Art + Tech
Stanford offers a wide variety of courses and programs at the intersection of art and technology.
From specially designed joint majors to advanced research projects to extracurricular student groups, students and faculty take advantage of the multidisciplinary strengths of the institution and forge new and exciting paths in the arts. This page offers an overview of art + tech activities and courses at Stanford.
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Faculty Working Group
Manish Agrawala - Computer Science / Brown Institute for Media Innovation
Jeremy Bailenson - Virtual Human Interaction Lab / Communications / Education / Symbolic Systems
Jennifer Brody - Theater & Performance Studies / Comparative Studies in Race & Ethnicity
Shane Denson - Film & Media Studies
Michele Elam - English / Institute for Human-centered AI
Hideo Mabuchi - Applied Physics
Peggy Phelan - Theater & Performance Studies / English
Michael Rau - Theater & Performance Studies
Matt Smith - Theater & Performance Studies
Camille Utterback - Art Practice
Ge Wang - Music / Computer Science
Tsachy Weissman - Electrical Engineering
Risa Weschler - Physics / Astrophysics
Paul DeMarinis - Art & Art History
Featured Projects
Faculty Working Group
Manish Agrawala - Computer Science / Brown Institute for Media Innovation
Jeremy Bailenson - Virtual Human Interaction Lab / Communications / Education / Symbolic Systems
Jennifer Brody - Theater & Performance Studies / Comparative Studies in Race & Ethnicity
Shane Denson - Film & Media Studies
Michele Elam - English / Institute for Human-centered AI
Hideo Mabuchi - Applied Physics
Peggy Phelan - Theater & Performance Studies / English
Michael Rau - Theater & Performance Studies
Matt Smith - Theater & Performance Studies
Camille Utterback - Art Practice
Ge Wang - Music / Computer Science
Tsachy Weissman - Electrical Engineering
Risa Weschler - Physics / Astrophysics
Art + Tech Course Database
| Subject | Course Number | Title | Link | Terms | Units | Repeatable for Credit | Grading Basis | UG Reqs | Acad Career | Description | Tags | Instructors |
|---|---|---|---|---|---|---|---|---|---|---|---|---|
| AFRICAAM | AFRICAAM 200N | Funkentelechy: Technologies, Social Justice and Black Vernacular Cultures (EDUC 314, STS 200N) | View in Explore Courses | Spr | 5 | no | Letter or Credit/No Credit | UG | From texts to techne, from artifacts to discourses on science and technology, this course is an examination of how Black people in this society have engaged with the mutually consitutive relationships that endure between humans and technologies. We will focus on these engagements in vernacular cultural spaces, from storytelling traditions to music and move to ways academic and aesthetic movements have imagined these relationships. Finally, we will consider the implications for work with technologies in both school and community contexts for work in the pursuit of social and racial justice. | AAAS::ida; CSRE::ida; ARTINST::ccguide; CSRE::tech; ARTINST::techart; ENGLISH::dh-minor; ARTINST::interdisguide; SYMSYS::mediacomm-effects; SYMSYS::hai-human | Banks, A. (PI) | |
| ARTHIST | ARTHIST 168A | A.I.-Activism-Art (CSRE 106A, ENGLISH 106A) | View in Explore Courses | Spr | 3-5 | no | Letter or Credit/No Credit | WAY-A-II | UG | Lecture/studio course exploring arts and humanities scholarship and practice engaging with, and generated by, emerging emerging and exponential technologies. Our course will explore intersections of art and artificial intelligence with an emphasis on social impact and racial justice. Open to all undergraduates. | ARTINST::interdisguide; ARTINST::techart | Elam, M. (PI) |
| ARTHIST | ARTHIST 231 | Leonardo's World: Science, Technology, and Art | View in Explore Courses | not given this year | 4-5 | no | Letter (ABCD/NP) | WAY-A-II, WAY-SI | UG | Leonardo da Vinci is emblematic of creativity and innovation. His art is iconic, his inventions legendary. His understanding of nature, the human body, and machines made him a scientist and engineer as well as an artist. This class explores the historical Leonardo, exploring his interests and accomplishments as a product of the society of Renaissance Italy. Why did this world produce a Leonardo? Students will contribute to a library exhibit for the 500th anniversary of Leonardo's death in May 2019. | ARTINST::ccguide; ARTINST::techart | |
| ARTHIST | ARTHIST 264B | Starstuff: Space and the American Imagination (AMSTUD 143X, FILMSTUD 264B) | View in Explore Courses | Aut | 5 | no | Letter or Credit/No Credit | WAY-A-II | UG | Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; COMM::elective; ARTINST::ccguide; ARTINST::techart | Kessler, E. (PI) |
| ARTSINST | ARTSINST 141 | Network Performance Practice (MUSIC 153A) | View in Explore Courses | Aut | 2-4 | yes | Letter or Credit/No Credit | UG | JackTrip software, developed at Stanford, provides the means for ultra-low-latency, uncompressed sound transmission for live music-making. Remote ensemble rehearsals, coaching, music lessons, jamming and concert broadcasting during the COVID-19 pandemic are making use of the technology. The open-source project has developed rapidly in the past 6 months, especially in its ability to support large ensembles of home-to-home connections. The course will cover recent features, history and theory of JackTrip and engage in a series of practical, participatory performance sessions. Students will learn the software and related network and audio principles with a focus on intuition building and ear training. Course participants will work from home and be able to use CCRMA facilities remotely. The course can be audited or coordinated with another course. | ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart | Chafe, C. (PI) | |
| ARTSINST | ARTSINST 142 | Drawing with Code (ARTSTUDI 163) | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations. | ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart | Utterback, C. (PI) |
| ARTSTUDI | ARTSTUDI 130 | Interactive Art: Making it with Arduino (ARTSTUDI 231A) | View in Explore Courses | Spr | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level) | SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; STS::io-tech; VPUE::cc-ff; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; STS::sddi-tech; SYMSYS::hci-elective | DeMarinis, P. (PI) |
| ARTSTUDI | ARTSTUDI 131 | Sound Art I (MUSIC 154A) | View in Explore Courses | Aut | 4 | no | Letter or Credit/No Credit | GER:DB-Hum, WAY-CE | UG | Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level) | SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; VPUE::cc-ff; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart | DeMarinis, P. (PI); rick, G. (TA) |
| ARTSTUDI | ARTSTUDI 148P | The Hybrid Print (ARTSTUDI 248P) | View in Explore Courses | Aut | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | This class explores experimental printmaking methods where digital and traditional practices collide. It focuses on the interchange between conventional and new methods of printmaking, and possibilities for the print beyond paper and the flat picture plane in contemporary art. Techniques will be demonstrated in class, and students will pursue projects using these techniques, developing their own conceptual interests. We will explore digital processes using large format printers, as well as digitally augmented traditional printmaking methods such as monoprints, collographs, woodblock and linocut, aided by dye sublimation, vinyl cutting, and 3-d printing. Students will have access to a wide array of both digital and traditional tools, and will develop projects using a combination of methods, resulting in a body of work. Discussions will address the expansive nature of contemporary fine art printmaking. | EDUC::alluniversityabove100; EDUC::alluniversity; VPUE::cc-ff; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; STS::io-tech | |
| ARTSTUDI | ARTSTUDI 158 | Hybrid Sculpture | View in Explore Courses | not given this year | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | Study of concepts, aesthetics, procedures and practice of sculpting on the computer with 3D modeling tools for generation of form, environment and or character as related to your conceptual ideas. Relate traditional sculpture principles of form, material, site and utilize 3D modeling to virtually give rise to an installation or sculpture. Includes output to 2D and 3D rapid prototyping printers, laser cutters, and CNC router. Conceptual and technical skills, and safe and appropriate use of tools and materials. Impact of material and technique upon form and content; the physical and expressive possibilities of diverse materials. Historical and contemporary forming methods provide a theoretical basis for studio work. Field trips; guest lecturers. | ARTINST::ccguide; ARTINST::techart | |
