I will
Email you details of upcoming session information or changes in
the syllabus calendar.
class size We are limited because
of the software and hardware availability . This hands-on class
will introduce you to the capabilities and potentials of technologies
past and present. Mechanical devices, analog and digital recording
& editing, computer applications & internet pages
Students
in this class will work on interdisciplinary, sometimes collaborative
projects linking the traditional arts to the emerging electronically-based
technologies. Regular attendance is expected. inform
me otherwise by email
Good
planning skills are essential for successfully completing this
course. We'll strive toward this goal with continuity in the labs,
workshops and assignments. When your project goals become clearer,
I hope that the ongoing interactions with everyone in class will
help motivate you toward defining a major project and summary
paper. Multimedia
presentation due dates:
Day school: May 13 and 14 in VK 131 at 2:PM . Night school: May
9 and 16 in VK 131 at 6:PM
expectations
The lab, field
work and access to some limited software and hardware will be
on a rotating basis for work on assignments, research and your
major project.
Each
student is to do
linked pages to your existing web page(s), or, create new ones during this semester
incorporating three 3030 softwares, a multimedia project and summarizing
paper.
Sixth
week evalautions are due. On March 4, 6, 11 or 13th you will be
expected to discuss your probable direction. You may propose a
final project at any time that serves your own interests. We'll
also discuss your ongoing plans during the mid-term individual
crits on the date you've selected.
You'll
be expected to expand on those web page(s) done last semester
by at least 2-3 additional links, or create new ones. Suggested
aspects could include streamable projects (option z), realtime
Internet interaction using Quick Time VR Authoring Studio, PanoWorx,
ObjectWorx, SceneWorx, gif,.mov & AIFF files, etc., Quick
Time sound and video, sound editing and computer projections.
The elements used in your project should result in an integrated
whole work and be later briefly detailed in your summarizing paper.
The projected and sound-amplified presentation of this project
is due (day) May 14 or 16th (night class only) May 9 or 16.
class
partners (collaboration) You
are encouraged to work collaboratively to complete lab assignments.
You may already know someone registered for this class with whom
you would like to work (let me know today). To identify partners
for other students, we will follow the class listing. Software
and hardware will be available on a rotating basis for your use
as a team (i.e., share one software, camera, recorder or tripod;
however, each person is to create their own saved files and images).
Individually, your goal will be to participate in the Labs, create
your own major project and final paper. Go over class list checking registrations.
classes In the spirit of cooperation, please be sure
to let someone know besides you and your class partner what you
have reserved or intend to reserve, e.g., lab equipment, a particular
software on VK 131 computers, any equipment, and especially cameras,
tripods, lenses and Ouick Time VR equipment.
UMD students, not only
those in this class, are eligible to check out most of the equipment
from Equipment Loan you'll be using , so early reservations are
extremely important. At times, the equipment you want may not
be available.
Use the calendar
below to determine where our tuesday & thursday classes will
take place. I will email you in advance of any plan changes. The
rooms for our use also include Engr 236, Library 409 and VK 131.
(remember, as a registered student, you have a reserved
seat in VK 131 during tuesday & thursday class hours, and
you have priority use of the lab over someone who is not registered
for the class) .Discuss
with me as soon as you have become familiar with the hardware
and software you are likely to focus upon for use. to January
calendar
Use the library or Internet to search
available URLs which
may be related to the direction of your possible project.
Become
familiar with topics and concepts in 
(in the UMD bookstore) as these may help shape your interests during
and beyond this semester.
(in the
UMD bookstore) for MAC and WIN--if
you elect the streaming, Parsons/environmental options
Also refer to the January syllabus
calendar.
Workshops
DETAILS OF
3030 is structured
to be roughly in 3rds. During the first weeks (approx. to February
27th) you will need to become somewhat familiar with the computer
hardware, cameras, software, and other equipment that will be
sharable by you and your class partner. This will be approached
through class demonstrations. We'll talk about scheduling your
use of these resources. Please be very careful in their uses,
particularly the camera tripods. Reserve these from Karl
Oman and/or equipment loan-underneath the Library (6222).
Pick up and return the equipment on time.
