Course Title: Democratic Technologies
​Schedule: Once per week, 14 weeks
Format: Seminar + Studio hybrid
Culminating Event: Media Arts Exhibition (The MAX)

Week 1 – Onboarding: Democratic Tech, Tools, and the SelfModule 1 (0:00–0:55)
  • Syllabus, course arc, expectations.
  • Discussion: “What is democratic technology in 2025?”​
10‑minute break (0:55–1:05)
Module 2 (1:05–2:45)
  • Portfolio setup (Weebly, Notion, etc.).
  • Galaxy AI overview; students confirm subscription plan and basic access.
  • In‑class start on “Digital Self/Other” concept.
  • Wrap‑up: assignment recap + quick written check‑in.
For next class (Week 2):
  • Have a working portfolio site set up (even if rough).
  • Confirm you have active access to Galaxy AI (subscription set up, can log in).​
​Assignment 1: Visualizing Democratic Technologies
Overview
For this opening assignment, you will translate our class discussions about democratic technologies into a piece of media. Your goal is to create a visual representation of your working definition of democratic technologies—not as a perfect, final definition, but as an exploratory, creative response.
You will:
  1. Create a media artifact (static or dynamic; digital or analog) that expresses your understanding of democratic technologies.
  2. Consult a shared Pinterest board of readings/resources and cite at least two of these in a short bibliography.
  3. Set up a portfolio website for this course and add a page for this project.
  4. Present your work next week in the podcast suite.
  
Part 1: Media Artifact – “What Is a Democratic Technology?”
Task:
Create one piece of media that visually expresses your understanding of democratic technologies.
  • It may be:
    • Static (e.g., poster, collage, zine page, illustration, diagram, infographic, storyboard, photo series)
    • Dynamic (e.g., short animated sequence, screen recording, interactive prototype, simple web page, stop-motion, slideshow with transitions)
  • It may use:
    • Digital tools (graphics tools, layout tools, web tools, simple interactive tools)
    • Analog tools (hand-drawn, cut-and-paste collage, physical models, objects photographed or documented)
  • It does not have to be literally representational or “realistic.” It can:
    • Reflect an ideology or ethos
    • Be symbolic or iconographic
    • Be more literal/representational if you prefer
Guiding questions (you don’t have to answer all of these):
  • Who gets to design, control, or change this technology?
  • How does it distribute power, access, and agency?
  • What makes a technology more or less democratic?
  • Whose voices or experiences are centered or excluded?
  • What values or principles do you think a democratic technology should embody?
Bring or submit your artifact in a form you can show in the podcast suite:
  • Digital artifacts: Have files accessible (laptop, USB, cloud link) or export as images/slides.
  • Analog artifacts: Bring the physical object(s) and/or clear photos of them.

Part 2: Reading & BibliographyYou will receive a Pinterest board containing articles and other resources related to democratic technologies.
Your task:
  1. Browse the board and choose at least two sources that meaningfully connect to your project.
  2. Create a brief bibliography for your project:
    • List at least 2 sources from the Pinterest board.
    • Use a consistent citation style (MLA/APA/Chicago—your choice, just be consistent).
  3. Be prepared to briefly say in your presentation how each cited source influenced:
    • Your understanding of democratic technologies, and/or
    • The choices you made in your media artifact.
You and I will use this to build a shared bibliography around the project over time.

Part 3: Portfolio Website (Work in Progress)By next week, you should have a portfolio site set up for this class.
  • You may:
    • Add a new page to an existing portfolio site, or
    • Create a new site specifically for this course.
  • You may use any platform you’re comfortable with, such as:
    • Google Sites
    • Canva
    • Adobe Express
    • Weebly
    • Wix
    • Or any other tool you already know
Important:
This site is a work in progress. There is no pressure for it to be polished or complete right now. The priority is simply:
  1. You have a site.
  2. It has at least one page for this project.
On the project page, include (at minimum):
  • A title for your project
  • A short paragraph (4–8 sentences) explaining:
    • Your working definition of “democratic technologies”
    • How your artifact connects to that idea
  • Visuals related to your artifact:
    • Photos, screenshots, embedded images, or video links
  • Your bibliography with at least two sources from the Pinterest board
Over the semester, we’ll revisit the site and expand it for future projects.