| ARTSTUDI | ARTSTUDI 160 | Intro to Digital / Physical Design | View in Explore Courses | not given this year | 3-4 | no | Letter (ABCD/NP) | WAY-CE | UG | Contemporary production processes ¿ both manufacturing and media processes often span the digital and the physical. 3D Depth cameras can scan real world models or movements, which can be manipulated or adjusted digitally, then re-output to the physical world via a myriad of 2D and 3D printing and laser cutting technologies. Crowd sourced information is uploaded to social media, which in turn guides our physical meeting places. Google street-view maps our physical world, and augmented reality displays overlay it. How as artists or designers to we grapple with and use this digital / physical permeability to create new experiences and meaning for our current time? This introductory studio course explores various tool sets as well as artists working across these genres. This course is a good baseline exploration for anyone interested in designing or making art with emerging contemporary tools. | SPBK::1; STS::io-tech; VPUE::cc-ff; STS::cm-tech; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; STS::sddi-tech; SYMSYS::hci-elective | |
| ARTSTUDI | ARTSTUDI 162 | Embodied Interfaces | View in Explore Courses | Aut | 4 | no | Letter or Credit/No Credit | WAY-A-II, WAY-CE | UG | Our computers, phones and devices see us predominantly as fingers and eyes staring at screens. What would happen if our technology acknowledged more of our rich physical presence and capabilities in its design? How have artists and designers used different sensing technologies to account for more of our embodied selves in their works? In this studio course we explore various sensing technologies and design artworks that engage our whole selves. Interfaces explored range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We analyze different tools for their appropriateness for different tasks and extend them through our designs. | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ARTINST::techart; ARTINST::interdisguide | Ulfeldt, A. (PI); Kashiwagi, T. (TA) |
| ARTSTUDI | ARTSTUDI 163 | Drawing with Code (ARTSINST 142) | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | This studio course will engage coding practices as drawing tools. What makes a good algorithmic composition? How do we craft rule-sets and parameters to shape an interesting work? What changes if we conceive of still outputs, ongoing processes, or interactive processes as the "finished" work? We will look at the history of algorithmic drawing, including analog precedents like Sol LeWitt and other conceptual artists, along with current pioneers like John Simon Jr., Casey Reas, and LIA. Outputs will involve prints as well as screen-based works. Some basic coding experience is helpful, but not required. Assignments are based on conceptual principals that students can engage with at different coding skill levels. This is a good way for non CS students to explore coding practices as well as for CS students to hone their skills. We will work primarily in the free Processing software for our explorations. | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; VPUE::cc-ff; ARTINST::techart | Utterback, C. (PI) |
| ARTSTUDI | ARTSTUDI 166 | Sculptural Screens / Malleable Media (ARTSTUDI 266) | View in Explore Courses | Spr | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | In this mixed intro and upper level studio course, students will experiment with video and computational outputs embedded in physical scenarios. What new physical formats are made possible by contemporary screen and projection-mapping technologies? How can we make expressive use of LCD screens, pico projectors, i-pad arrays, and LEDs? The class will address the screen as sculptural medium by examining established artists like Nam June Paik, Michael Snow, Tony Oursler, and Pippilotti Rist, as well as exploring emerging contemporary artists tackling this medium. Prerequisites to take the class at the 266 upper level include one of the following: Intro to Digital/Physical Design, Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor. The intro level 166 course can be taken with no prerequisites. | ARTINST::techart; ENGLISH::dh-minor; ARTINST::interdisguide | Utterback, C. (PI) |
| ARTSTUDI | ARTSTUDI 169 | Virtual Reality: the possibility and peril of immersive artwork | View in Explore Courses | Aut | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | How can we use virtual reality systems to create powerful, beautiful and socially engaged artworks? Is it possible to use technically sophisticated (and sometimes frustrating) tools to share our unique personal visions? What can working in virtual reality teach us about our embodied reality and sense of presence? How might we question the hype and techno-utopianism surrounding VR, by using the medium itself? What is left out of the current conversation around VR that you would like to explore?nnIn this introductory studio art course, students will learn to create artworks using virtual reality systems. We will use the HTC Vive, Oculus Rift, and Daydream VR headsets, as well as more accessible phone-based augmented reality systems to explore this medium. Through lectures and research presentations, we will familiarize ourselves with the artistic history of VR - from foundational works from the 1990¿s through current examples - in order to inform our own work. nnStudents will become familiar with the fundamental studio art practice of analyzing and critiquing their own and others¿ projects. Learning to analyze artwork in turn helps students create works with more emotional and conceptual impact. nnWhile there are no official prerequisites for this course, familiarity with any kind of scripting language or coding environment will be helpful as Unity will be used as the main authoring environment. | VPUE::cc-ff; ARTINST::techart; ARTINST::ccguide; ARTINST::interdisguide; ENGLISH::dh-minor | |
| ARTSTUDI | ARTSTUDI 171S | Photography I: Digital | View in Explore Courses | not given this year | 3 | no | Letter or Credit/No Credit | WAY-CE | UG | Through digital instruction, students learn to use a DSLR camera and to operate manual settings (focus, aperture, shutter speed, ISO, color temp/white balance). They become familiar with basic scanning techniques (appropriated images, not negatives) on a flatbed scanner, and basic digital printing (in color). They learn basic file management as well as the use of Adobe Lightroom software. They are taught to operate 17"-wide Epson digital printers, to print digital proof sheets, and to evaluate prints, correct files and re-print. Students acquire an essential knowledge of contemporary art photography, including standards of quality and image sequencing. They get a basic sense of aesthetics and of the critical discourse that exists around the cultural significance of images. | ARTINST::ccguide; SUMCOLL::art-and-art-history; ARTINST::techart; ENGLISH::dh-minor | |
| ARTSTUDI | ARTSTUDI 173E | Cell Phone Photography | View in Explore Courses | Aut, Win, Spr | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | The course combines the critical analysis of cell phone photography with the creation of photographic art works that explore this specific medium's experimental, social and documentary potential. The increasing ubiquity of cell phone photography has had a widespread impact on the practice of photography as an art form. We will consider and discuss the ways in which the platforms of cell phone photography (Instagram, Snapchat) are democratizing image-making and transforming notions of authorship and subjectivity to an unprecedented extent, but also how the use of new technological tools help expand notions of creativity and aesthetic standards. | STS::cm-sc; VPUE::cc-ff; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; ARTINST::techart; STS::sddi-tech | Peck, S. (PI) |
| ARTSTUDI | ARTSTUDI 174B | Creativity in the Age of Facebook: Making Art for and from Networks | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | This class explores the history, practice and technique of creating art on and for the internet. Discussions, projects and readings focus on the ways in which internet art embodies changing ideas about artistic creation, technology, and interactivity as a way of blurring the line between artist and audience. Setting recent work against the backdrop of earlier moments in contemporary art (found object art, photomontage), this course also situates internet art in the pre-internet tradition of finding new perspectives on, and meanings in, overfamiliar or banal media surroundings. In collaborative and individual projects, students will create visual compositions on online platforms such as NewHive and explore social media interventions, Twitter experiments, crowdsourced work, collections of online found imagery, supercuts, GIFs, and "choose your own adventure"- style online storytelling. | STS::cm-sc; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; STS::io-sc; VPUE::cc-ff; ARTINST::interdisguide; COMM::elective; ARTINST::techart; ENGLISH::dh-minor; STS::sddi-tech | Odell, J. (PI) |
