R E T MAS y g lo o n h c e T & y it iv t a e r C , n ig s e D in THE UNIVERSITY OF
Where ima becomes r
in Design Creativity & Technology Marketing Manager Miquel Bisbe Sales Manager Miyako Tsuge
Intro This Master course is a double degree program in cooperation with the University of Northampton (UK) and University of Girona (SP). By combining strategic Creativity, Design, Interaction, Technology and new business strategies, we seek to train students to be able to work in team with cross-sectional vision.
01 Introduction 02 Crossmedia Studies 03 Eram Crossmedia College 04 Northampton University 05 Vicorob 06 Directorâ€™s Voice 07 Skills and Personal Abilities 08 For Whom? 09 Modes of Study 10 Plan of Studies 11 Conceptual Maps 12 General Course Outline 13 Modules / Crossmedia Coures 13.1 Visual Design 13.2 Strategic Creativity 13.3 Project Management and Communication 13.4 Interaction & Technology 13.5 Final Masterâ€™s Project
14 Teaching Staff 15 Professional Opportunities 16 University Services 17 Admission and Requirements Carrer Sant Antoni, 1 17190 Salt Phone: (0034) 972 402 258 Email: firstname.lastname@example.org www.eramcollege.com
Market changes, the global economy and technological innovation are leading to structural changes in current business models, redefining our social and cultural routines and consequently, demanding new employment profiles.
of what constitutes essential professional competencies. New profiles are needed to handle the production process, with digital tools that are more and more compatible with creative tasks or content management.
New media creation enjoys a huge scope of activity provided by digital television, the Internet and cell phone technology as well as interactive applications, data visualization and mass communication. The Internet, which is accelerating digitization processes and eliminating boundaries between old and new professions, is generating new areas of convergence.
It is important that the contemporary professional profile display a versatile skill set, and for two basic reasons: first, technology operates increasingly in multiprocessing environments, which makes it necessary to have knowledge of the entire range of technical and operational resources, and secondly, a set of transferable competencies centred in creativity, content design, and teamwork is becoming more and more sought after.
Digital terrestrial television can receive new interactive services to access the information society while mobile technology will expand these possibilities even further. We canâ€™t predict the future but we know technology will bea vital part of it. Changes in media content are irreversibly linked to the rethinking of many antiquated routines, such as classic industrial production processes, as well as the re-evaluation
Naturally, professionals must dominate the specific skills of their area of expertise, and the capacities required will depend directly on the particular demands of each work environment. The versatility of the profile of the new professional is guided by the combination of â€œtechnology + creativity + communicationâ€?.
Society and lifestyle changes call for different ways of interacting and living. Newly created vocations and business opportunities need trained professionals, forward-looking individuals able to understand their present technological environment and eager to design the future. The education ERAM offers is the answer to these needs and opportunities. We prepare you for a labour market that demands technical knowledge, communicative ability and creative capacities. Look at some of the profiles the market is clamouring for. There is a call for experts who can combinedigital tools with knowledge of fine arts and design, creators of new communication strategies and interfaces, project managers with the ability to run of efficient transversal projects in a cross media context.
Audio-visual producers who can work in teams and manage diverse collaborations. Engineers who can sell their ideas and engage with new media producers to forge new companies. When science meets art, the results can be unexpected and fascinating, and with the right business strategy, very profitable. At ERAM, people with a broad range of interests converge: those drawn to video game design, web information strategies, audio-visual production, or branded entertainment and advertising work together to acquire very specific skills. They discover how to link information across multiple media devices; how to hone, project management, design and communication capacities; how to build and nurture a concept; and how to make a hobby become a real profession.
2 Crossmedia Studies
The role of new media is transforming rapidly in countless ways, changing how we perceive technology in relation to human interactions. It has spearheaded new modes of transmitting the message using different platforms and alternative means. The fundamental shift from one-dimensional sender/ receiver communication to multidimensional interactive communication is referred to as cross media. Being a cross media school means that our resources and educational structure and resources must be updated constantly. New methods are continually being developed or considered. This evaluation procedure is essential so that professors can prepare students to face a complex and multicultural market with everchanging boundaries.
By implementing problemsolving methods, students are encouraged to develop divergent, critical thinking and to apply creative techniques, to stimulate innovation and find solutions. Future cross media professionals will embrace a worldwide, interconnected workspace. The school trains students to perform in teams with multidisciplinary profiles to prepare them for the realities of the global professional market. Our teachers are progressive professionals, the best in their field, and they hail from all over the world. They work with small groups in every class. This allows them to follow closely the development and progression of each student.
Studying cross media means learning how to create media content, tell a story, provide a service, or create and experience using several media formats, and distribute it across media platforms.
3 Eram Crossmedia College
ERAM was born as a Multimedia and Audio-visual School in 1998 with the aim to offer high quality education in a unique and creative environment and soon became a part of the University of Girona.
Our objective is to advance the latest techniques in the production, integrity and innovation of new media, while at the same time observing the highest standards in educational methodology.
ERAM CrossMedia College strives to prepare students to archie ve excellence in their career in cross media studies, by focusing on researching and developing the multidisciplinary aspects of new media, and by constantly pushing the boundaries of modern technology.
ERAM college places strong emphasis on dialogue with its students, to make them fully aware of their active part in the learning process.
University collaborations exchanging both students and professors, ERAM college carries this research even further.
Human interactions are expanding to realms previously deemed impossible and unimaginable.
A whole new spectrum of ways of communicating has been uncovered in the past two decades alone, driven solely by human creativity and ingenuity. ERAM College occupies a frontier position in the exploration and development of this spectrum by encouraging creative thinking, practical problem solving and sharing knowledge with other faculties of the University of Girona.
4 Northampton University
The University of Northampton is situated in the heart of England and offers various subjects at undergraduate and postgraduate level. The University is globally renowned in subject specialisms such as Wastes Management, Leather Technology and Fashion. The School of The Arts has a rich history that dates back over 120 years, and it continues to produce outstanding graduates. Students are given a platform to develop their creative skills within a vibrant and stimulating environment, and are encouraged to be experimental and original.
