New Media 1000 – Introduction to New Media
Session:
Instructor:
Email:
Web:
Office:
Office Hours:
Phone:
Spring 2006
Christopher Moore
christopher.moore@uleth.ca
www.learnmegood.ca
W888
Mondays and Wednesdays 11:00 am – 2:30 pm; or by appointment
380-1885
Room B519
Tuesdays 12:30 pm – 2:55 pm
Thursdays 12:15 pm – 1:30 pm
“We have no idea in hell what we are doing to ourselves with these new media
technologies, and no consistent way even to discuss the subject. Something constructive
ought to be done about this situation.”
–Bruce Sterling, “The DEAD MEDIA Project: A Modest Proposal and a Public Appeal”
What is “new” about new media?
New technologies have transformed everyday life, and consequently, the products of culture.
Computers are not only used to process data, but are also used to create contemporary art,
poetry, music, sound art/design and games. “New Media” may, therefore, be defined as the
byproduct of emergent developments in digital technology. No longer are the arts limited by
traditional media, such as paint and canvas. Artists now utilize computers and mechanical
devices in the creation of objects, artworks, and experiences.
“The technical and economic cultivation of this fertile new medium of communication has
led to several new varieties of narrative entertainment. These new story telling formats
vary from the shoot-'em-up video game and the virtual dungeons of the Internet roleplaying games to the postmodern literary hypertext. This wide range of narrative art holds
the promise of a new medium of expression that is as varied as the printed book or the
moving picture. Yet it would be a mistake to compare the first fruits of a new medium too
directly with the accustomed yield of older media. We cannot use the English theater of
the Renaissance or the novel of the nineteenth century or even the average Hollywood
film or television drama of the 1990's as the standard by which to judge work in a medium
that is going through such rapid technical change.”
– Janet Murray, Hamlet on the Holodeck (1997)
Historically, artists have been charged with propelling culture forward, while also acting as a
social barometer offering a critical reflection on the times in which they live. So too, with new
technologies, artists are afforded ever-expanding opportunities to extend their impact into broader
public forums. New media is not a discipline, per se, but rather, a catch-all term uniting practices
that employ digital technologies in their creation and/or distribution. New media practice lies at
the intersection of all the senses, combining image with text, motion with sound, and passive
experiences with real-time communications. In this course, students will begin to learn what it
means to function as a cultural producer in an emergent field with no history and few limitations.
New media will always be “new,” so long as artists continue to test the boundaries of what is
possible.
An emphasis throughout the course will be placed on exploring the rhetoric of new media – on
how stories are told, how information and images are constructed. The classes will concentrate
on the effective, creative use of the tools first and foremost; but significant lecture time and
assigned readings will provide a larger social context of how digital technologies intersect with
visual culture.
Students will concentrate on several key software packages in their initial development of
technique, including: Adobe Photoshop, Adobe Illustrator, Adobe Premiere, and Macromedia
Dreamweaver.
Objectives:
Upon completion of this course, students will be conversant with aspects of the
historical, theoretical, political, ethical, cultural and technical dialogues which
frame the field of interactive arts. Students are expected to complete all
assignments, including reflective documentation, which articulates their concepts
and demonstrates their processes. The assignments are designed to afford
students creative flexibility in applying the core technical skills outlined in the
class sessions.
Required
Texts:
There are no required texts for this course. However, handouts and additional
online resources will be provided by the instructor (www.learnmegood.ca). You
may wish to purchase either of the Adobe Classroom in a Book texts from Adobe
Press for Photoshop and/or Premiere. Both contain tutorials that may assist you
outside of this class.
You are required to bring a notebook/sketchbook and writing implements to each
class session. It is expected that you will take notes during the lectures and
demonstrations to assist you outside of the class sessions.
Optional
Equipment:
It is recommended that you bring a set of headphones to each class session, as
the workstations are not equipped with speakers. While personal storage space
exists on the network, it is subject to down-time and routine maintenance. For
this reason, you should always backup data on a CD-RW disk or a portable USB
drive.
Attendance & What and how much you learn in this class is directly related to your participation
Participation: in every lecture and lab session. The studio environment is an important tool for
learning about methodologies and processes, and for developing critical and
technical skills. Your most important contribution to this learning environment is
your interest and creative imagination. Engage – use all your experience,
knowledge and natural creativity to develop your skills and those of your peers.
Your engagement will be directly proportional to your learning and success in this
course.
An attendance sheet will circulate during each class. At the end of the term, you
will receive a grade based on your attendance record, mature and considerate
conduct in class, questions and comments made during class, etc. Appropriate
conduct includes arriving on time, returning promptly after break sessions,
respecting individuals who have the floor during a presentation or discussion,
turning off monitors when asked, providing assistance to colleagues requiring
help, and avoiding idle chatter unrelated to the focus of a given lecture or lesson.
I realize that not all students are as comfortable as others in speaking regularly
during seminars, therefore, I will accept other activities as evidence of
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participation. For example, you can bring an interesting handout to class, or
provide an interesting link or media sample to share with your colleagues. I am
always looking for new resources to update and refine the course delivery in
subsequent iterations.
If you are unable to attend a class session, as a courtesy, please advise me of
the situation via email. If you miss more than three classes and/or three labs,
you may be asked to withdraw from the course. Please be advised that NMED
1000 is a required course for completion of your degree and that withdrawal from
it could seriously impact your ability to graduate.
Assignments: Any project that may be designated an exercise or which is part of the
coursework must comply with university guidelines related to human and animal
ethics as well as should comply with Canadian laws. If you have questions about
risks, please consult with the instructor.
