IDAT101 Strategies for DAT.[Module Descriptor] [Indicative Syllabus] [Brief] [Assessment] [Criteria] [Staff] [Timetable] [ Strategies for Art & Technology | IDAT101 | CREDITS: 20 | 100% Coursework] [Module Descriptor]This module introduces students to the practical and creative processes required for the production of interactive multimedia. Activities foster experimentation and conceptual understanding of interactive design processes, establishing ‘Ergodynamic’ design strategies and critical conceptual skills, combined with technical production skills. [Aims]To deliver ergodynamic design strategies for group and individual interactive media production work. To encourage an experimental and speculative approach to the creation of interactive media production work. To develop technical and creative production skills in interactive media authoring. To develop skills in researching and planning interactive media productions. [Learning Outcomes]At the end of the module students will be able to: 1. demonstrate a creative, experimental and speculative approach to interactive media production. 2. develop technical skills for the production of interactive media. 3. demonstrate an understanding of ergodynamic design strategies. 4. demonstrate group production skills. [Indicative Syllabus]Practical Ergodynamic skills and methods that enable a working competence with interactive media communication technologies. Methods of audio visual research and active information acquisition using a range of media and its organisation for communication and expression. A range of manipulative skills for processing and generating text, images and sound through experiment and speculatively investigation. Processes of individual and group production, the generation of ideas and the planning/structuring of ideas and projects. Practical use of computers for the authoring of interactive multi-media productions, including: animation, image processing, collection of assets, sound recording and processing, hyper linking, basic scripting. Develops a critical and historical understanding of the role and responsibilities of the designer/author of interactive multimedia, including: aims, objectives, design, planning, researching, source material, review, production, testing, user acceptability, visual amenity, refinement, productivity, interaction. [Delivery]Lectures: Lectures will be devoted to the introduction of concepts behind multimedia design, historical perspectives, and design strategies. Workshops: Creative (Ergodynamic) workshops will encourage group design activity, exploring the necessary conceptual and haptic skills required for multimedia production Studio Workshops: Studio based practical workshops introducing work practices and technical skills necessary for the production of multimedia. Workbooks: Students will be introduced to the practice of keeping a workbook for noting ideas, processes and techniques. This will also be used to monitor their progress throughout the module and subsequent practical modules. [Theory|Practice]At the end of the module students will be expected to demonstrate an understanding of: Presentation and Documentation Skills l Professionalism | Group Dynamics | Performance | Presentation of idea | Design Techniques | Workbook Design Skills | Handling of design elements: image/text/interaction/time/etc. This is not an exclusive list. http://x2.i-dat.org/~mp/IDAT101/ [Brief][Ergodynamics] The Key Theme for this module is "Sustainability" - A(merican Heritage Dictionary) sus·tain (s-stn) tr.v. sus·tained, sus·tain·ing, sus·tains 1. To keep in existence; maintain. 2. To supply with necessities or nourishment; provide for. 3. To support from below; keep from falling or sinking; prop. 4. To support the spirits, vitality, or resolution of; encourage. 5. To bear up under; withstand: can't sustain the blistering heat. 6. To experience or suffer: sustained a fatal injury. 7. To affirm the validity of: The judge has sustained the prosecutor's objection. 8. To prove or corroborate; confirm. 