A continuation of MPATE-UE 1010. This is an advanced & detailed study of the audio-visual production & post-production process including digital recording techniques, with special emphasis on synchronization & the interfacing of SMPTE time code. Sound design, advanced Foley topics, * creative workflow in audio post production will also be discussed.
Hands-on studio course with an emphasis on ear training to increase understanding of different technical & artistic practices in the recording studio. Students will explore use of microphone placement techniques, balancing natural & artificial acoustics as well as dynamic audio effects & filters.
This course focuses on the social effects of applied theatre in community, vocational & educational settings. Informed by the work of Paulo Freire as well as other critical theorists & arts activists, like Augusto Boal, Bertolt Brecht, bell hooks, & Tony Kushner, students will explore projects which have a social justice & human rights agenda.
This class reads architecture and the built environment through the lenses of media, communication, and culture. The course takes seriously the proposition that spaces communicate meaningfully and that learning to read spatial productions leads to better understanding how material and technological designs are in sustained conversation with the social, over time. Through analyses of a range of space - from Gothic cathedrals to suburban shopping malls to homes, factories, skyscrapers and digital cities - students will acquire a vocabulary for relating representations and practices, symbols and structures, and for identifying the ideological and aesthetic positions that produce settings for everyday life.
An examination of the art of debate using current issues of public policy and social justice. Students will learn the skills of critical thinking, evidence evaluation and persuasion. Hours are arranged for fieldwork and student evaluation.
The contemporary art world is a convoluted interplay of aesthetics & economics; ego & idealism. How can an emerging artist navigate its layers & idiosyncrasies? Through readings of theory & criticism, lectures, discussions, site visits, guest speakers, & student responses in the form of multimedia projects and art writing, this course explores contemporary art’s mechanisms & current discourse, always keeping Berlin’s local context in mind.
Discussions of feminist art often assume a relatively narrow, Western horizon. This course will provide students with an interdisciplinary overview of feminism and art in a global context. Using arguments deriving from feminist theory, art history, and aesthetic theory, we will undertake a critical inquiry into ways in which gender, geography, and power inform art production, and will explore alternatives to dominant cultural narratives and aesthetics.
Combines a survey of artworks from antiquity through the Enlightenment with a critical exploration of the relationship of visual expression to the changing social contexts of the periods. Discussions will include the role of art within both non-Western and European cultures, as well as the influence of past cultures on contemporary issues.
This class includes autobiographical works by writers, filmmakers and artists as well as psychological and philosophical concepts evolving around the problem of (aesthetic) personal formation between freedom and determinism. Students research this question by studying the assigned material and by interviewing a person of their choice. Interview results are presented to the class.
One common trait of experimental modernist and contemporary art is the pressure it exerts on conventional ideas about what art is and what it can do. This research seminar will address some of the many forms this redefinition has taken, combining art historical methods with approaches drawn from critical aesthetics and curatorial theory. Whenever possible, we will meet directly with artists, conduct site visits, and utilize NYU's extensive archives.
This course considers the history and possibilities of imagining and representing the Other and the Unknown. It is centered on the close study of films, texts and media, including Yermek Shinarbaev’s Revenge, on the Korean diaspora in central Asia, Susana Aikin’s The Salt Mines, Kpop, texts drawn from critical theory, fiction, and the news. Through experimentations with various media ranging from writing, storytelling, films and diagrams, students are asked to find ways to bring the unknown to the realm of the familiar, while questioning the merits of this practice.
This course examines the current developments in contemporary art over the past decade – the art of ‘now’ – from the viewpoint of an artist’s practice & working ideas, looking at current global art production in aesthetic, economic, & social contexts. The major movements in painting, photography, sculpture, installation & performance are examined. Readings will be drawn from first hand interviews & point-of-view accounts, reviews, & critique; a major emphasis on interviews & online studio visits will accompany the texts. Guest artist lectures & off-site museum & gallery viewings will complement the weekly visual presentations & theory conversations.
Liberal Arts Core/CORE Equivalent - satisfies the requirement for Expressive Cultures
Art: Practice and Ideas' examines key developments in the visual arts from modernity to the present. Focusing on the ways in which representations both create and reflect the values of a society, the course introduces students to the full range of expressive possibilities within the visual arts, covering painting and sculpture, as well as photography, film, video, conceptual art, and computer media. Topics to be covered include classical, modern, and postmodern relationships to politics, vision, the mind, the body, psychology, gender, difference, and technological innovation. Students will see and understand how artists have integrated perceptions of their historical moment, as well as physical and social space, into creative practices that have, in turn, had a significant impact on the culture of the time.
Liberal Arts Core/MAP Equivalent - satisfies the requirement for Expressive Cultures
Focus on particular subjects or techniques allows students to broaden the range of their skills and expression. Projects are chosen as a result of both faculty and student interest.
Principles and techniques of audiologic evaluation and management of hearing impaired infants and children. Both personal and assistive amplification listening systems are covered. Speech reading and auditory training techniques. Educational and communicative options for children of different ages with different types and degrees of hearing loss. The cochlear implant: implications for rehabilitation and education of profoundly hearing-impaired children are included.
A performance class geared towards students who are taking auditions for graduate school. Included in the class are two recording sessions to make pre-screen recordings. Readings will include studies on proper breathing & stage presence. The class includes mock audition sessions.
In Aural Comprehension IV the students will continue their exploration of the main elements of music - melody, harmony, rhythm, and form - through active listening, sight-singing, and dictation. Course activities are correlated with materials from Music Theory IV. The tonal material will remain a part of our exercises, but we will work with elements of atonal music and complex rhythms too. Besides regular sight singing, prepared singing, dictations and transcriptions of recorded music we will also listen to orchestral instrumentation, identify musical forms from listening to recordings, try to hear overtones, micro-intervals, improvise second voice to a song and write and sing a short piece of music.
Aural Comprehension III is a one-credit course, building on the foundations you have created in AC I and II. The two weekly class sessions will be devoted to group work in sight-singing and dictation: melodic, rhythmic and harmonic -- and in listening to longer segments of work to sharpen your perception of musical form. You will be expected to keep up a regular practice of these skills outside of class. In addition, we will arrange tutorials (at least three per semester) for individual work and assessment. The musical materials of AC III will be taken mostly from 19th-century sources, reinforcing your work in Music Theory and Music History III. We will also work with more chromatic music of the 18th century, as well as jazz, popular music and relevant world cultures.
