Announcements

• LAST CHANCE: Please fill out the 3DVE Intake Form.
• Please be prepared to discuss what you’ve been up to this week regarding 3DVE.
• In the chat, please share if you have any questions about last week’s assignment.
• Zoom

Agenda

• 3:10
  • Welcome to new students, Discord and WhatsApp.
  • Note on missing class and emailing me
  • Notes from you:
    • Ridged cone
    • Default renderer: Windows > Settings/Preferences > Renderer
    • 3D Paint tool: Texturing > 3D Paint tool
    • Shading faces (e.g. Maya 101 Lesson 6)
  • Tech topic: Modeling for Virtual and Real Environments
    • Case Study: branching structures, models, normals, moss reproduction. Cherry tree puffs
    • Case Study: Where the Hel > MindRider
  • More sources of easy-to-use models based on real data:
    • NASA Solar System Exploration
    • NASA 3D
    • Arctec 3D scanned models
• 4:00 Shareback
• 4:50 Break
• 5:00 Discussion
  • Chapter 2.2 and 2.3 of Designing Virtual Worlds. What was most interesting in this reading? Did you come away with questions? Are there passages you disagree with? 
    • Upload (mentioned last week)
  • Why Data? (if there’s time)

Assignments

• Technical Stuff. Learn animation basics by doing one of the following:
  • Read and follow Lesson One, Keyframes and the Graph Editor, of the Maya Animation Tutorial. If you already feel confident with that lesson, you can go through Lessons 2, 3, or 4.
  • Watch and follow Lessons 7-9 of Maya 101 on YouTube. This will make most sense if you’ve gone through Lessons 1-6.
• Conceptual Stuff:
  • Take a look at the Digital Universe by the American Museum of Natural History. We will work with this data next week.
  • If you haven’t already, read a subsection of Chapter 2 in Designing Virtual Worlds. What was most interesting in this reading? Did you come away with questions? Are there passages you disagree with? 

Announcements: Extra Credit

• Continue reading “The Master’s Tools will Never Dismantle the Master’s House” and/or all of Sister Outsider. You can also read some of her Poetry. We can continue to discuss in class and/or you can reference this work in your upcoming projects.
• Submit to this $10k opportunity for Smithsonian Open Access proposals. You can share your proposal with me for extra credit.
• Play with the sample of Unreal Engine’s MetaHuman Creator and email me 3+ paragraphs with your thoughts on the software’s pros and cons.
• Download and explore the Digital Universe data. I’ll ask next week who had a chance to do this.
• Play Temple Hunters and email me 3+ paragraphs about its 3D virtual environment.

Announcements

• If you haven’t already, please fill out the 3DVE Intake Form.
• Please be prepared to discuss what you’ve been up to this week regarding 3DVE.
• In the chat, please share:
  • Any issues you had installing Maya.
  • Any questions about the First Time Tutorial.
  • Any questions/comments on this past week’s reading.
  • If you’re a new student, please introduce yourself in the chat. What’s your name, major, and experience with 3D development?
• Zoom
  • Meetings will now be auto-recorded. Let me know if you have questions/concerns.
  • Anonymous Zoom poll: how was this week’s workload?
  • Last week’s Zoom recording is here. I will type the passcode in the chat (if you need it later, just email me).
  • Quick question: can you access Zoom recordings through Blackboard?

Agenda

• 3:10 PM
  • Welcome to new students. Note student Discord and WhatsApp groups.
  • Maya or Blender?
    “Maya 3d” v. “Blender 3d” v. “Blender game” in job searches
    • LinkedIn: 1350 v. 763 v. 30
    • Indeed: 839 v. 317 v. 129
    • Monster: 422 v. 98 v. 58
    • ZipRecruiter: 362 v. 116 v. 66
    • Glassdoor: 226 v. 2 v. 2
    • SimplyHired: 733 v. 230 v. 89
    • CareerBuilder 62 v. 24 v. 24
  • Brief IP discussion, including copyright
  • Tech topic: First Time Tutorial and basics. Let’s talk ice cream! Shift-clone, smooth mesh, double-click loop, soft select, standard surface, sky-dome, Arnold
  • Data of human-made objects: more on the Smithsonian example, with some star maps from NASA
• 4:00 Shareback
  • Your work in Maya this week
  • Questions/Comments on Interface Overview, Maya Basics, Managing Scenes, Files, and Projects.
• 4:50 Break
• 5:00 Discussion
  • Chapter 2 of Designing Virtual Worlds. What was most interesting in this reading? Did you come away with questions? Are there passages you disagree with?
  • Why Data?
  • Audre Lorde: Poetry and “The Master’s Tools will Never Dismantle the Master’s House” from Sister Outsider. Note: If you’d like to listen to Sister Outsider as an audiobook, please email me for a link.

