Classes

Classes feature the organization of individual, group, and society. “Special Research Classes” are classes that feature team teaching via seminars where students will acquire the necessary methods and skills for problem solutions in their research activities. In “General Studies Classes”, students will critique project and research achievements and question their social significance. Also, we provide “Specialized Classes”, where students will the necessary knowledge for implementing projects and research, and “Production Seminar Classes”, where students will acquire the skill necessary to realize said projects and research. Furthermore, as students who enroll in IAMAS possess knowledge and experience from multiple disciplines, we provide “Introductory Classes” as the necessary common base for advancing their research. This will students to build a foothold for the acquirement of broad knowledge and skills as well as a research goal early on.

Expression in Media Foundation

Instructors

Course Objectives/ Description

Students experience the sequential process of “idea,” “production,” and “exhibition” by creating a video installation as part of a group. The goal is for students to gain an integrated perspective on the creation process while studying the foundational techniques and ways of thinking necessary for each step. Under the guidance of lecturers involved in many projects, students intensively study the techniques and knowledge that make up the foundation of Media Creation: i.e, methods and technology related to construction, the work that goes on behind the scenes of an exhibition, and the different ways of understanding the exhibition space. At the end of the class, we will hold a presentation and a group critique of our work, providing an opportunity to share knowledge with other groups and to receive feedback.

Course Format

Seminar

Course Plan/Overview

Day 1:
(Block 1) Introduction, explanation of tasks
(Blocks 2-4) Projector set-up seminar
Day 2:
(Blocks 5-7) Idea-sketching, experiments using projectors
(Bock 8) Plan presentation
Day 3:
(Blocks 9-12) Production exhibition
Day 4:
(Block 13) Production exhibition
(Blocks 14-15) Critique

Information Studies Foundation

Course Objectives/ Description

Nowadays, Information Technology lies at the heart of every rapidly progressing technology and service. Even as its role increases in importance, we are becoming less and less conscious of this technology while it becomes more and more generalized. In this course, we will look at IT from a bird’s eye view; and, while re-recognizing its importance, we will aim to pull it within our reach. We will not only learn techniques, but we will also become conscious of how they are used, and how we would like to use them. To accomplish this, we will experience in general the process from proposing an idea to its actualization. The course is conducted in a hands-on style based on concrete themes.

昨年度(2017年度)は市内の幼稚園児を対象とし、「遊び」をテーマにセンサ等の使用方法について考えました。技術をただ習得するに留まらず、相手をよく知り相手の立場になって提案を行うこと、観察を通じて提案を見直すことまでを射程としました。

Course Format

Seminar, report, etc.

Course Plan/Overview

  • Basic programming philosophy
  • About the development environment
  • Drafting plans
  • Field work for plans
  • Plan development and feedback
  • Summary

Textbooks/ Reference Materials

These will be indicated and distributed and necessary

Motif Work

Course Objectives/ Description

Motif Work is divided into two parts. The earlier part lasts one week, faculty and students will all give a presentation and through discussion and field work will deepen their mutual understanding as members of IAMAS. The presentations will embody the participants’ diverse backgrounds and perspectives. During group discussions, groups will be rearranged as the occasion demands, and we will search for the essence of our media creations from among these various relationships. During fieldwork, we will go outside the school to deepen our understanding of the region and to explore the possibilities of how we might use it.

In the latter half, we devise a creative work for the purpose of arranging and analyzing, editing, and communicating in order to convey the results of our production and activities in the appropriate form and with the appropriate method for a variety of situations. At that time, students of diverse backgrounds engage in group work and search for further possibilities by deepening their investigations from the different perspectives that come from each student’s background.

Course Format

Presentation, discussion, fieldwork, group work

Course Plan/Overview

Presentation by teachers and students (first half)
Group discussion (first half)
Fieldwork (first half)
Group work and discussion (latter half)
Presentation (latter half).

Textbooks/ Reference Materials

These will be introduced as necessary in class..