In 2012 the University was recognised as Englandâ€™s No 1 University for employability and as part of the Universityâ€™s new strategy, they aim to be the top university in the UK for social enterprise by 2015. Their social enterprise strategy is based on a desire to be distinctive, forward-thinking and responsible. The Universityâ€™s strategy is unique; they are the only university taking an institutional and holistic approach integrating social enterprise into their student offer, into teaching and learning and research, and working with local authorities, businesses and the wider community, to deliver improvements to Northamptonshire.
THE UNIVERSITY OF
ViCOROB is a research group at the University of Girona specialized in developing applications in the fields of Computer Vision and Robotics. This is a group created in 1993, with multidisciplinary integration of research staff with academic backgrounds with complementary technical and administrative staff support and development. It currently has a staff of 70 people around the world. The result is an intense activity in both basic research and in applied research, with contributions in the academic and projects in the field of technology transfer.
6 Director’s Voice
We are already more than a decade into the 21st century. Structures are already horizontal and the opinions of their members are all important. Personal and collective project funding models are changing, with “crowd funding” on the rise. People are communicating at all levels thanks to content repositories, social networks and chat tools which have swept away traditional SMS communications. Project management methodologies have become “responsive”, allowing work teams to adapt perfectly to their clients, week after week. Smartphones and tablets are able to read Augmented Reality codes that allow us to access applications and websites without typing, thanks to their high definition cameras. Clothing has become “intelligent,” capable of monitoring the state of the person wearing it. It is possible to exercise while “playing” thanks to “Exergames” in which we compete with our fellow citizens and post our results in public forums to win recognition. The development of ICT and Multimedia applications has become more democratic thanks to the ability of small teams of highly talented people to publish their products on existing online platforms. And we use all kinds of Transmedia means to do so, adding to them and hybridizing them second after second. The world has already changed. It is a fact. And it will continue to do so, in shorter and shorter cycles. Who, then, are those really prepared for these new communications and business structures? Who will really be quick and able to implement the ICT/Media products meeting the needs of end users? Those who have experienced the complexity of real multidisciplinarity, being able to adapt and continually readjust to new and different work teams entailing multiple profiles? People who speak multiple languages and know how to interact with experts in them? Technology, Science, Research, Design, Communications, Marketing 2.0, Transmedia, Gamification, Script, Usability, Creativity, Art, Management...there are many ingredients, and we cannot know all of them inside and out. But it is our obligation to engage them and be able to handle them and structure them in order to build ideal teams that provide effective solutions to the “same old” problems and, above all, to the new challenges that lie ahead. Welcome to the era of digital “producers.” By the way, all are invited, regardless of your area of expertise.
7 Skills and Personal Abilities
This training program stresses both “hard skills”, specific competencies based on the particular contents of the module, and especially “soft skills”, or generic abilities greatly needed in industry today. In this program students improve their abilities and skills and end up with documented evidence to prove it, not only thanks to their outstanding final portfolios, but also to their capacities, which they are able to display as soon as they enter the working world. We take a look at the most noteworthy below. For a complete list see the specific information on each module.
-Understanding of and a critical capacity regarding the application of techniques and systems, as well as their scope and performance; methodological and projectrelated applications, as well as their scope and results in Design, Communication and Creativity projects, always adapted to end users. Of course, also encompassed is the experimental realm its realistic applications.
-Demonstrating critical awareness of current issues in the discipline and making informed judgments based on incomplete or inconsistent data, or when there are no professional, ethical or practical codes to orient one.
-The implementation of advanced problem solving techniques as well as techniques for the finding of original and creative solutions to general and specialized problems. Confronting new situations and challenges through the exercise of Creativity.
-Being able to manage multidisciplinary projects as well as all of their languages, regardless of one’s original area of expertise. Integrating new knowledge and connecting apparently unrelated ideas. Contributing to and producing innovation.
-Managing and taking responsibility for one’s own work both on a team and individually. Always striving for excellent results.
-Working both independently and on teams, exhibiting a capacity to undertake and think critically about functions and responsibilities.
-Analysing the sociocultural characteristics of one’s own field and personal circumstances in order to take them into account in a constructive way. -In summary, evolving as a person and a professional...
“You’ve achivied success in your field when you don’t know whether what you’re doing is work or play”
8 For Whom?
In the program roles will be assigned based on those actually existing in the industry. Thus, three major categories lay the foundation: Artist, Developer and Producer, which refer to:
Pupils come from a whole range of different fields and are able to play the role which best suits their interests and motivations, though it is important for one to challenge himself in this regard and cross the lines between traditionally isolated spheres of knowledge. We build bridges and allow anyone to cross them, only asking for three things: efficiency, reliability and passion.
•“Artist” or producer of concepts and contents, as well their adaptation to end users. Profiles which may be included in this category include documentary filmmakers, designers, artists, communicators, commercial representatives, Fine Arts professionals, set designers, game designers, architects, interior designers, biologists, writers, musicians, museologists, etc. •“Developer” or programmer of the experience, who will be responsible for support in the development of prototypes and the final product. This profile is perfectly suited to people with a technical background, such as engineers in any specialization. •“Producer” or manager of the digital experience and team, applying responsive methodologies to this end. This is an ideal profile for anyone with or without training in this type of field of interest. Managerial and leadership skills are important assets, of course. It is assured, therefore, that the program is open to multiple applicant profiles, given that the multidisciplinary developments arising from the creation of ICT/Media require all kinds of contributions. “Right hemisphere” professionals bring passion, freshness and a certain dose of chaos and randomness, while “left hemisphere” individuals provide balance thanks to their rational, mathematical, logical and scientific outlook. The results are always to meet the highest standards, of course.
In addition to soaking up knowledge from multiple areas of expertise and collateral languages, whatever their background area, students complete the program as ICT/Media managers, that is, digital producers perfectly adapted to the reality before us. People who can adapt and mutate, always growing, offering new solutions, managing diverse teams and confronting differences with the security offered by our real final project. All from an artistic perspective that is applicable to any sector.
9 Modes of Study
The disciplines that make up this program may be studied in three modes: “Full-time”: complete classroom programme with a duration of 1 year. (from September to September). “Part-time”: classroom attendance programme lasting two years; students choose the modules to complete in each one, always carrying out their actual final projects in the second year. Modular: each module functions as an independent entity that can be taken separately if desired, obtaining a certificate if successfully completed.