In-Class Presentation (Podcast Suite – Next Week)
​Next week, you will present your project in the podcast suite.
Plan to share:
  • Your media artifact (or documentation of it)
  • A brief explanation (about 3–4 minutes) addressing:
    • How you’re currently defining democratic technologies
    • The choices you made in your media artifact (format, style, symbols, etc.)
    • How at least one of your readings informed your thinking
This is exploratory, not a “final answer.” The goal is to make your thinking visible.

Evaluation Criteria (Low-Stakes, Concept-Focused)This assignment is graded primarily on engagement and thinking, not perfection or technical polish. I’ll be looking for:
  • Conceptual engagement
    • You make a real attempt to define or explore “democratic technologies.”
  • Connection to course ideas
    • You meaningfully engage with at least two readings from the Pinterest board.
  • Creative translation into media
    • You’ve made thoughtful choices about how to express your ideas visually (even if the result is rough or experimental).
  • Documentation
    • You have a functioning portfolio site with a project page that includes:
      • Project description
      • Visuals
      • Bibliography
  • Presentation
    • You show your work in the podcast suite and can discuss your choices.
This is a starting point for the rest of the course, not a final judgment of your skills or definitions.

STOP HERE


Week 2 – Foundations, Remix, Ownership, and AI EthicsModule 1 (0:00–0:50)
  • Short lecture: art/media in a technological age; remix, appropriation, authorship.
  • Group brainstorm: everyday remix (memes, mashups, edits, fan work).
Module 2 (0:50–1:40)
  • Screen key segments of Everything Is a Remix and RiP!: A Remix Manifesto.
  • Quick reflections: what counts as “original”?
10‑minute break (1:40–1:50)
Module 3 (1:50–2:45)
  • Discussion: originality, fair use, Creative Commons, ownership, and where AI fits.
  • Intro to AI ethics (data/labor, bias, surveillance, deepfakes, environmental impact).
  • Assign:
    • Creative Remix Project.
    • AI Ethics zine/media collage (due later).
For next class (Week 3):
  • Have a concept and source list for your Creative Remix Project (what media, whose work, how you’ll transform it).
  • Rough notes/idea board for your AI Ethics zine/media collage (topic focus, possible format).
  • “Digital Self/Other” piece ready enough to show briefly (even if not fully polished).
  • Make sure your portfolio already contains at least one artifact (even if draft) and a placeholder page for this class.

Week 3 – Vibe Coding Studio: AI as Extension and RuptureModule 1 (0:00–0:50)
  • Optional quick share of early remix work.
  • Introduce Vibe Coding project and expectations.
  • Show examples of “vibe systems” (mood boards, prompt systems, constraints).
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Demo: building a simple vibe system in Galaxy AI (image/text/sound).
  • Students design their own vibe parameters and working docs/boards.
Module 3 (1:45–2:45)
  • Studio: generate and iterate multiple vibe outputs.
  • Small‑group sharing: what AI extends vs. what it scrambles/erases.
  • Assign: complete Vibe Coding mini‑series + reflection.
For next class (Week 4):
  • A working Vibe Coding system documented (prompts, references, constraints).
  • At least 5–10 generated outputs from your system (images/text/audio, depending on your focus).
  • A short reflection draft on what AI enhanced vs. disrupted in your vibe experiments.
  • Progress on Creative Remix Project (at least 50% done).

