GSD Course Bulletin - Spring 2014

This term's information was last refreshed on 12 MAY 2015 14:55:41.

Courses taught by Krzysztof Wodiczko

02481: Projection/Installation/Intervention (VIS 0248100)

Seminar Workshop - 4 credits - Limited enrollment
Thursday 3:00 - 6:00   40 Kirkland 1D

Krzysztof Wodiczko

Course Description

This course will not meet on Thursday, January 30th. Instead, a orientation session will be held from 11:30-1 on Friday, January 24th in room 505. Students interested in this course should attend this meeting.

Cultural Prosthetics: War Veteran Equipment

Latin: Projectum, Proicere:
Pro: forth, Jacere: throw, throw-forth (in place and time), action, process, state, condition, technique, effect of throwing out, away and forth, pushing out, appearing, articulating itself on the surface, sticking out, standing out.

[1] To come, appear, or lie between two things.
[2] To come or occur between two periods or points of time.
[3] To occur as an extraneous or unplanned circumstance.
[4] To involve oneself in a situation so as to alter or hinder an action or development.

[1] Of or relating to the ideas, customs, and social behavior of a society.
[2] Of or relating to the arts and to intellectual achievements.

[1] Specialty concerned with the design, construction, and fitting of artificial devices - prostheses - to replace or augment missing or impaired parts of the body.
[2] Pieces of flexible material applied to actors' faces to transform their appearance.

In the coming years, one in three returning veterans from wars in Iraq and Afghanistan may be suffering from war-related post-traumatic stress, and they may consequently affect the emotional universe of seven to nine people who are close to them.

The objective of this course is to advance knowledge and design skills for cultural prosthetics by focusing on the conditions that arise in post-war life. While ergonomic requirements must be addressed, psycho-social needs must also be addressed through communication media.

According to trauma theorist and clinician Judith Herman the struggle for recovery from trauma by finding a narrative voice through testimony has a greater chance of success when performed as a public speech act - even more so when directed as a social utterance to and on behalf of others.

“Public truth-telling” as social action has a psychologically restorative power. At the same time, it contributes to social justice and the democratic process.

In order to counter new forms of social alienation and “disarm” cultural prejudice, there must be the advancement of artistic methods for designing, developing, experimenting with and socially implementing devices that facilitate cross-cultural communication for veterans.

Cultural prosthetics is a new techno-artistic and socio-aesthetic field that can inspire, encourage and assist this population by giving them methods for opening up and communicating with a greater public to the point of playful virtuosity.

Through the design of cultural prostheses, students will seek original responses to the social and psychological impact of present-day wars. The class will focus on the situation of war veterans and their families (who are war veterans in their own right), on the overwhelming experience of civilians caught in the theatre of war, and on society’s incomprehension of the emotional experiences of war.

We will explore core questions surrounding the design, development, equipping and “fitting” of this new type of post-war prostheses. What is necessary for restoring a veteran’s emotional, cultural, and social life? Through design, how can communicative and performative techno-devices be combined and made usable to veterans and their families so that they may challenge their own forms of alienation?

We will conduct ergonomic, psychological, and social research in collaboration with potential users and fabricators and will use creative software, 3D printing, physical modeling, and hardware design / integration (micro-projectors, display screens and other communication media devices).

The workshop will include visits to groups who are working on prosthetics, artificial intelligence, and robotics at Harvard, MIT’s Media Lab, and within the Boston area. There will also be the potential to meet with veterans groups and medical professionals who are advocating and developing new methods of treatment for psychologically and physically wounded soldiers and their families.

GSD iCommons Website

09301: Independent Thesis in Satisfaction of Degree MArch (ADV 0930100)

Research Seminar - 12 credits

Jeffry Burchard, Preston Scott Cohen, Eric Howeler, Timothy Hyde, Florian Idenburg, Alex Krieger, Sanford Kwinter, Grace La, Christopher Lee, Mark Mulligan, Paul Nakazawa, Antoine Picon, Ingeborg Rocker, Mack Scogin, Jorge Silvetti, Maryann Thompson, Charles Waldheim, Elizabeth Whittaker, Krzysztof Wodiczko, Cameron Wu, Ed Eigen

Course Description

Following preparation in GSD 9203, each student conducts a design exploration that tests and expands the thesis.Prerequisites: GSD 9203

GSD iCommons Website

09305: Master of Design Studies Final Project (ADV 0930500)

Architecture, Landscape Architecture, Urban Planning and Design
Independent Study - 8 credits

Jana Cephas, Joyce Klein-Rosenthal, Yanni Loukissas, Erika Naginski, Krzysztof Wodiczko, Susan Snyder, George Thomas

Course Description

The Final Project will consist of a theoretical/position component, and of a practical/experimental component. The scope of each of the two components will be determined according to the student's preference, and considering the specific character of the project in consultation with the area coordinator and the advisor. In exceptional cases the final project may be solely based on (expanded in scope and ambition) a theoretical component. A theoretical, written component is required for all final projects. The final project is equivalent to 8 units of coursework.

Theoretical/Position component

A written document presenting the original contribution to, and original argument for your artistic/design/research project defended within the context of current discourses in relevant disciplinary fields.

The theoretical argument must present the original methodology of the project and position it in relation to:

Practical/Experimental component

This component involves an original artistic/design project conceived, developed and presented as a public presentation, exhibition, installation, performance, action, and intervention in a physical or/and electronic space. The public presentation is a crucial part of the final project and is required. The Final Project's printed presentation as publishable document (that contains the theoretical argument and a graphic and textual presentation of the practical/experimental component)is also required.

GSD iCommons Website

09662: Proseminar in Art, Design and the Public Domain (ADV 0966200)

Seminar - 4 credits
Wednesday 3:00 - 6:00   40 Kirkland 1D

Krzysztof Wodiczko, Yanni Loukissas

Course Description

The proseminar will serve as a space for artistic and design experimentation, and discussion intended to foreground students' emergent interests, concepts, and methodologies toward their analytical, interventional, and transformative practice.

In this course the students will be developing and sharing their independent artistic work while exploring and discussing potential subjects for the final projects in the Art, Design and the Public Domain concentration.

Through presentations, readings, precedent studies and critique sessions—all student-led—the course will build towards a shared set of questions about the changing meaning of public realms—physical and/or virtual.

In the first half of the proseminar, students will select and present relevant examples of theory and practice as a means of framing their own intellectual and artistic interests.

In the second half, students will focus primarily on the development of artistic and design experiments, with opportunities to test these projects with outside critics, practitioners and publics.

The structure of the proseminar will be creatively interrupted by invited talks and workshops from internationally accomplished artists and designers whose work critically contributes to the discursive life and well-being of the public domain.

In order to encourage the broader GSD community to engage with the critical themes and questions of Art, Design and the Public Domain, some of the sessions with invited guests will be open to the entire school.

The proseminar will also be occasionally diverted by field trips to the relevant public sites and events, meet important artist and designers, visit public art organizations and agencies as well as prominent working studios.

Evaluation will be based on seminar participation and presentations as well as the quality and ambition of art and design work.

This course is limited to and required for students in Art, Design and the Public Domain MDesS track.

GSD iCommons Website

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