New Media 1000 – Introduction to New Media
Session:
Instructor:
Email:
Web:
Office:
Office Hours:
Phone:
Fall 2006
Christopher Moore
christopher.moore@uleth.ca
www.learnmegood.ca
W888
Tuesdays and Thursdays 1:00 pm – 2:30 pm; or by appointment
380-1885
Room B520
Mondays 9:00 am – 10:50 am
Wednesdays 9:00 am – 10:50 am
“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.
Emails:
In order for me to efficiently respond to questions, proper email formatting is
necessary. Please use appropriate subject titles, and indicate the course
number when sending emails. For example, “NMED 1000: Assignment 2,
Sample Layout.”
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 September 11
20% Assignment #2: Body.Morph
Due October 2
10% Assignment #3: Book.Life
Due October 16
20% Assignment #4: Moving.Subject
Due November 6
30% Assignment #5: Interactive.Video
Due November 27
10% Assignment #6: Networked.Body
Due December 6
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.
Week One – September 6
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 – September 11-13
What Do You Represent?: Icon, Index, Symbol
Topics: semiotics, iconography, representation
Skills: Camera basics, composition, digital colour theory
Assignment #1 Due: DataBody (no presentation)
Assignment #2 Introduction: Body.Morph
Week Three – September 18-20
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
Week Four – September 25-27
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 – October 2-4
The Windowed World: Montage and Intertextuality
Topics: layering, montage, collage, windows, contextualization, spatialization, design,
intertextuality
Skills: Introduction to Illustrator, vector tools, clipping paths
Assignment #2 Due: Body.Morph
Assignment #3 Introduction: Book.Life
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Week Six – October 9-11
Vector Vision
*Note: There will be no class on Monday, October 9 due to the Thanksgiving holiday.
Topics: sound terminology and structures, synaesthesia
Skills: intermediate Illustrator techniques
Week Seven – October 16-18
iPod, uPod: Aural Literacy
Topics: algorithms, procedures, routines, complex systems
Skills: audio recording, introduction to the Premiere interface, basic editing and export formats
Assignment #3 Due: Book.Life
Assignment #4 Introduction: Moving.Subject
Week Eight – October 23-25
If/Then: Algorithmic Processing
Topics: narrative formats: linear, non-linear, ambient, non-narrative
Skills: basic film vocabulary, cinematography overview, storyboarding
Week Nine – October 30-November 1
Generation Extreme: Non-Traditional Forms and the Democratization of Technology
Topics: genres, independent/experimental film
Skills: Premiere capture, project settings, basic editing
Week Ten – November 6-8
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
Assignment #4 Due: Moving.Subject
Assignment #5 Introduction: Interactive.Video
Week Eleven – November 13-15
Choose Your Own Adventure: Interactivity and Emergent Narratives
*Note: There will be no class on Monday, November 13 due to Remembrance Day.
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
Week Twelve – November 20-22
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
Week Thirteen – November 27-29
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
Assignment #5 Due: Interactive.Video
Assignment #6 Introduction: Networked.Body
Week Fourteen – December 4-6
Presentations
Topics: presentation of final projects
Skills: ftp, network structures
Assignment #5 Due: Networked.Body
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Assignments:
Assignment #1: Data.Body
Value: 0%
Duration: One week
Due: September 11
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?
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 (snapshot/passport-style)
5-10 of your favorite MP3s, or a selection from your current
playlist (optional)
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
Create a self-portrait in any medium, but do not spend more
than 15 minutes on this activity.
This assignment will not be evaluated, however, it will be reflected in your participation grade.
You may format the document/files in any fashion (Word, PDF, Website, PowerPoint, etc.). If you
have additional or alternative information that will paint a clearer picture of who you are and what
makes you tick, feel free to share!
Assignment #2: Body.Morph
Value: 20%
Duration: Three Weeks
Due: October 2
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. You will
be divided into groups to discuss and suggest potential changes in culture, the arts, urban
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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?
The first stage in this assignment involves creating a series of photographic self-portraits, which
will be then transformed and manipulated. It is imperative that these images are of high
resolution and quality, so that there is plenty of detail and little distortion (this will make the
assignment easier). Shoot your images against a neutral background, as you will be replacing
the environment in which the subject is situated. You are welcome to work in pairs/groups to
shoot the images, but you must direct the photo-shoot. Please have at least one of each of the
following:
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Headshot: head and shoulders; ensure top and sides of head are NOT
cropped, and there is some whitespace around the figure.
Torso, Seated: Sears Portrait Studio-style; include head and hands, but crop
below knees; ensure there is some whitespace around figure.
Full Body: feel free to be creative with the pose; ensure entire figure is
contained within the frame, including feet.
