Spring 2012

Staff :: W 9:00am – 12:40pm :: CFA 246
Reg# 16363

Increasingly we live, play, and work in virtual worlds created by computer graphics, 3D models, scripts and programs; places inhabited by networked people and autonomous computer characters. Students with a background in 3D modeling and/or programming are encouraged to take this production course, where the creative process will be seeded by a study of virtual, augmented, and mixed reality worlds built by artists, activists, and game-designers. We will also consider questions of values in games, and critical, experimental & activist design practices.

Students will be introduced to production flow and issues of working collaboratively as student teams focus on the creation of one major, finished project in Unity 3D. Projects will go through the following stages: concept brain-storming; concept refinement; design documents (design drawings, interactive plan, allocation of tasks, timeline etc.); implementation1; user/player testing; implementation 2; final show

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:: T 11:00am – 2:50pm :: CFA 235
Reg# 24294 – production
Reg# 24295 – theory

This graduate seminar examines the work of ethnographers and artists who work at the intersection of media art and the social sciences. Ethnographic media documents the visible and invisible practices of human cultures, societies and the individuals within them. It informs much of contemporary media.

Students from the departments of Media, Anthropology, American Studies, Visual Studies, Sociology, Geography, Gender Studies and English are encouraged to take the course as we investigate the borders of these disciplines and bring contemporary media practices into closer proximity to ethnological inquiry. The course explores contemporary creative documentary practices in relation to visual research and innovative ethnographies. We look at ethno fictions, experimental ethnographies, ethno animation, non-linear digital works, indigenous media as well as classic works in texts and ethnographic film.

The course looks at the artistic, historical and theoretical development of ethnographic documentary, visual anthropology and the ethical and political challenges that come with the visual representation of human communities. Students will gain both theoretical knowledge and practical skills in methods of ethnographic media, including fieldwork praxis, concept visualization, negotiating access, collaborative/participatory methods, image/audio recording, ethics, interviewing and editing for cultural meaning.

This course is designed to inspire and support the academic and artistic goals of each student. No previous technical experience is required. This course is appropriate for both advanced and entering graduate students. Work for the course may be integrated into thesis work. Students should register for either the theory (THE) or production (PRO) section of this course. Accordingly, for your final project, students may write either a research paper or produce a final media project in video/audio/photography/internet site/e-text or installation formats. Students may work in teams.

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.

Roussel :: MW 1:00PM – 2:50PM :: CFA 112
Reg # 16785 Grad

This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films. The texts to be perused comprise several groups. Classical film theory includes Munsterburg, Kuleshov, Pudovkin, Eisenstein, Balasz, Arnheim, Bazin, and Godard. The critique of classical film theory includes Burch, Perkins, and Henderson. The course will also explore semiotics, psychoanalysis, and poststructuralism, in Barthes, Eco, Metz , Pasolini, Baudry, Heath, and in feminist film theory, including Gledhill, Mulvey, Silverman, Modleski, Doane, and Studlar. A section on avant-garde theory will include Vertov, Epstein, Deren, Brakhage, Sitney, and Michelson. These topic areas will be set in interaction throughout: e.g., Soviet editing and antirealism are continued in the avant-garde; rhetorical figures such as metaphor, metonymy, ellipsis, condensation, and displacement, can be traced in very different theoretical contexts and in close readings of individual films.

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

This production course explores the expressive potential of soft circuitry and wearable media. We will explore the materials and construction techniques of “soft computing” (conductive fabrics, yarns, etc.) to create expressive objects and interactive fashions. Technologies are not merely exterior aids, but interior changes of consciousness. They affect how we understand ourselves by co-structuring possibilities of thought. The focus of this course will be the interaction and interrelationship between soft technologies and bodies. There are no prerequisites – introductory electronics and sewing techniques will be reviewed. $100 Lab Fee.

Tony Conrad :: TR 3:00 PM – 4:50 PM :: CFA 235
Reg# 11830

A graduate level only production class concentrating on critical review of all genre of production interests to include film and video, (narrative, non-narrative, experimental and documentary disciplines), sound design, installation, animation, and media sculpture. Students will engage in the direction of their own discipline and produce work for critical review on a weekly and/or bi-weekly basis. The intention of the class is to provide a spirited, concentrated period of time for grad students to present and refine their thesis ideas before and during their production year. Interaction between disciplines and newfound collaboration between students will be selectively encouraged. Students will gain knowledgeable insight from weekly discussions on art making practices as well as direct exposure to a variety of production disciplines.
LAb fee is $100.

Anstey :: MW 11:00am – 12:50pm :: CFA 235

In this production workshop students will concentrate on writing and editing text/script elements for their media projects. The course will explore both traditional and experimental methods for generating and structuring text for fictional and documentary work. Texts may include original writing, interview material, collaged or found fragments, that will be performed, heard or displayed in the final piece. The texts may be linear, non-linear, interactive, poetic … This opportunity to focus on the text is for students at any stage of a project (conception through finishing); in any media (film, video, animation, performance, interactive); and those working with English as a second language or with translated material.