| ARTSTUDI | ARTSTUDI 175 | Sound Installation (MUSIC 192F) | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | UG | This class will cover creative, historical and theoretical aspects of sited artworks based in sound. We will create, install and critique new works that use sound with special attention the ways that sound intersects with time, space and architecture. Attention will be given both to sound as immaterial signal and to sound in its relation to visual environments and objects. The class is intended for artists, composers and others who want to explore the spatial, social and aesthetic dimensions of sound. Assigned readings will cover sound practices in the contexts of art, music, sound studies and anthropology. Experience in sound recording or production, signal processing and spatialization, or installation are valuable but not required. Curiosity and attention to sounds are. | ARTINST::ccguide; ARTINST::techart; ARTINST::interdisguide | ||
| ARTSTUDI | ARTSTUDI 178 | Art and Electronics | View in Explore Courses | Win, Spr | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | Analog electronics and their use in art. Basic circuits for creating mobile, illuminated, and responsive works of art. Topics: soldering; construction of basic circuits; elementary electronics theory; and contemporary electronic art. (lower level) | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ARTINST::techart | Ulfeldt, A. (PI) |
| ARTSTUDI | ARTSTUDI 179 | Digital Art I | View in Explore Courses | Aut, Spr | 4 | no | Letter or Credit/No Credit | WAY-CE | UG | Contemporary electronic art focusing on digital media. Students create works exploring two- and three-dimensional, and time-based uses of the computer in fine art. History and theoretical underpinnings. Common discourse and informative resources for material and inspiration. Topics: imaging and sound software, web art, and rethinking the comptuer as interface and object. (lower level) | SPBK::1; STS::cm-tech; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; VPUE::cc-ff; ARTINST::techart; ENGLISH::dh-minor; STS::sddi-tech; SYMSYS::hci-elective | Odell, J. (PI) |
| ARTSTUDI | ARTSTUDI 231A | Interactive Art: Making it with Arduino (ARTSTUDI 130) | View in Explore Courses | Spr | 4 | no | Letter or Credit/No Credit | GR | Students use electronics and software to create kinetic and interactive elements in artwork. No prior knowledge of electronics or software is required. Students learn to program the Arduino, a small easy-to-use microprocessor control unit ( see http://www.arduino.cc/ ). Learn to connect various sensors such as light, motion, sound and touch and use them to control software. Learn to interface actuators like motors, lights and solenoids to create movement. Learn to connect the Arduino to theMAX/MSP/Jitter programming environment to create media-intensive video and audio environments. Explore the social dimensions of electronic art. (lower level) | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | DeMarinis, P. (PI) | |
| ARTSTUDI | ARTSTUDI 236 | Future Media, Media Archaeologies (MUSIC 236) | View in Explore Courses | not given this year | 3-4 | no | Letter or Credit/No Credit | UG | Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate. | STS::cm-sc; STS::io-sc; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart; ENGLISH::dh-minor; STS::sddi-sc | ||
| ARTSTUDI | ARTSTUDI 239 | Intermedia Workshop (MUSIC 155, MUSIC 255) | View in Explore Courses | not given this year | 3-4 | yes | Letter or Credit/No Credit | WAY-A-II, WAY-CE | UG | Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart; ARTINST::interdisguide | |
| ARTSTUDI | ARTSTUDI 261 | Individual Work: Emerging Practices in Design & Technology | View in Explore Courses | Aut, Win, Spr | 1-5 | yes | Letter or Credit/No Credit | UG | Prerequisite: student must have taken a course with the instructor and/or completed relevant introductory studio course(s). Instructor consent and completion of the Independent Study Form are required prior to enrollment. All necessary forms are required by the end of Week 2 of each quarter. Please contact the Student Services Specialist in McMurtry 108 for more information. May be repeated for credit. | SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | Utterback, C. (PI); Wight, G. (PI) | |
| ARTSTUDI | ARTSTUDI 264 | Advanced Interaction Design | View in Explore Courses | not given this year | 4 | no | Letter (ABCD/NP) | WAY-CE | UG | This upper level studio course will continue and create a sustained investigation into designed interactivity in real space. Students will create interactive installations, or public interventions using sensors or other computational devices. Prerequisites include one of the following - Embodied Interfaces, Media Archaeologies, Making it with Arduino, Digital Art 1, Electronic Art or permission of instructor. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | |
| ARTSTUDI | ARTSTUDI 275 | Photography II: Digital | View in Explore Courses | Aut, Spr | 4 | yes | Letter (ABCD/NP) | WAY-CE | UG | Students continue to use DLSR cameras, with an ongoing emphasis on operating manual settings (focus, aperture, shutter speed, ISO, color temp/ white balance). They are taught intermediate-level digital printing (in color) using large-format printers. They continue to work with Lightroom as a file management system and are introduced to Photoshop. Students gain a deeper insight into and stronger grasp of practices in contemporary digital photography, with a continuing focus on the importance of photo editing/selection and sequencing, as well as questions around the conceptual and practical implications and limits of photographic images. Prerequisite: ARTSTUDI 171 or equivalent. May be repeat for credit | STS::cm-tech; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart; STS::sddi-tech | |
| ARTSTUDI | ARTSTUDI 277A | Video Art II | View in Explore Courses | Spr | 4 | no | Letter or Credit/No Credit | UG | Video, criticism, and contemporary media theory investigating the time image. Students create experimental video works, addressing the integration of video with traditional art media such as sculpture and painting. Non-linearity made possible by Internet and DVD-based video. No prerequisite required. | COMM::elective; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | ||
| BIOE | BIOE 196 | INTERACTIVE MEDIA AND GAMES (BIOPHYS 196, CS 544) | View in Explore Courses | not given this year | 1 | yes | Satisfactory/No Credit | UG | Interactive media and games increasingly pervade and shape our society. In addition to their dominant roles in entertainment, video games play growing roles in education, arts, and science. This seminar series brings together a diverse set of experts to provide interdisciplinary perspectives on these media regarding their history, technologies, scholarly research, industry, artistic value, and potential future. | VPUE::cc-wonders; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | ||
| CLASSICS | CLASSICS 168 | Engineering the Roman Empire (ARCHLGY 118) | View in Explore Courses | Spr | 3-5 | no | Letter (ABCD/NP) | GER:DB-Hum, WAY-A-II | UG | Enter the mind, the drafting room, and the building site of the Roman architects and engineers whose monumental projects impressed ancient and modern spectators alike. This class explores the interrelated aesthetics and mechanics of construction that led to one of the most extensive building programs undertaken by a pre-modern state. Through case studies ranging from columns, domes and obelisks to road networks, machines and landscape modification, we investigate the materials, methods, and knowledge behind Roman innovation, and the role of designed space in communicating imperial identity. | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart | Leidwanger, J. (PI); Mallon, K. (SI); Previto, M. (TA) |
| COMM | COMM 1B | Media, Culture, and Society (AMSTUD 1B) | View in Explore Courses | Win | 5 | no | Letter or Credit/No Credit | GER:DB-SocSci, WAY-A-II, WAY-SI | UG | The institutions and practices of mass media, including television, film, radio, and digital media, and their role in shaping culture and social life. The media's shifting relationships to politics, commerce, and identity. | AMSTUD::core-hi; EARTHSYS::enviro; SPBK::2; EDUC::alluniversity; ARTINST::ccguide; VPUE::cc-ff; ARTINST::techart; SYMSYS::hci-social; SYMSYS::mediacomm-effects; SYMSYS::hci-elective | Turner, F. (PI); Akselrad, D. (TA); Ross, R. (TA) |