When you and your
class partner share a single software, both won't be expected
to learn it completely; just set your individual objectives and
each go for them separately. You'll probably find favorites among
everything available to you, but for now, try 'em all 'til you're
ready to put it all together.
demos
Workshops,
demos and labs are key elements
of
the class and will be held in the rooms as announced here:
I
will Email you details of upcoming session information or changes
in the calendar and information about what's ahead.
.
labs
To use the small
lab Engr 236, you and your class partner must reserve the lab
itself from me for the class period or a portion of it and the
piece of equipment you plan to use. This space, along with the
VK131 lab, is available to work on assignments and your project.
Remember, some equipment is liimited (e.g., we have only one four
track, reel-to-reel audio recorder to use for surroundsound recordings).
headstart:
A.
if you elect to begin
with a web page, create a Root folder like this and save in your
Zip.
create a separate
folder for each multimedia form you're likely to experiment with;
however, place all these folders in your Root folder, e.g., lbrush Root !
The UMD server public
sofware is Pagemill. A very basic web page authoring software
for first time users. The Dreamweaver look however has a steeper
learning curve and offers a heck of a lot more options.
(Save
your files images, videos, QTVRs, sounds, Simple Text and HTMLs
etc. in your Root folder.)
Get
or share with your class partner a:
B.
Class text: Pocket
Guide to Multimedia (school store), 1.5
floppy(s), 30 0r 60 VHS tape, Zip
cartridge or Orb (avail.
for use in SBE17)
,
C30 or C60 audio cassette, and a MiniDV
30 or 60 tape.
These
media are available in the UMD Computer Corner (or BestBuy).
NOTE
where the
scanners(2?) and 10-USB
floppy drives are for transfering imaging files are located.
This
hardware will be identified either by a notice on the front, simply
by checking each machine, or asking the lab assistant or someone
in class.
C. X look overthis
equipment list after our visit to Audio/Visual
D.
- 1. Making a panoramic
.mov
2.
Begin here! Open this
QTVR User's manual here
3.
Reserve
the Mavica camera; tripod and follow the instructions given above
4.
Use
the split screen setup below for any of your tutorials using the
ART 3030 softwares.
*Open QUICK
TIME AUTHORING STUDIO
from your
hard drive
*Open the QuickTime VR
user's Manual.pdf on your desktop and choose Making a Panorama From an existing Panoramic
Image
*Resize both of these
side by side to fit yourscreen like so...
and proceed
w/this tutorial after you have used the Mavica and tripod.
* Make arrangements with Karl Oman and with the help of your class partner
each person complete an object or pano project . Reserve and check
out a tripod and or digital Mavica camera from Karl or AV.
Open
VR ObjectWorx and position the PDF file on the left. Open the
tutorial and place it as shown. Follow along with the instruction
and do the suggestions. Do the same tutorial as rerquired for
Quick Time Authoring Studio.
review Syllabus or
Listening /
Hearing
listen, v.i.
to give ear or hearken : to follow advice.
-n. art of listening.
-n. listener, one who listens or hearkens (hearken, v.i. - to
hear attentively)
hear, v.t. to
perceive by the ear : to
accede to : to listen to : to listen to in trial of ability to
repeat : to be informed : to be a hearer of. -
v.i. to have or exercise the sense ofhearing : to listen : to
have news of or from : to be spoken of ...
Chambers Twentieth Century
Dictionary
*
"The next time you
need an unusual sound effect, I hope you'll
look beyond stock sources and consider a quest to gather your
own. The world is full of sounds---go out and get 'em!" Rudy
Trubitt
People
aren't sounds are they?
Is
there such a thing as silence?
silence,
n.
absence
of sound : abstention from sounding, speech, mention, or communication
: a time of such absence or abstention : taciturnity : of spirits,
flavourlessness, - adj. silent, noiseless : without sound : unaccompanied
by sound : refraining from speech, mention, or divulging : taciturn:
not pronounced : of distilled spirit, without flavour or odour
: inoperative : of the new moon, not yet visible ...
Chambers
Twentieth Century Dictionary
Even if I get away
from people, do I still have to listen to something? Say I'm off
in the woods, do I have to listen to a stream babbling? Is there
always something to hear, never any peace and quiet?
John Cage, Communication
Silence
[John Cage's
4' 33" (1952)
may
be performed by any instrument or combination of instruments.
The performer(s) sit silently on stage for the duration of the
piece; the music consists of whatever noises are made by the audience
and whatever sounds come from outside the auditorium.]
