mesalladelmon

[mesalladelmon]

Sensory Driven Storytelling

Taught by Stacey Mulcahy

Narratives are often linear, with a start and an end, and sometimes even formulaic. How can we create new stories, reactive or even dynamic ones using sensory input to help direct or even define the direction of the narrative? We will explore narrative driven games or environments in either 2d or 3d focusing on how sensory input can contribute to play and or performance.

Technologies and software to be covered will be Unity3d, communication protocols such as Web Sockets and OSC within the context of Unity3d to capture and share data, and the Kinect. Other hardware input will be addressed as needed through lab times.

Storytelling with Non-Linear Video

Taught by Alon Benari

Throughout history, as new storytelling mediums have emerged, content has adapted to fit the developing form. From oral narratives to theater, cinema, and television, storytelling will always evolve to fit the possibilities enabled by the platform. Yet, despite being interactive by nature, digital storytelling has not fully adapted to the medium. So - how is non-linear video shaping the future of digital storytelling?

This 6-week workshop will combine filmmaking and classic storytelling with gaming mechanics and interface design. The class will introduce the depths of non-linear video and allow students to create their own interactive experience. The focus is on what makes a good story in an interactive narrative environment. Students will have access to the Interlude platform - the industry leader in interactive video (behind videos such as Bob Dylan’s “Like a Rolling Stone”). In addition they will be given "backdoor" access to further customize the software for their own projects.

During the course of the semester, they will works in teams of 2-3 students to produce a short interactive video experience. Weekly lessons will mimic their project creation process - providing tools and knowledge for creative ideation, scriptwriting, film production, and product integration. Students will acquire basic Javascript and CSS skills in the class. This is a 2 credit course. Syllabus

Prototyping Movies

Taught by Dan O'Sullivan

Have you you ever seen a movie set take over several city blocks with trucks and trailers, tents and a crew of one hundred. Even in movies that rely more on special effects than location shooting you can see thousands of names roll by in the credits. Who can afford to tell stories that way? How can you interact with stories made that way? This course will look at how tools like the kinect camera, panoramic video, and XML transmission might allow people to sketch stories out of parts that are more easily composed, reconfigured and shared. The goal is not seamless special effects but rather the rough juxtapositions in the tradition of comics or storyboarding. Using these traditions as templates we will look at the dramatic parts of a story in addition to the audio visual parts. Stories in a living storyboard that can be created by anyone, evolve and intersect with others may never need to be made into a more finished movie. This class will draw on ideas coming out of ITP’s “Consumer Light and Magic” research project so students will be expected to have a pioneering attitude. Student will have assignment to gather compose and distributes parts of a story. Examples will mostly be in javascript with Unity being a viable alternative platform. ICM is a prerequisite and the Comics class might make an interesting compliment.

Playful Communication of Serious Research

Taught by Lillian Preston

Exhibition design is the art of marrying experience and information. The best do so seamlessly; the very best surprise and delight you along the way. In this class you will explore the craft of interactive exhibition design through practice. Working in small groups, you will select an NYU researcher whose work is of interest to you and create an interactive experience that presents this research to a broader, public audience. In the process, you will learn to interrogate content and form, audience and environment, medium and message to create a meaningful and playful exhibit experience.

Open Source Cinema

Taught by Dan O'Sullivan

Have you you ever seen a movie set take over several city blocks with trucks and trailers, tents and an an army of crew members? Even in movies that rely more on special effects than location shooting you can see thousands of names roll by in the credits. Who can afford to tell stories that way? How can you interact with stories made that way? Stories told with motion pictures are the strongest tool for change in our culture and need to be in the hands of more people.

Tools like panoramic video might save the need to shoot on location by allowing directors to later change their shot angles. We will look at how depth cameras like the kinect can separate foreground elements like people and props from a scene so they can be rearranged or substituted. New scanning technology has made it easier creating 3D models instead of more immutable images and new abilities to realtime render those models is finding its way into small inexpensive devices. We will look at how story plots and sequences might be templated into reusable formulas for no experts to find dramatic arcs. Most importantly we will look at how these new elements are usefully addressable to be shared and compared in a way that pixels are not. You could find exactly how your story overlaps and intersects with other in a shared “space” of stories. Once filmmaking becomes a process of arranging shared elements within the frame instead of just sequencing clips, it could produce cultural advancements like what followed the analogous innovation of movable type in the printing press.

In the near term the aesthetic will likely be rough juxtapositions in the tradition of comics or storyboarding. The goal of this class is not to make the lives of professional film directors easier but rather empower the end user to be a director of a motion storyboard that may never be finished. While it is the mutability of “VR” tools that enable this class, the aim is towards democratizing conventional stories probably delivered on a conventional screen. This class will draw on ideas coming out of ITP’s “Consumer Light and Magic” research project so students will be expected to have a pioneering attitude. Student will have assignment to gather compose and distributes parts of a story. Examples will mostly be in javascript with Unity or Unreal being a viable alternative platforms.

This class used to be called "Prototyping Movies". This is a 2 credit course. Syllabus

One Story, Seven Ways

Taught by Elena Parker

Course Title – One Story, Six Ways – 7 Weeks

“A work of art is realized when form and content are indistinguishable. When they are in synthesis. In other words, when they fuse.” – Paul Rand

Storytelling – the rehearsal of a narrative in a structured and meaningful way – can take many forms. This class asks how each form in which you tell a single story changes the way that the audience receives that narrative. You will choose a public domain short story and iterate upon it in seven different media. We will examine how to leverage the unique tools of each medium to best communicate a narrative. How do you articulate a character differently in audio versus performance? What part of your narrative is better suited to physical expression? Are there aspects of storytelling that a image or game just do better? After choosing your short story, you will adapt it to performance, audio, image sequence, physical/installation and as a system or game. Along the way, we will look at outstanding examples of storytelling in each medium and examine how the authors fused form and content.

