School for Poetic Computation

@sfpc.study

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Experimental school supporting study in art, code, hardware + critical theory. A place for unlearning and learning. ✎⋆ Apps open for Fall 2026 ↓↓ ◌ https://sfpc.study/links

Close-up photo of two masked workshop participants leaning over a laptop, one typing on the keyboard. A monitor in the background displays lines of green terminal text.
Two pairs of hands reach toward a small plant in a dark bowl on a white surface. Text reads: "$35 – Single Day, $75 – Weekend Pass. ♡ Get your tickets at sfpc.study/share/community-tix”
Poster for Chronopolitics of Extraction, a public talk organized by School for Poetic Computation. There are fragments of an image depicting indigenous people sitting. In front of them, there are handmade artifacts and a leopard rug. The poster also includes the keywords: Free / Time & Memory / Mapping.
Slide depicts Chia Amisola, who will be doing visuals for Poetic Promenade. Chia is wearing a sweatshirt, red glasses and holds a microphone in front of a TV that has karaoke visuals on it.
Promotional poster for Power Ground Water. There’s an image of a child’s hand touching a button in a circuit. The flyer contains the following information: Power Ground Water, taught by Taylor Levy and Che-Wei Wang.
Looped GIF of vertical video, showing a pink tinted background and image, the right half is a vertical pixel art generated from the shape of decorative loops on a wrought iron fence, the left half has orca code, text and symbols on a 2D grid, with letters being generated and moving rightwards, which trigger musical notes; below that on the bottom left is a video loop of a hyrax, a woodland animal, holding and eating some food
Screenshot from Mahesh Subramaniam’s piece ‘Cake City’. A person in a blue uniform and head covering walks past a wrought iron fence, with trees and open land behind. Subtitle reads, "By the time you come the Cake City will be ready." The image is slanted and blurry, as it was taken from the back of a moving motorcycle.
The Wh*re Singularity Showcase flyer. The background is a collage with elements such as a brain, an explosion, a computer and a grid. Details included in the flyer are the same ones as the ones in the post's copy.
Social graphic on black: white text with red-blue chromatic aberration. Heading “Assignment: Sound Collage (90 seconds).” Body explains creating a 60–90 second layered sound collage to explore meaning, mood, rhythm, and musicality, comparing it to visual collage.
Close-up selfie of Emily Corvi with a shaved head, nose ring, and ear jewelry. Neon green quote text overlays a blue gradient: "What's been giving me hope is all the tech labor organizations that have been fighting to end the deadly military contracts that their employers keep signing off on."
Dark textured background with small red and blue music-note icons around the edges. Centered red text reads: "We want a world where artists are paid fairly AND students don't have to go into debt to study."
100 Games Later Game Jam Page (a gif of a scrolling web page populated with a 7 by seven grid of colorful squares highlight each of the 107 games students made in class).
Pink and red promotional poster for a class titled "Page Against the Machine." It lists "taught by Ariel Yelen with Margot Armbruster," says it is organized by School for Poetic Computation, and includes tags reading "5-Weeks," "Digital Vocab," and "Poetry.” It also has a button overlaid on top that reads: "Applications Extended"
Gif containing the flyers of the summer classes advertised in this post
Poster-style course graphic in purple and white that reads "online class Building Benches for the Web," taught by Spencer Chang and Munus Shih, organized by School for Poetic Computation, with arrow buttons labeled "5-Weeks," "Web Sockets," and "HTML & CSS."
Event lineup graphic for Poetic Promenade on a dark textured background with red and blue decorative icons. Text highlights date and NYC location plus featured participants: Stephanie Dinkins (honorary degree recipient), Kelli Anderson (keynote speaker), CW&T (custom diplomas), and Switch Angel + LO.FI.SCI.FI (DJ).
Poster-style slide titled "Media Folklores" on a cream textured background with orange border and text describing a course question about code, poetics, and collectivity, plus three arrow-shaped buttons at the bottom.
Online class flyers of SFPC classes:  Indigenous Cartography & GIS, Stealing Back the Archive, Building Benches for the Web, Page Against the Machine, Media Folklores, Handmade Datasets & The Browser is Already a Game Engine
Promotional banner in coral and white reading: "School for Poetic Computation presents Summer 2026, IRL & URL, June-August." Arrow labels list offerings: "Prom & Graduation," "Online Classes," "Public Talks," "In-Person Workshops," and "Future Schools @ the National Academy of Design.”
