and immersive videos with the goal of creating empathy through virtual reality filmmaking. How does virtual reality allow us to experience unique perspectives on social issues? What are the strengths and weaknesses of this new and provocative technology? How does virtual reality filmmaking change or enhance the traditional documentary format? Is it possible to create compelling stories or points of view in the round? This course will focus on the creation of 360 degree video not for the purposes of amusement and spectacle but rather to inspire compassion and social change.

Technically the course will investigate new techniques for 360 degree video and sound recording for portable virtual reality headsets such as the google cardboard and samsung gear vr. Students will work in small groups to create a fully realized project within the 7 week class period.

This two-credit course will meet the last seven weeks of the semester.

Integrated Data Thinking 101

Taught by Tricia Wang

This course will teach students a research process that is designed for data-rich environments. Students will learn Dataframing©, a framework that unifies discovery and optimization research and integrates big data and thick data methodologies. We will introduce the fundamentals of running Data Sprints©, a rapid and iterative process for learning about users. Students will walk away with a common language for working with quantitative and qualitative, a set of techniques on how to ask the right questions, and a foundation for gathering insights for their projects.

Interactive Music

Taught by Yotam Mann

Interactive Music enables and empowers listeners/players to personalize, perform and explore composed music in greater depth. The democratization of music-making software, music video games, and the rise of DJ’ing has expanded the audience for interactive music to a growing group of people who don’t see music as something to enjoy passively, but as something to actively participate in. Interactive music is not specifically about generative music or audio synthesis, though it can include these topics. It is about realizing a musical idea as a collaboration between the composer and the listener. This course will guide students to make their own interactive music projects while considering how interaction enriches and augments the experience of music.

The course will be structured around 1 final assignment in which students create an interactive music project. The technical part of the course will focus on Javascript , Web Audio (an HTML5 specification for audio synthesis, processing and playback) and Tone.js. Students will be encouraged to use Javascript, but ultimately, the language or platform is up to the students.

The class will focus on composing music for interaction by creating low-tech / no-tech interactive music projects exploring methods and dimensions of musical interaction. Topics will include exploring the spectrum of interactive music from playback to full-fledged instruments as well as relevant artistic questions such as “how much control should composers give to their players/listeners”. Students will be exposed to prior-art interactives in contemporary music, game pieces, and video game music. Intermediate projects will give students a chance to learn and apply the lessons on Javascript and the Web Audio API, specifically the interactive music framework Tone.js. Students will then combine the musical and technical lessons into their final projects. Possible projects might include: adaptive-length songs, music-based games, reactive/responsive compositions, interactive performances, collaborative jamming platforms, and interactive music boxes, interactive movie scores. The format of the course will balance instruction, discussion, and jamming.

Intro to 3D for Printing

Taught by Xuedi Chen

3D environments and objects are powerful prototyping tools. This class will introduce the basics of 3D modeling techniques in Rhino and students will learn to create assets for prototyping and 3D printing. The class will take an industrial design approach to design and build with specifications and materials in mind. Students will learn to think, plan, design, and produce well thought out objects to fit their specific needs. (examples: motor mounts, enclosures, wearables etc.)


Introduction to Fabrication

Taught by Ben Light

Time to get your hands dirty. Prototypes need to be created, motors have to be mounted, enclosures must be built. Understanding how things are fabricated makes you a better maker. 

But hardware is hard. You can’t simply copy and paste an object or working device (not yet anyway), fabrication skills and techniques need to be developed and practiced in order to create quality work. You learn to make by doing.

In this class you will become familiar and comfortable with all the ITP shop has to offer. We will cover everything from basic hand tools to the beginnings of digital fabrication. You will learn to use the right tool for the job.

There will be weekly assignments created to develop your fabrication techniques. There will be in class lectures, demos, and building assignments. Emphasis will be put on good design practices, material choice, and craftsmanship. 

Labor in a Mobile-First World

Taught by Ted Roden

This course will explore the very recent history and the future of work, labor, and employment. We’ll research and discuss how the nature of work will continue to evolve in a world with distributed workforces, working primarily mobile on their own time, and how that will affect both the workers and applications. How will applications be built using these models? How will our concept around “work” change?

The course is a balanced between a discussion of the implications of new labor models like Mechanical Turk and Uber and working directly with technologies that have made them possible. Students will create a series of small projects using javascript libraries, frameworks and APIs.

Lean Launchpad

Taught by Jennifer van der Meer, Joshua Knowles

Lean Launchpad, the experiential course in entrepreneurship, will be offered for credit this Spring at NYU ITP. Based on the Steve Blank’s Lean Launchpad and the NYU Summer Launchpad Accelerator, we are applying the curriculum developed at Stanford and Berkeley for the NYU community. This course has been developed with support from the NYU Entrepreneurship Initiative, and aims at mixing the best of the methods from the Lean Launchpad methodology with the best of ITP's methods.Over the spring semester, student teams participate in an iterative approach to startup development, a combination of business model design + customer development + agile development. Participants from the New York Venture Capital community and leading successful startup entrepreneurs will serve as mentors and advisors to selected teams.Who can apply: Students apply in teams, 3-4 people, with an initial concept that can be fully developed into a working prototype over the course of the semester (web, mobile, or physical product).


Learning Machines

Taught by Patrick Hebron

Over the last decade, machine learning has undergone a philosophical Renaissance through the innovation of a set of computational models and algorithms often referred to as Deep Learning. These ideas have led to concrete advancements in long-standing applied domains such as classification and time-series prediction. But the real excitement over Deep Learning lies in its yet untapped potential. 

This course will introduce some of the core technical concepts within Deep Learning and explore how these emerging capabilities will transform the next generation of computing interfaces such as search engines, intelligent assistants, connected homes and open-world video games. Students will be asked to complete weekly incremental programming exercises, culminating in an applied project that relates the techniques studied in this course to any field of human-computer interaction.

We will also explore some of the more abstract insights offered by Deep Learning into vexing phenomenological questions like:

Why do we replay and reconfigure memories in our dreams?
Why do we use only a small portion of our brains at any given time?
Why can we catch a baseball without being able to recite Newton’s equations?
And most importantly, what defines learning as a phenomenon?

Required Text:

Anderson, Britt. Computational Neuroscience and Cognitive Modelling: A Student's Introduction to Methods and Procedures. Los Angeles: SAGE, 2014.

