2009-08-13T03:31:56Z tag:,2009:: USC Interactive Media Division 2009-08-13T03:31:56Z 2009-08-13T03:23:26Z tag:,2009-08-13:interactive.usc.edu/members/ekennerly/:142 2009-08-13T03:23:26Z

ekennerly http://interactive.usc.edu/members/ekennerly/ Runesinger is a PC prototype of a serious game to practice speaking and spelling Korean. What's particularly innovative, is that the rules of the game embody the rules of language. Likewise, the animation and Andrea Chang's delightful music maps the Korean phonics.

This demo has been on tour to conferences around the world: New York, Amsterdam, Singapore, and the final stop at the end of this month, in London. These conferences hosted this educational game: TCETC, INTETAIN, ISAGA, and IEEE-GIC. In September, check back to download the demo. ]]> 2009-03-18T14:38:42Z 2009-03-18T14:05:15Z tag:,2009-03-18:interactive.usc.edu/members/arodriguez/:136 2009-03-18T14:05:15Z

arodriguez http://interactive.usc.edu/members/arodriguez/ , THESIS
http://www.easportsactive.com/home.action]]> 2009-01-19T23:36:00Z 2009-01-18T15:12:34Z tag:,2009-01-18:interactive.usc.edu/members/arodriguez/:136 2009-01-18T15:12:34Z

arodriguez http://interactive.usc.edu/members/arodriguez/ , THESIS
]]> 2009-01-18T15:11:57Z 2009-01-18T14:52:21Z tag:,2009-01-18:interactive.usc.edu/members/arodriguez/:136 2009-01-18T14:52:21Z

arodriguez http://interactive.usc.edu/members/arodriguez/ , THESIS ]]> 2009-10-26T18:34:36Z 2009-01-08T11:45:21Z tag:,2009-01-08:interactive.usc.edu/members/abalsamo:67 2009-01-08T11:45:21Z

abalsamo http://interactive.usc.edu/members/abalsamo CTIN 594B: Advanced Interactive Project

Spring 2009

Location: IMD Student Studio Space
Time: Wednesdays 1:00 – 4:00 pm

Anne Balsamo
abalsamo@cinema.usc.edu
Office: IMD Co-Design Lab (Flower Street)
Office Hours: 11-1:00 Wednesdays, or by appointment
415-336-3138 (mobile)


Course Description and Goals

CTIN 594b is the second half of CTIN 594ab, a two semester sequenced course in which third year IMD MFA students are to complete the concept development, production, final documentation and testing of an advanced interactive project culminating in a thesis paper, presentation, and final show. While each project may have several students working in different production or programming capacities, all final controls and decision-making will be the responsibility of the enrolled third year MFA candidate. Along with the faculty supervisor, each MFA candidate student should have already compiled an approved Thesis Committee consisting of a Thesis Supervisor and at least two other participants. The advanced project is not only a portfolio project which demonstrates the student’s technical, creative and managerial skills in creating an interactive project, but also should provide a significant contribution to the body of existing interactive media works.

Final deliverables include:
• Completion of thesis project that includes full functionality and final content;
• Exhibition of thesis project in a project-specific venue;
• One internal and one public presentation of their thesis project;
• Final draft of a thesis paper suitable for publication.

The thesis project is expected to both a technical and a creative achievement that integrates the exploration of new and novel media technologies with compelling and expressive content. Although the lines between technology and content are complex, students are expected to be mindful of both elements and will be assessed accordingly.

Students are further expected to be responsible for documentation and articulation of their thesis project into the corpus of academic scholarship, to both demonstrate “on whose shoulders” their work is built and to “leave a trail” for others pursuing similar work. Students will accordingly be assessed for the contribution in the field through their ability to exhibit, present, and write about their thesis project.

Students are expected to have regular contact with each member of their Thesis Committee, sending them email updates at least once a month through the course of the semester. Students are expected to meet together weekly for production updates and for sharing common information. They are also expected to attend the weekly 511 seminars.

Grading Structure
Grades will be assigned after completion of the project at the end of the second (b) semester as follows:
Creative Execution.................................................................25%
Technical Execution................................................................25%
Contribution to Field...............................................................25%
Collaborative Contribution and Participation in Final Show.................25%

Attendance
Attendance at all classes is mandatory. Punctuality is also expected. Two unexcused absences may lower one's grade a full point while three unexcused absences may lower one's grade two full points. Four or more unexcused absences may result in a request by the instructor for the student to withdraw from the course.