General Studies A (Contemporary Aesthetics)

Course Objectives/ Description

We will think about the question “what is popular culture?” This issue is deeply connected to contemporary art and media art.

People may be prone to regard popular culture as simply those cultural commodities created for amusement. However, if we try to examine the matter more carefully, we can there discover various key clues for thinking about people and society. We will consider the questions: What can we validly say about elements of pop culture like anime, manga and games? What is it to research and critique these things? What sort of change do they indicate in our culture?

Course Format

A lecture relay led by a team of three instructors. The first leg is run by Yoshioka as representative of the class, but the specifics of how the sessions will proceed are up to the individual instructors.

Course Plan/Overview

1. Popular Culture and the Unconsciousness 6/4 (Yoshioka)

First, I will give an overview on the topic of what it is that makes culture “popular” and how we should understand “popular culture.” At the same time, we will think about the criteria by which “high culture” is defined, a standard that we have unconsciously internalized, as something that opposes popular culture. Based on this discussion, we will look mainly at Japanese examples to discover the means by which popular culture came to be reflected in society’s collective unconscious, means different from those observed in the case of high culture. We will also look at what an aesthetics of popular culture could possibly be, alluding to psychoanalysis, critical theory, and the theories of poststructuralism.

2. “Popular culture & media technology” 6/19, 7/10 (Muroi)

Currently, that which is called “popular culture” is decisively different from the popular culture in the pre-modern age, and cannot be thought about without taking into account the progress of media and technology. In “popular culture”, technology will not be foregrounded in one area and be made aware of in another area. However, going beyond those superficial phenomena, no one can deny that technology is one of popular culture’s “requirements for possible existence”. In that context, asking about popular culture, asking about technology, and is none other than asking about the media technology after the popularization of computers.

Now, has media technology after the computer brought about something new to our world-views or bodies? While looking back at the various arguments regarding technology after the photograph, we will think about this using our own specific experiences of being exposed to new media. Rather than as an opposition or a coexistence, we will re-perceive the problems of technology and science as something that started from the same activity, and will think about the possibility of a new “practical art” that is not a media art as a genre that has been integrated into the global market or economic activities while having discussions. After going through those discussions, we will return to the question of how we should perceive “popular culture”.

The above content will be split into 3 lectures.

3. “Are the aesthetics of popular culture possible?” 6/12, 7/5(Akiba)

Aesthetics are originally part of modern learning, and has developed as a role of “art” post civil society as well as something inseparable from that system. In other words, after it began existing, aesthetics was a “modern” concept. In that case, in a postmodern, or a post-postmodern situation, what role can aesthetics carry out? Above all, when faced with “popular culture” where that range of access and social functions are largely different, what kinds of challenges are imposed on aesthetics? In order to think about and analyze “popular culture”, in what way is it necessary for aesthetics to change itself? And is aesthetics even necessary for popular culture? In order to think about those fundamental questions, we will re-examine the Critique of Judgment, written by Kant, the forefather of modern aesthetics, as well as its historic reception. That is because Kant’s ideology, while being the beginning of the modern age, is also the limit of metaphysics in old Europe and, in that context, is exceedingly important when questioning the possibility of aesthetics in relation to “popular culture”.

“What is popular culture?” 7/21 (Akiba, Muroi, Yoshioka)

During the last class, the 3 instructors plan to gather together and have a thorough discussion with the students on the topics that were covered in the course until that point.

Textbooks/ Reference Materials

Will be designated or distributed in class.

General Studies B (Representation and Culture Theory)

Instructors

Course Objectives/ Description

In order to comprehend the realistic and contemporary issues of media creation (here, media creation is not limited to activities like art and design, but also includes vast and more minute social and mental creation. Likewise, critiquing or commenting on these creations is also included in the category of media creation) we will look at examples of various eras, figures, and works to trigger us to self-consciously consider if thought = will = preference is necessary or possible for us as creators and researchers. We aim to focus on the extent to which this can explain our so-called world. Perhaps we could express this by saying that, using a unique interpretation of the world, we, who have been thrown into the world, will learn intellectual techniques to reclaim ourselves. In that sense, we can say that this series of lectures takes on aspects of representation and culture theory.