Week 4 – Collaborative Chaos: Systems, Chance, and Experimental MediaModule 1 (0:00–0:50)
  • Short lecture: systems‑based art, randomness, chance procedures.
  • Brainstorm: everyday systems/routines that could become artworks.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:30)
  • Workshop: groups design “chance engines” (dice, randomizers, AI prompt systems).
  • Decide where AI enters the system and how randomness is structured.
Module 3 (1:30–2:45)
  • Studio: begin Controlled Chaos Media Experiment (can be interactive).
  • Instructor check‑ins on scope and feasibility.
  • Each group posts a brief project plan and role breakdown.
For next class (Week 5):
  • Group chance engine/system documented (rules, tools, and how AI fits in).
  • Significant progress on Controlled Chaos Media Experiment (rough cut / prototype started).
  • Vibe Coding mini‑series finished and documented in your portfolio.
  • Clear concept and some rough material gathered for your AI Ethics zine/media collage.

Week 5 – Frames, Visual Culture of AI, and Documentary Pre‑ProductionModule 1 (0:00–0:50)
  • Lecture: modern, postmodern, metamodern moods in media.
  • Activity: place sample media and AI narratives (hype, doom, irony, sincerity) on that spectrum.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Visual culture of AI: slideshow of stock images, ads, protest art, memes, deepfakes.
  • Discussion: clichés, power, missing/misleading images.
  • Overview of research strategies: public opinion, academic, and CS/industry perspectives.
Module 3 (1:45–2:45)
  • AI Documentary pre‑production kickoff:
    • Introduce goals and constraints.
    • Groups choose 1–2 angles (e.g., creativity, labor, education, bias).
    • Start drafting treatments and interview question lists.
For next class (Week 6):
  • Group documentary treatment draft (1–2 pages) outlining topic, angle, and possible structure.
  • First interview question set for public, academics, and CS/technical voices.
  • Completed or nearly completed Controlled Chaos Media Experiment (ready for quick in‑class review).
  • A near‑final Creative Remix Project and a clear plan to finish your AI Ethics zine/media collage.

Week 6 – Documentary Production I: Interviews and B‑RollModule 1 (0:00–0:30)
  • Production briefing: gear checkout, file‑naming, consent/ethics, safety.
  • Confirm each group’s interview and B‑roll plan for the day.
Module 2 (0:30–1:30)
  • Fieldwork:
    • On‑campus/nearby interviews (vox pops, peers, staff, early expert contacts).
    • B‑roll capturing everyday AI/no‑AI contexts.
10‑minute flexible break (~mid‑fieldwork)
Module 3 (1:30–2:45)
  • Regroup: upload and back up all footage.
  • Begin logging interviews and B‑roll (timecodes + themes).
  • Each group writes a production log: what they captured, what’s missing, next steps.
For next class (Week 7):
  • At least 2–3 interviews recorded (or equivalent material if access is an issue), plus initial B‑roll.
  • A production log shared with instructor and group (what you have, what you still need).
  • Short list of targeted follow‑up interviews/B‑roll to capture in Week 7.
  • Continued work on AI Ethics zine/media collage (aim to be close to done).

Week 7 – Documentary Production II and Assembly KickoffModule 1 (0:00–0:50)
  • Check‑in on production logs.
  • Identify content gaps: missing voices, imbalanced viewpoints, under‑represented perspectives.
  • Finalize plan for second‑wave interviews and B‑roll.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Fieldwork / pickups:
    • Additional interviews (on campus or remote).
    • More specific B‑roll aligned to emerging narrative.
Module 3 (1:45–2:45)
  • Back in class:
    • Upload new footage and update logs.
    • Intro (or continuation) of AI‑assisted transcription tools.
    • Start transcribing key interviews; highlight important quotes and contradictions.
For next class (Week 8):
  • Enough interviews and B‑roll to tell a complete story (or a clear plan for final small pickups).
  • Transcripts (or partial transcripts) for your most important interviews.
  • A rough list of potential scenes/sections for your documentary.
  • Completed AI Ethics zine/media collage ready to be documented in your portfolio.

