📄Syllabus

TECHNOLOGY, CULTURE AND SOCIETY ∙ INTEGRATED DIGITAL MEDIA

DM-GY 9103 Remixing Reality: Social Dreaming in MR

PROFESSOR		COURSE INFO
Name	Carla Gannis	Year & Term	Spring 2020
Email	[e-mail]	Meeting Day	Tuesday
Phone	646-997-3009	Meeting Time	9:30am – 12:20pm
Office	370 Jay Street (370J), Office 360	Location	370J, Classroom 309
Office Hours	By appointment or after class	Course prerequisites	None

COURSE WEBSITE: The course website is the official source for all dates and assignments. This syllabus provides a general overview and guideline for the course. All dates and assignments may be subject to change at the discretion of the professor. https://carla-gannis.gitbook.io/dm-gy-9103-c-remixing-reality/ COURSE HUB: Slack will be our primary communication tool via a public class channel and a private channel for student and professor notifications. remixingreality.slack.com

COURSE DESCRIPTION Mixed Reality (MR) refers to a hybrid system that facilitates the mashup of virtual and physical elements along a gradient, from a primarily grounded reality experience to a substantially virtual one. This course is designed to engage students critically in “remixing reality for change”. Taking a speculative design approach, students will address pressing societal issues through thoughtful and imaginative implementations of MR technologies.

There will be lectures; class visits from designers, artists, writers and tech ethicists; and hands-on introductions to current and emerging MR platforms. There are no prerequisites for this course, however key assets to success include an inquisitive mind and a regard for our collective future.

IDM PROGRAM LEARNING OBJECTIVES At a graduate level, students will:

1. develop conceptual thinking skills to generate ideas and content in order to solve problems or create opportunities. Students will develop a research and studio practice through inquiry and iteration.

2. students will develop technical skills to realize their ideas.

   Students will understand and utilize tools and technology, while adapting to constantly changing technological paradigms by learning how to learn. Students will be able to integrate/interface different technologies within a technological ecosystem.

3. develop critical thinking skills that will allow them to analyze and position their work within cultural, historic, aesthetic, economic, and technological contexts.

4. will gain knowledge of professional practices and organizations by developing their verbal, visual, and written communication for documentation and presentation, exhibition and promotion, networking, and career preparation.

5. students will develop collaboration skills to actively and effectively work in a team or group.

COURSE OBJECTIVES At a graduate level, students will:

1. become familiar with historical and current developments in speculative/critical design and conceptual art practices.

2. engage in research, analysis and collaboration that challenges current cultural presumptions, biases and assumptions.

3. harness their imaginations to develop innovative approaches to working with and/or prototyping new mixed reality experiences and technologies.

COURSE STRUCTURE This course will include lectures, field research, conversations, demos, readings, viewings, and visits from industry experts.

Presentations and critiques will occur frequently.

Micro assignments, readings, viewings, and process blog posts will be assigned on a weekly basis. In addition, there will be a semester long macro project that includes student presentations at speculative and instantiated stages.

Critiques Presenting your work in a critique situation is exceptionally useful. You learn to structure your ideas and to articulate them to an audience. Subsequently your audience provides you with constructive criticism that can increase the impact of your project. It is important to take notes when your work is being critiqued. Be receptive to audience responses and remain unbiased. Later you will be asked to reflect upon the feedback you have received. Resist incorporating all suggestions and comments like checking off tasks on a to-do list. Analyze, prioritize, then utilize the feedback that will work for you and your project. Rules of the Critique:

• Be Present and Engaged

• Give Meaningful Feedback to your classmates

  • Avoid vague statements such as “it’s interesting” or “it’s cool” without follow up. Why or how is it interesting or cool?

• Do NOT take feedback personally.

Your Dream Project Over the course of 12 weeks, each student (or a collaborative group) will be conceptualizing, developing and building a mixed reality experience.

• This project should address issues relevant to critical (or speculative) design and/or speculative fiction and/or conceptual art.

• This project can implement current MR technologies or it can introduce new speculative or working prototypes for future mixed reality technologies, interfaces or experiences.

• This project is your "Dream Project" it should be addressing an issue, concern, event or speculation from a position of passion and enthusiasm.

READINGS

Readings and Viewings will be posted on a weekly basis. Please check the Weeks Schedule of the Class Website for the assigned reading for the week.