9. To keep up (a joke or assumed role, for example) competently. Practical Sessions week 1: Narrative Map Project: Self-selecting groups of 5 (no bigger than 5, no smaller than 3). “The eye itself has not, of course, remained in the monocular, fixed construction defined by Renaissance theories of perspective. The hegemonic eye has conquered new ground for visual perception and expression. The paintings of Bosch and Bruegel, for instance, already invite a participatory eye to travel across the scenes of multiple events. The seventeenth-century Dutch paintings of bourgeois life present casual scenes and objects of everyday use which expand beyond the boundaries of the Albertian window. Baroque paintings open up the viewer’s vision with hazy edges, soft focus and multiple perspectives, presenting a distinct, tactile invitation, enticing the body to travel through the illusory space.” (Pallasmaa J, 1996, The Eyes of the Skin, Polemics, Academy Group Ltd, pp23.) Instructions: 1: Form groups of 5 (no bigger than 5, no smaller than 3)/ 2: Choose 2 locations in and around Plymouth and take a journey between them. 3: Using your workbooks as a receptacle, notate, annotate, record, draw, MAP your journey. 4: Construct a collaborative Narrative Map! 5: Present your Narrative Map! Brief: Working in groups of 5 (no bigger than 5, no smaller than 3), using your workbooks as the primary tool of investigation, construct a narrative for the journey between the local locations of your choice. This narrative must consider a mix of drawing styles, notation techniques, contemporary and historical data, reportage, existing and fictitious narratives, coincidences, lies, etc... all woven into a complex and sustainable narrative map of the environment. This project will form the groundwork for the mapping projects latter in the module and ensure that you have no excuse for not buying and using your workbook. In the following weeks sessions you wil be (randomly) expected to tell your narrative through your workbooks and a composite map (edited workbook material compiled into one map) [ie, individual members workbooks and a single group map]. “The percept of the body and the image of the world turn into one single continuous existential experience - there is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self.” (Pallasmaa J, 1996, The Eyes of the Skin, Polemics, Academy Group Ltd, pp27.) Practical Sessions Week 2: The ERGODYNAMIC [C20: from Greek ergon work + dunamis power] projects will be used to develop critical creative skills in: •Group Dynamics: production teamwork... •Visual Thinking: generating ideas, creative thinking and ‘connectionist’ thought processes... •Design & planning: organisation of material and ideas... •Workbook activity: ideas capture, externalising internal dialogue, the ‘Compost Heap Principle’... •Audio/Visual/Spatial notation: documenting sensation and perception... •Presentation: justification through dissemination, "ascend their roofs to announce anything to the multitude"... Group Dynamics 1: ...humming... 2: ...tell part of a story and pass it on. 3: ...Chinese whispers with pictures... 4:...twin...one...thinks of an image...other draws...a process of interrogation...yes and no answers... 5:...one...blindfolded...draw image in others mind... Quads: 6:...4...draw...image...one piece of paper. 7:...Group Construction. Bondage project... 8:...Over to you..! And there after..... •Brain Storming Exercises, Mind Maps, thinking in images. •Rendering audio structures, audio/visual translation, the score. •Drawing, negative space, points in space (projected image), icons, signs, and symbols. •Moving images, drawing a figure in motion, Map drawing exercise. The following Ergodynamic pieces will be produced, performed and documented and presented as a "body of work" through the Portfolio and workbook: 1: [Telematic Performance] (10% Group Work) Working in groups select an image (A4). Devise a system for transferring the image from one location to another. Each person will mark a stage in the transfer which will require the image to be coded and decoded. Each stage will be different from any other stage in the process. The process should last approximately 5 minutes. Look at: FAX machines/Modems/T.V./Film & slide projectors. You can’t use any of these. (A slide projector may be used as a light source but not for projecting slides). Semaphore/Morse code/shadows/grids. You might want to use some of these. Think about: Your audience, presentation, genre, style, timing..... Requirements: A: It should last 5 minutes, B: be performed live with audience interaction. C: You should also provide a ‘script/score’. Deadline: Week beginning 04 Dec Location TBA. -------------------------------------------------------------- 2: [Mapping Project] (20% Group Work) The Mapping project requires your group to explore multidimensional mappings of time and space. This project should/could explore issues of scoring, traces, narrative structures, temporal mappings, notation and choreography. The requirements for this project will be made clear through the lecture programme. Requirements: A: Negotiated with each group. Deadline: Week begining 15 January. By presentation. -------------------------------------------------------------- 3: [Artefact] (20% Individual) artefact or artifact ('a:tI,faekt) n. 1. Something made or given shape by man, such as a tool or a work of art, esp. an object or archaeological interest. 