[mesalladelmon]

Fluxus was an international, interdisciplinary community of artists, composers, designers and poets during the 1960s and 1970s who engaged in experimental art performances which emphasized the artistic process over the finished product.[1][2] Fluxus is known for experimental contributions to different artistic media and disciplines and for generating new art forms.

[mesalladelmon]

el comprender se daba en funcion de las emociones mas que de la propia facultad de razonar

[mesalladelmon]

[mesalladelmon]

twin peaks sound analyse

[mesalladelmon]

Basara es solo un rotulo. Asi como en las peluquerias pone PELUQUERO, en las cubiertas de mis libros pone BASARA, y ademas tengo que pagar impuestos por ello.

Guia de mongolia

[mesalladelmon]

[mesalladelmon]

Una de la ilusiones capitales del Budismo es la del Yo. Estan de acuerdo con Schopenhaure, Hume y Macedonio Fernandez que negaron el Yo. Habria que pensar que no hay un sujeto, lo que hay son una serie de estados. Si decimos yo pienso estoy incurriendo en un error porque supongo un sujeto constante y luego una obra de ese sujeto que es el pensamiento. No es asi, habria que decir, decia Hume: no yo pienso sino sé piensa: Llueve; al decir llueve no pensamos que la lluvia ejerce una accion o el agua ejerce una accion no, esta sucediendo algo. Igual que hace calor, hace frio, llueve, se piensa, se sufre.

[mesalladelmon]

Obabakoak: Jean Baptiste Argous, Bernardo Atxaga

[mesalladelmon]

Hubo una vez un tipo al que no le apetecía oír nada porque todo cuanto oía le resultaba tedioso. Como es lógico, era una persona harto des- dichada, pues uno siempre oye algo, y ay de aquel a quien le desagrade. «En realidad todo lo que penetra en mi sensible oí- do me agradaría si lo calificara de saludable, de acertado, etc.», se dijo un buen día. Desde entonces se esforzó al respecto y, qué curioso, ahora le divierte escuchar, es decir, ha olvidado poco a poco darle importancia. Debido a que aquello le pare- ció bien, o al menos en cierto modo muy adecuado, adquirió la facultad de superarlo. Al haber aprendido a encontrar sim- páticos, es decir, oportunos, todos los sonidos, palabras, etc., dejó de retenerlos en la memoria, pues lo agradable se olvida casi siempre en el acto o muy deprisa, tan sólo lo desagradable se queda adherido o grabado en la mente. Por tanto, quien no quiera oír algo no debe pretender ignorarlo a todo trance, sino que debe apetecer dejarlo penetrar en su interior, pues sólo de ese modo volverá a esfumarse como si nunca hubiera existido. Lo que odiamos nos hechiza, nos domina, se acomo- da, se agazapa encima de nosotros, nos sume en el pavor casi a la manera de un castigo. También aquí un poco de alegría, de amor, vuelve a ejercer un papel liberador. El hombre que no quería oír nada se salvó porque abandonó un esfuerzo desme- dido que consistía en, tan pronto como oía algo, decirse con 26tono enérgico: «No oigo, no oigo ni gota». Se atormentó con esto mucho tiempo, pero en vano, y sólo una buena idea, una pequeña y astuta muestra de ingenio le preservó del abismo. Y es que amar, transigir tornan sabroso lo insípido, convierten una contrariedad en algo inherente a la vida, conveniente, en algo como es debido. Cuando no deseaba oír nada, lo oía to- do en demasía. A veces su furia aumentaba hasta convertirse en algo indescriptiblemente-violento-que-se-abatía-sobre-él. El motivo era que se le antojaba insoportable. Sin embargo, al aceptarlo, se convirtió en lo que era, ni más ni menos, lo acep- tó y dejó de aterrarle, le parecía algo radicalmente distinto. Pues una y la misma cosa no son iguales. Con una leve sonrisa lo grabó en su memoria

Peking by night

[mesalladelmon]

[mesalladelmon]

Al diablo con el ansia miserable de parecer mas de lo que se es

el paseo

walser

[mesalladelmon]

Un dialogo intermitente. Sonidos ambientales que se superponen y no dejan oir una limpia conversacion. Cada uno vive en un color cromaticamente cercanos. La fina linea del parabrisas no les deja vivir en el mismo plano.

Al cambiar el eje eleva la tension y el teleobjetivo duda unos segundos dejandola a ella sola hasta encuadrarles juntos y cuando por fin, la division cromatica desaparece y se igualan en tono y podemos verles juntos, cerca, apunto de ser casi uno, un coche decide inoportunamente quemarles los rostros con los faros. Un fundido fantasmagorico les hace desvanecerse.

Intermitencias

Lola

Fassbinder

[mesalladelmon]

[mesalladelmon]

prohibido mirar lejos, tener amplitud de miras, fantasear, esperanzarse. aprender a soportar las perdidas.

el arte de ser un cero a la izquierda, ser una persona comun y corriente: tener la voluntad de desaparecer, un deseo de ser nada, ser insignificante, una busqueda de la humildad un cultivo de la espera, combatir el aburrimiento prestando atencion a la vida y sus pequeños detalles frente a deseo de ser alguien, de tener exito, el propone ser un cero a la izquierda. Ir desapareciendo hasta ser insignificante y apartir de ahi empezar a disfrutar de los pequeños detalles de la vida. Convirtamonos poco a poco en ceros a la izquierda para ser mas feliz y ocupar nuestra mente con lo que realmente importa: vivir intensamente los pequeños detalles de la vida

jakob von gunten