Assignments are to be completed by the beginning of the class on the date which
they are due. All students must be prepared to present each project during the
face-to-face session. All completed assignments are to be submitted on a nonreturnable CD or DVD, unless otherwise specified.
Academic
Integrity:
You must correctly document in your assignments all ideas and media that have
been incorporated in your projects, but have been borrowed from outside
sources or from your colleagues. In the case of teamwork, the bounds of what
was contributed by each student must be clearly delineated. Failure to do so is
considered as academic dishonesty and treated accordingly. For written papers,
all sources used in the development of your work must be cited as references.
Where text is borrowed from another source, quotation marks must indicate the
citation and the source must be acknowledged appropriately. (A Turbian citation
guide is available in pdf format at:
www.uleth.ca/~christopher.moore/SampleCitations(Turabian).pdf)
Late Policy:
Projects submitted late will receive a deduction of 5% per day, unless prior
arrangements have been negotiated. If you are struggling with the content, or
having difficulties managing your time, please advise me. I am a compassionate
individual, and am most often able to accommodate requests, if you provide a
reasonable alternative.
Personal
Security:
This course will strive for consistency with the University’s policy on personal
security, where it is acknowledged that freedom of expression and frank
discussion of controversial issues are kept in balance with an individual’s rights
not to be subject to discrimination based on gender, ethnicity, sexual orientation
or other forms of intolerance.
Sexual harassment is a serious offence that includes but is not limited to sexual
advances, unwanted requests for sexual favours, and other unwanted verbal or
physical conduct of a sexual nature. Behaviour need not be intentional to
constitute harassment. Harassment occurs when an objective person in the
position of an individual claiming harassment would find the conduct or
comments would have the impact of creating a hostile environment.
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Evaluation:
10% Readings / Participation / Attendance
0% Assignment #1: Data Body
Due January 10 (one week project)
10% Assignment #2: Self as Icon
Due January 17 (one week project)
10% Assignment #3a: Lethbridge, 2105: Vision
Due February 2 (two week project)
10% Assignment #3b: Lethbridge, 2105: Imagine
Due February 14 (two week project)
10% Assignment #3c: Lethbridge, 2105: Herald
Due February 28 (two week project)
5% Assignment #4a: Reverse Storyboard: Image
Due March 7 (one week project)
5% Assignment #4b: Reverse Storyboard: Storyboard
Due March 7 (in-class project)
30% Assignment #4c: Reverse Storyboard: Motion
Due March 30 (three week project)
10% Assignment #5: Networked Body
Due April 11 (two week project)
Class Schedule:
Please note that this is a tentative schedule of class activities. Current information and syllabus
updates may be viewed on the course website at www.learnmegood.ca.
Introduction to New Media is divided into three thematic modules, intended to address specific
concepts and technologies. The three modules are identified as:
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Systems (images, icons, language, writing, ASCII, binary, pixels)
Processes (algorithms, protocols, routines, linearity/non-linearity)
Networks (community, culture, web, interactivity, biology, artificial intelligence)
While these three units are not mutually exclusive, they serve as a means of advancing
foundational structures into complex systems. Working from the microscopic level to the
macroscopic, you will begin to understand the relationship between computer processes, and
those found in areas of nature and culture.
SYSTEMS
Week One – January 5
What is “New” About New Media?: Discourse and Practice
Introduction: Course structure, philosophy, expectations, policies
Topics: What is “new” about new media? What does it mean to be a new media artist?
Assignment #1 Introduction: DataBody
Week Two – January 10 – 12
What Do You Represent?: Icon, Index, Symbol
Topics: semiotics, iconography, representation
Skills: ProMotion introduction, digital colour theory
Assignment #1 Due: DataBody (no presentation)
Assignment #2 Introduction: Self as Icon
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Week Three – January 17 – 19
Digital Deviance: Photoshop and the Myth of Objectivity
Topics: digital photographic manipulation, the myth of objectivity, visioning the future
Skills: Introduction to Photoshop, overview of tools, image formats, resolution, analogue/digital,
print/web, painting, text, colour modes
Assignment #2 Due: Self as Icon
Assignment #3a Introduction: Lethbridge, 2105: Vision
Week Four – January 24 – 26
Learn Me Good: The Technology of Writing
Topics: the technology of writing, the computer image, ASCII, binary, text as image,
Skills: Photoshop layers, masks and editing, filters, effects
Week Five – January 31 – February 2
The Windowed World: Montage and Intertextuality
Topics: layering, montage, collage, windows, contextualization, spatialization, design,
intertextuality
Skills: Introduction to Illustrator, vector tools, clipping paths
Assignment #3a Due: Lethbridge, 2105: Vision
Assignment #3b Introduction: Lethbridge, 2105: Imagine
Week Six – February 7 – 9
Vector Vision
Topics: audio composition and formats, sound terminology and structures, synaesthesia
Skills: audio recording, introduction to the Premiere interface, basic editing and export formats
PROCESSES
Week Seven – February 14 – 16
iPod, uPod: Aural Literacy
Topics: algorithms, procedures, routines, complex systems
Skills: photographic composition
Assignment #3b Due: Lethbridge, 2105: Imagine
Assignment #3c Introduction: Lethbridge, 2105: Herald
Reading Week – February 20 – 25
Classes cancelled.