Interaction & Technology
Project Management & Communication
10 Plan of Studies ECTS CATS
Project Management & Communication
Final Masterâ€™s project
Interaction & Technology
11 Conceptual Maps Project Management
Computer Vision Media Robotics
Interaction and Mobility
Media Technology and interaction
Project Management & Communication
Interaction & Technology Social and Marketing trends Material Innovation
Sensors, Haptics and Peripherals
MASTER IN DESIGN, CREATIVITY AND TECHNOLOGY
Sociology and Communication
Newmedia Art & Digital entertainment
Interfaces & UX
Interactive communication Design for All
Digital Typography Wayfinding
Data Flow & Data Visualization
New Media Art
M AST E R AC A D E M I C C A L E N DA R
H FINIS SEP
Agora / Students & Teachers meetings
Final Thesis Project
Strategic Creativity 8 ETC Interaction & Technology 8 ETC Visual Design 8 ETC
Culture & Entertainment Activities 2 ETC
Project Management & Communication 8 ETC
Examination Period 1st. Semester
12 General Course Outline
All of us are creative to some extent. In fact, we can train ourselves to improve in this regard. And to continue learning. We are “big” children who, in the bottom of our hearts, yearn for those days of innocence, freshness and spontaneity which spurred us to experiment, make mistakes and learn from them. Without prejudices or punishments. Pure “learning by discovery.”
We also love memorable experiences, all of which serve us to create concepts that are flexible and adaptable, achievable and realistic. For the world we live in today. Companies are out there waiting for us. The Master’s is built around 4 main modules which allow students to hone their abilities and enable them to undertake a real and applied project. This project is not just a concept, but something that is actually carried out. Our students lose their fears and discover their skills - some of them unexplored, unknown or forgotten.
Introductory week Introductory week is time for academic preparation with a variety of activities, events and fun to kick start your University experience. During one week new students will be able to organize their classes, acclimate to student life, and introduce themselves to other new students. We hope that by the end of Introductory Week you will be well prepared, and ready to embark on your studies. With a variety of fun and induction events we will welcome you all!
The modules are:
in which exercises and new sources of inspiration are introduced from the artistic and commercial points of view, always stimulating for our students’ creative development. The main areas covered are: “New Media Art”, “Digital Entertainment”, “Cognitive Psychology”, “Creative Visual Communication” and “Social Innovation”.
which assigns particular importance to interaction with the environment as well as the user himself in order to acquire a solid understanding for the development of experiences and interactive applications. From semiotics, perception and readability, to visual codes, hierarchization and visual information design.
where any student, regardless of their origin, and whether a technician or not, will develop competencies and skills needed to deal with the diversity and complexity of existing technological systems: programming “for all”, computer vision, robotics applied to the “Media-Art” environment, consumption sensors, peripherals and haptic type systems.
Interaction & technology,
“The purpose of education is to replace an empty mind with an open one”
Cultural Activities Are you interested in discovering the rich Catalan Culture? During the whole academic year, we will organize a variety of cultural activities that will expand your world view and enrich your life. In these fun activities you will be able to taste the traditional Catalan cuisine, visit the most beautiful and interesting Catalan towns, discover spectacular mountains and amazing beaches, and enjoy Catalonia’s festivals and traditions. Let’s learn and enjoy the Catalan lifestyle in good company!
which deals with the management of ICT and Multimedia developments in the depth they deserve. Both applying the most rigorous project management techniques and the most responsive methodologies, which make it possible to adapt work teams to the client, “Lean startUp” for entrepreneurial development, and the most innovative Marketing 2.0 techniques which promote us, we and our product, thanks to the social networks and Gamification.
which encompasses the complete pipeline in all its phases, and is always based on actual roles that will be played by our students. The final projects are carried out on teams which evaluate individual and group performance, as well as that of the product itself, with reference to the actual end client. There are sprints, milestones, deadlines and other elements that allow us to reach a final “above and beyond” stage, so necessary for people with talent and the drive to thrive.
Project Management and Communication,
Final Master’s Project,
13 Modules 13.1 Visual Design 13.2 Strategic Creativity 13.3 Project Management & Communication 13.4 Interaction & Technology 13.5 Final Masterâ€™s project
13 Modules 13.1
The Design module will endow students with the skills and knowledge needed to deal with the diversity and complexity of this discipline, as well as in Visual Communications. Special importance will be attached to interaction with the environment as well as the user himself in order to acquire a solid understanding for the development of experiences and interactive applications, from semiotics, perception and readability, to visual codes, hierarchization and visual information design.
The module will focus on the effective application of design and visual communications through the implementation of the project methodology, the creative process and its phases, applied techniques, conception models and the resolution of visual and interactive communication problems. Special attention will be given to emerging trends in this discipline, taking into consideration the study of project processes, materials and both current and in-progress applications, with a view to the conception of efficient visual and interactive communication projects applied to physical elements, print media, and the digital/virtual/ synthetic realm for all types of technological fields.
Educational strategies Duration of the module: 5 full-day (8 h) sessions and 10 half-day (4 h) sessions. Teaching: two teachers with Design and Developer profiles.
-Lecture and participatory classes (1.5 ECTS). -Analysis and case studies (0.5 ECTS). -Practical classes and the drafting of reports (3 ECTS). -Searching for information, teamwork and the presentation of papers (1.5 ECTS). -The completion of exercises and simulations (1 ECTS). -Attendance at seminars (0.5 ECTS). Tutoring and evaluation criteria There will be exercises and three projects, overseen by both of the module’s tutors. These will focus on the acquisition of both “hard skills” and “soft skills”, both previously cited in this document.
Learning objectives Specific skills
-The ability to analyse, envision, design and implement visual systems applicable to interactive projects using project-based methodologies and design techniques and processes. -A critical understanding of sound professional practices in the execution of design and visual and interactive communication projects. -A practical command of the use of visual communication techniques applied to 2D, 3D and 4D (time and space) projects. -The acquisition of basic knowledge related to the development of visual systems and modular, mutable, evolutionary and adaptive identities. -Discovering and using new trends and technologies related to the display of information and the creation of visual codes. -Gaining practical experience in the management and development of interdisciplinary design projects.