Programming Platform:

This course will be taught in Python and will expose students to scientific computing and visualization libraries including SciPy and Matplotlib.

Live Web

Taught by Shawn Van Every

The World Wide Web has grown up to be a great platform for asynchronous communication such as email and message boards which has extended into media posting and sharing. Recently, with the rise of broadband, more powerful computers and the prevalence of networked media devices, synchronous communications have become more viable. Streaming media, audio and video conference rooms and text based chat give us the ability to create new forms of interactive content for live participants. 

In this course, we’ll focus on the types of content and interaction that can be supported through web based and live interactive technologies as well as explore new concepts around participation. Specifically, we’ll look at new and emerging platforms on the web such as HTML5, WebSockets and WebRTC using JavaScript and Node.js.

Experience with web technologies are (HTML and JavaScript) are helpful but not required. ICM level programming experience is required. ( Social Software, Internet, Video )

Looking Forward

Taught by Claire Kearney-Volpe

This course surveys assistive technologies and access for people with low vision and blindness. Historical, contemporary and forward thinking perspectives will be explored and guest lectures from leaders in the field and people with lived experience will be included. Students will learn about low-vision and blindness access and technologies across several domains (web, wayfinding, literacy, socialization, etc.) and will develop the skills to transform and advance them. In partnership with each other and community members that have experience with low-vision and blindness, students will develop their own projects in the second half of the class.

Machine Learning for Artists

Taught by Gene Kogan

This course will introduce machine learning for artistic practice. Machine learning is the technique of teaching computers to learn by example, enabling us to build interactive systems that intelligently respond to a variety of real-time inputs. Example applications include building new musical instruments, interactive installations, and video games whose behaviors are dynamically controlled by nontraditional inputs, such as a Kinect sensor, webcam, or internet data stream.

This course will not cover, nor assumes knowledge of, the technical or mathematical details of machine learning, instead focusing on how to integrate available tools into existing interactive applications, although resources for learning the technical aspects will be provided. The tools we use will be platform-agnostic, making it easier to add machine learning into existing applications. Programming ability will be helpful in customizing the provided tools, but is not required.

We will build interactive systems which use classification — the ability of machines to assign categories, such as recognizing hand gestures — as well as regression — the ability of machines to predict values, such as how happy or sad a facial expression is. We will show how to transmit these values in real-time into environments such as Processing, openFrameworks, Max/MSP, Ableton Live, and others.

The course will also briefly touch upon the current frontiers of machine learning, including data organization, clustering, and visualization, as well as style emulation — the ability of machines to generate images, audio, and text which imitate particular styles.

Making Pop-Up Books and Paper Engineering

Taught by Sam ita

This two-point workshop covers the basics of paper engineering techniques (including folds, layers, dials and pull-tabs) to make movable designs that can be incorporated into your work. Weekly assignments and a final project.

Mapping Systemic Relationships

Taught by Howard Silverman

Systems thinking is relational thinking, and the best way to understand systemic relationships is to map them out. In this class we will develop, discuss, and compare a range of mapping (i.e., diagramming) techniques, such as: social ecosystem mapping, analog mapping, concept mapping, causal mapping, influence mapping, and scenario mapping. We will use these mapping techniques to examine social and environmental issues, and the resulting maps will inform our conversations as we consider and critique strategies for effective engagement. No explicit familiarity with systems thinking is required; this class will serve as both introduction for newcomers and augmentation for old hands. Students will work individually and collectively to apply mapping techniques to case studies (provided as text, audio, video) of social and environmental issues. These mappings will challenge students to articulate and clarify both their understandings of complex situations and their hypotheses about affecting change in areas of concern or opportunity. Throughout the course, hands-on exercises will be woven together with introductions to relevant systems theory and discussions of mapping insights.


Mechanisms: If It Moves It Breaks

Taught by Pete Beeman

We will introduce the delightful possibilities of simple machines and fundamental mechanical concepts–such as levers, gears, and linkages–through examples from the history of kinetic sculpture, interactive art, and manufacturing. Look to Alexander Calder’s Circus and Theo Jansen’s Strandbeest as examples.

This class will teach the students the joy of making things that move, the pain of watching them fail, and the knowledge they will need to ensure that what they design won’t fail when it’s most important. Students will quickly engage these concepts with their own initial projects. We will share the challenges professional engineers and artists face when making something move and begin to identify and address those challenges. Discussions will focus on best practices in designing mechanical systems, determining requirements, simple prototyping, specifying, resourcing and manufacturing components, and testing. The students will find examples of things that work, and things that have failed. Site visits to shops where things are made will put these concepts into a real-world context. Students will also be required to design and build a final project that meets a basic set of requirements (e.g. includes at least 2 “simple machines,” is resettable, works, and looks good).

Muscle: Move It, Bringing the Body Back

Taught by Nancy Nowacek

MUSCLE is a class exploring the body as technology through readings, sketches, performance, dirty prototypes and conceptual proposals.

For the past 79,850 years of evolution, the body has been the primary tool for transforming the world. Over the past 150 years, the body’s capacities and capabilities have been increasingly outsourced to machinery, appliances, and devices, and essentialized to eyes, ears, and fingertips.

We will study the gap between what the body wants and what technology currently asks of it with the goal of bringing the body back into modern life. Students interested in digital performance, physical computing, computer vision and motion tracking will leave the class with a broad foundation in movement and conceptual methods and development for future projects and applications.

The course will survey a range of movement languages and practices — from sign language to crossfit, martial arts, and contemporary cultural forms like dance and slang —and examine the history of movement in industrial design and the physical choreography of tools, and the history of gesture in hardware and software. We will engage with ideas of interface, affordance, prosthetic, and avatar to marry movement, meaning, and device in new and experimental ways.

The course is conceptually focused, but we will perform research-in-practice through small, weekly experiments that take the form of sketches, diagrams, videos, and prototypes. Classes may involve moving.

