Fall 2005

100 LEVEL COURSES

DMS 101 A
Basic Filmmaking
Staff
MW 9-10:50am
CFA 286
REG#081438

DMS 101 B
Basic Filmmaking
Staff
TR 3-4:50pm
CFA 286
REG#274793
This course is intended to provide a basic introduction to 16mm film production. Classes will include screenings, lectures, and demonstrations. Students will learn basic camera operation, lighting, editing, and sound acquisition. In addition, the course will explore the critical relationship between theory and practice in the context of film production. Students will be required to complete collaborative class projects, individual assignments, and a critical paper. Each student will also be required to complete a short, non-sync, 16mm film project. Class materials will cost approx. $150. Lab fee: $100. Class size is strictly limited.

DMS 103 A
Basic Video
Staff
MW 3-4:50pm
CFA 286
REG#452700

DMS 103 B
Basic Video
Staff
TR 9-10:50am
CFA 286
REG#014879
This course is a basic introduction to the tools and techniques of video production. Students will become familiar with using video and develop strategies for its application as an alternative medium of communication. Crucial to this project is the concurrent development of a critical perspective on mainstream media culture. Video art screenings and readings in media theory will critically address the relations between viewers, producers, and the media. Students must expect to acquire materials and texts costing approx. $50.00 to be used in exercises in classroom presentations. Access to equipment and editing facilities will be available. Lab fee: $100. Class size is strictly limited.

DMS 105
Basic Documentary
Staff
TR 11-12:50pm
CFA 286
REG#406157
This course will present students with the fundamental, theoretical, creative, and technical concerns of documentary and video production. Students will be introduced to methods of research, production design, approach to subject, interviewing and the structuring of information, as well as the technical video skills of camera work, sound recording, and lighting and editing, as they apply specifically to the documentary process. The demands of documentary expression require preparation with a different emphasis from that which applies to the personal and experimental approaches to filmmaking and video making. Materials and texts will cost approx. $50. Lab fee: $100. Class size is strictly limited.

DMS 108
Film History 1
Meg Knowles
TR 11-12:50 pm
CFA 112
REG#404268
Film History 2 is a survey of key events and representative films that mark the history of motion pictures from the advent of sound film to the present. Through analysis of major works of the international cinema, the course will explore the various influences (industrial, technological, aesthetic, social, cultural, and political) that made film the dominant medium of the 20th century. We will examine the history of major film and art movements in the U.S. and in global cinema. Lectures, readings and writing assignments will address both critical positions on cinema and strategies for understanding and interpreting film form.

DMS 109
Film Interpretation
Stefani Bardin
TR 11:00am - 12:50pm
CFA 232
REG#318809
This course is designed to encourage students to critically engage film through writing assignments and class discussion. Students will learn the vocabulary of motion picture techniques, histories, theories, and ideologies.

DMS 110
Programming for the Arts
Staff
M W 9-10:50
CFA 242
REG#384434
This course is an introduction to computer programming for intended digital in Media Study only . It is highly recommended that you enroll in this course if you intend to pursue the digital arts in Media Study. This course will give you the necessary background to aid you in DMS 419 and DMS 420, and the Robotics and VR courses. Graduate students may informally audit the course if they need programming experience. Lab fee $100.

DMS 121 A
Basic Digital Arts
Staff
MW 9-10:50am
CFA 244
REG#388507
This course will present fundamental concepts and methods that underlie the use of computers in generating and processing digital works and examine them in the context of contemporary artistic practice in painting, photography, film, and video. The impact of computers, both present and potential, on the more traditional arts will be discussed. Through the use of imaging audio and presentation software, students will explore the various ways in which computers deal with images, sound and structures, adapting these methods to produce work of their own. Work by contemporary artists working in the digital medium will be shown and examined on a regular basis. The class size is strictly limited. Lab fee: $100.