Week 8 – Editing and AI‑Assisted StructureModule 1 (0:00–0:50)
  • Demo:
    • Using AI tools to summarize transcripts and cluster themes.
    • Building a paper edit/outline from transcripts and logs.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Group work:
    • Build a paper edit or scene list.
    • Begin a “string‑out” edit (rough assembly) in editing software.
Module 3 (1:45–2:45)
  • Continue rough cut:
    • Test different narrative shapes (chronological, thematic, etc.).
    • Optionally experiment with AI‑generated titles/graphics, clearly marked as such.
For next class (Week 9):
  • A rough cut at least 40–60% complete (core scenes assembled, even if rough).
  • A clear working structure (beginning/middle/end or equivalent).
  • Notes on where you plan to refine or add material (e.g., pickup shots, missing transitions).
  • Documentation of any AI tools used in your editing process so far (for portfolios and magazine).

Week 9 – Sound, Refinement, and Class ReelModule 1 (0:00–0:50)
  • Mini‑lesson: basics of sound design—dialogue clarity, ambience, music, levels.
  • Show examples of how sound shifts mood and meaning.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Group work:
    • Clean up audio (levels, simple noise reduction).
    • Explore music/sound (including AI tools) with attention to licensing and ethics.
Module 3 (1:45–2:45)
  • Structural refinement:
    • Tighten pacing and clarify argument.
    • Select and polish a 60–90 second segment for the Class Reel.
  • Internal screening of excerpts for feedback.
For next class (Week 10):
  • Roughly picture‑locked or close (major structure decisions made).
  • A polished Class Reel excerpt (60–90 seconds).
  • A list of remaining fixes (audio, graphics, captions, credits) to tackle.
  • Documentation of key sound and music decisions, especially where AI tools are involved.

Week 10 – Refinement and DocumentationModule 1 (0:00–0:50)
  • Screening of near‑final cuts or key segments.
  • Group critique on clarity, stakes, and balance of voices.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Work session:
    • Final structural tweaks, transitions, subtitles/captions.
    • Ensure all AI‑generated elements are clearly identified.
Module 3 (1:45–2:45)
  • Process documentation:
    • Behind‑the‑scenes stills, screenshots, prompt examples.
    • Draft/refine artist/research statements (content‑focused).
For next class (Week 11):
  • A near‑final or final cut of your documentary (ready for only minor tweaks).
  • Draft artist/research statement for your doc (even if not fully polished).
  • A folder or doc with process artifacts (prompts, screenshots, sketches) for magazine/portfolio use.
  • Portfolio updated with at least draft entries for Self/Other, Remix, Vibe Coding, Chaos, Ethics zine, and the documentary.

Week 11 – Portfolio Integration and Magazine Planning (Print + Online)Module 1 (0:00–0:50)
  • Portfolio clinic:
    • How to organize and describe your semester’s work.
    • Bios, project blurbs, credits, and links.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45) – Magazine Concept & Structure
  • Introduce class magazine (print + online):
    • Each student gets 4 pages:
      1. Personal statement: what you learned about democratic technologies.
        2–3. Two pages summarizing your projects and roles (with images/captions).
      2. Personal statement on AI use with concrete examples from the class.
  • Decide:
    • Magazine title, visual tone, section order.
    • Roles: editorial, layout/design, web/online, copy‑editing.
Module 3 (1:45–2:45) – Individual Page Planning & Online Version
  • Individual work:
    • Outline and start drafting both personal statements (Pages 1 & 4).
    • Select projects and images for Pages 2–3.
  • Class planning:
    • Decide how the online magazine will mirror/extend the print version.
    • Choose platforms and tools for layout and web.
For next class (Week 12):
  • Draft text for all 4 pages (personal statements + project summaries).
  • A first pass at image selections for Pages 2–3.
  • Portfolio updated with at least rough versions of all major projects and reflections.
  • If you’re on an editorial/design/web team, initial ideas for layout templates.

