TEL-T 430 Interactive Practices for New Media Artists

November 14, 2011

November 13, 2011

November 8, 2011

Interactive Installations

Ken Feingold:
http://www.kenfeingold.com/
http://www.kenfeingold.com/SelfL2.html

Graham Harwood :http://www.medienkunstnetz.de/works/rehearsal-of-memory/
Zoe Beloff: http://www.zoebeloff.com/influencing/
Rafael Lozano-Hemmer: http://www.lozano-hemmer.com/standards_and_double_standards.php
Gary Hill: http://www.acmi.net.au/deepspace/ar_gh2.php
Paul Sermon: http://www.medienkunstnetz.de/works/telematic-dreaming/images/4/
Camille Utterback: http://camilleutterback.com/category/projects/installations/
http://www.medienkunstnetz.de/search/category:interactive%20environment
http://www.medienkunstnetz.de/works/telematic-vision/images/1/
http://www.medienkunstnetz.de/works/split-reality/images/2/
http://www.medienkunstnetz.de/works/the-interactive-plant-growing/video/1/
http://www.flong.com/projects/telesymphony/related/index.html/
http://unseensignals.com/unseen/dataform.html
http://unseensignals.com/unseen/immaterlized.html
http://vimeo.com/19366179

October 27, 2011

Musical Instrument Emulator

So, I found this on the Cycling 74 forums. All you do is

paste it into a patch with a makenote object, and you instantly

can change what type of instrument the makenote object is

mimicking. What I don't know (yet) is if it can be specifically

assigned, or if it will always effect everything in the patch

(i.e. if I build my patch to use "tympani" and you want to use

"grand piano"). But, I figured it was a big enough find to share

with everyone--happy experimenting:

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October 26, 2011

Research Post-Raymond Salvatore Harmon

Raymond Salvatore Harmon is an American cross-genre media artist, filmmaker, sound artist, and record producer. He was born in Jackson, Michigan and now lives throughout the U.S. Harmon’s work in new media and experimental film varies from anthropological study and contemporary art. His work ranges from performance-based film and video to sound and visual conceptual installations and urban media. Over the past ten years Harmon has been evolving and developing the theoretical and practical applications of non-object oriented art. Harmon’s emphases with public performance, graffiti style ad bombing, and web based social engineering. Harmon’s work is abstract and accompanied by his own electronic compositions. Many of Harmon's films contain layered subliminal content; the source of this content is often resulting from occult and mystical texts.
Some recent works he’s developing include spray paint based painting, full-scale immersive video and sound environments, large format digital prints that are then hand manipulated and painted on, and live video performances. Harmon has presented improvised video with numerous musical groups from a diverse background including Exploding Star Orchestra, Blood on the Wall, Diplo, and Jason Forrest.
Harmon’s work has been viewed in several magazines/publications some most recently in the LA Times, Chicago Tribune and New York Times. His work has been screened at hundreds of festivals and galleries throughout the world including Chicago Underground Film Festival and Athens International Film Festival.

Harmon says this about his work:
"My work is something that makes me whole. It defines every moment of my day.
I work, therefore I am."

Website
http://raymondharmon.com/

October 25, 2011

Dance Videos

2:30pm TOMORROW - Dominic, Ruth, Keri
SET UP FOR TECH WED. AFTER 5PM
DANCE REHEARSAL 6:30pm NOV. 3RD
DANCE EVENT IS AT 7:30PM ON NOV. 4TH BE THERE BY 6:30
FREE TICKET AT BOX OFFICE FOR FAMILY OR FRIENDS...
http://vimeo.com/inmsiusb/videos

October 20, 2011

Groove~

Did you know?

http://www.youtube.com/user/cycling74com#p/c/71A2325EEEFC1923/0/sEbyGLkVnrk
/\/\/\/\/\/\/\/\/\/\-Great Tips

MAX/MSP REVEIW

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Josh Harris

Long before anyone contemplated reality shows on network television, Josh Harris turned the ever-present, 24/7 camera into a social experiment which began a new era of interactive art. He designed the "Quiet: We Live in Public" experience at a time when online video was new, high speed internet was a luxury only the rich and businesses could afford, and the concept of observing the mundane around the clock was the purview of law enforcement. The experiment was an expression of his belief that eventually, we will all become part of one digital consciousness, with no sense of our own individual being.

The 1999 project began in a New York basement, transformed into a bunker with 100 pods stacked like a dog kennel. Each pod contained a sleeping space, a camera, and a video monitor. The rest of the bunker consisted of communal areas for eating and bathing, a shooting range, and private observation and control rooms where Harris and his team could observe and police the experiment. 100 artists volunteered to live in the bunker behind locked doors, with no outside contact. The monitors in each person's pod allowed them to watch what was shown on any camera in the bunker at any time. The actions of two people in one pod were the entertainment of others in a second pod. The reactions of the people in the second pod to what they were viewing were the entertainment of still others in their own pods. This contained feedback loop constantly changed the actions and attitudes of all participants, as they became both the subject and the audience of a free-form, month long film project.

Quiet was shut down early by police, and Harris went on to begin a new interactive experience in 2000. He wired his home with cameras in every room, and broadcast his life, live via internet. The site included a chat room, and viewers spoke to him and his live-in girlfriend in real time and by message, commenting on every aspect of their life from what was in the refrigerator to how they had sex. Within six months, his relationship ended and he experienced a mental break from the stress of the constant interaction.

We think of interaction in small scale, a single exhibit where a willing audience tentatively manipulates the work before them, or passively views the interaction between artists and machines. What Harris created was macro-interaction, pushing the art experience from a single shared moment to a network of shared experiences, influenced over long periods of time by multiple actors, each participating with as much or as little commitment as they desired.

The experiments of Josh Harris were featured in the documentary We Live In Public in 2009, which captures some of the many moments of both video experiences.

Sources:
We Live In Public, Ondi Timoner, 2009
ReThink Interview: Josh Harris - Nostradamus of the Net Tells Your Online Future

October 19, 2011

MAX MATTHEWS

October 18, 2011

The Frame, The Difference, The AUDIO

You assignment is to use MSP Tutorials 1-3 and 14 in conjunction with the frame difference to create a real time movement generated audio. The following objects will be helpful: scale, split, counter, metro, toggle, makenote, and select. This is DUE OCT. 20th before class starts. Work is to be turned in as the patch. You can copy compressed and email it to me or give it to me as a file on the 20th.

Electronic Music or Sound

http://cycling74.com/2011/09/20/an-interview-with-dafna-naphtali/
http://cycling74.com/project/phases/

FRAME DIFFERENCE

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LINK: COMPUTER VISION FOR JITTER