Recommended Books and Texts Non-Fiction Dunne, Anthony and Fiona Raby, Speculative Everything: Design Fiction and Social Dreaming. MIT Press. 2013. Adam, Barbara. Towards a New Sociology of the Future. 2012. Tharp, Bruce. Discursive Design: Critical, Speculative and Alternative Things. The MIT Press. 2019. Waterworth, John and Kei Hoshi. Juman-Experiential Design of Presence in Everyday Blended Reality. Springer. 2016. Chow, Marcus. The Quantum Zoo. Joseph Henry Press. 2006. Rushkoff, Douglas. Program of Be Programmed. Soft Skull Press. 2010. Baudrillard, Jean. Simulations. Semiotexte. 1983. Bucher, John. Storytelling for Virtual Reality: Methods and Principles for Crafting Immersive Narratives. Routledge. 2018. Jerald, Jason. The VR Book: Human Centered Design for Virtual Reality. ACM Books. 2016. Rubin, Peter. Future Presence: How Virtual Reality Is Changing Human Connection, Intimacy, and the Limits of Ordinary Life. HarperCollins Publishers. 2018.

Fiction Piercy, Marge. Woman on the Edge of Time. The Random House Publishing Group. 1991. Yu, Charles. How to Live Safely in a Science Fictional Universe. Pantheon. 2010. Trexler, Adam. Anthropocene Fictions: The Novel in a Time of Climate Change. University of Virginia Press. 2015. Sterling, Bruce. A Good Old-Fashioned Future. Banta Spectra. 1999 Stephenson, Neal. Snow Crash. Penguin Random House, LLC. 1992. Vinge, Vernor. Rainbows End. Tom Doherty Associates, LLC. 2006. Weinbaum, Stanley G. Pygmalion’s Spectacles. Simon & Schuster. 1935. Recommended XR (VR, AR, MR) Showcases Rlab. https://www.rlab.nyc/. “Tribeca Immersive.” Tribeca Film Festival. https://www.tribecafilm.com/immersive. “XR.” SXSW. https://www.sxsw.com/conference/xr/. “XR For Change.” Games for Change. http://festival.gamesforchange.org/festival-xr-for-change. “VR/AR Award.” The Lumen Prize. https://lumenprize.com/award/vrar-award/.

GRADING & ATTENDANCE POLICY Your final grade will be based on a synthesis of quantitative & qualitative rubrics:

• Makeup assignments are only available when discussed with and approved by the professor in advance of the due date.

• Each student will be accessed on the commitment, fearlessness, and continuous improvement that their work shows. Incomplete or unsatisfactory work will receive a failing grade.

Quantitative Grading Overview

20% Micro-Assignments 10% Micro Assignments 10% Reading/Viewing and Responses 20% Personal Wunderkammer 10% Your Dream Project, Part 01, Conceptualizing 10% Your Dream Project, Part 02, Research 10% Your Dream Project, Part 03, Accumulating, Iterating, Documenting, Prototyping 15% Your Dream Project, Part 04 Final Instantiation: Mini Exhibition, Showcase or Occupation 15% Your Dream Project, FINAL DOCUMENTATION

Due to COVID-19: Final instantiation "mini exhibition, showcase or occupation," are all now "conceptual premises" for screen-based sharing. The instructor understands that Final Presentations and Final Documentation are limited by lack of access to resources and equipment. Prototypes (including Wizard of Oz prototypes) and screen recordings are acceptable and meet the requirements for an acceptable (passing) project.

Qualitative Grading Overview

A. Excellent (90-100: Work of exceptional quality; Exceeds Expectations)

Performance, participation, and attendance of the student has been of the highest level, showing sustained excellence in meeting course responsibilities. Work clearly differentiates itself from other work, has memorable impact, pursues concepts and techniques above and beyond what is discussed in class. The student thoroughly understands the theory and practice behind virtual reality.

B. Very Good / Good (80-89: Work of high quality)

Performance, participation, and attendance of the student has been good, though not of the highest level. Work demonstrates a better than average understanding of virtual reality theory & practice.

C. Satisfactory (70-79: Average; Satisfies course requirements)

Performance and attendance of the student has been adequate, satisfactorily meeting the course requirements. Work is average and competent, showing a basic understanding of virtual reality theory & practice.

D. Poor; Below Average (60-69: Deficient, but passing)

Performance and attendance of the student has been less than adequate. Work is lacking in many or most areas that show any understanding of virtual reality. Problems may include lack of interest, procrastination, poor planning and poor craft.

F. Unacceptable (59 & Below: Failing Course Requirements)

Performance and attendance of the student has been such that course requirements have not been met. Work shows no overall understanding of the course material on many levels or either a severe lack of interest.

Attendance Two late arrivals (15 minutes or more) will be counted as an absence. Three unexcused absences will result in course failure. You are responsible for making up work on account of any absence.

Contact the professor IN ADVANCE if you will not be in class (in person or via direct message on slack is preferred). If you are experiencing difficulties or feel you are falling behind, see the professor immediately, so that she is properly informed and can work with you. Communication is key.

