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“Our brightest blazes of gladness are commonly kindled by unexpected sparks.” —Samuel Johnson.
UPDATED 2026, 01, 01
Welcome to a new semester, a new reality and a new way of thinking about a class.
Democratic Technologies 224 is an interdisciplinary course that examines how art, media, and technology shape—and are shaped by—democratic life. Students explore foundational questions like “What is art?” and “What is creativity?” while analyzing visual culture, conceptual art, and contemporary media practices. The class emphasizes both critical reflection and hands-on making.Over the semester, students engage with topics such as copyright and creativity, artificial intelligence and media, multimodal storytelling, glitch aesthetics, immersive media, projection mapping, sound design, and generative media. Readings and resources encourage students to think critically about emerging technologies, including AI, and their social, political, and ethical implications.
Project-based work is central to the course. Assignments like “Prompts to Prototypes,” magazine production, group podcasting, subvertisements, and digital documentary production ask students to experiment with tools and formats while addressing real-world issues. The course also highlights influential figures such as Brian Eno to situate creative practice within broader cultural histories.
Overall, Democratic Technologies 224 invites students to become reflective creators and informed critics of media, using artistic and technological practices to question, communicate, and participate in democratic culture.
Always bring the computing tech of your choice to class and be ready to take pictures, notes, and audio as you will keep a weekly log of activities in your online portfolio.
See you Wednesdays @ 2 PM Martire Center W216
Democratic Technologies 224 is an interdisciplinary course that examines how art, media, and technology shape—and are shaped by—democratic life. Students explore foundational questions like “What is art?” and “What is creativity?” while analyzing visual culture, conceptual art, and contemporary media practices. The class emphasizes both critical reflection and hands-on making.Over the semester, students engage with topics such as copyright and creativity, artificial intelligence and media, multimodal storytelling, glitch aesthetics, immersive media, projection mapping, sound design, and generative media. Readings and resources encourage students to think critically about emerging technologies, including AI, and their social, political, and ethical implications.
Project-based work is central to the course. Assignments like “Prompts to Prototypes,” magazine production, group podcasting, subvertisements, and digital documentary production ask students to experiment with tools and formats while addressing real-world issues. The course also highlights influential figures such as Brian Eno to situate creative practice within broader cultural histories.
Overall, Democratic Technologies 224 invites students to become reflective creators and informed critics of media, using artistic and technological practices to question, communicate, and participate in democratic culture.
Always bring the computing tech of your choice to class and be ready to take pictures, notes, and audio as you will keep a weekly log of activities in your online portfolio.
See you Wednesdays @ 2 PM Martire Center W216
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CLASS TOPICS
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Introduction:
Understanding Democratic Technologies
Technology has always reflected the balance of power between creators, corporations, and consumers. In most of modern history, that power structure has resembled a pyramid: ideas, tools, and innovations have flowed downward from a few powerful entities—corporations, governments, and media institutions—to the many.
Consumer technologies, from early radios to televisions to smartphones, have largely been designed to receive rather than to respond.
Early forms of media feedback offered only limited participation. Listeners could call in to radio shows, write letters to the editor, or contribute their viewing data to the Nielsen ratings. These channels were slow, selective, and ultimately controlled by those at the top of the communicative hierarchy. For decades, the public was spoken to rather than with.
Then came the digital revolution. The internet and personal computing cracked open that pyramid, enabling individuals to create, share, and respond in real time. Suddenly, the tools for media creation—once reserved for studios and networks—were in the hands of everyday people. Laptops, digital cameras, software, and later smartphones became instruments of self-expression. Whether broadcasting to millions or narrowcasting to a dedicated few, individuals entered the public sphere not just as consumers, but as creators.
Yet even in this new digital democracy, disparities remain. Only a small fraction of voices command massive audiences, while most of us engage in smaller, more personal forms of participation. The potential for democratization is real—but uneven.
Now, a new transformation is unfolding: the rise of artificial intelligence. AI represents the next phase in this long evolution of technological empowerment. For the first time, people can create sophisticated outputs—images, music, text, and designs—without needing specialized skills or tools. What AI offers is not just assistance but amplification: the ability to do things one could not otherwise accomplish alone. This is democratization in its purest form—the lowering of barriers between idea and expression.