DMS 121 B
Basic Digital Arts
Staff
TR 1:00pm-2:50pm
CFA 244
REG#315726
This course will present fundamental concepts and methods that underlie the use of computers in generating and processing digital works and examine them in the context of contemporary artistic practice in painting, photography, film, and video. The impact of computers, both present and potential, on the more traditional arts will be discussed. Through the use of imaging audio and presentation software, students will explore the various ways in which computers deal with images, sound and structures, adapting these methods to produce work of their own. Work by contemporary artists working in the digital medium will be shown and examined on a regular basis. The class size is strictly limited. Lab fee: $100.

DMS 155 (Lecture)
Introduction to New Media
Staff
T 9-10:50
Reg.# xxxxxx(Register for a lab, this will enroll you for the lecture as well)
CFA112

DMS 155 A (lab)
Introduction to New Media
R 9-10:50am
CFA 244
REG#104049

DMS 155 B (lab)
Introduction to New Media
R 11-12:50pm
CFA 244
REG#002115
This course provides an introduction to design and the production of interactive multimedia. The content of the class will focus on the theoretical and practical aspects of creating and integrating digital media with authoring/presentation tools. This class will lay the foundation for creating interactive projects for the web and CD-ROMS, and will integrate art, journalism, and music through hands-on developmental projects in our new state-of-the-art Mac lab. Students will learn the process and skills necessary to create a web site and an interactive CD-ROM which integrates animation, graphic design, sound, and text, working in Adobe Photoshop, Macromedia Dreamweaver, Flash animation, Sound Edit 16, and Illustrator. The course will accommodate 48 students. Enroll now! Get the technological edge! Lab fee $100.
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200 LEVEL COURSES

DMS 213
Immigration and Film
Staff
MW 1-2:50pm
CFA 112
REG#097925

DMS 218
Video Production Design
Rosiland Peters
F 10:00-1:50pm
CFA 235
REG# 005765
Prerequisites: Basic Video or Filmmaking or permisson of Instructor
In this class students will develop design concepts for video, working predominantly with aesthetics and form. Projects will cover styles of camera work and combinations of shots, use of interior and exterior locations, experimenting with props, color schemes, movement and post production processes. We will analyze approaches to production design in film, video and installation art, including the work of Mathew Barney, Wes Anderson, Michel Gondrey, Peter Greenaway, and Rebecca Horn. This is an intermediate production class with an emphasis on mis en scene and composition rather than on performance or narrative. Students will research and develop ideas and complete two video works that evidence a diverse knowledge of production design.

DMS 225
Digital Literature Survey
Loss Glazier
MW 4:00pm-5:50pm
CFA 112
REG#148290


DMS 231
3D Character Animation
Jesse Fabian
M 6-8:50pm
CFA 242
REG#142863

Permission of Instructor
This class is an advanced course that covers simulation and visualization in Alias-Wavefront Maya. Additional software and tools may include 3DStudio, Softimage, Viewpoint software, and various types of data capture. The class is a survey class covering a broad range of technologies, focusing on technical mastery of a Maya 3D animation interface for the purpose of creating a final product. The class is one third lecture and two thirds production. Completion of the class requires successful creation of a visualization or simulation of quality sufficient for general public presentation. Lab Fee $100.

DMS 259
Intro to Media Analysis
Trebor Scholz
MW 11am-12:50pm
CFA 232
Reg.#
This introductory course to Media Analysis examines the rise of especially visual mass media in the 20 th century, from photography, television, and film, to new media. It pays close attention to media historical moments, such as fascism and film in post world war II Italy, or the postmodern turn with the event of digitality. Due to the urgency of political events, we will closely analyze the current media-war-coverage considering mainstream as well as independent media discourses. The respective media are analyzed in light of their materiality. Methodologies vary between Ideology-critique, Cultural Studies, Political Theory, Postmodern Theory, and Semiotics. Students will write essay exams based on course lectures and essays from the course reader: Media and Cultural Studies , ed. Meenakshi Gigi Durham/ Douglas M. Kellner, Malden , Mass. / Oxford , England : Blackwell, 2002.