Assignments

• Project 1 is due BEFORE CLASS next week. Email me a link (not an attachment) to your image. Your image should be in a common format like PNG, TIFF, or JPG and be at least 500×500 pixels. Please answer the following questions in your email:
  1. What is the image?
  2. How did you build it?
  3. What skills did you aim to develop?
  4. What did you learn in the process of making the image?
  5. Did you use external assets, e.g. models, data, etc? If so, name your sources
  6. Did any particular works or projects inspire you in preparing this image?
  7. EXTRA CREDIT: Reference Audre Lorde’s work in your image and discuss how you did so.
• Technical Stuff. Please go through one of the following:
  • Lesson 1: Modeling a polygonal mesh from a reference image
  • Lesson 2: Sculpting a polygon mesh
  • Intro to Maya: Lessons 1-6 of Maya 101 on YouTube
• Conceptual Stuff:
  • Please start to read one or both of the following from The State of Play Law, Games, and Virtual Worlds: Chapter 7: Virtual Crime or Chapter 9: Virtual Power Politics. We will start discussing the reading on February 25.

Extra Credit

Continue reading “The Master’s Tools will Never Dismantle the Master’s House” and/or all of Sister Outsider. We can continue to discuss in class and/or you can reference this work in your upcoming projects.

Announcements

• Welcome! If you find yourself waiting:
  • Please start filling the 3DVE Intake Form. As we discuss the syllabus and the course, you are welcome to edit this form.
  • Please start making sure you have the required software discussed in the syllabus, including Maya and a 3-button mouse, Unity, Adobe CC, and a decent text editor. See the syllabus for more details.

Agenda

• Site Navigation for senseandscale.info
• Syllabus & Software
• Intros (including Prof D)
• Q&As
• What makes a good virtual environment? (Smithsonian example)
• 3D coordinates
• Maya project and navigation

Assignments

• Install Maya. Email me if you have any issues.
  • Though we won’t work with Unity until later, you might want to install it now to be prepared. You might also want to install the other software mentioned in the syllabus.
• If you’re new or rusty with Maya, go through the First Time Tutorial.
• Make sure you can understand these sections, including the subtopics:
  • Interface Overview (can be watched or read)
  • Maya Basics
  • Managing Scenes, Files, and Projects.
• Please quickly skim Chapter 2 of Designing Virtual Worlds, and then go back and fully read at least 1 of the subsections (Development, Architecture, Theory/Practice).
  • Be prepared to discuss: What was most interesting in this reading? Did you come away with questions? Are there passages you disagree with?

Extra Credit (to discuss)

• Semester-long extra credit: consider integrating Hunter’s community read Sister Outsider into your work this semester. Hunter will be offering cash prizes for outstanding student work that integrates themes from this book. If there’s enough interest, I’ll integrate it into this semester’s discussions and determine an extra credit structure.

All projects are due BEFORE class begins. Projects 1-4 are now at the bottom of this page.

Project 5, Due May 20.
No late projects will be accepted unless you have an accommodation from the Office of Accessibility.

