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Tutorials – New Media Comm..

INET 2665: New Media Communication (3 credits)  =

TU, THURS  9:30 am – 10:45 am

Instructor – Justin Hoffman

Email: hoffjust@gmail.com

Website: www.justinhoffman.net

FINAL PRESENTATION WILL BE: TUESDAY, DECEMBER 13 @ 9:30AM.

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NOVEMBER 29 — DESCRIPTION OF FINAL PROJECT

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the lifecasting wiki : “ Jean-Luc Godard said, “Cinema is not a dream or a fantasy. It is life.”[2] In the pre-history of the lifecasting movement, the introduction of lightweight, portable cameras during the early 1960s, as used in the Cinéma vérité and Direct cinema movements, changed the nature of documentary filmmaking. Technological improvements in audio and the invention of smaller, less intrusive cameras brought about more naturalistic situations in documentary films by Robert Drew,Richard Leacockthe Maysles Brothers and others. While filmmakers such as Michel AuderJonas Mekas and Ed Pincus created cinematic diaries,[3] the sculptor Claes Oldenburg, in the early 1960s, had theatrical showings of his home movies. Andy Warhol, who once said, “I like boring things,” introduced the notion that life could be captured simply by aiming a fixed camera at subjects usually regarded as “boring” and later projecting the unedited footage. The documentary filmmaker Emile de Antonio observed that “with any cut at all, objectivity fades away.”

A milestone came in 1973 on PBS when ten million PBS viewers followed the lives of the Loud family each week on An American Family, a documentary series often cited as the beginning of reality television. Six years later, the series was satirized by Albert Brooks in his first feature film, Real Life (1979). ” ( wiki, video stream).

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YOUR FINAL PROJECT IN THIS CLASS IS TO CREATE A LIFE -CAST/PODCAST ABOUT YOUR EXPERIENCES THIS SEMESTER… THIS CAN INCLUDE YOUR OTHER CLASSES AS WELL…

DOUG AND SHELBY….YOU WILL BE ABLE TO WORK TOGETHER ON THIS PROJECT… AND CONTRIBUTE ALL OF THE KNOW HOW AND KNOWLEDGE THAT YOU HAVE GAINED…

YOUR PROJECT IS TO CREATE A PODCAST THAT IS ATLEAST 2 MINUTES AND 30 SECONDS IN LENGTH…

INTERVIEW OTHER PEOPLE THAT ARE PART OF YOUR COURSES… INCLUDE THEIR PROJECTS… INCLUDE YOUR PROJECTS… ETC….

AND LASTLY… UPLOAD IT ONTO VIMEO…  BE SURE TO ALSO SUPPLY ME WITH THE QUICKTIME FINAL COPY OF THE WORK YOU HAVE ACCOMPLISHED…

WHEN THE VIDEO IS PLACED ON VIMEO… YOU WILL HAVE THE OPTION TO ALLOW OTHERS TO DOWNLOAD THE VIDEO… I ALSO PREFER TO HAVE THE A QUICKTIME COPY  AND GOOD RESOLUTION OF THE FINAL PROJECT…

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CAPTURING VIDEO

EDITING VIDEO

APPLYING EFFECTS TO VIDEO

EXPORTING VIDEO

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PRINCIPLES OF ACTION

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1.   THINK HARD ABOUT THE CONTENT… PLAN IT OUT… THINK IT THROUGH…  INCLUDE CONTEMPORARY IDEAS ABOUT THE SUBJECT AND THAT MAY DRAW IN YOUR AUDIENCE…

2.  BE RELAXED, HONEST…  AND TRY TO TALK TO THE CAMERA …LIKE THEY ARE YOUR FRIEND…  NO REASON TO BE NERVOUS!!

3.   GOOD AUDIO!!  MAKE SURE YOU ARE GETTING GOOD AUDIO FROM YOUR SUBJECT… YOU SHOULD HAVE ONE PERSON WITH HEADPHONES LISTENING TO THE AUDIO INPUT ON THE CAMERA…

