This course focuses on cyberspace and its implications for private and public, sub-national, national, and international actors and entities.

This course is an introductory exploration of documentary film theory and production, focusing on documentaries about science, engineering, and related fields. Students engage in digital video production as well as social and media analysis of science documentaries. Readings are drawn from social studies of science as well as from documentary film theory. The courses uses documentary video making as a tool to explore the worlds of science and engineering, as well as a tool for thinking analytically about media itself and the social worlds in which science is embedded. The course includes a hands-on lab component devoted to digital video production, in addition to classroom lectures and in-class film screenings.

This course explores visualization methodologies to conceive and represent systems and data, e.g., financial, media, economic, political, etc., with a particular focus on climate change data in this version of the course. Topics include basic methods for research, cleaning, and analysis of datasets, and creative methods of data presentation and storytelling. The course considers the emotional, aesthetic, ethical, and practical effects of different presentation methods as well as how to develop metrics for assessing impact. Coursework includes readings, visualization exercises, and a final project.

This course explores the reciprocal relationships among design, science, and technology by covering a wide range of topics including industrial design, architecture, visualization and perception, design computation, material ecology, and environmental design and sustainability. Students will examine how transformations in science and technology have influenced design thinking and vice versa, as well as develop methodologies for design research and collaborate on design solutions to interdisciplinary problems.

Teaches creative design based on the scientific method through the design, engineering, and manufacture of a detailed inlaid tile. This is an introductory lecture/studio course designed to teach students the basic principles of design and expose them to the design process. Throughout the course, students will be introduced to the terminology and concepts that underlie all forms of visual art; which--in many ways--forms the basis for the design of all physical objects. Along with learning mechanical skills, thinking both critically and visually, and working with different media, the students will consider how the arts grow out of and respond to particular cultural contexts and ideas; and how these thinking patterns can be applied to virtually all types of design.
Presentations, lectures, demonstrations, discussions and various artistic works will be used to show students how other artists and designers have dealt with the same issues they will be facing in lab.  Each class will begin with a critique of the students' homework, followed by a discussion (and presentation when appropriate) of the pertinent issues of that week. All aspects of the course will aid the teams of students in designing and building a major inlaid tile whose elements are designed as digital solid models and manufactured on an abrasive waterjet machining center. The course will conclude with an exhibit of the completed tiles open to the MIT and the Greater-Boston public. Enrollment is limited to 16 students who will be divided into groups of 4 students each. Preference will be given to students who attend the first day of class in a pre-selected team of 4.

This course examines the theory and practice of using computational methods in the emerging field of digital humanities. It develops an understanding of key digital humanities concepts, such as data representation, digital archives, information visualization, and user interaction through the study of contemporary research, in conjunction with working on real-world projects for scholarly, educational, and public needs. Students create prototypes, write design papers, and conduct user studies.

A Digital Project Preservation Plan is designed to help with organizing preservation efforts for digital projects. Initially drafted as a companion guide meant to fill the gap on best methods for preserving digital scholarship or digital humanities projects, it can also be applied to digital projects outside the humanities. This preservation plan is most beneficial to those digital humanities (DH) project creators who need guidance on how to start a digital project with preservation in mind. Although the DH community has shared resources and case studies, the examples available tend to focus on DH development, and less on DH preservation. These resources are also located in disparate locations. The Digital Project Preservation Plan is a singular guide, focusing on DH preservation, as a starting point with references to more resources and related DH practices. This is a working document, available to practitioners in whole or part; ideally, it will be used in the early stages of project planning and consulted and revised regularly. The preservation infrastructure should be designed and built as a collaborative effort from the beginning of the project. As priorities, methods and technologies change, the preservation plan will need to be updated and modified accordingly.

This book has been used in humanities (history) and media courses but is applicable to any course that has digital/web project components.

The Table of Contents for this publication includes:
Summary, Project Charter, Digital File Inventory, Additional Considerations, Preservation Plan-A Summary and Checklist, References/Plan Resources, Appendix A: Project Charter, Appendix B: Digital File Inventory, Appendix C: Project Profile, Appendix D: Collaborators Web Publishing Agreement, Appendix E: Universal Design Checklist, Appendix F: Preservation Guidance Checklist, and the Glossary.

Students will practice reading, oral and listening skills based on the theme Van Gogh’s Bedroom in Arles, by working with a virtual tour of the painter’s bedroom and by producing their own recordings of podcasts about the virtual tour.

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To download and access the icons, click on view resource.
This will open the resource in a new google drive tab.
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Once the ZIP file is downloaded, double click on it to open it, and it will create a new folder with all the icons!
The icons are PNG files, which means they have a transparent background, so they can easily be placed on top of other materials.