Course Format

Classroom lecture

Course Plan/Overview

The figures presented in the course are more or less as follows (in no particular order):

Levi-Strauss, Michel Foucault, Merleau-Ponty, Jaques Lacan, Gilles Deleuze, Shuzo Kuki, Tatsumi Hijikata, Yukio Mishima, Toshihiko Izutsu, etc.

The themes presented in this course are more or less as follows (in no particular order):

Contemporary thought, aesthetics/art history, artistic anatomy, dance and body theory, art criticism, body theory, medical anthropology, art therapy, thanatology, etc.

Textbooks/ Reference Materials

These will be introduced in class as needed

General Studies C (Media・The Environment・Art)

Course Objectives/ Description

This class is a historical overview of media art spanning from the post World War II period to the present. One characteristic of the class is the different specialty fields of its three instructors; it aims to share an interdisciplinary perspective, considering the relationship between media technology, the media environment, and modern art. We would like students to gain a foundation from which to apply logical thinking to media creation through these lectures, constructing their own media creation research contents ( that is, their own historical viewpoint) in preparation for their second year work and thesis.

Course Format

Lecture, discussion.

Course Plan/Overview

There will be a total of 15 lectures. In general, the three lecturers will speak about a particular topic from the perspective of their specialization and field. (The schedule is listed below, but it may change depending on the length of discussions and the progress of the class.)

1st Session Guidance
2nd Session 20th Century Art History
3rd Session Video and Animation
4th Session Discussion
5th Session 1970 (Expo ‘70, Osaka), 1985 (Expo ‘85, Tsukuba) - The Idea and Expression of Relay Broadcasting.
6th Session The End of the Cold War and the Creation of the Media Art Public Sphere
7th Session 1991 - 1995: Internet, “The Invisible Museum Inside the Telephone Network”
8th Session Interactive Art
9th Session 1996 - 2000: The Transormation of Technology Introduced to IAMAS
10th Session 2001- 2005: Software・Art
11th Session 2001 - 2005: The Overdefended City
12th Session 2006 - 2010: The Change in the Media Environment due to Smartphones
13th Session 2006 - 2010: “GOODBYE PRIVACY - Welcome to the Brave New World” (2007)
14th Session 2011 - 2018: “Ocean City 2.0” (2010) and “City Solaris” (2013, ICC)
15th Session Discussion

Textbooks/ Reference Materials

These will be distributed in class as necessary. For example:
Other materials include periodicals, exhibition catalogs, etc.

Art Theory A (Information × Art)

Course Objectives/ Description

A class in which we deepen our understanding, mixing music, image, contemporary, and media art with the perspectives of those actually involved in the field. Consisting of 15 sessions divided into three parts, each professor will lead the part related to his field. In the “installation” section, we will think about art installation based on a number of themes, touching upon our own work. In “music and composing,” we will investigate the significance of music in media society, concentrating on the method of composition called “algorithmic computing” born in the 20th century. “Image creation” focuses on the history of the image. In it, we will analyze image creation in contemporary and media art, examining experimental films, documentaries, and animation.

Course Format

Lecture and discussion

Course Plan/Overview

1st Session (Ando 1) The Mirror Called Media - The Functions of the Mirror.
2nd Session (Ando 2) Story Space - Reading and the Viewer’s Stroll.
3rd Session (Ando 3) Space and Image - Space Creation and the Viewer’s Perspective.
4th Session (Ando 4) Recording and Image - Viewing Video and Photography
5th Session (Ando 5) Technology and Life / Lifestyle - Social Problems and Art
6th Session (Miwa 1) Technology and Voice I:Sound Waves and Algorithms, the Two Fields of Computer Music
7th Session (Miwa 2) Technology and Voice II:The Forman Brothers’ Activities: Media Theory
8th Session (Miwa 3) Giving Matari-sama a Try
9th Session (Miwa 4) What is Reverse Simulation Music?
10th Session (Miwa 5) The Development of Reverse Simulation Music
11th Session (Maeda 1) The Discovery of Video: Video and Sound
12th Session (Maeda 2) Experimental Film・Animation, Video Art
13th Session (Maeda 3) The Expansion of the Screen and Live Creation
14th Session (Maeda 4) Photographic Creation in Contemporary Art
15th Session (Maeda 5) Image Creation on the Internet