I
have spent many pleasant hours in the woods conducting performances
of my silent piece, transcriptions, that is, for an audience of
myself, since they were much longer than the popular length which
I have had published. At one performance, I passed the first movement
by attempting the identification of a mushroom which remained
successfully unidentified. The second movement was extremely dramatic,
beginning with the sounds of a buck and doe leaping up to within
ten feet of my rocky podium... The third movement was a return
to the theme of the first, but with all those profound, so-well-known
alterations of world feeling associated by German tradition with
the A-B-A.
John
Cage,
Music Lovers' Field Companion
http: resources Check out the UMD Library resources, which also can be used to
do complementary research on materials, information and URLs that
may be useful to you, in addition to those you obtain from the
Internet.
We will be using the Internet examples below to search and find
background information, and to understand and clarify concepts,
topics and subjects which are to be discussed and used in our
class meetings. Some examples we have found.
reasons
and examples why we are not alone at this time and in this place.................................................................................................................................................
| |
 The multimedia installations of Remo Campopiano |
Former
UMD student and photographer John Alspach |
The
Emergent Systems of Kenneth E. Rinaldo |
"Highly
powered virtual stills & animations" |
Is technology a veil? Tina
LaPorta |
installation, painting and performanceVasyl Bazhay:
The Labyrynth |
web sound, looping & image installation
too fast to copyBalthaser
Studio |
|
|
Art 5030:works
to bring nearer Art, Science and Technology. ACROE-- broadcasts,
theories, artistic objects, material tools and softwares, by
research, creation, formation and valorization activities |
|
|
to
ITV explaination |
|
|
|
|
the
POP SHOP &all the rest of Keith Haring |
|
| "Your
Vampire's Teeth" |
STILL
IMAGES |
A
dance choreographed for the web by Molissa Fenley |
After
the Taj Mahal music by Chris
topher
Penrose
|
New
Twists |
|
 Écoutez
quatre extraits d'écologie acoustique!
En
format Quicktime
|
1--get
this 2--to
get this |
|
|
"Imagine designing
a
website for the most critically minded and visually literate
audiance imaginable"
hyper-
interactive
WEB
PROJECTS
|
|
|
Get other perspectives about directions
now in ART and LIVING worldwide
2001 |
|
|
|
the digital body auto
mata
|
Illusions is a call to reinvest moving
images ... past, present and future. Zoe
Beloff |
|
webpage
software on the G4s in VK131:
NOTE:
PAGEMILL
3.0 (for beginners) & DREAMWEAVER 4 (has a challenging learning
curve!) --are UMD server softwares!
-------------------------------------------------
examples
& 3030 software for your use
Some
softwares to be used in VK 131 are now on hard drives or may be
downloaded from the lab servers:
Getting out of
freezes &
keyboard shortcuts
for Mac OS 8.5, 8.6, and 9.0
FAQS
about
QuickTime VR
Authoring Studio 1.0
EXAMPLES: SOLTICE Human
Movement Men's
Dorms Mississippi
River, U of M, Weisman
Tradewinds
& hotspots my
1st QTVR MOVIES lstice
Solstice( object movies: a b c d)
RevolVR
makes
QuickTime VR movies automatically rotate when displayed: slow version fast
version
object
movie"
SoundsaVR what does it
do?
Examples: direct
sound
B C"
(is
on 4 G4s-- this allows the embedding of sound spots in QuickTime
VR movies and is on 7 G4s--and makes Quick Time VR "movies"
rotate);
MapsaVR (get
manual)--examples: * *(long
wait) is
on 3 G4s add
maps
to photographic or rendered singlenode and
multinode QTVR panorama movies;
NodeSaVR
with
maps
VRObjectWorx (is
on 6 G4s--and creates rotateable objects-get serial #s
from me)
VRPanoWorx
,
VRSCENEWorx &The
VR WORX--is
on 6 & 1 G4s respectively and creates panorama "movies;
get
serial #s from me"
conVRter
edits
the horizontal, vertical and zoom angles, extracting pictures
from panoramas or a single node from a multinode panorama. Sound Edit16/2
Tutorial aural
pleasure
DECK (digital
audio editors )
Canary
2.1
(is
on 4 G4s-- sound effects and lets you "see" sound patternsGifConverter,
Gifbuilder?
can
be imported to your desktop from the Lab_Server/Utilities;
customize images; and others will be on G4s and available from
the UMD Lab Server. QuickTime
5.0
(is
on all G4s; this playsback sound and video files from NETSCAPE.)
