ࡱ> }|@ @^jbjb &Xl"""""""8>4r? J : " ,! $x* " * "" 4J  " " 6T|"""" `rT"" 4T 8<? ? "}$}$Film + Media Studies Hunter College IMA 760 IMA MFA WORKSHOP Tools + Techniques of Digital Production associate professor Mary Flanagan Mary.Flanagan@hunter.cuny.edu Mondays, 5:30 pm 8:30pm Room 544 HN Office Hours Fall 2006 2pm -4pm Mondays, Tues 2-3pm, & by appointment Home page: http://maryflanagan.com/courses/2006/fallTools/  Description: This course is a hands-on workshop which offers a graduate level foundation in digital media production. Image acquisition, creation and editing; video editing and encoding; simple HTML and Flash are technologies and delivery platforms explored through short conceptual exercises. The curriculum in this class emphasizes problem solving and an integrated and creative approach to digital media production. It is designed to give students a basic introduction to begin working fluidly across the tools and techniques used in the Integrated Media Graduate program. Each student will be expected to grow from his or her starting level; therefore students familiar with some tools will be expected to develop in areas related design and/or programming. All students will organize and backup work and turn in a dvd of their collected archive for the final class. Attendance at several media related arts events will be required. Students must own at least a 128 MB pen drive and get their work functioning on Hunter computers before class. The book Digital Art by Christiane Paul is required reading, and can be purchased at the bookstore or online. This course may be counted towards the VISIONS or CHANNELS cluster requirement. Details: The first night you'll receive an account user name and password and a sheet on how to use the Film and Media network. Please keep track of this info, and practice using it when there are folks around to help. If you ever need extra help, the Hunter Tech Fellow Doris Cacoilo will be available for extra help sessions early in the semester: session to be announced. These will be of great help to students new to new media, and are recommended as review for those familiar* (see level descriptions at end of syllabus). Evaluation Assignment Breakdown Participation in class/crits, weekly exercises due at beginning of class each week 50% Mid Term Portfolio 20% Second Critique including Final Work 20% Visiting Artist/Artwork Writing & Discussion 10% **work for this class must be created for this class alone unless preapproved by instructor. Required Texts: 1) Paul, Christiane. Digital Art. Thames & Hudson (2003) 2) Elam, Kimberly. Grid Systems: Principles of Organizing Type. Princeton Architectural Press , 2004 Recommended Text: Adobe Creative Team. Adobe Photoshop CS Classroom in a Book. Adobe Press 2003. Amazon price 29.70; list 49.00 (or used) Materials: required: pen drive. Recommended: sketchbook, video camera access, still camera access. Some equip can be obtained in film and media dept. Week 1: **Classes first meet Wednesday September 6 Intro to Class, Lab, Networks, and Imaging Imaging Technology: Introduction to concepts, intro to Photoshop Read Chapter one, Paul Book; do Exercise One for next week; book purchases Concept: Zeros and Ones Week 2: Monday September 11 Technology: Imaging + Scanning Review Ch one and Ex one; discuss text, image, semiotics Concept: Representation Read Chapter Two, Paul book; Do Exercise 2, due 9/18 Week 3: Monday September 18 Text and Image Using type, basic composition Concept: Visual language Read Chapter Three, Paul book; Do Exercise 3, due 9/25 Week 4: Monday September 25 Technology: Imaging Furthering skills, in class work, advancing toolset, saving with compression; Concept: Messages Review Design to shock Do Revisions based on feedback, due 10/3 Week 5: **Classes meet Tuesday October 3 Technology: Web Basics, HTML In class make simple web of 3 web pages; discuss file location, saving, servers, absolute and relative pathing, workflow. Post the link on the wiki for feedback prior to Oct 16th. Concept: Compression, Degradation Do Exercise 4, due 10/16 Week 6: Monday Oct 9 (class cancelled) Week 7: Monday October 16 Technology: HTML Tables, frames Concept: Webs and Multiplicity Do Exercise 5, due 10/23 Week 8: Monday October 23 Technology: Site design for portfolio Concept: Usability Do Exercise 6, due 10/30 Week 9: Monday October 30 Presentation of Preliminary Site Designs Review Exercise 6; Rework Exercise 6 or others: Finalize Portfolio, due 11/6 Week 10: Monday November 6 PORTFOLIO REVIEWS Week 11: Monday November 13 Technology: Flash Concept: Movement and Time Do Exercise 8, due 11/20 Week 12: Monday November 20 Technology: Flash Concept: Interactivity and Response Do Exercise 9, due 11/27 Week 13: Monday November 27 Technology: Video I Concept: Reinterpretation Do Exercise 10, due 12/4 Week 14: Monday December 4 Technology: Video II, editing Concept: Montage, Juxtaposition Do Exercise 11, due 12/11 Week 15: Monday December 11 Technology: Archiving LAST CLASS PRESENTATIONS ARCHIVE OF STUDENT WORK DUE FRIDAY. _______________________________________________ Tools + Techniques Approach This class introduces you to digital tools. Importantly, perhaps even more importantly, it emphasizes a) student growth from the level at which they begin; b) conceptual as well as technical skills; c) problem solving. I tend to say that working in digital media is 80%-90% problem solving. Digital media tools always change, upgrade, evolve. Learning how to learn is a focus of this course. Everyone comes