• For this project, I would like to see you build on one of your previous projects (1-4).
• Please email me a link (e.g. Google Drive) to one of the following:
  1. A Unity directory that includes
     • A 2+ minute screen recording in which you’re interacting with your fullscreen Unity build or “game” tab. Include audio, and please show the world of the project. DO NOT show the Unity UI.
     • A subdirectory that contains your Unity project files (with, at minimum, the sub-subdirectories of Assets, Packages, and ProjectSettings).
     • Optional (extra credit): A Mac OS Unity build.
  2. A polished, 4+ minute 3D animation that uses visuals AND audio to build on one of your earlier Maya or Blender projects. It should have some kind of implied narrative to it, in that it changes from the beginning, to the middle, to the end.
• In your email, please briefly answer:
  • How does this project build on your previous work in this course?
  • Did you use sample projects, models, images, audio, or other assets to make your project? (Please provide links) 
  • Have you worked on this project outside the scope of this class (e.g. a group project with other collaborators)?
  • If you used a sample, how did you significantly change or add to it?
  • What were the biggest challenges and/or learnings in making the project?
  • If you had more time to refine the project, what would be your next steps?
  • EXTRA CREDIT: Reference Audre Lorde’s work in your project and discuss how you did so.

Extra Credit: Can be submitted until May 24 @ 4pm.

• Tutorials shared by you: listed in this doc from our Breakout Room class.
• Audre Lorde reading:
  • “The Master’s Tools will Never Dismantle the Master’s House,” “Notes from a Trip to Russia,” and/or all of Sister Outsider. You can also read some of her Poetry. We can continue to discuss in class and/or you can reference this work in your upcoming projects.
  • Africa-Asia Conference (discussed in her “Notes on the Trip to Russia”)
  • Contemporary Woman Poets video: Audre Lorde reads her work
  • Recent Audre Lorde exhibit
  • You can also submit your work to Hunter College’s Audre Lorde competition for a cash prize.
• Constellation Stuff:
  • Download and explore the Digital Universe data, and send Prof 3+ paragraphs about it.
  • Submit your Ursa Minor (or other constellation) image or animation for extra credit. The star positions must appear as we see it on Earth.
  • Try running a different Constellation MEL file in Maya and render a quick animation like with the Ursa Minor animation. The star positions must appear as we see it on Earth.
  • Don’t see the constellation you want? Try generating it using one of these Perl scripts and send me the file for EC. If you don’t like Perl, try converting the script to Python and send me the script for EC.
• Earth Stuff. If you’re interested in more about Earth terrain data:
  • Sentinel Land Classification App
  • Google Earth and 3D terrain
• Coronavirus Stuff:
  • Watch Prof D’s Youtube playlist on Coronavirus vaccines and sending Prof 3+ paragraphs about what you learned.
  • Try downloading the Coronavirus Spike Protein (see the extra credit below to learn more about these proteins), then try using MeshLab to convert it into a model that Maya can read. If you want to learn even more about protein and DNA in 3D, check out new resources on the Data Sources page.
  • Challenge: can you import a molecule into Maya with its color? If so, send a screenshot to Prof for EC!
• City Visualizations: Install QGIS. This is a very useful app for preparing geographic files. Try downloading the shapefiles for NYC building footprints and opening them in QGIS. If you prepare this file in black-and-white, you can them use them as a surface relief texture.
• Unity stuff
  • Go through any/all of the non-playground tutorials in the Physics Playground series (the non-playground tutorials start at “Intro to the Unity Physics Engine 2019“) and send prof 3+ paragraphs or other documentation (pics, video, etc) about the process.
  • A useful Unity asset management tutorial: Creating LODs (levels of detail) in Maya for Unity. Give it a try and write 3+ paragraphs for EC.
• Games and Misc:
  • Play Temple Hunters and email me 3+ paragraphs about its 3D virtual environment.
  • Submit to this $10k opportunity for Smithsonian Open Access proposals. You can share your proposal with me for extra credit.
  • Try out the 3D Map Generator (costs $21) and send me a 3+ paragraph write-up.
  • Play with the sample of Unreal Engine’s MetaHuman Creator and email me 3+ paragraphs with your thoughts on the software’s pros and cons.

Previous Project Specs

Project 1, Due February 18

• A Simple Image. Email me a link (not an attachment) to your image. Your image should be in a common format like PNG, TIFF, or JPG and be at least 500×500 pixels. Please answer the following questions in your email:
  1. What is the image?
  2. How did you build it?
  3. What skills did you aim to develop?
  4. What did you learn in the process of making the image?
  5. Did you use external assets, e.g. models, data, etc? If so, name your sources.
  6. Did any particular works or projects inspire you in preparing this image?
  7. EXTRA CREDIT: Reference Audre Lorde’s work in your image and discuss how you did so.