300 LEVEL COURSES

DMS 306
Film Analysis: Gender and Sexuality in Contemporary American Film
Aubrey Anable
M W 3:00pm - 4:50pm
CFA 232
Reg# 329528
This advanced course in film analysis will give students the opportunity to develop their analytical skills in relation to the theories and methodologies used in the critical analysis of gender and sexuality in film. We will explore this broad topic through the close analysis of American films produced since the 1970s and through the consideration of feminist film theory, queer film scholarship, and masculinity studies. In particular, we will focus on approaches to these issues as they concern cinematic representation, spectatorship, and authorship.

DMS 315
VIDEO GAME DESIGN
Shawn Rider
T R, 12:00 PM - 1:50 PM
Reg# 255665
Credits: 4.00 credits
Video Game Design will introduce students to principles of game design theory and a variety of practical game production tools. The course text will be Rules of Play by Salen and Zimmerman, which will provide an outline for a critical survey of game design. Students will work alone or in groups on several game design challenges and will be able to make use of a wide variety of tools and techniques. In-class technical instruction will focus on applications and tools which are free, or cheap, and approachable for students with limited programming experience. In addition, students will be encouraged to work in small development teams to make use of individual production expertise. The course will culminate with each development team producing a small game, a modification to an existing game or a demo sampling of a larger game. This is an advanced, non-portfolio production course. Pre-reqs are Basic Digital Art (DMS121) or Programming for Digital Art (DMS110) or demonstrable equivalent digital production skills. Contact Shawn Rider ( srrider@buffalo.edu ) if you have any questions about the course.

DMS 341 KNO
Intermediate Video Workshop
Mike Bouquard
TR 1-2:50
CFA 286
REG#003058
PR: DMS 103, 104, 105, or 106
This course is a workshop in the tools of video. It offers exercises in intermediate video production for students who have had some previous exposure to video as a creative medium. The course will emphasize the development of technical skills and knowledge which are necessary for the effective use of video as an artistic tool and for documentation or personal expression. The student will buy at least three videocassettes for use in hands-on assigned exercise concerning cameras, lighting, editing, and other aspects of production and post-production. Other topics to be covered are video electronics and staging. Each student will need to spend a substantial amount of time working with studio, portable, and editing facilities outside the regular class hours. In addition, some outside video tape viewing, as well as short papers, will be required. Readings will include classroom handouts in addition to the assigned textbook. Total minimum expenses for each student are $50. Lab fee: $100. Attendance is mandatory.

DMS 381
Film Comedy
Brian Henderson
MW 1pm-2:50pm
CFA 232
REG#397417 **CANCELLED**
Advanced Theory class. Covers comedic films from the silent era through the present. DMS majors priority. Intro to Interpretation classes are prereqs.

400 LEVEL COURSES

DMS 400
Film Production Workshop
Steven Eastwood
MW 3pm-4:50pm
CFA 286
REG#240577
This class is project focused, with emphasis on experimentation in diverse film (and video) processes. You will be working within an active studio environment where you will be encouraged to be performative and adventurous with the manner in which you produce films. The taught sessions will begin with an over view of possible ways of making and you will then be given the option to make work from the following choices:
• Animation and stop-frame
• Found footage / treated film
• The physical camera and/or performing projector
• Studio set/lighting/illusionary film
• Experimental narrative
• Diary/documentary
You may wish to use rostrum animation; double exposure, scratch film/video; film as mark-making and film as drawing ; physically altering the film; deliberately challenging or even bad performances; long takes; multi format (eg. 8mm, 16mm, video); pixilation; live accompaniment to projected film; modified sound. All of these possibilities will be discussed and work-shopped in class.
Students will produce two solo projects from the above and then work together on one large group project. In addition to this there will be in-class screenings and specific set reading material of an analytical nature. You will be required to each give a seminar presentation in response to these. A number of visiting international filmmakers will also be guest speakers in the class.

