This course investigates the materiality of the digital medium and the construction of meaning through 3D modeling, computer animation, and digital sound production. It approaches the digital realm not as a neutral tool, but as an autonomous medium with its own textures, ruptures, and idiosyncrasies. Students will create computer-generated animations with digital readymades and procedural principles, rather than following the traditional educational route constrained by the conventional production pipeline. In doing so, the course will investigate digital aesthetics and embrace CGI materiality, treating the digital realm as an active force in shaping both form and narrative. Students will explore the aesthetics of the Computational Uncanny—where the synthetic and the organic, the polished and the broken, collide—while also examining alternative narrative structures that depart from linearity, embrace fragmentation, and challenge conventional modes of storytelling. Drawing on principles of transcendental animation, the course will consider how slowness, stillness, and temporal suspension can transform digital works into spaces of contemplation and dissonance, revealing the conditions of their own creation. Topics include viewport aesthetics, hyperunrealism, deliberate aliasing, pixelated and 8-bit aesthetics, data-moshing, glitch art, the uncanny valley, vaporwave, algorithmic architecture, readymades, machinima, and other visual and sonic aberrations that disrupt the illusion of seamlessness. Blender, After Effects, and Reason will serve as the primary tools, with Photoshop, Illustrator, and Premiere Pro expanding the toolkit for interrogating, distorting, and reimagining both the digital realm and its narrative potential. Open to: All University graduate students. Some seats have been reserved for MFA Design and Technology students.