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Thursday, November 9, 2000
Time: 4:00 p.m.
Room: CSE E121
This talk will be about how 3D digital elements or special effects are implemented in feature movie productions such as Tarzan, Dinosaur, Mulan, and Mission to Mars. We will look at a great variety of digital effects by examining a series of examples from both traditional animated features as well as live-action movies. We will explore how movies are planned, and within that process, how "digital elements" are identified and subsequently implemented, talking about the role of custom software, 3D-animation, shading, and compositing.
Thursday, November 16, 2000
Time: 4:00 p.m.
Room: CSE E121
MP3 technologies along with file sharing services like Napster have turned the distribution of digital media on its head. Users share audio files from their own hard drives with other users around the world, creating clogged network gateways, charges of intellectual property theft, and countercharges of corrupt and usury practices by the music recording industry.
Courts have been willing to consider legal actions against Napster and other like services, but are unwilling to grant broad preliminary injunctions prior to the conclusion of those actions. Napster-related message boards are filled with some of the most virulent protestations against the recording industry trade association (RIAA), record companies in general, and those artists who wish to protect their intellectual property rights.
While the conflicts seem rather noisy and messy, the issues beneath the surface are relatively straightforward. Proponents from both sides of the argument are guilty of faulty logic, misguided protests and unrealistic expectations. But most importantly, the ramifications of this conflict stretch deep into all areas of intellectual property, affecting creative artists, computer programmers, content authors and information designers.
This lecture will try to clarify the situation, present the arguments from both sides, counter those arguments and discuss the current developments that are leading us to a viable solution. It will conclude by presenting an existing business model that can adequately serve the public while protecting the rights of creative and technical artists.
Stephen David Beck is Director of the Music & Art Digital Studio (MADstudio) at Louisiana State University in Baton Rouge, LA, where he is an Associate Professor of Composition and Computer Music. He holds a Ph.D. in music composition and theory from UCLA, and was a Fulbright Scholar while working in the Paris computer music center, IRCAM. His music has been performed widely throughout the US, Canada and Europe, and is extremely active in interactive computer music systems, streaming digital media, and open source computer programming.
He is the author of Csnd.app, a Csound front-end for NeXT computers, and is currently developing a new version for use on Macintosh OS X operating systems. His writings have appeared in "The Csound Book", the Computer Music Journal and Electronic Musician. Dr. Beck is immediate past-president of the Society for Electro-Acoustic Music in the United States (SEAMUS), and host of the SEAMUS 2001 National Conference.
Unbalanced Connection 13, "Alternating Current"
Featured Guest Composer - Dr. Steven David Beck
Friday, November 17, 2000
8:00 p.m.
Music Building, Room 120
* Program *
Ghosts - Michael Ladd (Florida)
Compendium II - Marvin Johnson (Alabama)
Four Monoliths - Ron Parks (New York)
LuzazuL - Daniel Schachter (Buenos Aires, Argentina)
h - Benjamin Thigpen (Paris, France)
Millennium Bugs, for piano and Kyma system - Stephen David Beck (Louisiana)
Friday, December 1, 2000
Time: 4:00 p.m.
Room: Fine Arts Building B, room 105
The computer is undeniably a fascinating tool for image creation, but is computer art and design just an evolutionary step or does it have revolutionary potential? Anne Morgan Spalter will address this question with an interdisciplinary presentation that showcases art works made with the computer and explains how the nature of this new medium allows artists to work with images in untraditional ways. Topics will range from issues in the 2D photoediting world, such as what will happen to the family photo album when people can be altered and even erased, to 3D creation of photorealistic scenes and art works in immersive virtual reality.
Anne Morgan Spalter works in the Brown University Computer Graphics Research Group as a staff researcher and Artist in Residence and is currently the principal investigator on a grant from Adobe Systems to create new user interfaces for selecting and changing colors in computer graphics software.
Ms. Spalter is also the Outreach Coordinator for the National Science Foundation Science and Technology Center for Computer Graphics and Scientific Visualization, a research consortium including Brown University, the California Institute of Technology, Cornell University, the University of North Carolina at Chapel Hill, and the University of Utah. In this role, Spalter is the Director of the Exploratories Group, a project to create Web-based educational content and document the experience in a design strategy handbook. She is also overseeing the creation of exploratories in Brown's Cave facility.
Ms. Spalter designed the first computer art course at Brown, which she taught jointly there and at the Rhode Island School of Design (RISD). She has degrees in mathematics from Brown University and painting from RISD. Her own computer art work has been exhibited in the US and abroad, and she is the founder of the College Art Association Special Interest Group for Computers in the Visual Arts.
Ms. Spalter is the author of The Computer in the Visual Arts (Addison-Wesley, 1999), a textbook that integrates technical concepts, art history, and art theory. ( Book: http://www.cs.brown.edu/people/ams/digiart)
Thursday, February 1, 2001
Time: 11:00 a.m.
Room: CSE Building, room E404
“The world is my idea”
-Schopenhauer
While it is not uncommon to bundle mathematics and art, it still surprises many a neophyte to do so. The two pervasive languages used to model our world naturally have much in common, although the separate tongues that are spoken by their constituents just as often disguise the fact. This thread is broached from the point of view of computer graphics, which draws heavily and successfully from both fields. The discussion includes the philosophical and the practical, the academic and the commercial, which are especially pertinent in our age where the computer has catalyzed the intersection of the technical and the aesthetic.
Thursday, February 15, 2001
Time: 4:00 p.m.
Room: University Memorial Auditorium, Friends of Music Room
In this media-centric time, the cross-pollination within the arts and other disciplines brings forth the need to define inter-media as opposed to multi-media. The primary question becomes how does one generate or act as a model for the other? Through the use of various illustrative "media," including examples from art, literature, theater - and culminating in the authors own music - a path will be drawn towards an answer.
Friday, March 2, 2001
Time: 4:00 p.m.
Room: CSE Building, room E119
There is renewed interest in the interactions between contemporary art with contemporary science and technology. Much of this has been stimulated by the rapid introduction of the computer in all three fields; for the first time in generations we now find artists, scientists and engineers using the same tools for their work. It is possible that, as in the Renaissance, we will find situations arising where creative individuals will be able to bridge some inter-disciplinary barriers and make contributions outside of their own specialty. I would like to bring to bear a number of perspectives on these arguments, which have become of new interest within the context of the search for innovation and economic competivtieness. Some have even argued that the situation is ripe for a "new science of discovery" which would capitalize on the new situation. I have worked as scientist in large space astrophysics laboratories for twenty five years, but also as the Executive Editor of the Leonardo Publications (see http://mitpress.mit.edu/Leonardo ) and will discuss the issue from both the context of technology driven science and from the context of the electronic and digital arts.
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