Week Eight – February 28 – March 2
If/Then: Algorithmic Processing
Topics: narrative formats: linear, non-linear, ambient, non-narrative
Skills: basic film vocabulary, cinematography overview, storyboarding
Assignment #3c Due: Lethbridge, 2105: Herald
Assignment #4a Introduction: Reverse Storyboard: Image
Week Nine – March 7 – 9
Generation Extreme: Non-Traditional Forms and the Democratization of Technology
Topics: genres, independent/experimental film
Skills: Premiere capture, project settings, basic editing
Assignment #4a Due: Reverse Storyboard: Image
Assignment #4b Introduction: Reverse Storyboard: Storyboard
Assignment #4b Due: Reverse Storyboard: Storyboard (In-class assignment)
Assignment #4c Introduction: Reverse Storyboard: Motion
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Week Ten – March 14 – 16
Left on the Cutting Room Floor: Post-Production and Editing
Topics: film history, editing, techniques, post-production, effects
Skills: Premiere transitions, titles, trimming, overlapping clips
Week Eleven – March 21 – 23
Choose Your Own Adventure: Interactivity and Emergent Narratives
Topics: randomization, chance actions, user-driven narratives, experience design, interactive and
emergent narrative formats, the medium of video games
Skills: advanced editing: motion, transparency, audio
NETWORKS
Week Twelve – March 28 – 30
Where Do You Want to Go Today?: Networking and Hypertextuality
Topics: hypertextuality, networks, biological and cultural models, neural networks
Skills: Dreamweaver introduction: interface, preparing images, site architecture, basic HTML
Assignment #4c Due: Reverse Storyboard: Motion
Assignment #5 Introduction: Networked Body
Week Thirteen – April 4 – 6
Back to the Future: New Directions in New Media
Topics: artificial intelligence, telepresence, remote communications, emergent practices
Skills: Integrating media in Dreamweaver, hyperlinking, formatting, tables and layers
Week Fourteen – April 11
Presentations
Topics: presentation of final projects
Skills: ftp, network structures
Assignment #5 Due: Networked Body
Assignments:
Assignment #1: Data.Body
A self-portrait study generated through information sharing.
Value: 0%
Duration: One week
Due: January 10
Your first assignment is to provide the instructor and the rest of the class with information related
to your interests, goals, and media preferences. This data mining will be directly incorporated
into the class sessions on a week-by-week basis.
Deliverables:
You are asked to submit a CD containing the following components:
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A short bio about yourself:
o Where are you from?
o How old are you?
o What do you do outside of school?
A statement of aspirations:
o Why have you chosen this program/school?
o What kind of goals are you trying to achieve?
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o What are your career aspirations?
o What do you wish to achieve in this course?
An indication of your existing technical skills:
o What level of experience do you have with Photoshop,
Dreamweaver, Premiere (or other video editing
software)?
o Do you have access to a digital still or video camera?
A photograph of yourself
5-10 of your favorite MP3s, or a selection from your current
playlist
A list of 5-10 websites which you enjoy or frequent on a regular
basis (include URLs and brief descriptions of content)
A list of your 3 favorite films
A list of your 3 favorite books
A list of your 3 favorite magazines
This assignment will not be evaluated, however, it will be reflected in your participation grade.
Assignment #2: Self as Icon
A self-portrait rendered in the form of an animated desktop cursor.
Value: 10%
Duration: One Week
Due: January 17
Humans have always strived to record their stories, both heroic and mundane. In order to
document and share these tales, iconographic and phonetic systems have been developed to
allow others to learn, enjoy, or empathize with another individual’s circumstances. Prehistoric
humans used cave paintings, the Chinese used calligraphy, and in contemporary Western
cultures, we use variations on the phonetic alphabet.
Icons provide information in simple and direct visual form. We often take for granted the powerful
and deeply-engrained associations that give meaning to very basic graphical forms. Icons are
often based upon symbolic, pictographic interpretations of everyday phenomena. For example,
the symbols used to differentiate between male and female restrooms bear a similarity to the
human form. However, this imagery is highly-abstracted from natural body forms, and is reliant
upon an implicit agreement by the viewer to accept that this stylized graphic stands in for the idea
of “a room in which certain biological functions are performed by individuals of like gender.”
Desktop icons extend this concept, making very abstract and complex functions readily
understandable to the user. For example, the recycle bin on a Windows OS connects the idea of
over-writing and fragmenting data so as to render it unreadable with the everyday act of tossing
unwanted documents into a blue bin. In this sense, the idea of “user-friendliness” becomes an
act of metaphoric association to guide users without mandating that they unnecessarily
understand the technical operations performed by their hardware and software systems. What is
most incredible about good digital icons is that they can effectively communicate all of this
information in a simple 32x32 pixel grid formation.
For this assignment, you are asked to create an animated representation of yourself in the form of
an animated cursor. This project can reflect your physical appearance, interests, personality, or
any other attributes that define you as an individual. As a visual follow-up to the DataBody
assignment, try to explain something about yourself that you would like the class to know. Think
about how the image could be received in your absence. How might another person interpret the
icon, without knowledge of the creator? What type of message or impression might a viewer
receive from this image? Does this image accurately represent you? Is your face or body the
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best way to represent you as an icon? Is there a more apt and expressive metaphor? Could it be
abstract and non-representational?
Using ProMotion software, you will create a 32x32 pixel animation of at least 15 frames in length.
The final project will be exported as both an animated gif, as well as in a format which can be
used as an active mouse pointer. This sequence should encapsulate a brief storyline or motion
which outlines a particular theme or activity. The animation will loop back upon itself, so consider
this factor when ending your sequence.