Week 12 – Public‑Facing Materials and Artist TalksModule 1 (0:00–0:50)
  • Status check:
    • Documentary finalization.
    • Magazine page drafts and template progress.
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Work session:
    • Refine magazine spreads (fit text/images into 4‑page templates).
    • Ensure AI use is clearly and honestly represented.
    • Continue polishing portfolios.
Module 3 (1:45–2:45)
  • Practice 2–3 minute artist talks in small groups:
    • Who you are, what you made, what you learned about democratic technologies, how you used AI.
  • Peer feedback on clarity, pacing, and accessibility.
For next class (Week 13):
  • Final or near‑final text and image selections for your 4 magazine pages.
  • Portfolio close to “showable” form (navigation, images, project write‑ups in place).
  • A refined artist talk outline you can deliver comfortably.
  • Any last technical fixes to documentary completed or clearly scheduled.

Week 13 – Final Polishing, Magazine & Portfolio LockModule 1 (0:00–0:50)
  • Screening or review of final documentary versions (or representative sections).
  • Checklist: captions, credits, AI disclosures, basic accessibility (legible text, audio clarity).
10‑minute break (0:50–1:00)
Module 2 (1:00–1:45)
  • Magazine work:
    • Lock your 4 pages (text + images).
    • Layout teams finalize print files and online structure.
Module 3 (1:45–2:45)
  • Portfolio work:
    • Final pass on organization and design.
    • Check all links, embeds, and descriptions.
  • Confirm all files for W216 install (video masters, audio, stills, print files, QR codes).
For next class (Week 14):
  • Final documentary files ready for exhibition (correct formats, backed up).
  • Your magazine pages locked and delivered to layout team.
  • Portfolio in final or near‑final state for public viewing.
  • Any printed materials (posters, labels, extra magazine copies) queued or ready.

Week 14 – Project Reviews and Planning the W216 ExhibitionModule 1 (0:00–0:55)
  • Project reviews:
    • Each group presents their final or near‑final documentary and context.
    • Feedback focused on public experience (clarity, pacing, accessibility).
10‑minute break (0:55–1:05)
Module 2 (1:05–1:45) – Room W216 Site Planning
  • Visit W216 or work from floor plan/photos.
  • Map: walls, projection surfaces, outlets, seating, traffic flow.
  • Brainstorm zones: screening, listening, interactive, magazine/portfolio browsing, process wall, etc.
Module 3 (1:45–2:45) – Exhibition Design
  • Assign W216 zones to groups/projects.
  • Decide hardware needs (projectors, monitors, speakers, stands, printed magazines, QR codes).
  • Plan physical transformation:
    • Lighting, signage, visitor pathways, where magazines and portfolios are accessed.
  • Produce a W216 layout plan and detailed install task list.
For next class (Week 15 – The MAX):
  • All media files (videos, audio, loops) on agreed‑upon drives or cloud folders, tested.
  • Any printed materials (magazines, labels, signage, posters) printed or ready to print.
  • Any additional objects or installation elements ready to bring to W216.
  • A clear understanding of your roles on install/exhibition day (who handles what).

Week 15 – The MAX: Exhibition and Public Engagement (April 28)Module 1 (0:00–0:45) – Install & Tech Checks in W216
  • Set up room according to layout plan:
    • Arrange furniture, hang signage, set up screens/projectors.
    • Place printed magazines and test QR codes to online version and portfolios.
    • Final sound and playback checks.
Module 2 (0:45–2:00) – Public Exhibition
  • Exhibition open:
    • Students rotate roles (greeter, explainer, tech support, documentarian, visitor‑interviewer).
    • Collect informal feedback and impressions.
10‑minute decompression break (≈2:00–2:10)
Module 3 (2:10–2:45) – Immediate Debrief
  • Quick deinstall or partial reset as needed.
  • Group debrief:
    • What surprised you about audience reactions?
    • How did W216’s layout and the magazine (print + online) shape the experience?
    • Notes for any final written/recorded reflection (if assigned).
For after this class:
  • If assigned: complete any final written/recorded reflection on the course, your learning about democratic technologies, and your evolving relationship to AI.
  • Make sure your portfolio and magazine pages remain accessible if they’re part of long‑term documentation or assessment.