-A critical understanding of methodological, project and technical applications, as well as their scope and results in design projects. -Developing and applying skills to critical analysis, evaluation and synthesis, and to the design of projects and experimental models. -The implementation of advanced problem solving techniques as well as techniques for the finding of original and creative solutions to general and specialized problems. -Developing and demonstrating visual, oral and written communication skills and techniques. Project presentations. -Demonstrating critical awareness of current issues in the discipline, and making informed judgments based on incomplete or inconsistent data, or when there are no professional, ethical or practical codes to orient one. -Working both independently and on teams, exhibiting a capacity to undertake and think critically about functions and responsibilities. -Critically reviewing and applying knowledge to a wide range of projects and applications. -Managing and taking responsibility for oneâ€™s work. -The coordination of teams and art management on projects involving Visual and Interactive Design and Communications. -The capacity to work on transdisciplinary and multidsciplinary project teams.
Content 1.Project methodology a.Basic concepts: methodology of design, theoretical foundations, systematization, methodological constants, creative process, form/function, configuration and effects. b.Methods and design processes: comparison of models. Design and natural science. Design and artificial science. Design processes and the scientific method, research, analysis, conceptualization (brain storming), parallels and conceptual and formal analogies, metaphors, codes and visual hierarchies, synthesis, forms of representation, production, prototypes, testing and reproduction. 2.Visual Codes and language a.Visual perception, reading and readability (textual and typographical) bimedia language, the image-text relationship. b.From graphic designer to â€œvisualistâ€?. c.Identity and visual codes. Basic concepts, visual language, visual interpretation. d.Visual communication techniques. Structures, syntax and visual synthesis. Systems, forms and visual elements. Hierarchies, organizational systems and visual hierarchies. Image, colour, text and typography, speech. e.The dimensions of design 3.Morphology and Semiotics a.Functions and Semiotics of visual communication. b.Semiotics in design processes. c.Visual perception and Gestalt. d.Communication. Signification. Information e.From sign to symbol. f.Semiotics of Colour. g.From Functionalism to Structuralism. h.Cognitive processes. 4.Visual Interface Design a.Information, communication, interaction, types of interfaces. b.Design, organization and representation of hierarchical information. c.Language, visual systems in graphic interfaces and their interaction applied to products; physical, digital and virtual environments. 5. Data Flow a.On trees and networks, users, time and space. b.Simplicity-Complexity, connotations, and understanding. c.Design, coding and information display. d.Computer graphics, schemes, diagrams, and language. e.The syntax of a new language. 6. Wayfinding a.Fields of Wayfinding design. Cognition, processes and mobility. b.Areas of accessibility. Visual communication of public utility. c.Theoretical Foundations. Analytical and project resources. d.Scenarios, analysis and spatial intervention. Cognition, processes and mobility. e.UX. Wayfinding and users, wayfinding and the environment, artificial signals and usability.
13 Modules 13.2
Creative people often feel somewhat guilty if asked about how they managed to come up with something because they simply “saw” it. It seemed obvious to them after a while. This is due to their ability to 1) associate prior experiences 2) synthesize them, creating different ones. The reason they are able to do this is that they have had more experiences or have thought more about them than other people. Unfortunately, this is not common. Many people in our industries have not enjoyed diverse experiences which means they don’t have enough “dots” to be able to connect them. They end up designing solutions that are too “linear”, without a broad enough perspective with regards to the challenge before them.
As Steve Jobs told Wired magazine in February of 1995: “The broader our understanding of the human experience, the better design we will have.” The Strategic Creativity module, designed by Pedro Soler and Xavier Manzanares, introduces all kinds of exercises and new inspirations from the artistic and commercial points of view, always stimulating for our students’ creative development. The main areas covered are: “New Media Art”, “Digital Entertainment”, “Cognitive Psychology”, “Creative Visual Communication” and “Social Innovation”.
And it is this objective which this module pursues. The module will feature the presentation of papers, visits by artists and access to current research. In short, examples of Creativity in the fields of Neuroscience, Biology and Psychology. All this will serve to shape students’ own concepts and projects, whether alone or in groups, always incorporating the exercises completed throughout the learning process.
Creativity, i.e. the invention of “the new”, cannot be explained, by definition. But we can create an environment in which this, the most singular and important factor for professional success, emerges.
Educational strategies Duration of the module: 5 full-day (8 h) sessions and 12 half-day (4 h) sessions. Teaching: two teachers, with Artist and Design profiles. Educational activities - Lecture and participatory classes (1.5 ECTS). - Analysis and case studies (0.5 ECTS). - Practical classes and the writing of reports (3 ECTS). - Searching for information, teamwork and the presentation of papers (1.5 ECTS). - The completion of exercises and simulations (1 ECTS). - Attendance at seminars (0.5 ECTS).
Tutoring and evaluation criteria A global project will be carried out, overseen by the module’s tutors. These will focus on the acquisition of both “hard skills” and “soft skills,” as previously cited in this document.
Learning objectives Specific skills
-Developing a capacity for analysis, synthesis and critical judgment, identifying and explaining causes and contexts. -Identifying, evaluating, and using current and novel methods for the completion of projects featuring a high degree of creativity and research on their design. Taking on research and knowledge transfer activities in the professional world. -Identifying, evaluating and applying knowledge about Creativity and the skills learned in this context to new technologically related applications and developments. -Integrating new knowledge and connecting apparently unrelated ideas, even when they come from fields different from oneâ€™s background. -Working individually and on transdisciplinary teams, establishing those relationships which can help the most to foster and sustain potential collaborative efforts.
-Bringing creativity to any challenge or context. -Ability to generate new ideas from complex relationships, whether individually or in a group. -Developing and demonstrating oral, visual and written communication skills and techniques. -Demonstrating a critical awareness of current and public issues. -Working both independently and on teams, exhibiting a capacity to undertake and think critically about functions and responsibilities. -Critically reviewing and applying knowledge to a wide range of projects and applications. -Managing and taking responsibility for oneâ€™s work.
