1> Media blogs/online sketchbooks/personal hardcopy sketchbooks will be maintained and sustained by each course participant and should compile all rough project sketches, writings, storyboards, architectures and related materials to the works in progress and finished works. The blog sites will be viewed, and class responses will be ongoing throughout the quarter. Blogs can be set up thru any of the available online blog application providers or personal ISPs. Wordpress or wordpress.com, preferred. Video support maybe setup thru http://www.youtube.com or http://www.vimeo.com. A personal hardbound sketchbook will complement the online content for 1-on-1 project discussions. i.e. Video support maybe setup thru youtube.com or vimeo.com. A personal hardbound sketchbook will complement the online content for 1-on-1 project discussions.
m a j o r . p r o j e c t s
The materialization of course objectives will be accomplished in a staged manner to reach the final goal of the implementation of a professional-grade final project for inclusion in individual portfolios and of the professional caliber for public exhibition, publication and/or submission to global digital venues.
Projects preliminary to the final will be experimental connections on your path to the realization of the full-scale final project. These preliminary projects may also be relied on as meta data elements for the development and assembly of final work and yield supporting documentation of the underlying process involved in realizing the distribution of the final project.
Project breakdown is as follows:
Project 1 - Interactivity & abstraction & toolkit/library (20% of grade). This project is an exercise in surveying, abstracting and architecting complex interactivities into a usable personal toolkit/library. For the first half of the course you will be assigned software sketches and abstract interactivities and supporting software subpatches. Adding to your tookit/library will be individual assigned functional patches from the work up of theory and interactions from the first half of the quarter. You will enter documentation of each sketch interaction/abstraction/demo subpatch in your blog to report on assignments. Documentation should include reference to the range of contexts, dimensionality, and components of the interactivity which characterize the interaction(s). Emphasis here is on software sketching from real world observations to functioning interactions to build up personal and shared creative resources. An artist’s statement that addresses the toolkit’s specific context or access will accompany the documentation of the wor
Project 2 -Conducting Interactivity (25% of grade). Project 1 library will be extended for the prototyping of an interactive space/device/controller which you will conduct. The device will be creative work via the performance of an original work of live cinema/audio/video/choreographed interaction. An artist’s statement that addresses the work’s specific context or access will accompany the documentation of the work.
Final Project – Spatial interactivity (35% of grade). The final project will build upon your previous investigations for the quarter into spatial sensing, interaction, and narrativity. The interactive architecture and technology of this work should incorporate audience interaction into a finished spatially deployed interactive multimedia work. Final submission of this project should include documentation and a statement that addresses the work’s specific context or access
All final deliverables & documentation for the quarter will be posted on your class mediablog. Patch/software documentation will be downloadable from links posted on the mediablog to an accessible .zip file archive.
t e x t s & r e a d i n g s
Required reading viewings and audio listening assignments will be made available via on-line sources from the course website links. Please refer to the calendar page from the class website for reading assignments for theory, technique and class discussion dates
The following texts are suggested sources for expanded reference, discussion and consultation:
theory and aesthetics
Sensorium: Embodied Experience, Technology, and Contemporary Art, Jones, 2006, MIT Press
The Prosthetic Impulse: From a Posthuman Present to a Biocultural Future, Smith and Morra, 2007, MIT Press
technique/reduction-to-praxis: sound and electronics
Handmade Electronic Music, The Art of Hardware Hacking, Nicolas Collins, 2009, Routledge
Programming Interactivity: A Designer's Guide to Processing, Arduino, and Openframeworks, Joshua Noble, 2009, O’Reilly
Microsound, Curtis Roads, 2004, MIT Press