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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Featured Art + Tech Programs

artsCatalyst

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Faculty Grant

The artsCatalyst grant brings perspectives from disparate fields into the same classroom to create interdisciplinary arts experiences.

Featured Art + Tech Events

Kahlil Joseph - BLKNWS

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Fall 2019

Pace Gallery teamLab Field Trip - Robert Shi IMG_0093 copy

teamLab Lunch and Q&A

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November 5th, 2018 @ 12pm

Students Only

Click to RSVP

Black and white image of a child in silhouette against a wall with muted white lights.

Arts Hackathon

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January 2019

Featured Art + Tech Student/Alumni Projects

Rabbit Hole VR

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Stanford AR/VR Student Group

"Land of Cloud"

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By Tamiko Thiel, Product Design Alumna '79

Three days journey beyond Space and Time lies the Land of Cloud. The people there are silent. They communicate not through speech, gesture or gaze, but instead through strange and wondrous "cloud mirrors." These devices keep them in constant contact with their deity, The Cloud, in whose image they are created - their bodies are themselves composed of softly billowing clouds.

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 (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	Banks, A. (PI)
ANTHRO	ANTHRO 98B	Digital Methods in Archaeology (ANTHRO 298B, ARCHLGY 98B)	View in Explore Courses	not given this year	3-5	no	Letter or Credit/No Credit	GER:DB-EngrAppSci	UG	This is a course on digital technologies in archaeology used for documentation, visualization, and analysis of archaeological spaces and objects. Emphasizes hands-on approaches to image manipulation, virtual reality, GIS, CAD, and photogrammetry modeling methods.	EDUC::alluniversity; ARCHLGY::methodsandskills; ARTINST::techart
ARTHIST	ARTHIST 231	Leonardo's World: Science, Technology, and Art (ARTHIST 431, HISTORY 231, HISTORY 331, ITALIAN 231, ITALIAN 331)	View in Explore Courses	Aut	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	Findlen, P. (PI); Brown-Hedjazi, A. (SI)
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	Online Jamming and Concert Technology (MUSIC 153)	View in Explore Courses	Aut	2-4	yes	Letter or Credit/No Credit		UG	Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.	ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Chafe, C. (PI)
ARTSINST	ARTSINST 142	Drawing with Code (ARTSTUDI 163)	View in Explore Courses	Aut	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)
ARTSINST	ARTSINST 171	Art in the Age of Neuroscience (ARTSINST 271)	View in Explore Courses	Win	3-5	no	Letter (ABCD/NP)		UG	Technical advances in brain imaging offer new insights into the neurological underpinnings of consciousness. Yet the new science of mind leaves many unanswered questions regarding philosophical, cultural and spiritual aspects of subjectivity. Who is the 'I' that makes art and who is the 'I' that experiences it? Drawing from a broad range of disciplines, this hybrid seminar/production course examines questions of subjective experience while paying particular attention to media and linguistic theory, cognitive psychology and theories of consciousness. The material is topical and the readings are guided. Of paramount importance is your commitment. Active participation in discussions, activities, self-directed research and creative production is required.	ARTINST::ccguide; ARTINST::scienceart; ARTINST::interdisguide; ARTINST::techart
ARTSINST	ARTSINST 271	Art in the Age of Neuroscience (ARTSINST 171)	View in Explore Courses	Win	3-5	no	Letter (ABCD/NP)		GR	Technical advances in brain imaging offer new insights into the neurological underpinnings of consciousness. Yet the new science of mind leaves many unanswered questions regarding philosophical, cultural and spiritual aspects of subjectivity. Who is the 'I' that makes art and who is the 'I' that experiences it? Drawing from a broad range of disciplines, this hybrid seminar/production course examines questions of subjective experience while paying particular attention to media and linguistic theory, cognitive psychology and theories of consciousness. The material is topical and the readings are guided. Of paramount importance is your commitment. Active participation in discussions, activities, self-directed research and creative production is required.	ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart
ARTSTUDI	ARTSTUDI 24	Game Engines for Artmaking	View in Explore Courses	not given this year	2	no	Letter or Credit/No Credit		UG	Introduction to using Video Game Engines as art making tools. Utilizing the Unity video game authoring environment primarily, students will create interactive and dynamic artworks and artifacts within the virtual space. Rudimentary 3D scanning of physical assets merging with the creation of digital ones combine with sound, physics and simulations. Experimentation with both narrative and non-narrative forms as well as display solutions (Virtual Reality, Augmented Reality, Printed Sculpture and Digital Projection) is discussed and encouraged.	EDUC::alluniversity; ARTINST::scienceart; ARTINST::techart
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	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)
ARTSTUDI	ARTSTUDI 148P	The Hybrid Print	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	Wight, G. (PI)
ARTSTUDI	ARTSTUDI 158	Hybrid Sculpture	View in Explore Courses	Aut	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	Ulfeldt, A. (PI)
ARTSTUDI	ARTSTUDI 160	Intro to Digital / Physical Design	View in Explore Courses	Aut, Win, Spr	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	Odell, J. (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 predominately as fingers and single 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 will explore various sensing technologies and design pieces that engage our whole selves. Interfaces explored will range from the practical to the poetic. Sensors may involve flex sensors, heat sensors, microphones and simple camera tracking technology. We will 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	Splan, L. (PI)
ARTSTUDI	ARTSTUDI 163	Drawing with Code (ARTSINST 142)	View in Explore Courses	Aut	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	View in Explore Courses	Spr	4	no	Letter (ABCD/NP)		UG	In this 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 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.	VPUE::cc-ff; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor
ARTSTUDI	ARTSTUDI 166	Sculptural Screens / Malleable Media (ARTSTUDI 266)	View in Explore Courses	Spr	4	no	Letter (ABCD/NP)	WAY-CE	UG	In this 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 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.	ARTINST::techart; ENGLISH::dh-minor
ARTSTUDI	ARTSTUDI 169	Virtual Reality: the possibility and peril of immersive artwork	View in Explore Courses	Win	4	no	Letter or Credit/No Credit		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	Utterback, C. (PI)
ARTSTUDI	ARTSTUDI 171S	PHOTOGRAPHY I: DIGITAL	View in Explore Courses	Sum	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	Hellu, J. (PI); Seror, C. (PI)
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	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	Odell, J. (PI)
ARTSTUDI	ARTSTUDI 175	Sound Installation (MUSIC 192F)	View in Explore Courses	Spr	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	DeMarinis, P. (PI)
ARTSTUDI	ARTSTUDI 178	Art and Electronics	View in Explore Courses	Aut, 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	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	Win	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	DeMarinis, P. (PI)
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
ARTSTUDI	ARTSTUDI 261	Individual Work: Emerging Practices in Design & Technology	View in Explore Courses	Aut, Win, Spr	1-15	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. $100 Lab Fee. All necessary forms and payment are required by the end of Week 2 of each quarter. Please contact the Undergraduate Coordinator 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	Win	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	Ganucheau, M. (PI)
ARTSTUDI	ARTSTUDI 275	PHOTOGRAPHY II: Digital	View in Explore Courses	Aut, Win, Spr	4	yes	Letter (ABCD/NP)		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	Hellu, J. (PI); Peck, S. (PI)
ARTSTUDI	ARTSTUDI 277A	Video Art II	View in Explore Courses	not given this year	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	Aut	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	James, D. (PI); Riedel-Kruse, I. (PI)
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	(Formerly CLASSART 117.) 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); Ennis, K. (TA); Wilker, S. (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	Turner, F. (PI)
COMM	COMM 120W	Digital Media in Society (AMSTUD 120, COMM 220)	View in Explore Courses	Win	4-5	no	Letter (ABCD/NP)	GER:DB-SocSci, WAY-SI	UG	Contemporary debates concerning the social and cultural impact of digital media. Topics include the historical origins of digital media, cultural contexts of their development and use, and 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	Turner, F. (PI)
COMM	COMM 171	Moving Pictures: Video Journalism for mobile and social platforms (COMM 271)	View in Explore Courses	Win	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	Migielicz, G. (PI)
