Fall 2011

Caplan :: T R , 1:00 PM – 2:50 PM :: CFA235
Reg #38020

This is an advanced film production course designed for students who have successfully completed the intermediate film production or intermediate video production class. This course will explore the key components of independent production. Students will develop a major project from pre-production through the initial stages of post-production. Students are required to come to the class with an initial concept for a substantive project to be completed during the spring semester. Students will maintain a journal, produce a pre-production package, produce a production book and a fine cut of their final film project. In Addition, students will make a short autobiographical film and explore Narrative, Documentary, and Experimental elements in filmmaking. Students can expect to spend $450 for materials and processing for the course. Students will receive some assistance with supplies and film stock. $100 Lab Fee.

Elder :: TR 3:00pm-4:50pm :: CFA 235
Reg #28662 Grad and Undergrad
This course is an advanced workshop in which students create an original documentary project in video (or film, still photography, audio or web-based formats with the permission of instructor). Creativity and originality will be stressed with exercises to encourage “seeing”, “listening” and artistic risk taking. Individual projects may go in many creative directions including the political, personal, humorous, experimental, conventional, transgressive, ethnographic, client-based or activist. Students will gain a solid understanding of contemporary non-fiction forms and the particular problems which non-fiction makers face. Films by contemporary artists will be shown on a regular basis with special attention to experimental documentary work. We will look at dramatic structure, story telling, and narrative/non-narrative forms of editing. Emphasis will be given to production techniques which bring access and intimacy to the video subject and integrity to the documentary. The course will explore ethical issues and problems of privacy and intrusion. Students will develop production skills in research, fieldwork, collaboration, interviewing, location sound recording, camera skills, and production management. Each student will produce one short documentary piece, with supporting assignments in shooting, sound, and digital editing. A written production book will be required. A class film festival ends the semester. Lab fee: $100. Attendance is mandatory.

Staff:: MW 9:00am – 10:50am :: CFA 235
Reg # 38408, 38409 Grad and Undergrad
This course will guide you through the maze of “pre-” and “post-,” “-isms” and “-ships” in film studies, including the theories of authorship and spectatorship, realism, formalism, cognitive criticism, semiotics, psychoanalysis, post-structuralism, feminism and post-feminist studies, as well as the theory of the senses. The assigned readings will include excerpts and articles by Bazin, Eisenstein, Vertov, Baudry, Metz, Balasz, Gunning, Arnheim, Mulvey, Bordwell, Deleuze, Marks, Sobchack, and Naficy, among others. Following Thomas Elsaesser’s enticing approach and focusing on the role of the spectator in cinema, we will study classical and contemporary film theories through the interaction between Moving Image, Senses, Body and Mind as well as such metaphors of filmic experience as Window and Frame, Door and Screen, Mirror and Face. Watching such films as The Piano by Campion, Soy Cuba by Kalatozov, April by Iosseliani, Persona by Bergman, Onibaba by Shindo, Stalker by Tarkovsky, The Scent of Green Papaya by Anh Hung Tran, Pather Panchali by Satyajit Ray, The Hand by Wong Kar Wai and animations by Jan Svankmajer, we will interpret not only the ways we “see” and “hear” films, but also explore them through our senses of touch, smell and even taste. In addition, we will talk about puzzle films, mind-game films (Elsaesser), and forking path films (Bordwell), embracing Gilles Deleuze’s statement of “the brain as the screen”. As Elsaesser points out, “film and spectator are like parasite and host, each occupying the other and being in turn occupied”. This unique approach of confrontation and conflation with the screen through our mind, body and senses will open for us new modes of knowing and representing the world through film and media.

