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These must be constructive comments (approx 50 words each) that provide the author with advice for improving their future assignments

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These must be constructive comments (approx 50 words each) that provide the author with advice for improving their future assignments. You may also comment on what insights you found the most compelling in their submission, but constructive feedback is ultimately the most valuable.

Lecture and Reading Responses

General Instructions

These responses should demonstrate your completion of assigned readings and your consideration of their relationship to the assigned media or posted lectures. Knowledge of the lecture content should also be demonstrated, but the emphasis will be placed on your original ideas, intellectual investment, and creative thought around the week’s themes. These will normally be due on Mondays.

Assignment objectives:

- Development of a central argument or main point

?- Engagement with readings, lectures, media, and discussions; you must cite specific readings, lectures, works

?- Discussion/analysis of particular elements or sequences of the film, media, or readings which support your main argument

According to Shannon and Weaver, much of the early creations of these synthesizing techniques focused on how using logarithms and transmitting symbols would create and manipulate the output information to convey desired messages. Coding became a vital part of developing these video techniques as they focused on having “the received signal is selected out of a more varied set that is the transmitted signal” (Shannon and Weaver 19). This thought process of ltering out information by choosing how to transmit each signal is re ected in the Paik-Abe video synthesizer. This speci c synthesizer focuses on colors and takes in seven external video color inputs, each focused on a color, and ampli ed low signals and inverted high signals (PAIK-ABE SYNTHESIZER). The use of this synthesizing technique is evident in the work of Paik and Godfrey’s Global Groove, where we’re able to see how colors vary in di erent frames of the lm. Moreover, in certain scenes of the lm, we can see how the color hues blend and mix with one another and alternate between multi-color moving backgrounds and solid color tones. These special color patterns Paik and Godfrey created along with the moving shapes, gures, and people seen throughout the lm help convey the overall message of the future in video and electronic communication. Works Cited: fi fi ff fi fi fi fl fl // PAIK-ABE SYNTHESIZER, www.n3krozoft.com/_xxbcf67373.TMP/tv/ paik_abe_synthesizer.html. fi fi response 1: As audiovisual media we often focus on the visuals and what they represent but somewhat undermine the underlying process and how they were birthed into the world of electronic and computing arts. In Nam June Paik and John Godfrey’s Global Groove, we see how vivid colors, uid motion, and interesting messages are conveyed and created using innovative video synthesizing techniques at the time. response 2: In Counter, Sondra Perry presents a video installation that features colors and sounds combined in a three-channel installation. Various closeup videos of mouths saying racist comments are being displayed repeatedly over the three screens. Each time a video ends, it is blurred into a vibrant color. As time goes on, the interval between videos becomes shorter and the voices overlap, encircling the spectator with these voices of prejudice. The technologies used in this project can be related to Information Theory. In Counter, the videos and sounds are “messages” and the audience is the “destination”. These messages are transmitted into “signals”, which are being colorized and encoded by a single-channel encoder, then being streamed through a server and broadcasted onto multiple screens. fi ff Like Counter, Frank Gillette and Ira Schneider’s Wipe Cycle is also a multi-screen video installation using such technology. As presented by Group 2, it features “synchronized cycle patterns consisting of live and delayed feedback, broadcast television, and taped programming.”(Gillette) It integrates not only the pre-recorded videos but also the audience as an information source. One major di erence between Wipe Cycle and Counter is that Wipe Cycle incorporates the audience into the television, giving them control over what’s being broadcasted, while Counter emphasizes the sense of passiveness and vulnerability of the viewer to make a statement. Speci cally, in Counter, the scene takes place in a dark space, forcing the viewer to look at each lightened screen and feel too powerless to respond. This reminds me of one previous course that touched upon multi-screen art. I noticed many of those artworks really take advantage of the space and the synchronization, or the dissonance, of a great number of screens to emphasize something.