ARTS

ARTS 4961-01

Virtual Environments/

3D WEB

Kathleen Ruiz, Assistant Professor of Electronic Art & Information Technology

email: ruiz@rpi.edu phone: 518-276-2539

office: DCC 122 office hours: Mondays & Thursdays 2:15 –3:15 and by appointment

Course Meetings: Mondays & Thursdays 10-11:50AM

(Sage VAST Studio 2411& Sage 2112)

Teaching Assistants: Christina Frolish frolic@rpi.edu

Vlad Kuperman kuperv@rpi.edu

Marc Salmin salmin@rpi.edu

Virtual Environments/3D Web is an upper level studio projects course where students create interactive virtual environments and visualize 3-dimensional conceptual constructs on the World Wide Web and for interactive art installation. The course addresses newly emerging issues of VR as they apply to art theory and practice including 3D narrative, poetic hyper-structures, and interactive art game design.

Students investigate interactive 3D object creation, spatial & environment simulation, and invent "worlds" which contain textures, animations, sound & video clips. Short studies mastering these techniques and building skill sets lead to a student directed final project, which may, if desired, be collaborative. Dialogue of timely issues is encouraged based on readings, videos, CD ROMs, and visits to galleries, museums, WWW sites, and alternative spaces.

Prerequisite: ARTS-1001 or permission of instructor.

Fall and spring terms annually, 4 credit hours

Generally we will meet:

Mondays at 10-11:50 PM in the Sage VAST Studio 2411 for studio workshops & demonstration of techniques and on

Thursdays in Sage 2112 for student presentations of short studies and discussions of readings.

You may eat and drink (carefully) in Sage 2112, but not in the VAST Studio at any time. (please clean up after yourself)

File Management:

Please keep all your files well organized and streamlined. All files including images, scans, and animations must be under 1 MB for studies #1-4 and under 3 MB maximum for studies #5-7. Please plan, model, place, edit & polish your work, always remembering to optimize. Preview & test at each step, before publishing to the web. All worlds should always be under 10,000 polygons.

Short Studies:

ALL 3D MODELS MUST BE YOUR ORIGINAL MODELS!

#1: Create a 3D Object - navigate through it and explore it from all sides inside and out – then create a series of objects within objects and set 4 different viewpoints - what, if any, context or narrative emerges? (turn off collision detection)

#2: Create a collection of objects and embed sound into 2 of them - do any new meanings emerge?

#3: Create & post your 3D Portrait or “Avatar”

#4: Visualize a dream, fantasy or datascape by creating a spatial environment which has an embedded a trigger to activate a viewer action.

#5: Create an interactive 3D Map of a real place, embed a trigger to activate a viewer action that uses JavaScript

#6: Create 3DWEB on line instructions for a product, service, or other E-commerce exchange

#7: Create a collaborative world with a fellow student (gaming prototypes will be accepted)

Midterm Project:

The Midterm Project is a small project that starts to resonate your individual ideas utilizing the techniques learned in class and in individual research.

Final Project:

Visualize an interactive 3D world and post to the Internet. The Final Project may, if desired, be collaborative. A clearly articulated artist statement of 1 to 2 paragraphs that elaborates upon the theme, goals and purpose of the project must accompany this project. Those creating projects of a collaborative nature must indicate the responsibilities of each party. Your Final Project is meant to be a compelling, purposeful work resonating in depth & substance. Please consider disk space and limited web conditions. A copy of your final project will be placed in a special account for future reference.

If you have any questions at any time about your work please speak with Professor Ruiz.

Artist Statement:

It is required that you articulate your final project in an artist statement of from one to two paragraphs whereby your concept, methodology and references are stated.

Digital Prints:

It will be required for you to print one large dynamic view of your best short study world and one large print of the final project world.

Grading:

Grading is based on the following:

• 35% Short studies (5% each x 7)

• 15% Midterm Project

• 50% Final Project with artist statement & digital prints

Required materials:

An active RCS account. Extra storage space (approximately 20 MB of disk space will be provided for you) and three PC formatted 100MB or 250MB ZIP disks.

Important Tips:

Always back-up your work frequently; that is, every time you make something you think is worth keeping. Systems crash when least expected and you could lose all your work. It is a good idea to make three backups (on different media), as storage media are sometimes unstable.