Textbooks/ Reference Materials

These will be designated or distributed in class.

Art Theory B (Body × Art)

Instructors

Course Objectives/ Description

We will measure the art creation (including media creation) from the three points of . That is, we will try to prove the (im)possibility of responding to the fundamental question: “what even is ‘creative expression’ in the first place?” We will do through using various methods: art-historical investigation, body-theory analysis, and philosophical inquiry. This year in particular we will approach our body-theory analysis from the two directions of medicine and art.

Course Format

Intensive course (classroom lecture)

Course Plan/Overview

  • Art history subject matter: Vermeer, Giacometti, Magritte, Duchamp, Cy Twombly, etc.
  • Body theory subject matter: Ishinha, Dumb Type, Gekidan Taihen, Hijikata Tatsumi, ROSAS, etc.
  • Philosophical subject matter: Kant, Adorno, Derrida, Stiegler, Nihsida Kitaro, etc.
  • Contemporary subject matter: body modification, cosplay, J-POP, SNS, AKB48, etc.

Textbooks/ Reference Materials

These will be introduced in class as necessary.

Art Theory C (Media × Art)

Course Objectives/ Description

The form of creative expression called Media art – which came onto the scene in the beginning of the 1990’s, incorporating upgradable information technology and spanning multiple disciplines – is not just an unprecedented method of connecting old and new media. It can also be thought of as a movement of inventing new media, a way of being that breaks with pre-existing frames. Our day to day lives have started to transform dramatically due to natural disasters and the environment, energy problems, media-mediated spectacles and excessive reliance on these, as well as communication typified by social media. In these times, we must consider anew the significance and potential of media art. This may lead us to reconsider our existence as humans and our relationship to the world.In each class, the guiding instructors will give examples in line with the course’s theme from each of their perspectives; then, we will raise, analyze, and examine various related issues. We anticipate a positive exchange of ideas through classroom discussion.

Course Format

Lecture and discussion

Course Plan/Overview

1st Session (10/11 Maeda) Investigating Interaction
2nd, 3rd Sessions (10/22 all instructors / Shikata) Talk session with instructors: “The Development of Media Art.”
4th, 5th Sessions (10/26 Shikata) Environmental Unconscious
6th, 7th Sessions (11/2 Shikata) The Perspective of “Fringe Studies”
8th Session (11/8 Maebayashi) Media and Perception
9th Session (11/16 Maebayashi) Technology that Creates Sensation
10th Session (11/30 Maebayashi) Place・Perception・Media (1)
11th Session (12/7 Maebayashi) Place・Perception・Media (2)
12th Session (12/14 Akamatsu) Historical Transitions in Mobility
13th Session (1/11 Akamatsu) Social Strategies of Mobility
14th Session (1/17 Akamatsu) Conginitive Transformation of Reality
15th Session (1/25 Akamatsu) Physical Inversion of Reality

Textbooks/ Reference Materials

These will be distributed in class as necessary

Information Society Theory A (Information × Society)

Course Objectives/ Description

All our activities contain some kind of sociality; but, in modern society the contents and form of our social activities have become extremely diverse in tandem with transitions in information technology and information models. On the other hand, social knowledge is provided at every level of society – be it micro, macro, or meta – in the form of learning and problem-solving skills derived from interaction with people. While focusing on the state of the knowledge that society can create and the related information-problems that it contains, we will set about answering the question of how we can “design” society. In this course we will outline what the changing social models and lifestyles demand of information technology; and, conversely, what influence the evolution of information models has had on all sorts of activities and social models within society. Also, we will look at the new, future possibilities for social and information models, all while giving specific examples.