Project 2, Due March 4

• 30-second movie. 
  • Email me a link (not an attachment) to your movie file. The link can be WeTransfer, Google Drive, Discord, YouTube, Vimeo, or any other service you use, just make sure I have access permission.
  • My preferred format is MP4, but other common formats like MOV and AVI are fine. The movie should be at least 480×270 pixels and at least 24 FPS. 
  • Please answer the following questions in your email:
    1. What is the movie? 
    2. How did you build it?
    3. What skills did you aim to develop?
    4. What did you learn in the process of making the movie?
    5. Did you use external assets, e.g. models, data, etc? If so, name your sources.
    6. Did any particular works inspire you in preparing this movie?
    7. If you had more time to refine the movie, what would be your next steps?
    8. EXTRA CREDIT: Reference Audre Lorde’s work in your movie and discuss how you did so.

Project 3, Due March 18

• 1-minute data movie. 
  • Email me a link (not an attachment) to your movie file. Make sure I have access permission.
  • My preferred format is MP4, but other common formats like MOV and AVI are fine. The movie should be at least 480×270 pixels and at least 24 FPS, with a maximum file size of 100 MB. I also recommend adding sound, but this is not required.
  • Your movie must use data that is on the class Data Sources page or specifically approved through an email to Prof. 
  • Note that you can use any of the data-oriented example files Prof prepared for class (constellations, elevations) to start this project.
  • When we critique your movie, we will consider its MOOD, particularly its pacing, movement, form and color. An implied narrative might also be important to consider, but this is not required.
  • Please answer the following questions in your email:
    1. What’s this movie about?
    2. What data did you use to make this movie, and how did you use the data?
    3. What were the biggest challenges in making the movie? 
    4. Did you use any software besides Maya or Blender?
    5. What did you learn in the process of making the movie?
    6. Did you use additional assets, etc? If so, name your sources.
    7. If you had more time to refine the movie, what would be your next steps?
    8. EXTRA CREDIT: Reference Audre Lorde’s work in your movie and discuss how you did so.

Project 4, Due April 22

• Please Email me a link (e.g. Google Drive) to ONE of the following:
  • A 2+ minute screen recording in which you’re interacting with your fullscreen Unity scene. Please record audio in which you’re talking through the environment as you interact with it. Some simple ways to make this recording are with Microsoft Stream, Quicktime, or even Zoom.
  • A directory that contains BOTH a Mac OS Unity build (that I can open) AND Unity project files.
• In your email, please briefly answer:
  • What’s this project about?
  • Did you use sample Unity projects to make your project? (Please provide links) Have you worked on this project outside the scope of this class (e.g. a group project with other collaborators)?
  • If you used a sample, what did you change or add?
  • What were the biggest challenges and/or learnings in making the project?
  • Did you use additional assets, etc? If so, name your sources.
  • If you had more time to refine the project, what would be your next steps?
  • EXTRA CREDIT: Reference Audre Lorde’s work in your project and discuss how you did so.

If there’s a data source you’d like to use that’s not on this list, just email the data source URL to Prof D for approval.

Textures

• NASA star maps (good for backgrounds)
• Sun STEREO satellite and Hyperwall examples
• Earth Blue Marble images (NASA), including topography and bathymetry

Models

• Smithsonian scanned 3D models
• NASA solar system models
  • More NASA models
• Artec 3D science scans
• NIH 3D Print Exchange
  • 3D Printing the Novel Coronavirus (with a link to full COVID molecule data)
• RCSB Protein Data Bank (with links to other PDBs around the world)
  • About RCSB PDB
  • PDB 101 (the educational portal for PDB), including Coronavirus
  • Molecular landscapes by David S. Goodsell (art based on PDB molecular data)
  • How animators work with PDB data (interview)

Positional Data

• AMNH Digital Universe (star locations, etc)
  • Constellation Vis used in our class tutorial
• USGS Earth Explorer
• New York State elevation and map data
• Earth fire maps (NASA)
• Elevation and Topography maps (USGS)
• NYC MTA Subway Turnstile Data
  • Simplified Turnstile Data
• NYC Open Data
  • NYC Building Footprints