However, this new power brings both promise and peril. When creation becomes as simple as giving a prompt, what becomes of the craft of making? If machines can realize our visions instantly, do we risk losing the slow, human process of learning, shaping, and struggling that gives meaning to creativity?
Like fire, AI can warm a home or burn it to the ground. The choice is not whether to embrace or reject it entirely but to understand it—to use it deliberately, ethically, and creatively.
Democratic Technologies explores this dynamic: how tools that empower us can also redefine what it means to be human creators in a world where technology increasingly listens, learns, and responds?
Understanding Democratic Technologies
Technology has always reflected the balance of power between creators, corporations, and consumers. In most of modern history, that power structure has resembled a pyramid: ideas, tools, and innovations have flowed downward from a few powerful entities—corporations, governments, and media institutions—to the many.
Consumer technologies, from early radios to televisions to smartphones, have largely been designed to receive rather than to respond.
Early forms of media feedback offered only limited participation. Listeners could call in to radio shows, write letters to the editor, or contribute their viewing data to the Nielsen ratings. These channels were slow, selective, and ultimately controlled by those at the top of the communicative hierarchy. For decades, the public was spoken to rather than with.
Then came the digital revolution. The internet and personal computing cracked open that pyramid, enabling individuals to create, share, and respond in real time. Suddenly, the tools for media creation—once reserved for studios and networks—were in the hands of everyday people. Laptops, digital cameras, software, and later smartphones became instruments of self-expression. Whether broadcasting to millions or narrowcasting to a dedicated few, individuals entered the public sphere not just as consumers, but as creators.
Yet even in this new digital democracy, disparities remain. Only a small fraction of voices command massive audiences, while most of us engage in smaller, more personal forms of participation. The potential for democratization is real—but uneven.
Now, a new transformation is unfolding: the rise of artificial intelligence. AI represents the next phase in this long evolution of technological empowerment. For the first time, people can create sophisticated outputs—images, music, text, and designs—without needing specialized skills or tools. What AI offers is not just assistance but amplification: the ability to do things one could not otherwise accomplish alone. This is democratization in its purest form—the lowering of barriers between idea and expression.
However, this new power brings both promise and peril. When creation becomes as simple as giving a prompt, what becomes of the craft of making? If machines can realize our visions instantly, do we risk losing the slow, human process of learning, shaping, and struggling that gives meaning to creativity?
Like fire, AI can warm a home or burn it to the ground. The choice is not whether to embrace or reject it entirely but to understand it—to use it deliberately, ethically, and creatively.
Democratic Technologies explores this dynamic: how tools that empower us can also redefine what it means to be human creators in a world where technology increasingly listens, learns, and responds?
LEARNING OUTCOMES:
1. Students will be instructed in the use of digital communication technologies and will be able to demonstrate the ability to create and disseminate media texts with content that meets academic research and writing requirements.
2. Projects will include primary sources and students will interview experts on course related topics for their projects.
3. Students will demonstrate proficiency in disseminating, displaying and curating their work through on-line portfolio creation.
1. Students will be instructed in the use of digital communication technologies and will be able to demonstrate the ability to create and disseminate media texts with content that meets academic research and writing requirements.
2. Projects will include primary sources and students will interview experts on course related topics for their projects.
3. Students will demonstrate proficiency in disseminating, displaying and curating their work through on-line portfolio creation.
WHAT THIS CLASS WILL ASK OF YOU:
1. Creative Projects – There will be approximately 5 projects assigned this semester. All projects will be based on readings in specific areas of media and society and will essentially be artistic responses to the readings using media technology. The projects have very tightly controlled parameters to help keep your efforts focused on learning the techniques each projects requires for completion. There will be several class sessions spent introducing the concept, arranging resources, shooting, editing, critiquing and presenting your work.
2. Attendance – Being in class, having your reading and assignments done when required is essential for success in this class. Student that do not keep up with the workflow have regularly failed to complete the course or have received poor grades. Please make arrangements for one-on-one tutorials and critiques with me as far in advance as possible. It is solely the student’s responsibility to keep up with the course in the event of an absence.
