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Contents © 2017 Golan Levin and Collaborators
Golan Levin and Collaborators
Education and Employment
Massachusetts Institute of Technology, MIT Media Laboratory, Cambridge, MA.
Master of Science in Media Arts and Sciences, August 2000. As a graduate student in John Maeda's Aesthetics and Computation Group, I investigated how the intrinsic properties of the computational medium could make possible provocative new forms of visual expression. My thesis topic was "Painterly Interfaces for Audiovisual Performance," in the development of which I pursued coursework in computational simulation and modelling, signal analysis and processing, analog and digital circuit design, and painting.
Massachusetts Institute of Technology, Cambridge, MA.
Bachelor of Science in Art and Design, June 1994. Minor in Music Theory and Composition. Self-designed undergraduate degree included fine arts, computer science, architectural design, electronic music, video and animation, philosophy, cultural anthropology and ethnomusicology.
Additional university coursework in Fine Arts at Parsons School of Design (Summer 1989) and Oberlin College (Autumn 1991).
College of Fine Arts, Carnegie Mellon University, Pittsburgh, PA.
Director of the STUDIO for Creative Inquiry, January 2009 - present.
Associate Professor of Electronic Time Based Art, School of Art, June 2007 - present. Additional Courtesy Associate Professor appointments in the School of Design and the School of Computer Science.
Assistant Professor of Electronic Time Based Media, January 2004 - May 2007.
Parsons School of Design, Department of Design and Technology, New York City, NY.
Adjunct Professor, 2001-2003. Various courses in introductory and advanced computational design, introductory interaction design, and Master's thesis preparation.
The Cooper Union, School of Art, New York City, NY.
Adjunct Professor, 2001-2002. Courses in introductory computational art and design.
Columbia University, Department of Art, New York City, NY.
Adjunct Professor, Fall 2000. Course in introductory computational art and design.
Design Machine, New York City, NY.
Consultant, December 2000-2002. Worked with designer Alexander Gelman in the growth of a small studio focusing on visual communication and interactivity.
MIT Media Laboratory, Cambridge, MA.
Research Assistant, September 1998 to August 2000. Furthered the research and pedagogical missions of the Aesthetics and Computation Group at MIT, through design, engineering, teaching and mentoring.
Interval Research Corporation, Palo Alto, CA.
Member of the Research Staff, June 1994 to June 1998. Spent four years as a interaction designer, software engineer and idea hamster on the creation of new tools and toys for multimedia play and production. The themes of my work at Interval were the dynamic manipulation and visualization of time-based media; visual markup and programming languages for the representation and orchestration of multimedia content; and rapidly-prototyped physical and virtual environments for real-time creative play. Prototypes on which I worked included two integrated hardware/software entertainment systems for children, and three software systems for professional and consumer video production. I also collaborated on several interactive exhibits and installations concerned with providing novel interactive experiences in synthetic or pseudo-synthetic graphical environments.
Boston Digital Corporation, Woburn, MA.
Interface Design Consultant, October 1993 to June 1994. Supervised the design and development of a graphical user interface for a computer-controlled (CNC) milling machine.
MIT Media Laboratory, Cambridge, MA.
Undergraduate Research Assistant, January 1990 to June 1994. Served as an interface and interaction designer on a variety of projects. Chief among these was Media Streams, an experimental system for the content-based annotation, query and retrieval of digital video. In addition to designing many aspects of its GUI, I was also the principal architect (1991-1994) of its 8000-character generative iconic language. Other projects included the design of virtual sets and characters for the ALIVE interactive VR (Spring 1993) and the collection and development of an extensive sampled-sound database (1990).