Workshop: Day 3

Day 1, Day 2, Day 3, Day 4, Day 5, Day 6, Day 7, Day 8, Day 9, Day 10, Day 11, Day 12, Day 13,
Day 14, Day 15, Day 16, Day 17, Day 18, Day 19, Day 20, Main

Video Solution We continue mounting projectors/etc. N makes list of possible violence/political images from her Interplay: Hallucinations Jitter patch (made in B's class) to export 320x240 for B’s computer. (K selects videos: applause.mov, bobo.mov, bushgroup.mov, flaming sword.mov, donotent.mov, flag2.mov, lincolnprts.mov, monuments.mov, violence.mov, whitehous.mov) Selecting Video Sense of booth or back of house, most data on main screen into and out of Brandon’s computer. B's point of view of the action. Fire: K tells us to make a sound of a hamburger sizzling, (VCD?), other elements to include a Bush trigger, B’s fire motion tracking, Vicki monologue voice-over, and an animated/video sequence words-fire-boom. Working out the kinks. N was pushing for something to happen with sound according to K’s talk about using motion triggered sounds of Bush’s voice. P and others tell N no, they decided Mk would not use interactive sound on Monday. I tell Mk that I misunderstood what was going on from what I heard from K. I thought they were still doing sound and I didn't’t care if it was his media that was used, just so that the technology is set up so that tap and motion are available for sound or video in Fire or Water--even with placeholder media (N explains to him that files can easily be swapped in and out of a patch whether sound or video, no big deal). Crisis mended, N makes nice to B--but feeling miffed that she was put in the middle of artistic choices vs. technical abilities confrontation. (The situation felt very Boys vs. Girls with N speaking up for K's creative interests while she was on the phone half way across room, and the boys Mk-A-P-B were all very anxious about doing the least amount of effort/stress when it comes to building the tech). N feels frustrated she has to translate from Art to Tech– the only one who has seen the two function together in an interactive performance space before (ASU's intelligent stage etc.). N knows the importance of setting up a space for art-tech play to become performance and later refined.