New Interfaces for Musical Expression

Taught by Greg Shakar

The course focus is on the design and creation of digital musical instruments. Music in performance is the primary subject of this class. We approach questions such as "What is performance?" "What makes a musical interface intuitive and emotionally immediate?" and "How do we create meaningful correlations between performance gestures and their musical consequences?" Over the semester, we look at many examples of current work by creators of musical interfaces, and discuss a wide range of issues facing technology-enabled performance - such as novice versus virtuoso performers, discrete versus continuous data control, the importance of haptic responsiveness as well as the relationship between musical performance and visual display. Extensive readings and case studies provide background for class discussions on the theory and practice of designing gestural controllers for musical performance. Students design and prototype a musical instrument - a complete system encompassing musical controller, algorithm for mapping input to sound, and the sound output itself. A technical framework for prototyping performance controllers is made available. Students focus on musical composition and improvisation techniques as they prepare their prototypes for live performance. The class culminates in a musical performance where students (or invited musicians) will demonstrate their instruments. 

Nothing: Creating Illusions

Taught by Andrew Lazarow

How do we make something from nothing, and nothing from something? The idea of nothing, and optical illusions have been linked since the western discovery of zero lead to the beginning of linear perspective. In this course we will explore an array of optical illusions, ranging from traditional approaches to new technologies. Structured as primarily a studio course, we will work directly with Pepper’s Ghost, disappearing acts, making solid objects appear transparent, invisibility, false sense of depth, and approaches to designing negative space.

Assignments will include:

• Readings and blog post responses.
• Creating small-scale illusions with and without the aid of new technologies
• Exercises in camera analysis and projection mapping
• Calibrating camera values with projector values
• Making user interactions invisible, and then transmittable
• A Midterm: Creating a small scale prototype with controlled interactions
• A Final: Designing a full scale prototype accounting for user interactions

One Story, Seven Ways

Taught by Elena Parker

Course Title – One Story, Six Ways – 7 Weeks

“A work of art is realized when form and content are indistinguishable. When they are in synthesis. In other words, when they fuse.” – Paul Rand

Storytelling – the rehearsal of a narrative in a structured and meaningful way – can take
many forms. This class asks how each form in which you tell a single story changes the
way that the audience receives that narrative. You will choose a public domain short story and iterate upon it in seven different media. We will examine how to leverage the unique tools of each medium to best communicate a narrative. How do you articulate a character differently in audio versus performance? What part of your narrative is better suited to physical expression? Are there aspects of storytelling that a image or game just do better?
After choosing your short story, you will adapt it to performance, audio, image sequence, physical/installation and as a system or game. Along the way, we will look at outstanding examples of storytelling in each medium and examine how the authors fused form and content.

Performing Participation

Taught by Taeyoon Choi

Is there a script behind our participation in everyday events? What are the factors that are engineered into human experience? This class will explore the codes of participation embedded in technological spectacle of daily life by staging experimental happenings. Happening, a term coined by a performance artist Allan Kapprow in the 50s, transforms space as an interface for unconventional situations to occur and a site of confrontation and stimulation. Contemporary performance artists create work outside the division of staged and timed events, toward art work that seeks to establish sense of affect and presence. This class will explore participation as an artistic medium to create an unconventional performance art piece. The classes will be split between 40% lecture and 60% student participation through physical activities. 

Learning outcome: 

Become confident improvising in unexpected situation. Create series of happenings with instruction and documentation. 


Interpret the meaning of participation we perform in daily life, consumption and communication. 

Perform participation in the public sphere, using technology to build commons between individuals.

Performing User

Taught by Lauren McCarthy

How do the technologies we use on a daily basis choreograph our actions, cause us to perform, and open spaces for improvisation? What are the ways we perform for each other, and how do the internet, mobile phones, and other networked technologies create new performance sites and possibilities?

The course will be structured around four performance assignments, requiring students to perform with physical hardware, on the internet, via telepresence, and in collaboration with a crowd. An important part of the course will be learning to critique each other’s work constructively—experiencing with an open mind, and thoughtfully and articulately responding.

The performance activities will be supplemented with study of prior performance art engaging technology, short readings, and technical workshops. The workshops will introduce technical tools the students may choose to incorporate into their work, such as IFTTT, Twitter bots, WebRTC, and Mechanical Turk. However, the focus will be on considering the context, function, and meaning of these technologies and translating this into novel ways of performing with them. No technical experience is required, though students may incorporate existing skills into their work. A desire to take risks and step outside of one’s comfort zone is necessary.

Persuasive Design

Taught by Katherine Dillon

In subtle and not-so-subtle ways technology is influencing our behavior – from buying more books on Amazon than we intended to, to helping us change bad personal habits to leveraging the voices of many– technology presents an opportunity to be an agent of change. This 4pt class will explore how technology can be used to influence behavior. We will look at a number of behavioral theories including incentive–based design, gamification and social influence. We will review case studies on how these techniques have been used to effectively motivate behavior change.   After researching theories on behavior motivation, working in pairs, students will identify a problem or issue that they hope to influence. Students will document the problem, develop a concept to influence the behavior associated with that problem and prototype (or build) their solution. They will test their solution and draw conclusions from the experiment. Projects can attempt to influence social change at a large, social scale or at a personal level. The unifying theme behind the projects will be that they intend to inspire positive change. The goal of the course is to provide students with a sold understanding of the potential technology provides to motivate and affect change in behavior. Students will develop projects that aim to influence behavior.

Piecing it Together

Taught by Eric Hagan

Designing and building physical objects can feel like putting together a puzzle without the box top. Even if you have all the pieces, an extra challenge lies in figuring out how they fit together. Digital fabrication tools make it possible to newly imagine and produce pieces that allow us to recreate or modify the “puzzle” as we see fit. Utilizing historic mechanical equipment (e.g. windmills, clocks, speed governors) as design inspiration, we will explore the possibilities of digital fabrication tools to solve issues of fastening, synchronicity, replaceable parts, repeatability, and modification of existing designs. A central goal of this class is to come to terms, and work productively, with the limitations of these otherwise revolutionary digital fabrication tools—particularly in regards to materials, scale, and aesthetics. By the end of the semester, students will be familiar with Adobe Illustrator, 2D and 3D CAD software, laser cutting, CNC routing, and 3D printing. No prior fabrication or design background is required for this course.

Playful Communication of Serious Research

Taught by Lillian Preston

Exhibition design is the art of marrying experience and information. The best do so seamlessly; the very best surprise and delight you along the way. In this class you will explore the craft of interactive exhibition design through practice. Working in small groups, you will select an NYU researcher whose work is of interest to you and create an interactive experience that presents this research to a broader, public audience. In the process, you will learn to interrogate content and form, audience and environment, medium and message to create a meaningful and playful exhibit experience.