to the class with different levels of expertise; I try to tailor the class to meet these multiple levels. Students will complete a self assessment on the first day of class. Creative Process is integral to learning new media. When you are first learning, spending A LOT of time with the software "playing around" is the best way to learn. This course takes a lot of time outside of class. The concepts of ITERATION, SKETCHING, and PROTOTYPING must accompany your creative process. For example, all students must practice sketching out at least three versions of an idea (whether it be a graphic design idea or video storyboard) before attempting to implement the idea digitally. Weekly Assignments 1) Representation Assigned in week 1, due week 2 Introductory Students: Create an image that explores the concept of what it means to represent something with digital tools as opposed to non-digital tools. If you are new to digital imaging, make the file 640 pixels by 480 pixels. Further work for Advanced Students: Explore how pixelization and the dpi idea relates to other forms of imagery, and find (and bring to class for discussion the day your project is due) two examples of artists and designers using artifacts of digital production in their work. 2) Visual language Assigned in week 2, due week 3 Introductory Students: The phrase visual language refers to the idea that communication occurs through visual symbols, as opposed to verbal or linguistic symbols (words, text). To explore this idea, manipulate a photograph to compare cultural understandings of semiotic systems, such as road signs or mass media figures. Your final output will be two images: An original with text or signs, and an abstracted reworked image with the same intention, ie, "saying" the same thing without text. You could choose to invert this assignment, where you take an image with no text and "convert" the visual language to a textual one. The goal is to interpret a visual understanding in the context of digital tools. If you are new to digital imaging, make the file 640 pixels by 480 pixels. Further work for Advanced Students: Explore how designers manipulate semiotic systems, and find (and bring to class for discussion the day your project is due) two examples from the following artists and designers you find of interest: David Carson, Tibor Kalman, Barbara Kruger, Bruce Mao, Bro Destruct, Edward Tufte. 3) Design to Shock! Assigned in week 3, due week 4 Introductory Students: Working in Photoshop: create two visuals within the theme, "design to shock." If you are new to digital imaging, make the file 640 pixels by 480 pixels. Take a shocking media event from your lifetime, and use imagery or text that you think will "shock" a target audience into thinking about your issue differently than it was presented. This could be a poster or web site design, where the image is designed to work with a bulk of text on your issue...Technically, to expand your expertise, use masks and ink blending tools in Photoshop, know how to utilize transparency and color (replace color, tint, etc). "Save for Web" as a .jpg file to your public directory, and post the URL to the Wiki. Further work for Advanced Students: Do a third image and focus on how the three images relate conceptually. What are the ways you could present this work? In a gallery, how would they be arranged? Sketch out these works in an exhibition or their layout in a magazine; how could they be used to greatest effect? Find two examples of work done by other artists and designers relating to your theme and bring to class for discussion 4) Compression-Degradation Assigned in week 5, due week 7 Introductory Students: This weeks assignment is to create three sets of 4 images each showing the successive images with varying compression types. One set of images, saved in a "filmstrip" layout, should be jpg only, one set gif only, and one combined. These should be presented in a table in html and posted to your public site. Make the overall length of the file not to exceed 1000 pixels. While exploring the technical theme of degradation/compression, think about the theme of your images and how they could relate to an overall theme. Check out the digital artwork of Jim Campell  HYPERLINK "http://www.jimcampbell.tv/" http://www.jimcampbell.tv/ to inspire you. Further work for Advanced Students: For those familiar with HTML, work on simple Flash exercises. For those familiar also with Flash, work on making the compression exercise interactive. How could the act of engaging with an image or set of images somehow degrade it/them? 5) Interfaces and Architectures Assigned in week 7, due week 8 Introductory Students: This weeks work is based on mimicry. You dissect an existing web site and reassemble it (esp the interface) with the tools you have learned. Not as easy as it sounds! Further work for Advanced Students: The interface must include transparencies and moving interfaces; (see  HYPERLINK "http://ellen.warnerbros.com/" http://ellen.warnerbros.com/ as an example; a flash style example http://www.unfortunateeventsmovie.com/intro.html) 6) Storytelling Assigned in week 8, due week 9 Introductory Students: This weeks work is to create a set of HTML files that use links to express the concept of interconnectedness in a narrative. The suggested narrative is "Thirteen Ways of Looking at a Blackbird," but you may try another story/poem/writing of similar size/scope if you would like. Try to explore the fundamental idea of the link and HTML as an artistic material. Further work for Advanced Students: Do the poem with the addition of animated gifs or flash; foster a strong design sensibility. 