CODE SNIPPETS

• Convert Latitude/Longitude to position on 3D sphere (Unity code written in C#)

Stats and Demographic Data

• CDC COVID-19 Mortality Data

Email Prof for password

• Feb 4: Email Prof for link
• Feb 11
• Feb 18
• Feb 25
• March 4 (with a 2nd recording from after-class office hours)
• March 11. Note that the recording goes silent at about 01:20:00 since we go into 1-on-1 sessions at the time.
  • We also did a fast Terrain Tutorial during after-class office hours
• March 18
  • Part I (Project 3 Presentations, Discussion of Reading)
  • Part II (Slower Terrain Tutorial) 
• March 25
  • Part I (More Project 3 Presentations, new 3DVE data sets)
  • Part II (Manhattan Building Displacement Tutorial)
• April 8 (full class, sorry I forgot to break this in two)
  • Part 1: Intro to Unity. Intro to Physics Playground/Sandbox. Quick molecules tutorial
  • Part 2: Discussion of the book Semiology of Graphics
• April 15
  • Part 1: Unity Tutorials on Building/Exporting, Importing models, creating prefabs, adding physics
  • Part 2: Your sandbox screenshots, your discussion of “retinal variables” and “muscular movement” in Semiology of Graphics
• April 22
  • Part 1: Project 4 presentations and demo of “Dream Machine” models in Unity
  • Part 2: Discussion on color
• April 29
  • Part 1: Proj4 presentations, Prof 5 Brief, Maya rigs, deformers, character generator 
  • Part 2: More on Maya rigs, deformers, character generator
  • Office Hours: Discussion on Audre Lorde’s Sister Outsider. Ask Prof for link.
• May 6
  • Part 1: Proj4 presentations, Unity cloud build and online dashboard, breakout chats
  • Part 2: breakout share backs, Project 5 questions, last conceptual notes

Hunter College, CUNY
MEDP 36500 – 01 (5598), HN 1001F
Thursdays, 3:10 PM to 6:00 PM
01/29/2021 – 05/25/2021
Online – Synchronous

Professor Arlene Ducao, arlduc [at] mit.edu (temporary)
Office Hours: 5:00 – 5:30PM on Wednesdays AND 6:00 – 6:30 PM on Thursdays. I will share my office hours link via email.

This course combines practical instruction in 3D environment development with inquiry into the use of 3D data as a source for multidimensional environments. How do we conceptualize and represent multidimensional space? How can multidimensional data help us to build spatiotemporal environments for our digital projects? How can and why would we tell stories using data? What are the conceptual and spatiotemporal limits of using data? This class focuses on process, workflow, basic coding, and problem-solving skills that are valuable for many digital, multidimensional contexts.

Teaching Philosophy

While this course will expose students to advanced techniques including data acquisition and scripting, students will not be graded on their “mastery” of these advanced techniques. I realize that students will come to this course with a wide range of experiences and goals, and I acknowledge that a pandemic is a tough time to be learning! All I ask is that students do their best to participate in class exercises, and submit their assignments to reach the basic learning goals outlined below.

Learning Goals

Upon successful completion of this course, students will be able to:

• Navigate a virtual 3D space interface
• Create 3D geometry using basic primitive and editable poly tools
• Create and manage basic surfaces and material properties
• Create and manage 3D lights and cameras
• Acquire and prepare real-world data to build 3D environments
• Discuss basic narrative craft techniques
• Understand 3D workflow for interactive development

General Session Agenda

• 3:10 – 4:00: Announcements & Tech Topics
• 4:00 – 4:50: Shareback / Breakout
• 4:50 – 5:00: Break
• 5:00 – 5:50: Presentation / Discussion 
• 5:50 – 6:00: Assignment & Wrap-up

Assignment Deliverables

• Weekly assignment: Be prepared to briefly, collaboratively discuss/teach a topic that interests you from the past week, for 2-5 minutes.
• Project 1: Image of a simple 3D world
• Project 2: 1-minute movie of a 3D world
• Project 3: 2-minute movie of a data story
• Project 4: Unity 3D environment scene
• Project 5: Final project