AMBIENT NOISE .. HUH?  MAKE SURE THE LOCATION DOES NOT HAVE SOME FUNKY SOUNDS GOING ON…

RE-RECORD JUST AUDIO INTO A MIC IF YOU REALLY HAVE TO…

4 .    LOCATION, LOCATION, LOCATION!!  THINK ABOUT WHERE YOU ARE GOING TO SHOOT AND WHAT IS IN THE BACKGROUND… MAKE IT REPRESENTATIVE OF WHAT YOUR SHOOTING AND DESCRIBING…

5.  EDIT… AND STYLIZE YOUR CONTENT WITH OPENING BUMPERS…EXPRESSIVE LOGOS… EXPRESSIVE SOUND EFFECTS.. ETC…    QUICK CUTS… AND B-ROLL ARE THE KEYS TO FUN VIEWING!!

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TELEPRESENCE SITES:

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LIFECASTING LOCATIONS…

www.justin.tv

www.yahoolive.com

www.ustream.com

www.qik.com (mobile phone life casting)

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Contemporary Artists  and other  Telepresence Programming:

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www.letspainttv.com

vectorial vancouver

edward kac

wolfgangs vault of concerts

orchestra conducts international auditions

teliris virtualive 360

espn360

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FAMOUS LIFECASTERS AND STREAMING BLOGGERS

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ijustine

kevin lim’s website

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CANNONICAL PODCASTERS…

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Ask A Ninja

Diggnation

The Tech Guy

Rocketboom

Geekbrief.TV

EPIC-FU

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software

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Mac Computers

justin.tv’s recommendations for Broadcasting from your Mac and Software Description

camtwist – for streaming your desktop or pre-recorded stuff (free)

install quicktime broadcaster

PC Computers

justin.tv’s recommendations for Broadcasting from your PC  and Software Description

webcam max – for streaming your desktop or pre-recorded stuff ( free for 30 days)

SplitCam 4.2 – for streaming your desktop or pre-recorded stuff (free)

Broadcasting Video Games Tutorial

VH Screen Capture Driver

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online resources/ tutorials:

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how to set up multiple cameras to life cast

kevinlim – lifecasting blogger / technical insight and specifications from Singapore Computer Society Article.

Quicktime Broadcaster to Justin.tv Tutorial

Quicktime Broadcaster -Delivery Flow

Youtube Video Tutorial on How to Broadcast

another Youtube Video Tutorial without Audio

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**** PLEASE LOGIN TO AN ACCOUNT AND UPLOAD YOUR HOMEWORK/VIDEOS ON :

WWW.STATICREACTION.COM *********

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WHAT DO YOU NEED TO CREATE YOUR BROADCAST SHOW?

plantronics .audio655usb audio headset (headphones)

good to keep people talking into the mic…
people like to move around – good for nonprofessionals
really radio with pictures

logitech quickcam 6510 … great camera… more lights the better

basic lighting considerations for the camera

no light behind you…
have light shining on your face
no motion in background
simple background
hold still
shoot chest up

turn your computer into a television switcher

can do similar to multi-channel news shows …

bit blaster
wirecast

skype -multiple video conference call

free live distribution sites

bit gravity
ustream
youtube
justin.tv

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TELEPRESENCE SITES:

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www.justin.tv

www.yahoolive.com

www.ustream.com

www.qik.com (mobile phone life casting)

the lifecasting wiki : “ Jean-Luc Godard said, “Cinema is not a dream or a fantasy. It is life.”[2] In the pre-history of the lifecasting movement, the introduction of lightweight, portable cameras during the early 1960s, as used in the Cinéma vérité and Direct cinema movements, changed the nature of documentary filmmaking. Technological improvements in audio and the invention of smaller, less intrusive cameras brought about more naturalistic situations in documentary films by Robert Drew,Richard Leacockthe Maysles Brothers and others. While filmmakers such as Michel AuderJonas Mekas and Ed Pincus created cinematic diaries,[3] the sculptor Claes Oldenburg, in the early 1960s, had theatrical showings of his home movies. Andy Warhol, who once said, “I like boring things,” introduced the notion that life could be captured simply by aiming a fixed camera at subjects usually regarded as “boring” and later projecting the unedited footage. The documentary filmmaker Emile de Antonio observed that “with any cut at all, objectivity fades away.”