Icab or Internet
Explorer, + best place to download
a quicktime
4 player
(( above ground\ is an
internet radio show streaming quicktime audio every sunday - 8p
to 11p CST - listen)) QTmovies (explanation)
QuickTime
5.0
art and design
OSX Server
,
Sorenson
Broadcaster
(Overview
Tutorial)
Sorenson Video3
could be available as class option Z.
TUTORIAL: what is QUICKTIME
Internet streaming?
get
the feel of roboCam
hardware: Reserve and pickup
the Mavica and Panasonic digital video cameras from 726 6222;
see Karl
Oman
to checkout the Sony DV cameras, tripods (for panos, etc.), and
the Oman object making rig.
Recap
Being A Registered student for this class,
you will be assured of a seat in VK 131 during our class hours.
This should be rememberd, for instance, if you and your class
partner have just concluded an hour recording video and created
sound in nature or in another of our rooms.or
back to FA1300
assignments
SUMMARY
PAPER Write
a brief overall fall semester summary and the results of your
objective, and include an emphasis as to how your work related
directly to this class. Keep your summary in the TEXT/HTML folder
of your Root folder. A Simple Text document (or
whatever you now use) in your Root folder
is preferred. Or. If you have a hard
copy of your summary, hand that in.
final
project Your major project
should have integrated
new or updated pages this semester with a minimum of two 3030
softwares enabling digitally manipulated original and/or canned
sound (CD, MP3, cassette); pano, object or a scene project using
the tripod and/or Koman object maker; scanned 3d objects, original
or found images; Mavica stills; digital audio & video files).
Copy your root folder
to my desk top icon on those designated, specific computers: "sprart30301&2"
following your multimedia presentation.
Final days for presenting
& projecting your work: Day class, May 34,14, 2PM in VK131;
Night class May 9, 16, 6PM in VK 131.
No incompletes will be accepted.
Copyright issues
Individual artists in any media hold
the copyright to their work. If you are using the work of someone
else, you need to secure their permission. The MPEG3, sound artists and the music industry, for example,
depend upon copyright law to enable artists and publishers to
get fairly compensated for their works. Unauthorized copying or
distribution of copyrighted music or other artworks is an infringement
of the copyright holder's rights.
or
to ait main page
art
in
technologies prereqs
During
first day attendance, I will check your transcript or APAS; have
the prereqs highlighted, as appropriate for the course level below:
3030:
prereq Art 1013
5030: prereqs Art 3030, 1013
Students
who do not have these requirements will be asked to drop the class.
As per
School of Fine Arts policy, those who don't drop on their own
will be
dropped by SFA Student Affairs.
Again,
what in the heck is MP3 (if you DON'T know?
How can I make my own MP3's
from CDs, AIFFs, QuickTime sounds, or WAVs? SoundJam
MP Internet Download Mac $39.95
Making
your own MP3s or AIFFs 2--Starter
Sites with Downloadable MP3s and Internet Streaming MP3s 3--You can also
play MP3 streams over the Internet
see legislation/hr2281.pdf)
http://www.techweb.com/wire/story/TWB19980707S0017
See also copyright information on the web from the federal Office
of Copyrights.
"What
is piracy? It's a marketing problem. These people are your customers.
If they're pirating it, they like it." Steve GradyGoodNoise
"MPEG Audio personally, i find mpeg layer
3 audio to be one of the biggest and best things to hit the internet
since uuencoding.for those non-versed in mpeg layer 3 audio, basically
it compresses any type of audio into a very manageable size,more
importantly, a VERY transportable size. basically, what it comes
down to is, about 3 to 5 megabytes for atypical song, or about
1 megabyte per minute, versus around 175kb/sec (10MB/minute).
see what i mean ?so, you're asking, where does this leave us ?
