Difference between revisions of "Time Based Composing class 1"
(New page: Day 1 TBC Intro to class Discussion of syllabus Turning in assignments Create a web page for TBC Look at TBC wiki for eg. Copy and supply your own links Create a directory in your publis...) |
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− | Day 1 TBC | + | ==Day 1 TBC== |
Intro to class | Intro to class | ||
− | + | ||
Turning in assignments | Turning in assignments | ||
− | Create a web page for TBC | + | |
− | + | Create a web page for TBC http://iam.colum.edu/abarbier/TBC/TBCsample.html | |
+ | |||
Copy and supply your own links | Copy and supply your own links | ||
+ | |||
Create a directory in your publish directory called TBC | Create a directory in your publish directory called TBC | ||
+ | |||
Linear media sequences in interactive media projects | Linear media sequences in interactive media projects | ||
+ | |||
Use when other methods – ie, static images and/or text – won’t do | Use when other methods – ie, static images and/or text – won’t do | ||
+ | |||
Can include realistic/photographic images, abstractions, text, music | Can include realistic/photographic images, abstractions, text, music | ||
+ | |||
Structure can be traditional narrative structure | Structure can be traditional narrative structure | ||
+ | |||
Introduction, complication, resolution | Introduction, complication, resolution | ||
+ | |||
Beginning, middle, end | Beginning, middle, end | ||
+ | |||
Ask question, answer it | Ask question, answer it | ||
+ | |||
Moments of tension and release | Moments of tension and release | ||
+ | |||
Or can be structured according to a framework or rule system that you make for the individual piece | Or can be structured according to a framework or rule system that you make for the individual piece | ||
− | Class screening: | + | |
+ | ==Class screening:== | ||
+ | |||
– Sleep- Doug Ing | – Sleep- Doug Ing | ||
+ | |||
-bEL.mov | -bEL.mov | ||
+ | |||
-cat.mov Kevin Richey | -cat.mov Kevin Richey | ||
+ | |||
based on Muybridge cat walking | based on Muybridge cat walking | ||
+ | |||
http://www.temple.edu/photo/photographers/muybridge | http://www.temple.edu/photo/photographers/muybridge | ||
+ | |||
- The Funeral | - The Funeral | ||
+ | |||
- Missed Connections | - Missed Connections | ||
+ | |||
– Jewel journal Thomas Castillo | – Jewel journal Thomas Castillo | ||
− | Copyright is a big issue | + | |
+ | ==Copyright is a big issue== | ||
+ | |||
http://www.copyright.gov/circs/circ1.html | http://www.copyright.gov/circs/circ1.html | ||
+ | |||
Copyright is a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following: | Copyright is a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following: | ||
− | + | ||
− | + | 1. To reproduce the work in copies or phonorecords; | |
− | + | ||
− | + | 2. To prepare derivative works based upon the work; | |
− | + | ||
+ | 3. To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending; | ||
+ | |||
+ | 4. To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works; | ||
+ | |||
+ | 5. To display the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and | ||
In the case of sound recordings*, to perform the work publicly by means of a digital audio transmission. | In the case of sound recordings*, to perform the work publicly by means of a digital audio transmission. | ||
+ | |||
Fair Use: http://www.copyright.gov/fls/fl102.html | Fair Use: http://www.copyright.gov/fls/fl102.html | ||
− | -quotation of excerpts in a review or criticism for purposes of illustration or comment | + | |
+ | -quotation of excerpts in a review or criticism for purposes of illustration or comment | ||
+ | |||
-quotation of short passages in a scholarly or technical work, for illustration or clarification of the author's observations; | -quotation of short passages in a scholarly or technical work, for illustration or clarification of the author's observations; | ||
+ | |||
-use in a parody of some of the content of the work parodied; | -use in a parody of some of the content of the work parodied; | ||
+ | |||
-summary of an address or article, with brief quotations, in a news report; | -summary of an address or article, with brief quotations, in a news report; | ||
+ | |||
-reproduction by a library of a portion of a work to replace part of a damaged copy; | -reproduction by a library of a portion of a work to replace part of a damaged copy; | ||
+ | |||
-reproduction by a teacher or student of a small part of a work to illustrate a lesson; | -reproduction by a teacher or student of a small part of a work to illustrate a lesson; | ||
+ | |||
