PROJECT 3 — INTERACTIVE VOICES

Overview

Interactive Voices is an exploration of the meaningful integration of sound, movement and interactivity. The student will create an work of generative art combining audio, motion and interactivity.

This Project will utilize skills covered in Lectures 4 and 5, and Exercise 4 (Hour of Code, In-Class Demos, and review of examples.)

Assignment

Theme: The content of the project is entirely at your discretion, and the audio and visual elements may be objective or non-objective. Sound sources may be found online, sampled audio, or recorded by you. Visual elements will be generated from within Processing. What is most important is that the sounds interact meaningfully with the appearance and movement of the visual objects.

Avoid using simple narrative. Do not approach the project as a music video or cartoon. Rather than telling a story, try to create an abstract experience, as in the Oskar Fischinger films. Think of this as poetry (literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhythm; poems collectively or as a genre of literature) , rather than prose (written or spoken language in its ordinary form, without metrical structure.).

Part 1 Sound Design: Create a work of sound art. Explore how texture, rhythm, pitch and volume can be manipulated to evoke responses from the listener. Use and explore the non-melodious qualities of sound (pitch, rhythm, tempo, amplitude, texture, tonality) to create emotionally evocative audio. Do not use any unmodified recorded music.

Part 2 Processing: Once the sound art is complete, create an interactive, generative interface in response to your sound art, within which the sound will be presented. Visual color, texture, shape, compositional elements, line, and motion should relate thematically to the accompanying sound.

The work will involve a performative component. Over time and with mouse-activated input, composition, rhythm, speed, repetition, scale, rotation, position, color, opacity, balance, and perspective can be changed so that objects move and evolve.

Timeline

  • Proposal Consultation: discuss your theme and an outline of your ideas (due Wednesday, May 4th).

  • Sound Design Critique: present your audio work in progress (Due Monday, May 9th).

  • Processing Critique: present your interface work in progress, with sound and enough animation/interactivity to get your message across (Due Monday, May 16th).

  • Final Submission: Upload your files according to your instructor’s directions. Include an artist’s statement with proper credits listing the title of the piece, if any, and the origins of any appropriated source material (Due Friday, May 20th by 6:00pm).

Requirements

Audio

  • Sound may play as an ambient accompaniment (non-diegetic, or background) to the movement on screen. Sound may appear to be generated by the objects on screen, or as a result of user interaction (diegetic).

  • At least three (3) separate sound sources must be used – either individually or combined with one another.

  • Sounds may be recorded by you or found online.

  • All sounds must be manipulated so that they have enough difference than the original.

  • You MUST create a seperate folder in your project file that contains all of your original sound clips.

  • If using found audio content, you MUST keep track of the content with a text file. This is to prove you are not plagarizing.

  • Processing
  • Your project folder MUST be titled as “FirstName_LastName_Title” and sketch MUST be named “FirstName_LastName_Title.pde”
  • Must include vector objects generated within Processing.
  • May also include raster images.
  • Objects may appear at rest, but must, at some point move within or out of the frame.
  • Objects must undergo a translation through time—a change in color, size, shape, or any combination of these.
  • Objects and or sound must be made to change at some point based on input from mouse or keyboard.
  • Objects and their movement must relate meaningfully to the audio.
  • Code must be commented. Begin each sketch with a comment that explains your intentions, and how to interact, if necessary.
  • You may “borrow” code from other sources to supplement your own code (unless copyright or other notices prohibit it.) Borrowed code may not be used for your entire sketch – the majority of the work must be your own. Any code borrowed from other sources MUST be credited within the comments. You must also fully understand and explain what the code is doing, and how to alter it to your own unique usage.
  • Scenes may be used, jumping from one frame to another, allowing different effects or styles to happen all within one sketch.

Grading

This project will be graded on (in order of importance):

  • • creative and effective approach to your subject matter
  • • demonstration of technical proficiency with audio processing
  • • fulfillment of project requirements
  • • effective visual and oral presentation of solution (critique is in 2 parts – audio and interface)
  • • involvement in group critique
  • • punctuality

Comments

Post a Comment

Popular posts from this blog

GENERATIVE ART WITH PROCESSING!

  EXERCISE 04: GENERATIVE ART WITH PROCESSING Overview Generative (or Algorithmic) art is art or design produced by an artist or designer or anyone who chooses to create and explore imagery by writing computer programs by oneself or with the aid of a programmer. “Processing integrates a programming language, development environment and a teaching methodology into a unified system. It was created to teach fundamentals of computer programming within a visual context. Students, artists, design professionals and researchers use it for learning, prototyping and production.” ( Processing: A Programming Handbook for Visual Designers, Second Edition,  Casey Reas and Ben Fry.) It is built on a simplified version of Java. Objectives Learn enough Processing coding to enable execution of the final project for the ART303 course. Develop a basic understanding and facility for solving visual problems algorithmically. Explore aesthetic ideas and visual structures through algori...
Read more

PROJECT 2 – SYNTHESIZED MEANING

Overview Synthsized Meaning  is an exploration of the impact on communication when images are recombined, repositioned and reprocessed, when the lines of “reality” are blurred. Students will collect and assemble found or original images into a Photoshop montage. The original “meaning” of each original image will evolve in relation to the others. It will be seen that meaning itself can never be fixed, but that it changes relative to the point of view of the observer, cultural preconceptions, and the context in which it is perceived. Montage  [Fr.: “mounting”]. Assemblage that results from the overlapping or joining of various materials, images or objects to form a new single picture. Timothy Druckrey wrote in the article From Dada to Digital that “one of the central considerations in the emergence of electronic montage is the redefinition of narrative. Sequential or arrayed, information is created in forms that suggest that the single image is not sufficient to serve as a recor...
Read more