| COMM | COMM 120W | The Rise of Digital Culture (AMSTUD 120, COMM 220) | View in Explore Courses | Spr | 4-5 | no | Letter (ABCD/NP) | GER:DB-SocSci, WAY-SI | UG | From Snapchat to artificial intelligence, digital systems are reshaping our jobs, our democracies, our love lives, and even what it means to be human. But where did these media come from? And what kind of culture are they creating? To answer these questions, this course explores the entwined development of digital technologies and post-industrial ways of living and working from the Cold War to the present. Topics will include the historical origins of digital media, cultural contexts of their deployment and use, and the influence of digital media on conceptions of self, community, and state. Priority to juniors, seniors, and graduate students. | STS::cm-found; COMM::Area2; ENGR::techsoc; WIM::comm; STS::cm-sc; STS::core-sshum; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; STS::core-ss-wim; ARTINST::techart; ENGLISH::dh-minor; SYMSYS::hci-social; STS::sddi-sc; SYMSYS::mediacomm-effects; SYMSYS::hai-human; SYMSYS::hci-csic | Turner, F. (PI) |
| COMM | COMM 171 | Moving Pictures: Video Journalism for Mobile and Social Platforms (COMM 271) | View in Explore Courses | not given this year | 3-5 | no | Letter (ABCD/NP) | WAY-CE | UG | (Graduate students register for 271.) Examine video journalism's crucial role in digital news media across mobile and social media platforms. What are the specific needs of mobile platforms? How is new technology utilized to produce effective video news content? We'll examine case studies and hear from guest speakers about innovations in video journalism. Students produce short video journalism pieces using mobile tools, optimized for viewing on mobile devices. Prerequisite: COMM 104 or prior video journalism experience (contact instructor); Journalism MA student; or instructor's consent. | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | |
| COMM | COMM 176 | Advanced Digital Media Journalism (COMM 276) | View in Explore Courses | Spr | 4-5 | no | Letter (ABCD/NP) | WAY-CE | UG | In-depth reporting and production using audio, images and video. Focus on an in-depth journalism project with appropriate uses of digital media: audio, photography, graphics, and video. Topics include advanced field techniques and approaches (audio, video, still) and emphasis on creating a non-fiction narrative arc in a multimedia piece of 10-12 minutes. Prerequisite: COMM 275 or consent of instructor | EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; ARTINST::ccguide; ARTINST::techart; SYMSYS::css-elective; SYMSYS::mediacomm-csic | Migielicz, G. (PI) |
| COMM | COMM 271 | Moving Pictures: Video Journalism for Mobile and Social Platforms (COMM 171) | View in Explore Courses | not given this year | 3-5 | no | Letter (ABCD/NP) | GR | (Graduate students register for 271.) Examine video journalism's crucial role in digital news media across mobile and social media platforms. What are the specific needs of mobile platforms? How is new technology utilized to produce effective video news content? We'll examine case studies and hear from guest speakers about innovations in video journalism. Students produce short video journalism pieces using mobile tools, optimized for viewing on mobile devices. Prerequisite: COMM 104 or prior video journalism experience (contact instructor); Journalism MA student; or instructor's consent. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; COMM::MA Media Studies; ARTINST::techart | ||
| COMM | COMM 275 | Multimedia Storytelling: Reporting and Production Using Audio, Still Images, and Video | View in Explore Courses | Aut | 3-4 | no | Letter (ABCD/NP) | GR | Multimedia assignments coordinated with deadline reporting efforts in COMM 273 from traditional news beats using audio, still photography, and video. Use of digital audio recorders and audio production to leverage voice-over narration, interviews, and natural sound; use of digital still cameras and audio to produce audio slideshows; and the combination of these media with video in post-production with Final Cut Pro. Prerequisite: Only open to Journalism M.A. students. Corequisite: COMM 273. | COMM::MA-Journ-req; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; COMM::MA Media Studies; ARTINST::techart | Migielicz, G. (PI) | |
| COMM | COMM 276 | Advanced Digital Media Journalism (COMM 176) | View in Explore Courses | Spr | 4-5 | no | Letter (ABCD/NP) | GR | In-depth reporting and production using audio, images and video. Focus on an in-depth journalism project with appropriate uses of digital media: audio, photography, graphics, and video. Topics include advanced field techniques and approaches (audio, video, still) and emphasis on creating a non-fiction narrative arc in a multimedia piece of 10-12 minutes. Prerequisite: COMM 275 or consent of instructor | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; COMM::MA Media Studies; ARTINST::techart | Migielicz, G. (PI) | |
| COMM | COMM 280 | Immersive (VR/AR) Journalism in the Public Sphere | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | GR | The immersive space (cinematic VR, virtual reality, and augmented reality) is journalism's newest and most exciting reporting and storytelling tool. We survey best practices and methods in this emerging medium and learn 360-degree video production and postproduction. Teams will illuminate issues and provoke conversation in the public sphere. Prerequisite: Preference to Journalism M.A. students. Please contact instructor for permission number to enroll. | ARTINST::ccguide; ARTINST::techart; COMM::MA Media Studies; ENGLISH::dh-minor | Migielicz, G. (PI) | |
| CS | CS 148 | Introduction to Computer Graphics and Imaging | View in Explore Courses | Aut | 3-4 | no | Letter or Credit/No Credit | GER:DB-EngrAppSci, WAY-CE | UG | Introductory prerequisite course in the computer graphics sequence introducing students to the technical concepts behind creating synthetic computer generated images. In addition to scanline rendering, ray tracing is introduced at the beginning of the course, since modern consoles now include ray tracing. This is followed by discussions of underlying mathematical concepts including triangles, normals, interpolation, texture/bump mapping, anti-aliasing, acceleration structures, etc. Importantly, the course will discuss handling light/color for image formats, computer displays, printers, etc., as well as how light interacts with the environment, constructing engineering models such as the BRDF, and various simplifications into more basic lighting and shading models. The final class mini-project consists of building out a ray tracer to create visually compelling images. Starter codes and code bits will be provided to aid in development, but this class focuses on what you can do with the code as opposed to what the code itself looks like. Therefore grading is weighted toward in person "demos" of the code in action - creativity and the production of impressive visual imagery are highly encouraged/rewarded. Prerequisites: CS107, MATH51. | MATH::elctv; SPBK::3; SYMSYS::hci; CS::elective; STATS::ms_reqprog; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; BMC::simulation; ARTINST::techart; SYMSYS::AI-Robotics; SYMSYS::hci-programming | Fedkiw, R. (PI); Geng, Z. (TA); Gorrepati, K. (TA); Jin, Y. (TA); Li, K. (TA); Li, R. (TA); Lin, P. (TA); Wu, J. (TA); Yip, M. (TA); Zhang, Y. (TA); Zhu, Y. (TA) |
| CS | CS 170 | Stanford Laptop Orchestra: Composition, Coding, and Performance (MUSIC 128) | View in Explore Courses | not given this year | 1-5 | yes | Letter or Credit/No Credit | WAY-CE | UG | Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit. Space is limited; see https://ccrma.stanford.edu/courses/128 for information about the application and enrollment process. May be repeat for credit | SPBK::3; SYMSYS::computer_music; VPUE::cc-wonders; REGISTRAR::ways-ce-music; STATS::ms_reqprog; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart; ARTINST::interdisguide | |
| CS | CS 231C | Computer Vision and Image Analysis of Art | View in Explore Courses | not given this year | 3 | no | Letter or Credit/No Credit | GR | This course presents the application of rigorous image processing, computer vision, machine learning, computer graphics and artificial intelligence techniques to problems in the history and interpretation of fine art paintings, drawings, murals and other two-dimensional works, including abstract art. The course focuses on the aspects of these problems that are unlike those addressed widely elsewhere in computer image analysis applied to physics-constrained images in photographs, videos, and medical images, such as the analysis of brushstrokes and marks, medium, inferring artists¿ working methods, compositional principles, stylometry (quantification of style), the tracing of artistic influence, and art attribution and authentication. The course revisits classic problems, such as image-based object recognition, but in highly non-realistic, stylized artworks. Recommended: One of CS 131 or EE 168 or equivalent; ARTHIST 1B. Prerequisites: Programming proficiency in at least one of C, C++, Python, Matlab or Mathematica and tools/frameworks such as OpenCV or Matlab's Image Processing toolbox. | ARTINST::techart | Stork, D. (PI); Karthik, A. (TA); Te, K. (TA) | |