Content 1.Creativity course description. 2.Activities and exercises to encourage creative development. 3.Collaboration tools. 4.Introduction to the literature on Creativity. 5.Emergency - Biology and Creativity. 6.Neuroscience: Where does Creativity come from? Creativity and the brain. 7.Artificial Intelligence, emergent systems in Programming. Limits. 8.Art and space. Body and Time. 9.Project maps. Mind maps. 10.The cutting edge. Net art. Art and Technology. 11.Interactivity, interfaces, and Videogames. 12.Circuits and Electronics, the Creativity of circuits. Hackers, philosophy and practice. Sound and noise. Biocircuits. Metaphorical circuits. Soft circuits. 13.Basic needs. Creative challenges of the real world. Technological intervention, Smart Cities, energy,business. 14.Public Art. Street Art / Advertising: Open walls, Signs, Ads, Free Money, Urban Movements. 15.Architecture. Mapping. 16.Economy. Culture and Accounting. Numerical Creativity. Creative spreadsheet research. 17.Collective intelligence and cultural practices.
13 Modules 13.3
PROJECT MANAGEMENT & COMMUNICATION
Today’s new horizontal organizational Business 2.0 environments call for new creation and management strategies. Teams are multidisciplinary and speak different languages. Projects are complex and draw on a range of different fields: Design, Technology, Usability, Scripts, etc. Development periods are frantic, with tight delivery deadlines. Moreover, the development of ICT and Multimedia applications has become democratized thanks to the possibility of small teams of highly talented people publishing their products thanks to online platforms for peripherals such as smart phones and tablets.
And all this, in the latter case, with practically no need for intermediaries. The means at our disposal allowing for the promotion of our personal brand, as well as that of our product, are almost infinite. The Web and the social networks on it make it possible for us to promote our creations in just seconds and, thanks to our capabilities, to do this with almost professional results. One learns by playing and “problems” are solved when they are approached as challenges. “Work” is in the eye of the beholder.
And this interesting asset should be assigned and handled with the great importance it merits, as it directly affects people’s motivation. For all these reasons the Project Management and Communications module will deal with the management of ICT and Multimedia developments in the depth they deserve given their importance and complexity, from the point of view of the most thorough project management, the most responsive methodologies that allow work teams to adapt to clients, developing valuable solutions in short time frames, as well as via Marketing 2.0, which points us towards this new global and exciting world.
Educational strategies Duration of the module:
16 half-day sessions in the 1st semester and 13 in the second. All lasting 4 h.
3 teachers, different for each subject.
Lecture and participatory classes (1.5 ECTS). - Analysis and case studies (0.5 ECTS). - Practical classes and the writing of reports (3 ECTS). - Searching for information, teamwork and the presentation of papers (1.5 ECTS). - The completion of exercises and simulations (1 ECTS). - Attendance at seminars (0.5 ECTS).
Tutoring and evaluation criteria
Two mini projects will be completed during the first semester, overseen by the module’s tutors/ teachers. These will focus on the acquisition of both “hard skills” and “soft skills,” as previously cited in this document. There will be a project which is actually applied throughout the second semester, under the tutelage of teachers from the first.
Learning objectives Specific skills
-For one to provide his team with his own knowledge and capacities while seeking opportunities to make valuable contributions. -Learning to work on multidisciplinary teams, establishing those relationships most capable of fostering and successfully sustaining potential collaborative efforts. -Managing and leading projects and using responsive and flexible methodologies in the fields of Engineering and Visual Communications. -Properly applying Marketing 2.0, personal branding and innovative communications to emerging technologies -Learning to develop corporate innovation and communications policies in the field of corporate identity and new “Advergaming” advertising models. -Knowing how to use administrative, legislative and commercial strategies to obtain financial resources and achieve project development. -Knowing how to transform a business idea into a reality by analysing its feasibility.
-Selecting and using the information technologies most appropriate for each situation in both the personal and professional spheres. -Developing a capacity for analysis, synthesis and critical judgment; identifying and explaining cause and context. -Analysing the sociocultural characteristics of one’s own field and personal circumstances in order to take them into account in a constructive way. -Evaluating the ethical aspects of professional situations and of the ethical and social consequences of one’s own decisions. -Integrating new knowledge and connecting apparently unrelated ideas, even when they come from fields different from one’s background.
Content 1.The digital entertainment industry. a.New formulas. b.Needs. c.Trends. 2.Project management techniques and methodologies. a.Methodology. b.Life Cycle. c.Planning and replanning. d.Programming. e.Tools available. f.Monitoring and control of work completion. g.Analysis and evaluation. h.The director and manager as figures. i.The Generation of Value. j.Conclusions. 3.Responsive management methodologies. a.What is SCRUM? b.Time boxes. c.Roles. Product owner, Scrum master, Team. d.Sprint planning. Product backlog. e.Sprint meetings. Sprint backlog. f.Burndown charts. g.Sprint demonstration. 4.Marketing and Communications applied to emerging technologies; social media, personal branding, gamification. 5.Entrepreneurship Processes. â€œLean Startupâ€? and customer acquisition orientation.
13 Modules 13.4
INTERACTION & TECHNOLOGY
The Interaction and Technology module will develop the competencies and skills needed to deal with the diversity and complexity of existing technological systems, with a particular emphasis placed on interaction with the user and his own environment.
These systems have in common the need for one to acquire knowledge of issues such as highlevel programming, computer vision, robotics and their application to interaction, sensors, peripherals, haptic type systems, as well as the user’s general interaction with the environment.
This guarantees the acquisition of critical knowledge about tools and techniques to support this type of process, always present in technological/artistic and multimedia developments.
Educational strategies Duration of the module: 17 morning sessions and 4 afternoon sessions (4 h/session). Teaching: two teachers with Artist and Developer profiles.
Tutoring and evalutation criteria
Educational activities Lecture and participatory classes (1.5 ECTS). - Analysis and case studies (0.5 ECTS). - Practical classes and the writing of reports (3 ECTS). - Searching for information, teamwork and the presentation of papers (1.5 ECTS). - The completion of exercises and simulations (1 ECTS). - Attendance at seminars (0.5 ECTS).
These will focus on the acquisition of both “hard skills” and “soft skills,” both previously cited in this document.
There will be exercises and three consecutive projects overseen by both of the module’s tutors.
Learning objectives Specific skills
-The ability to analyse, conceive, design and implement interaction applications using different aesthetic creation and software programming tools. -A critical understanding of sound professional practices in the development of interactive applications and the life cycle of the product. -A practical command of the use of 1D, 2D and 3D digitalization and sensorisation systems, with a special emphasis on the acquisition and analysis of images. -Acquiring basic knowledge related to the development and control of robotic systems for interaction. -Discovering and using new trends and technologies related to sensors, robots and peripherals featuring natural interaction. -Gaining practical experience in the management and development of aesthetic-technological interaction projects.
