Index of /Max. Virginia Tech Department of Music DISIS - Digital Interactive Sound and Intermedia Studio.
STUDIO for Creative Inquiry » OpenFrameworks Developer Presentation Series. The Frank-Ratchye STUDIO for Creative Inquiry at Carnegie Mellon University is a laboratory for atypical, anti-disciplinary, and inter-institutional research at the intersections of arts, science, technology and culture. // Learn more ... OpenFrameworks Developer Presentation Series More images on Flickr Tuesday through Friday, January 11-14 Carnegie Mellon University, Baker Hall 136A (Adamson Wing) In association with the first international OpenFrameworks World-Wide Developers Meeting, some of the world’s leading computational artist/developers discussed their pioneering work at the intersection of arts and computer science.
During the week, the OpenFrameworks core development team was encamped at the STUDIO for Creative Inquiry to advance the next version of OpenFrameworks, a toolkit for new media education and creative coding. Each evening at 5pm, they featured three or four short presentations by members of this team. Join our mailing list * indicates required. The Second Australasian Conference on Interactive Entertainment. Time Warner Content Everywhere. Margaret Morse (2003). The Poetics of Interactivity. A Hopeless Task? Interactivity once was a useful term for distinguishing art that has been influenced and shaped by a media-saturated and computerized contemporary world from painting and sculpture.
However, as Marjorie Franklin said in an interview, interactivity now means too many things. It does not comprise a genre or even many genres of art. Rather, it identifies a mode of engagement between ourselves and machines—usually but not necessarily involving communicating with a computer—that finds expression over a wide range of forms and techniques. It is expressed not only in art but ubiquitously in every sphere of contemporary life where chips reside, from automatic tellers and garage-door openers to computers that access discs, CD-ROMs, and the World Wide Web.[1] Even traditional art forms are now displayed and presented "interactively" in ways that address the gallery visitor via audio or computer, offering information at the visitor's own pace at the click of a button.
Persona. A Companion to the Anthropology of the Body and Embodiment. The everyday lives of video game developers: Experimentally understanding underlying systems/structures | O'Donnell. 1. Introduction [1.1] When people talk about video games and the rules or games that reside within them, I frequently hear them mention game developers as almost malevolent gods: those who reign over the natural order of the system, a system that rightfully belongs to its players. But that wouldn't be the same game, would it? Aren't the artificiality of the constructed systems and the process of determining those rules what make it a game in the first place (note 1)?
[1.2] This essay examines how tensions between work and play for video game developers shape the worlds they create. The worlds of game developers, whose daily activities are linked to larger systems of experimentation and technoscientific practice, provide insights that transcend video game development work (note 2) . [1.3] This essay is structured to step into the everyday lives of video game developers and is organized around the consequences for creative collaborative practice. Figure 1. . [1.9] Vertical slice was looming.
Char Davies (2002). Osmose: Notes on Being in Immersive Virtual Space. Abstract This paper discusses the original artistic intentions behind the immersive virtual environment Osmose (1995). The strategies employed to manifest them include the use of an embodying user interface of breath and balance and a visual aesthetic based on transparency and spatial ambiguity. The paper examines the medium of immersive virtual space as a spatio-temporal arena in which mental constructs of the world can be given three-dimensional form and be kinaesthetically explored through full-body immersion and interaction. Throughout, comparisons are made between Osmose and conventional design approaches to virtual reality. The tendency of such approaches to reinforce the West's historic devaluation of nature and the body is also discussed. It is suggested that this medium can potentially be used to counteract such tendencies. Keywords: immersive virtual space, nature embodiment, virtual reality 1. 2. 3. 4.
There are a dozen virtual world-spaces within Osmose. 5. 6. 7. 8. 9. 10. Startpage. Ambience and Interactivity. [We are currently having a few problems with page formatting and embedding SoundCloud links, please bear with us until we fix it!] ‘Ambience’ is a word with a broad definition. It is perceived differently and can mean different things to different people.