The process for creating this sequence is very similar to creating a physical flipbook. Each frame
represents one stage in the development of the whole sequence. By increasing the number of
frames within a sequence, the movement transpires over a greater length of time. Such extended
transitions can create a more fluid, smooth motion, as greater definition and information is
available at any given point in time. This phenomenon is referred to as persistent vision, and
occurs when images move very fast, and the eye is not able to keep up. Instead of perceiving 57
individual images, the eye sees only one, which appears to be moving.
When constructing this “movie”, consider the following aspects:
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Transition (quick versus slow, smooth versus sharp)
Scale (large versus small)
Composition within the 32x32 frame
Narrative (What is the concept? How much information is necessary? How
clear is the story?)
Reduce your concept to the simplest, clearest format possible. Much information can be
expressed through minimal motion and carefully considered timing or transitions. Bear in mind
that 15 frames provides the necessary means to storyboard a short animation sequence and not
an epic narrative!
Deliverables:
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a 32x32 pixel animated .gif file
a 32x32 pixel Windows animated cursor (.ani) file
the animation must be at least 15 frames in length
be prepared to present your work during the following class
provide a copy of the project on a non-returnable disk (floppy or CD), that is
clearly labeled with your name and the assignment number
Evaluation will be based upon the following criteria:
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Has the student met the minimum thematic and technical requirements?
Do the visual design choices effectively illustrate the intended concept?
Does the project demonstrate cohesion, both in narrative and overall design?
Does the project establish a clear tone through use of imagery and colour
choices?
Has the student invested an adequate level of energy and engagement to
create a compelling composition?
Assignment #3: Lethbridge, 2105
A three-part exercise in visioning the future of Lethbridge, Alberta.
Value: 30% (10% each for parts a, b, c)
Duration: Six Weeks (two weeks for each part)
Due: part a: February 2, part b: February 14, part c: February 28
(Note: this project contains both individual and team components)
The year is 2105. The city, Lethbridge, Alberta.
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Following a decade of economic decline, the city is investing in a new marketing campaign to
attract businesses and families back to the region. You have been selected as the Marketing
Manager to develop a strategy that emphasizes the existing strengths and resources available in
Lethbridge, as well as vision a future plan to reinvigorate the area. This will require a multi-tiered
approach that targets your primary demographic(s).
For this project, you will work in teams of four to first develop a back-story that accounts for the
past 100 years of Lethbridge’s history. Identify the milestones and developments that have lead
up to this public relations effort. What caused the economic decline? Was there a catastrophic
environmental event that rendered the land unfit for agriculture? Were universities outlawed by
an autocratic conservative rule, causing the academic community to flee to the new liberal
enclave of North Korea? You can choose a realistic model, or go as wild and fantastical as
possible.
It has been stated that within the 20th century, the number of recorded scientific/technological
advances doubled each year. Consider what life may be like 100 years into the future. Within
your group, discuss and suggest potential changes in culture, the arts, urban planning,
architecture, entertainment, film, or any of the topics explored during the workshop session. How
will our expectations of being entertained differ? Will we demand three-dimensional immersive
environments or ultra-high bandwidth networks that connect us in real-time through sound, sight,
smell and touch? Will we be connected by wireless devices twenty-four hours a day? What might
design look like in this kind of environment? What purpose will art serve in this kind of
environment? How will daily life change as a result of technological and/or social advances? Will
humans colonize Mars, or will we face escalating homelessness and increased class divisions
here on Earth? With news of the recent human genome project, do you foresee complete
understanding of human makeup, or will progress peak during the next century? Will it be
possible (or desirable) to sustain life indefinitely?
Make complete notes of your discussion, as you will be developing these ideas further, and will
require them for reference. Ensure that each member of your team has a digital copy of this
material.
Part A: Lethbridge, 2105: Vision
Value: 10%
Due: February 2
Format: Individual Submission (with team consultation)
The first exercise in this assignment involves depicting a scene or situation in the future
Lethbridge. Using digital photography, scanning, (or one of the stock images provided), each
member of your group will update a current image of Lethbridge to reflect your vision of the city in
2015. This might involve simulating a new skyline, inserting futuristic buildings, storefronts or
cars into the landscape, depicting future citizens engaged in an activity, or any other situation that
suits your marketing agenda. These images will be integrated into another project, so consider
your images wisely. They should clearly illustrate a specific point touched upon in your vision, in
order to convince your audience to invest in this city.
The objective of this assignment is to produce the most convincing fake image possible. Using
Photoshop tools – clone stamper, scaling, distortion, layers, masking, and colour correction – you
will alter the photo of your choice in a significant but realistic way to produce an interesting result.
Alter the present to produce an alternate reality in a subtle or ridiculous way.
You are encouraged to plan ahead for this assignment, as you may wish to consult with the
instructor more than once prior to submission, in order to achieve the best results. Your final
submission will be an 8”x10” colour print of your photograph, along with the corresponding
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Photoshop digital file, and a screen resolution file for easy in-class critique. Please use proper
formatting technique, naming and preserving all layers in your document.
You are expected to produce work at a high resolution as if for magazine publication, so your
source material should be of sufficient resolution. Properly scanned images are advisable; digital
images may not be suitable unless they are of very high quality; web images are not permitted
(unless used as secondary sources, and appropriately credited).
Deliverables:
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an 8.5”x11” colour print on photographic paper (the print shop on level 6 is
capable of executing this task)
a Photoshop .psd file, with proper formatting
a screen-resolution image in .jpeg format
be prepared to present your work during the following class
provide a copy of the project files on a non-returnable disk (floppy or CD),
that is clearly labeled with your name and the assignment number
provide credits for any secondary source material (if applicable)
Evaluation will be based upon the following criteria:
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How real does the piece feel?