-A critical understanding of the applications of techniques and systems, as well as their scope and performance. -Developing and applying skills to critical analysis, evaluation and synthesis, and to the design of projects and experimental models. -The implementation of advanced problem solving techniques, as well as techniques for the finding of original and creative solutions to general and specialized problems. -Developing and demonstrating oral and written communication techniques and skills. -Demonstrating critical awareness of current issues in the discipline and making informed judgments based on incomplete or inconsistent data, or when there are no professional, ethical or practical codes to orient one. -Working both independently and on teams, exhibiting a capacity to undertake and think critically about functions and responsibilities. -Critically reviewing and applying knowledge to a wide range of applications. -Managing and taking responsibility for oneâ€™s work.
Content 1.Programming a.Basic concepts: data types, variable, constant and operative; control structures, functions, matrices and leaders, input and output. b.Algorithms and code optimization; examples of software programming. c.Platforms: Scratch, Processing, OpenFrameworks, C++, various APIs, etc. 2.Robotics for interaction a.Basic concepts related to the development and control of robots. b.Robotic development platforms and existing programming languages c.Architectures and control design to program robotic tasks. d.Platforms: LEGO Mindstorms, Roomba, Turtle Bot, etc. 3.Sensors, interfaces and interaction a.Sensor systems for interactive environments: types of sensors and examples of applications. b.Analysis and processing of images: image representation, human perception, basic analysis algorithms. c.Software tools and techniques for the implementation of user interfaces. d.Extraction of information from sensory data. e.Platforms: Microsoft Kinect, Nintendo Wiimote, different smartphones and tablets, webcams, Arduino, Phidgets, etc. Interaction and Technology project a.Definition and motivation of the project. Brainstorming on the 4 axes of the memorable experience: technology, aesthetics, history and usage rules. b.Tasks, planning and people management. c.Analysis, information search and final development. d.Evaluation, testing and control. e.Writing, presentation, and sale.
13 Modules 13.5
FINAL MASTER’S PROJECT
The Final Master’s Project (FMP) aims to encompass general abilities or personal skills (soft skills) clearly required and needed in the business world. Thus, an effort is made to recreate real work conditions within the Master’s program in order to teach communicative, management and transfer processes in the multidisciplinary work teams faced with new and major product challenges. In short, the idea is to work in a real environment based on real parameters and producing a real product (concept and implementation prototype) for an existing collaborating company (which we could consider the “end client” in this case).
Educational strategies Duration of the module: 42 half-day sessions in the 2nd semester. All lasting 4 h. Teaching: 3 tutors per group, with the profiles Artist, Developer and Agile (expert in “agile” management methodologies). Tutoring and evaluation criteria A major FMP project will be carried out during the second semester, overseen by 3 tutors, which may be different for each student work group. Special stress will be placed on the learning and application of the “soft skills” previously mentioned in this document. The project, evaluated weekly by the tutors, will have to be shown sequentially to the collaborating company in cycles not to exceed two weeks, and will be presented in public a minimum of four times.
Content 42 sessions scheduled over the course of 14 weeks, all requiring attendance, at which students will share work space in groups associated with different projects for collaborating businesses. In these they will be accompanied by their “advisors” or mentors/facilitators, being organized on the basis of existing industry roles and assuming specific responsibilities. The first level will involve: Developer, Artist and Producer. Responsive and flexible methodologies such as SCRUM shall be employed in order to assure that the different milestones and deadlines are undertaken weekly and there is continuous contact with the collaborating company. The latter will organize itself in the way which members of the team and from the company deem most appropriate.
Learning objectives Specific skills -This brings together all the existing skills in the 4 most â€œtechnicalâ€? modules given that they will all have to be applied, in some combination, to be determined depending on the final FMP one carries out. Personal Skills -Identifying, evaluating, and using current and novel methods and techniques for the execution of technological and research projects in design, creativity and technology. Taking on research and knowledge transfer activities in the professional world. -Applying the knowledge and skills learned in new environments. -Integrating new knowledge and connecting apparently unrelated ideas, even when they come from fields outside oneâ€™s background. -For one to provide his team with his own knowledge and capacities while seeking opportunities to make valuable contributions. -Working on multidisciplinary teams, establishing those relationships most capable of fostering and successfully sustaining potential collaborative efforts.
14 Teaching Staff
Meet Our Professors Our highly-qualified teaching staff hail from a range of different backgrounds, and with powerful knowledge of their specialized areas combined with fantastic enthusiasm for teaching, theyâ€™re committed to helping you achieve your potential. You will get the wealth of their expertise, as well as a mentor to assist you through every step of your studies at ERAM Crossmedia College.
Jordi Freixenet Jordi Freixenet is an Associate Professor at the Computer Engineering Department of the University of Girona (UdG).
From March 2010 to December 2011, he was the Director of the IIiA Institute of Informatics and Applications.
From 2003 to 2007 he was the Director of the Computer Engineering Degree of the UdG, being involved in a pilot program for adaptation to Bologna process. From September 2007 to March 2010 he was the head of VICOROB research group. In this period VICOROB has been recognized as member of the network for promoting the innovation in technology (Centre TECNIO) of the Catalan Government so that it is pushed forward transferring its knowledge to the industry.
He has also been involved in the creation of two spin-off companies: dset-solutions in 2004, and coronis computing in 2007.
VICOROB also renew the label of quality as an outstanding research group of Catalonia (2009 SGR 380).
His research is in two areas: 1) computer vision and pattern recognition and 2) creative lifelong learning. In the first area He is focusing on medical image analysis, multimedia and astronomic images, with special interest in object recognition, image segmentation, description and classiďŹ cation.
He is also engaged in the improvement in detection and diagnosis of breast, prostate and melanoma cancer, and multiple sclerosis. He is new in the second area, but very passionated. He is leading the project UdiGital.edu, inspired on ideas from MIT Lifelong kindergarten lab. The team is trying to design and test playful learning experiences. Here a list of his publications. He is currently in the academic board of the Master VIBOT, and teaching courses like Operating Systems Project, Computer Architecture, Advance Image Processing, and transversal skills like communication and entrepreneurship in Bachelor and Master degrees.