A milestone came in 1973 on PBS when ten million PBS viewers followed the lives of the Loud family each week on An American Family, a documentary series often cited as the beginning of reality television. Six years later, the series was satirized by Albert Brooks in his first feature film, Real Life (1979). ” ( wiki, video stream).

—————————————

Contemporary Artists  and other  Telepresence Programming:

—————————————

www.letspainttv.com

vectorial vancouver

edward kac

wolfgangs vault of concerts

orchestra conducts international auditions

teliris virtualive 360

espn360

——————-

LIFECASTERS AND STREAMING BLOGGERS

————————

ijustine

kevin lim’s website

CANNONICAL PODCASTERS…

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Ask A Ninja

Diggnation

The Tech Guy

Rocketboom

Geekbrief.TV

EPIC-FU

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NOVEMBER  10th  —  MASHUP WORKSHOP

— WE BEGIN TO CREATE OUR SONGS —

The Dickson Experimental Sound Film

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In 1956, Buchanan and Goodman created one of the first widely distributed

mashups— to Orson Welles famous KTSA radio broadcast ” War of the Worlds  “

they called it a “break-in” song … and it was entitled “The Flying Saucer”  —

They added their own comic twist added between the song….

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http://www.youtube.com/watch?feature=player_embedded&v=AFcyFxB9B1o

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http://www.youtube.com/watch?v=M5R96kmeTNg&feature=player_embedded

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Andrew Lloyd webber created “Variations” a form of a mashup with his unique style of composing

and the famous work of Italian composer Paginini

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http://www.youtube.com/watch?v=TMCb90JpvxY

Two MASHUPS FROM itunes…

A good source for finding acappella tracks…

http://www.deejayportal.com/

Download location and source of many

mashups for inspiration an your project……

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http://goodblimey.com/tunes/

Archives of many different kinds of music

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http://www.archive.org/details/audio

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Do  google searches for the acapellas or instrumentals that you would like to use…. mashups typically add an instrumental track to a vocal track…

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Ok… lets begin to use ….  GaRaGeBanD…

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Open up the program … choose new file — and the software feature

— Import a song by dragging and dropping….

— Track — New Track will provide you with a new track… make sure the track is selected when you

would like to make changes….

— Zoom slider — Bottom Left

— Split — Move the playhead — go up to edit in the menu bar … and select slit…

Now your song is SPLIT !!     — You can also use the quick keys — Apple – T

— Loop — Grab the Top Right of the clip and drag it …

— Selecting the Arrow on the right will give you the ability to Key Frame your clips…

— Clicking the Record button at the bottom will record the piece you are looking for … and there is the start

and stop features…

— To export — Go to Share and select Export Song to Disk

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SOME EXTRA FUN WITH AUTO – TUNE !!

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For Today’s Activity begin playing with the audio editing interface of GaRaGeBanD

— add in your itunes songs… downloaded songs… ipod songs…archive.org songs…acapellas… or instrumentals…

— mashup 5 songs to create 1 —  3 minute song…

— attempt to alter the meaning or the emotion of the song with your mashup…

— export it … and lets all listen to it together …

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NOVEMBER 3RD — THE EPIC TALE OF LEON THERAMIN

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OCTOBER 18TH — WE BEGIN THE CHAPTER OF SOUND DESIGN

— WHO ARE THE FATHERS OF ELECTRONIC MUSIC???

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SEPTEMBER 22nd LECTURE — A PRELUDE TO THE PRODUCTION/ THE SEEDS OF INSPIRATION FOR ROBOT MANIFESTATION

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Painting Machines

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Wind painting machines

CircusKinetica Channel

Rue Goldberg Painting Machine

Painting Contraptions

Luke Hart – Fountains Make People (February 2011)

MoMA Explores How Humans Communicate With …

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Robotics

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http://www.ted.com/talks/hod_lipson_builds_self_aware_robots.html

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Dunne and Raby

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Interview

http://vimeo.com/734763

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Tim Hawkinson

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http://www.acegallery.net/artistmenu.php?Artist=1

http://www.pbs.org/art21/artists/hawkinson/

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SEPTEMBER 6TH LECTURE/LAB — MAKING MINI ROBOTS…

HERE IS A LINK TO DEFINITIONS TO HELP YOU THROUGH THE EXERCISE…

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SEPTEMBER 1st LECTURE

Here is the powerpoint presented in class regarding circuitry and the physics behind the kinetic sculptures your creating.