| CS | CS 476B | Music, Computing, Design II: Virtual and Augmented Reality for Music (MUSIC 256B) | View in Explore Courses | not given this year | 3-4 | no | Letter (ABCD/NP) | GR | Aesthetics, design, and exploration of creative musical applications of virtual reality (VR) and augmented reality (AR), centered around VR and mobile technologies. Comparison between AR, VR, and traditional software design paradigms for music. Topics include embodiment, interaction design, novel instruments, social experience, software design + prototyping. Prerequisite: MUSIC 256A / CS 476A. | SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::techart | ||
| EMED | EMED 228 | Virtual Reality Storytelling (EMED 129) | View in Explore Courses | not given this year | 1-3 | yes | Medical Option (Med-Ltr-CR/NC) | GR | Do you have a story to tell? Would you like to make an impact on medicine through the most immersive medium available? Virtual reality filmmaking is a cutting edge means of shaping the public's perception of and relationship to healthcare, with enormous potential to act as a vehicle for change. This course will describe and practice the entire virtual reality filmmaking process from preproduction and production through to postproduction completion. Step by step you will learn to tell stories that matter in this immersive medium using both 360 video and computer generated simulations. You will be part of the design team for an exhibited interactive experience with a meaningful story. No prior virtual reality or filmmaking experience required. | ARTINST::scienceart; ARTINST::techart | ||
| FILMPROD | FILMPROD 13AX | Immersive Cinema: Experiments in Virtual Reality | View in Explore Courses | not given this year | 2 | no | Satisfactory/No Credit | UG | In this exploratory workshop, students will use VR tools such as 360 video and surround sound design to create immersive experiences for viewers. The conceptual framework of experimental cinema and documentary film serve to inform students' work; with an emphasis on experimentation, pushing toward a new artistic language in this still-emerging form of VR "storytelling"/ Immersive cinema. Over the course of two weeks, students will work in teams to create a series of short immersive pieces culminating in a 2-3 minute 360 video. This course is time intensive, requiring some nights and both weekends dedicated to production and editing. | ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart | ||
| FILMPROD | FILMPROD 106 | Image and Sound: Filmmaking for the Digital Age | View in Explore Courses | not given this year | 3 | no | Letter (ABCD/NP) | WAY-CE | UG | Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX. | VPUE::cc-ff; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; COMM::elective; ARTINST::techart; ENGLISH::dh-minor | |
| FILMPROD | FILMPROD 106S | Image and Sound: Filmmaking for the Digital Age | View in Explore Courses | not given this year | 3 | no | Letter (ABCD/NP) | WAY-CE | UG | Despite the rise of emerging forms like two-minute YouTube videos, six second Vines, or interactive storytelling modules, many core principles of visual storytelling remain unchanged. In this hands-on film production class students will learn a broad set of filmmaking fundamentals (basic history, theory, and practice) and will apply them creating film projects using tools such as iPhones, consumer cameras and FCPX. | ARTINST::ccguide; ARTINST::techart | |
| FILMPROD | FILMPROD 114 | Introduction to Film and Video Production | View in Explore Courses | not given this year | 5 | no | Letter (ABCD/NP) | WAY-CE | UG | Hands-on. Techniques of film and video making including conceptualization, visualization, story structure, cinematography, sound recording, and editing. Enrollment limited to 12 students. Priority to junior/senior Film & Media Studies majors.Admission determined on the first day of class. | SPBK::1; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; COMM::elective; VPUE::cc-ff; ARTINST::techart | |
| FILMPROD | FILMPROD 117 | Advanced Video Production | View in Explore Courses | not given this year | 5 | no | Letter (ABCD/NP) | UG | This course introduces the fundamentals of digital video production. Special emphasis is placed on the development of interview and observational sync-sound filming techniques. Students acquire hands-on experience in shooting, sound recording, lighting, and editing. Critiques of creative work emphasizes the conceptual, aesthetic, and technical aspects of digital video production. Prerequisite: Filmprod 114 or Filmprod 10AX. | EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | ||
| FILMSTUD | FILMSTUD 6 | Introduction to Media (FILMSTUD 306) | View in Explore Courses | not given this year | 3-5 | no | Letter (ABCD/NP) | WAY-A-II | UG | What is a medium? This course starts from the assumption that the answer to this question is not as obvious as it might at first appear. Clearly, we know some media when we see them: radio, film, and television are in many ways paradigmatic media of the twentieth century. But what about the computational, networked media of the twenty-first century? Are these still media in the same sense, or has the nature of media changed with the emergence of digital technologies? And what, for that matter, about pre-technical media? Is painting a medium in the same sense that oil or acrylic are media, or in the sense that we speak of mixed media? Is language a medium? Are numbers? Is the body? As we shall see, the question of what a medium is raises a number of other questions of a theoretical or even philosophical nature. How is our experience of the world affected or shaped by media? Are knowledge and perception possible apart from media, or are they always mediated by the apparatuses, instruments, or assemblages of media? What is the relation between the forms and the contents of media, and how does this relation bear on questions of aesthetics, science, technology, or politics? The lecture-based course addresses these and other questions and seeks in this way to introduce a way of thinking about media that goes beyond taken-for-granted ideas and assumptions, and that has a potentially transformative effect on a wide range of theoretical and practical interests.nnFilm & Media Studies majors and minors must enroll for 5 units. | VPUE::cc-ff; SPBK::1; STS::cm-sc; EDUC::alluniversity; ARTINST::ccguide; COMM::elective; ARTINST::techart; ENGLISH::dh-minor; PHILIT::specialrelevance; STS::sddi-sc | |
| FILMSTUD | FILMSTUD 117 | Media and Message: The Experience of Informatoin | View in Explore Courses | not given this year | 4 | no | Letter (ABCD/NP) | WAY-A-II | UG | We live in an information age, and information comes to us through various media. But different media embody information differently, and are experienced differently. How do these differences impact the ways we come to understand the world and our place in it? One example: Photography, cinema, and console games all attempt to communicate the experience of war, but each does so in its own way -- a Robert Capa photograph of the moment when a soldier is shot is different from the sensory and narrative immersion of Saving Private Ryan, which is different from the interactive experience of Call of Duty. Following Marshall McLuhan's dictum that "the medium is the message," this course will examine the ways that different media present, organize, and structure information as forms that are "read" or experienced. The course will consider such historical media as illuminated books, print, painting, and photography, and such recent forms as cinema, television, comics, presentation software, and interactive and computational media. Readings will be drawn from across disciplines, and will include McLuhan, Sontag, Merleau-Ponty, Goffman, Jenkins, Hayles, and others. Fiction, film screenings, and comics reading will also be part of the course. | ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; PHILIT::specialrelevance | |
