Hacker Ielts Speaking Audio
Lyric Maro
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Authoritative curriculum information can be found exclusively in the University Bulletin. All other content, including this web-page is for informational purposes only. You can find the curriculum for this program on this page of the Bulletin.
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.
This course explores the fundamentals of storytelling through animation. Students will begin with the principles of animation and stop motion animation using Dragonframe. The second part of the course is devoted to digital collage animation, compositing, keyframe animation and masking using After Effects. Finally we will look into expansive storytelling with a brief intro to world building in Unity 3D. Drawing skills are not necessary for this class, however, you will keep a sketchbook. Basic video editing and sound design skills are suggested. This two-credit course will meet the last seven weeks of the semester.
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.
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. ICM introduces the fundamentals of programming: variables, conditionals, iteration, functions, and objects through drawing and animation. The JavaScript library p5 is the primary vehicle for the class. All sections assume no programming experience at all. If you already know about repeat loops, variables, conditionals, functions, objects and callbacks you can join in the second half of semester (2nd 7 weeks) to interrogate visual media, sound and music and text through computation.
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.
Please note: THIS IS A SAMPLING OF CLASSES THAT ITP HAS OFFERED OVER THE YEARS. THIS IS NOT A COMPLETE LIST. PLEASE NOTE OUR COURSES CHANGE EVERY SEMESTER. If you are looking for more specific and up to date listings, prospective students should visit _index.html and then click the "Public Course Search" button. They may find our listing under ITPG-GT and they may change the year and semester to see a historical log of courses.
Iteration and its impact on your creative process is the theme of this class. The format of the course turns its head on the traditional class structure and instead of focusing on syllabus that builds to a final project, the course is focused on a daily, iterative practice. Students will identify a theme, idea or topic they would like to explore over the course of 100 days and must commit to making or producing a variation on that idea and posting social evidence of their work every day for 100 days. Projects can focus on building, writing, drawing, programming, photographing, designing, composing or any creative expression. In parallel to the making, in-class lectures will examine the work of artists whose work has been defined by iteration and discuss the role of discipline and routine in the creative process. Please note this class will have two meetings in December (dates TBD) with Katherine Dillon to establish the ground rules and to help students identify projects
This class looks at ways to compose music using algorithms. Drawing from both computer-age and pre-computer repertoire and literature on writing music procedurally, the class will look at different topics and issues in the automatic or rule-based generation of music in both pre-compositional and real-time interactive environments. Students are expected to make a series of musical studies investigating different systems covered in class, ranging from stochastic music to rule-based grammar models to data mining. No specific knowledge of music theory is required, though a basic understanding of MIDI, digital sound, and some of the tools for manipulating them are useful. A broad overview of the history and repertoire of algorithmic music is covered in weekly listening presentations.
Is it a plaything? Sculpture? Nostalgia? A Product? Art toys exist at the center of a unique Venn diagram. Each student in this class will develop an original limited edition art toy. We will cover toy fabrication, character design, material selection, packaging design, and art toy culture. The class will be fabrication heavy, there will be weekly assignments, and a final project. 7 week class, 2 credits.
Autonomous Artificial Artists (AAA) is a class to explore ways of making artworks "autonomous." In this context, "autonomy" brings together three independent but related criteria: 1) artificial intelligence being a primary determinant in an artwork's aesthetics 2) autonomous software principles culled from peer-to-peer network design, blockchain and decentralization technology, serverless and federated machine learning, cryptoeconomics, and agent-based multiplayer simulation. 3) crowd-sourced art where mass, unbounded cooperation of many participants creates novel artworks which represent the "hive mind" or collective input. The goal of this class is to learn a little bit about each of these seemingly disparate fields, and see how they may interact in interesting new ways. The idea of autonomous artworks is very new, and is being actively discussed by a small group of interdisciplinary researchers and artists since 2016/2017. Although the topic is highly experimental, it is nevertheless based on concrete technologies, making simultaneous use of several techniques which are under active development and have potentially far-reaching ramifications well outside the domain of art. The time is ripe for people within more design-oriented fields to begin thinking about how they might be used in a broader context. The class has both a theoretical component (learning about each of the individual technologies and their interplay) as well as a practical component: training and deploying generative models on computational environments that are as close to decentralized or autonomous as possible. In addition, we will explore prior notions of crowd-sourced or mass-collaborative art, touching on older principles and strategies such as Oulipo, exquisite corpse, and crowd-sourced computational artworks like Electric Sheep, Exhausting a Crowd, and others.
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.
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