7) Portfolio due week 10 Introductory Students: The portfolio must be a web site showcasing at least three prior projects and must contain at least three (up to 10) linked pages. Rework projects based on feedback for inclusion. There must be one general artist statement on the site, appx 300 words. Further work for Advanced Students: The portfolio should showcase technical and conceptual aspects of each work; each piece must be accompanied by an artist statement; there should be an artist bio on the site, statement, as well as artist resume. 8) Movement and Time Assigned in week 11, due week 12 Introductory Students: How many images make a "believable" character? Characters come to life through movement over time. Even simple movements for character behaviors make a character appear "lifelike." Complete a short character movement sequence this could be as simple as a happy smiley face turning to sad, or a stick figure walk cycle. Further work for Advanced Students: Work on advanced scripting, controlling short video segments of a particular person or character. 9) Interactivity and Response Assigned in week 12, due week 13 Introductory Students: Introduction to actionscript. Students will create a scene in which clicking two different objects in the scene changes something about the scene. Further work for Advanced Students: Examine some of the open source algorithms at  HYPERLINK "http://www.levitated.net" http://www.levitated.net. Show an example to the group. Take one of the dynamic systems and make it interactiveand have a reason to do so. 10) Reinterpretation Assigned in week 13, due week 14 Introductory Students: Take an existing video clip and re-edit it to appear the opposite of what it was. Will be given in class. Further work for Advanced Students: Read Eisenstein's Montage essays from On Film Form. 11) Sound-Image Puzzles Assigned in week 14, due week 15 Introductory Students: Create a 10-20 second movie about an everyday object in which you a) never show the object and b) alternate between visual and sound information. We will try to guess what the object is. Further work for Advanced Students: Focus on complex editing rhythms and sound mixing. Archiving All students will organize and backup work and turn in a dvd of their collected archive in order to receive a grade by NOON, Friday, December 15th. Suggestions For exercise 6 Thirteen Ways of Looking at a Blackbird Among twenty snowy mountains, The only moving thing Was the eye of the blackbird. II I was of three minds, Like a tree In which there are three blackbirds. III The blackbird whirled in the autumn winds. It was a small part of the pantomime. IV A man and a woman Are one. A man and a woman and a blackbird Are one. V I do not know which to prefer, The beauty of inflections Or the beauty of innuendoes, The blackbird whistling Or just after. VI Icicles filled the long window With barbaric glass. The shadow of the blackbird Crossed it, to and fro. The mood Traced in the shadow An indecipherable cause. VII O thin men of Haddam, Why do you imagine golden birds? Do you not see how the blackbird Walks around the feet Of the women about you? VIII I know noble accents And lucid, inescapable rhythms; But I know, too, That the blackbird is involved In what I know. IX When the blackbird flew out of sight, It marked the edge Of one of many circles. X At the sight of blackbirds Flying in a green light, Even the bawds of euphony Would cry out sharply. XI He rode over Connecticut In a glass coach. Once, a fear pierced him, In that he mistook The shadow of his equipage For blackbirds. XII The river is moving. The blackbird must be flying. XIII It was evening all afternoon. It was snowing And it was going to snow. The blackbird sat In the cedar-limbs. -- Wallace Stevens Let America be America Again Let America be America again. Let it be the dream it used to be. Let it be the pioneer on the plain Seeking a home where he himself is free. (America never was America to me.) Let America be the dream the dreamers dreamed-- Let it be that great strong land of love Where never kings connive nor tyrants scheme That any man be crushed by one above. (It never was America to me.) O, let my land be a land where Liberty Is crowned with no false patriotic wreath, But opportunity is real, and life is free, Equality is in the air we breathe. (There's never been equality for me, Nor freedom in this "homeland of the free.") Say, who are you that mumbles in the dark? And who are you that draws your veil across the stars? I am the poor white, fooled and pushed apart, I am the Negro bearing slavery's scars. I am the red man driven from the land, I am the immigrant clutching the hope I seek-- And finding only the same old stupid plan Of dog eat dog, of mighty crush the weak. I am the young man, full of strength and hope, Tangled in that ancient endless chain Of profit, power, gain, of grab the land! Of grab the gold! Of grab the ways of satisfying need! Of work the men! Of take the pay! Of owning everything for one's own greed! I am the farmer, bondsman to the soil. I am the worker sold to the machine. I am the Negro, servant to you all. I am the people, humble, hungry, mean-- Hungry yet today despite the dream. Beaten yet today--O, Pioneers! I am the man who never got ahead, The poorest worker bartered through the years. Yet I'm the one who dreamt our basic dream In the Old World while still