This class is taught by Lillian Preston, Senior Producer at RAAMedia, the world renown exhibit design firm.

Printing Code

Taught by Rune Madsen

In this course students explore the use of computational techniques to produce physical prints, focusing on the intersection between graphic design and creative coding. Class time will be divided between exploring design topics like colors, grids and typefaces, and applying these towards computational topics like randomization, repetition and generative form.

Weekly readings include relevant writings from the history of graphic design (Josef Muller-Brockmann, Paul Rand), articles from the history of computation (Vannevar Bush, Douglas Englebart, Martin Krampen) and everything in between (Sol Lewitt, Edward Tufte, etc).

Weekly homework can be produced using the digital printers at NYU’s Advanced Media Studio, however students are encouraged to utilize whatever physical printing techniques they prefer, that being stencils, letter press, silk screen, weaving or home-made printers.

The class aims not only to teach the students how to create physical prints via code, but also to have something interesting to say about it.

The class requires ICM or similar programming background. 


Product Autopsy

Taught by Leonardo Bonanni

Where do things come from? What are they made of? How do they impact society and the environment? That is what this class is about. Product Autopsy is the process of revealing the hidden life of things: the people, the places, and the ideas that made them possible. Over the course of this half-semester class, students will select personally relevant products or services and disassemble them to reveal their impact. Along the way we will become familiar with the state of the art in impact assessment, including environmental footprinting / Life-Cycle Assessment, social impact assessment, cultural sustainability and operational risk and resilience. Over the course of seven sessions students will prepare a detailed autopsy of their selected products using the most relevant impact metrics and present the results in a mid-term exhibit/review. Projects will be evaluated with an eye toward finding opportunities for radically sustainable alternatives to the way things are made today.

Programming Design Systems

Taught by Rune Madsen

Until recently, the term Graphic Designer was used to describe artists firmly rooted in the fine arts. However, as design products are becoming increasingly dynamic, the field of design is changing too.

In this course students explore the field of graphic design through code. Class time will be divided between exploring design topics like colors, grids and typefaces, and applying these towards computational topics like randomization, repetition and generative form. A significant part of the class will be devoted to understanding systems as an important part of our design history.

Weekly readings include relevant writings from the history of graphic design (Josef Muller-Brockmann, Paul Rand), articles from the history of computation (Vannevar Bush, Douglas Englebart, Martin Krampen) and everything in between (Sol Lewitt, Edward Tufte, etc).

The class aims not only to teach the students how to create design systems in code, but also to have something interesting to say about it.

The class requires ICM or similar programming background. This class is built on the class “Printing Code”, and students who took that class should not take “Programming Design Systems”

Programming from A to Z

Taught by Daniel Shiffman

This course focuses on programming strategies and techniques behind procedural analysis and generation of text-based data. We'll explore topics ranging from evaluating text according to its statistical properties to the automated production of text with probabilistic methods to text visualization. Students will learn server-side and client-side JavaScript programming and develop projects that can be shared and interacted with online. There will be weekly homework assignments as well as a final project.

Project Development Studio

Taught by Stefani Bardin, Daniel Rozin

This is an environment for students to work on their existing project ideas that may fall outside the topic areas of existing classes. It is basically like an independent study with more structure and the opportunity for peer learning. This particular studio is appropriate for projects in the area of interactive art, programing, physical computing and digital fabrication. There are required weekly meetings to share project development and obtain critique. Students must devise and then complete their own weekly assignments updating the class wiki regularly. They also must present to the class every few weeks. When topics of general interest emerge, a member of the class or the instructor takes class time to cover them in depth. The rest of the meeting time is spent in breakout sessions with students working individually or in groups of students working on related projects.

Prototyping Electronic Devices

Taught by Deqing Sun, Peiqi Su

The most difficult part of prototyping is not the building process, but the process of deciding how to build. If we choose proper technology for prototypes, we can improve their robustness and simplicity. This course will cover available and affordable technologies for ITP students to build prototypes. The course will start from soldering, wiring and LED basics. Then it extends to multitasking, signal processing, communication and advanced skills beyond PCom class. Each session will have lectures followed by in class practice with guidance. Workshop sessions during midterm and final period allow students to work on their own project with help from instructors. No required assignment. Students will listen to lectures and do hand-on practice in class. There will be workshops for students to work on their midterm and final project for other classes.

Prototyping Interactive Spaces with Spacebrew

Taught by Brett Renfer

Spacebrew is an open-source tool for building and experimenting with interactive spaces. It facilitates rapid prototyping of interactive and responsive environments by enabling designers and developers to easily and quickly connect real-time interactive applications across microcontrollers, computers and the cloud.

This workshop will introduce Spacebrew from a technical perspective and explore ways to prototype large scale interactive installations with Spacebrew. On the technical side, we will cover: a high-level introduction to Spacebrew; an overview of how to connect to Spacebrew with Processing, openFrameworks, Arduino, and Javascript; and demonstrations on how to use Spacebrew to connect all of the above together. Students will then be split into small groups and will be tasked with creating prototypes around a specific interactive scenario. Finally, we will explore narratives that can be created when these individual prototypes are networked together.

Prototyping Movies

Taught by Dan O'Sullivan

Have you you ever seen a movie set take over several city blocks with trucks and trailers, tents and a crew of one hundred. Even in movies that rely more on special effects than location shooting you can see thousands of names roll by in the credits. Who can afford to tell stories that way? How can you interact with stories made that way? This course will look at how tools like the kinect camera, panoramic video, and XML transmission might allow people to sketch stories out of parts that are more easily composed, reconfigured and shared. The goal is not seamless special effects but rather the rough juxtapositions in the tradition of comics or storyboarding. Using these traditions as templates we will look at the dramatic parts of a story in addition to the audio visual parts. Stories in a living storyboard that can be created by anyone, evolve and intersect with others may never need to be made into a more finished movie. This class will draw on ideas coming out of ITP’s “Consumer Light and Magic” research project so students will be expected to have a pioneering attitude. Student will have assignment to gather compose and distributes parts of a story. Examples will mostly be in javascript with Unity being a viable alternative platform. ICM is a prerequisite and the Comics class might make an interesting compliment.

Radio Ga Ga

Taught by Surya Mattu

Radio waves have been harnessed for communication for over a century. From simple morse code signals to high definition video, this medium has played a critical role in enabling how we, and our devices interact with each other.

