August 10, 2009 • 12:50 am 0
The Dynamic Media Institute at Massachusetts College of Art and Design is a 60-credit MFA graduate program in communication design. To accommodate various individual schedules and allow working professionals to participate in the program, DMI offers students three tracks: full-time in four semesters and part-time in five or six semesters. The only difference between tracks is the distribution of elective credits. DMI also offers a one-year fellowship — non-matriculating track — to which candidates are accepted based on specific project proposals.
First Year (or completion of 30 credits)
The first year of study is devoted to developing the intellectual foundation and creative processes for dynamic media design. Students gain expertise in interface and experience design through individual or team projects, and through research in design history and theory, structured within required design studio and seminar courses. It may take a student a minimum 2 (full-time) or maximum 4 semesters (part-time) to reach 30 credit benchmark which is, together with the approved preliminary thesis proposal, a prerequisite to proceed with MFA thesis development.
Second (or third year) / MFA thesis
All students in their second (or third year) of study in the Dynamic Media Institute MFA program are required to develop a substantive thesis that identifies, researches, and solves a communication problem using dynamic media. The majority of work toward the MFA thesis is structured within thesis project courses by individual agreement between the student and faculty advisor, who guides the program of study, and provides ongoing feedback and evaluation. A comprehensive written thesis document is developed within thesis seminar courses. The final thesis document becomes a part of the graduate design archives.
August 10, 2009 • 12:46 am 0
“The Media Lab is a community of inventors—a community where faculty members and students from numerous, seemingly unrelated disciplines work together, “atelier style,” as members of research teams, doing the things that conventional wisdom says can’t or shouldn’t be done.
Students come to the Media Lab through the Program in Media Arts and Sciences (MAS), based within MIT’s School of Architecture + Planning. Each year, the program accepts approximately 30-40 master’s and PhD candidates. Their backgrounds range from computer science to psychology, music to graphic design, architecture to mechanical engineering.
Once here, they work on:
- tools for learning and expression
- human adaptation and augmentation
- ways to interface with information and each other
- community and communication in both the virtual and physical worlds”
GRADUATE SUBJECT LISTINGS
|MAS 551 (G)
|Design Without Boundaries (Arranged) R 10-1pm in NE18-4th floor|
|MAS 672 (H) Maes/Ishii||New Paradigms for Human-Computer Interaction (2-8-2) R 3-5pm in E15-209|
|MAS 690 (H) Davenport||Special Topics: The Guest Book Project (0-9-0) M 6-8pm in E15-443|
|MAS 731J (H) Minsky||The Society of Mind (2-0-10) W 7-9pm in 32-155|
|MAS 771 (H) Picard/Breazeal||Autism Theory and Technology (2-0-10) M 10-12pm in E15-443|
|MAS 790 (H) Resnick/Brennan||Special Topics: Qualitative Approaches to Research (0-6-0) MR 5:30-7pm in E15-020|
|MAS 826 (H) Machover||Projects in Media and Music (3-3-6) W 2-4:30pm in E15-443|
|MAS 882 (H) Boyden||Applications for Neuroengineering (1-8-3), T 3:30-4:30pm in E15-443|
|MAS 960 (H) Small||Special Topics: Spatial Information Design (0-12-0) TR 10:30-12pm in E15-135|
|MAS 961 (H)
|Special Topics: How to Make Something That Makes (almost) Anything (3-9-0) M 1-4pm in E15-135|
|MAS 962 (H) Holtzman||Special Topics: Social TV: Creating New Connected Media Experiences (0-12-0), Lecture T 10:30am-12:30pm in E15-443, Recitation R 10:30am-11:30am in E15-443|
|MAS 963 (H)
|Special Topics: New Media Storytelling (0-12-0) R 1-3pm in E15-443|
|MAS 964 (H) Raskar/Bonsen||Special Topics: Imaging Ventures: Cameras, Display and Visual Computing (0-9-0) W 7-8:30pm in in E15-209|
|MAS 965 (H) Herr||Special Topics: Human 2.0 (0-9-0) T 2-4:30pm in E15-135|
|MAS 966 (H) Raskar||Special Topics: Camera Culture (0-9-0) W 3-5pm in E15-135|
|MAS 967 (H) Rotberg||Special Topics: NextLab II: Launching Mobile Ventures for the Next Billion Consumers (3-1-8) TR 2:30-4pm in 56-154|
|MAS 967 (H) Mitchell||Special Topics: Design Workshop: Smart Bicycles and Mobility on Demand Systems (12-21 units to be arranged) W 2-5pm in E15-001|
|MAS 968 (H) Csikszenthmihalyi||Special Topics: Call For Action (0-12-0) T 3:30-6pm in E15-209|
|MAS 968 (H) Greenslit||Special Topics: Finance: Culture, Technologies and Markets (0-12-0) MW 9:30-11am in 4-253|
|MAS 969 (H) Paradiso||Special Topics: Building Cross Reality Environments (0-12-0) T 12:30-3:30pm in E15-235|
Each Media Laboratory faculty member and senior research scientist leads a research group that includes a number of graduate student researchers and often involves undergraduate researchers.