a serf of kings, Who dreamt a dream so strong, so brave, so true, That even yet its mighty daring sings In every brick and stone, in every furrow turned That's made America the land it has become. O, I'm the man who sailed those early seas In search of what I meant to be my home-- For I'm the one who left dark Ireland's shore, And Poland's plain, and England's grassy lea, And torn from Black Africa's strand I came To build a "homeland of the free." The free? Who said the free? Not me? Surely not me? The millions on relief today? The millions shot down when we strike? The millions who have nothing for our pay? For all the dreams we've dreamed And all the songs we've sung And all the hopes we've held And all the flags we've hung, The millions who have nothing for our pay-- Except the dream that's almost dead today. O, let America be America again-- The land that never has been yet-- And yet must be--the land where every man is free. The land that's mine--the poor man's, Indian's, Negro's, ME-- Who made America, Whose sweat and blood, whose faith and pain, Whose hand at the foundry, whose plow in the rain, Must bring back our mighty dream again. Sure, call me any ugly name you choose-- The steel of freedom does not stain. From those who live like leeches on the people's lives, We must take back our land again, America! O, yes, I say it plain, America never was America to me, And yet I swear this oath-- America will be! Out of the rack and ruin of our gangster death, The rape and rot of graft, and stealth, and lies, We, the people, must redeem The land, the mines, the plants, the rivers. The mountains and the endless plain-- All, all the stretch of these great green states-- And make America again! --Langston Hughes  Hunter College regards acts of academic dishonesty (e.g., plagiarism, cheating on examinations, obtaining unfair advantage, and falsification of records and official documents) as serious offenses against the values of intellectual honesty. The college is committed to enforcing the CUNY Policy on Academic Integrity and will pursue cases of academic dishonesty according to the Hunter College Academic Integrity Procedures ------------nyc art exhibitions--------------- (required) MOMA -- The Dada show at MOMA is happening June 18September 11, 2006, so please be sure to check it out. There are a lot of precursors to new media history on rare exhibition and I hear Hunter students can enter for free. (required) ps1 -- Defamation of Character will be on view in the first floor Main Gallery from October 22, 2006, through January 8, 2007 at PS1. It draws primarily from work created in the post-punk era by approximately thirty artists, and explores the relationships between face and fame, notoriety, disclosure, and erasure. Some of the artists mine popular culture to produce scathing or defamatory indictments of consumer mores; others take the moral corruptions of public and political acts as their defamed subject; and others practice detournementusing elements of well-known media to create new work with a different or opposing messageto elevate injury and injustice into the realm of high art. (required) SkyMirror -- Rockefeller Center, September 19 - October 27, 2006 This fall, internationally renowned artist Anish Kapoor will exhibit a new, monumental sculpture at Rockefeller Center in New YorkSky Mirror, a breathtaking, 35-foot-diameter concave mirror made of polished stainless steel. Standing nearly three stories tall at the Fifth Avenue entrance to the Channel Gardens, Sky Mirror will offer a dazzling experience of light and architecture, presenting viewers with a vivid inversion of the skyline featuring the historic landmark building at 30 Rockefeller Plaza LMCC - Lower Manhattan Cultural Council is pleased to present a series of three theme-based self-guided audio walking tours exploring the meaning, reception, and context of public art in Lower Manhattan. Simply download the tour to a iPod or other MP3 player and start walking! http://www.lmcc.net/art/programs/2006.9.1artwalkingtours/index.html The Met - New Orleans after the Flood: Photographs by Robert Polidori September 19, 2006December 10, 2006 at the Met. Cooper Hewitt - Solos: Matali Crasset May 19September 24, 2006 In the fourth installment of the Solos exhibition series, Cooper-Hewitt presents an interactive light and sound installation by the celebrated French industrial designer Matali Crasset. Crassets work explores residential and urban rituals and the domestication of technology, comprising industrial design products, graphics, theater sets, wallpaper, and furniture. National Design Triennial: Design Life Now On view December 8, 2006July 29, 2007 The third Triennial brings together the experimental designs and emerging ideasincluding animation, new media, and fashion, robotics, architecture, product, medical, and graphic designat the center of American culture from 2003 to 2006. bitforms: Exhibition: September 15-October 21, 2006 Opening Reception: Friday, September 15, 6-8pm bitforms gallery is pleased to announce the second, U.S. solo exhibition of Rafael Lozano-Hemmerthe Mexican-Canadian new media artist who has achieved international prominence for his monumental, interactive public art "interventions." At the crossroads of architecture and theater, Lozano-Hemmers work has been praised for redefining the meaning of interactivity, using perverse technologies of surveillance to engage participants in an active, critical way. 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