Thanks to increasingly accessible hardware platforms, the barrier of entry has been lowered for harnessing this medium. Making a project that uses wireless has become cheaper and easier than ever before, however, the protocols used (Wi-Fi, BLE, Zigbee) are still a small part of the entire Radio Frequency (RF) spectrum.

This class will start by diving into Wi-Fi as a way of better understanding some RF fundamentals that a lot of wireless infrastructure relies on.

We will then dive deeper and look at Software defined Radios and listen to other parts of the spectrum that were previously off limits for creative exploration. These include air traffic control, weather satellites, GSM, and many more!

This class hopes to make radios exciting for the uninitiated with an explanation of the technical fundamentals they are based on along with the social and political impact they have in our current digital landscape.

We will use the FCC allocated radio spectrum as our playground and explore the waves!

Reading and Writing Electronic Text

Taught by Allison Parrish

This course introduces the Python programming language as a tool for reading and writing digital text. This course is specifically geared to serve as a general-purpose introduction to programming in Python, but will be of special interest to students interested in poetics, language, creative writing and text analysis. Weekly programming exercises work toward a midterm project and culminate in a final project. Poetics/text analysis topics covered include: character encodings (and other technical issues); cut-up and appropriated text; the algorithmic nature of poetic form (proposing poetic forms, generating text that conforms to poetic forms); transcoding/transcription (from/to text); n-gram analysis and Markov chain generation; performing digital writing. Programming topics covered include: data structures (lists, sets, dictionaries); strategies for making code reusable (functions and modules); functional programming (list comprehensions, recursion); getting data from the web; simple web applications; and parsing data formats (e.g., markup languages). Prerequisites: Introduction to Computational Media or equivalent programming experience.


Taught by Gabe Barcia-Colombo

This course is about taking old things and making them new. Loosely based on the tradition of Marcel Duchamp’s “Readymades,” students will re-imagine old technological devices and antiques as new media installations or art objects in the form of scientific, ethnographic, artistic and historic relics. By embedding new technology (sensors, micro-controllers and small projectors) into found objects, students will explore a combination of anthropology and new-media storytelling. Can we create interactive art devices that tell a human story? How do we maintain artistic control while building artwork that requires human interaction? How can we re-appropriate found objects in a meaningful way to create new-media installations?

This is a production heavy four credit course taught in Max/Msp/Jitter and focused on making museum ready interactive durable installations. Possible projects include: time traveling typewriters, boomboxes from mars, ghost phones and musical bicycles. Pre-requisites include a flair for the absurd…and soldering.

Reinventing the Wheel

Taught by Ben Light

The class will dive deep into one of the simplest machines. The humble wheel has been with us for millennium, but is ripe for reinvention. We will investigate and create wheeled mechanisms, toys, kinetic sculptures, and robots. Our objects will roll, spin, and slide. We will cover fabrication, mechatronics, design, and engineering techniques. This class will be prototype and fabrication heavy with multiple projects and a final.

Rest of You

Taught by Daniel O'Sullivan

We build computers around an illusory image of ourselves. In particular the illusion that our consciousness is the full extent of our experience limits how we might use computers to augment the fuller expression of our lives. This class looks at how you can use computational media to connect with the rest of your existence. The class begins by examining some of the illusions that we operate under and how revisiting those can be helpful. Then you will use sensors to give voice the less represented parts of your body. This class will also serve as a gentle rejoinder to Physical Computing and ICM. Exercises will use bio sensors, cameras, logging, mobile tech, data analysis and visualization.

Sensory Driven Storytelling

Taught by Stacey Mulcahy

Narratives are often linear, with a start and an end, and sometimes even formulaic. How can we create new stories, reactive or even dynamic ones using sensory input to help direct or even define the direction of the narrative? We will explore narrative driven games or environments in either 2d or 3d focusing on how sensory input can contribute to play and or performance.

Technologies and software to be covered will be Unity3d, communication protocols such as Web Sockets and OSC within the context of Unity3d to capture and share data, and the Kinect. Other hardware input will be addressed as needed through lab times.

Social Hacking: Appropriating Interaction Technologies

Taught by Lauren McCarthy

This course explores the structures and systems of social interactions, identity, and representation as mediated by technology. We will investigate ways that technology can be used to augment, subvert, alter, mediate, and ultimately deepen interaction in a lasting way.

How do the things we build and use limit and expand the way we understand and relate to each other? We’ll explore this question by building new tools and creating new situations for breaking us out of existing patterns, and discussing contextual examples from media art, performance art, psychology and pop culture. Technologies explored will include computer vision (face/body/eye tracking with openFrameworks), data representation and glitch, browser extensionsand plugins (in Chrome), computer security, mobile platforms, and social automation and APIs (Facebook, Twitter, Mechanical Turk).

Students will develop projects that alter or disrupt social space in an attempt to reveal existing patterns or truths about our experiences and technologies, and possibilities for richer interactions. Different tactics for intervention and performance will be explored, first through a set of short prompts or experiments, and then through a larger, more thorough intervention.

Technical requirements:

A conviction that creative people can derail society for the best, a deep love for code, and a willingness to explore uncomfortable situations. You should at least have taken Introduction to Computational Media or have similar experience with programming.

Speculation as Process

Taught by Chris Woebken

The Speculation as Process course is built around ongoing research on futuring methods at The Extrapolation Factory. Over the course of the class, we will develop imagination devices and futuring process followed by an iterative series of rapid investigations, incorporating design-fiction prototyping and re-contextualization of the ideas generated. The class will research new tools and methods for generating speculative concepts with the intention to suggest develop new interactions and tools around emerging scientific research in the area of to be re-contextualized back into New York City (ie. Finance world, Psychic Reading Salon or Office of Emergency Management). The multiplicity of speculative prototypes aims to develop a new language for engaging with these emerging scientific and technological developments in the efforts for providing a system for situating near-term efforts with future guideposts, shape design discussions and ultimately evaluate those developments and influence our collective futures. 

Storytelling with Non-Linear Video

Taught by Alon Benari

Throughout history, as new storytelling mediums have emerged, content has adapted to fit the developing form. From oral narratives to theater, cinema, and television, storytelling will always evolve to fit the possibilities enabled by the platform. Yet, despite being interactive by nature, digital storytelling has not fully adapted to the medium. So – how is non-linear video shaping the future of digital storytelling?

