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8 |
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Class Notes |
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;){kind=small} | 25 August |
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 | Michael talks about Ars, predictions project - http://www.aec.at/predictions/ |
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;){kind=small} | who am i? |
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| pushing boundaries through interactive media, the sacred and profane in digital space |
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| studying ethical encodings |
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| A great number of double major |
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;){kind=small} | Looking over 25 years of history |
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| ZKM looms large - media arts center near Frankfurt |
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| richard serra's tilted arc? |
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| die nacht der substanz - friedrich kittler |
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| brancusi trial? |
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;){kind=small} | 1 September - Ars Electronica |
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| film school constantly aims higher and higher for the immersion |
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;){kind=small} | defining interactive media |
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| sense of presence in the space |
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| IMAX - obscures the frame through size |
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;){kind=small} | M.Naimark |
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| interactivity must be two-way |
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;){kind=small} | J.Steuer - Vividness and Interactivity |
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| modifying what happens |
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| jonathan's two axis diagram |
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| book: Bradbury's garden, described in his short-story the Veldt, the Diamond Age |
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| was the holodeck networked? |
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| reinforcing sensing inputs |
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;){kind=small} | A.Lippman |
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| mutual and simultaneous activity on the part of both partcipants |
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;){kind=small} | 5 corrolaries |
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| interrupt-ability |
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| graceful degredation |
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| maintaining the thread |
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| limited look-ahead |
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| maintaining the impression of an infinite database |
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;){kind=small} | interactive environments |
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| anamorphic fresco |
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| sensorama |
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;){kind=small} | how to do a group interactive experience? |
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;){kind=small} | collective responsibility vehicle |
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| everyone has a steering wheel |
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| weighted based on amount paid to ride |
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;){kind=small} | B.Laurel |
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| frequency |
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| significance |
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| range |
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| Raduz Cincera |
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| movie: Bill Murray: the man who knew too little, the game |
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;){kind=small} | Szperling - Uncompressed |
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| like Time Code, but choose your character |
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;){kind=small} | 8 September - Perry Hoberman |
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| for the future: spend the first half hour talking about current events |
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;){kind=small} | Talking about Ars |
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| trajectory from art installations to arcade games and home video game systems |
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;){kind=small} | iso-phone |
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| combination phone and isolation tank |
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| cool hack - something with not so much explicit purpose |
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;){kind=small} | in the past at Ars, you had to be a media artist, and a scam artist |
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| now the equipment is much cheaper, so more people can participate |
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| Book: Physical Computing |
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| funding for the arts and access to tools easier in Europe |
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;){kind=small} | Perry Hoberman - prequel |
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;){kind=small} | Bar Code Hotel |
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| successful group interactive media editing experience - having people share control over a 3D environment |
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| cause-effect and interactivity |
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| PH is one of the rare people who has focused on humor in interactivity |
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;){kind=small} | Most digital art seems serious - maybe 90% |
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| few try to be funny |
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;){kind=small} | Perry Hoberman - presentation - “Recycling Post-Consumer Media Content” |
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| recutting the invisible man, so the invisible actor is ranting at the audience |
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| movie: Buster Keaton's Sherlock Jr. - finds himself entering the movie |
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| playing with shadow - using lightbulb as a point source of light which will throw a strong shadow |
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| participatory pieces where stereoscopy demanded that you stick your nose into a piece, or work in order to perceive it |
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| film as resurrection machine for zombies |
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| finds a stupid idea and works it over until it becomes less stupid. or stupid enough |
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| why did I call it accept? well, because, we have no choice |
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| trapezoidal, pyramid structures? related to minimalism, constructivists like rochenko |
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| spam piece - trying to take something as ugly and horrible as he can find, and make something beauitufl out of it |
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| EULA piece absurdly overvalues the art |
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| the Value of Artwork pieces absurdly undervalues the art |
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| fair use? jeff koons and copyright |
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;){kind=small} | 15 September - Michael Lew |
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;){kind=small} | Reflecting on last night's event - USC/EA Party |
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;){kind=small} | What is EA getting out this? |
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| HR department funded it - what does that tell you? |
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| Dance: thanks EA, but this is not exclusive |
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;){kind=small} | Michael Lew - Filmmaking for Computational Media - Prequel |
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| What computation and Filmmaking together mean |
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;){kind=small} | Preview |
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;){kind=small} | Interactive |
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;){kind=small} | Film |
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| on/off |
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;){kind=small} | VideoTape |
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;){kind=small} | speed control |
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| Movie Maps |
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;){kind=small} | Video Disc |
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| instant frame access |
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| branching |
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;){kind=small} | Hard Disc |
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| manipulate the framre |
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;){kind=small} | Computer Graphics |
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;){kind=small} | Semantic - the system understands the objects within the thing |
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| 2D-nonsemantic - TV |
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| 2D -semantic - catoons |
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| 3D - non-semantic - lightfields |
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| 3D-semantic - CG |
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| A lot of interactive cinema like the DVD menu on Rashoman |
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;){kind=small} | Michael Lew - Presentation |
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| Background in Electrical Engineering and Improv |
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| What is happening to the film form when the medium becomes computational? |
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| Now that you can have film on a hard disk you can retrieve any shot at any time |
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| What does film mean any more? |
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| An Axis between Game and Story |
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| Narrative Representative Industrial NRI Film |
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| Office voodoo - emotional space is narrative space |
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;){kind=small} | How much feedback to show? Emotional axis/graph |
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| watching Quicktimes, you know how much time is left from the slider at the bottom |
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| changes the viewing experience |
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;){kind=small} | will wright: pretty easy to make people feel guilty/proud in a game, but not in a film |
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| conversely happy/sad is easy to feel from a film but not from a game |
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