Flyer announcing the School for Poetic Computation’s Poetic Promenade. There’s blurry symbols of flowers and music notes in orange and blue. The text reads, from top to bottom: SAVE THE DATE / JUNE 2026 / School for Poetic Computation’s Poetic Promenade / A prom. A graduation. A celebration of lifelong learning. / Tickets on sale this April.
Thumbnails on a black background depict diverse scenes, including digital audio files, outdoor settings, radio transmitters on tables, and hands using radio receivers and transmitters.
A folder is opened in a mac environment, and it has a wallpaper with a red apple in the center, with three or four bites. Over it, there's an icon of an open mouth, and the file's name is 'take another bite’
HTTPoetics Showcase flyer. Text reads: School for Poetic Computation presents: HTTPOETICS SHOWCASE / March 22 / 2pm ET / Live on Twitch / + Anthology Launch
Poster for a workshop titled “Counterveillance” at the School for Poetic Computation, taught by American Artist at the Leslie-Lohman Museum, set in a blue, grainy type on a pink background inside an octagonal frame with small geometric surveillance-like icons.
Neon green and pink poster for a School for Poetic Computation workshop titled "Consensual Hacking," featuring bold distorted lettering, two gloved hands reaching toward each other in the center, and text reading "Taught by Melanie Hoff at the Leslie-Lohman Museum of Art, April 6, 6–9 PM, NYC.”
Horizontal neon yellow and blue starburst poster reading "Spring Workshops 2026" in the center, with "In-person," "School for Poetic Computation," "April," and "NYC" spaced around the star-shaped border.
Screen recording of a live coding performance with three windows: ORCA sequencer on the left showing alphanumeric characters in a black grid, a geometric pattern generator in the center displaying blue, yellow, and white striped shapes, and the performer in the top right. A timeline at the bottom shows musical events with codes and percussion labels.
Flyer for the School for Poetic Computation Spring 2026 session. Bold white text reading "Applications extended!" is centered on a gray metallic ticket-shaped frame against a black background with intersecting gray lines. Colorful 3D decorative elements — a pink and yellow starburst, a purple four-pointed star, a blue sphere, a cyan swirl, a green spiky shape, and a yellow X — are scattered around the composition. The top left reads "Spring 2026" and the top right shows the SFPC logo. The bottom displays "Apply @ SFPC.study" and "Online (Zoom)."
A purple background with gray diagonal lines radiating outward like a web or grid. In the center, a dark gray metallic panel with beveled edges displays the question "How does technology shape rhythm?" in large white bold text.
Pink slide with geometric line pattern background and SFPC logo in top left corner. A gray metallic-framed box in the center contains the question "Do games take or make time?" in bold white text. Footer reads "Time and Its Manifestations" in a retro pixel font style.
Promotional poster for The Whore Singularity: School for Poetic Computation class. Title in pixelated blue text; subtitle “Online sex worker rights movement histories, pornographic presents, and whoretopias.” Taught by Tina Horn with Jaye Elizabeth Elijah. Duration options 10 weeks / 5 weeks. Buttons: Apply @ sfpc.study, Spring 2026, Online (Zoom). Central image: grainy black-and-white scene of two figures in a clinical/office setting with an eye chart on the wall, framed like a retro TV screen. Light blue-gray background with scanlines and floating course-outline fragments.
Retro-futuristic poster for the class "FORM / FLOW / FEEL" from the School for Poetic Computation. Gray metallic background with neon green title and a central monitor graphic showing concentric circles and a crosshair. Course details include: 5 weeks, description "Visualizing inner and outer systems, from emotion to environment," instructors Mattaniah Aytenfsu and Lara McConnaughy, apply at SFPC.STUDY, Spring 2026, online (Zoom).
Flyer for "Disturbing Code", a class from School for Poetic Computation. Features a retro-futuristic design with dark gray background and yellow glitchy text. Central image shows a monochrome photograph of a small agricultural vehicle spraying dust/particles, displayed within a stylized retro TV monitor frame. Course details include: 10-week duration, taught by Theo Ellin Ballew with Neeti Sivakumar and Dré Jacome, theme of "COMPUTATIONAL POLITICAL ACTION". Application button links to SFPC.STUDY, Spring 2026, online via Zoom. Background includes faint repeating text of course curriculum outline.