-reproduction of a work in legislative or judicial proceedings or reports; | -reproduction of a work in legislative or judicial proceedings or reports; | ||
+ | |||
-incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported.” | -incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported.” | ||
− | Now, maybe more than ever, artists have a foot on each side of the issue. “They want to protect their own work,” Rattner says, “but they want to use the work of others.” William Rattner (of Lawyers for the Creative Arts) from reader article http://www.chicagoreader.com/features/stories/thebusiness/070202/ | + | Length of copyright: http://www.ed.uiuc.edu/wp/copyright/copyrightlaw.htm |
+ | |||
+ | |||
+ | Now, maybe more than ever, artists have a foot on each side of the issue. “They want to protect their own work,” Rattner says, “but they want to use the work of others.” William Rattner (of Lawyers for the Creative Arts) from reader article | ||
+ | http://www.chicagoreader.com/features/stories/thebusiness/070202/ | ||
+ | |||
Although a work of art is automatically copyrighted the moment it’s created, Lingren says she usually advises clients to formally register. | Although a work of art is automatically copyrighted the moment it’s created, Lingren says she usually advises clients to formally register. | ||
+ | |||
You have to have permission and it has to come from the copyright owner. | You have to have permission and it has to come from the copyright owner. | ||
+ | |||
Another view: | Another view: | ||
+ | |||
Copy-it-right (Phil Morton) | Copy-it-right (Phil Morton) | ||
+ | |||
“It’s OK to copy!” was the rallying cry of video artist and wild man Phil Morton, who joined the faculty of the School of the Art Institute in 1969 and created what would become SAIC’s Department of Film, Video, and New Media as well as the nation’s first BA and MFA programs in video studies. “Believe in the process of copying . . . with all your heart,” he wrote. “Copying is as good as any other way of getting ‘there.’” In the early 1970s Morton hooked up with UIC physicist and artist Dan Sandin, creator of the Sandin Image Processor (a sort of Moog synthesizer for video), in the promulgation of the Distribution Religion, a philosophy of sharing that was a precursor to today’s open-source movement. Sandin made the plans for his processor available to anyone who would pledge to keep any improvement they made on it free as well, and Morton promoted a general anticopyright ethic he called “Copy-It-Right,” the granddaddy of efforts like Copy Left and Creative Commons. Morton died in 2003, but professor Jon Cates has brought his work back to SAIC in the newly established Phil Morton Memorial Research Archive. In celebration of its opening, Cates will present a selection of Morton’s work Thursday, February 15, at the Siskel Center. | “It’s OK to copy!” was the rallying cry of video artist and wild man Phil Morton, who joined the faculty of the School of the Art Institute in 1969 and created what would become SAIC’s Department of Film, Video, and New Media as well as the nation’s first BA and MFA programs in video studies. “Believe in the process of copying . . . with all your heart,” he wrote. “Copying is as good as any other way of getting ‘there.’” In the early 1970s Morton hooked up with UIC physicist and artist Dan Sandin, creator of the Sandin Image Processor (a sort of Moog synthesizer for video), in the promulgation of the Distribution Religion, a philosophy of sharing that was a precursor to today’s open-source movement. Sandin made the plans for his processor available to anyone who would pledge to keep any improvement they made on it free as well, and Morton promoted a general anticopyright ethic he called “Copy-It-Right,” the granddaddy of efforts like Copy Left and Creative Commons. Morton died in 2003, but professor Jon Cates has brought his work back to SAIC in the newly established Phil Morton Memorial Research Archive. In celebration of its opening, Cates will present a selection of Morton’s work Thursday, February 15, at the Siskel Center. | ||
+ | |||
+ | Distribution Religion - Dan Sandin | ||
+ | http://criticalartware.net/rsrc/dwnl/dS_DISTREL.dwnl/www_VR/cover.html | ||
+ | |||
Examples of open source: | Examples of open source: | ||
+ | |||
Wikipedia: http://en.wikipedia.org/wiki/Main_Page | Wikipedia: http://en.wikipedia.org/wiki/Main_Page | ||
+ | |||
open source software | open source software | ||
+ | |||
Office: http://www.openoffice.org/ | Office: http://www.openoffice.org/ | ||
+ | |||
Imaging: http://www.gimp.org/ | Imaging: http://www.gimp.org/ | ||
+ | |||