3. Final Presentation – The exhibition of your work is a critical step in production. All student work will be displayed at the MAX (Read the MAX description at end of syllabus) You will be required to attend the MAX with all of your work from this semester on display. We will work step by step on creating a digital portfolio and printed versions of the required posters during the last few weeks of the course.
This semester the Max is April 28 11am to 12:15 in the Martire SCMA office Suite.
1. Creative Projects – There will be approximately 5 projects assigned this semester. All projects will be based on readings in specific areas of media and society and will essentially be artistic responses to the readings using media technology. The projects have very tightly controlled parameters to help keep your efforts focused on learning the techniques each projects requires for completion. There will be several class sessions spent introducing the concept, arranging resources, shooting, editing, critiquing and presenting your work.
2. Attendance – Being in class, having your reading and assignments done when required is essential for success in this class. Student that do not keep up with the workflow have regularly failed to complete the course or have received poor grades. Please make arrangements for one-on-one tutorials and critiques with me as far in advance as possible. It is solely the student’s responsibility to keep up with the course in the event of an absence.
3. Final Presentation – The exhibition of your work is a critical step in production. All student work will be displayed at the MAX (Read the MAX description at end of syllabus) You will be required to attend the MAX with all of your work from this semester on display. We will work step by step on creating a digital portfolio and printed versions of the required posters during the last few weeks of the course.
This semester the Max is April 28 11am to 12:15 in the Martire SCMA office Suite.
Grading Rubric
A- Student understands the needs that direct the assignment and delivers a flawless product without delay or ahead of schedule. The overall quality of the work is excellent in planning, execution and delivery. Professional Quality
B- The student has delivered a competent product that has a few minor flaws or areas that could use improvement. The student completes the work according to the parameters of the assignment and generally understands the workflow and expectations of the client/project. Above Average Quality
C- Work is submitted that fulfills the letter of the assignment without necessarily expanding upon the spirit of the project. Project has many areas that need improvement including a better understanding of the expectations of this type of production and improved workflow or technique. Average Quality.
D- This level of grade is reserved for projects that are received late, contain serious errors or omissions or are generally just above the threshold of minimal acceptability. Below Average Quality.
F- Project has not been delivered or is seriously flawed. Project may lack attention to details, has many careless errors or omissions and is generally unacceptable to instructor or client.
GRADING POLICIES:
All letter grades will be assigned in accordance with the university’s grading policies. Any discussion, question or contention concerning an assigned grade will be handled privately during office hours, through email or after class. Any additional policies and procedures will be discussed in class.
All grades will be considered final (unless the result of a technical or numerical error on my part).
Extra Credit Opportunities will be announced as the semester progresses.
GRADING POLICY
A new grading policy will be in effect beginning with the fall, 2010 semester (including M1 and AHEAD 1 Terms) and any following semesters:
· The grade of C- will now be an available grading option for Undergraduate Courses.
· The Quality Points for each grade have been changed. (The Quality Points are used to calculate GPA.) - QPA change applies to both Undergraduate and Graduate courses.
· A numerical range has been defined for each grade for Undergraduate courses.
Letter Grade
A
A-
B+
B
B-
C+
C
C-
D+
D
F
Grade Points
4.0
3.67
3.33
3.00
2.67
2.33
2.00
1.67
1.33
1.00
0.00
Grade Range
93-100
90-92
87-89
83-86
80-82
77-79
73-76
70-72
67-69
60-66
0-59
Note: the following grades are not available for Graduate Courses: C-, D+, D. Grades of P/NP are available only to specially designated courses. The grade range equivalency is only applicable to undergraduate courses.
POLICY ON ACADEMIC INTEGRITY
Knowledge is the synthesis of information in new insightful ways. An original idea is a rare thing, if at all possible. Be sure to document all sources in the proper MLA format in your bibliographies. It is of the utmost importance that works created for this class be properly annotated and credit must be given for ideas and words created by others. Those whose work consists of undocumented works of others will face the severest penalty under the University’s policies.
LAPTOP ETIQUETTE- Laptop use in this class is limited to support of production work. Use of the Internet or IM services or any other use of the laptop during class for non-class purposes will result in a zero participation grade. 2 zero participation grades will result in the immediate failure of the course.