This 7-week workshop will combine filmmaking and classic storytelling with gaming mechanics and interface design. The class will introduce the depths of non-linear video and allow students to create their own interactive experience. The focus is on what makes a good story in an interactive narrative environment. Students will have access to the Interlude platform – the industry leader in interactive video (behind videos such as Bob Dylan’s “Like a Rolling Stone”). In addition they will be given “backdoor” access to further customize the software for their own projects.

During the course of the semester, they will works in teams of 2-3 students to produce a short interactive video experience. Weekly lessons will mimic their project creation process – providing tools and knowledge for creative ideation, scriptwriting, film production, and product integration. Students will acquire basic Javascript and CSS skills in the class.


Taught by Ben Light

Subtractive fabrication is a common manufacturing process that produces durable and functional objects. This class will cover multiple techniques on machining and milling raw material into custom parts. We will focus on both traditional and digital fabrication tools: lathe, CNC router, 4 axis mill, etc. We will cover CAD, CAM, and machine setups as well as research affordable desktop milling solutions for personal shops.

The class will be hands on and fabrication heavy, paying close attention to precision, accuracy, and craftsmanship.

There will be weekly fabrication exercises, a midterm, and a final project. It’s mill-er time.

Temporary Expert: Design + Science in the Anthropocene

Taught by Stefani Bardin

This class provides foundational understanding of the scientific and social issues related to the design of resilient urban futures. It provides ways of understanding our shifting ecological landscapes and the need to engage in design that addresses the conditions of the time we are living in now = the Anthropocene = the epoch when human beings began to problematically impact global climate and ecosystems.

Following the methodology of “The Temporary Expert,” students will combine traditional research and analysis with hands-on experimental project development. We will use the scientific method as an investigative and evaluative tool for these design interventions by learning to test and measure a variety of different kinds of data and then creating projects to evaluate, share and even perform this information.

Students will learn to pinpoint and begin to understand the increasingly mercurial geological conditions of our planet supplemented by field trips to bio-labs, workshops with scientists and visits from artists working within the scientific world. Weekly work consists of readings, interviews, writing, daily artistic practice and systems thinking exercises.

Temporary Expert: Research-based Art and Design Practice

Taught by Marina Zurkow

Cultivating a “Research-based Practice” requires an artist/designer to be a pioneer, a detective and a mystic all in one. What does it look like to make work in, through and as research? How do you follow a hunch? Engage experts and passersby to explore both legitimate AND preposterous leads? Be expansive? How do you leave your own trail of documentation that can contribute to a body of knowledge beyond the products of your own art? These forms of research may mix a variety of scientific and intuitive methods. The artist/designer is free to employ speculation, open-endedness, and irony; to use design as a way to probe or even provoke the chosen fields of inquiry. The class is devoted to the question of how to initiate and investigate research and incorporate it intelligently and sensitively into your work. This class is about developing your own idiosyncratic and well-documented means of pulling threads, following leads, and becoming fearless about asking for help and others’ expertise. You become a temporary expert.  Through hands-on practice, case studies, guest speakers from both art and science, and readings on ethnography, research, and the idea of a public, we will explore method, documentation and presentation of your research, and the merits of both success and failure.

The Nature of Code

Taught by Mimi Yin

Can we capture the unpredictable evolutionary and emergent properties of nature in software? Can understanding the mathematical principles behind our physical world world help us to create digital worlds? This class focuses on the programming strategies and techniques behind computer simulations of natural systems. We explore topics ranging from basic mathematics and physics concepts to more advanced simulations of complex systems. Subjects covered include physics simulation, trigonometry, fractals, cellular automata, self-organization, and genetic algorithms. Examples are demonstrated in native JavaScript using p5.js. Much of the class time will be dedicated to in-class exercises and self-study as the course is available online through a video series and textbook.

Prerequisite: H79.2233 Introduction to Computational Media or equivalent programming experience.

The Stratosphere of Surveillance

Taught by Adam Harvey

Mass surveillance is a vast yet largely invisible infrastructure that enmeshes our cities, workplaces, homes, borders, and even our social interactions. From the databases that store our most personal media to the satellites that peer down from space, this class explores the stratosphere of surveillance technologies that are reshaping the world order.

This class begins by inverting Bentham's architecture of the Panopticon and placing the individual at the center. From here we will look outward at the myriad ways of being seen, analyzed, and tracked through real world examples and demonstrations of both lo-fi and advanced surveillance techniques. Technologies covered include biometrics (face, iris, fingerprint, and gait); online tracking (cookies, browser fingerprinting, network analysis, and packet sniffing); advanced imaging (thermal, IR, aerial, computer vision, and capturing "media in the wild"); and hacking (using examples from Kali/PwnPi). Selected texts will accompany each set of technologies and we will discuss their implications in class. 

After developing an understanding of the diversity of surveillance technologies, students will work collaboratively to develop a well researched response to subvert, critique, improve or adapt to the type of surveillance they find most relevant.

Through topics covered in this class students will gain a technical understanding of surveillance, security, and privacy enhancing technologies; be able to communicate securely using encryption; and learn how to better navigate the emerging landscape of mass surveillance. A working proficiency with the command line and basic programming techniques is recommended.

The User of Assistive Tech: Engaging with People with Disabilities

Taught by Georgia Krantz

Creating useful assistive technology means truly understanding the user. Misconceptions about a user’s abilities, needs or desires can quickly disrupt the best ideas and intentions. User research and testing is a must for all assistive tech projects, yet many people do not feel comfortable interacting with people with disabilities. This course aims to build an understanding of the importance of user input in assistive tech projects, and best practices for interacting with people with disabilities.

The World-Pixel by Pixel

Taught by Daniel Rozin

Images and visual information are perhaps the most potent tool at our disposal with which to engage viewers of our computer based creations. Computers have the ability to share our visual world by means of evaluating visual information, transforming visual content and even generating visuals from scratch. This class focuses on the art of computer graphics and image processing. We explore the concepts of pixilation, image representation and granularity and the tension between reality and image. Students are introduced to the tools and techniques of creating computer images from scratch, manipulating and processing existing images, compositing and transitioning multiple images, tracking live video and masking, compositing and manipulating live video and manipulating depth information from Kinect. The class uses the C++ language in OpenFrameworks and Processing.