it leaves us with the record labels in a panic, and in a fiscal
fervor. ikinda like that. i mean, personally, i listen, and if
i like, i buy. plain and simple. what is pissing the record labels
offis that they can't have any of these groups have one super
hit single, and expect me to buy the album, hoping it'sgood, cuz
i've downloaded it, and heard the whole thing. so i ain't gonna
waste no $12 on some stupid, lame ass CDthe other, is a benefit
to the record labels, of course they don't see any benefits at
all. you are introduced to manyother types of music, and some
that you would have never listened to before. and then you go
and buy the albums.(example: a (pretty popular) artist who i had
never given much thought to, was introduced (formally) to me via
mpeg3, i now own over 11 CD's by that artist. it was, and still
is possible to download every single one of thoseCD's, but i'd
rather support the artist (and inevitably, the record label)."
yada
yada yada
return
to copyright
that
relates to these areas which will be discussed in class, including:
Analog
sound sensors
Mikes
and tape recorders
Combining
intermedia, multimedia
Video
monitors, computer and video projectors in performance
Sonification
software to visualize sound patterns
Virtual
reality, sound and surround sound, computer and video projections
Computer
editing for interactive TV (dayschool only)
Collaborative
projects
Expanding
on you exisitng Internet pages
An
introduction to MIDI [digitalsound/music handling]
imaging
technologies.
Selecting
different compression
rates is
essential for makeing the best use of your Orb disc, and here
are samples. 1."the
movie is 240x180 at 10 frames per
second, compressed to a data-rate of 25k
with a file size of 1mb..............2.the 56K/ISDN movie is 160x120
at 7.5
frames per second, compressed to a
data-rate of 15k with a file size of 600k..............3.the 28.8 movie is 120x90 at 5
frames per
second, compressed to a data-rate of 9k
with a file size of 360k............... the audio is compressed
using the pro version of
the qdesign music codec").
In
Engr 236 you may reserve
1computer and software that could be used to alter/transform your
sound files.
We meet where? VK 131
Spring Term 2002 This class will be broken down roughly
as follows
Art 3030 assignments/Labs:
1/3
Input--experimentation
& software familiarization/ by February 27
/root
folder/web page/resources (organize
your image, sound & HTML files and folders)
1/3
(mid
term indiv crits regarding your root folder)
CONTENT
/
conceptualization & structuring plans (unique pages & linkages) by April 3
1/3Output
/
content organized and due (Internet,
PDF, DAT, CD, QT streaming, etc)--Final Group Class presentation
by
May 14 or 16th
Plan to do the
assignments & lab work whenever software and hardware is
available to you and your partner. Lab and work days will
be part of the class schedule.
Decide on your
objective or theme and begin this process from notes, work that
you are now doing, and sketch the elements you'll be useing as
a script. Do pictures communicate better
than words? After you become familiar with the Mavica digital
still camera, begin to create these images using the camera, scanner
and sounds, and SimpleText,centering around your theme. Use PageMill
3.0 (or whatever) to navigate around your pages. Use this brainstorming
process to explore what your final Art 3030 project will be. Comments relating to your still images and sounds
should be written in either Pagemill, Word, SimpleText or spoken
by you into the cassette recorder and should follow your theme.
Your
completed multimedia webpages & computer-projected presentation
are due: May
14 or 16th
(projects
are free choice among Art 3030 softwares -discuss w/me anytime)
RETURN
TO Asignments
Workshops
SUBSTUTUES &/OR
CHANGES WILL BE ANNOUNCED IN ADVANCE VIA EMAIL
We
meet where?
Room
numbers-- to be announced and/orVK 25,
131
RETURN TO Workshops
Assignment
-EXTRA CREDIT This may entail a more focused area of your interest
and could be either a recycled or a completely new approach to
any assignment.
The Visual
Array and Three-dimensional Space
Also thought of as the 'Immediate'
and the 'Inferred/Predicted'
respectively, these categories refer to the way people relate
to visual
information.
The 'visual array' or 'immediate'
visual information is that which can be
thought of as a two dimensional pattern such as that which is
seen in a
photograph. The basis of analysis is the pattern of light and
dark in the
image, as well as the organisation of the 'picture plane'.
'Three-dimensional space', now more
commonly referred to as the predicted
or inferred, gives us a chance to predict the future of a given
scene. This
can be achieved because of Homo sapiens ability to perceive the
depth of a
space and thus project what might happen if we move through it
(or
something moves toward the viewer!). This may be thought of in
terms of
'informational opportunities' and 'informational dangers' (Appleton,
1975).
Experiment with Art3030 hardware and the software
demos & tutorials.