E. Conrad :: Friday 11:00am – 2:40pm :: CFA 246
Reg# 26149 Grad only

This graduate level course will explore the foundation of technical and conceptual skills necessary for advanced study in computational media through a series of intensive short projects. Topics to be covered include networked media and internet technologies, basic programming in multiple environments, and an introduction to embedded systems and electronics. An overview of basic software packages for image, sound, video and animation creation and editing will be included as needed. Creativity is emphasized as students gain proficiency with the basic concepts, skills and technologies relevant to current creative practice in digital media. $100 Lab fee.

Elder :: R 6:00pm – 9:40pm :: CFA 235
Reg #28665 Grad Only
This course examines popular American documentary films looking at diverse representations of American culture. We explore independent award-winning contemporary works with themes of gender, ethnicity, popular music, sexual orientation, murder, justice, rock stars, racism, disability and history. Particular focus is on the curious relationship between the images of reality and reality itself, and on America’s love affair with reality media. Emphasis is placed on understanding the thin shifting line between fiction and non-fiction and challenging the notion of documentary “truth.” Students develop analytical and interpretive media skills that are applicable to all film and video. Students learn non-fiction critical theory including Nichols, Winston, Ruby, and Renov and analyze artistic elements of non-fiction film and video including visual narrativity, storytelling, spontaneous camera work, editing, audio, and common elements for artistic and commercial success. The class explores different documentary styles including experimental docs, cinema verite, fake docs, diary and reflexive docs, collaborative making and cutting edge contemporary work. We address the ethical and artistic considerations of filming real people and real communities. Works of Wiseman, Pennebaker, Kopple, Maysles, Freidrich, O’Rourke, Riggs, Morris, and more. Attendance is required as well as two papers and a take-home exam. Be prepared to see a lot of great films

Pape :: TR 11:00am – 12:50pm :: CFA 242
Reg # 32952 Grad & Undergrad
This production course will introduce students to the concepts and practice of programming 3D computer graphics and audio using OpenGL and other libraries. The major focus will be on creating interactive art or games experiences by programming both graphics and sound. The course has three goals: to demystify computer code – we get behind the Graphic User Interface to the machine below; to explore the potential of programming – writing our own code means we can create customized computer tools as well as customized visuals; and to teach the fundamentals of graphics programming. Prerequisites are experience in a programming language such as Python, C, C++, or Java (DMS 121, CSE 113/4/5 or equivalent). Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org

Lee :: MW 1:00pm – 2:50pm :: CFA 235
Reg # 30640 Grad only
This graduate level course will explore and experiment with the media of film, video and sound through a series of short projects geared toward establishing a proficiency in media production. Improvement of technical skills will be emphasized and creativity encouraged. This course will guide students through the acronymic maze of HD and SD, BNC, VGA, RCA and HDMI, mpeg2 and h.264; through circles of confusion surrounding film stocks, F-stops and depth of field; sample rates, signal to noise and pick-up patterns. Students will be introduced to the array of equipment available to them in the Media Study Department, from 16mm film loopers to the latest solid-state high-definition camcorders, and will be given hands-on instruction as to their use. Other specific topics to be covered will include film and video formats, camcorders and projectors; compositional concepts and shooting techniques; sound recording & editing; lighting for the studio and the field; digital video editing (Final Cut Pro) and DVD authoring (DVD Studio Pro); preparing video for the web and additional topics to be decided. Regular screenings of experimental, documentary and narrative work will be included. A lab fee of $100 is assessed for this course

Anstey :: M 5:00pm -7:50pm :: CFA 232
REG#29928 Grad Only
This critique seminar introduces conceptual and theoretical issues in media practice with an emphasis on individual development of a practice-led research methodology. How do we position ourselves within the professional discourse of independent media practice? How can we evolve a personal methodology that is informed and responsive to this broader discourse? How do we present and communicate our work as contributors to the field, toward the goal of making significant contributions? Weekly topics will be complemented by occasional readings / viewings, guest lectures, and field trips. The goal of the course is to provide a context for synthesis of practical, theoretical, and historical studies as addressed throughout the required curriculum. Students will develop and refine a body of references to support their practice-led research and creative inquiry, building the early foundation of the thesis process. The class will be comprised of a mix of group meetings and critiques. Two short writing assignments (a grant proposal and an artist statement) will be due at midterm and at the end of the semester, respectively. The course culminates in a final critique in which students present their work in an integrated fashion ? i.e. work produced should be supported through a summary of one’s artist statement and annotated bibliography

