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# Record a track. See Tim Knowles Mail Art projects for inspiration. Upload result here [[/assignment one/]] | # Record a track. See Tim Knowles Mail Art projects for inspiration. Upload result here [[/assignment one/]] | ||
# Editing OSM. Contribute useful (and/or less useful) data to the OpensStreetMap Project [[/assignment two/]] | # Editing OSM. Contribute useful (and/or less useful) data to the OpensStreetMap Project [[/assignment two/]] | ||
# Basic motion detection patch with [[Pure Data]] See [http://flying-lotus.com/fieldlines Flying Lotus' Fieldlines] for inspiration [[/assignment three/]] | |||
# Sonification of movement using the eyecon tracking system and Pd [[/assignment four/]] | |||
# [[/Final project/]] | |||
==Registration procedure== | ==Registration procedure== | ||
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* 04.12.2010 10:00-18:00 Workshop with Frieder Weiß, introduction to eyecon | * 04.12.2010 10:00-18:00 Workshop with Frieder Weiß, introduction to eyecon | ||
* 05.12.2010 10:00-18:00 Workshop with Frieder Weiß, advanced eyecon | * 05.12.2010 10:00-18:00 Workshop with Frieder Weiß, advanced eyecon | ||
* 09.12.2010 Assignment with Robert Wechsler: | * 09.12.2010 Evaluation. Assignment with Robert Wechsler: | ||
:This workshop focuses on exploring methods of using human motion as a real time controller in interactive installations and performances. It does not concern the sensors, so much as it does the mapping. There are many ways to map a movement-to-media, but the truth is most of them result in pieces that are interactive in name only, that is, they function from a technical standpoint, but fail to give the audience a very strong sense that the action and media are coupled. By looking at the question from a kinesthetic or choreographic standpoint – i.e. what are the parameters of human movement that we care about – we can learn to design interactive pieces that play with spontenaeity and synaesthesia. | :This workshop focuses on exploring methods of using human motion as a real time controller in interactive installations and performances. It does not concern the sensors, so much as it does the mapping. There are many ways to map a movement-to-media, but the truth is most of them result in pieces that are interactive in name only, that is, they function from a technical standpoint, but fail to give the audience a very strong sense that the action and media are coupled. By looking at the question from a kinesthetic or choreographic standpoint – i.e. what are the parameters of human movement that we care about – we can learn to design interactive pieces that play with spontenaeity and synaesthesia. | ||
* 16.12.2010 Sonificaton. All things Sound. | * 16.12.2010 Sonificaton. All things Sound. | ||
* 06.01.2011 | |||
* 13.01.2011 | * 13.01.2011 | ||
* 20.01.2011 Assignment results: Part two with Robert Wechsler | * 20.01.2011 Assignment results: Part two with Robert Wechsler | ||
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==Links== | ==Links== | ||
* [https://mg.medien.uni-weimar.de/mailman/listinfo/keeping_track Keeping Track class Mailinglist] | |||
* [http://www.youtube.com/watch?v=hoeZxd2cPFM Workshop mit Frieder Weiß] | |||
* [[GPS]] – positioning and mapping | * [[GPS]] – positioning and mapping | ||
* [[Mapping]] | * [[Mapping]] | ||