DMS 402
Advanced Editing
Sarah Elder
TR 11am-12:50pm
CFA 235
Prereq: DMS 341
Permission of Instructor
REG #301980
Why do cuts work or not work? This production seminar looks at essential principals of editing and explores the theoretical, practical, and creative editing concerns of film and video artists. The class is designed for anyone working in narrative or alternative fiction, documentary, or experimental media either in video or film. Students will study advanced editing techniques learning how to fine cut their own work with some practice in creative editing design assignments. We will explore the nature of an edit, and examples of good cutting. Students will read essential editing theory including classics by Murch, Eisenstein, Cancyger, and Hollyn. The class will study and practice pacing, time cuts, rhythm, dramatic arch, multiple audio tracts, continuity and discontinuity, match cuts, story building, layering sound FX, editing room management, dialogue editing, anti-narrative, and the influence of dreaming. Guest editors will also visit and lecture on their work. Students must have previous editing experience and preferably bring raw footage or an edited rough cut project on which they would like to work during the semester. Each student will have different challenges depending on his/her genre-fiction, experimental, or documentary. Students will work on the Media 100, and students who wish to can also work on the 8 plate film Steenbeck. Class size is limited. Lab fee $100.

DMS 416
The Robot & Desire
Marc Böhlen
TR 5pm-6:50pm
CFA 232
REG#163664
This course will introduce you to the history of automation and robotics in wide strokes. The course will follow the conception of the robot from its origin in Karel Capek's R.U.R. through the Cybernetics tradition, artificial intelligence, biorobotics, humanoid robots, human-robot interaction, pervasive computing, space robotics to critical robots and robots as war machines. Materials will be gathered from diverse authors: Karel Capek, Alan Sondheim, Paul Virilio, Harun Farocki, Paul Feyerabend, CAE, Matthew Fuller, Marvin Minsky, John von Neumann, Mark Weiser, Luc Steels, Kirsten Dautenhahn, Katherine Hayles, Phoebe Sengers, Rodney Brooks, Manuel De Landa and others.
Students will be asked to propose a utopian robot of their very own design. Open to all students! http://www.acsu.buffalo.edu/~mrbohlen/robot+desire.html

DMS 417
Interdicsiplinary Course: MOVEMENT IN CINEMA AND THE ARTS
Elliott Caplan
M W 1:00pm-2:50pm
CFA 286
REG#094853
A hands-on, intensive class conducted by Elliot Caplan to teach film and digital arts as collaborative tools for exploration of movement with other art forms, including dance, theatre, and the visual arts. This class is intended for everyone interested in learning to film the moving image.
Students will learn the basics of video camera operation including optics, exposure and framing, lighting, sound recording and editing. Through visual exercises incorporating hands-on video camera techniques and selected screenings, students will have the opportunity to develop a visual sense for the art of filmmaking as it applies to the moving body in dance and performance. Camera instruction is mixed with charcoal drawing to more clearly and quickly illustrate visual points discussed in class. Students will work through a series of exercises using taught camera techniques, basic lighting, microphone placement, and general production issues. Editing will be demonstrated through selected screenings. Students are individually guided throughout the process, work is critiqued daily, and students are encouraged to push themselves to as high a level as they can achieve in a short time. The camera exercises that are given in class help to guide the student toward a visual sophistication, which can be implemented in their own work.
Lectures on specific subjects dealing with new media, art history and contemporary thinking will be given weekly. Use of specific visual examples as demonstrated through art history will be featured, and include painting, photography, and cinema to orient the student toward class discussion.
Student work and exemplar works will be screened, discussed, and critiqued. Instructor invitation to register only.

