Wednesday February 5, 2014

Today’s lab is in two parts: the first is a discussion of interaction as it pertains to your noise machines.  The second is an opportunity to work on your projects, with help from others tackling similar problems, as well as from other classmates.

Part 1: Interaction

Consider interaction in art. Use the readings for today as well as the artworks posted by classmates as examples, where relevant.  1) Describe at least three different modes of interaction in art.  I’ll give you one: active, but still and silent listening (an audience member in a classical concert).  Three more? 2) What do you gain by making an artwork ‘interactive’ in each of the different modes you described? What do you lose?  3) What makes an interactive artwork engaging? 4) What makes an interactive artwork successful?

  • Discuss amongst yourselves. In any old groups.

Next:   Building on the discussion from above, consider modes of effective interaction/experience/mapping within the context of your own work. 1. If your partner doesn’t recall the details, begin by describing your project. 2. Consider the way in which the elements in your project will affect the type of experience and/or interaction of the audience. 3. Ignore my contrived prompts and just talk about your projects. Feel free to move beyond the topic of interaction to other areas/issues after you’ve spent some time interacting.

I’ve grouped you in art/music pairs where I think there are some elements/issues that overlap in your work (as indicated below).  Note that In this pairing you are not with someone doing the most similar thing, necessarily — rather, someone who might have a slightly different perspective on an issue that you are dealing with.  This felt a lot like planning seating charts for my wedding, and took almost as much time. If you don’t like my seating arrangement, never fear, it’s not forever.

  • David and Caroline: Space. (Mapping movement through 2D or 3D space to sound, or sound to 3D space.)
  • Mitsuko and Jorge: Gesture.  (Relationship between gesture and sound.)
  • John and Lazae: Multi-sensory immersion
  • Ziyung and Keith: Body, memory, voice
  • Allyson and Michael: Signal vs. Noise
  • Jake and Ruby: Sound manipulation vs. meaning
  • Adam and Miles: sound-sniffing (aka listening)

Next up, musical chairs.  Groups below are assigned because you are dealing either with similar technical challenges, or with similar conceptual challenges. Explore the links below — they are my presents to you on this happy occasion. If you don’t like them, either trade them in for someone else’s link, or smile and nod, and return them after class. Some of you may find that other groups may be exploring issues that more closely match your needs — feel free to move around.  I will be by to talk to all of you about your projects.

To facilitate some additional peer-help/feedback, we’ll check in as a group a few times throughout the class to see where everyone is, and what artistic/conceptual questions have come up. Then, as necessary, we’ll take turns splitting from our groups (temporarily) so people can spend a bit of time helping out as guinea pigs/test subjects/artistic sounding boards or technical helpers. Let’s aim for 10-15 min of joyous community service per person.

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