Does the piece express an interesting narrative, without the use of
supporting text?
Has the student made realistic use of light, shadow, proportion, scale, depth,
and colour?
How clean are the extractions?
Are the elements scanned properly?
Are they the proper resolution?
What is the quality of the output?
Has the student invested an adequate level of energy and engagement to
create a compelling composition?
Part B: Lethbridge, 2105: Imagine
Value: 10%
Due: February 14
Format: Individual Submission (with team consultation)
Now that your team has a set of convincing images to woo potential businesses and investors,
you need to come up with a solid marketing campaign. One of the staples of this industry is the
printed brochure, which can be delivered to neighbouring communities, or may be distributed at
trade shows and networking events. This brochure should espouse the glories of Lethbridge in
2105, from both an economic and social perspective. Why would a move to Lethbridge prove
beneficial for industries and families? What incentives and attributes make this city a desirable
location?
Each team member will share their image with the group, and will create their own distinct
brochure prototype. Using the notes from your initial discussion, find a way to concisely outline
the key elements of your marketing strategy. Write a series of brief copy segments addressing
specific issues, of interest to your target audience. The total word count of the copy should be
approximately 250 words, interspersed among the imagery.
Using Adobe Illustrator, you will layout a full-colour, two-sided document, with at least one fold.
You may use any paper size, but 8.5”x14” is recommended. If you wish to incorporate die-cuts,
embossing, or other specialty treatments, feel free to do so. The brochure can feature any or all
of the four team images, as well as additional graphics you may wish to concoct. However, one
criterion that must be fulfilled is the redesign of the City of Lethbridge logo and word-mark. The
logo should reflect the year 2105, as well as the strategic vision of the marketing campaign. For
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example, if the city is courting high-tech industries, the feel would be more clean and
contemporary, whereas if the community is seeking to redevelop an agricultural base, a more
contemporary, hard-edged look may not be appropriate.
The final submission will be 2 digital prints adhered back-to-back and folded correctly to simulate
a professionally-printed brochure. In additional, you must also provide an Illustrator .ai file that
has all layers appropriately labeled (along with all source images). An additional output of two
screen-resolution images – one front, one back, is required for in-class viewing and critique.
Deliverables:
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two colour prints adhered back-to-back and folded to simulate a prototype
An Illustrator .ai file, with proper formatting and source imagery
two screen-resolution images in .jpeg format (front and back)
be prepared to present your work during the following class
provide a copy of the project files on a non-returnable disk (floppy or CD),
that is clearly labeled with your name and the assignment number
provide credits for any secondary source material (if applicable)
Evaluation will be based upon the following criteria:
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Has the student considered and/or successfully rejected design basics such
as balance, proportion, repetition, weight, scale, line, etc.?
Does the piece express an interesting narrative, conveyed both through
layout and the written text?
Does the visual design enhance and clarify the proposed vision?
Is there a consistent approach to the overall layout and design – fonts, colour
scheme, alignments, stroke weights, theme/mood?
What is the quality of the output?
Has the student invested an adequate level of energy and engagement to
create a compelling composition?
Part C: Lethbridge, 2105: Herald
Value: 10%
Due: February 28
Format: Team Submission
In order to garner interest in your campaign, it is important to tap into several different media
formats and means of distribution. The printed page provides a good reference or souvenir, but it
is limited in its capacity to express a full range of emotions. For the final piece of your marketing
strategy, you are asked to produce an audio podcast, which may take one of several formats.
Given that radio may have all but disappeared in 2105, you may envision any means of
distribution for your audio message. Perhaps it is pumped into public locations via loudspeakers,
or maybe it is directed into chips embedded in individual brains. Whatever the method, the
message is to sell your vision of Lethbridge to potential investors.
Your team might opt to produce a slick 30-second broadcast commercial, a one-on-one interview
with a representative for the city, an infomercial-type extended advertisement, a “man-on-thestreet” interview segment, or any other format you may see fit. The piece should not exceed two
minutes, and should include sound effects, recorded dialogue, and possibly field recordings or
music.
The first step is to script the piece within your team and assign roles to individuals. Not everyone
on the team needs to have a speaking part, but everyone must play an active role in developing
the project. One member may be appointed to research sound effects files, another may record
some audio from a public location, etc. Using Windows Sound Recorder (or another
application/technology), record your raw audio. Once all samples have been collected, you will
use Adobe Premiere to edit and compose the audio composition on the timeline. While Premiere
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is not the most ideal software for sound editing, this exercise provides an introduction to nonlinear editing and the interface, which will be followed up in the video assignment that follows.
The final outcome will be an mp3 file, with accompanying script and an outline of each team
member’s contributions to the project.
Deliverables:
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a finalized .mp3 file
a Premiere project file with accompanying source materials
a printed script, with indications of each team member’s contributions to the
project
be prepared to present your work during the following class
provide a copy of the project files on a non-returnable disk (floppy or CD),
that is clearly labeled with your name and the assignment number (one per
team)
provide credits for any secondary source material (if applicable)
Evaluation will be based upon the following criteria:
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Has the team created a compelling audio narrative that suits their intended
vision?
To what extent have original recordings been generated and integrated into
the overall mix?
How realistic is the scenario being presented?
What is the quality of the output?
Has the team invested an adequate level of energy and engagement to
create a compelling composition?
