📄Syllabus
Tandon School of Engineering of New York University
TECHNOLOGY, CULTURE AND SOCIETY ∙ INTEGRATED DIGITAL MEDIA
DM-GY 9103 VIRTUAL REALITY
PROFESSOR
COURSE INFO
Name
Carla Gannis
Year & Term
Fall 2019
carlagannis@nyu.edu
Meeting Day
Tuesday
Phone
646-997-3009
Meeting Time
6:30 – 9:20pm
Office
370 Jay Street (370J), Office 360
Location
370 J, Room: 307
Office Hours
By appointment or after class
Course prerequisites
None
COURSE WEBSITE: *where you currently are! 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.
COURSE HUB: http://idm-vr.slack.com Slack will be our primary communication tool via a public class channel and a private channel for student and professor notifications.
COURSE DESCRIPTION This course is designed to explore introductory approaches to using Virtual Reality (VR) as a creative medium. Beginning with the concept of “The Ultimate Display,” Ivan Sutherland’s 1965 vision of simulated reality, the course will provide historical context, hands-on instruction, theoretical inquiry and class visits from relevant experts to engage students critically in the creation of VR environments. Students will learn about the physiology and psychology of virtual immersion as well as the core concepts of VR production and interaction, including 3D asset creation, scene development, immersive user experience design, and exporting to target platforms.
IDM PROGRAM LEARNING OBJECTIVES At a graduate level, students will:
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.
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.
develop critical thinking skills that will allow them to analyze and position their work within cultural, historic, aesthetic, economic, and technological contexts.
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.
students will develop collaboration skills to actively and effectively work in a team or group.
COURSE OBJECTIVES At a graduate level, students will:
become familiar with historical and current developments in the field of virtual reality.
Students will develop a thoughtful and critical perspective on spatial computing’s impact on contemporary culture and the future.
engage in research, analysis and collaboration.
gain knowledge in immersive 3D virtual world building.
harness their imaginations to develop innovative approaches to working with virtual reality technologies.
produce a virtual reality project using the principles of world space display and interactive communication. Students will implement experiences that account for the physiological comfort of the user, wherein the user has a sense of presence and autonomy.
COURSE STRUCTURE This course will include lectures, field research, conversations, demos, playtesting, 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 or bi-weekly basis. In addition, there will be a semester long macro project that includes student presentations at alpha and beta 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.
Macro Project Over the course of 12 weeks, each student will be conceptualizing, developing and building an independent Virtual Reality (VR) experience.
This project should address issues relevant to immersive VR design.
This project should provide to its visitors:
physiological comfort – they feel safe, comfortable and relaxed
a sense of presence – “Presence is a psychological state or subjective perception in which even though part of all of an individual’s current experience is generated by and or filtered through human-made technology , part of all of the individual’s perception fails to accurately acknowledge the role of the technology in the experience.” — International Society for Presence Research, 2000
interest – there is no possibility of down time, so hold the visitor’s interest throughout the experience
a suspension of disbelief – the willingness to sacrifice realism and logic for the sake of enjoyment
guidance – creating an environment that provides clear directional cues and/or instructions (if needed)
autonomy – (a level of) independence and freedom to make decisions, to act and to explore
This project should represent individual student interests within the realm of VR and should showcase her/his/their areas of creative, conceptual and technical strength.
This project can take many forms: a fictional narrative, an architectural environment or landscape, a motion capture performance, a user-interface, a documentary, a game (although this course is not focused on VR game design), or another experience proposed by the student and approved by the professor.
There are several phases to producing the Macro Project. In total the project will account for 50% of the semester grade (*see GRADING & ATTENDANCE POLICY below).
Students will present an Alpha version of this project at midterms and a Beta version in the final week of class.
*What are ALPHA and BETA versions? ALPHA is a very early version of an application that may not contain all the features that are planned for the final version. Typically, a software application goes through two stages of testing before it is considered finished. The first stage, called Alpha Testing, is often performed only by users within the organization (the DM-GY 9103 Virtual Reality class this semester). The second stage is called Beta Testing. An applications’ BETA is an officially released version (final project for DM-GY 9103 Virtual Reality) which includes most of its functionality The beta version is intended for external testing (target VR platforms during final critique) in order to identify configurations that cause problems, as well as collect requirements and suggestions from users (classmates and guest visitors).
READINGS
Required Textbook
Rubin, Peter. Future Presence: How Virtual Reality Is Changing Human Connection, Intimacy, and the Limits of Ordinary Life. HarperCollins Publishers. 2018. Locations: NYU Bobst Main Collection NYPL (New York Public Library) Amazon Barnes & Noble Professor’s Collection (available to all students upon request)
Required Texts The following list of required readings may be incomplete and is subject to change. Please see the course website for updates. Blascovich, Jim. "Virtual Reality vs. (Actual) Reality: Your Mind's View of Reality Isn't Often 'Real'." BrainWorld Magazine, 7 February 2019, https://brainworldmagazine.com/virtual-reality-vs-actual-reality-your-minds-view-of-reality-isnt-often-real/. Bloom, Paul. “It’s Ridiculous to Use Virtual Reality to Empathize With Refugees.” The Atlantic, 3 February 2017, https://www.theatlantic.com/technology/archive/2017/02/virtual-reality-wont-make-you-more-empathetic/515511/. Jagnow, Rob. “Daydream Labs: Locomotion in VR.” Google Blog, 6 June 2017, https://bit.ly/33ZtTH0. Riboldi, Mark. “Controlled Immersion: a special 3D/VR collaboration.” O.L. Society, Spring 2017, https://overland.org.au/previous-issues/issue-228/essay-mark-riboldi/. Robertson, Adi. “An 'ethereal cube' from the 1960s is the reason the Oculus Rift exists.” The Verge, 8 October 2015 https://www.theverge.com/2015/10/8/9479129/ivan-sutherland-proto-awards-virtual-reality-speech.