Pedro Soler Trained in the area of the art and the new technologies (Master of Digital Arts of the Institute Audio-visual of the University Pompeu Fabra, 1997-1998), Pedro Soler has developed an intense professional trajectory in artistic creation and cultural management. Instigator and catalyst of numerous initiatives related to new media, art and theatre, both individually and in collectives such as fifty-fifty (an independent distributor of multimedia art), dadata (audiovisual creation), didascalie.net (digital creation in the theatre), giss.tv (services of streaming with free software) and has imparted numerous workshops around the world.
He was curator in the Sonar festival from 1999 to 2006 and artist-programmer in theatre, mainly in France, from 2003 to 2006. He was appointed director of Hangar (hangar.org), a centre of production for visual arts in Barcelona, in 2006.
In 2012 he participated in (amongst others) Pixelache (Helsinki), Grec mov|i|ment (Barcelona), LabsurLab (Quito), Summer of Labs (Euskadi/ Galizia/Portugal), 404 School Not Found (Intermediae, Madrid), RCK (La Porta, Barcelona)
Finished his mandate in 2010 he curated the exhibitions l’Espai de l’Intent (Can Felipa, Barcelona) and The One and the Multiple (La Capella, Barcelona & Noskokaty Foundation, Cairo). In 2011 he founded and managed the production and investigation centre Plataforma Cero in LABoral Centre of Art, Gijón, Spain.
14 Teaching Staff
Oscar García Dr. Oscar García Pañella holds a B.Sc. degree in Telecommunications, besides a M.Sc. and Ph. D degrees in Electronic Engineering, respectively, in 1995, 1998 and 2004, from La Salle School of Engineering in Ramon Llull University, Barcelona, Spain. His main Ph. D topic was an automatic simulation of deformable objects applied to Telemedicine, partially granted by the EPSON Ibérica’s “Rosina Ribalta prize” for the best predoctoral project (1999). He’s enjoyed several stages abroad, like at the IMSC (Integrated Media Systems Center, University of Southern California - USC, Los Angeles, California, USA, 1998), at the VIS Lab (The Henry Samueli School of Engineering, University of California at Irvine - UCI, 2005) and at the Entertainment Technology Center (Carnegie Mellon University CMU, 2008-2009).
In these, he has worked on the implementation and design of Serious Games intended to solve several simulatorrelated challenges and learning opportunities from the “experiential multimedia” and “learning-by-doing” views for selected universities (ERAM, UOC, ESADE, La SalleURL, La Salle Almere, CMU...) and companies (HP, Digital Legends Entertainment, Roland, Telefonica I+D, Infojobs, The Saint Jude Hospital, Copperfield, Cookie Box...). Keywords: General Multimedia and in particular: Gamification, Serious
Robert MartĂ Received B.Sc. and M.Sc. degrees in computer science from the Universitat de Girona, Girona, Spain, in 1999, and the Ph.D. degree, in 2002, from the University of East Anglia, Norwich, U.K., for his work on image registration applied to multimodal mammography. He is currently an assistant professor at the computer vision and robotics group of the University of Girona. His main research interests are in the field of medical image analysis, specially focusing on feature extraction, pattern recognition and image registration and its application to mammographic image analysis and computer aided detection.
Since 1999, he has participated in various R+D projects as a researcher and main investigator. As a result, he has co-authored more than 60 international peer-reviewed papers including journals, conferences and book chapters. He has also shown a strong commitment to both undergraduate and graduate teaching, with more than 10 years of experience in computer architecture and image analysis related subjects. He is also the director of the VIBOT Erasmus Mundus Master in computer vision and robotics since 2007.
14 Teaching Staff
Matteo Sisti Sette
Xavier Manzanares obtained his degree in Architecture from the ETSAB in 2001 and has worked in several architecture studios (Straddle3, hackitectura, congoritme) as well as in design and web, specialising in free and libre software tools.
Born in Padua, Italy in 1978. Software developer in digital arts,interactive media, and internet art.
A Master program of Sonic Art and Space, began a research branch in Sound explorations. From that moment has worked extensively with Pure Data environment, programming his own digital instruments, publishing 3 albums among other EPs, and regularly performing live sets. As well as Co-founded the Costellam netlabel, and noconventions FLOSS production platform. He has taught numerous workshops both in audio creation and visual design, mainly in Spain but also in Brazil, Italy and Portugal. Currently he organises the regular GLitxBitx meetings as well as collaborating in the Summer of Labs and several other manifestations of free culture.
Degree in Telecommunicaction Engineering from the University of Padua, 2003, and Master in Digital Arts from Pompeu Fabra University (UPF), Barcelona, 2005. From 2006 to 2009 he worked for Catalan artist Marcel·lí Antunez Roca (mechatronic performance art, interactive installations), with whom he maintains sporadic collaborations. Ever since he has collaborated as a freelance software developer with other artists in the field of new media. From 2010 to 2012 he teached interaction programming (PureData, Arduino) in the Master course in “Graphic Design: Strategic technology and creativity” at IED, Barcelona. Since 2010 he works for net artist Antoni Abad, taking on the development of server-side and mobile programming for the megafone.net project. Since 2010 he teaches network and database programming (PHP, MySQL) in the Master of Digital Arts at UPF.
Eric Olivares Born in Mexico City in 1970. Graphic designer, illustrator and newmedia artist.
Hub Barcelona/Spain and the Design Museum of Tehran/Iran, among others.
B.A. of Graphic Design ( EDINBA| Design School of the National Institute of Fine Arts, México City); M.A. of Digital Arts (IUA-UPF| Universitary Audiovisual Institute, Pompeu Fabra University, Barcelona, Spain).
