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Syllabus2011Main.Syllabus2011 HistoryHide minor edits - Show changes to markup August 30, 2012, at 05:11 PM
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New Interfaces for Musical Expression
Assignments and ReadingsWhile the central purpose of this class is to produce and perform an instrument, there are a number of assignments and readings that are also required. These are designed to bring clarity, structure, and inspiration to the process. The assignments and readings are always due the week after they are assigned (i.e. the next class). WorkshoppingIn order to support an iterative instrument-design and composition process, everyone is encouraged to bring works-in-progress to class each week for demonstration and feedback. Also helpful will be questions, thoughts and discoveries for us to discuss as a group. Preparing for the showOne of our collective tasks for the semester will be preparing for the concert at the end of the semester. There will be a number of tasks to be taken care of, including choosing a venue, making a poster, creating a program, promotion, etc. Performance CritiqueFrequently, we will watch a performance then critique it. The point is to focus on what is happening in the performance rather than whether we liked it or not. The discussion can cover any topic, with the emphasis being on what can be gleaned about music composition and performance. Rather than statements like, “I liked it” or “it sucked,” focus should be placed on the the factors that contribute to your aesthetic reaction. The composition, timbres, the performance itself, how the parts relate to the whole, whether the gestures fit with the sound, etc. This kind of critical mindset can be very valuable for developing a keen sense of listening, though it can be a bit difficult to learn at first. Performance PlanStarting on week 9, create your performance plan. The key idea is to map out how your performance will proceed – how it will begin, how it will unfold, and how it will end. This material needs to be handed in on paper. Use the performance planning strategy that makes the most sense for your piece and for your instrument.
BE ABLE to close your eyes and walk through your whole performance from pre-beginning to post-end. Rehearse it on the subway train, when you’re walking. The key for each rehearsal, real or imagined, is maintaining continuity. Do not stop or let it be interrupted. It can fast or glacially slow, but it must be continuous. Grading Criteria:
Laptops in ClassLaptops are awesome, but they are very effective instruments of distraction. Everyone benefits if we all pay attention. In general, when you use your laptop during class it should be in order to support or enhance the class experience. During discussions and when your fellow students are talking, please be respectful of everyone's time and sense-of-purpose and close the lid. If you are using your laptop, you may be asked to close the lid. Weeks 1-6: Concept Development(9/6) Week 1: The Role of Music in Everyday LifeIntroductions. Info about the class. Discussion about building instruments in one week. Discussion about the elements of musical composition. Performance Critique: Michael Waisvisz - the Hands, @ NIME'03 in Montreal Performance Critique: Ariel Nevarez - Mimbre, @ ITP NIME SHOW '09 in Brooklyn
(9/13) Week 2: Musical Instrument presentations.Also: Overview of physics of sound. Discussion of the Theremin.
(9/20) Week 3: Introduction to Pure Data (PD)... with special guest Hans-Christoph Steiner. Bring your laptops to class and make sure you have PD installed beforehand:
Performance Critique: Scribble
(9/27) Week 4: Presentations of your musical instruments.Discussion about the upcoming concept Presentations. Also: We look at the larger ‘problem’ of human computer interaction design, set in the context of the history of human factors engineering. We consider Bill Verplank’s progression of design systems that better factor in human participation from making them safe to effective to efficient to satisfying. We then look at the special challenges of musical interface design, and the difference between “button” and “handle” controls. Performance Critique: Wheel Experience - Younnat [3min]
(10/4) Week 5: Concept DiscussionsPerformance Critique: Effet Papillon - Mylene Benoit / Cie Contour Progressif (local mirror) [9min] (10/18) Week 6: Concept Presentations 1This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.
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(10/25) Week 7: Concept Presentations 2This class is devoted to 1/2 of the classes’ concept presentations. Students in the class present the idea they will be implementing during the term. Each presentation will be limited to 15 minutes.
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Scott Gursky has over 10 years experience designing visual material for multi media. Starting in 1999 he worked designing interactive web sites at Magnet Interactive in Washington DC for clients like General Mills, Discovery Channel, and Harley Davidson. In 2001 he made the move to New York city and became a freelancer, working on a wide variety of projects including t-shirt design, editorial illustration, backgrounds for cartoons, as well as animations and user-interface design for many online games. He has worked with clients such as Cartoon Network, Disney, Electronic Arts, LEGO, Nickelodeon, and VH1, and has designed visuals for television, online, and mobile technology.
Scott has a BFA in Illustration and an AAS in Industrial Design from R.I.T. He has given presentations of his work to undergraduates at the School of Visual Arts in New York and to graduate classes at Hongik University in Seoul Korea.
In tandem to his design pursuits, Scott has been playing drums in various bands since he was a teenager. He is currently the drummer of the Brooklyn band Obits, who released their debut album I Blame You on Sub Pop records in March 2009.
As soon as I finished art school in Ohio, I took my portfolio and moved to Tokyo. Didn't speak the language, had no connections. Within three weeks I found a job working for independent art director Katsumi Asaba.
Two years later, having taught myself Japanese and Photoshop, I left Asaba's office and started my own company in Tokyo. I stayed there for 10 years, working as a consultant on advertising, branding, interactive and design. I worked on projects for Sony, Nintendo, Uniqlo and NTT DoCoMo, and worked with agencies including Weiden+Kenndey, Dentsu and Hakuhoudo.
In 2000, I moved to New York, where I've been freelancing for advertising and branding agencies including BBH, Mother, Wolff-Olins, and The New York Times.
In 2007 I began collaborating on a series of building design projects with architect Adrian Barrios, one of which was recognized by the American Institute of Architects and has been published as part of their Emerging New York Architects series.
In 2003, 4 friends and I opened the Riviera gallery (www.seeyouattheriviera.com) in Williamsburg. For the next six years, we operated it as a side project, a free artistic inspiration to complement our day jobs. We closed it at the end of 2008. My latest independent curatorial project was a show of 5 second videos: Super Short Video (www.supershortvideo.com)
Weeks 8 - 11: Prototype Development(11/1) Week 8: Physical Computing for NIMEAfter hearing the class presentations from the last two weeks, we respond to the ideas, with case studies of similar directions, different approaches to implementation. Performance Critique: Daedelus - Live in San Antonio - Outtro (local mirror) [2min]
Physical computing methods for getting the full potential out of sensors and responsive outputs from electronics. Performance Critique:
(11/8) Week 9: Studio Class – Performance PlanningPerformance Critique: vienna vegetable orchestra (11/15) Week 10: Prototype UpdatesGuest Presentation: Lesley Flannigan In this class, students will give brief updates of their musical interface prototypes, in a forum for class/instructor evaluation and feedback. (11/22) Week 11: WorkshopFull class workshop.
(11/29) Week 12: Final Critiques Whole Class (Class will run long: 6:30 - 10)Brief Formal Presentations for Guest Critics (12/6) Week 13: Dress Rehearsal 6:30-midnightAll NIME projects are required to be on the ITP floor during this period. We will review each project, assess all staging and technical requirements for the performance, and gather information to generate the running order for the final show. NOTE: You can have your project anywhere you want on the floor - it must be functioning and making sound. We will do a full run-through of concert. Pizza will be served. (SUNDAY 12/11) Week 14: The Show - ALL DAYMANDATORY PERFORMANCE AT PUBLIC VENUE on December 11This will require you to be available for set up. The performance is scheduled for Sunday, 12/11, 8-11pm: |