Taught by Nancy Hechinger, Robin Reid, Kathy Wilson, Katherine Dillon, Gabe Barcia-Colombo, Andrew Lazarow

This course is designed to help students define and execute their final thesis project in a setting that is both collegial and critical. It is structured as a series of critique and presentation sessions in which various aspects of individual projects are discussed: the project concept, the elaboration, the presentation, the process and time-table, the resources needed to accomplish it, and the documentation. Critique sessions are e a combination of internal sessions (i.e., the class only) and reviews by external guest critics. Students are expected to complete a fully articulated thesis project description and related documentation. Final project prototypes are displayed both on the web and in a public showcase either in May or the following semester.

Times Square Electronic Garden

Taught by Mitchell Joachim

This full-scale design-build course will engage a new conception of public space from a point of departure that is both technological and ecological. The aim is to examine the wide-ranging possibilities of sensors, digital fabrication, living vegetation, and public architecture located in the heart of Times Square. The students will be freely supplied with most working materials by the renowned Material Connexion library and sponsored at the citywide NYCXDesign celebration. A final student driven life-sized group project will be installed outdoors for public display throughout the entirety of the NYCXDesign festival in May 2016.

Today’s scarcity of public spaces due to rampant privatization leaves little room for truly enjoyable outdoor respites. In order to produce a unique interpretation of future public space, students will be challenged to explore the dynamic networked relationships between living and non-living elements. While there have been many points of confluence traditionally between the media-based digital realm and the architecture of open space, the specificity of these relationships and how they are embedded in the urban tapestry often remains unrecognized within the discourses of both disciplines. This course will attempt to fuse that relationship and produce an integrated life-sized artifact.

Students will be introduced to a series of place making exercises proposed in Times Square to tease out the most exciting and buildable scheme. A sequence of group discussions around heterogeneous approaches will be reviewed and tested in digital mock-up form. Students are encouraged to present their own ideas as big-picture concepts or discreet fragments to be combined into a larger narrative. An introduction to the skills and resources for designing, growing, and fabricating with ecological materials, including CAD/CAM/CAE; NC machining, 3-D printing, sketching, laser cutting, thermoforming, mold making/ casting with composite materials and carbon fibre, nonferrous/ sheet metal work and DIY garden sensors. This course also puts an emphasis on learning about open spaces, urban farms, and public installations.

Transformational Design: Mindfulness and Physical Computing for Experience-driven Design

Taught by Daniel Rosenberg

This class brings together Mindfulness and Physical Computing through hands-on, playful, and collaborative exercises. You will learn how to become mindful in design, that is, how to direct your awareness towards the experience of the products you are putting together. And you will learn how to use what you experience directly as a means to talk and think about the experience of the people you are designing for.

Our tools will be Arduinos, sensors and effectors that we will learn and explore from the point of view of our bodies and minds—meditating by paying attention to what we do and feel with these materials in the moment, as we are putting them together and trying things out. As a result, we will learn how to create interactive objects/spaces never experienced before, and how to design for others without trying to prescribe their experiences.

Understanding Networks

Taught by Tom Igoe

Interactive technologies seldom stand alone. They exist in networks, and they facilitate networked connections between people. Designing technologies for communications requires an understanding of networks. This course is a foundation in how networks work. Through weekly readings and class discussions and a series of short hands-on projects, students gain an understanding of network topologies, how the elements of a network are connected and addressed, what protocols hold them together, and what dynamics arise in networked environments. This class is intended to supplement the many network-centric classes at ITP. It is broad survey, both of contemporary thinking about networks, and of current technologies and methods used in creating them. Prerequisites: Students should have an understanding of basic programming (Intro to Computational Media or equivalent). Familiarity with physical computing (Intro to Physical Computing or equivalent) is helpful, but not essential. Some, though not all, production work in the class requires programming and possibly physical and electronic construction. There is a significant reading component to this class as well.  

Visual Listening

Taught by Jonny Goldstein

In this mini-course, we will explore the art and craft of drawing to support listening and understanding.
The class will meet for three weekly sessions of three hours each. We will practice using an iconic drawing and diagramming style to capture the who, what, where, when, how much, and how of what someone is saying. We will also look at and practice using visual metaphors and visual templates to capture information from people who are speaking. As homework, we will conduct visual interviews of people, and share our experiences in class. In the final class session, we will have a question and answer session with 1 or more guest professional visual listeners, and discuss applications of, and further avenues for exploration of visual listening.
All drawing abilities are welcome. Expect to listen, draw, write, and diagram extensively and in quick succession. This class will be conducted in English and will involve listening carefully to spoken English and drawing representations of that speech in real time. Non native English speakers are welcome, but prepare to have the extra challenge of turning spoken words into pictures in real time in a language that is not your mother tongue. If you are ready for that challenge, you will get a lot out of the class.” Students will learn and practice using different visual frameworks to elicit and capture information from other people.

Mini course: 3 sessions:

Session 1: Introduction to fundamental visual frameworks. Practice using them to capture information from other people with the help of markers and whiteboard. Homework: conduct visual interview with someone and visually document.

Session 2: Introduction to visual metaphors as a catalyst for conversation. Introduction to using visual templates to guide an interview for specific ends. Homework: use a visual template to conduct a visual interview and visually document.

Session 3: Practice visually capturing conversation in a group context. Presentations by and Q & A with one or more professionals who use visual listening in their work. Meanwhile students will practice visually capturing this Q & A.

Visualizing the Universe

Taught by Carter Emmart

Today, astronomers have charted the universe and astrophysicists make dynamic simulations of it to better understand how it all works. The Hayden Planetarium’s millennium rebuild produced new ways to view all of this and share it with the world. This course offers a quick overview that covers the concept of visualizing the universe within theater based immersive data visualization. A look at how data across the largest measurable scales can be presented continuously within proper context and displayed through techniques of immersive graphics, interactive presentation and production to tell the most fundamental stories we can ever hope to resolve.

Wearable Tech Design

Taught by Despina Papadopoulos

Twenty odd years trending and still we have few (if any) examples of truly integrated wearable technology examples that have reached market scalability. Most examples of wearable technology are akin to a “cottage-industry”– handmade, bespoke and expressive, more couture than ready-to-wear, reminiscent of the pre-industrial revolution methods of production for textiles and clothing.