Course Format

Lecture, discussion.
Assignments will be given based on the lectures.

Course Plan/Overview

  • 1st, 2nd Sessions (10/5 Toyoda)
    Architectural Information Studies I: Tearing Down and Expanding Boundaries in the Practical Applications of Materials and Information
  • 3rd Session (10/11 Yoshida)
    Changes in Information Models and Changes in Society (Chronological order)
  • 4th Session (10/25 Yoshida)
    Structural Connections and Social Change (Relational order)
  • 5th, 6th Sessions (11/9 Toyoda)
    Architectural Information Studies II: Meta-design by Algorithm and Attribute Decomposition
  • 7th Session (11/16 Yoshida)
    Assignment Presentation and Discussion on Information Models and Social Change
  • 8th Session (11/30 Yoshida)
    Assignment Presentation and Discussion on Information Models and Social Change
  • 9th Session (12/7 Yoshida)
    Assignment Presentation and Discussion on Information Models and Social Change
  • 10th Session (12/13 Kanayama)
    Society and Memory (1)
  • 11th Session (12/14 Kanayama)
    Society and Memory (2)
  • 12th Session (1/11 Kanayama)
    Society and Memory (Fieldwork)
  • 13th, 14th Sessions (1/18 Toyoda)
    Architectural Information II: Element Breakdown and Meta-design Using Algorithms (2)
  • 15th Session (1/25 Kanayama)
    Society and Memory (Assignment presentation)

Textbooks/ Reference Materials

These will be distributed or indicated as necessary.

Information Society Theory B (Body × Society)

Course Objectives/ Description

“Information and Society” viewed from the lens of Cultural Representation Studies becomes “Body and City.” Of course, “body” does not only refer to people’s bodies, and “city” does not only refer to a space where people live and work. The city can be interpreted as a body; and at the same time, the body can be read as a city. These form a fragile but continuous relatum barely connected by an “and.” However, we cannot exist without either one of those elements. In that way, we will introduce excellent examples from the past in an attempt to extrapolate upon these to determine the extent to which the body exhibits characteristics of the city. Our goal is for students to experience in the classroom the dynamism of the body and the city, two elements which sometimes show the same aspect, and at other times excite intractable conflict.

Course Format

The three professors will each lead solo lectures as well as discussion format classes.

Course Plan/Overview

  • Benjamin on the city
  • Benjamin on photography
  • Beckett on theatre
  • Beckett on the city
  • Barthes on photography
  • Barthes on the media
  • Foucault on insanity
  • Foucault on the prison

Textbooks/ Reference Materials

These will be introduced in class.

Information Society Theory C (Media×Society)

Instructors

Course Objectives/ Description

Historically, it can be said that general media began as an instrument of war; but, following that, mass media developed and has come to have a close influence our daily lives. However, mass media’s conventional role is about end, and its future diversification is predicted. When we take this societal background into account, it becomes necessary not to passively absorb media as in the past, but rather to select and use the proper media after grasping its characteristics, or to customize it depending on the situation; and, furthermore, to create it oneself. For that purpose, this course will leap beyond conventional perspectives to try and grasp the present diversification of media from new angles. We will also examine and analyze a wide array of examples. Our goal is to explore new proposals derived from these case studies, and to search for an ideal image of future media.

Course Format

Classroom lecture, presentations, workshops, etc.

Course Plan/Overview

1. Course Introduction + Media and Society

We will outline the course, take up the issue of media's contemporary state, and get a general overview of the relationship between media and society, and perhaps media and the individual.

2-4. Methods for Investigating Media and Society

We will look at the tangent of media and society in the internet age through variegated points of view, and we will learn about processes and mechanisms for designing them.