Class Meetings
Students will initially meet weekly as a group during the allocated class time, for lectures, presentations, and discussion. As the semester progresses, the allocated class time may be tailored more for one-on-one meetings and for studio-style work.

USC Supplied Facilities
USC will supply lab space and facilities as available. Generic computer hardware and software and internet access will be provided as available. Students will be required to secure and supply at his or her own expense all project specific hardware, software, bandwidth, etc. as well as non-USC supplied facilities if required

Ownership
Consistent with the policies of USC and the School of Cinematic Arts.

Additional Crew Members
Students may use additional crew members not enrolled in CTIN 594b subject to the approval of faculty. It is specifically intended that students seek out qualified students in other programs and other schools at USC who might bring unique and needed skill to the creative process. It is also intended that students seek out first or second year Interactive MFA students. All projects are required to keep an updated approved crew list that will determine access to USC supplied facilities and equipment.

Missing an Exam, Incompletes
The only acceptable excuses for taking an incomplete in the course are personal illnesses or a family emergency. Students must inform the professor before the final exam week and present verifiable evidence in order for make-up evaluation to be scheduled. Students who with to take incompletes must also present documentation of the problem to the instructor before final grades are due.

Academic Integrity
The School of Cinematic Arts expects the highest standards of academic excellence and ethical performance from USC students. It is particularly important that you are aware of and avoid plagiarism, cheating on exams, submitting a paper to more than one instructor, or submitting a paper authored by anyone other than yourself. Violations of this policy will result in a failing grade and be reported to the Office of Student Judicial Affairs. If you have any doubts or questions about these policies, consult “SCAMPUS” and/or confer with the Professor or Department Chair.

Students with Disabilities
Any student requesting academic accommodations based on a disability is required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP. Please be sure that the letter is delivered to the Professor as early in the semester as possible. DSP is located in STU 301 and is open 8:30am – 5:00pm, Monday through Friday. The phone number for DSP is (213) 740-0776.

Thesis Paper and Project Deadlines

CLASS SESSIONS /KEY ACTIVITIES/DELIVERABLES

1/14/09
First Day of Class
Discussion on Thesis Preparation Process


1/21/09
Meet w/Space Designer
Production Plan Document Assigned
Go Over Thesis Paper Outline

DELIVERABLES:
Project Title
Project Descriptions


1/28/09
Crit #1
Guest Critics TBD
SET Drop dead date for user testing (3/4/09)

DELIVERABLES:
Production Plans Due
Upload onto class wiki


2/4/09
Crit #2
Guest Critics TBD

DELIVERABLES
Thesis Paper Outline Due
Detailed Production Schedule
Contribution to Field
Prior Art Identified
Example of Relevant Genre as Publication model


2/11/09
Crit #3
Guest Critic: Michael Renov, Assoc Dean, SCA
Hands On User Testing


2/18/09
Crit #4
Guest Critics TBD
Hands On User Testing


2/25/09
Crit #5
Guest Critics TBD
Hands on User Testing

DELIVERABLES
Draft #1 of Thesis: Distribute to Thesis Advisor and Committee members


3/04/09
Individual Meetings w/Anne regarding research


3/11/09
Project Team Meetings
Obtain Feedback from Thesis Advisor

DELIVERABLES
Detailed Production Updates
Thesis Show Submission Doc


March 14-22, 2009 Spring Break

March 23-27, 2009 GAME DEVELOPERS CONFERENCE


3/25/09
Thesis Papers Uploaded

DELIVERABLES
Thesis Paper DUE


3/30/09 Formal Thesis Presentations 9:30 am until its done

NOTE: IMD Faculty will determine Thesis Show participants based on progress to date


4/1/09
Determine Show Title
Look N Feel
Architectural treatment
Art work/Signage

DELIVERABLES
Final Titles
Key Image Provided
Final Text for handouts

SPACE CLEAN OUT/All Hands Clean Up


4/8/09
Final Space Treatment
Demos of Show Application
Finalize all art/PR materials

DELIVERABLES
Detailed Equipment List


4/15/09
Move into Lucas Gallery
Determine light/sound issues

DELIVERABLES
Final Lock of Application
Show Application Done


4/22/09
Continue Space Transformation


4/29/09
Dry run with real technology
Drop Dead Day
Demo in Exhibit Space


5/6/09
Final Show Preparation
Final Exam Week
Handouts created


May 9, 2009 Thesis Show Opens

May 9-14, 2009 Final Thesis Show
Formal Presentations of Thesis Projects during show