Assignment #4: Reverse Storyboard
A three-part exercise in non-linear narrative and interactive video production.
Value: 40% (5% each for parts a, b, 30% for part c)
Duration: Four Weeks (parts a, b: one week, part c: three)
Due: part a: March 7, part b: March 7 (in-class activity), part c: March 30
(Note: this project contains both individual and team components)
The objective of this assignment is to introduce concepts of narrative, both linear and nonlinear.
Film directors use careful framing, transitions, and camera angles to suggest atmospheric moods,
psychological states, and various themes which permit progression of a narrative. In general, the
purpose of filmmaking is to share a story, through construction of a narrative in a visual format
that can be understood by a particular audience. In this assignment, you are challenged to imitate
the director's process, through careful and selective editing with limited means for expression.
In teams of six, you will view a clip from either the movie Flirt, directed by Hal Hartley, or Run Lola
Run, by Tom Tykwer. Each of these films is divided into three discrete sections, but each utilize
different formal strategies. In Flirt, three sets of actors located in three different cities speak
identical lines of dialogue, but the context is entirely unique. In Run Lola Run, the central
protagonists repeat the same set of actions, but subtle variations in choices or circumstances
lead to completely different resolutions.
After viewing your assigned segment, your team must review the segment and select only six
still-frame images to try and tell the story. Typically, a director storyboards key images and
scenes to guide the filming process. In this exercise, you are asked to do the opposite – to
extrapolate a “reverse storyboard,” reducing the segment to its constitutive elements. Use the
<Print Screen> command to take screenshots of your chosen frames. In addition to these six
images, you are to select six lines of dialogue from any part of the sequence. These need not
correspond directly with the chosen frames. Ensure each member of your group has copies of
these images and phrases, as these will form the basis of Part A of the assignment.
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Part A: Reverse Storyboard: Image
Value: 5%
Due: March 7
Format: Individual Submission (with team consultation)
Beginning with the existing (cohesive) narrative, you have deconstructed it to six elemental
images, and will now generate a new, divergent story using digital photography and/or Photoshop
manipulation. The captured source images should be considered a basis for the narrative, but
need not be adhered to in a prescriptive manner. You may rearrange the original sequence,
introduce new characters, substitute elements, or transpose geographic or historical periods. It
may also be purely abstract.
Consider framing, color, lighting, and wardrobe when composing each image. Do you wish to
slavishly replicate the original frame, or impose an alternate interpretation of the scene? Perhaps
you wish to shift camera angles to provide information not visible in the source image, or to
suggest a new plot to the story.
This activity is to be completed individually. As a result, your team should have approximately 6
versions of each frame for a total of 36 images. Having photographed the scenes, you may alter
the images using Photoshop or other digital imaging software. Include the line of dialogue as a
subtitle at the bottom of each image. Each group member should use the same 6 texts for each of
the keyframes (i.e. keyframe 1 should have the same caption for all group members).
Your images should be stored digitally and printed in black and white on separate pages for use
during the following face-to-face session.
Deliverables:
-
6 .jpeg images at screen resolution, and with subtitled captions
6 black and white prints of the images, for use in class
be prepared to present your work during the following class
provide a copy of the project files on a non-returnable disk (floppy or CD),
that is clearly labeled with your name and the assignment number
Evaluation will be based upon the following criteria:
-
Has the student exercised creativity and risk-taking in completing this
exercise?
Is there an interesting interplay between the text and the visuals?
Has the student invested an adequate level of energy and engagement to
create a compelling composition?
Part B: Reverse Storyboard: Storyboard
Value: 5%
Due: March 7 (In-class assignment)
Format: Team Submission
Using the 36 images created within your team, you will begin structuring a storyboard concept
and script. You must first select one variant from each of the six keyframe sets. You can opt for
one from each group member, all from a single individual, or a combination that seems suitable.
With the six new keyframes, you will compose a short script that will be broken down into six
individual scenes of approximately 30 seconds in length. While each scene will be a separate
unit, there should be some consistent element that leads one scene to the other in a linear
fashion. Please also note that the captions must be integrated into the video clips. The texts
might appear as subtitles, spoken dialogue, signage, etc.
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In completing the videos, consider the following:




What underlying structures assist in creating a cohesive set of video clips (environment,
character, color, composition)?
How will each independent segment work with the collection?
Do you consider each element as an independent unit, or merely as one part of a larger
body of work?
How might viewers' interpretations shift when the order is inverted or rearranged?
This stage should also be used to thoroughly plan the forthcoming shoots, as well as to assign
duties to specific individuals. What locations will be used? Who is responsible for costumes and
props? When will the filming take place? Who will arrange for the equipment? Is transportation
a concern?
It is expected that by the following class session, you will have produced a storyboard with brief
scene descriptions, a working script for any dialogue to be spoken, as well as a tentative
schedule for the video shoot. The instructor will be meeting with each team to review the
proposals and to provide consultation on the process.
Deliverables:
-
a hand-rendered storyboard with notation on audio elements, effects, and
relevant scenic elements (hard copy)
a printed script including any spoken dialogue, voice-overs, or subtitles
a tentative shooting plan, as well as a list of any material, costumes, or props
that may be required
be prepared to present your work during the following class
Evaluation will be based upon the following criteria:
-
Has the team exercised creativity and risk-taking in completing this exercise?
Is the team organized and professional in their approach to completing the
project?
Is the plan realistic, given the time frame allotted for this assignment?
Has the team invested an adequate level of energy and engagement to
create a compelling composition?