5-7. Extracting Issues of Media and Society

We will examine the current situation of media and society through research and fieldwork, and we will attempt to extract problems from this.

8-11. Analysis and Proposals Concerning Media and Society

We will simultaneously explore a new value analysis of the problems we identified and propose ways of addressing them. We will use this to concretely test the methods and mechanisms that we have previously learned.

12-14. The Future of Media and Society

We will examine the trial results of our proposed media and think about the future of media and society.

15. Summary and Conclusion

Textbooks/ Reference Materials

These will be distributed or indicated as necessary.

Design Theory A (Information × Design)

Course Objectives/ Description

As people’s interests and their desired objects of consumption shift from material goods to information, we see a change in values: where before people desired to own things, they now desire the right to use that thing when necessary. On the other hand, the transmission of information, cost of access, and the amount of information one can deal with is continuously increasing. At times, emotions and conduct are jumbled about due to the quality of information on the side of the sender inconsistent with the recipient’s ability to analyze it.

Each instructor will bring forward topics related to “technology,” a concept situated between “information” and “design,” in order to search for other choices and possibilities available to us today, a time in which much emphasis is placed on rationality. We will deepen our discussion, each speaking from different perspectives about how the relationship between information and design has changed from the past to the present and how this information has kept pace with technology.

Course Format

Lecture and discussion.

Course Plan/Overview

  • Introduction (Overview of the lectures)
  • The Democratization of Graphics Technologies
  • Digital Fabrication (Technology introduction/ examples)
  • Digital Fabrication (Customization)
  • Before and After STP (Typography)
  • Idea Sketch (Design thinking・service design)
  • Design Related to Exhibitions
  • Exhibitions and the Archive Process (Replay, reproduce, redisplay)
  • Tangential Planes of Art and Design
  • Interactive Art (Overseas trends)
  • Design that Changed Eras (Branding)
  • Design that Changed Eras (Products)
  • Design that Changed Eras (Corporate)
  • What Design Do You Think Changed Eras?
  • Conclusion

Textbooks/ Reference Materials

These will be distributed as necessary.

Design Theory B (The Body ×Design)

Course Objectives/ Description

Together with the evolution of technology, the functions of our bodies are being expanded and transformed even if we do not realize it.
Through these lectures, we will consider how the body will be designed if current trends in research and technology continue. In the first half, we will connect to these trends through group reading; and, in the latter half, we will use this knowledge to consider and make proposals about how the body will change in the future. Here particularly we will glimpse at an image of the future presupposing the “pre-singularity,” a preliminary step toward the singularity.

Course Format

Lecture, group reading and discussion

Course Plan/Overview

  • An overview of the singularity
  • Group reading to understand the singularity
  • Examining current leading research
  • Discussing where technology is headed

Textbooks/ Reference Materials

  • Kurzweil, Ray. The Singularity is Near: When Humans Transcend Biology. NHK Publishing, Inc.
  • Saito, Motoaki.The Singular Impact of Exa-Scale Computing on Us. PHP Institute.
  • Roger Penrose Beyond the Doubting of a Shadow, Chikuma Shobō.
  • Kevin Kelley, Understanding the 12 Technological Forces that Will Shape Our Future, NHK Publishing.
  • Yuval Noah Harari, Sapiens: A Brief History of Humankind, Kawade Shobō Shinsha.

Others will be distributed or indicated and necessary.

Design Theory C (Media×Design)

Course Objectives/ Description

The theories and methodologies of design are not rules that must be strictly followed, but are rather lenses through which one looks at the world in order understand complex issues. In order to deeply understand and learn these things, it is important to not merely know them as information, but to experience them hands-on. In this class, we focus on service design, a topic with which the two instructors have practical experience in the field, and read recent books, articles and papers on the subject. At the same time we will actually experience of parts of the methodologies we study in order to deepen our understanding. In this way, students will enhance their thinking by studying the methodologies, theories, and endeavors of people who came before who can serve as references for their work on their graduate research.