Music and image synthesis/manipulation: PD/Gem: http://puredata.info/ | Music and image synthesis/manipulation: PD/Gem: http://puredata.info/ | ||
+ | |||
+ | copyright-free moving images from the Prelinger archive: http://www.panix.com/~footage/ | ||
+ | |||
Viral Communications Anti Copyright Policy: | Viral Communications Anti Copyright Policy: | ||
+ | |||
http://detritus.net/vircomm/projects/anticopy/ | http://detritus.net/vircomm/projects/anticopy/ | ||
+ | "create somthing new from the materials we plunder" | ||
+ | |||
+ | |||
+ | Problematizing authorship/ownership: http://www.medienkunstnetz.de/works/after-walker-evans/ | ||
+ | http://www.aftersherrielevine.com/ | ||
Larger issue – rights and responsibilities as a creator | Larger issue – rights and responsibilities as a creator | ||
− | |||
− | + | the power of images: http://www.someofitsparts.com/archives/24 | |
− | + | ||
− | + | body image and the media: http://www.designobserver.com/archives/024062.html | |
− | http:// | + | |
+ | Ethics and representation: http://www.astropix.com/HTML/J_DIGIT/ETHICS.HTM | ||
+ | |||
+ | When is something really made by you? | ||
+ | ==in class exercise== | ||
− | Asn. 1 (countdown) | + | directions: http://iam.colum.edu/abarbier/TBC/countdown.html |
+ | |||
+ | Make an image 320x240 with 5 layers in photoshop – one number on each | ||
+ | |||
+ | Import into AE as COMPOSITION | ||
+ | |||
+ | Place on the timeline | ||
+ | |||
+ | Use the transform functions (T,R,S) to create a countdown | ||
+ | |||
+ | Creating keyframes | ||
+ | |||
+ | Rendering a movie | ||
+ | |||
+ | |||
+ | ==For next week:== | ||
+ | |||
+ | turn in Asn. 1 (countdown) | ||
+ | |||
+ | Do 5 sketches of the countdown idea, and adopt one to execute | ||
+ | |||
+ | Potential things to vary: | ||
+ | |||
+ | scale of the numbers | ||
− | |||
− | |||
− | |||
Placement of the numbers | Placement of the numbers | ||
+ | |||
Color | Color | ||
+ | |||
Type style | Type style | ||
+ | |||
Texture/color of number and BG | Texture/color of number and BG | ||
+ | |||
Form of the numbers – text, objects, think about different ways of counting- fingers, abacus, hourglass, etc. | Form of the numbers – text, objects, think about different ways of counting- fingers, abacus, hourglass, etc. | ||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | |||
− | + | ||
+ | Also for next week: | ||
+ | |||
have TBC web page made | have TBC web page made | ||
+ | |||
have countdown created and linked | have countdown created and linked | ||
− | have | + | |
+ | have scanned copy of sketch of 5 versions of the countdown idea linked | ||
+ | |||
+ | [[Category:IAM Classes]][[Category:Time Based Composing]] |
Latest revision as of 18:27, 4 August 2008
Contents
Day 1 TBC
Intro to class
Turning in assignments
Create a web page for TBC http://iam.colum.edu/abarbier/TBC/TBCsample.html
Copy and supply your own links
Create a directory in your publish directory called TBC
Linear media sequences in interactive media projects
Use when other methods – ie, static images and/or text – won’t do
Can include realistic/photographic images, abstractions, text, music
Structure can be traditional narrative structure
Introduction, complication, resolution
Beginning, middle, end
Ask question, answer it
Moments of tension and release
Or can be structured according to a framework or rule system that you make for the individual piece
Class screening:
– Sleep- Doug Ing
-bEL.mov
-cat.mov Kevin Richey
based on Muybridge cat walking
http://www.temple.edu/photo/photographers/muybridge
- The Funeral
- Missed Connections
– Jewel journal Thomas Castillo
Copyright is a big issue
http://www.copyright.gov/circs/circ1.html
Copyright is a form of protection provided by the laws of the United States (title 17, U. S. Code) to the authors of “original works of authorship,” including literary, dramatic, musical, artistic, and certain other intellectual works. This protection is available to both published and unpublished works. Section 106 of the 1976 Copyright Act generally gives the owner of copyright the exclusive right to do and to authorize others to do the following:
1. To reproduce the work in copies or phonorecords;
2. To prepare derivative works based upon the work;
3. To distribute copies or phonorecords of the work to the public by sale or other transfer of ownership, or by rental, lease, or lending;
4. To perform the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works;
5. To display the work publicly, in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work; and In the case of sound recordings*, to perform the work publicly by means of a digital audio transmission.
