Future Cinema

Course Site for Future Cinema 1 and Future Cinema 2: Applied Theory at York University, Canada

UO Smart Beam Laser Projector

I saw an ad for this mobile, Smart Beam Laser projector and thought it looked pretty neat. Got me thinking about our first day of class and the discussion we had about future screens. What would the world look like if projection became the primary way of viewing content? How would it change our content? Projection would support more development of 360° content and would enable a shift away from two-dimensional and linear storytelling and viewing. What interesting collaborations might take place in a world where we are all projecting our stories in translucent light, with the potential of layering our projections with others?

A family sits outside a tent at night, looking at a projected animated movie on the camper's side.A woman lies in bed in a dimly-lit room, pointing her laser projector at the ceiling to project an image of a satellite in space.A row of four people are seen sitting from behind outside as they look towards a sheet with a projected movie on it.

Side note: This product also got me thinking about the technologies that aren’t developed or don’t make it into the consumer circuit because they aren’t profitable. It would seem to me this small device must be more environmentally responsible than the proliferation of more LED TV sets. This mini projector is a comparable cost, but I’m certain there have been many developments in tech that are withheld from consumer markets despite their quality or innovation, simply because they aren’t profitable (as seen in the pharmaceutical industry).

Sun, November 12 2017 » Future Cinema » No Comments » Author: kate.womby.browne

How To Make Hip Hop Beats In Minutes

To additional refresh myself, I went into the dressing room to splash cold water on my encounter. As I was looking up into the mirror, an unusual thought arrived to me. I recognized today was going to be a very essential 1 in my lifestyle; that something was going to occur.

Home studios are popping up more and much more, and whilst not all of them will deliver good high quality, there are plenty that do offer excellent service and experience. From my encounter, a home music studio can offer you equal worth to smaller expert recording studios, but at cheaper prices. There are advantages and drawbacks to each. It’s about finding the right mix of good and bad for you that provides the best worth.

There was so a lot material in the ad, and what was becoming provided I was considering that perhaps it was just a small too advanced for me. I mean all of the samples I was listening to, just sounded like it was a too high of a expert level. I mean here I am just an amateur that has a great deal of dreams, like any musician. Then I lastly realized that the samples I was listening to where from people that experienced already taken advantage of Zack’s offer. Individuals like myself. I realized then that there really wasn’t anything that I didn’t like about what Zack experienced to provide.

Oddly, the most commercial successful tune on the album was “Sloop John B,” launched as a solitary with the much superior “God Only Understands” on the B-aspect. “Sloop John B.” was arranged by Brian from a traditional tune; it is the only song not created by Brian on the album.

Also, make certain you find a defeat software program with a potent sequencer. The sequencer should be loaded with thousands of sounds so you have the most flexibility and most choices, which will make your songs much more distinctive. Don’t use a software that utilizes digitally created sounds although. The seems and instrumentation in your software ought to all be of real instruments recorded in a Hip Hop Recording Studios in Hollywood. Unless of course you’re heading for that robotic buzzing audio that was popular in the 80’s.

Give the quantity only to customers. Employees the scorching line. Have particular people who are totally trained to answer that line when the calls get there. These people should be experienced at listening and issue fixing. If you don’t have the time to train, then do not consider reside phone calls. Use voice recording technology so clients can leave voice comments. Promise to get in touch with them if they’ll leave their name and phone number.

What follows is a list of low tech, typical feeling attitudes relating to the recording scene that will give you the entire tale. You can make up your own mind from there.

Sat, November 11 2017 » books, sound/music » Comments Off » Author: ivawebber88

How To Get A Professional Vocal Mix At Your house Studio!

rapWhen you’re having to pay hard attained money for your songs demo you shouldn’t be shoved into some guys cramped, unventilated closet. How safe would you feel? You need a studio with space to move around and you need to be comfy when you sing if you really expect to carry out your very best. In addition, the bad acoustics of a closet will give you a extremely undesirable vocal audio.

Don’t sound too scripted. This can be downright boring and you’ll certainly deliver your listeners to rest. It’s okay to use script when doing your recording but I highly recommend that you insert adlibs whenever appropriate. Also, use voice inflections when you are emphasizing particular points and use conversational tone. You don’t want your clients to really feel that you are just studying all the info that you require to share.

It boils me to have to confess this but I actually had to go back to the user guide. I wasn’t getting the outcomes I wanted and there was also some ’stuff’ on the digital camera I experienced no clue about utilizing. The moral of this tale is that you’re gonna have to at least have a nodding acquaintance with your consumer manual. Sorry, but that’s just the way it is.

Beat software is fairly new, and it is just now beginning to turn out to be mainstream. Now even large title rappers are utilizing defeat software to throw down tracks to place their lyrics to. It is so ill simply because songs composing software program is so affordable. It can be easily afforded by nearly anybody. It turns your computer into a www.youtube.com.

At the finish of the day, it is all about the product. A&Rs invest a long amount of hrs with recording artists in recording studios. The time invested creating tunes does not make a difference.

Foreplay/Long Time. A unforgettable and classic Boston song. A guitar intro that leads completely into the song. A building work of songs that makes a marriage of greatest rock. Time doesn’t wait around for anybody and this tune addresses that reality with brilliance and hope. This song musically states we should move along with the flow of time and lifestyle. This is one of my favorite leading ten very best Boston songs. It is perfect. The audio of this tune, the great effects produced me understand this band was far forward of modern recording technology. They still did a fantastic job. Bravo!

Use conversational tone. You don’t need to audio as well formal or too rigid when performing your recording (unless you are talking about topics about religion, politics, and company). To easily place your clients at simplicity, talk as if you are having a great conversation with them. Don’t be frightened to insert comedian reduction anytime suitable and link them to your content material.

