module specification

This is a subject discipline module, which explores the basics of interactive arts technologies. The focus will be on the package Cycling 74 Max (cycling74.com). From the basic programming with audio and video playback, to principles of controlling data flow, the basic sets of objects for processing numeric data, audio stream, Jitter matrix and Open GL will be studied. Adobe Photoshop and Illustrator will be studied to provide the basics for image construction.
The module considers the creativity of the inquiring student at its core for the investigation on innovative ways to manipulate sound in real-time, or the development of innovative designs on interactive media.

By experimental approach it acquaints students with the perceptual aspects of working in music combined with arts, and examines current research in this area to help build a repertoire of reference works. At this level, the student selects a project from a menu of choices: interactive installations, acoustic instruments with real-time audio processing, interactive games, or live sound systems; a wealth of possibilities is opened and shall be explored through engagement with chosen practical projects. Critical listening and seminar discussions will also be part of the module. At the end of this module the student will have completed an interactive piece of work through experimentation, problem-solving, in a continuous growing learning curve.

This module is restricted to BA Creative Music Technologies students only

BA Creative Music Technologies only

The module aims are:

1. To acquaint students with a new project approach thinking beyond linearity, achieving a basic level of designing and programming with object-oriented language.
2. To explore how visual and auditory phenomena are interpreted and perceived and the modes of interaction between them within the physical space.
3. To examine the relationships between the different materials and languages and their representation within software package Cycling 74 Max.
4. To integrate creative, technical and critical learning and skills in the field of interactive arts.
5. To enable students to apply the acquired knowledge to their chosen specialism in the form of practical interactive projects.

The module consists of the following subjects:

• Basics of interactive arts
• Theory, production, and literature
• Reference works & history
• Cycling 74 Max
• MIDI data and controllers
• MSP – real-time audio
• MSP – Audio Processing
• Jitter matrix
• Jitter – real-time video effects
• Jitter – 3D/2D vector graphics
• Jitter – OpenGL rendering
• Adobe Photoshop and Illustrator
• Audio/Video Input
• Audio/Video Interaction
• Signal workflow
• User interface

The first part of the module will provide students with the basics on the subject of interactive arts, and will be delivered through lectures/seminars and in-class software demonstrations. A repertoire of reference works will be studied and critically discussed to help contextualise current practices on the subject domain of interactive arts.

In the subsequent part of the module, students will conduct practical investigations on the package software Cycling 74 Max exploring the basics of the software language, supported by workshops and seminars. The different materials and particular elements of the software will be accompanied by practical exercises throughout. The main practical stage of the work will be studio immersive and students will dedicate most of their investigative time in the computer labs.
The module will examine the different representation for numeric data, sound stream, graphic matrix, and Open GL. Signal flow is an important concept and modular replaces linear on the thinking process when programming and designing an interactive project. Knowledge acquired in other modules — Composing with Technology and Studio-Based Production Technologies — will be of great value for the production of sound materials. The practical outcomes should translate a concise integrated experience on the domains of creative music technologies.

The learning and teaching strategy for this module is to place the emphasis on learning through practice. Lecturers will be available for consultation and for a schedule of progressive tutorials and feedback. Throughout the module, learning will be supported by use of on-line tools, reference websites, as well as handouts and other documentation published on Weblearn.

The main assessment item is a final piece of interactive installation or sound and visual compositions in real-time. Experimental exercises will punctuate the learning experience along with formative feedback. The main project submitted in the end should include an individual report of 2000 words describing the entire process involved in the practical stages of conception, programming and production of a new interactive work. This report provides students with the opportunity for reflective learning practice.

On completion of this module, students should be able to:

1. Achieve a basic level of designing and programming with object-oriented language.
2. Relate theoretical analysis to workshop, laboratory practice, and interactive live contexts through experimental and investigative work.
3. Demonstrate a broad knowledge base with respect to the interactive arts applied to the conception and creation of practical outcomes.
4. The ability to discuss their work using appropriate terminology and forms of presentation.
5. Demonstrate familiarity with the context of interactive arts, both within artistic and technological foundations and its broader critical, cultural, historical and ethical background.

In order to test students' understanding of both the theoretical and practical elements of interactive arts, and to meet the learning outcomes, the assessment is laid out as follows. The first half of the module will be assessed by compiling a portfolio of individual short exercises, covering the more experimental stages of learning the package software Max. This portfolio of exercises should include an individual report of 1000 words.
Regular formative feedback will be provided to support students to learn, change and improve.
The focus will be devised according to the student’s approach, and on which students will receive substantive formative feedback. The summative element of the assessment will consist of a final piece of interactive program (for example, an interactive installation, an audio/visual real-time composition, an interactive game, or a real-time sound processing on an acoustic instrument). The practical outcome should be accompanied by a technical report, whose content will be informed by the theoretical knowledge and practical experience gained throughout the module.

Work will be assessed against the learning outcomes in relation to the following criteria:

• Appropriate use of the programming tools
• Quality of analysis and interpretation of reference works
• Subject knowledge and relevance of the core element of interactivity
• Appropriate use of problem solving, testing and experimentation
• Quality of communication and presentation of the technical report
• Management of own learning and personal professional development

Assessment across modules in same level will be coordinated and integrated, so that learning outcomes for each module are assessed separately and, also, learning from one module is transferred to other modules.

The assessment load complies with the Faculty’s assessment tariff.
Assessment will be based on 100% coursework.

Breder, H., ‪Busse, K-P‬‬‬‬‬‬‬‬‬ (2005) ‪Intermedia: Enacting the Liminal, BoD – Books on Demand‬, Dortmunder Schriften zur Kunst‬‬‬‬‬‬‬‬‬
Cipriani, A., Giri, M. (2010) Electronic Music and Sound Design –
Theory and Practice with Max/MSP – Vol. I
Dixon, Steve (2007), Digital Performance, A History of New Media in Theater, Dance, Performance Art, and Installation
Faulkner, M. (2006) VJ: Audio-visual Art + VJ Culture, D-Fuse, Laurence King Publishing
Packer, R. & Jordan, K. (2002) Multimedia: From Wagner to Virtual Reality, Norton, Available online at: www.w2vr.com/Book.html
Paul, C. (2002) Renderings of Digital Art in: Leonardo, Vol. 35, No. 5, Tenth Anniversary New York Digital Salon, The MIT Press
Winkler, T. (2001) Composing Interactive Music: Techniques and Ideas Using Max, MIT Press
Adrien M & Claire B: www.adrienm.net/projets
Cycling ’74 Articles: cycling74.com/category/articles
Cycling ’74 Projects: cycling74.com/project
Natasha Barrett: www.natashabarrett.org/installations.html
PAJ, a Journal of Performance and Art, The MIT Press: www.mitpressjournals.org/loi/pajj
Each student group will have access to online resources, including Weblearn and Google groups. These are seen as forums for sharing information, discussion and learning.
In addition, module booklets will direct students to reading material that supports and broadens learning with extra bibliography for particular groups and individual projects.