Required Media The following list of required media may be incomplete and is subject to change. Please see the course website for updates.
Chang, Larry. “Audio Design for Interactive Narrative VR Experiences.” Designing Music Now, 16 July 2018, https://www.designingmusicnow.com/2018/07/16/audio-design-for-interactive-narrative-vr-experiences/. Kinney, Joshua. “Unity C# Scripting Fundamentals.” Pluralsight, 27 September 2017, https://bit.ly/2KLKZ3C. Milk, Chris. “How virtual reality can create the ultimate empathy machine.” TED: Ideas Worth Spreading, March 2015, https://bit.ly/1IHHRxO.
Recommended Texts Bucher, John. Storytelling for Virtual Reality: Methods and Principles for Crafting Immersive Narratives. Routledge. 2018. Cline, Ernest. Ready Player One. Penguin Random House, LLC. 2011. del Rosal, by Victor. Disruption: Emerging Technologies and the Future of Work. Emtechub, Dublin. 2015. Gibson, William. Neuromancer. Penguin Random House, LLC. 1984. Hackl, Cathy and Samantha G. Wolfe. Marketing New Realities: An Introduction to Virtual Reality & Augmented Reality Marketing, Branding, & Communications. Meraki Press. 2017. Jerald, Jason. The VR Book: Human Centered Design for Virtual Reality. ACM Books. 2016. Piercy, Marge. He, She and It. The Random House Publishing Group. 1991. Sherman, William R. and Alan B. Craig. Understanding Virtual Reality: Interface, Application and Design. Morgan Kaufmann Publishers. 2018. 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 Media Brainstorm. Directed by Douglas Trumbull. MGM/UA, 1983. eXistenZ. Directed by David Cronenberg. Miramax Films. 1999. Holodeck, technology. Star Trek: The Next Generation. Paramount. 1987-1994. Johnny Mnemonic. Directed by Robert Longo. Tristar Pictures, 1995. The Lawnmower Man. Directed by Brett Leonard. New Line Cinema, 1992. The Matrix. Directed by Lana and Lilly Wachowski. Warner Brothers, 1999. Ready Player One. Directed by Steven Spielberg. Warner Brothers, 2018. “San Junipero.” Black Mirror, season 3, episode 4, Netflix, 21 October 2016. Strange Days. Directed by Katherine Bigelow. 20th Century Fox, 1995. “Striking Vipers.” Black Mirror, season 5, episode 1, Netflix, 5 June 2019. Total Recall. Directed by Paul Verhoeven. TriStar Pictures, 1990. Until the End of the World. Directed by Wim Wenders. Warner Brothers, 1991. Welt am Draht (World on a Wire). Directed by Rainer Werner. Janus Films, 1973. Recommended VR 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
5% Virtual Object or Experience 10% Field Study and Dream/Daydream Study 2.5% Unity Environment 5% VR Play 10% CollabVRation Iteration 01 2.5% Unity Environment: Scripts + Audio 15% CollabVRation Iteration 02 5% Macro Project Phase 01 10% Macro Project Phase 02 15% Macro Project Phase Alpha 20% Macro Project Phase Beta
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 mmosescsd@nyu.edu. 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
09.03
WK 01
INTRODUCTIONS & COURSE OVERVIEW
SOFTWARE & HARDWARE REQUIREMENTS
VR ART, GAMES SOCIAL SPACES & RLAB View presentation here.
MICRO ASSIGNMENT 01: (1) FILL OUT “YOU” Google Form (2) CREATE class Process Blog. (3) DOWNLOAD required applications for this course (4) BUY or CHECKOUT Required Textbook (5) ARRIVE to second class with Virtual Object or Experience assignment.
READING/VIEWING 01: (1) VIEW “An 'ethereal cube' (2) READ “Controlled Immersion”
POST 01: (1) WRITE your responses to this weeks’ viewing & reading. (2) POST a photo or link to your Virtual Object or Experience.
09.10
WK 02
PRESENTATIONS of Virtual Object or Experience (class dicussion)
THE ULTIMATE DISPLAY (lecture)
TYPES OF VR (lecture)
INTRO TO UNITY (demo) Basic Setup, Packages, Asset store
MICRO ASSIGNMENT 02: (1) COMPLETE Field Study and Dream/Daydream Study. (2) CREATE a Unity Environment.