Course Format

The basic format of the course is as follows: Each student is assigned a text from the appointed list. The student will carefully read and summarize the text, then give a presentation. Based on this, we will deepen our understanding through a discussion from the class members' perspectives. This we be repeated each session. English will be the basic language of communication.

Course Plan/Overview

Students will take turns reading and presenting, and the class will have a discussion based on this.

Textbooks/ Reference Materials

Appropriate texts in English or Japanese will be decided when the course begins. For your reference, last year we read English papers related to service design.

Project Techniques Seminar

Course Objectives/ Description

This is an omnibus course whose goal is to provide students with training in advanced manufacturing equipment – the arms and legs of creative expression – and to help them acquire the practical skills that are its eyes and ears, all of which they will implement in the Project courses. Students practice identifying problems in contemporary society and thinking of ways to solve them; through this, we aim teach them how to build theories that will serve as a foundation for practical concerns and as a basis for a multifaceted perspective rather that one of non-self-sufficient specialization. We also aim to teach students specific research methods to be used throughout the process of writing a report: the acquisition of research skills, the cultivation of the ability to use facts to support knowledge which forms the basis of those skills, basic theories, and data collection/analysis for writing papers and developing investigation methods. By diligently proceeding along this research path and summarizing each step as “mini research” we will engage in academic training, considering how to reconfigure our theories regarding those skills and practices required by researchers in any field. The purpose of this training is to grasp the matters before us from multiple perspectives and convey the results of our findings in an academic paper.

Course Format

Lecture, presentation, workshop

Course Plan/Overview

Reading Papers:

We will learn how to read efficiently and how to examine papers, skills which are invariably necessary when writing a research paper.

Structuring Contents:

We will learn those things which one needs to know when writing a paper: the function of the paper, its rules, etc.

Social Research/ Behavioral Analysis/ Statistical Analysis:

We will learn analysis and investigation techniques for understanding user reactions and intentions without leaving any out. These techniques are to be used in the initial assessment of needs and identification of problems, as well as to the evaluation of prototypes during the feedback phase.

Computer Science:

We will learn engineering methods that involve information processing, incorporating programming, etc.

3D Printer/ Laser Cutter Seminar:

We will learn the latest modeling techniques from the use of laminate 3D printers to the operation of Computer-Aided Design. Likewise, we will also learn how to use laser cutting and engraving machines, aiming to strengthen our prototype-modeling ability.

Textbooks/ Reference Materials

Texts will be distributed at the appropriate time, and will be introduced in class as necessary.

Information Design Seminar

Course Objectives/ Description

Using research on design methods and thought diagrams, we will investigate the validity of design thinking and development methodologies. Setting a concrete theme for our work, we will come to understand the complex reciprocal information-relationship that connects user to object, engage in design development and prototyping, document our work, and improve our presentation skills. Through lectures and seminars, we will examine information design as it relates to media, focusing on internet-based graphic design methods, and we will come to understand the structure of design within web design. The concept of web “information architecture” will become prevalent as people now recognize the important of structure, and will come to understand the structuralization of design within web design. While studying the basic modeling languages of graphic design, we will deepen our understanding of design that effectively conveys a message.

Course Format

Lecture, practice, and discussion.

Course Plan/Overview

Instructor: Furukata (8/23)

We will learn algorithmic techniques for creating graphics. "Drawing and painting" generally refers to graphic creation by hand using a brush or writing implement; however, in this class we will use programming to construct "systematic" drawings. With manual tools, one can incorporate bodily inflections into the work, but it is difficult to make this work repeatable, regular, and mass-producible. We will utilize the JavaScript function packaged with Illustrator to experientially study methods of algorithmic drawing via computer.

Instructor: Andreas Schneider (9/4)

  1. Overview of Design Thinking Methods and Models
  2. Introduction to Design Factors: Background, Design Specific Views, Extended Views
  3. Identification of Specific Use-Cases
  4. Analysis and References
  5. Proposition
  6. Conclusion / Presentation

Instructor: Nakaya (9/8)

Documentation and presentation.