| FILMSTUD | FILMSTUD 259 | Game Studies (FILMSTUD 459) | View in Explore Courses | not given this year | 5 | no | Letter or Credit/No Credit | WAY-A-II | UG | This course aims to introduce students to the emerging, interdisciplinary field of game studies. We will investigate what games (including but not limited to digital games) are, why we play them, and what the functions of this activity might be. The bulk of the course will be devoted specifically to digital games, which we will approach from a variety of perspectives: from historical, cultural, industrial/commercial, media-theoretical, and formal (narratological/ludological) perspectives, among others. Thus, we will seek to understand the contexts in which video games emerged and evolved, the settings in which they have been played, and the discourses and practices that have determined their place in social and cultural life. In addition, we will ask difficult questions about the mediality of digital games: What is the relation of digital to non-digital games? Are they both games in the same sense, or do digital media redefine what games are or can be? How do digital games relate to other (digital as well as non-digital) non-game media, such as film, television, print fiction, or non-game computer applications? Of course, to engage meaningfully with these questions at all will require us to investigate theories of mediality (including inter- and transmediality) more generally. Finally, though, we will be interested in the formal and experiential parameters that define (different types of) digital games in particular. What does it feel like to play (various) digital games? What are the relations between storytelling and the activity of gameplaying in them? What is the relation between these aspects and the underlying mechanics of digital games, as embodied in hardware and software? What is the role of the human body? Because these questions can only be approached on the basis of personal experience, students will be expected to spend some time playing digital games and reflecting critically on their gameplay. | ARTINST::ccguide; COMM::elective; ARTINST::techart; ENGLISH::dh-minor | |
| FILMSTUD | FILMSTUD 264B | Starstuff: Space and the American Imagination (AMSTUD 143X, ARTHIST 264B) | View in Explore Courses | Aut | 5 | no | Letter or Credit/No Credit | WAY-A-II | UG | Course on the history of twentieth and twenty-first century American images of space and how they shape conceptions of the universe. Covers representations made by scientists and artists, as well as scientific fiction films, TV, and other forms of popular visual culture. Topics will include the importance of aesthetics to understandings of the cosmos; the influence of media and technology on representations; the social, political, and historical context of the images; and the ways representations of space influence notions of American national identity and of cosmic citizenship. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; COMM::elective; ARTINST::ccguide; ARTINST::techart; ARTINST::scienceart | Kessler, E. (PI) |
| FILMSTUD | FILMSTUD 459 | Game Studies (FILMSTUD 259) | View in Explore Courses | not given this year | 5 | no | Letter or Credit/No Credit | GR | This course aims to introduce students to the emerging, interdisciplinary field of game studies. We will investigate what games (including but not limited to digital games) are, why we play them, and what the functions of this activity might be. The bulk of the course will be devoted specifically to digital games, which we will approach from a variety of perspectives: from historical, cultural, industrial/commercial, media-theoretical, and formal (narratological/ludological) perspectives, among others. Thus, we will seek to understand the contexts in which video games emerged and evolved, the settings in which they have been played, and the discourses and practices that have determined their place in social and cultural life. In addition, we will ask difficult questions about the mediality of digital games: What is the relation of digital to non-digital games? Are they both games in the same sense, or do digital media redefine what games are or can be? How do digital games relate to other (digital as well as non-digital) non-game media, such as film, television, print fiction, or non-game computer applications? Of course, to engage meaningfully with these questions at all will require us to investigate theories of mediality (including inter- and transmediality) more generally. Finally, though, we will be interested in the formal and experiential parameters that define (different types of) digital games in particular. What does it feel like to play (various) digital games? What are the relations between storytelling and the activity of gameplaying in them? What is the relation between these aspects and the underlying mechanics of digital games, as embodied in hardware and software? What is the role of the human body? Because these questions can only be approached on the basis of personal experience, students will be expected to spend some time playing digital games and reflecting critically on their gameplay. | ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor | ||
| LAW | LAW 4029 | Video Game Law | View in Explore Courses | Win | 3 | no | Law Honors/Pass/Restrd Cr/Fail | LAW | This seminar discusses a variety of legal issues raised by video games and game platforms. We will devote substantial attention to intellectual property matters, but will also include business and licensing issues, tort law, the First Amendment, and legal issues presented by virtual reality. Students will write and present an original research paper on a topic related to the class. This is a 3-unit seminar that satisfies the R requirement. Introduction to Intellectual Property or equivalent is a prerequisite. Enrollment is limited to 12 students, and will be by consent of the instructors. Interested students should submit a paragraph explaining their background and interest in the course. CONSENT APPLICATION: To apply for this course, students must complete and submit a Consent Application Form available on the SLS website (Click Courses at the bottom of the homepage and then click Consent of Instructor Forms). See Consent Application Form for instructions and submission deadline. | ARTINST::techart | Lemley, M. (PI); Maitra, S. (PI) | |
| ME | ME 124 | Visual Expressions | View in Explore Courses | not given this year | 3 | no | Letter (ABCD/NP) | WAY-CE | UG | A hands-on exploration of the elements and principles of 2D and 3D design common to all the visual arts. Through a mix of theory, analysis, and practice the student will develop his/her ability to interpret visual content and produce effective imagery. Limited enrollment, attendance at first class required. | ARTINST::ccguide; ARTINST::techart | |
| ME | ME 203 | Design and Manufacturing | View in Explore Courses | Aut, Spr | 4 | no | Letter (ABCD/NP) | GR | ME203 is intended for any graduate students who may want the opportunity to design and prototype a project of meaning to them. Undergraduate mechanical engineering and product design students should register for ME103.nnnME 203 will be taught on line through ZOOM and Canvas resources. Depending on evolving COVID-19 regulations, students may enjoy limited access to Product Realization Laboratory structured laboratory activities. The course will be organized in two chapters over 10 weeks. Chapter One, DESIGN, will commence with brainstorming, and conclude with a full product design presentation for the creation of a single unit including CAD models, Bill of Materials, and Operations Sequence. Chapter Two, MANUFACURING will commence with redesign for large scale manufacturing and end with a Manufacturing Design Plan including a Design for Manufacturability, a Bill of Materials, a recommendation for Manufacturing Processes, and a Unit Marginal Manufacturing Cost Estimate. | MATSCI::mbd-focus; ME::BMEdepth; ME::MEdepth; ME::PDdepth; STS::io-tech; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; SUST::elective; ARTINST::techart; SYMSYS::hci-elective | Beach, D. (PI); Lau, A. (TA); Robles, N. (TA) | |
| MKTG | MKTG 559 | Designing for VR/AR | View in Explore Courses | 2 | no | GSB Pass/Fail | GSB | Put on a headset or glasses, and you will be transported to an entirely different world. You could be moving through a business room in China, following a girl through a Syrian refugee camp, or saving the world as a superhero. As a medium, Virtual Reality (VR) has the potential to be the ultimate empathy machine, connecting humans to other humans and nature in a profound way never before seen in any other form of media. In this class, we will draw on behavioral science and immersive experiences to shed light on the potential of Virtual Reality (VR) and Augmented Reality (AR). Students will be given a foray into the applications of VR/AR in different industries, understand how the virtual world affects perceptions of self and others, and then reflect on these insights to incorporate these learnings into the real world. Students will walk away with an understanding of the potential of VR/AR, insights into designing experiences in those worlds, and reflections that will hopefully enable students to reframe their own lives and make more meaningful choices. nnNote, the focus of this compressed class is not technical. Also, although we will briefly cover AR, VR will be more of the focus. | ARTINST::techart | |||
| MUSIC | MUSIC 25 | Decoding Anime | View in Explore Courses | Aut | 3 | no | Letter (ABCD/NP) | WAY-A-II | UG | Anime as an artistic form often boasts highly imaginative graphics, striking music, vibrant characters, and fantastical stories. The course aims at decoding the expressive power of anime by applying a method of multimedia analysis that focuses on the interaction between its component elements: story, image, sound and music. Through close reading of works by five leading and innovative directors the students will develop tools to analyze anime and interpret it in a larger cultural context. | ARTINST::ccguide; VPUE::cc-ff; ARTINST::techart; MUSIC::minorhistethno | |