READING/VIEWING 02: (1) READ "Virtual Reality vs. (Actual) Reality” (2) READ Chapter 1 in Required Textbook
POST 02: (1) WRITE a reading response. (2) POST documentation and notes from your Field Study and Dream/Daydream Study Micro Assignment.
09.17
WK 03
FIELD STUDY and DREAM/DAYDREAM STUDY (class discussion)
DESIGN, CONCEPTING & PLAYER COMFORT (lecture)
3D 123: MAYA TO UNITY (demo)
MICRO ASSIGNMENT 03: (1) VR PLAY
READING/VIEWING 03: (1) READ “Daydream Labs: (2) READ Chapter 2 in Required Textbook
POST 03: WRITE a critical analysis of your play experiences from above.
09.24
WK 04
HAMLET ON THE HOLODECK (lecture)
COLLABVRATION (open work session, *ows)
MICRO ASSIGNMENT 04: COLLABVRATION
READING/VIEWING 04: (1) VIEW “How virtual reality can..” (2) READ “It’s Ridiculous...” (3) READ Chapters 3 & 4 in Required Textbook
POST 04: WRITE a critical response to the readings/viewing above. Take a position.
10.01
WK 05
CLASS PRESENTATION OF COLLABVRATION ASSIGNMENT (crit)
PLATFORM CROSS COMPATABILITY & DESIGNING FOR A PLATFORM (lecture/demo)
MICRO ASSIGNMENT 05: (1) WRITE collaboratively a team analysis of the feedback you received in class on your COLLABVRATION presentation.
READING/VIEWING 05: (1) READ Chapters 5 & 6 in Required Textbook
POST 05: POST your written team COLLABVRATION analysis.
10.08
WK 06
MACRO PROJECT PITCH (one on one student/professor meeting)
ASSIGNMENT 06: (1) STUDENTS CHOOSE a READING/VIEWING for Week 07.
POST 06: WRITE your response to professor feedback from the independent meetings this week.
10.15
CLASS DOES NOT MEET
10.22
WK 07
STUDENT READINGS/VIEWINGS ASSIGNMENT (class discussion)
CODING (lecture/demo) C# Scripting
WORKING WITH AUDIO (lecture/demo)
ASSIGNMENT 07: 07 Unity Environment : Scripts + Audio
READING/VIEWING 07: (1) VIEW Unity C# Scripting Fundamentals (2) READ & VIEW “Audio Design for Interactive Narrative VR Experiences” (2) READ Chapter 8 in Required Textbook
POST 07: FREE FOR ALL POST
10.29
WK 08
MIDTERM CRITS (class)
Assignment 08: No designated micro assignment this week. WORK on your MACRO PROJECT! READING/VIEWING 08: (1) READ “Iterative Design” (2) READ & VIEW the website of Zander Reyna (3) PREPARE questions to ask Zander next week.
POST 08: DOCUMENTATION of presentation ANALYSIS of feedback
11.05
WK 09
CLASS VISIT (visiting expert)
Zander Reyna, Creative Director in experience design, games and VR
ASSIGNMENT 09: (1) COLLABVRATION Iteration 02.
READING/VIEWING 09: (1) READ & VIEW the website of Leah Roh (2) PREPARE question to ask her.
POST 09: WRITE your responses to the class visit from Zander Reyna.
11.12
WK 10
CLASS SUBSTITUE (visiting expert)
Artist and Designer Leah Roh will be sharing with you her VR projects
ASSIGNMENT 10: (1) FINISH COLLABVRATION Iteration 02
READING/VIEWING 10: (1) READ & VIEW the website of Radiance VR (2) PREPARE questions to ask co-founder Tina Sauerlander next week.
POST 10: WRITE your responses to the class visit from Leah Roh.
11.18
WK 11
COLLABVRATION Iteration 02 (class discussion)
PRE-RECORDED VISIT (visiting expert)
Tina Sauerlander, co-founder of RadianceVR based out of Berlin, Germany
Assignment 11: No designated micro assignment this week. WORK on your MACRO PROJECT! READING/VIEWING 11: (1) READ Chapter 8 in Required Textbook
POST 11: WRITE your responses to the recorded conversation with Tina Sauerlander. If you have questions for Tina, include them on your process blog, and I will share them with her.
11.26 WK 12
OHMMMM (class chill out and discussion)
Thoughts on our visitors to class, industry perspectives in relation to or vs. art perspectives.
How what we are doing in this class correlates with what you’re doing in other classes.
Tutorials and/or troubleshooting
Assignment 12: No designated micro assignment this week. WORK on your MACRO PROJECT!
READING/VIEWING 12: (1) READ Conclusion in Required Textbook
POST 12: WRITE your responses to the required reading (that you have read throughout the semester). This should be more than just a summary. Write a thoughtful response to ideas Rubin lays out in his book. What did you agree with? What did you not agree with? How do you see things differently?
12.03 WK 13
OMG (preparing for final crits)
Testing and recording
User Survey 2
Presentation Pointers
MACRO PROJECT PHASE BETA: DUE NEXT WEEK
END OF SEMESTER DELIVERABLES: DUE NEXT WEEK
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