AUGUST 25TH LECTURE

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— THE WAY THINGS GO VS RUBE GOLDBERG

— CLICK HERE FOR THE POWERPOINT

OTHER RELATED LINKS:

— THEO JENSEN PRESENTATION AT TED

the video of  “THE WAY THINGS GO” —  art film by the Swiss artist duo Peter Fischli and David Weiss.

— OK GO VIDEO — THIS TOO SHALL PASS

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ABJECT ART  —

Abject art is an art form associated with Material and Object art, and refers to works, which contain abject subjects, materials and substances. The term “Abject art” was first used in the 1990s, by the French literary theorist and psychoanalyst Julia Kristeva (born 1941). In her book “Pouvoirs de l’horreur. Essai sur l’abjection”, Kristeva introduced the idea of “abjection” as the basis of a fundamental differentiation between the self and non-self. Abjection was defined as a reaction to the confrontation with the “abject”, triggered by disgust or phobia (in this context, it refers to the products of processes of elimination, corpses and insects) which nonetheless have no status as objects, and do not belong to the self, and thus are seen as a threat by the subject, who rejects them. The word “abject” derives from the Latin word “abicere” (English: to throw away) and the French word “abject”.

BRUCE CONNOR

Seattle’s Northwest Film Forum is screening several of Bruce Conner’s greatest films Thursday, November 11th at 7pm, in celebration of what would have been his 77th birthday. A painter, sculptor and collagist, Conner is perhaps best remembered as among the most important, and delightful, experimental filmmakers of the late 20th century. Practically inventing the found-footage subgenre and credited with inspiring what became music videos (“Don’t blame me,” he once implored), Conner’s films took montage to new heights, infused with a Dadaist pranksterism that could eviscerate media consumerism in one moment, and in the next moment embody a piercingly moving comment on the basic human drama. This is a rare opportunity to see these films – on the big screen and in their original formats, including several new prints.

IMAGES , IMAGES , IMAGES , IMAGES , IMAGES

 

 

 

TARA DONOVAN :

Donovan says of her work, “It is not like I’m trying to simulate nature. It’s more of a mimicking of the way of nature, the way things actually grow.”[4]Fellow artist Chuck Close told a reporter that ““At this particular moment in the art world, invention and personal vision have been demoted in favor ofappropriation, of raiding the cultural icebox. For somebody to go out and try to make something that doesn’t remind you of anybody else’s work and is really, truly innovative—and I think Tara’s work is—that’s very much against the grain of the moment. To me, it represents a gutsy move.”[1]

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RESOURCES / REFERENCES ==

rhizome.org

 

 

runme.org

 

 

we-make-money-not-art.com

 

 

networked performance blog

create digital motion

create digital music

freewaves.org

boingboing

slashdot

machine project

‘Seed’ Magazine

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INET 2665: New Media Communication (3 credits)  =

TU, THURS  9:30 am – 10:45 am

Lecture Hours: 1 Lab Hours: 1 Credit Hours: 3
Class Time: 9:30am -10:45am Days: Tues and Thurs Room: BU 127
Instructor’s Name:Justin Hoffman Office Hours:    Mon &Wed 2pm-3pmTu & TH 3pm -4pm

Fri 1pm -2pmOffice Phone: 268 -2600Email:  Hoffman@caspercollege.edu

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Course Description: This is a foundations level experimental art course introducing creative, concept oriented, and practical strategies for students working in the area of digital media. This course addresses the principles of digital art creation through a combination of lectures, practical assignments, and studio seminars. Due to the flux in technology-based art we will divert from narrowing distinct cannon within the breadth of media oriented work. Rather this course will focus on centralized aesthetic properties, understanding parallel software structures, relating cultural and political significance, and exploring the very art and ideologies inherent to this burgeoning culture.

This course is divided into diverse topical segments of approximately one week each. Within each segment the assignments, lectures, presented projects, and readings relate to the topic. Many of the course resources, homework assignments, and reviews are available via the class web site and other online resources. Students should have access to a high-speed internet connection in order to complete class assignments and review course materials.