DESKTOP IMAGES – Because of past incidences of students using questionable, offensive, violent or sexually charged images on their computer desktops I ask that you be sensitive to your fellow students and respect the learning environment of the classroom. Please change your desktop image to any of the abstract or color backdrops if you have a questionable image on your screen before entering the class.
FOR THOSE WITH CLASS/ACTIVITY CONFLICTS- The only university activities that are legitimate excuses for being absent from class are official games, meets or competitions. You are not to miss any classes to attend team practices, meetings or other related activities.
As always, the instructor reserves the right to make changes in the content and form of the class as time and material permit.
Materials needed for course:
detailed in class
A- Student understands the needs that direct the assignment and delivers a flawless product without delay or ahead of schedule. The overall quality of the work is excellent in planning, execution and delivery. Professional Quality
B- The student has delivered a competent product that has a few minor flaws or areas that could use improvement. The student completes the work according to the parameters of the assignment and generally understands the workflow and expectations of the client/project. Above Average Quality
C- Work is submitted that fulfills the letter of the assignment without necessarily expanding upon the spirit of the project. Project has many areas that need improvement including a better understanding of the expectations of this type of production and improved workflow or technique. Average Quality.
D- This level of grade is reserved for projects that are received late, contain serious errors or omissions or are generally just above the threshold of minimal acceptability. Below Average Quality.
F- Project has not been delivered or is seriously flawed. Project may lack attention to details, has many careless errors or omissions and is generally unacceptable to instructor or client.
GRADING POLICIES:
All letter grades will be assigned in accordance with the university’s grading policies. Any discussion, question or contention concerning an assigned grade will be handled privately during office hours, through email or after class. Any additional policies and procedures will be discussed in class.
All grades will be considered final (unless the result of a technical or numerical error on my part).
Extra Credit Opportunities will be announced as the semester progresses.
GRADING POLICY
A new grading policy will be in effect beginning with the fall, 2010 semester (including M1 and AHEAD 1 Terms) and any following semesters:
· The grade of C- will now be an available grading option for Undergraduate Courses.
· The Quality Points for each grade have been changed. (The Quality Points are used to calculate GPA.) - QPA change applies to both Undergraduate and Graduate courses.
· A numerical range has been defined for each grade for Undergraduate courses.
Letter Grade
A
A-
B+
B
B-
C+
C
C-
D+
D
F
Grade Points
4.0
3.67
3.33
3.00
2.67
2.33
2.00
1.67
1.33
1.00
0.00
Grade Range
93-100
90-92
87-89
83-86
80-82
77-79
73-76
70-72
67-69
60-66
0-59
Note: the following grades are not available for Graduate Courses: C-, D+, D. Grades of P/NP are available only to specially designated courses. The grade range equivalency is only applicable to undergraduate courses.
POLICY ON ACADEMIC INTEGRITY
Knowledge is the synthesis of information in new insightful ways. An original idea is a rare thing, if at all possible. Be sure to document all sources in the proper MLA format in your bibliographies. It is of the utmost importance that works created for this class be properly annotated and credit must be given for ideas and words created by others. Those whose work consists of undocumented works of others will face the severest penalty under the University’s policies.
LAPTOP ETIQUETTE- Laptop use in this class is limited to support of production work. Use of the Internet or IM services or any other use of the laptop during class for non-class purposes will result in a zero participation grade. 2 zero participation grades will result in the immediate failure of the course.
DESKTOP IMAGES – Because of past incidences of students using questionable, offensive, violent or sexually charged images on their computer desktops I ask that you be sensitive to your fellow students and respect the learning environment of the classroom. Please change your desktop image to any of the abstract or color backdrops if you have a questionable image on your screen before entering the class.
FOR THOSE WITH CLASS/ACTIVITY CONFLICTS- The only university activities that are legitimate excuses for being absent from class are official games, meets or competitions. You are not to miss any classes to attend team practices, meetings or other related activities.
As always, the instructor reserves the right to make changes in the content and form of the class as time and material permit.
Materials needed for course:
detailed in class