A promotional graphic for the Rhythmanalytics course by School for Poetic Computation. Features the course title "RHYTHMANALYTICS" in large purple gradient text with glowing wave effects.
School for Poetic Computation presents Time and its Manifestations course poster. Retro-futuristic design with a simulated CRT monitor screen showing abstract pixelated graphics and distorted human figure. Course details include 5-week duration selected, taught by Lawra Suits Clark with Karina Popp, Spring 2026, online via Zoom.
School for Poetic Computation Spring 2026 program announcement. Retro-futuristic digital interface with metallic grey panels displaying six course titles: The Whore Singularity, Disturbing Code, Form / Flow / Feel, Rhythm analytics, Time & Its Manifestations, and Digital Decay & Afterlives. Features glossy 3D decorative shapes in red, yellow, blue, purple, and turquoise. Includes apply button and online format indicator.
Video of Victoria with her partner Antony. They are outdoors, and there’s a shadow over both their faces.
Human-Computer-Art energy flow chart gif, one silhouette is receiving information from the other, connected by computers. It reads: The art happens here in each one of the silhouettes.
GIF of lectures with Google Docs, A slideshow of works and a live performance with a camera and differentiated text overlays. Primarily yellow and contrasting colors accompany all three talks.
A person is using a desktop computer with a mouse. Their expression is of surprise and interest. There’s people behind this person also looking at the computer with slight amusement. They are in a crowded room.
A cork bulletin board filled with overlapping flyers and stickers. Near the center is a bright green flyer from the School for Poetic Computation, pinned with a metal thumbtack. The flyer includes small illustrations of people and the word “Power.” To the left is a small sticker of a cartoon cat giving a thumbs-up. Other black-and-white flyers partially frame the scene, one with hand-drawn text and another featuring a QR code. The overall impression is a busy, eclectic community board.
Text reads: Taught by Todd Anderson, a digital poet, software artist and educator. He has been making experimental software art for over 10 years including the live interactive poetry project Hotwriting, the Chrome Extension ARG 'An Experience', the performance-inside-the-browser extension HitchHiker, and multiple plays and performances.
Text reads: Taught by April Soetarman, an interdisciplinary artist, designer, and writer who creates public art, immersive installations, games, and weird side projects. Her site-responsive works play with the language of everyday objects and speculative institutions to explore complex human emotions.
Text reads: Taught by Roxanne Harris “alsoknownasrox”, a new media artist-researcher and musician-programmer based in Los Angeles. Her work invites audiences to engage the creative process as it unfolds, embracing vulnerability and exploring speculative futures through algorithmic transparency.
Taught by Gabrielle Octavia Rucker, a poetic practitioner, writer, editor and teaching artist from the Great Lakes. Their work reflects on the complexities of inheriting not only only the unfinished business of past generations but also the silent, often overlooked burdens, such as languages and histories lost to colonialism and the transatlantic slave trade.
Taught by Sherri Wasserman, a multidisciplinary collaborator who makes things for print, digital, and architectural/environmental spaces, creating content-rich exhibitions, installations, publications, websites, knowledge management and communications systems, and mobile apps for wide-ranging audiences.
Flyer for the class HTTPoetics with video games, decorated with pixellated motifs
Flyer for the class Decoding Tendencies in Live Coding with video games, decorated with pixellated motifs
Flyer for the class Machine Language with video games, decorated with pixellated motifs
Flyer for the class Narrative Constellations with video games, decorated with pixellated motifs
Winter 2026 flyer. There’s a black background with yellow and blue pixellated elements. The classes listed are: Machine Learning / Narrative Constellations / Decoding Tendencies in Live Coding / HTTPoetics / Expressive Design with Video Games / Spectacle, Presence and Poetry.
There’s a photo of Daniela Guerrero aka NINA NINA: she stands in front of the camera, with serious and defiant look. She’s wearing heavy eye make up with red tears streaming down her face. On top of the photo, there’s the quote: Maybe I’m just hacking myself into freedom.
Participants in a Zoom call hold a viewfinder made out of paper with a cutout shape to the camera.