June 27, 2009 • 9:14 am 0
Annually, the Jan van Eyck organises a receptive recruitment campaign. Candidates are requested to submit proposals for research and/or production and to indicate the length of the desired research period (minimum 1 month, maximum 24 months). Candidates can apply for a one or two year period starting at the academic year on 1 January each year.
The selection is carried out departmentally (Fine Art, Design, Theory). In other words, candidate researchers are asked to relate to a particular discipline – this does not necessarily mean the submitted proposal has to fit within the generally valid definition of the chosen discipline: it is all to do with the independently formulated relationship to the discipline in question. Through this receptive recruitment the Jan van Eyck can accommodate unique individual research proposals which cannot be realised elsewhere.
01.01.07 – 31.12.07
My research is into the topic of dyslexia. The project intends to find possibilities to improve the abilities of dyslexic people to communicate, especially in written language. Dyslexia is characterised by a phonological processing deficit, possibly due to a deficit in more general auditory processing. That means its not primarily a visual perception problem.
I investigate reading disabilities in different writing systems and languages, like, for example, non-alphabetic scripts that work with ideographic characters, whole syllables instead of phonemes ( i.e. the Chinese writing system). I mean to compare the underlying mechanisms involved in alphabetic and logographic writing systems. English and Chinese are two languages that differ in almost every aspect: phonology, orthography, semantics and syntax. Thus, Chinese speakers who suffer from dyslexia have different brain abnormalities than English-speaking dyslectics. Reading difficulty in Chinese does not only result from a poor quality mapping of orthography to phonology, but also from a substandard connection between orthography and semantics.
Learning to speak Chinese is a difficult mental task, requiring the memorization of about 5000 to 6000 characters, each corresponding to a different word. As a result, Chinese speakers have trouble converting symbols into meanings, not letters into sounds.
Some dyslexic readers of languages with the alphabetical writing system try to memorize – instead of reading single letters and syllables – whole words like pictures: they read words logographically instead of synthetically. This compensation strategy is difficult to apply to abstract words that are hard to imagine.
A possible graphical improvement could be a tool to invent and use signs with elements of the alphabet for the difficult words. It should be used in a very individual way, as a kind of crib, the objective being that after some practise it would not be needed anymore and the ‘normal’ alphabet could be used. So far, I have been working with a school class in Switzerland to test and use some ideas of how to find elements for different types of words.
There are different kinds of strategy used by the dyslexic readers of different European languages. For example, the orthography of Italian is much closer to spoken language. This makes it possible to read while applying the rules, so dyslexic people are able to read relatively correctly, though extremely slowly: they analyze each sound according to the rules, they don’t read automatically.
Using the criteria I became familiar with, I started to design a typeface which should be easier to read for dyslexic readers and easier to learn for dyslexic (and non-dyslexic) children. So far, I have developed different versions and will start to test these with a group of dyslexic children as well as a group of dyslexic adults.
June 26, 2009 • 9:15 pm 0
history of communications- colour coded timeline
“I believe that the Information Age is just now starting and that we have been in the Age of Data. This has been characterized by a proliferation of relatively meaningless and useless data that has little impact on our lives. I am dedicated to transforming data into information and then into knowledge and wisdom, as well as teaching others to do the same. These steps begin by understanding the mechanics of organization and presentation. It is also imperative to know which media work well for what kinds of messages: text, sound, voice and music, animation, video, illustrations, photographs, and diagrams, video, and other forms. Using media inappropriately can destroy a message’s meaning and impact.
One of the best ways to communicate is through conversations and this is the next step for interactive products to take. It is also something that people must be helped to do well.
Communication is more than merely talking or writing. It is the most important experience with which we live. It is the key to successful business, understanding, and interaction. Good communication is critical to all interaction, whether between two friends, or many strangers. Successful communication relies on literacy with all forms of communication, including, text, images, sounds and music, voice, diagrams, numbers, and video for both producers and consumers. Being able to communicate clearly means being able to choose which medium is most appropriate to the message.
All communication is viral in nature. This is to say that the mechanisms for the creation, transformation, and transmission of all messages are analogous to those for genetic material. There are, in effect, ecologies of information and meaning that are woven into all aspects of our communications, including how we think, store, and retell our thoughts and experiences. It is my current goal to understand these mechanisms in order to build a taxonomy with which to use to create even more successful messages and help others to understand how to communicate better.”
June 25, 2009 • 3:49 pm 0
June 17, 2009 • 3:23 pm 0
The Illustration as Visual Essay program has been created to help students refine and define their personal vision. The program is difficult and demanding. We structure our curriculum to broaden students’ opportunities as figurative artists far beyond the conventional gallery wall to creating within the full range of 21st-century multimedia. We do this by focusing on intense, personalized teaching with two basic goals: 1) to fuse the development of creative thinking, technical and communication skills in order to express a personal vision, 2) to understand how and where to apply the work produced and give students the confidence to choose making art as a way of life and not simply a career option.
May 30, 2009 • 11:10 pm 0