E. Conrad :: TR 3:00pm – 4:50pm :: CFA 244
CFA 244 Reg# 34773 Grad and Undergrad

staff :: M W 5:00 PM – 6:50 PM :: CFA 244
Reg# 38276
This course provides an introduction to design and the production of interactive multimedia. The content of the class will focus on the theoretical and practical aspects of creating and integrating digital media with authoring/presentation tools. This class will lay the foundation for creating interactive projects for the web and will integrate art, journalism, and music through hands-on developmental projects in our new state-of-the-art Mac lab. Students will learn the process and skills necessary to create a web site and an interactive CD-ROM which integrates animation, graphic design, sound, and text, working in Adobe Photoshop, Dreamweaver, Flash animation, and Illustrator. The course will accommodate 48 students. Enroll now! Get the technological edge! Lab fee $100

Staff :: W 9:00am – 12:40pm :: CFA 246
Reg# 26868 Grad and small undergrad section
MediaRobotics I: Physical Computing is the first in a series of courses that exposes students to concepts and techniques that enable them to begin appreciating, designing, constructing and programming behaving artifacts for complex environments. This course introduces basic concepts and techniques for creating objects, spaces and media that sense and respond to their physical surroundings and the actions and events that transpire there. Moving beyond the interface paradigm of screen, keyboard and mouse, physical computing enables alternate models for interaction with (and through) computers that afford more subtle and complex relations between a range of human and non-human actors. Combining readings, presentations and discussions on the theory of computer enabled art forms with a series of hands-on technical workshops in computing methods and techniques, the course provides a critical context for emerging forms of experimental practice. Topics include fundamental ideas in computing (languages, representation of thought), embodied interaction (situated actions, responsive systems), practical aspects of hardware design (electricity, electronics, microprocessors, components, sensors and actuators), functional programming (variables, datatypes, control structures, functions, objects, communication protocols), and various material fabrication techniques (wood, metal, plastics, elastomers, fabrics). This is an introductory course open to artists, architects, engineers and all other media makers. No prior expertise in computing required. Curiosity about how things work is a must. Lab fee $100

T. Conrad :: Days and time arranged
Reg# 29207 Grad only
This is an opportunity to network and utilize resources in New York City with Media Study Faculty. Most meetings will take place in Buffalo but students must be able to visit New York City at least three times during the semester at own cost. Permission of instructor

M-TH 9:30a – 1p June 27 – July 14
Reg #TBD

DMS Grad students will have the opportunity to begin a new production initiative this Summer. This course is intended for those who want a jump-start on their thesis ideas or for those who actively want to produce independent work. Graduate Studio is scheduled for the fall semester, but will be offered this summer on a first-come-first-serve basis. DMS Grad students of all production disciplines (film, video, sound, installation, digital, inter-media and gaming) will have the opportunity to make work for critical review in preparation for thesis and/or for independent project use. This three-week course for full
semester credit will allow students to engage in production ideas of
their choosing as a way to explore ideas for possible expansion during the regular year. Professor Caplan will direct this class and provide an
expanded level of critical support through his analysis of submitted work. Caplan will also be available to discuss and provide support for project ideas during the three weeks of class. Students wishing to refine their ideas should take this class. Group production sessions, daily screenings and discussion will direct students through their beginning and intermediate phases of production.Explore ideas
through practice and get a head start on your thesis!

Professor Elliot Caplan

Students who take this course and who want to expand their summer
project to include work on their written thesis can attend a no-credit
[ie free] summer workshop with Roy Roussel which will follow Professor
Caplan’s course. We will deal with all the aspects of the thesis but the
emphasis in this workshop will be on getting students well into their
first chapter.