| MUSIC | MUSIC 101 | Introduction to Creating Electronic Sounds | View in Explore Courses | Aut, Win | 3-4 | no | Letter or Credit/No Credit | WAY-CE | UG | Introduction to Creating Electronic Sounds enables students from a wide variety of backgrounds to cultivate conceptual and technical skills within the production of electronic sound and music composition. Lectures, readings, and group discussions will examine the evolution of recording technology and industrialization as it relates to music within historical, social, and contemporary contexts. Over the course of ten weeks students will develop and produce a portfolio of creative projects, wherein the integration of one's life experiences, imagination, and musical preferences are encouraged. In addition to regular coursework, students who choose to enroll in the class for 4 units will create and publish a 12-20 minute EP according to their own musical taste and technical abilities. This course is a prerequisite for MUSIC 192A: Foundations of Sound Recording Technology. Enrollment by permission number only. No previous experience required. | MUSIC::minormst; MUSIC::CCRMAOnly; ARTINST::ccguide; ARTINST::techart; MUSIC::UGMST; VPUE::cc-ff | Sherriff, S. (PI); Oshiro, S. (TA) |
| MUSIC | MUSIC 102 | The Art of Music Video: Practice and Analysis (MUSIC 202) | View in Explore Courses | not given this year | 2-4 | yes | Letter or Credit/No Credit | WAY-A-II, WAY-CE | UG | Making and understanding music videos and other short audiovisual genres. This course is a critical and creative exploration of music and performing bodies in moving media. Listening/viewing includes music videos from the 1980s to today, along with musicals, dance, and opera on film, experimental film and video, and segments from feature film. We'll attend to both music and image, focusing on gesture, rhythm, and affect, and considering visual parameters like décor, lighting, texture, camera movement, and editing. Requirements include choosing and documenting a live performance; producing a short audiovisual work involving post-production; several short writing assignments; and weekly reading and viewing/listening assignments. No prerequisites; no previous videomaking experience required. This course must be taken for a minimum of 3 units for Ways-AII and a letter grade to be eligible for Ways-AII credit. | VPUE::cc-ff; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart; MUSIC::minorhistethno; MUSIC::history | |
| MUSIC | MUSIC 128 | Stanford Laptop Orchestra: Composition, Coding, and Performance (CS 170) | View in Explore Courses | not given this year | 1-5 | yes | Letter or Credit/No Credit | WAY-CE | UG | Classroom instantiation of the Stanford Laptop Orchestra (SLOrk) which includes public performances. An ensemble of more than 20 humans, laptops, controllers, and special speaker arrays designed to provide each computer-mediated instrument with its sonic identity and presence. Topics and activities include issues of composing for laptop orchestras, instrument design, sound synthesis, programming, and live performance. May be repeated four times for credit. Space is limited; see https://ccrma.stanford.edu/courses/128 for information about the application and enrollment process. May be repeat for credit | MUSIC::CCRMAOnly; SYMSYS::computer_music; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; SYMSYS::cm-design; SYMSYS::comu-design; SYMSYS::comu-csic | |
| MUSIC | MUSIC 154A | Sound Art I (ARTSTUDI 131) | View in Explore Courses | Aut | 4 | no | Letter or Credit/No Credit | GER:DB-Hum, WAY-CE | UG | Acoustic, digital and analog approaches to sound art. Familiarization with techniques of listening, recording, digital processing and production. Required listening and readings in the history and contemporary practice of sound art. (lower level) | MUSIC::minormst; MUSIC::CCRMAOnly; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; MUSIC::UGMST | DeMarinis, P. (PI); rick, G. (TA) |
| MUSIC | MUSIC 155 | Intermedia Workshop (ARTSTUDI 239, MUSIC 255) | View in Explore Courses | not given this year | 3-4 | yes | Letter or Credit/No Credit | WAY-A-II, WAY-CE | UG | Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit | MUSIC::CCRMAOnly; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; MUSIC::UGComp | |
| MUSIC | MUSIC 192A | Foundations of Sound-Recording Technology | View in Explore Courses | Aut | 3 | no | Letter or Credit/No Credit | GER:DB-EngrAppSci, WAY-SMA | UG | This course serves as an introduction to recording technologies and practices in a studio, at home, and in the field. The facilities available at CCRMA provide a basis for learning studio operation, as well as a space for recording projects remotely. Students also receive a portable recording kit* to develop professional-sounding projects at home with audio recordings from inside and outside their location. The course addresses various audio engineering topics: room acoustics, analog and digital recording, microphone selection and placement, audio editing and mixing, audio effects processing (equalization, compression, convolution reverb, etc.), and sound design. (*subject to availability of funds). Prerequisite: MUSIC 101 or consent of instructor. | MUSIC::minormst; MUSIC::CCRMAOnly; MUSIC::UGMST; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | Basica, C. (PI); Qu, H. (TA) |
| MUSIC | MUSIC 192F | Sound Installation (ARTSTUDI 175) | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | UG | This class will cover creative, historical and theoretical aspects of sited artworks based in sound. We will create, install and critique new works that use sound with special attention the ways that sound intersects with time, space and architecture. Attention will be given both to sound as immaterial signal and to sound in its relation to visual environments and objects. The class is intended for artists, composers and others who want to explore the spatial, social and aesthetic dimensions of sound. Assigned readings will cover sound practices in the contexts of art, music, sound studies and anthropology. Experience in sound recording or production, signal processing and spatialization, or installation are valuable but not required. Curiosity and attention to sounds are. | ARTINST::ccguide; ARTINST::techart; ARTINST::interdisguide | ||
| MUSIC | MUSIC 201 | CCRMA Colloquium | View in Explore Courses | Aut | 1 | yes | Letter or Credit/No Credit | UG | Weekly review of work being done in the field, research taking place at CCRMA, and tools to make the most of the CCRMA technical facilities. | MUSIC::CCRMAOnly; MUSIC::GRMAMST; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart | Worthey, N. (PI) | |
| MUSIC | MUSIC 202 | The Art of Music Video: Practice and Analysis (MUSIC 102) | View in Explore Courses | not given this year | 2-4 | yes | Letter or Credit/No Credit | GR | Making and understanding music videos and other short audiovisual genres. This course is a critical and creative exploration of music and performing bodies in moving media. Listening/viewing includes music videos from the 1980s to today, along with musicals, dance, and opera on film, experimental film and video, and segments from feature film. We'll attend to both music and image, focusing on gesture, rhythm, and affect, and considering visual parameters like décor, lighting, texture, camera movement, and editing. Requirements include choosing and documenting a live performance; producing a short audiovisual work involving post-production; several short writing assignments; and weekly reading and viewing/listening assignments. No prerequisites; no previous videomaking experience required. This course must be taken for a minimum of 3 units for Ways-AII and a letter grade to be eligible for Ways-AII credit. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart; MUSIC::history; MUSIC::minorhistethno | ||
| MUSIC | MUSIC 220A | Fundamentals of Computer-Generated Sound | View in Explore Courses | Spr, Sum | 2-4 | no | Letter or Credit/No Credit | UG | What are the basic tools that computer music researchers and artists use to create sound? This course will include a summary of digital synthesis techniques (additive, subtractive, wavetable, frequency modulation and physical-modeling), signal processing techniques for digital effects, (reverberation, panning, filters), and basic psychoacoustics. Programming experience is recommended, but not required. The course will use the Web Audio/MIDI API (JavaScript) for computer music programming. Majors (undergraduate or graduate) must take for 4 units. See https://ccrma.stanford.edu/courses/220a/. | MUSIC::minormst; ENVRINST::af_faculty; MUSIC::CCRMAOnly; MUSIC::GRCBMTA; MUSIC::GRMAMST; MUSIC::UGMST; SPBK::3; STS::io-tech; SYMSYS::computer_music; STS::cm-tech; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor; SYMSYS::cm; STS::sddi-tech; SYMSYS::comu-cgm1; ARTINST::interdisguide | Chafe, C. (PI); Choi, H. (PI); Wang, G. (PI); Wright, M. (PI); Mulshine, M. (TA); Nerness, B. (TA) | |