Attendance is mandatory for the midterm and final presentations / critiques.

TECHNOLOGY & ACADEMIC INTEGRITY Technology Use in the Classroom Laptop computers and other mobile devices are invaluable tools for artists, designers, and students when used responsibly. However, this technology can also be incredibly distracting, especially in the classroom. When in class, you may use your laptops and other devices for any activities pertaining to the course: taking notes, researching material relevant to our readings and discussions, doing homework, making class presentations, etc. However, the following uses are unacceptable: checking email, instant messaging, texting, using social networking sites such as Instagram, etc. Also, during class screenings, your laptops should not be used.

Academic Integrity All work for this class must be your own and specific to this semester. Any work recycled from other classes or from another, non-original source will be rejected with serious implications for the student. Plagiarism, knowingly representing the words or ideas of another as one’s own work in any academic exercise, is unacceptable. Any student who commits plagiarism must re-do the assignment for a grade no higher than a D. In fact, a D is the highest possible course grade for any student who commits plagiarism. Please use the MLA style for citing and documenting source material.

The complete policy on Academic Integrity for Students at NYU can be found at https://www.nyu.edu/about/policies-guidelines-compliance/policies-and-guidelines/academic-integrity-for-students-at-nyu.html

ACADEMIC ACCOMMODATIONS Moses Statement If you are student with a disability who is requesting accommodations, please contact New York University’s Moses Center for Students with Disabilities at 212-998-4980 or [e-mail]. You must be registered with CSD to receive accommodations. Information about the Moses Center can be found at www.nyu.edu/csd. The Moses Center is located at 726 Broadway on the 2nd floor. Diversity and Inclusion The TCS Department is dedicated to the university's goals for diversity, equity and inclusion. NYU is committed to building a culture that respects and embraces diversity, inclusion, and equity, believing that these values – in all their facets – are, as President Andrew Hamilton said, “…not only important to cherish for their own sake, but because they are also vital for advancing knowledge, sparking innovation, and creating sustainable communities. They should be indispensable elements of an NYU education on all of our campuses. A diverse population encounters and appreciates all perspectives of an issue with a wealth of different approaches to confront it. The result is a higher quality of debate, and a more excellent and advanced academic enterprise.”

Title IX Title IX makes it clear that violence and harassment based on sex and gender are Civil Rights offenses subject to the same kinds of accountability and the same kinds of support applied to offenses against other protected categories such as race, national origin, etc. If you or someone you know has been harassed or assaulted, you can find the appropriate resources here https://www.nyu.edu/about/policies-guidelines-compliance/equal-opportunity/title9.html