This class will investigate the ways in which the formal aspects of Western storytelling in various media have shaped both fantasies and perceptions, making certain understandings of experience possible through the selection, arrangement, and processing of narrative material. Surveying the field chronologically across the major narrative genres and sub-genres from Homeric epic through the novel and across media to include live performance, film, and video games, we will be examining the ways in which new ideologies and psychological insights become available through the development of various narrative techniques and new technologies. Emphasis will be placed on the generic conventions of story-telling as well as on literary and cultural issues, the role of media and modes of transmission, the artistic significance of the chosen texts and their identity as anthropological artifacts whose conventions and assumptions are rooted in particular times, places, and technologies. Authors will include: Homer, Sophocles, Herodotus, Christian evangelists, Marie de France, Cervantes, La Clos, Poe, Lang, Cocteau, Disney-Pixar, and Maxis-Electronic Arts, with theoretical readings in Propp, Bakhtin, Girard, Freud, and Marx.

There has been much discussion in recent years, on this campus and elsewhere, about the death of the book. Digitization and various forms of electronic media, some critics say, are rendering the printed text as obsolete as the writing quill. In this subject, we will examine the claims for and against the demise of the book, but we will also supplement these arguments with an historical perspective they lack: we will examine texts, printing technologies, and reading communities from roughly 1450 to the present. We will begin with the theoretical and historical overviews of Walter Ong and Elizabeth Eisenstein, after which we will study specific cases such as English chapbooks, Inkan knotted and dyed strings, late nineteenth-century recording devices, and newspapers online today. We will also visit a rare book library and make a poster on a hand-set printing press.

This class covers the history of 20th century art and design from the perspective of the technologist. Methods for visual analysis, oral critique, and digital expression are introduced. Class projects this term use the OLPC XO (One Laptop Per Child) laptop, Csound and Python software.

LINEAR TRANSFORMATIONs ON THE PLAIN .
INTRODUCTION TO ISOHEDRALS , BASIC BLOCKS TO SYMMETRIC TILING.
TESSELLATIONs (PERIODIC & APERIODIC)
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BRENIKOU , MACEDONIA EAST , HELLAS (GREECE).ARTIST (PAINTER & SCULPTOR) : EFSTRATOPOULOS NIKOLAOS ( efstrato71@gmail.com )MUSIC : Εύελδωρ - Λυρογηθής (ANCIEN...

This course provides practical instruction in the design and analysis of non-digital games. Students cover the texts, tools, references and historical context to analyze and compare game designs across a variety of genres, including sports, game shows, games of chance, card games, schoolyard games, board games, and role–playing games. In teams, students design, develop, and thoroughly test their original games to understand the interaction and evolution of game rules. Students taking the graduate version complete additional assignments.

An historical examination and analysis of the evolution and development of games and game mechanics. Topics include a large breadth of genres and types of games, including sports, game shows, games of chance, schoolyard games, board games, roleplaying games, and digital games. Students submit essays documenting research and analysis of a variety of traditional and eclectic games. Project teams required to design, develop, and thoroughly test their original games.

This course is built around practical instruction in the design and analysis of non-­digital games. It provides students the texts, tools, references, and historical context to analyze and compare game designs across a variety of genres. In teams, students design, develop, and thoroughly test their original games to better understand the interaction and evolution of game rules. Covers various genres and types of games, including sports, game shows, games of chance, card games, schoolyard games, board games, and role-­playing games.

Run as a workshop, students collaborate in teams to design and prototype games for social change and civic engagement. Through readings, discussion, and presentations, we explore principles of game design and the social history of games. Guest speakers from academia, industry, the non-profit sector, and the gaming community contribute unique and diverse perspectives. Course culminates in an end of semester open house to showcase our games.

This course examines relationships between identity and participation in Japanese popular culture as a way of understanding the changing character of media, capitalism, fan communities, and culture. It emphasizes contemporary popular culture and theories of gender, sexuality, race, and the workings of power and value in global culture industries. Topics include manga (comic books), hip-hop and other popular music, anime and feature films, video games, contemporary literature, and online communication. Students present analyses and develop a final project based on a particular aspect of gender and popular culture.

The topic for Fall 2006 is short film and radio plays. This course investigates current trends and topics in German literary, theater, film, television, radio, and other media arts productions. Students analyze media texts in the context of their production, reception, and distribution as well as the public debates initiated by these works. The topic for Fall 2006 is German Short Film, a popular format that represents most recent trends in film production, and German Radio Art, a striving genre that includes experimental radio plays, sound art, and audio installations. Special attention will be given to the representation of German minorities, contrasted by their own artistic expressions reflecting changes in identity and a new political voice. Students have the opportunity to discuss course topics with a writer, filmmaker, and/or media artist from Germany. The course is taught in German.

This course focuses on development of interpretive skills, using literary texts (B. Brecht, S. Zweig) and contemporary media texts (film, TV broadcasts, Web materials). The emphasis is on discussion and exploration of cultural topics in their current social, political, and historical context via hypermedia documentaries. It also covers further refinement of oral and written expression and expansion of communicative competence in practical everyday situations.