Part C: Reverse Storyboard: Motion
Value: 30% (5% will be devoted to a Peer Evaluation)
Due: March 30
Format: Team Submission
With the storyboard, script, and shooting schedule finalized, your team is prepared to begin
filming. While you have three weeks to complete the six video clips, it is strongly advised that you
get a majority of the filming finished during the first week, as the editing and export process can
be lengthy – even for 30 second clips. Each team member will be responsible for editing one of
the six clips, but the team will determine the overall look and feeling of the complete set. Using
Adobe Premiere, you may wish to add sounds, transitions, fades, vocal dubs, titles, or a variety of
special effects. Bear in mind that each effect adds to the overall project rendering time, and
increases the resultant file size. Ensure you provide adequate time in advance of the due date to
complete the export of each video.
Consider how each segment relates to the particular narrative approach selected in your
proposal. What underlying structures assist in creating a cohesive set of video clips (environment,
character, color, composition)? How will each independent segment work with the collection? Do
you consider each element as an independent unit, or merely as one part of a larger body? How
might viewers' interpretations shift when the order is inverted or rearranged?
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The final videos must be saved in Quicktime digital video format (.mov) for presentation and use
in the class sessions. Each movie should be exported at the aspect ratio of 640x480 pixels, and
with Sorenson video compression. Name each clip as 1.mov, 2.mov, etc., and be saved in a
folder labeled with at least one group member’s name. All of the videos will be integrated into an
interactive interface, so it is crucial that these technical issues and naming conventions be
adhered to strictly. The videos will be screened using the interactive interface during the
following class session, as they must be integrated into the interface.
Deliverables:
-
6 Quicktime .mov files, approximately 30 seconds in length
videos must be 320x240 and use Sorenson compression
label videos as 1.mov, 2.mov, etc., and place all within a folder labeled with
at least one team member’s name
provide a copy of the Premiere project file
provide a brief text file outlining each individuals’ contributions to the filming
and editing
submit all digital materials on a non-returnable CD or DVD (one per team)
be prepared to present your work during the following class
Evaluation will be based upon the following criteria:
-
Has the team exercised creativity and risk-taking in completing this exercise?
Do the videos follow the technical requirements outlined in the assignment
specifications?
Does the project successfully employ cinematographic techniques – edits,
pans, etc.?
Are audio tracks, effects, and transitions used effectively?
Is there a sense of consistency across all six videos?
Has the team invested an adequate level of energy and engagement to
create a compelling composition?
Assignment #5: Networked Body
A class network based upon biological and social models.
Value: 10%
Duration: Two Weeks
Due: April 11
(Note: this project contains both individual and team components)
In many ways, the human body can be viewed as an interconnected network of nerves, arteries,
and capillaries. It embodies a cyclical feedback and response mechanism which transmits and
processes information, and thus, can be seen as a metaphor for network technologies.
The central nervous system (CNS) functions as a pipeline for communications within the body.
The CNS represents a sophisticated system of links, which pass information and data between
extremities, the brain, and other body parts. The various senses provide 'input' - collecting data
on the conditions within the surrounding environment - which, in turn, is transported by the CNS,
and processed by the brain. The brain 'processes' this input based on patterns, previous
experiences, and reflex actions. This may result in a variety of 'outputs' - for example, one
touches a hot stove; the brain reacts; the resultant 'output' is movement of the hand away from
the heat source, and/or vocalization of pain.
At the cellular level, each cell contains identical DNA information, and responds to conditions at
the level of the body as a whole. What this means, is that the overall state of the body is shared
and circulated among all cells. In times of sickness, viral infection, or mineral deficiency, all
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aspects of bodily function are affected. The effect may be localized, but the 'data' is spread within
the larger, self-contained 'network.'
The metaphor of the body as a network can also be extended beyond an internal framework.
Upon entrance into culture and society, one becomes part of a larger network of social
connections between people - friends, family, acquaintances, anonymous passers-by. Every
interaction links us to a larger community of people, values, and ideologies. Think about the idea
of Six Degrees of Separation. This theory claims that all individuals on the face of the earth can
be linked through a maximum of 6 one-to-one relationships. If we extend this theory to network
systems, the metaphor might read: "every node in a network can be traced or accessed through 6
clicks".
This project provides an introduction to network structures through analogy and physical
gestures. The Self as Node exercise is the first stage in the development of a larger class
network, linking people to people, and nodes to nodes.
The preliminary stage involves mapping and defining a series of 6 nodes or location within a
larger structure. This activity addresses self representation and construction of meaning. In this
assignment, you are not necessarily telling a story, but rather, are connecting information. Each
node represents a collection of information, which together communicates a larger meaning.
To begin, you are required to produce 6 web pages featuring 6 distinct body parts -- head, hand,
foot, navel, ear, eye, and so on. This is another exercise in self-representation, so you are asked
to reflect upon your own physical (external) characteristics. Consider the iconic and personal
significance of each body part. Perhaps the eye represents spirituality, or a tattoo signifies your
anti-establishment sensibility. You may use digital photography, scanning, video, or any of the
other approaches explored during this course to create your nodes. The only design criteria are
that there is a level of consistency in the visual design of each node page, and that it is optimized
for a resolution of 800x600 pixels. You are free to explore other aspects of web design, including
the integration of audio, flash, and scripting, if you so choose. However, please keep the
deadline in mind when considering the use of technologies beyond your current understanding.