WEEKLY SCHEDULE

DATE	TOPIC OF CLASS	ASSIGNMENTS
01.28 WK 01	INTRODUCTIONS & COURSE OVERVIEW FIELD TRIP Runaway VR: A Chinese Hip Hop New Year Pop Up (Mixed Reality) Exhibition	MICRO ASSIGNMENT 01: (1) FILL OUT “YOU” Google Form (2) CHOOSE a blogging platform, notebook, cabinet, etc... as Your Personal Wunderkammer. Private message the professor (Carla Gannis) on slack regarding what format(s) you will be choosing. (3) ARRIVE to second class with Micro Assignment 01 Thought Experiment READING/VIEWING: Flatland Section 1: This World, Section 3: Concerning the Inhabitants of Flatland, Section 5 Of Our Method of Recognizing one another UPLOAD to class google drive (personal folder): Thought Experiment
02.04 WK 02	PRESENTATIONS of Thought Experiment VISIT IDM XR Lab	MICRO ASSIGNMENT 02: Many Worlds Interpretation MAINTAINING: Your Personal Wunderkammer UPLOAD to class google drive (personal folder): Many Worlds Interpretation SHARE link on class slack READING/VIEWING: View the Many Worlds Interpretation of your classmates (posted on class slack). Be prepared to discuss in class next week.
02.11 WK 03	DISCUSSION of Many Worlds Interpretation LECTURE Remix Culture, Speculative Design and Critically Engaged Content in AR, VR and Mixed Reality Environments	MICRO ASSIGNMENT 03: Speculative Everything/Reality Remixing MAINTAINING: Your Personal Wunderkammer UPLOAD to class google drive (personal folder): Speculative Everything/Reality Remixing SHARE link on class slack READING/VIEWING: View the Speculative Everything/Reality Remixing of your classmates (posted on class slack). Be prepared to discuss in class next week.
02.18 WK 04	DISCUSSION of Speculative Everything/Reality Remixing INTRODUCTION of Your Dream Project (semester long MR project)	BEGIN Phase 01 of Your Dream Project 1️⃣ Conceptualizing MAINTAINING: Your Personal Wunderkammer UPLOAD to class google drive (personal folder): Phase 01 portion of Your Dream Project READING/VIEWING: Research on class visitor TBP (To Be Posted)
02.25 WK 05	CLASS VISITOR LaJuné Mcmillian, New Media Artist, Maker and Creative Technologist (Tentative Schedule)	MICRO ASSIGNMENT 04: Social Dreaming MAINTAINING: Your Personal Wunderkammer UPLOAD to class google drive (personal folder): Social Dreaming PREPARE to present Social Dreaming micro assignment in class next week
03.03 WK 06	PRESENTATIONS & CRITIQUE of Social Dreaming Micro Assignment LECTURE Current XR technologies and the stand out artist, designers and creative technologists using them to prompt critical discussion and analysis of contemporary life and future trajectories	BEGIN Phase 02 of Your Dream Project 2️⃣ Research. You will be presenting this to your professor in ONE ON ONE'S WK 09 MAINTAINING: Your Personal Wunderkammer READING/VIEWING: Research on class visitor TBP (To Be Posted)
03.10 WK 07	CLASS VISITOR/SUBSTITUTE (TBA)	CONTINUE Phase 02 of Your Dream Project 2️⃣ Research. MAINTAINING: Your Personal Wunderkammer BEGIN Phase 03 of Your Dream Project 3️⃣ Accumulating, Documenting, Iterating and Prototyping. You will be presenting your work to your professor in ONE ON ONE'S WK 09 READING/VIEWING: Research on class visitor TBP (To Be Posted)
03.16	SPRING BREAK NO CLASS
03.24 WK 08	CLASS VISITOR David Ryan Polgar, Tech Ethicist (Tentative Schedule)	PREPARE for ONE ON ONE'S individual meetings with professor Including: UPLOAD to class google drive (personal folder): Mid Term Self Assessments Due BEFORE meetings PRESENTATION of Personal Wunderkammer to the professor PRESENTATION of Your Dream Project (Parts 1, 2 & 3)1️⃣ Conceptualizing 2️⃣ Research 3️⃣ Accumulating, Documenting, Iterating and Prototyping to the professor
03.31 WK 09	MIDTERM CRITIQUES Demos and/or Presentations of Your Dream Project	MICRO ASSIGNMENT 05: Humor as Salve & Survival MAINTAINING: Your Personal Wunderkammer ITERATING: Your Dream Project (Parts 1, 2 & 3)1️⃣ Conceptualizing 2️⃣ Research 3️⃣ Accumulating, Documenting, Iterating and Prototyping based on class critique READING/VIEWING: Research on class visitor TBP (To Be Posted
04.07 WK 10	PRESENTATIONS (Performance/Demos) of Humor as Salve & Survival CLASS VISITOR Caroline Sinders, Machine Learning Designer/User Researcher, Artist, and Digital Anthropologist (Tentative Schedule)	PREPARING: Your Personal Wunderkammer for class presentation next week ITERATING: Your Dream Project (Parts 1, 2 & 3)1️⃣ Conceptualizing 2️⃣ Research 3️⃣ Accumulating, Documenting, Iterating and Prototyping based on class critique PLANNING FOR: 4️⃣ Mini Exhibition, Showcase or Occupation (to be held Weeks 13 & 14)
04.14 WK 11	PRESENTATIONS Your Personal Wunderkammer CLASS VISITOR Nick Katsivelos acknowledged expert in the areas of computer mediated collaboration and user-centric software design, with a specific emphasis on the patterns of technology deployment and group dynamics (Tentative Schedule)	ITERATING: Your Dream Project (Parts 1, 2 & 3)1️⃣ Conceptualizing 2️⃣ Research 3️⃣ Accumulating, Documenting, Iterating and Prototyping PLANNING FOR: 4️⃣ Mini Exhibition, Showcase or Occupation (to be held Weeks 13 & 14)
04.21 WK 12	CONVERSATION & PLANNING for Mini Exhibitions, Showcases or Occupations NEXT WEEK & WEEK 14	FINALIZING Your Dream Project and preparing for exhibition. ALL STUDENTS need to have finalized files, layouts, exhibitions plans uploaded to the class google drive by NEXT WEEK.
04.28 WK 13	FINAL CRITIQUES Demos and/or Presentations of Your Dream Project	UPLOAD to class google drive (personal folder): End of Term Self Assessments MAKE SURE ALL End of Semester Deliverables are copied to the class google drive (personal folder)
05.05 WK 14	FINAL CRITIQUES Demos and/or Presentations of Your Dream Project	Have a great summer!