DMS 418
Data, Death and Desire
Trebor Scholz
TR 5pm – 6:50pm
CFA 235
REG# 138776 Automatically registered in DMS 419

DMS 419
Advanced Digital Arts Production
Trebor Scholz
TR 3pm-4:50pm
CFA 244
REG# <<<<<<< linked to DMS 418
Data, Death & Desire consists of 2 joint classes which in tandem offer a unique setting to learn about critical new media production and research informed by cultural theory. The goal of this cross-disciplinary course is to integrate conceptual and technical skills which contribute to a contemporary culture built increasingly on the collection and flow of data. Students will develop their understanding of areas such as interface design, computer programming and data modeling to produce interactive web-based projects.
This course promotes a commons approach to sharing knowledge, technical, design and conceptual skills towards the creation of thoughtful, socially aware new media projects. The collaborative development process is based on such notions such as Open Source, open content, open access and the gift economy.
The course is especially suited for students with a background in some, but not necessarily all, of the following prerequisites: media production skills (video, photography, audio, animation), programming skills, writing skills, knowledge of cultural theory and history. After successful completion of the course each student will have developed the ability to conceptualize and realize critical media projects in a collaborative environment. Examples of potential projects include archival self-portraits, participatory design environments and online communities.
Both undergraduate and graduate students from areas such as Media Study, Art, Design, Comparative Literature, Informatics, Communications, Library Science, Computer Science and Education are encouraged to enroll. Students are required to register for both DMS 418 and DMS 419 concurrently to participate.
Lab fee $100. Contact: treborscholz@earthlink.net
For more information go to: http://distributedcreativity.typepad.com/datadesire/

DMS423PAP/DMS523
Programming Graphics
Dave Pape
Reg.#400231
TR 2pm-3:50pm
CFA 242
This production course will introduce students to the concepts and practice of programming 3D computer graphics and audio using OpenGL and other libraries. The major focus will be on creating interactive art or games experiences by programming both graphics and sound. The course has three goals: to demystify computer code - we get behind the Graphic User Interface to the machine below; to explore the potential of programming - writing our own code means we can create customized computer tools as well as customized visuals; and to teach the fundamentals of graphics programming. Prerequisites are experience in a programming language such as Python, C, C++, or Java (DMS 121, CSE 113/4/5 or equivalent). Permission of Instructor required. Lab fee $100. Contact: dave.pape@acm.org

DMS 438
Vr Art Project 1
Staff
W 2pm-5:50pm
REG#338109
Prerequisites: Pass Portfolio review or Permission of Instructor
VR is a new medium for artistic experimentation. It is an area in need of practice as much as theory as it evolves and defines itself. This course and its prequel push students to contribute to research in this area by building a large-scale and complex VR art project from start to finish. It exploits the discipline imposed by a production schedule while exposing students to the cutting edge in immersive VR authoring tools. Experience in VR programming will open new employment opportunities to the students since Virtual Reality is an expanding medium with applications in many areas - science, industry, education, medicine, entertainment & the arts. Lab Fee $100


DMS 440
Women Directors
Caroline Koebel
TR 9am-10:50am
CFA 232
REG#330816
This seminar course is intended to set the groundwork for an ongoing critical engagement with films—primarily English-language narrative—made by women. Participants will greaten their capacity to locate and frame questions raised by female-directed movies—as distinct from a biologically reductive understanding of cinema. We will examine the relationship between feminist film theory and filmmaking, and pay close attention to how especially particular directors articulate theoretical models through cinematic tactics. Although not strictly a course on feminist film history, Women Directors spotlights significant titles and directors in that history (see dates below for exact names). Students are encouraged to apply the course's analytic tools to their theoretical comprehension of the film medium, as well as to their own respective production practices. The seminar will address in depth such topics as “the male gaze” and its subversion in given films; the (dis- and re-) remembering of women in film history; representations of otherness; race, gender and sexuality in films by women; authorship and speaking subject or voice; and demands for active spectatorship through the integration of theories and practices that challenge narrative: Anti-Illusionist Film, Counter Cinema and Feminist Film. The last four weeks will be reserved for group presentations of films and readings. Other course work includes weekly screenings and readings, presentations of readings, outside screenings, written assignments, and a term paper.
Regular, on-time attendance and full class participation is mandatory. Students must come to class prepared—ready to discuss the assigned readings and films. The semester grade will be affected by absence, tardiness or lack of preparedness.
.
DMS 447
Sound Design
Tony Conrad
MW 1-2:50pm
CFA 232
REG#331793
The “visual” media—film and video—are powerfully inflected by their accompanying audio tracks, which frequently convey the work's preponderant sensibility, or even its core meaning. This course aims to prepare media students technically, conceptually, and musically to work with audio. Topics introduced will include sound design for media, field and studio recording methods, foley recording and editing, audio mixing strategies, signal modification and effects, multitrack audio reproduction, the basic physics of sound and audio signal electronics, the technological principles and specifications of microphones and sound recording systems, midi, music composition and improvisational approaches and practices, world music, and the qualities of song and speech production. This is not a course in audio software or CD burning.
The grade will be based on successful completion of a series of short production exercises, brief quizzes on the reading assignments, and regular attendance. There is no final exam. Lab fee $100. Prerequisites: Intermediate Film Workshop, Intermediate Video Workshop, or permission of the instructor.