Permission of Instructor
A student may enroll for this course after completing course requirements and while working on the thesis project. This course is for non-written projects only. One to six credits of the “project supervision” may be applied toward the MAH degree. Course syllabus form should be prepared prior to semester start and one copy should be on file in the Media Study office. Lab fee: $100. For registration information, see Dean Sanborn in 231 CFA.

Permission of Instructor
See Dean Sanborn in 231 CFA.

Permission of Instructor
A student may enroll for this course after completing course requirements and while working on the thesis project. This course is for non-written projects only. One to six credits of the “project supervision” may be applied toward the MAH degree. Course syllabus form should be prepared prior to semester start and one copy should be on file in the Media Study office. Lab fee: $100. For registration information, see Luann Zak in 231 CFA.

Böhlen :: MW 3pm – 4:50pm :: CFA 246
Reg #31474 Grad only
This course module will cover fundamental concepts of sensing systems and introduce students to critical texts on sensing theory and practice. Topics include: Biosensing and bioindicators, human, animal and insect sensing, synthetic sensing including sensor signal generation, sensor design, fundamental limitations of sensing, sensor data analysis, biometrics and biometric decision landscapes, large scale sensor networks as well as privacy design for the collection, transmission and storage of personal data. The course will include a survey of state of the art biosensing systems from various research labs, as well as programming for and analysis of large datasets. Furthermore, situated sensing, such as the ‘sensing’ of landscapes and natural phenomena across various time scales will be considered. The course will also discuss unconventional and experimental approaches to sensing, including contributions by activists, artists and designers. A custom built, annotated and searchable database of pertinent current research contributions from several fields will be available to students.

Glazier :: T 3:00pm – 6:30pm :: CFA 232
Reg #33388 Grad only

Course Objective. This seminar has the simple goal of invigorating your work as a graduate student in concert with your individual objectives and learning strategies. “Writing, Art-Making, & Digital Cultural Poetics” aims to move you forward: stimulate your practice and writing projects, expand your network of connections in the field and, building on the success of last spring’s “E-Poetry 2011: International Digital Language, Media, Arts Festival”, offer direct intellectual and artist interaction with current leading practitioners in digital cultural art-making. Structure of Course. [1] Practice. The course will consist of class visits by a small number of distinguished artists and theorists in the Media field – artists presently shaping the future of arts culture in emerging media – in conjunction with DMS’s “Language Media Poetics” series. List to be finalized by Fall. Visitors tentatively include:

• Néstor Cabrera, Cuban translator and poet, translator of Bernstein’s, The Politics of Poetic Form

• Fran Ilich, digital novelist dealing with Latino border culture and media poetics

• David Jhave Johnston, Montreal digital poet, video artist, and acclaimed New Media artist

• Lizabel Mónica, Cuban poet, blogger, electronic publisher, New York Times contributor

• Nick Montfort, programmer, MIT professor, Electronic Literature Organization President

