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.

Art + Tech Course Listing

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Art + Tech Slack Channel (Stanford Affiliates Only)

Featured Programs & Announcements

SLOrktastic Chamber Music Concert -May 5

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7:30pm PT, Thursday, May 5th, 2022
CCRMA Stage, Stanford University

Monthly Salon

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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

Catie Cuan

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Dancer, choreographer, and researcher

Amelia Winger Bearskin

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Artist/technologist, Senior Technical Training Specialist, founder, creator, and professor

Michael Rau

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Theater director specializing in new plays, re-imagined classics, and opera

Eric Rawn

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HCI researcher, digital/installation artist, sound+lights+projection technician, and maker

Anja Ulfeldt

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Durational installation artist working primarily in sculpture and time based media

Aleta Hayes

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Contemporary dancer, choreographer, performer, and teacher

Miguel Novelo

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Experimental media artist, filmmaker, and cultural event creator

Rashaad Newsome

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Blends collage, sculpture, film, photography, music, computer programming, software engineering, community organizing, and performance

Dana Hemenway

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Sculpture/installation artist whose work is rooted in the excavation and elevation of utilitarian objects

More Digital Media Programs

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	4-5	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; ARTINST::minor	Banks, A. (PI)
ARTHIST	ARTHIST 168A	A.I.-Activism-Art (CSRE 106A, ENGLISH 106A, SYMSYS 168A)	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; ARTINST::minor; ENGLISH::dh-minor	Elam, M. (PI); Utterback, C. (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, FILMEDIA 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::minor	Kessler, E. (PI); Beaty, G. (TA)
ARTSINST	ARTSINST 141	Network Performance Practice (MUSIC 153A)	View in Explore Courses	not given this year	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 make use of the technology. The open-source project continues to develop, 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
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; ARTINST::minor	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; ARTINST::minor	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; ARTINST::minor	DeMarinis, P. (PI)
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; ARTINST::minor	Wight, G. (PI)
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 161	Constructing Color	View in Explore Courses	Aut, Spr	4	no	Letter (ABCD/NP)		UG	This hands-on introductory level studio art class addresses color through traditional, digital, and experimental mediums. Students learn to compose and communicate via color, experimenting with light, paint, pigments, dye, code, context, and culture. In addition to exploring color as a powerful tool, students build personal palettes and learn to use color as an essential component in conceptualizing a work of art. Students create numerous short color experiments, a personal reference notebook, and a final work of art in any medium, using processes explored in class.	ARTINST::techart; ARTINST::minor	Wight, G. (PI)
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
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; ARTINST::minor	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
ARTSTUDI	ARTSTUDI 168	Data as Material	View in Explore Courses	Aut, Spr	4	no	Letter or Credit/No Credit	WAY-CE	UG	How can data be used as material in art and design projects? Beyond straight-forward ideas of data-visualization, this studio course investigates how we construct meaning from sets of information, and how the construction of those sets determines the meaning itself. This course also investigates different display aesthetics and how this is also a strategy for generating meaning. Artists studied include those who use various forms of personal, public, and social data as part of their practice. Historical examples from conceptual artists and other genres are considered along with contemporary artists working with data in digital or hybrid digital/physical formats.	EDUC::alluniversityabove100; EDUC::alluniversity; STS::cm-tech; STS::io-tech; ARTINST::ccguide; ARTINST::scienceart; VPUE::cc-ff; ENGLISH::dh-minor; STS::sddi-tech; SYMSYS::hci-elective; ARTINST::interdisguide; ARTINST::techart; ARTINST::minor	Ulfeldt, A. (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; ARTINST::minor	Graham, V. (PI)
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
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