COMM	COMM 176	Advanced Digital Media Production (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	Migielicz, G. (PI)
COMM	COMM 271	Moving Pictures: Video Journalism for mobile and social platforms (COMM 171)	View in Explore Courses	Win	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	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: Journalism M.A. student. 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 Production (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	Virtual Reality Journalism in the Public Sphere	View in Explore Courses	Win	4	no	Letter or Credit/No Credit		GR	The immersive space (cinematic VR and virtual 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	Migielicz, G. (PI)
CS	CS 45N	Computers and Photography: From Capture to Sharing	View in Explore Courses	Aut, Spr	3-4	no	Letter or Credit/No Credit	WAY-CE	UG	Preference to freshmen with experience in photography and use of computers. Elements of photography, such as lighting, focus, depth of field, aperture, and composition. How a photographer makes photos available for computer viewing, reliably stores them, organizes them, tags them, searches them, and distributes them online. No programming experience required. Digital SLRs and editing software will be provided to those students who do not wish to use their own.	SPBK::3; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Garcia-Molina, H. (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. Focuses on using OpenGL to create visual imagery, as well as an understanding of the underlying mathematical concepts including triangles, normals, interpolation, texture mapping, bump mapping, etc. Course will cover fundamental understanding of light and color, as well as how it impacts computer displays and printers. Class will discuss more thoroughly how light interacts with the environment, constructing engineering models such as the BRDF, plus various simplifications into more basic lighting and shading models. Also covers ray tracing technology for creating virtual images, while drawing parallels between ray tracers and real world cameras to illustrate various concepts. Anti-aliasing and acceleration structures are also discussed. 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. Prerequisites: CS 107, MATH 51.	MATH::elctv; SPBK::3; SYMSYS::hci; CS::elective; STS::cm-tech; STATS::ms_reqprog; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; BMC::simulation; ARTINST::techart	Fedkiw, R. (PI); Bao, M. (TA); Hsu, T. (TA); Hua, X. (TA); Li, K. (TA); Lin, P. (TA); Quigley, E. (TA)
CS	CS 170	Stanford Laptop Orchestra: Composition, Coding, and Performance (MUSIC 128)	View in Explore Courses	Spr	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	Wang, G. (PI); Atherton, J. (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	View in Explore Courses	Spr	2-3	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 360 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 360 video 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. When the quarter is complete, there will be a complete virtual reality experience for you to share. No prior virtual reality or filmmaking experience required.	ARTINST::scienceart; ARTINST::techart
FILMPROD	FILMPROD 13AX	Expanded Cinema: Experiments in Virtual Reality	View in Explore Courses	Sum	2	no	Satisfactory/No Credit		UG	In this exploratory workshop, students will use the VR tools of 360 video and binaural sound design to tell immersive "stories". Students will use the conceptual framework of experimental cinema and documentary film to inform their work, while also pushing toward a new artistic language in this still-emerging form of VR storytelling. 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 VR video, with a keen emphasis on experimentation. The course is time intensive: requiring some nights and both weekends dedicated to production and editing, including several production field trips off-campus.	ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Meltzer, J. (PI)
FILMPROD	FILMPROD 106	Image and Sound: Filmmaking for the Digital Age	View in Explore Courses	Aut, Win, Spr	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	Stolakis, K. (PI)
FILMPROD	FILMPROD 106S	Image and Sound: Filmmaking for the Digital Age	View in Explore Courses	Sum	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	Shaw, E. (PI)
FILMPROD	FILMPROD 114	Introduction to Film and Video Production	View in Explore Courses	Aut, Spr	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); Stolakis, K. (PI)
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	View in Explore Courses	Aut	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.	VPUE::cc-ff; SPBK::1; STS::cm-sc; EDUC::alluniversity; ARTINST::ccguide; COMM::elective; ARTINST::techart; ENGLISH::dh-minor	Denson, S. (PI)