DMS 455
Advanced Film and Media Analysis: Avant-Garde Cinema and Popular Culture
Sarah Bay-Cheng
MW 9:00am- 10:50am
CFA 232
REG# 287389
Named for an elite military force, “avant-garde” art, film, and media arguably never lost their aggressive edge. And yet, the techniques of the early avant-garde regularly appear in contemporary mass media in everything from music videos to corporate advertising. Have we arrived at the post-avant-garde (perhaps as postmodernism)? Has the phrase become defunct in an age of almost instantaneous appropriation? This course is an advanced study in the theory and practice of avant-garde film and video and its connection to popular culture today. In the first part of the course, students will examine the history and theory of the term “avant-garde” and its role in art, film, and performance in the attempt to articulate a working definition of the term. In the second half of the course, we will consider contemporary popular media (television, internet, and popular film) and it s appropriation of avant-garde techniques. Students will write a final paper considering a particular aspect of avant-garde cinema in popular media.

DMS 485
Media Robotics 1
Assistant Professor Marc Böhlen
( marcbohlen@acm.org ),
and TA Nick Stedman
( nick@interaccess.org ),
MW 11am-12:50pm
CFA 246
REG#200115
MediaRobotics I is an introduction to the field of robotic arts. Students will learn fundamental concepts in computer programming, electronics and mechanics and be exposed to works by prominent artists in the field. This is the first in a series of three Mediarobotics courses leading to a deeper technical and conceptual understanding of computationally enabled art forms. It is designed for the enthusiastic beginner with some knowledge of computer programming but no formal background in the engineering sciences.
In this course we use mass produced, reliable, robust, energy efficient and dirt-cheap industrial grade programmable microprocessors. At the heart of consumer electronics, these chips are on the lowest level of the computational food chain. Simple and robust, microprocessors now outnumber human beings on the planet Earth. Combined with secondary processors, wireless communication, input devices and additional memory space they can scale to more complex applications. Microprocessors are the departure point for students seeking a first exposure to MediaRobotics. Portfolio required.