The challenges we had 20 years ago remain largely the same despite growing market interest in the area. But with new developments in rapid prototyping and e-textiles we are in a much better place today to address some of the major roadblocks in taking wearable technologies to scale and disrupting the current manufacturing infrastructure.

In this class we will emulate a concept and design to go-to-market process and break the semester in 4 stages:

1. Develop compelling use-cases and gathering requirements – identify applications, services and wearable environments that address human needs and an engagement model that goes beyond the much quoted 6-month drop-off rate for most existing wearable devices. How do we activate behavioural change, a need for delight and magic, or look at the needs of emergency responders, nurses, and chronically ill patients? Whether we design a wearable environment for dance performers, first responders or expectant mothers, our focus will be in designing a compelling system that addresses the needs of said user’s and environment and goes beyond single use scenarios.

2. Turn requirements to design and technology specifications – having identified a target audience and their needs, we will work to select existing technologies and solutions and specify how our wearable solutions addresses each requirement, making sure that intention, design and creative vision are retained in specifications.

3. Experiment with solutions with an eye to manufacturability and scale – we will look at existing manufacturing processes and come up with solutions that can be adapted to manufacturing or create solutions that do not yet exist. Experimentation and rapid prototyping will be the focus of this phase while we develop design guidelines and development specs.

4. Develop a final prototype and production plan – at this stage we will build a robust prototype that addresses production needs and outlines how we will source and take prototypes to scalable products.

We will do these with an eye to integration and scalability and with placing special emphasis on design and rapid, iterative prototyping. Visiting guests will provide context on processes in the apparel and footwear industry as well as updates on emerging solutions in e-textiles and conductive yarn developments.

Web Development with Open Data

Taught by James Cropcho

This 7-week, 2-point course will provide a framework for learning how to develop impactful and socially relevant web applications, with emphasis on presentation of freely-available datasets. It will focus on server-side programming using JavaScript, Node.js with Express, the PostgreSQL database, and cloud-based hosting, and will lightly touch on front-end web development. Students will learn to navigate New York City’s and The United States’ official datasets. The course will be a mixture of lecture and in-class collaborative coding, with weekly programming and reading homework.

100 Days of Making

Taught by Katherine Dillon

Iteration and its impact on the creative process is the theme of this class. Students will identify a theme, idea or topic they would like to explore over the course of 100 days and commit to making or producing a variation on that idea every day for 100 days. Students who enroll must commit to producing and documenting physical evidence of their efforts. Projejcts can focus on building, writing, drawing, programming, photographing,designing, composing or any creative outlet.

In parallel to the making, in-class lectures will examine the work of artists who’s work has been defined by iteration and discuss the role of discipline and routine in the creative process.

Toward the end of the class we will focus on documentation and reflection on the experience and each student will produce a compilation of their 100 day efforts.

Collaboration will:  jar you, provoke you, confront you, offer you different ways of looking at the world.

Red Burns, Former ITP Chair

ITP Overview

  • Course Requirements

    Course Requirements

    Find out more about how ITP courses are structured.

  • Apply Now!

    Apply Now!

    Learn more about the admissions application process.



    Read on for more admissions and department requirements.

  • Informational Open Houses

    Informational Open Houses

    ITP attracts so many different types of students who are interested in studying creative uses of interactive multimedia technologies. Whether you are a sculptor or a computer programmer, an architect or a philosopher, a dancer or a scientist, and want to apply your interests to interactive media, we would like an opportunity to learn more about you.

  • Transfer of Credits

    Transfer of Credits

    Applications for a transfer of credits based on comparable graduate-level courses may be submitted only after three courses have been completed within the program. A maximum of 8 points may be transferred. Applications require the approval of the faculty.

  • Ownership Policy

    Ownership Policy

    The creative works produced by students at the Tisch School of the Arts in fulfillment of class assignments, or as individual study projects, whether made on Tisch School of the Arts premises or elsewhere, with or without Tisch School of the Arts equipment, and with or without extra funds, are subject to certain restrictions until the educational experience associated with such works has been completed. These restrictions are spelled out in the Ownership Policy section in the Tisch School of the Arts Bulletin.

  • Facilities


    ITP is a state-of-the-art multimedia production center located in New York University’s Tisch School of the Arts. It is housed in a 15,000-square-foot complex in which a turn-of-the-century industrial loft has been transformed into a striking high-technology studio. Students can reserve a wide variety of digital production equipment for creating and showing dynamic content. Also featured is a fabrication workshop for physical computing and carpentry, including various wood and metal working tools, spray booth, 3 laser cutters, 4 mills and a CNC machine. There are areas dedicated to pc board making, soft circuit design and 3D printing. All classrooms and presentation spaces support projection sharing and live view cameras. The space as a whole is highly reconfigurable and responsive to support cluster work, large audience presentations and open gallery shows. New York City, the richest communications environment in the world, provides the ideal location for the department, which is situated at New York University’s Washington Square Center in Greenwich Village.

  • International Students

    International Students

    All applicants must meet the English language requirements. If English is not your native language, you should plan to take the Test of English as a Foreign Language (TOEFL). The test should be taken no later than November to ensure that results are received in time to meet admissions deadlines. Only TOEFL scores that are less than two years old are acceptable. Late receipt of scores will cause delays in the admissions process and departmental evaluation. Alternatively, you can meet this requirement by submitting the results of the International English Language Testing System (IELTS) examination or PTE. For more information visit http://www.ielts.org. We prefer to see a score of 100 on the TOEFL or 7 on the IELTS. Another option is the American Language Institute at New York University which offers a number of tests throughout the year. For information call 212.998.7040 or visit their web site.

  • Financial Aid

    Financial Aid

    ITP offers a limited number of tuition scholarships to incoming students. All students are automatically considered for academic merit-based and financial need-based scholarships after applying for admission and financial aid (applicants planning to file should so indicate on the admission application). Awards are made on the basis of academic excellence, demonstrated ability, professional promise, and financial need. Tuition scholarships are funds applied toward the cost of tuition. Please keep in mind that requesting financial aid will have no effect on the admission decision.

  • Propose A New Course

    Propose A New Course

    For those who either want to teach a course, or students who have course ideas, please submit.

  • ITP Alumni Visualizer

    ITP Alumni Visualizer

    LinkedIn Beta Visualizer of ITP alumni