We are constantly surrounded by a wide range of sounds – some natural, some man-made. Ambient sounds don’t necessarily have to exist in the real world. Continuing on that train of thought, I dug into the world of ambience in interactive mobile applications with: DS: What does ambience mean to you? YS: From a sound perspective, to me ambience is really a situational thing – it is sound that is occurring whilst something else is happening. Scape DS: Ambience = Mood. YS: I suppose it depends what you mean by the equals sign! The Dark Knight Rises Z+ DS: With interactive apps, too much control for the user makes it difficult to set up a mood and control the experience. YS: Yes, controlling the user’s experience is really important. Bad Hotel. Viewcontent.
Interactive music. Interactive Music Rob Bridgett for Computer Arts Magazine 2002 Introduction What is Interactivity and why should it bother us linear musicians? The music we compose has more often than not been solely based on the traditional narrative structure of beginning middle and end, whether this is a three-minute pop song or a more large-scale orchestral work - the notion that the performance is going to be heard in exactly the order in which it was composed is one that we all feel comfortable with. Yet, increasingly the way we structure our music is changing, most of us have written tracks that are loop based for use on the internet and have provided several musical 'spot effects' that will work within that piece of music for when a button is pushed etc. Applications / Media and their influence over musical structures Film and TV have influenced the structure of music for the last century, theatre and opera before them. The third state, which is an evolving module, is more complex.
Getting Started. Getting started Welcome to Processing! Start by visiting and selecting the Mac, Windows, or Linux version, depending on what machine you have. Installation on each machine is straightforward: On Windows, you'll have a .zip file. Double-click it, and drag the folder inside to a location on your hard disk. With any luck, the main Processing window will now be visible. Your First Program You're now running the Processing Development Environment (or PDE).
In the editor, type the following: ellipse(50, 50, 80, 80); This line of code means "draw an ellipse, with the center 50 pixels over from the left and 50 pixels down from the top, with a width and height of 80 pixels. " If you've typed everything correctly, you'll see a circle on your screen. One of the most difficult things about getting started with programming is that you have to be very specific about the syntax.
Next, we'll skip ahead to a sketch that's a little more exciting. Show Save and New Share. Overview. We're thrilled to announce the launch of Processing 2.0—the latest incarnation of the programming language, development environment, and online community that has grown dramatically since its debut in 2001. This new release builds on the versions of Processing that have been downloaded almost two million times. We invite you to download Processing 2.0 from www.processing.org. The Processing software is free and open source, and runs on the Mac, Windows, and GNU/Linux platforms. For the past twelve years, Processing has promoted software literacy, particularly within the visual arts, and visual literacy within technology. Initially created to serve as a software sketchbook and to teach programming fundamentals within a visual context, Processing has also evolved into a development tool for professionals.
Processing seeks to ruin the careers of talented designers by tempting them away from their usual tools and into the world of programming and computation. Education Culture Research History. Seeking Deeper Contact. Dick and Carey's ISD model. Dick and Carey's model (1996) is systematic in nature. The model is a procedural system including ten major process components (nine basic steps in an iterative cycle and a culminating evaluation of the effectiveness of the instruction).
(Flow chart and table from Sherri Braxton's site on Instructional Design Models) The nine components in an iterative cycle include: The final process is to design and conduct summative evaluation, which is an evaluation of the value of the instruction. The underlying approach and methods The systems approach: Dick and Carey (1996) pointed out the systematic characteristics of their model: Goal-directed: all the components in the system work together toward a defined goal Interdependencies: all the components in the system depend on each other for input and output.
Needs Assessment: a study to determine the nature of an organizational problem and how it can be resolved. Gagne's (1985) domains of learning References: Dick, W., & Carey, L. (1996). Mager, R. The History of the Interface in Interactive Art. The History of the Interface in Interactive Art Söke Dinkla, 1994 At the moment the catch word "interactivity" is common talk. Most often it is mentioned in connection with a revolution in television. Techno-prophets anticipate more than 200 TV channels for the near future in each home. Thus, viewers will not only be able to choose from an almost unlimited offer, they will also be able to determine the course and outcome of individual programs[1]. Proponents of these new opportunities are already praising interactivity as a means to change the passive reception of the viewer into an active one[2]. This slightly anarchistic approach was notably absent from this year's Siggraph computer trade show in Orlando, Florida.