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 177	Video Art	View in Explore Courses	Aut, Win	4	no	Letter (ABCD/NP)	WAY-CE	UG	Video holds the ability to bear witness and reconstruct realities of space and time. In this class we study the development of the medium in the 1970s and how artists have since used it as an experimental apparatus. Projects involve creating short video works through narrative, performative, and abstracted approaches. This class explores conceptual possibilities of recording and editing video by utilizing camera technique, lighting, sound design, found footage, and nonlinear digital editing. (lower level)	COMM::elective; STS::cm-tech; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; VPUE::cc-ff; ENGLISH::dh-minor; ARTINST::techart; ARTINST::minor	Bornhoft, K. (PI)
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
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
ARTSTUDI	ARTSTUDI 182	Queered Tech and Speculative Design	View in Explore Courses	Win	4	yes	Letter or Credit/No Credit	WAY-CE	UG	What does it mean to `queer¿ something? Expanding this term's meaning beyond gender and sexuality, `to queer¿ is to question, challenge, subvert, and reimagine social norms and structures of power. In this course, we build from queer theory to consider invisible assumptions and biases in everyday objects, then design technologies that propose new ways of being. For example: What would a clock look like if it were designed for a world without capitalist notions of productivity? Students will create three electronic artworks using Arduino micro-controllers, sensors, light, motors, and sound. Tutorials will provide fundamental instruction in electronics and programming. This is an introductory art course with no prerequisites.	ARTINST::interdisguide; ARTINST::techart; ARTINST::minor	Alder, L. (PI)
ARTSTUDI	ARTSTUDI 185	Interactive Storytelling	View in Explore Courses	Aut	4	no	Letter or Credit/No Credit	WAY-CE	UG	This course explores strategies for crafting interactive stories. It takes students from story-teller to game designer to book maker. Through a series of narrative exercises, readings, lectures, and technical demos; students create a story-based game and a companion printed risograph zine. The story's visual and spatial structure are authored using Twine, a free online tool that lets anyone new to programming create their own interactive games in a web page. The zine will act as a guide for building the storyworld and an archive for the concepts being explored.	ARTINST::techart; ARTINST::minor
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 (ARTSTUDI 136A, MUSIC 236)	View in Explore Courses	not given this year	3-4	no	Letter or Credit/No Credit	WAY-CE	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; ARTINST::minor	DeMarinis, P. (PI)
ARTSTUDI	ARTSTUDI 239	Intermedia Workshop (MUSIC 155, MUSIC 255)	View in Explore Courses	Win	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; ARTINST::minor
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 262	Performing with Digital Media	View in Explore Courses	Win	4	no	Letter (ABCD/NP)	WAY-CE	UG	This interdisciplinary studio course will explore time-based media through the practice of live visual performance with an emphasis on digital means of production. Through a series of individual and collaborative assignments, students will learn to utilize software and sensors as a means of controlling and manipulating moving imagery in a performative context. Art historical references of animation, video art, installation, and audio/visual performance will guide conceptual frameworks for class instruction, lectures, and projects. No previous experience is required.	ARTINST::techart
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 266	Sculptural Screens / Malleable Media (ARTSTUDI 166)	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.	EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; COMM::elective; ENGLISH::dh-minor; ARTINST::techart
ARTSTUDI	ARTSTUDI 267	Emerging Technology Studio	View in Explore Courses	Spr	4	yes	Letter (ABCD/NP)	WAY-CE	UG	This course is an upper level studio course featuring a different guest artist each year whose artwork makes use of emerging technologies. Course material will be based on the guest artist's area of expertise. Past examples include artists whose work focuses on Data Visualization, Live Digital Performance and Virtual Reality. Prerequisites are determined by the subject matter, and course enrollment is decided by the instructor on the first day of class. Please attend the first class for admission. For spring 2020, Emerging Technology Studio will be taught by Veronica Graham (www.vagraham.com) on the topic of ¿World Building - inside and outside of Virtual Reality¿. Each week the course will focus on a different aspect of building a world, with an emphasis on crafting narratives that connect the virtual environment with a physical space. Veronica Graham is a new media artist and printmaker whose work spans comics, sculpture, and VR artworks. Inspired by today's rapidly changing environment, she sees her art practice as a form of world building. Each of her works is the creation of place or artifact, calling attention to how fiction is woven into our reality.	ARTINST::techart