2. Cytology. a structure seen in tissue after death, fixation, staining, etc., that is not normally present in the living tissue. [C19: from Latin phrase arte factum from ars skill + facere to make] After reading the Borges short story you are required to research an ‘artefact’ and its maker/manufacturer. The exact nature of that artefact will be negotiated during the tutorial sessions. It is important that you are able to gain access to information concerning its production, such as: biographical details of the maker; construction material; construction process; details of the environment it was produced in... You are required to immerse yourself in research surrounding the artefact and its maker. As far as possible you should experience the same/similar investigative process undertaken by the artefacts manufacturer. "… artefacts do not exist in a space of their own, transmitting meaning to the spectator, but, on the contrary, are susceptible to a multiform construction of meaning which is dependent on the design, the context of other objects, the visual and historical representation, the whole environment; … artefacts can change their meaning not just over the years as different histriographical and institutional currents pick them out and transform their significance, but from day to day as different people view them and subject them to their own interpretation." (Saumarez Smith, C. Museums, Artefacts, and Meanings. The New Museology. Vergo, P, ed. pp19. Reaktion Books Ltd, London, 1989.) Requirements: A: Diary/logbook/workbook, an account of the production representing the investigative research process, which should include a short critical account of the process (Approx 1000 words). B: Documentary evidence representing the reconstructed artefact. The format and presentation of this material will be negotiated with your tutor. C:All of this material must be formatted as a discreet section of the Portfolio. Deadline: 19 March. Online/Presentation. -------------------------------------------------------------- 4: [Interstices] (20% Pairs): “Give me another 24 hours, and I'll give you a machine which no none will be able to tell from a human being.” Rotwang, Metropolis, 1926. “In the electric age we wear all mankind as our skin.” Marshall McLuhan 1964. “We are at the farthest point of time!... Why look behind us when we should be crashing down the doors of the impossible? Time and Space died yesterday. We are now living in the absolute since we have created eternal omnipresent speed.” F.T. Marinetti. 1909 The Interstices Project requires you to explore, analyse and design an ‘interface’. The outcome of this activity will be to develop a ‘representation’ of a specific future, contemporary or redundant technology operating in a social environment. This representation may take the form of an T.V./multimedia ‘advert’ or sales promotion for the ‘product/activity’, a short documentary about the ‘product/activity’ (e.g. News footage/report), a simulation that provides a real experience of the ‘product/activity’. There are many possibilities, however your project must be based on an extrapolation of current technology/social practice/cultural phenomena/documented hypothesis, and not just whimsical speculation, i.e. the end of Western Civilisation following a bacterial infection which turns out to be microscopic Chinese following the self-miniaturisation of the entire Chinese population.... (see “Slapstick or Lonesome no more’ Kurt Vonnegut)... Requirements: A: Design documentation and output of negotiated process. A full blown project is not required, an animatic of slide show will suffice. Deadline: 19 March. Online/Presentation. -------------------------------------------------------------- 5:[Personal Documenta/Portfolio/Workbook] (30% Individual Work) This has 2 interlinked sections: 1: You will design and produce a personal documenta