DMS TBD
Locative Media
Mark Shephard
Hayes Hall, South Campus
Days and Time tbd
A seminar for Architecture and Media Study students on what has come to be called Locative Media - an emerging field of related art practices that explores the ways in which location, data, mobile devices and wireless networks alter how we understand issues of place, the environment, and modes of spatial occupation. The course would focus on Locative Media practices situated within urban environments, and seek to establish a critical context within which to evaluate some of their key claims and aspirations. Drawing on a broader discourse surrounding the technological mediation of the urban experience, the course would combine readings addressing cities, spatiality, technology and urban form with an examination of specific art practices of the Surrealists, the Situationists, conceptual and performance art from the 60's and 70's, and more recent projects in Locative Media. Concepts of mapping, pyschogeography, and hybrid virtual/actual space would be explored in relation to how we locate and orient ourselves within, navigate through, and inhabit the contemporary city. Students would have the option of producing either a research paper or a project, working independently or collaboratively in small groups. Instructor is appending a preliminary bibliography below from which readings would be drawn. (This is evolving.)
+++
Preliminary Bibliography: Locative Media and the City
+++
Benjamin, Walter (1999) Paris , Capital of the Nineteenth Century, in The Arcades Project, Cambridge : Harvard University Press.
Breton, André (1999, 1960) Nadja, London : Penguin
Bull, Michael. (2000) Sounding Out the City: Personal Stereos and the Management of Everyday Life. Oxford , New York : Berg.
Castells, Manuel (2004) Space of Flows, Space of Places: Materials for a Theory of Urbanism in the Information Age. The Cybercities Reader. Ed. Stephen Graham. London : Routledge
Debord, Guy (1981) Introduction to a Critique of Urban Geography. Situationists International Anthology. Knapp, Ken. (ed). Berkeley : Bureau of Public Secrets
Debord, Guy (1981) Theory of the Derive, Situationists International Anthology. Knapp, Ken. (ed). Berkeley : Bureau of Public Secrets
de Certeau, Michel (1984) The Practice of Everyday Life. Trans. Steven Rendall. Berkeley : University of California Press
Freidberg, Anne (1993) Window Shopping. Berkeley : California University Press.
Galloway, Anne (2003) Resonances and Everyday Life: Ubiquitous Computing and the City. Draft. http://www.purselipsquarejaw.org/mobile/cult_studies_draft.pdf
Harrison , Steve, and Paul Dourish (1996) Re-Place-Ing Space: The Roles of Place and Space in Collaborative Systems. ACM CSCW
Lane , Giles. (2003) Urban Tapestries: Wireless Networking, Public Authoring and Social Knowledge. Personal and Ubiquitous Computing 7
Lefebvre, Henri (1991) The Production of Space, London : Blackwell.
Lynch, Kevin (1960) The Image of the City, Cambridge : MIT Press.
Mitchell, William. (2004) Me++: The Cyborg Self and the Networked City,” Cambridge : MIT Press
Raby, Fiona. "Design Noir: The Secret Life of Electronic Objects." Code - the Language of Our Time, Ars Electronica 2003. Eds. Gerfried Stocker and Christine Schopf: Hatje Cantz Verlag, 2003.
Rheingold, Howard. "Smart Mobs: The Next Social Revolution.” Perseus Books Group: Philadelphia , 2002.
Sadler, Simon, “The Situationist City ,” Cambridge : MIT Press, 1998.
Simmel, Georg (1997) The Metropolis and Mental Life, in Frisby and Featherstone (eds). Simmel on Culture
Townsend, Anthony M. (2002) Mobile Communications in the Twenty-First Century City. Wireless World: A Social and Interactional Aspect of the Mobile Age. Eds. Barry Brown, Nicola Green and Richard Harper. London : Springer-Verlag,
Weiser, Mark and Seely Brown, John (1996) The Coming Age of Calm Technology, http://www.ubiq.com/hypertext/weiser/acmfuture2endnote.htm

DMS 490
Media Arts Internship
Staff
Media Study majors have the opportunity to gain variable academic credit for internships in local and national media production companies, television stations, cable companies, and media access centers. This is an unpaid internship available to majors. Guidelines are set by an internship supervisor in collaboration with a faculty sponsor to provide hands-on practical experience in an on-the-job training program. For registration info, see Nancy King in 231 CFA.

DMS 499
Independent Study
Staff
Students may arrange for special courses of study with faculty through “Independent Study.” The instructor will set the guidelines for the course on an individual basis. It permits the student to study, independently, in an area where no course is given. Syllabus for Independent Study should be prepared prior to semester, signed by the instructor, with one copy on file with the department. For registration info, see Nancy King in 231 CFA. Lab fee for production work: $100