Yale Curriculum at CCAM

Yale Curriculum at CCAM


Each Semester CCAM collaborates with faculty from programs and departments across Yale to host classes that have content related to CCAM's mission of bridging interdisciplinary research with emerging technology. Here is a list of recent classes taught at CCAM. If you are Yale faculty and interested in teaching your class at CCAM please reach out to our Programs Manager Caitlin Harder (caitlin.harder@yale.edu). 

 

FALL 2019 CLASSES

 

ARCH 2222a, The Mechanical Eye

Dana Karwas

This course explores how machines see our environment, with emphasis on the role of human subjectivity. With their ability to see at resolutions, scales, and spectrums outside of the human eye, mechanical eyes can open new ways of inscribing information into our material world and also reveal our own biases and habits. The course will be a cumulative series of studies, beginning with material excavation, exploring the materials through virtual reality and motion capture techniques, creating a final object via milling and fabrication, and displaying the final object in a group exhibition at The Center for Collaborative Arts and Media (CCAM).


ART 184, 3-D Modeling for Creative Practice

Justin Berry

Through creation of artwork, using the technology of 3D modeling and virtual representation, students develop a framework for understanding how experiences are shaped by emerging technologies. Students create forms, add texture, and illuminate with realistic lights; they then use the models to create interactive and navigable spaces in the context of video games and virtual reality, or to integrate with photographic images. Focus on individual project development and creative exploration. Frequent visits to Yale University art galleries. Materials fee: $150.


ART 442 / FILM 483, Advanced Film Writing and Directing

Jon Andrews

A yearlong workshop designed primarily for majors in Art and in Film & Media Studies making senior projects. Each student writes and directs a short fiction film. The first term focuses on the screenplay, production schedule, storyboards, casting, budget, and locations. In the second term students rehearse, shoot, edit, and screen the film. Materials fee: $150. Enrollment limited to 8. Priority to majors in Art and in Film & Media Studies.


AMST 349 / THST 427, Technologies of Movement Research

Emily Coates

An interdisciplinary survey of creative and critical methods for researching human movement. Based in the motion capture studio at the Center for Collaborative Arts and Media, the course draws movement exercises and motion capture experiments together with literature from dance and performance studies, art, anthropology, sociology, philosophy, cognitive science, and the history of science to investigate the ways that artists and scholars conceive of human movement as a way of knowing the world. Students will develop their own projects over the course of the semester. No prior experience in dance required.


CPSC 334, Creative Embedded Systems

Scott Petersen

Ubiquitous computing is creating new canvases and opportunities for creative ideas. This class explores the use of microprocessors, distributed sensor networks, IoT, and intermedia systems for the purposes of creative expression. The course is delivered in a mixed lecture and lab format that introduces the fundamental concepts and theory behind embedded systems as well as issues particular to their creative employment. The key objective of the course is for students to conceive of and implement creative uses of computation. To this end, skills to be obtained during the course are as follows: (1) appreciate the current efforts and motivation to push the limitations of computation for creative expression, both in new application and new foundational research; (2) weigh factors such as cost, power, processing, memory, I/O capabilities, and networking capabilities when choosing a set of embedded devices and sensors; (3) contextualize unfamiliar hardware and languages through examples, documentation, and familiar design pattern; and (4) manage communication between multiple languages, devices, and protocols. Additionally, at the end of the course students will have a portfolio of their work in the form of writing, code, video, audio, and physical artifacts.


FILM 735, Documentary Film Workshop

Charles Musser

This workshop in audiovisual scholarship explores ways to present research through the moving image. Students work within a Public Humanities framework to make a documentary that draws on their disciplinary fields of study. Designed to fulfill requirements for the M.A. with a concentration in Public Humanities.


DRAM 172 a/b, Digital Imaging for Designers

David Biedny

A comprehensive introduction to two-dimensional computer graphics as it applies to designing for the theater. Students develop a working understanding of a digital workflow that includes input (scanning and digital photography), computer-aided design (Adobe Photoshop), and output (printing). The course focuses on the possibilities the computer offers scenic, lighting, and costume designers in professional practice. Open to nondepartmental students with permission of the instructor.


DRAM 244, Motion Graphics and Film Production

David Biedny

Digital video and motion graphics have become a central asset in the theater, and this course covers a diverse set of topics relating to video capture and delivery formats, compression fundamentals, utilization of graphics elements in motion graphics animation, nonlinear video editing techniques, special effects, and the digital video production pipeline. Students primarily utilize Adobe After Effects and Apple Motion to create motion graphics and animation content and Adobe Premiere to edit and produce finished assets, with an emphasis on the technical and creative challenges of projection in a theatrical environment. Open to nondepartmental and non-School of Drama students with permission of the instructor.


 

SPRING 2018 CLASSES

 

ART 145b, Introduction to Digital Video

Neil Goldberg, Justin Berry

AFAM 220b / FILM 434b, Archive Aesthetics and Community Storytelling

Thomas Allen Harris

ART 184b, 3D Modeling for Creative Practice

Justin Berry

FILM 355b / ART 341b, Intermediate Film Writing and Directing

Jon Andrews

DRAM 172a/b, Digital Imaging for Designers

David Biedny

DRAM 244a/b, Motion Graphics and Film Production

David Biedny

FILM 483a and FILM 484b / ART 442a and ART 443b, Advanced Film Writing and Directing

Jon Andrews

FILM 455/ FILM 735: Documentary Film Workshop

Charles Musser, John Lucas

MUS 551b, Studio Techniques and Contemporary Popular Music

Jack Vees

ART 285/925b, Digital Animation

Federico Solmi

ART 912 - The Sensitive Machine

Sarah OppenheimerJoseph Zinter


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