• Heriberto Yepez, Latino border publisher and poet, cultural activist

Course reading will center on the works by the visiting artists and theorists. The point is not one of simply attending events but to use these occasions for immersive engagements with the work and worldviews of these artists as a means to understanding their work and expanding your own ideas. In preparation for each visit, students will study, evaluate, and respond to works by individual visitors. This may also include reading of source texts and/or related New Media projects. Participants will also be asked to assist with the visits in terms of logistical support, introductions, and on organizational levels. (This may include a digital project depending on student interest. No experience is required and this would be an ideal way for those without experience to test the programming and media waters, or for those with experience to propose collaborative or independent efforts. Note: special opportunities for translation projects are also available, in coordination with professor and visiting artist.) [2] Writing. With support from the professor and with feedback from fellow students, students will make significant progress on an extended research or artistic project of your choosing, with particular emphasis on your thesis, dissertation, orals list, or First Year Review work. This topic is meant to be specific to your needs! Course Requirements. Semester activities consist of pre-visit analyses and conversations of the work of visiting artists, seminars with visiting artists, and, regarding work by students, feedback opportunities at mid-semester and at the end of the semester. The fresh, hands-on, and non-traditional format of this course will offer flexible scheduling for independent research as an option where necessary, upon consultation with professor. Course content will be enriched by various forms of interaction, including e-mail and other forms of virtual participation. Emphasis is, of course, on physical participation during artist visits, pre-visit planning seminars, and feedback sessions on works-in-progress by you and your fellow seminar participants. This seminar seeks to obtain concrete results for participants through directly addressing your needs as a graduate student and through engaging the real world of Media practice and research. (Note: this course may be taken with Tony Conrad’s Video Analysis (DMS 612) as times will be coordinated so that interested students may take both.) No previous technical experience or course prerequisites are required. This course is appropriate for both advanced and entering graduate students. Course Texts. In addition to work by visiting artists, analysis of a course text will be additionally undertaken, most likely Simanowski’s, Digital Art and Meaning (Minnesota, 2011).

Caplan :: Wed. 9a-12:50p
Professor Elliot Caplan with Professor Melanie Aceto
The Department of Media Study and Department of Theater and Dance
propose a joint course in learning how to document performance for
camera. This intensive production class will be co-taught in two
separate studio locations by Elliot Caplan, Professor/Film, and
Melanie Aceto, Assistant Professor/Dance. DMS students will have the
opportunity to observe and document Modern 5 dance technique class
with cameras for the purpose of learning how to photograph the moving
body in space. A unique opportunity to hone production skill with
aesthetic development. $100 Lab Fee.

T. Conrad :: T 6:00pm – 7:50pm Sem CFA 112 / W 7:00pm – 8:50pm Lab CFA 232
Reg #24541 SEM (3 cr.), #31178 LAB (1 cr.) Grad and undergrad

Note: Students must enroll in DMS 612SEM and DMS 612LAB in the same term.

A survey of contemporary video and media art. The aim of this course is to provide access to contemporary media arts information, and in particular to media work which is generally unavailable otherwise in Buffalo — and then to provide a forum for discussion, and for developing our own ideas. Most of the Tuesday meetings will comprise screenings of work. Then on Wednesdays the Undergrad and Graduate sections will meet separately to discuss the artists whose works have been seen and related topics of media arts interest. Some of the classes will be conducted via Skype, including interactive meetings with visiting artists whenever possible. Students should plan to take notes on the screenings and other activities, since a lot of ground will be covered rapidly. Assignments will include online viewing of other video works and short weekly written exercises in the form of terse commentaries with accompanying citations from online sources. Some assigned articles will be made available online, along with lots of recommended reading resources. Since access to the work screened in class is very limited, attendance is mandatory. There is no lab fee and no final exam – so regular weekly participation is especially important.

Permission of Instructor
This course permits a student to do independent reading in an area where no course may be given. The instructor will set the guidelines for the course on an individual basis. Course syllabus form should be prepared prior too semester start and one copy should be on file in the Media Study office. For registration info, see Luann Zak in 231 CFA. Lab Fee: $100

Staff *** :: ARR, ARR – ARR

Contact the Media Study Department for registration.

Staff *** :: ARR, ARR-ARR :: CFA ARR
Contact the department for registration.

Staff *** :: Permission of Instructor :: ARR, ARR – ARR :: CFA ARR
A student may enroll in this course after completing course requirements and while writing the thesis. This course is for the written thesis only. One to six credits of  Thesis Guidance may be applied toward an MAH degree. Permission of the instructor is required. Course syllabus form should be completed before the semester s start, and one copy should be on file with the department. For registration info, see Luann Zak in 231 CFA.