FILMSTUD	FILMSTUD 117	MEDIA AND MESSAGE: THE EXPERIENCE OF INFORMATION	View in Explore Courses	Spr	4	no	Letter (ABCD/NP)		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. nnFollowing 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	Bukatman, S. (PI)
FILMSTUD	FILMSTUD 259	Game Studies (FILMSTUD 459)	View in Explore Courses	Aut	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	Denson, S. (PI)
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	Aut	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	Denson, S. (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	Aut	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	Edmark, J. (PI)
ME	ME 203	Design and Manufacturing	View in Explore Courses	Aut, Spr	4	no	Letter (ABCD/NP)		GR	Integrated experience involving need finding, product definition, conceptual design, detail design, prototype manufacture, public presentation of outcomes, archiving and intrepreting the product realization process and its results. Presents an overview of manufacturing processes crucial to the practice of design. Corequisite: 103D or CAD experience. Recommended: 101.	MATSCI::mbd-focus; ME::BMEdepth; ME::MEdepth; ME::PDdepth; STS::io-tech; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; SUST::elective; ARTINST::techart	Beach, D. (PI); Brubaker, E. (TA); Jaques, T. (TA); Stein, A. (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
MS&E	MS&E 177	Creativity Rules	View in Explore Courses	Aut, Spr	4	no	Letter (ABCD/NP)		UG	Highly experiential course focuses on factors that stimulate creativity and innovation in individuals, teams, and organizations. Workshops, case studies, and team projects, supported by guest speakers and readings. Autumn quarter will focus on "inventing the future," including tools for predicting the impact of frontier technologies, such as virtual reality, drones, genomics, artificial intelligence, and autonomous vehicles. Spring quarter will focus on tackling a real-world problem. In both quarters, students will learn how to frame and re-frame problems, challenge assumptions, work on creative teams, and generate innovative ideas. Limited enrollment. Admission by application: dschool.stanford.edu/classes.	STS::io-sc; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart	Cox, R. (PI); Seelig, T. (PI); Martinez, P. (TA)
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	Rose, F. (PI); Herndon, J. (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	Students to explore their creative voices by learning the practical nuts and bolts of making sounds with computers and professional audio equipment. Basic concepts include mixing and production techniques used in podcasts, documentaries, live performance, electronic music, and sound art. Students will create a midterm soundscape project as well as a final class project that is focused on their particular creative interests.	MUSIC::CCRMAOnly; ARTINST::ccguide; ARTINST::techart	Callery, E. (PI); Cottrell, M. (TA)
MUSIC	MUSIC 102	Picturing Performance, Re-Envisioning the Arts (MUSIC 202)	View in Explore Courses	Spr	2-4	yes	Letter or Credit/No Credit	WAY-A-II, WAY-CE	UG	Critical and creative exploration of the performing body as captured on film. Viewing/listening includes musicals, dance and opera on film, music video, experimental film and video, and moments of heightened musicality in feature film. Focus on examples of moving media that possess a kinship with music through gesture, rhythm or affect and through 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, and weekly reading and viewing/listening assignments. No previous videomaking experience required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.	EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Vernallis, C. (PI)
MUSIC	MUSIC 128	Stanford Laptop Orchestra: Composition, Coding, and Performance (CS 170)	View in Explore Courses	Spr	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; Music::Ensemble3; MUSIC::PCCCRMA; MUSIC::PCElect; SYMSYS::computer_music; MUSIC::UGInteresting; MUSIC::UGProfro; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart	Wang, G. (PI); Atherton, J. (TA)
MUSIC	MUSIC 152A	Careers in Media Technology	View in Explore Courses	Aut	2	no	Letter or Credit/No Credit		UG	Careers in Media Technology explores how leading audio, music, and video technology companies, such as Pandora, Adobe, Sonos, Dolby, Gracenote, iZotope, and Avid bring products from idea to market. We examine best practices, roles, day-to-day responsibilities, desired skillsets, and department/team function. This seminar is intended for all students considering full-time positions or internships in media technology industry. No prior engineering background required.nTopics include: product management, project management (agile), software development in large organizations, UX/UI design, marketing, hardware development, R&D, sales, operations (HR, IP/patents), and the hiring process.nOnline lectures available. Class time includes discussion and meetings with industry professionals.	MUSIC::CCRMAOnly; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::PDCert; ARTINST::scienceart; ARTINST::techart	LeBoeuf, J. (PI)