Sat, November 11 2017 » books, sound/music » Comments Off » Author: ivawebber88

Take note

https://www.narcity.com/ca/on/toronto/news/toronto-just-got-its-first-ever-imax-virtual-reality-arcade-and-its-insane

Fri, November 10 2017 » Future Cinema » No Comments » Author: Marko Djurdjic

How We Think – Presentation Slides by Kyoko

This is the Power Point slide show that I presented.

I made minor changes and added my own conclusion at the end as I got a clearer picture after a good sleep.

I also recommend this quantum field lecture at Royal Institute.

Quantum Fields: The Real Building Blocks of the Universe – with David Tong

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Kyoko

How We Think-PP Presentation

Fri, November 10 2017 » Future Cinema » No Comments » Author: kyokoma

Atsuhiro Ito

Michael’s presentation about Carsten Nicolai (a.k.a. Alva Noto) reminded me of another artist, who has collaborated with Nicolai in the past: Atsuhiro Ito. He’s a Japanese visual artist, based in Tokyo, who moved into music/noise and live performance using the tools of his visual art practice—fluorescent lights. In this way, Ito is very much of the same lineage of transmedia artists as Laurie Anderson: by its very form and presentation, their work refuses any clean definition or taxonomy.

Here’s a great interview with Ito, wherein he explains his process, and here’s a great example of him at work on stage.

Thu, November 9 2017 » Future Cinema » No Comments » Author: sRoberts

Question of the day

What is the relationship between (the conceptual techno model of interacting with text) “cybertext” and future “hypermedia”? How does one constructed the other?

–Yolanda

Wed, November 8 2017 » Future Cinema » No Comments » Author: yolanda

Question (perhaps meanderingly so)

To put it bluntly, Vannevar Bush’s ‘memex’ is our phone, our computer, the internet, our hyperlinks and hashtags and chains. Again bluntly, it is our current lives. That’s not difficult to interpret. What is difficult to interpret is the idea that such devices and tools are placeholders for knowledge, and not simply information. Bush writes of how, “Presumably man’s spirit should be elevated if he can better review his shady past and analyze more completely and objectively his present problems.” And yet, our personal (and I stress here personal) devices have been, for the most part, selfishly appropriated, not for knowledge, not even for information, but, it seems, for memory. And not even collective memory, but individual memory. These are MY songs, MY notes, MY photographs, MY ideas. They may be shared and deposited and transmitted, sent through the web or through text or through email, ‘cited’ on Facebook or forwarded, but they are, in my mind, always assumed to be mine.

In thinking through this rather pessimistic formulation, my question is, have we developed our current commercial technology as tools with which to better ourselves and our world? If VR will never be an empathy machine, is it simply entertainment? If the internet isn’t globally democratized and cannot be used or accessed by everyone, has it’s mission as a global information and knowledge exchange tool failed? And if there are 263 selfies on my phone but not a single article about the experience of another suffering or achieving or persevering, if I never use it to learn, what is the point of this machine, more powerful than anything possible in Bush’s time, and why is it in my pocket? Have these devices simply fallen into obsolescence when it comes to knowledge? Where, in all our technology, is ‘knowledge’ that can be applied not simply as experience, or for experience, but as applicable and implementable towards understanding, empathy, and change?

Finally, how do we reconcile our various technological forms into one ‘knowledge stream’? Or, can we?

Wed, November 8 2017 » Future Cinema » No Comments » Author: Marko Djurdjic

Questions about ergodic texts and technogenesis…

A few queries raised by this week’s readings…

  • Aarseth seems to fetishize interactivity and participation above the potential for meaning-making in any given text, thus privileging form ahead of content. Deleuze & Guattari’s Anti-Oedipus and Lynch’s Twin Peaks: The Return may be non-ergodic, while the Call of Duty video game series is ergodic; yet it would be ridiculous to argue that Call of Duty offers its “readers” more power as authors of meaning in the text than AO or TP’s “readers.” (Witness the online profusion of fan theories and speculation about TP in all its facets.) How can the value of cybertexts be understood in a way that is not simply a formal fetish?
  • Further, Aarseth does not adequately address the fact that ergodic narratives, however seemingly extemporaneous, are nevertheless limited by the calculations, algorithms, and logic internal to the (cyber)text. This is in addition to the inaccessibility that is formally integral to ergodic literature and cybertexts. Despite their superficial interactivity, does the closure of possibility and ambiguity in ergodic literature and cybertexts make them more ideologically coercive than other textual forms?
  • Hayles’ How We Think (2012) could be considered a lengthy rumination on McLuhan’s axiom that “We shape our tools and then our tools shape us,” foregrounding the epigenetic influence of technology on cognition, perception, and knowledge production. This raises a question (similar to the ones posed below by Kate) about a potential danger of predictive algorithms in global information systems: they tend towards closed feedback loops, gradually shearing off aberrations, outliers, deviation, and, consequently, possibility. This points towards a narrowing, as opposed to a flowering or proliferation, of human understanding (Cf. Nicholas Carr, Eli Pariser). If our technology and media are indeed, per McLuhan, protheses and extensions of the human, ought we not treat technology with the same degree of mistrust, inquisition, and even persecution with which humans have treated each other each other throughout history? Should we not more aggressively interrogate and intervene in our technology before its ill effects reach critical mass?

Wed, November 8 2017 » Aarseth, McLuhan, books, hypermedia » No Comments » Author: sRoberts

question

In Ergodic texts, Espen Aarseth talks about how trying to understand ergodic texts by traditional standards is not possible, because they are doing different things (aphoria vs ambiguity, for example). How do we keep from falling into that same tendency with future cinema, by comparing it too rigidly to traditional or familiar film practices?

Wed, November 8 2017 » Future Cinema » No Comments » Author: onella