Schedule

1. Feb 4. Syllabus, Software, Intros, Q&As, Maya project and navigation.
2. Feb 11. Getting your bearings
   • Tech: Basic modeling, lights, camera. 
   • Presentation/Discussion: Why Data?
3. Feb 18. Project 1 (simple image) is due
   • Tech: More basics + Rendering 
   • Presentation/Discussion: Aerospace and earth data
4. Feb 25. World building   
   • Tech: Textures and keyframing
   • Presentation/Discussion: City data
5. March 4. Project 2 (30-second movie) is due
   • Tech: Project 2 troubleshooting, MEL
   • Presentation/Discussion: Human and molecular data
6. March 11. 1-on-1s & Breakouts. I’ll speak with each of you 1-on-1 while you work on your project. If you need or can provide help on the tech topic, you can pop into a separate breakout room. If you help another student and they verify that you significantly helped them, you get 1 pt of extra credit added to your overall grade.
7. March 18. Project 3 (1-minute data movie) is due. We will critique in class.
8. March 25. Maya wrap up. 
   • Tech: More MEL, Maya loose ends
   • Presentation/Discussion: Theories of visual information
     [April 1: SPRING BREAK]
9. April 8
   • Tech: Unity Intro. Maya import
   • Presentation/Discussion: Data fusion and powers of ten
10. April 15
    • Tech: Unity scene building 
    • Presentation/Discussion: Four corner opposition in narrative structure
11. April 22: Project 4 (Unity environment) is due. We will critique in class.
12. April 29
    • Tech: Data in Unity, C#
    • Presentation/Discussion: Case study: Tectonic Plates [Subject to change]
13. May 6
    • Tech: Unity loose ends 
    • Presentation/Discussion: Case Study: VR eye tracking [Subject to change]
14. May 13: 1-on-1s & Breakouts:  I’ll speak with each of you 1-on-1 while you work on your project. If you need or can provide help on the tech topic, you can pop into a separate breakout room. If you help another student and they verify that you significantly helped them, you get 1 pt of extra credit added to your overall grade.
15. May 20: Project 5 is due. We will critique in class.

Participatory & Collaborative Learning

By enrolling in this course and entering the classroom, each student makes the tacit commitment to participate in the class. Active class participation involves more than mere physical presence. Students are expected to be actively involved in the class. They should take the initiative in discussion and projects, ask relevant questions, and contribute to the overall learning environment of the class. EVERYONE HAS SOMETHING TO CONTRIBUTE! It is your responsibility:

1. To prepare for class by having read assignments, written papers and/or prepared projects;
2. To actively participate in class discussion and activities. Especially with technical topics, I expect students to help each other and will award extra credit when this occurs.
3. To take notes on discussions, presentations, and activities conducted within the class; 
4. To complete all course assignments, even if you are absent from a class meeting.   

Attendance and lateness

Excused absences (for religious holidays and/or documented work commitments) must be requested at least 1 class session in advance.

• 1 unexcused absence incurs no penalty
• 2 unexcused absences will lower your overall grade by 10% (e.g. 95% becomes 85%). I will refer you to F&M administrators to check that you’re doing okay.
• 3 unexcused absences is grounds for automatic failure.

Submitting work

Work will be turned in before class by sharing a WeTransfer link with arlduc@mit.edu. You are responsible for testing your link in advance to make sure it works properly.

Late work

Projects submitted late will decrease by a full letter each week. Project 5 must be completed and turned in on time–no late work will be accepted.

Questions?

Please feel free to email me with questions. I will respond within 1 business day.

Grading Method and Scale

A [4.0; 96–100%]	Work of exceptional quality, which often goes beyond the stated goals of the course
A- [3.7; 91 –95%]	Work of very high quality
B+ [3.3; 86–90%]	Work of high quality that indicates substantially higher than average abilities
B [3.0; 81–85%]	Very good work that satisfies the goals of the course
B- [2.7; 76–80%]	Good work
C+ [2.3; 71–75%]	Above-average work
C [2.0; 66–70%]	Average work that indicates an understanding of the course material; passable Satisfactory completion of a course is considered to be a grade of C or higher.
C- [1.7; 61–65%]	Passing work but below good academic standing
D [1.0; 46–60%]	Below-average work that indicates a student does not fully understand the assignments; Probation level though passing for credit
F [0.0; 0–45%]	Failure, no credit

Resources

Required Tools

• Maya and a 3-button mouse
• Unity
• Adobe CC
• Text Editor. A decent list of Text Editors is on LifeWire.com, and I also BBEdit for Mac.
• Terminal or another method to execute short scripts (we will discuss)

Books [will be updated through the semester]

We will read chapters from these books, and I will request them to be put on reserve at Hunter Library. Note that inclusion of the book on this list does not equal endorsement. Please read all materials critically!