Textbooks/ Reference Materials

Texts will be introduced and distributed as necessary. .

Media Design Seminar

Course Objectives/ Description

We will systematically study design – a field whose domain has been expanded been expanded by digital technology – from print to photography and electronic media. We will also study those areas of knowledge peripheral to design and thereby investigate the confluent relationship of these elements.

Course Format

Workshop and intensive lecture

Course Plan/Overview

  • Influential relationship of media 1 (Designing Program)
  • Influential relationship of media 2 (Parametric Design)
  • Communication via characters 1(Typeface Design)
  • Communication via characters 2 (Typography)
  • Communication via illustrations 1 (Infographics)
  • Communication via illustrations 2 (Data Visualization)

Textbooks/ Reference Materials

None in particular. Will be distributed if necessary.

Interactive Media Seminar

Instructors

Course Objectives/ Description

Through the individual fabrication of interactive electronic devices, we will experience the process of production from generating an idea to circuit-board-mounting, programming, modeling, and presentation.

While using designated materials and devices, we will conduct repeated trial runs of various interactions.Then, we will complete our own original works by adding elements related to our research. Students are free to choose the format for their work; it can be an exhibition, performance, etc. They will present their work and discuss it with the class.

Course Format

Production practice and discussion.

Course Plan/Overview

  • Overview: The Transformation of Sculpture and Kinetic Art to Interactive Art.
  • Playing with Materials
  • Accumulating Sensation and Prototyping
  • Electronic Circuits and Measuring Methods
  • Exhibition and Discussion

Textbooks/ Reference Materials

These will be introduced in class as necessary.

Practical Project Studies I・II・III・IV

Course Objectives/ Description

The Project Course, made up of Practical Project Studies I・II・III・IV, is one of the most characteristic courses of our school. This important course serves as the framework for students’ graduate research. Through these interdisciplinary projects, we endeavor to measure the social significance of media creation, share the results of our work with society, and maintain an environment of strong collaboration with those outside the school. By means of these cooperative activities, students acquire experience and know-how in multiple fields, and seek to effectively synthesize this knowledge for use in still more advanced research and technological development. Also, while pursuing educational effectiveness within the school, we hope to give back to the outside by sharing the results of our projects. These interdisciplinary course aims to help students develop a comprehensive perspective, planning skills, organizational ability, and management experience in guiding an idea through to its realization. For more details about each project, please refer to the project syllabi under the 2.9 project list.

Course Plan/Overview

Each project group proceeds with research based on regularly (and irregularly, if necessary) scheduled meetings. The results of this research will be presented at forums of academic exchange like conferences or research groups, exhibitions foreign and domestic, and events like the Open House put on by our school.

Special Research 1・2A・2B

Course Objectives/ Description

Designated instructors will guide students in graduate research, its process, and its problem-solving methodologies. The primary faculty members are all qualified to guide research in their field. Should a student choose to tackle a subject that spans multiple fields, a similarly qualified secondary faculty member will be assigned. Even in the case of multiple advising faculty members, the lion’s share of responsibility will fall to the main faculty advisor. Final evaluation will be conducted by the main advisor and the two secondary advisors. Special Research 1 and 2 correspond to each student year. Second year students take 2A in the first half of the year, and 2 B in the second. To receive credit in this course, students receive do not just receive active guidance, but must also conduct interviews with multiple faculty members (explaining their intentions for their research / productions as well as its contents and their current state of progress, and then receiving the instructors’ opinions and advice.) First year students must present their work, give a research progress report, and submit a written progress report during the Annual Work Presentation. Second year students must give a research proposal, progress report, final presentation, etc., in order to obtain their degree.

Course Format

Seminar, consultation, presentation.

Course Plan/Overview

  • Annual Work Presentation.
  • Research reports (Research proposal, progress report)
  • Special consultation

Textbooks/ Reference Materials

Suitable materials will be introduced by the faculty advisor in accordance with the student's research topic.