DXARTS 198: Digital Art Seminar, Digital Improvisation

INSTRUCTOR INFORMATION

Hugo Solis

hugosg@u.washington.edu

Phone: 206 616 7559

Office: Raitt 131, Center for Digital Arts and Experimental Media (DXARTS)

DESCRIPTON OF THE COURSE

This Discovery Seminar will introduce students to state-of-the-art digital techniques and tools for computerized improvisation. The objective of the seminar is to provide an opportunity to explore, study, and analyze the experience of improvising time-based digital art production using a practical and experimental approach, and supported within a theoretical background. This seminar is focused on, but not limited to, audio and audiovisual digital improvisation.

Class sessions will involve lectures, demonstrations, practical assignments, and constant hands-on experimentation. The practical section is divided into a set of exercises. Each exercise explores different areas of the improvisatory paradigm such as extemporization, intuition, spontaneity, flow, free association, deautomatization, and unpredictability. Some of the exercises will be developed in the DXARTS Lab where students will use advanced digital technologies for the realization of the monitored lab exercises. Other activities involve the acoustical or visual intervention of particular locations around the ?university village? such as the campus's green areas, the Quad, and Red Square, and also around Seattle. In the theoretical section, key historical examples, current production, concepts, and suitable technologies are examined, studied, and discussed. This section contains in a nutshell an introduction to computer programming, digital sound, audio recording end editing, and digital imaging.

This course can be used toward completion of the Visual, Literary, and Performing Arts (VLPA) requirement.

Meets: M-Th from 9:30-12:30

Location: Raitt Hall (RAI) 117, 105, 129

Course code: DXARTS 198 A, Digital Arts Seminar: Digital Improvisation.

Course website: http://www.dxarts.washington.edu/courses/198a/

Course mailingList: dxarts198a_au08@u.washington.edu

Works dropbox: https://catalysttools.washington.edu/collectit/dropbox/hugosg/3055

Music server: http://hugo.dxarts.washington.edu:8888/

TEXT BOOK(S)

There is not a single –or even few books- that covers all the topics we will explore with the different approaches we will have on class. Therefore, all the readings –chapters of books, articles, papers, and reviews- will be distributed as PDF files during the course.

There are a couple of books that are not mandatory but are good not only for this course but also for many courses if you decide to take more classes at DXARTS or you get interested in the field. These are:

- Information arts; intersections of art, science, and technology. Stephen Wilson. MIT Press. 2002.

- Digital Performance; a history of new media in theater, dance, performance art, and installation. Steve Dixon. MIT Press 2007.

Another good source of documents in the field is the Leonardo Journal. http://www.leonardo.info/. http://www.jstor.org/ is a organization with a huge collection of Leonardo Journal documents.

COURSE FORMAT

The dynamic of the standard class is in general terms as follows: Two activities of one hour and a half each, from 9:30 to 11:00 and from 11:00 to 12:30. If a small break is required 5 to 10 minutes pause divide both activities. One activity is theoretical and the other is practical. In the theoretical part discussions of readings, screening and commenting of videos, listening and commenting of audio works, and group discussions are planned. In the practical part exercises are planned focused on a particular topic, programming language, technique, or tool.

There will be several small assignments during the course. They will not be long or extensive but are important for the well development inside class. They include writings, readings, and hand-on exercises.

Three outdoor activities are programmed during the course. The first one is an acoustic intervention at the University of Washington at normal course time. The second is a visual intervention at the University of Washington. It will be realized at night because of lighting requirements. The last and longer activity is an audiovisual intervention all around Seattle. It is planned for the last Tuesday of the course if weather is good. It will be an all day activity touring several places around Seattle. These activities are the artistic objective of the course and the place where all the effort and learning will be materialized. It is important to let me know ASAP if you won't be able to attend to them.

COURSE SCHEDULE

Soon...

FINAL PROJECT

LIST OF POSSIBLE PLACES
Music Project building
Fountain in Seattle Center
Wall of dead
Safeco building
Back of RaitAid at U Ave.
Seattle Public Library
Pike Market
Space Niddle
White Wall at the Stadium
Sculpture Garden
Bridge Montlake
Locks
Golder Gardens
Acuarium
Zoo
Gas Works Park
Seattle Art Museum
University Village
Freemont Troll

POLICIES AND EVALUATION

As you will realize during the development of the course, the course requires group work, collaborative skills and self-motivation. There will not be a final exam (you will have many during your stay at UW) but there will be a constant –and serious- evaluation of your contributions and skills development during the course. That is, grading will be based on: concept and execution of projects, class participation, personal investment in work, and demonstrated growth over the course of the quarter. Completion of all projects in required for a passing grade, as is regular attendance.

Projects / Assignments 60%

Participation in class, critiques, and group discussions 40%

3.9 - 4.0 (A) Superior performance in all aspects of the course with work exemplifying the highest quality. Unquestionably prepared for subsequent courses in field.

3.5 - 3.8 (A-) Superior performance in most aspects of the course; high quality work in the remainder. Unquestionably prepared for subsequent courses in field.

3.2 - 3.4 (B+) High quality performance in all or most aspects of the course. Very good chance of success in subsequent courses in field.

2.9 - 3.1 (B) High quality performance in some of the course; satisfactory performance in the remainder. Good chance of success in subsequent courses in field.

2.5 - 2.8 (B-) Satisfactory performance in the course. Evidence of sufficient learning to succeed in subsequent courses in field.

2.2 - 2.4 (C+) Satisfactory performance in most of the course, with the remainder being somewhat substandard. Evidence of sufficient learning to succeed in subsequent courses in field with effort.

1.9 - 2.1 (C) Evidence of some learning but generally marginal performance. Marginal chance of success in subsequent courses in field.

1.5 - 1.8 (C-) Minimal learning and substandard performance throughout the course. Doubtful chance of success in subsequent courses.

1.2 - 1.4 (D+) Minimal learning and low quality performance throughout the course. Doubtful chance of success in subsequent courses.

0.9 - 1.1 (D) Very minimal learning and very low quality performance in all aspects of the course. Highly doubtful chance of success in subsequent courses in field.

0.7 - 0.8 (D-) Little evidence of learning. Poor performance in all aspects of the course. Almost totally unprepared for subsequent courses in field.

0.0 (E) Complete absence of evidence of learning. Totally unprepared for subsequent courses in field.

STUDENTS WITH DISABILITES

Students with disabilities in your classroom are expected to contact Disabled Student Services (DSS) to develop a plan for meeting their needs. They are responsible for letting you know that they have a disability and requesting accommodations in a timely manner. Students should have a letter from the Director of DSS verifying their disability and outlining the accommodations that have been approved based upon the impact of the disability.

USE OF ELECTRICITY

Some aspects of this course deal with discussions and concepts that can use electricity or electronics as possible components in there solution. Though some basic background is given in relationship to the safe and effective use of electronics in art, this is not an electrical engineering course and the University and instructor assume no liability in its use by students. This course assumes students involved in the use and fabrication of electrical and electronic components in their work have familiarity or prior knowledge in using electricity. It is assumed students will always use the best judgment possible and will never attempt electrical work that is beyond the scope of their technical expertise or understanding. Use of electrical or electronic components is in entirely elective, and in no way mandatory for effective completion of the course. Students assume all liability in its use, and are entirely responsible and culpable for using electricity safely.