• Designing Virtual Worlds by Richard Bartle
• The State of Play: Law, Games, and Virtual Worlds edited by Jack Balkin and Beth Noveck (available through HC Libraries)
• Semiology of Graphics by Jacques Bertin
• Envisioning Information by Edward Tufte (available through HC Libraries)
• Neural Networks in Unity: Data Visualization in Unity by Abhishek Nandy and Manisha Biswas (available through HC Libraries)

Tutorials [will be updated through the semester]

• Maya 2020 User Manual
  • Autodesk Maya Learning Channel on YouTube, including Maya 101
  • Autodesk Academy: Maya (2-3 minute videos. It covers an older version of Maya, but it covers all the basics.)
• MEL Scripting:
  • MEL Scripting Basics in Maya (23-minute video)
  • MEL and Python (90-minute video)
• Unity Essentials
• Unity: Junior Programmer

More

• Hunter Emergency Services for Students (including long-term laptop loans)

Hunter College Policies

Academic Integrity

Academic integrity is a guiding principle of the Hunter College learning community because all students should have the opportunity to learn and perform on a level playing field. Academic dishonesty includes, but is not limited to, cheating, plagiarism, obtaining an unfair advantage, and falsifying records or documents (see examples) whether intentional or not.

Hunter College upholds the right to promote academic integrity on its campus as an educational institution of the City University of New York. The College has the responsibility to review all charges of academic dishonesty and implement sanctions, including, but not limited to, failing the course, official transcript notation, suspension or expulsion from the College when it has been determined that academic dishonesty did occur. Please click here to see a full list of disciplinary sanctions.

Accessibility 

In compliance with the American Disability Act of 1990 (ADA) and with Section 504 of the Rehabilitation Act of 1973, Hunter College is committed to ensuring educational parity and accommodations for all students with documented disabilities and/or medical conditions. It is recommended that all students with documented disabilities (Emotional, Medical, Physical, and/or Learning) consult the Office of Accessibility to secure necessary academic accommodations. For further information and assistance, please email accessability@hunter.cuny.edu or call (212) 772-4857 / TTY (212) 650-3230. If you have registered with the Office of Accessibility, please let me know at the start of the term.

Hunter College Policy on Sexual Misconduct

In compliance with the CUNY Policy on Sexual Misconduct, Hunter College reaffirms the prohibition of any sexual misconduct, which includes sexual violence, sexual harassment, and gender-based harassment, retaliation against students, employees, or visitors, as well as certain intimate relationships. Students who have experienced any form of sexual violence on or off campus (including CUNY-sponsored trips and events) are entitled to the rights outlined in the Bill of Rights for Hunter College. Sexual Violence: Students are strongly encouraged to immediately report the incident by calling 911, contacting NYPD Special Victims Division Hotline (646-610-7272) or their local police precinct or contacting the College’s Public Safety Office (212-772-4444). All Other Forms of Sexual Misconduct: Students are also encouraged to contact the College’s Title IX Campus Coordinator, Dean John Rose (jtrose@hunter.cuny.edu or 212-650-3262) or Colleen Barry (colleen.barry@hunter.cuny.edu or 212-772-4534) and seek complimentary services through the Counseling and Wellness Services Office, Hunter East 1123. CUNY Policy on Sexual Misconduct. Link: http://www.hunter.cuny.edu/diversityandcompliance/repository/files/cuny-policy-on-sexual-misconduct.pdf

Counseling and Wellness Services:

Counseling and Wellness Services (CWS) is another campus resource and service center for all matriculated students that is operating remotely for counseling services at no cost to all Hunter students. You can make an appointment at: http://www.hunter.cuny.edu/studentservices/counseling-and-wellness.