Bohlen :: M 5:00pm – 8:50pm :: CFA 246
Reg# 16671

“This graduate level course is the sequel to DMS 604 Large-scale sensing
systems I. The goal of this second course is to drill deeper into the
many questions surrounding biosensing in everyday life discussed in the
first course. With the SiReBi web portal (www.sirebi.org), students will
define a research question and attempt to address it over the course of
the semester with instructor and external experts’ guidance in an
iterative fashion resulting in a short but well-crafted research paper,
to be submitted for review to one or more publication venues.”

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 :: MW 11:00am – 12:50pm :: CFA 242
Reg # 16692

This production course extends students knowledge of interactive and real-time graphics programming, building on the fundamentals learned in Programming Graphics 1. The course will cover advanced techniques for rendering, animation, and interaction. We will also look at the past work of established artists and technologists in computer graphics. Students will work individually or in small teams to produce a significant semester project, of their own choosing.
Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org

E. Conrad :: W 5:00 PM – 7:50 PM :: CFA 235
Reg # 16692

In this course we will strive for a self-reflective, creative
setting that allows for critique and well-informed debate of your
work. We will investigate media art with both, the due euphoria and
the necessary critical perspective. The course will emphasize the
professional presentation of work for each respective genre. We will
focus on framing your artistic vision and your critical discourse,
articulated through writing projects and iterative critique. As
preparatory to your thesis work and your continuing practice in the
field, the course culminates in the second year exhibition.

staff :: M W 6:00 PM – 7:50 PM :: CFA 244
Reg# 10157

New Media II addresses the practice and cultural questions surrounding the production of new media. This course introduces more advanced practices of web design (ActionScript, JQuery, Search Engine Optimization) as well as newly developed content management systems (Joomla). This course compels students to develop a critical framework for discussing the current state of networked culture and require students to actively participate on current social media platforms (including Facebook, Google+, Twitter, and blogs) in order to become more acquainted with the practices, theories, and histories related to new media. Students are expected to engage in and discuss class readings/projects concerning current issues of new media. Lab fee $100.

T. Conrad :: Days and time arranged
Reg# 17202 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

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 Dean Sanborn in 231 CFA.

Glazier :: T 3:30pm – 6:30pm :: CFA 232
Reg #16858 Grad only

COURSE OBJECTIVE. This seminar has the simple goal of invigorating your work as a graduate student in concert with individual objectives and learning strategies. This course aims to move you forward: stimulate your practice and writing projects, and expand your network of connections in the field.

READING. This seminar offers a deep engagement with text approached through careful reading. It delves into areas of close reading as artists and thinkers about New Media. It will be focused on analysis, reflection, and understanding of texts with close interaction between the professor and students. The proposed seminar will offer a UNIQUE opportunity: reading as literary exploration. It empowers the student. It is meant to sharpen their reading and writing skills — for graduate-level writing, for creative work, or just as a form of language practice.

STUDENT PROJECTS AND/OR 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!

NETWORKING. The course is based on direct intellectual and artistic interaction with current leading practitioners in digital cultural art-making. This occurs through the following major digital media events, continuing the success of this year’s “Digital Cultural Poetics” series. These events include:

(1) Language to Cover a Wall: Digital Poetry Gala. Includes FEBRUARY 3: Digital Poetry & Dance Concert (Black Box Theatre with poets David Jhave Johnston, Ian Hatcher, Loss Pequeño Glazier), FEBRUARY 4: Digital Poetry Exhibition Panels (Jason Lewis, Amaranth Borsuk, and TBA), and FEBRUARY 4: International Digital Poetry Performances (David Jhave Johnston, Tammy McGovern, Ian Hatcher, Loss Pequeño Glazier).

(2) Intensive class visits by distinguished artists presently shaping the emerging media arts community.

(3) The preparation of “Digital Media Poetics Summer Intensive 2012″, including Fran Ilich (digital novelist dealing with Latino border culture and media poetics), David Jhave Johnston (Montreal digital poet, and video artist), Lizabel Mónica (Innovative Cuban electronic publisher and New York Times published blogger), Nick Montfort (Programmer, MIT professor, Electronic Literature Organization President, co-editor of The New Media Reader, MIT Press, 2003), and others.

COURSE REQUIREMENTS: Reading will include works by and relating 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 assist with visits in logistical support and on organizational levels.

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. 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 texts will be additionally undertaken, most likely beginning with Flusser, Does Writing Have a Future?

Caplan :: T R , 11:00 AM – 12:50 PM : CFA 232

In every production situation there are a series of questions, which detail a variety of aesthetic choice. Those issues have to do with camera placement, camera angle, and length of shot, exposure, framing, all light, sound and movement. The Art of Vision is a course structured to increase student sensibility toward the art of filmmaking. This course will examine and answer those production issues in an attempt to make the student aware of the range of possibilities when confronted with shooting on location, in the field or in a studio. Through intense weekly production, lecture, selected screenings, and a high degree of experimentation, students will be guided individually to develop their own filmmaking skill. Students will be responsible for choosing their direction of production, which can incorporate any number of genres, including thesis work. A high level of production will be stressed and students will work in digital video, film, photography and sound-only situations. Students who attend this class should be prepared to work hard to achieve results.
Lab fee is $100

T. Conrad
T 5:00pm – 6:50pm Sem CFA 112
R 5:00pm – 6:50pm Lab CFA 232
Reg #17061 SEM (3 cr.), #13862 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 to semester start and one copy should be on file in the Media Study office. For registration info, see Dean Sanborn in 231 CFA.

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.