Computer games like this have a more than 20 year old history of technologicaldevelopment, which remarkably took place at the same time in military research and in art. 0. 1. With the American Myron Krueger the development of computer-controlled Interactive Art started. 2.
Seeking Deeper Contact. Seeking Deeper Contact Interactive Art as Metacommentary Erkki Huhtamo1 Abstract: The term 'interactivity' has been applied to such a diverse range of technological forms that its meaning has become unclear. Introduction 'Interactivity' has become one of the keywords of the techno-saturated culture of the 1990s. Yet, one might argue that the spreading of computer-mediated interactivity in the realm of our everyday lives does make a difference: it changes our relationship to the audio-visual experience by accustoming us to a new subject position. (4) A case in point is video and computer games, which have been instrumental in the process. However, these notions are problematic, particularly if viewed from a wider social and cultural perspective. Some of the problematics and contradictions underlying 'interactivity' become evident if we look at interactivity in relation to such concepts as automation, anthropomorphism and immersion.
Towards a new assessment of interactivity. Crossings - Volume 2, Issue 1 - Candy. Linda Candy and Ernest Edmonds Creativity and Cognition Research Studios Department of Computer Science Loughborough University Leicestershire, England Introduction Computer graphics were first publicly exhibited as art by Georg Nees * at the Studio Galerie, University of Stuttgart in January, 1965. From the 1980s onwards, there was a remarkable growth in experimental art and technology. In order to bring practice and research together in our search for more knowledge about the creative process in art and technology, it was necessary to create an appropriate context in which new developments in the field could take place and research could be undertaken in parallel. A key objective of the C&CRS approach is to facilitate the co-evolution of art and technology and at the same time to study the creative process. Interactive Art The media used in digital art apply to many art forms, including painting, performance, film and participation.
Categories of Interaction in Art Static Dynamic-Passive. Kac: Articles and Essays. Videogames, Interactivity, and Art. Making & curating interactive art. Penny_interaction. Marie-Laure Ryan - Immersion vs. Interactivity: Virtual Reality and Literary Theory - Postmodern Culture 5:1. Few of us have actually donned an HMD (head-mounted display) and DGs (data-gloves), and entered a computer-generated, three-dimensional landscape in which all of our wishes can be fulfilled: wishes such as experiencing an expansion of our physical and sensory powers; getting out of the body and seeing ourselves from the outside; adopting a new identity; apprehending immaterial objects with most of our senses, including touch; being able to modify the environment through either verbal commands or physical gestures; seeing creative thoughts instantly realized without going through the process of having them physically materialized.
Worldwide, VR is happening in protected pockets of technology; inside giants corporations, universities, and small entrepreneurial start-ups; in Berlin and North Carolina; covering Japan and especially in the San Francisco Bay Area. . . . A rare excitement is in the air, an excitement that comes from breaking through to something new. Immersion. wit.tuwien.ac.at/events/wegner/cacm_may97_p80-wegner.pdf. eres.lndproxy.org/edoc/IDS510Myerson-07.pdf. kutato.mke.hu/wp-content/uploads/2012/04/Philsophyof-Interactivity.pdf. www.idi.ntnu.no/~dags/interactivity.pdf. TRANSFORMATIONS. Issue No. 18 2010 — The Face and Technology Faces, Interfaces, Screens: Relational Ontologies of Framing, Attention and Distraction By Ingrid Richardson This paper considers the prevalence of screens in day-to-day life – from the televisual and cinematic to the many computer and mobile screens encountered in both domestic and public spaces – and suggests that each of these encounters has its own corporeal and interfacial modality.
More specifically, the discussion will explore the relational and frontal ontologies of the face and the screen interface, focusing on the specific body-technology relations to emerge from our corporeal or somatic incorporation of television, computers and mobile screens. In Merleau-Ponty’s perceptual and what I would call artifactual epistemology, the corporeal schema, or our lived experience of perceptual reach and bodily boundaries, is always-already “extendible” through artifacts and technologies.
The concepts front and back are body-based.