Collaborates in several international design events and Design Biennials, as well with universities in Mexico, America, Europe and Asia (speaker in the 22nd International Biennale of Graphic Design Brno 2006, jury at the International Poster Biennial in Mexico, at the 2009 Taiwan International Design Competition, the 10th Brasilian Graphic Design Biennial 2013, Festivale des Arts Electriques Champ Libre/Canada; Up & Coming/Germany, 4th. Video Biennial/Mexico; Transmediale Berlin/Germany, Muu Media Festival Helsinki/Finland, Iberoamerican Film Festival of Montreal/Canada, International FORUM of the Cultures Barcelona 2004; The Haapsalu Graafilise Disaini Festival. Haapsalu Cultural Center/Pärnu Concert Hall. Tallin, Haapsalu y Parnu. Estonia, 2010. Lives in Gerona, Spain and makes visual communication projects, multimedia & electronic art from his studio: Inlightdesign s.c.p. www.inlightdesign.es
He was work like researcher of design interaction at the Multimedia Center/National Center of the Arts in México, in the Interactive-Systems department. It has several awards for his work, as the 14th International Poster Biennale in Warsaw/ Poland, and other international design awards in America and Europe, being part of the collection of museums and institutions like the Museum of Design in Zurich/Switzerland, the Poster Museum of Warsaw/ Poland, the National Syndicate of Graphic Designers of Paris/ France, the International Biennial of the Poster in Mexico, the Moravian Gallery in Brno/ Czech Republic, the Colorado International Invitational Poster Exhibition ¬– Colorado State University/USA, the DHUB Design
15 Professional Opportunities
While our students always have the opportunity to continue with their initial career paths while benefitting from the growth the program has afforded them, it is obvious that their new roles as digital â€œproducersâ€? enable them to take on positions of responsibility in any company in the artistic and/or Media/ ICT sector which calls for a comprehensive view of the greater whole, the management of differences, 2.0 leadership skills, people management, challenge resolution, and final deliverables that are both efficient and innovative at the same time. In short, pure entrepreneurial talent. Many of the large corporations and the small and mediumsized enterprises that surround us are unable to find professionals with this type of profile, which is frankly scarce, in a world that increasingly rewards the ability to innovate and deal with differences: artistic companies, development studios, etc.
In all kinds of areas: the development of apps, E-business strategies, new Advertising and Marketing models, Human Resources, Training and Executive Education, Artistic Production, Video Games, processes of Gamification and Serious Games (for Education and Learning, Sports, Medicine, Physical Therapy, Recovery of Historical Memory, Leadership, etc.). Finally, the program stresses and helps students to rediscover the entrepreneurial potential we all harbour, fundamental so that our students can venture out and create their own independent enterprises.
“The best way to predict the future is to create it”
16 University Services
Student Information and Advice Centre (CIAE)
Office for Environment (Oficina Verda) Montilivi Campus – Mòdul 23
The Student Information and Advice Centre of the University of Girona provides services to complement those provided by the individual faculties and schools. Its aim is to offer quality student information and advice and be a reference point for current and future UdG students.
Unitat Barri Vell Plaça Ferrater Mora, 1
Tel. 972 41 98 50 – Fax 972 41 98 49
Services Offered: General Information University entrance requirements and student information University housing Job bank Cooperation and volunteering Degrees and certificates CIAE Building – Montilivi Campus
Tel. 972 41 80 30 – Fax 972 41 82 30
email@example.com Unitat Emili Grahit Emili Grahit, 77 Tel. 972 41 83 49 – Fax 972 41 83 01
firstname.lastname@example.org Unitat Montilivi Tel. 972 41 83 98 – Fax 972 41 83 61
University Accommodation Service (SAU) CIAE Building – Montilivi Campus Tel. 972 41 98 43 – Fax 972 41 98 44
Office for Development Cooperation CIAE Building – Montilivi Campus Tel. 972 41 80 77 – Fax 972 41 98 44
email@example.com http://www.udg.edu/cooperacio University Dormitory Montilivi Campus Mercè Rodoreda, 2 - 17007 Girona Tel. 972 588 200 - Fax 972 58 84 09
Sports Service Zona esportiva Montilivi Campus
Tel. 972 41 80 60 – Fax 972 41 88 03
Students Residence Cerverí de Girona Ciutadans, 9 - 17004 Girona
Modern Language Service Montilivi Campus – Faculty of Law Building – Ground Floor
firstname.lastname@example.org http://www.gencat.net/ catalunyajove
Sant Daniel Residence Sant Daniel, 57 - 17007 Girona
Tel. 972 41 80 46 – Fax 972 41 98 44
Tel. 972 21 80 03 – Fax 972 21 20 23
Tel. 972 41 82 64 – Fax 972 41 81 21
Tel. 972 20 12 41 - 972 48 53 80
17 Admission and Requirements
Admission to ERAM College is based on academic ability and potential for success and a certain level of knowledge is required. The evaluation will be taken through four steps. Enrollment in a process takes approximately one month to complete. To gain a place at ERAM College, the following steps are to be taken and the appropriate documents submitted to the Admission Department before the student can be considered for admission listed below. To apply for a master course, please submit following documents. 1.Application Form (Available in www.eramcollege.com) 2.University Degree Certificate 3.Certificate of English language competence 4.Statement of Purpose 5.Portfolio Completed forms should be returned to the email or postal address stated in the website. Applicants will be invited for interview with a portfolio, or a virtual interview for overseas applicants. See web page for more information. Tuition Fees
STUDENT European European Scholarship (25%) No European No European Scholarship (40 %) Former student UdG
MASTER FULL TIME 7.000 € 5.250 € 12.000 € 7.200 € 5.250 €
MASTER PART TIME (EVERY YEAR) 3.500 € 2.625 € 6.000 € 3.600 € 2.625 €
Scholarship ERAM Crossmedia College has established a Scholarship Scheme which provides financial support for students with a strong academic background. The College awards a number of Scholarships each year to candidates of high academic ability. Successful applicants will receive a bursary covering up to % of their annual tuition fees. The Scholarship recipients will be selected under the judgment by the academic board. Criteria for the Student Scholarship: â€˘Students with excellent academic grades will be considered for the merit-based scholarship when submitting a course application to the College. â€˘Applicants also need to submit a portfolio of work. Applicants should submit various examples of their own work. These can be submitted as photographs, slides, colour photocopies or on a CD, web page, drop box and etc.
THE UNIVERSITY OF
ERAM Cross Media College Audiovisuals and Multimedia Creative Studies Coma Cros Cultural Factory Sant Antoni, 1. 17190 Salt (Girona) SPAIN T: +(34) 972 40 22 58 E: email@example.com www.eramcollege.com
Handbook Master in Design, Creativity & Technology