Fair Use: http://www.copyright.gov/fls/fl102.html
-quotation of excerpts in a review or criticism for purposes of illustration or comment
-quotation of short passages in a scholarly or technical work, for illustration or clarification of the author's observations;
-use in a parody of some of the content of the work parodied;
-summary of an address or article, with brief quotations, in a news report;
-reproduction by a library of a portion of a work to replace part of a damaged copy;
-reproduction by a teacher or student of a small part of a work to illustrate a lesson;
-reproduction of a work in legislative or judicial proceedings or reports;
-incidental and fortuitous reproduction, in a newsreel or broadcast, of a work located in the scene of an event being reported.”
Length of copyright: http://www.ed.uiuc.edu/wp/copyright/copyrightlaw.htm
Now, maybe more than ever, artists have a foot on each side of the issue. “They want to protect their own work,” Rattner says, “but they want to use the work of others.” William Rattner (of Lawyers for the Creative Arts) from reader article
http://www.chicagoreader.com/features/stories/thebusiness/070202/
Although a work of art is automatically copyrighted the moment it’s created, Lingren says she usually advises clients to formally register.
You have to have permission and it has to come from the copyright owner.
Another view:
Copy-it-right (Phil Morton)
“It’s OK to copy!” was the rallying cry of video artist and wild man Phil Morton, who joined the faculty of the School of the Art Institute in 1969 and created what would become SAIC’s Department of Film, Video, and New Media as well as the nation’s first BA and MFA programs in video studies. “Believe in the process of copying . . . with all your heart,” he wrote. “Copying is as good as any other way of getting ‘there.’” In the early 1970s Morton hooked up with UIC physicist and artist Dan Sandin, creator of the Sandin Image Processor (a sort of Moog synthesizer for video), in the promulgation of the Distribution Religion, a philosophy of sharing that was a precursor to today’s open-source movement. Sandin made the plans for his processor available to anyone who would pledge to keep any improvement they made on it free as well, and Morton promoted a general anticopyright ethic he called “Copy-It-Right,” the granddaddy of efforts like Copy Left and Creative Commons. Morton died in 2003, but professor Jon Cates has brought his work back to SAIC in the newly established Phil Morton Memorial Research Archive. In celebration of its opening, Cates will present a selection of Morton’s work Thursday, February 15, at the Siskel Center.
Distribution Religion - Dan Sandin http://criticalartware.net/rsrc/dwnl/dS_DISTREL.dwnl/www_VR/cover.html
Examples of open source:
Wikipedia: http://en.wikipedia.org/wiki/Main_Page
open source software
Office: http://www.openoffice.org/
Imaging: http://www.gimp.org/
Music and image synthesis/manipulation: PD/Gem: http://puredata.info/
copyright-free moving images from the Prelinger archive: http://www.panix.com/~footage/
Viral Communications Anti Copyright Policy:
http://detritus.net/vircomm/projects/anticopy/ "create somthing new from the materials we plunder"
Problematizing authorship/ownership: http://www.medienkunstnetz.de/works/after-walker-evans/
http://www.aftersherrielevine.com/
Larger issue – rights and responsibilities as a creator
the power of images: http://www.someofitsparts.com/archives/24
body image and the media: http://www.designobserver.com/archives/024062.html
Ethics and representation: http://www.astropix.com/HTML/J_DIGIT/ETHICS.HTM
When is something really made by you?
in class exercise
directions: http://iam.colum.edu/abarbier/TBC/countdown.html
Make an image 320x240 with 5 layers in photoshop – one number on each
Import into AE as COMPOSITION
Place on the timeline
Use the transform functions (T,R,S) to create a countdown
Creating keyframes
Rendering a movie
For next week:
turn in Asn. 1 (countdown)
Do 5 sketches of the countdown idea, and adopt one to execute
Potential things to vary:
scale of the numbers
Placement of the numbers
Color
Type style
Texture/color of number and BG
Form of the numbers – text, objects, think about different ways of counting- fingers, abacus, hourglass, etc.
Also for next week:
have TBC web page made
have countdown created and linked
have scanned copy of sketch of 5 versions of the countdown idea linked