which must be accessible on-line. This should be a professional digital presence representing you, your skills and productions to an external audience. This will be the first level of a dynamic and growing personal documenta, which you must maintain throughout the next 4 years will continue to update and use. This will include a C.V. The project must have a navigational interface and each individual should start to develop a consistent design style and identity. Be innovative, but remember functionality and usability. Consider notions of branding and identity. How do you want to portray yourself to external visitors (future employees, fellow digital producers, artists, your mum…)? It should incorporate documentation from the Ergodynamic activities, (this could include sound, video, animation, text, live footage and reconstruction/rehearsal footage and/or workbook). It can also incorporate other academic and non-academic projects. (Remember to considerate limitations on bandwidth). 2: The workbook is a vital component of the module. You are expected to keep a personal workbook which should be brought to all tutorials and timetabled sessions.Workbooks should contain: Screen architectures; Plans and diagrams of project; Selection of images used; annotated to indicate; your decision making; Timelines etc; Scripts; sources/bibliography; critical analysis; etc. The workbook will be the meeting point of your practical production design and planning, and the theoretical research activity for the essay/reconstruction element of the module. Your ergodynamic activities will be documented in the workbook (see above). The workbook should be used to present your research during seminars. You are unlikely to pass the module if you cannot effectively demonstrate a commited and critical design process informed by your own research. No workbook, no discussion! Deadline: 19 March. Online/Presentation. [Assessment]Assessment will be through a combination of presentations, performances, website submissions and workbook depth. Telematic: 10% Performance. Mapping: 20% Negotiated outcome. Artefact: 20% Website documentation. Interstices: 20% Negotiated outcome. Portfolio/Workbook: 20% website/ workbook [Criteria]IDAT extended School of Computing Benchmarks Cognitive abilities: C6 (LO3). Practical abilities: P5 (LO4), P8 (LO2) P9 (LO1,3). Transferable skills: T6 (LO1,3). Please refer to the Course Handbook for the complete benchmarks. [Support Material]This is not an exhaustive list [Texts] Maeda, J. Maeda @ Media. Thames & Hudson, 2000. Anders, P. Envisioning Cyberspace. McGraw-Hill. 1999. Engeli, M. Bits and Spaces. Birkhauser, 2001. Harmon, K. You Are Here. Princeton Architectural Press. 2004. The Art of Human Computer Interface Design. Brenda Laurel. Addison Wesley. Interactivity by Design, Adobe press, R. Kristof & A Satran Graphic Problem Solving For Architects And Designers. Paul Laseau. Vision In Motion. L Moholy-Nagy. id BOOK Institute of Design Perspective And Other Drawing Systems. Fred Dubery And John Willats Visual Notes For Architects And Designers. Norman Crowe And Paul Laseau Envisioning Information, Graphics Press. Tufte E.R. The Visual Display of Quantitative Information, Graphics Press. Tufte E.R. Understanding Media. Macluhan, M. Abacus. [Staff]Module Leader: Mike Phillips (mike.phillips@plymouth.ac.uk) [Timetable] Date/weekLectureWorkshopetc... 25-sep/9 02 -okt/10 09-okt/11 16 -okt/12 23-okt/13 30 -nov/14 06-nov/15 13-nov/16 20-nov/17 27-nov/18 4 -dec/19 11-dec/20 08-jan/24 15-jan/25 22-jan/26 29-jan/27 05 -feb/28 12-feb/29 19-feb/30 26-feb/31 05 -mar/32 12 -mar/33 19-mar/34 26 -mar/35 Introduction Ergodynamics ComputersinContext Evolution of Form 1. Evolution of Form 2. Evolution of Form 3. MAPPING: Narrative MAPPING: Space MAPPING: Time Telematic TELEMATIC Artefact 1. Interstices 1. Mapping Present Interstices 2. Interstices 3. Interstices 4. Interstices 5. Interstices 6. Interstices 7. Portfolio Review. Present Documenta. Present Documenta Ergodynamic Product design Drawing Space/Mapping Scores Drawing movement Storyboarding MAPPING MAPPING MAPPING Telematic TELEMATIC Artefact Interstices Workshop Mapping Present Interstices Workshop Interstices Workshop Interstices Workshop Interstices Workshop Interstices Workshop Interstices Workshop Portfolio Review. Present Documenta. Present Documenta Get workbook TELEMATIC DEADLINE Artefact Introduction MAPPING DEADLINE INTERSTICES / PORTFOLIO / ARTEFACT DEADLINE I