ARTSTUDI	ARTSTUDI 270A	CREATING EXPERIMENTAL CINEMA	View in Explore Courses	Spr	4	no	Letter or Credit/No Credit	WAY-CE	UG	This course is dedicated to creating at the crossroads of art and cinema. This experimental video art course will address practical filmmaking, taking as its baseline assumption the notion that experimentation is crucial to overcoming encrusted social, aesthetic, intellectual, and ideological norms. Over the course of the quarter, students will build familiarity with the the myriad components of cinematic creation, including directing, editing, camera operation, lighting, sound design, After Effects and color grading. They will create cinematic video informed by viewing and discussion of key works from the history of experimental cinema.No prerequisite required.	ARTINST::ccguide; ARTINST::techart
ARTSTUDI	ARTSTUDI 273	Individual Work: Experimental Media	View in Explore Courses	Aut, Win, Spr	1-5	yes	Letter (ABCD/NP)		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::techart	DeMarinis, P. (PI); Wight, G. (PI)
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	Jackson, G. (PI)
ARTSTUDI	ARTSTUDI 284	Art and Biology	View in Explore Courses	not given this year	4	no	Letter or Credit/No Credit		UG	The relationship between biology and art. Rather than how art has assisted the biological sciences as in medical illustration, focus is on how biology has influenced art making practice. New technologies and experimental directions, historical shifts in artists' relationship to the living world, the effects of research methods on the development of theory, and changing conceptions of biology and life. Projects address these themes and others that emerge from class discussions and presentations. (upper level)	STS::lsh-sc; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::scienceart; 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); Li, G. (TA); Waller, A. (TA)
COMM	COMM 1B	Media, Culture, and Society (AMSTUD 1B)	View in Explore Courses	Spr	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; ARTINST::minor; ENGLISH::dh-minor	Turner, F. (PI)
COMM	COMM 120W	The Rise of Digital Culture (AMSTUD 120, COMM 220)	View in Explore Courses	not given this year	4-5	no	Letter (ABCD/NP)	GER:DB-SocSci, WAY-SI	UG	(Graduate students register for 220. COMM 120W is offered for 5 units, COMM 220 is offered for 4 units.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; PUBLPOL::ug-scitech
COMM	COMM 176	Advanced Digital Journalism Production (COMM 276)	View in Explore Courses	Spr	4-5	no	Letter (ABCD/NP)	WAY-CE	UG	(Graduate students register for 276. COMM 176 is offered for 5 units, COMM 276 is offered for 4 units.) 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 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. Email instructor for permission.	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 Journalism Production (COMM 176)	View in Explore Courses	Spr	4-5	no	Letter (ABCD/NP)		GR	(Graduate students register for 276. COMM 176 is offered for 5 units, COMM 276 is offered for 4 units.) 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	This is the introductory prerequisite course in the computer graphics sequence which introduces students to the technical concepts behind creating synthetic computer generated images. The beginning of the course focuses on using Blender to create visual imagery, as well as an understanding of the underlying mathematical concepts including triangles, normals, interpolation, texture mapping, bump mapping, etc. Then we move on to a more fundamental understanding of light and color, as well as how it impacts computer displays and printers. From this we discuss more thoroughly how light interacts with the environment, and we construct engineering models such as the BRDF and discuss various simplifications into more basic lighting and shading models. Finally, we discuss ray tracing technology for creating virtual images, while drawing parallels between ray tracers and real world cameras in order to illustrate various concepts. Anti-aliasing and acceleration structures are also discussed. The final class project consists of building out a ray tracer to create a visually compelling image. Starter codes and code bits will be provided here and there 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 towards in person "demos" of the code in action - creativity and the production of impressive visual imagery are highly encouraged. Prerequisites: CS 107, MATH 51.	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; ARTINST::minor	Fedkiw, R. (PI); Hong, K. (TA); Iswara, A. (TA); Jin, Y. (TA); Li, K. (TA); Omens, D. (TA); Venkat, S. (TA); Wang, R. (TA); Wu, J. (TA); Ye, S. (TA); Yeung, J. (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; ARTINST::minor	Wang, G. (PI); Mulshine, M. (TA)
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