MUSIC	MUSIC 153	Online Jamming and Concert Technology (ARTSINST 141)	View in Explore Courses	Aut	2-4	yes	Letter or Credit/No Credit		UG	Today's vast amount of streaming and video conferencing on the Internet lacks one aspect of musical fun and that's what this course is about: high-quality, near-synchronous musical collaboration. Under the right conditions, the Internet can be used for ultra-low-latency, uncompressed sound transmission. The course teaches open-source (free) techniques for setting up city-to-city studio-to-studio audio links. Distributed rehearsing, production and split ensemble concerts are the goal. Setting up such links and debugging them requires knowledge of network protocols, network audio issues and some ear training.	ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Chafe, C. (PI)
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::PCCCRMA; MUSIC::PCElect; MUSIC::UGInteresting; MUSIC::CCRMAOnly; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart; ENGLISH::dh-minor	DeMarinis, P. (PI)
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; MUSIC::PCCCRMA; MUSIC::PCElect; MUSIC::UGInteresting; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::ccguide; ARTINST::techart
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 studio based exercises and sessions students learn and practice various techniques to improve their audio literacy such as; studio operation and maintenance; microphone selection and placement giving regard to basic room and instrument acoustics; audio effects processing, concentrating on equalization and compression;other topics such as sample making/editing, mixing techniques, and audio software. Prerequisites: MUSIC 101 or consent of instructor.	MUSIC::CCRMAOnly; MUSIC::UGMST; SPBK::3; EDUC::alluniversityabove100; EDUC::alluniversity; ARTINST::ccguide; ARTINST::techart	Callery, E. (PI); Rau, M. (TA)
MUSIC	MUSIC 192F	Sound Installation (ARTSTUDI 175)	View in Explore Courses	Spr	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	DeMarinis, P. (PI)
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	Picturing Performance, Re-Envisioning the Arts (MUSIC 102)	View in Explore Courses	Spr	2-4	yes	Letter or Credit/No Credit		GR	Critical and creative exploration of the performing body as captured on film. Viewing/listening includes musicals, dance and opera on film, music video, experimental film and video, and moments of heightened musicality in feature film. Focus on examples of moving media that possess a kinship with music through gesture, rhythm or affect and through 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, and weekly reading and viewing/listening assignments. No previous videomaking experience required. This course must be taken for a minimum of 3 units and a letter grade to be eligible for Ways credit.	EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::ccguide; ARTINST::interdisguide; ARTINST::techart	Vernallis, C. (PI)
MUSIC	MUSIC 220A	Fundamentals of Computer-Generated Sound	View in Explore Courses	Aut	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. Course will use the ChucK computer music language. Majors (undergraduate or graduate) must take for 4 units. See http://ccrma.stanford.edu/.	ENVRINST::af_faculty; MUSIC::CCRMAOnly; MUSIC::GRCBMTA; MUSIC::GRMAMST; MUSIC::PCElect; 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	Chafe, C. (PI); Cavdir, D. (TA); Das, O. (TA)
MUSIC	MUSIC 236	Future Media, Media Archaeologies (ARTSTUDI 236)	View in Explore Courses	Win	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	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. A $50 lab fee will be added to your bill upon enrollment in this course. See http://ccrma.stanford.edu/.	MUSIC::CCRMAOnly; MUSIC::PCElect; MUSIC::UGMST; SPBK::3; SYMSYS::computer_music; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::scienceart; ARTINST::ccguide; ARTINST::techart	Michon, R. (PI); Cavdir, D. (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::Analysis; MUSIC::CCRMAOnly; MUSIC::GRMAMST; EDUC::alluniversityabove100; EDUC::alluniversityabove200; EDUC::alluniversity; ARTINST::interdisguide; ARTINST::techart
MUSIC	MUSIC 256A	Music, Computing, Design I: 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	Wang, G. (PI); Atherton, J. (TA)
ORALCOMM	ORALCOMM 127	Introduction to Podcast Storytelling	View in Explore Courses	Win, Spr	2	yes	Letter or Credit/No Credit		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	Willihnganz, J. (PI); March, J. (SI)
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