| MUSIC | MUSIC 236 | Future Media, Media Archaeologies (ARTSTUDI 236) | View in Explore Courses | not given this year | 3-4 | no | Letter or Credit/No Credit | GR | Hand-on. Media technologies from origins to the recent past. Students create artworks based on Victorian era discoveries and inventions, early developments in electronic media, and orphaned technologies. Research, rediscover, invent, and create devices of wonder and impossible objects. Readings in history and theory. How and what media technologies mediate. | EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart | ||
| MUSIC | MUSIC 250A | Physical Interaction Design for Music | View in Explore Courses | Spr | 3-4 | yes | Letter or Credit/No Credit | GR | This lab and project-based course explores how we can physically interact with real-time electronic sound. Students learn to use and design sensors, circuits, embedded computers, communication protocols and sound synthesis. Advanced topics include real-time media, haptics, sound synthesis using physical model analogs, and human-computer interaction theory and practice. Course culminates in musical performance with or exhibition of completed design projects. An $80 lab fee will be added to your bill upon enrollment in this course. See https://ccrma.stanford.edu/courses/250a | MUSIC::CCRMAOnly; MUSIC::UGMST; SPBK::3; SYMSYS::computer_music; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart; SYMSYS::cm-design; SYMSYS::comu-design; SYMSYS::comu-csic; ARTINST::interdisguide | Michon, R. (PI); McCausland, D. (TA) | |
| MUSIC | MUSIC 250C | Interaction - Intermedia - Immersion | View in Explore Courses | Win | 2-3 | no | Letter or Credit/No Credit | GR | This course explores creative and technical approaches to the design of digital musical instruments (DMIs) and other systems for interactive performance, composition and/or installations in audio, audiovisual, and other intermedia practice. Various paradigms of Human Computer Interaction (HCI) and techniques such as motion tracking, biosignal analysis, Music Information Retrieval (MIR), concatenation, and machine learning will be considered through analysis of examples of historical and current intermedia practice, framed by key concepts such as affordances and embodiment. It will focus on individual creative output and process, with a final project consisting of the realization of a creative work applying these principles. Please note that attendance of both sessions listed here is not required: the weekly sessions will consist of a lecture and discussion in the first half, and lab time with optional attendance in the second. We plan to concentrate principally on digital - including online - interactive/intermedial/immersive projects. This course is in the P3D program and, therefore, each student has the possibility of receiving a personal 3D printer for their home use. Further equipment loans from CCRMA for student projects involving physical media may be possible. Feedback on projects will be provided by Denning Visiting Artist Pamela Z, in addition to tutorials/consultations with the course co-instructors and teaching assistant. | ENGLISH::dh-minor; ARTINST::techart; ARTINST::interdisguide | Alessandrini, P. (PI); Basica, C. (SI); Nerness, B. (TA) | |
| MUSIC | MUSIC 255 | Intermedia Workshop (ARTSTUDI 239, MUSIC 155) | View in Explore Courses | not given this year | 3-4 | yes | Letter or Credit/No Credit | GR | Students develop and produce intermedia works. Musical and visual approaches to the conceptualisation and shaping of time-based art. Exploration of sound and image relationship. Study of a wide spectrum of audiovisual practices including experimental animation, video art, dance, performance, non-narrative forms, interactive art and installation art. Focus on works that use music/sound and image as equal partners. Limited enrollment. Prerequisites: consent of instructors, and one of FILMPROD 114, ARTSTUDI 131, 138, 167, 177, 179, or MUSIC 123, or equivalent. May be repeated for credit | MUSIC::CCRMAOnly; MUSIC::GRMAMST; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::techart; MUSIC::GRComp | ||
| MUSIC | MUSIC 256A | Music, Computing, Design: The Art of Design (CS 476A) | View in Explore Courses | Aut | 3-4 | no | Letter (ABCD/NP) | GR | Creative design for computer music software. Programming, audiovisual design, as well as software design for musical tools, instruments, toys, and games. Provides paradigms and strategies for designing and building music software, with emphases on interactive systems, aesthetics, and artful product design. Course work includes several programming assignments and a "design+implement" final project. Prerequisite: experience in C/C++ and/or Java.See https://ccrma.stanford.edu/courses/256a/ | MUSIC::CCRMAOnly; MUSIC::GRMAMST; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; SYMSYS::cm-design; SYMSYS::comu-design; SYMSYS::comu-csic | Wang, G. (PI); Kim, K. (TA) | |
| ORALCOMM | ORALCOMM 127 | Introduction to Podcast Storytelling | View in Explore Courses | Spr | 2 | yes | Letter (ABCD/NP) | WAY-CE | UG | This introductory course is designed to teach you the fundamentals of creating stories for new media, especially podcasting. You will learn how to develop and produce pieces across a variety of genres, from memoir to reported pieces, and you will learn the entire process, step-by-step, from pitching and interviewing to scripting and audio (and sometimes photo and video) editing. The course combines a traditional seminar format with a practicum where we workshop work in progress for fiction and nonfiction podcasts produced by the Storytelling Project. Though we focus on audio stories, the craft skills you learn here are transferable to making stories for any medium, from print and performance to web multimedia and film. May be repeated for credit. | ARTINST::ccguide; ARTINST::techart | |
| OSPFLOR | OSPFLOR 93 | Virtual Reality: People, Art and Culture | View in Explore Courses | not given this year | 5 | no | Letter (ABCD/NP) | GER:DB-SocSci | UG | How virtual reality is going to change society. Representations of virtual reality (VR) historically in fiction, film, and other artistic forms. How VR functions from a technical standpoint. How VR is used for social science, focusing on the psychological implications of spending time on line. Pros and cons of visiting a virtual statue instead of physically visiting the museum. Students design a proposal for a virtual museum exhibit. | COMM::elective; OSP::comm; EDUC::alluniversity; ARTINST::techart | |
| SINY | SINY 130 | Disrupting the News: How Technology is Transforming the Media | View in Explore Courses | Win | 4 | no | Letter or Credit/No Credit | WAY-SI | UG | Examine how technology has transformed the way news is produced, delivered and consumed from disruption in business models to changes in access. Students read works by leading media scholars, study user data from news organizations and meet key executives in New York City's digital-media market. | ARTINST::ccguide; ARTINST::PDCert; COMM::elective; ARTINST::techart | |
| TAPS | TAPS 21N | The Idea of Virtual Reality | View in Explore Courses | not given this year | 3 | no | Letter or Credit/No Credit | WAY-A-II | UG | What is virtual reality and where is it heading? Was there VR before digital technology? What is the value of the real in a virtual culture? How, where, and when do we draw the line between the virtual and the real, the live and the mediated today? Concentrating on three aspects of VR simulation, immersion, and interactivity this course will examine recent experiments alongside a long history of virtual performance, from Plato's Cave to contemporary CAVEs, from baroque theatre design to Oculus Rift. | ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; ARTINST::techart | |
| TAPS | TAPS 253T | Virtual Realities: Art, Technology, Performance | View in Explore Courses | not given this year | 2-4 | no | Letter or Credit/No Credit | UG | Contemporary virtual reality extends a long-standing quest to create a fully immersive, multisensory environment, a quest that may go back to the earliest cave paintings and includes such projects as cathedrals, operas, panoramas, theme parks, video games, and multimedia "happenings." What is VR's relation to this long and varied history? What are the ethics, aesthetics, promises, and perils of this new medium? What is meant by "immersion," "interactivity," and "presence," and how is VR changing those terms? How might VR relate to contemporary immersive theater and installation art - as well as to the mediatization of society more generally? | ARTINST::scienceart; ARTINST::ccguide; STS::cm-sc; STS::io-sc; ARTINST::techart; COMM::elective; STS::sddi-sc |