Along with the source photos, you must also brainstorm ideas for the stages of manipulation to
follow. Produce at least 5 quick sketches/notes to illustrate potential ideas for EACH of the
following:
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+25 Years (Plastic Surgery): Envision yourself 25 years in the future. What
advancements have been made in the field of cosmetic surgery? What might
you look like if access to technology/surgeons and money weren’t issues.
Would you choose to even-out and correct your features, or would you elect
for an extreme transformation? Feel free to be as bold or naturalistic as you
desire. Realism is often much harder to achieve with image manipulation.
+50 Years (Bio-Genetic Engineering): It is not unrealistic to assume that in
50 years technology will be available to actually change the body’s biological
and genetic structure. Will humans begin to adopt animal characteristics (fur,
fangs, claws, etc.)? Might “useless” appendages become obsolete and fall
off (pinky finger/toes)? Will we grow a third, fourth, or fifth set of arms? Feel
free to explore a range of possibilities, but ensure that the procedures are
GENETIC, and not simply cosmetic (i.e. no implants or surgical
amputations).
+100 Years (Cyborgs): 50 years beyond human control of the genetic code,
we may begin to permanently merge our biological bodies with machines.
Technology may allow us to replace “inferior” human systems with more
efficient machines that can be controlled, monitored, and replaced with ease.
Might our bodies run on a non-nutritional fuel? Could we annex our brains
with digital processors and hard-drives? What aspects of humanity cannot
be replaced and will continue to be valued above machines?
For each of these scenarios, you will create a simulated image using the portrait photos as a
basis for development. You will need to photograph, scan, draw, and research additional images
to help illustrate each possibility. The objective of this assignment is to produce the most
convincing fake images possible. Using Photoshop tools – clone stamper, scaling, distortion,
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layers, masking, and colour correction – you will alter the photos 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 three 8.5”x11” colour prints of your images, along with the corresponding
Photoshop digital files, and screen resolution files 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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a 8.5”x11” colour prints on photographic paper or cardstock (the print shop
on level 6 is capable of executing this task)
Photoshop .psd files, with proper formatting (300dpi)
screen-resolution images in .jpeg format (72 dpi)
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 do the pieces feel?
Do the pieces 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?
Assignment #3: Book.Life
Value: 10%
Duration: Two Weeks
Due: October 16
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. In this exercise, you will make use of a
number of communication modes to convey your story.
Having created a set of self-portrait images set in the future, you will now generate a fictional life
history that connects these various transformations. This “memoir” will begin in the present, with
a truthful depiction of your current life, and proceed forward with major milestones at 25, 50, and
100 years. You must also explain the circumstances surrounding your death, as well as the
legacy you will leave to the world.
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The final format will be a small booklet that is written in the third-person, as though it was
prepared posthumously. Once again, you may stick to a reasonable and realistic future, or
explore a wild and topsy-turvy culture. Identify some of the major events in your life, relevant
achievements and, perhaps, personal anecdotes and quotations from individuals in your life.
Consider what the world might be like in the future, and determine your position and role in this
society.
The three modified photographs will serve as the primary visuals in this book, but you are
welcome and encouraged to introduce secondary elements that create a context and/or illustrate
specific historical details. You may also crop in on the primary images to create detail shots or
background patterns. Integrate shapes and graphical elements to create an overall design
scheme, and to set text apart from imagery. Text may be relegated to a separate page or panel,
can be integrated within the images, or a combination of both. For example, the main body text
could be on an opposing page, while quotes and captions float above accompanying
photographs.
The overall text should be approximately 500 words in length, and can be dispersed throughout
the book, as you see fit. The size of the final, folded book will be 7” x 8.5” (8.5” x 14” stock), and
will consist of 3 double-page spreads, a cover/back, title page, and a credits page. In total, you
will produce five 8.5” x 14” colour printouts, which will be bound, Japanese-style. More detailed
layout and assembly instructions will be presented during the class session.
In addition, you must also provide Illustrator .ai files that have all layers appropriately labeled
(along with all source images). Please also provide screen-resolution images for each layout for
in-class viewing and critique.
Deliverables:
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5 colour prints assembled and folded to create a prototype simulation
Illustrator .ai files, with proper formatting and source imagery (300 dpi)
Screen-resolution images in .jpeg format (72 dpi)
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?
Assignment #4: Moving.Subject
Value: 20%
Duration: Three Weeks
Due: November 6
Format: Pairs
In the previous assignment, you created a fictionalized story with only a passing relationship to
lived reality. In this project, you and a team member are asked to take an opposing approach by
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selecting a real, observable phenomenon and document its history and importance. The final
product will be a short documentary video on a subject of your choice—human, animal, oddity, or
inanimate object. The subject may be very familiar to you, or something rather foreign, which you
wish to investigate further. In either case, your piece should attempt to provide new information,
or a new perspective on a known subject. Some possible choices:
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Family member or important/meaningful individual (historical or inspirational
figure, personal mentor, etc.)