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	View in Explore Courses	not given this year	2	no	Satisfactory/No Credit	WAY-CE	UG	In this exploratory workshop, students will use a variety of tools (Audio recorders/DSLR cameras/ 360 VR cameras and binaural sound) to tell immersive "stories".nnStudents will use the conceptual framework of experimental cinema and documentary film to inform their work, while also pushing toward new artistic languages and experimenting in the still-emerging form of VR storytelling. Over the course of the workshop students will work in teams to create a series of short immersive pieces with an emphasis on experimentation.nnThe course is time intensive: requiring some nights and 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	Krawitz, J. (PI)
LAW	LAW 4029	Video Game Law	View in Explore Courses	not given this year	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
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 student, from any field of study, who may want the opportunity to design and prototype a physical project of meaning to them. Undergraduate mechanical engineering and product design students should register for ME103. Students are asked to discover a product with meaning to them; develop a point of view which motivates a redesign of that product; manufacture a series of models, multiple candidates, including sketches, product use stories, rapid prototypes, CAD documents, manufacturing test models, and finally a customer ready prototype. Each student will physically create their product using Product Realization Lab resources, and also redesign their product for scaled manufacturing to develop a knowledge of manufacturing processes, design guidelines, materials choices, and the opportunities those processes provide. The student's body of work will be presented in a large public setting, Meet the Makers, through an inspirational portfolio which shares and reflects on their product realization adventure.	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); Ezeugwu, N. (TA); Lancaster, O. (TA); Macias, G. (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; ARTINST::minor	Rose, F. (PI); Allison, C. (TA); Kim, C. (TA)
MUSIC	MUSIC 101	Introduction to Creating Electronic Sounds	View in Explore Courses	Aut, Win, Spr	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 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. Please note: This is not a production class with an in-depth technical focus during class time, however technical support is offered outside of regular class time.This course is a prerequisite for MUSIC 192A: Foundations of Sound Recording Technology. No previous experience required. Enrollment by permission number only. Permission numbers will be distributed during the first week of classes.	MUSIC::minormst; MUSIC::CCRMAOnly; ARTINST::ccguide; ARTINST::techart; MUSIC::UGMST; VPUE::cc-ff; ARTINST::minor	Sherriff, S. (PI); Virzi, N. (PI); Allison, C. (TA); Daglik, E. (TA)
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; ARTINST::minor	Wang, G. (PI); Mulshine, M. (TA)
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)
MUSIC	MUSIC 155	Intermedia Workshop (ARTSTUDI 239, MUSIC 255)	View in Explore Courses	Win	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; ARTINST::minor
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 the recording facilities and technology at CCRMA. Through lectures and assignments students learn and practice various studio recording techniques. They also become familiarized with home and field recording practices. The course addresses various audio engineering topics: room acoustics, studio operation and maintenance, microphone selection and placement, analog and digital recording, audio editing and mixing, and audio effects processing (equalization, compression, convolution reverb, etc.). 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); Nerness, B. (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	no	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 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. 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; ARTINST::minor	Chafe, C. (PI); Allison, C. (TA); Nerness, B. (TA); Virzi, N. (GP)
MUSIC	MUSIC 236	Future Media, Media Archaeologies (ARTSTUDI 136A, 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; ARTINST::minor; ENGLISH::dh-minor	DeMarinis, P. (PI)
MUSIC	MUSIC 250A	Physical Interaction Design for Music	View in Explore Courses	Win	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); Mulshine, M. (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; MUSIC::CCRMAOnly
MUSIC	MUSIC 255	Intermedia Workshop (ARTSTUDI 239, MUSIC 155)	View in Explore Courses	Win	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; 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	This course explores the artful design of software tools, toys, games,ninstruments, and experiences. Topics include programming, audiovisualndesign, strategies for crafting interactive systems, game design, asnwell as aesthetic and social considerations of shaping technology in ournworld today. Course work features several programming assignments withnan emphasis on critical design feedback, reading responses, and an"design your own" final project. Prerequisite: experience in C/C++/Javanor Unity/C#. 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	Kim, K. (PI); Wang, G. (PI)
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; ARTINST::minor
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	Bell, E. (PI); Boggie, M. (PI)
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