5/14/09
Thesis Show Closing

5/15/09
Commencement
]]> 2009-01-02T08:27:49Z 2009-01-01T17:19:06Z tag:,2009-01-01:interactive.usc.edu/members/mchuri/:131 2009-01-01T17:19:06Z

mchuri http://interactive.usc.edu/members/mchuri/
Lately I've been playing with stereocards as the potential backgrounds for The Tree. After discovering the piece of Ash that we will use for the physical interface I started thinking about how we can use the largest ring - the one with the bark - to control the backgrounds (the environmental history). Today I created a background using the stereocards. I am experimenting with the idea that the backgrounds could be controlled by the largest ring - moving in a circle much like the smaller "memory" animations that would match up with the figures in the background.

Tree History Panorama

]]> 2008-12-26T21:16:59Z 2008-12-26T21:12:35Z tag:,2008-12-26:interactive.usc.edu/members/mchuri/:131 2008-12-26T21:12:35Z

mchuri http://interactive.usc.edu/members/mchuri/
We can make 4 or 5 rings out of the two slices. The diameter being between 12 and 13 inches.

These are beautiful pieces of wood. The rings are defined and the colors are rich. We also found two slices of maple - which is a harder wood - but the rings were not as strong and the colors muted. Hopefully the Ash will be strong enough to withstand the cutting process.]]> 2008-12-21T10:48:10Z 2008-12-21T10:29:09Z tag:,2008-12-21:interactive.usc.edu/members/mchuri/:131 2008-12-21T10:29:09Z

mchuri http://interactive.usc.edu/members/mchuri/ previous post I wrote about the physical interface prototype. Today I am working on the backgrounds for the animations.

I've been experimenting with different backgrounds. I've done some pinhole photography and some flat color and texture designs but none of them felt right. I started thinking about history a little more and the stories that exist in pictures from the past - particularly in stereo cards which document a wide range of subjects.

So, given that inspiration I went to the local flea market last Sunday and picked up a few. They tell some wonderful stories about trees, people, what people take from trees, the environment and war.

I did some basic tests with the animation I already had (the background images have not been touched up. Take a look at two versions.

Single Background

Double Background

My thoughts are that if I imitate the starting point of a subject in the stereo card image it will give users a guide as well as create a cohesive story between the backgrounds and and the animations that take place.

Here are two possible starting points.

Turpentine

Logger

I love this image because of the way the soldier is looking at the "tree." I wonder what he's thinking. And wouldn't it be wonderful if he got up and carved something into the trunk of the tree?

Solider

And what about projecting in stereo?]]> 2008-12-19T10:21:14Z 2008-12-18T15:24:08Z tag:,2008-12-18:interactive.usc.edu/members/mchuri/:131 2008-12-18T15:24:08Z

mchuri http://interactive.usc.edu/members/mchuri/ The Tree. He created a three-ring prototype to figure out the best way to get the rings to move and to play with different types of wood. We discovered a few things during this visit.

1) It won't be possible to use an actual cross-section of a tree as the act of cutting apart and drilling into it will weaken the wood (most wood when used is cut length wise not across as I had initially wanted). We went to a wood shop and figured out that we have two choices. We can either use a piece of Baltic Birch plywood or a single piece of maple. The choice between the two is purely aesthetic. The plywood will have a more "modern" look and the maple could potentially be more organic feeling and looking. I am leaning toward the maple but have yet to make a decision.



2) The rings, the way they are currently put together, do not move completely independent of each other. This was a concern that Andreas had brought up when I discussed the original mechanics with him. Currently, there are ball bearing balls in between the wood pieces. It would require the user holding some rings steady while turning others.

Watch the video

This is of concern to me but also interests me. There could be some positive outcomes of this mechanic. Firstly, it would promote cooperation between users and secondly, it would force users to think about what they were doing before taking action. I won't know specifics until the prototype rings can control an actual animation which will happen sometime in January.

Andreas had made another suggestion which was to have each ring attached separately to the pole in the middle that holds the ring up with ball-bearings. The challenge with this is that the sensors would have to be far away from the circuit to which they are attached by long wires. I am worried that this will make them less stable. If anyone has any thoughts on this let me know.

3) 5 rings may be too much. The prototype is 3 large rings. I am considering keeping it at three or making it four with a fifth ring in the center which does not turn. As I finish storyboarding this holiday I hope to have a better sense of the right amount.

Gene at work in his shop:



]]>