Each page must be named as 1.html, 2.html, etc., and all pages and linked media must exist
within a single folder labeled with your last name only. Please ensure that all media and links are
relative to the document, and not the root, as you will be changing the location of these files from
time-to-time (root relative links would become broken). For the first stage of development, you
are required to have two links per page that link to two different pages within your individual
network. Try to avoid use of text, instead, use graphical links or image maps for a more subtle
navigation experience.
Once all of the individual networks have been presented, they will be uploaded to the course
webspace. At this time, one link on each of your pages will be modified to jump to one of your
classmate’s nodes. In so doing, the entire class will be linked in a maze of body parts and
associations.
Deliverables:
-
6 HTML files, with accompanying media elements
all files must be placed in a single folder labeled with your last name only, as
it appears in your username (no capitals)
label HTML files as 1.htm, 2.htm, etc. (PLEASE NOTE: it is imperative that
these be in the default *.htm format, NOT *.html)
create two links per page that lead to another node in your network (to be
modified later)
submit all digital materials on a non-returnable disk
be prepared to present your work during the following class
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Evaluation will be based upon the following criteria:
-
Has the student exercised creativity and risk-taking in completing this
exercise?
Do the files follow the technical requirements outlined in the assignment
specifications?
Is the project fully-tested and functional?
Are the media elements optimized for web delivery?
Is there a sense of consistency across all six pages?
Has the student invested an adequate level of energy and engagement to
create a compelling composition?
Evaluation Scale
The following scale range will be used in all course assessments:
A+
A
AB+
B
BC+
C
CD+
D
DF
90%-100%
85% - 89%
80% - 84%
77% - 79%
74% - 76%
70% - 73%
67% - 69%
64% - 66%
60% - 63%
57% - 59%
54% - 56%
50% - 53%
0% - 49%
Evaluation Criteria
In creative disciplines, the evaluation process is not always transparent or clearly stated.
Multiple-choice and automated tests are easy to administer, but they cannot replicate the
qualitative assessment necessary to judge a work of art or design. It is the instructor’s role to
determine the relative merit based upon multiple factors – some technical, some ethical, and
others, aesthetic:
-
Does the project meet the requirements, as stated in Assignment criteria?
How much effort or engagement was involved in completing the project?
Does the final work thoughtfully or provocatively comment on the chosen subject?
Has the student progressed technically or conceptually in the development process?
Does the work demonstrate an understanding of the creative and compositional
principles discussed in the class sessions?
Did the student make incremental progress on a week-to-week basis?
Does the project demonstrate innovation, challenge, or take risks?
Has the student exceeded the instructor’s expectations?
How closely does the work mirror professional/industry standards?
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Having considered these factors, among others, the instructor must determine where the project
should be placed within a given range for each criteria. The cumulative assessment of these
factors is translated into a letter grade. For further granularity, please review the following
general grade range descriptions:
D-range:
C-range:
The work is unsatisfactory. The student has unsuccessfully completed the
project and/or has met only the most basic requirements. The work may exhibit
only a passing resemblance to the criteria laid out for the project. The student
may have diverged from the criteria without previous discussion with the
instructor. The student may have submitted a project from another course or
situation, and claimed it to be new work. The work is rife with mistakes, or is
possibly unplayable/unreadable without expert technical intervention and/or a
very forgiving eye. The work is incoherent or does not successfully or
meaningfully communicate a concept or theme. The student is not progressing in
their development. The work is below average in the opinion of the instructor.
The work is acceptable. The student has made an earnest attempt to fulfill the
criteria laid out for the project. The student is not progressing well in their
development. The student has not taken sufficient time to internalize,
understand, own, and interpret the criteria for the project. The student may be
unclear on the criteria for the project and has not asked for clarification from
colleagues or the instructor. The student may have diverged substantially from
the criteria without previous consultation with the instructor. The student has not
referenced secondary sources of information or experience outside the
classroom. The work contains too many technical errors – i.e. poor transitions,
inappropriate pacing or conceptual structure, failure to acknowledge quoted
material, scripting errors, audio problems, grammatical or spelling mistakes, too
short or substantially too long. The work is average and acceptable in the
opinion of the instructor.
B-range:
The work is good. The student has made an earnest attempt to fulfill the criteria
laid out for the project. The student is progressing in their development. The
student has taken sufficient time to internalize, understand, own, and interpret
the criteria for the project, with notable success. The student may have
referenced a few secondary sources of information or experience in an
interesting way. The student’s interpretation of the criteria may be somewhat
lacking. The interpretation may lack sufficient personal voice or originality; it may
be unsubtle. The work may experiment earnestly without huge success. The
student may have diverged slightly from the criteria without previous consultation
with the instructor. The work may contain a few technical errors – i.e. poor
transitions, inappropriate pacing or conceptual structure, failure to acknowledge
quoted material, scripting errors, audio problems, grammatical or spelling
mistakes, too short or substantially too long. The work is generally good in the
opinion of the instructor.
A-range:
The work is excellent. The student has fulfilled the criteria laid out for the project
through active engagement while demonstrating a personal voice. The student
has referenced many secondary sources of information or experience in an
interesting way. The student has internalized all project criteria and offers
supplementary ideas that support the criteria, or skillfully deconstructs the
established criteria in a creative way. The student is progressing at an aboveaverage rate. The project is at least almost totally free of technical errors. The
project probably demonstrates earnest and successful experimentation.
A+:
The work is outstanding. The student has fulfilled all criteria worthy of an A mark
and has excelled beyond the instructor’s expectations. The work approaches or
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attains the capacity of a professional in the field. The work approaches suitability
for publication or professional broadcast. The work represents substantial,
innovative experimentation.
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