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Statement of Perquisites: NONE

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Goal: This class will provide students with introductory principles related to digital media encapsulating history, theory, contemporary art practice, and design specifications. Course objectives will integrate students with: Photoshop, audio editing, video editing, and simple engineering. Some lectures may include guest speakers. The instructor is available for technical assistance throughout the week and during lab hours for further assistance.

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Outcomes: Successful completion of this course will enable students to:

n  Soldering Skills

n  Understanding basic physics

n  Understanding foundational engineering principles

n  Understanding of sound design

n  Understanding of sound composition

n  Understanding foundational knowledge of music editing software

n  Manage a Content Management System

n  Understanding foundational knowledge of video editing

n  Understanding visual effects

n  Understanding of basic videography techniques

n  Understanding of Photoshop

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Methodology: This course will combine the Lecture sections with hands on lab workshop activities, where students will have online resources and tutorials to enhance their skills.  Workshops and activities build to larger more advanced projects where the students have the opportunity to activate the learned skills.  Essentially the course is an entre and foundational appetizer to students to understand some of the larger principles of new media technologies, software, and design.

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Evaluation Criteria: Grades will be calculated based on point scale in regards to acumen of Projects, Comprehension and Participation with readings, Homework/Lab Sessions, and Participation.

PARTICIPATION – 7 Points total

HOMEWORK ASSIGNMENTS – 40 Points

TOTAL PROJECTS- 45 Points Total

PARTICIPATION – 7 Points Total *

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100 %  == Total Points

*Assessment of Participation and Attendance is based on class interaction, attitude, and collaboration with other students, initiative, and cognizance to class hours and deadlines.

HOMEWORK ASSIGNMENTS == 8 POINTS EACH

— evaluation: Homework is evaluated on a credit/no credit basis.

– Simple Solder

– Commentary Essay

– Soundscape Collage

– Pixel Perfect

– Commentary Essay

– Video Mash Up

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PROJECTS  == 15 POINTS EACH

– evaluation: these following projects are graded on a scale of 1 to 10 based on the following criteria: technical elegance: project demonstrates understanding and implementation of the course material.

– Hardware Design Machines

– Sound Composition

– Stop Motion Video

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GRADING SCALE

A…………………90-100%

B…………………80-89%

C…………………70-79%

D…………………60-69%

F………………….0-59%

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Required Text, Reading, and Materials:

Reading assignments will be available on the class website (www.justinhoffman.net) as well as references to online resources. All daily assignments will be posted with tutorials for completing your assignments. There is not a traditional textbook for this class, although I am happy to suggest supplemental reading material.

 

 

Class Policies: Students enrolled in this course are expected to be engaged and prepared regarding the course material.  Dialogue and participation regarding course material is encouraged, and it is expected that attendees are considerate and invested in their peers’ ideas and presented activities.

Checking email, searching the web, or playing video games, cell phone conversations or text messaging are prohibited during class time.  All computer related activities should be directed toward course materials, all personal activities are expected to be taken care of outside the classroom.

You are responsible for your data. BACK IT UP!! Store your data in multiple locations: burn it to disk, buy extra flash drives, etc.

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Last Date to Change to Audit Status or to Withdraw with a W Grade: October 28, 2011

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Student Rights and Responsibilities: Please refer to the Casper College Student Conduct and Judicial Code for information concerning your rights and responsibilities as a Casper College Student.

Chain of Command: If you have any problems with this class, you should first contact the instructor to attempt to solve the problem.  If you are not satisfied with the solution offered by the instructor, you should then take the matter through the appropriate chain of command starting with the Department Head/Program Director, the Academic Dean, and lastly the Vice President for Academic Affairs.

Academic Dishonesty – Cheating & Plagiarism: Casper College demands intellectual honesty.  Proven plagiarism or any form of dishonesty associated with the academic process can result in the offender failing the course in which the offense was committed or expulsion from school. See the Casper College Student Code of Conduct.

ADA Accommodations Policy: It is the policy of Casper College to provide appropriate accommodations to any student with a documented disability.  If you have a need for accommodation in this course, please make an appointment with our Accommodative Services Counselor at 268-2557.