Monument, building, or location (natural phenomenon, coulees, Waterton
Peace Park, etc.)
Object, product, or brand (everyday tool, scissors, Windex, etc.)
Band, collective, or social group (sports team, club, etc.)
Lifestyle, philosophy, or belief system (hippies, pagans, etc.)
Concept, theory, word (i.s. stupidity)
The first stage involves researching your subject to obtain information and background
knowledge, as well as collecting imagery and media elements to integrate into the final
production. For this exercise, at least 75% of your visual materials must be derived from still
images and existing sources. The remaining 25% can be new filmed material, but the entire
piece could be composed entirely from found/archival sources. You will prepare a script and
record the voice-over tracks to integrate with the visuals. This can be done by one of your team
members, or an outside individual. You are also required to have at least one interview with an
individual who can provide either information, history, or an opinion on your documentary subject.
Other ideas to consider:
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Animated stills and graphics
Titling sequences and credits
Use of audio sound-effects
Soundtrack/background music
Use of silence or empty screen for punctuation
Subtitles or captions
After selecting a topic and having conducted some initial research, you will be asked to draw up a
rough storyboard and outline for the project. This information will be presented to the instructor
for approval and guidance. Once you have been given the “go-ahead” the remainder of the
project will be self-directed.
The final film will be approximately 3-5 minutes in length, depending upon the subject and the
complexity of the editing process. The format and narrative approach can follow a traditional
documentary style (think of nature documentaries and PBS), or it can be much more inventive.
The style can mock or lampoon documentaries in a tongue-in-cheek fashion, use humour, satire,
or bias, but the basis for the project must be in fact. Virtually any subject can be explored (within
reason).
The final submission will be a DVD quality *.avi video, rendered at 720x480 resolution. Further
formatting details will be addressed in the class sessions.
Deliverables:
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1 Windows *.avi video file, approximately 3-5 minutes in length
Videos must be 720x480 and rendered with Microsoft avi compression
Provide a brief text file outlining each individuals’ contributions to the filming
and editing
Include the printed script with your submission
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:
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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.?
Has the team used innovative or creative techniques without relying on live
footage?
Are audio tracks, effects, and transitions used effectively?
Is there a consistency of style (when appropriate) throughout the video?
Has the team invested an adequate level of energy and engagement to
create a compelling composition?
Assignment #5: Interactive.Video
Value: 30%
Duration: Three weeks
Due: November 27
Format: Teams of 4
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.
The class will be given copies of 2 video clips, which will become the beginning and ending
scenes in the final movie. The remainder of the film will be developed by each team in a series of
4 independent video clips, of about 60 seconds in length. These clips will be put into an
interactive interface which will allow a user to select various paths throughout the film, essentially
picking scenes from each group to create new story combinations. In order to provide a level of
continuity between scenes, each team’s clip will end with the same element, and the next clip will
begin with this same element. For example, scene 2 may end with the line of dialogue, “Not on
my watch!”, and scene 3 will begin with “Not on my watch!”. In so doing, the user can
theoretically mix and match the video segments while maintaining some consistency.
Adding to the non-linearity and random processes, each of the connecting elements will also be
drawn at random. Each student will be asked to bring in one line of dialogue and one object.
From these collections, two phrases and one object will be selected, and all teams must strictly
adhere to these selections. In addition, the class will decide as a group what type of cinematic
genre and visual approach will be employed (film noir, black and white, etc.).
After these initial decisions are made, each team will develop 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. This stage should also be used to thoroughly plan the project, 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? The instructor will meet with each team to review the proposals and to
provide consultation on the process.
With the storyboard, script, and shooting schedule finalized, your team is prepared to begin
filming. While you have three weeks to complete the four 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 60 second clips. Each team member will be responsible for editing one
of the four 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
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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?
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 320x240 pixels, and
with Sorenson video compression. Name each clip as 1.mov, 2.mov, etc., and save them 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:
-
4 Quicktime .mov files, approximately 60 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 script/dialogue
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 four videos?
Has the team invested an adequate level of energy and engagement to
create a compelling composition?
Assignment #5: Networked Body
Value: 10%
Duration: Two Weeks
Due: December 6
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
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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
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 locations 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 -- nose, ears,
eyes, mouth, hand, foot. 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 piercing 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.htm, 2.htm, etc., and all pages and linked media must exist
within a single folder labeled with your last name only, as it appears in your email address (NO
CAPITALS). 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 *.htm)
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-
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
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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