General: Please keep in mind that manuals are for your use in class and lab. You will sign out & be responsible for them. They are very useful as reference guides. Try not to batter or deface the equipment in any way or lose files and folders belonging to our class or other classes. Please report lab problems to me in class or to engineering staff at other times immediately. tayloj2@rpi.edu

Please follow the guidelines for working in each studio very carefully, as you will be held personally responsible for problems you incur.

• Always save onto your own storage media or into your personal account as files left on the hard drive will be removed. (Please clean get into the habit of cleaning your files off the hard drives after working.)

• Also, please keep in mind the highly addictive aspects of working with computers. Many people lose track of time and later wonder why they have severe back, neck and eye problems. It is a good idea to take a rest every 15 to 20 minutes. Look up or beyond your computer or, better still, at a long distance to relax your eyes. Take a walk or stretch. Fatigue can lead to frustration. Stay in touch with your body's needs. Working with computers can at times be frustrating. Before having a breakdown, take a break.

Required Readings:

* Anders, Peter. Envisioning Cyberspace, New York:. McGraw Hill, 1998. ISBN

* Kelly, Kevin & Adam Heilbrun. “Virtual Reality: An Interview with Jaron Lanier”, The Whole Earth Catalog. Cali.: 1993. Reality Check with Jaron Lanier, 1995.

* Hollands, Robin. The Virtual Reality Homebrewer’s Handbook. West Suxxex, England:1996.

* Laurel, Brenda. The Art of Human Computer Interface Design. New York: Addison Wesley,

1990.

*Baudrillard, Jean. Simulations, New York, Semiotext(e), Inc., Columbia University, 1983.

* Dodsworth, Clark Jr., Digital Illusion: Entertaining the Future with High Technology,

Chapter 11 “Placeholder: Landscape and Narrative in Virtual Environments”, by Brenda Laurel, Rachel Strickland & RobTow, pgs. 181-208

Chapter 12 “Beyond Shoot your Friends: A Call to Arms in the Battle Against Violence”, by Celia Pearce, pgs, 209-228

WEEK 1.

Aug 28 / Aug 31

Introduction to the class

* Explore 3D web sites of previous classes, & others

* The Process of creating a virtual environment

* What makes a compelling virtual environment?

Overview: User Interface, Modeling & Basic Shape Editing, PEP, Setting Viewpoints, Cull Backfacing Polygons, Basic Lighting, Create Extras Palette, Atmospheres, basic Publishing / Zipping

• Create a 3D Object

• What is Cyberspace?

William Gibson first used this term in his 1984 Sci fi novel Neuromancer describing it as a virtual realm of 3D visualizations of information structures contained in the world’s interconnected computers.

Discussion about the possibilities of art that is dematerialized.

• Today & the Future: What is VRML?

The Virtual Reality Modeling Language (VRML) is a file format for describing interactive 3D objects and worlds. VRML is designed to be used on the Internet, intranets, and local client systems. VRML is also intended to be a universal interchange format for integrated 3D graphics and multimedia. VRML is used in a variety of application areas such as engineering and scientific visualization, multimedia presentations, entertainment and education, web pages, and shared virtual worlds. As always, there are new formats emerging such as X3D & others. We will try to stay abreast of these changes.

Assignment:

• Start Cosmo tutorial and user guides

• Students show one of their best works as an entry way to further work in the class

Prep Study #1 Create an object within an object and set 4 different viewpoints what, if any, context or narrative emerges? (turn off collision detection)

Read:

*Anders, Peter. Envisioning Cyberspace, New York:. McGraw Hill, 1998. ISBN 0-07-001632-1, 1998. pgs.99-110. “Special Issues in Designing CyberSpace”

*Kelly, Kevin & Adam Heilbrun. “Virtual Reality: An Interview with Jaron Lanier”, The Whole Earth Catalog. Cali. 1993. &

*Reality Check with Jaron Lanier

WEEK 2.

Sept 4 (off) / Sept 7

Discuss: Anders /Lanier

Overview:

Manipulating Objects, Grouping Siblings, Heirarchy, Placement techniques (dynabox, etc.), Property Inspector, more Lighting basics, Viewer controls, Accelerator controls, Backgrounds & sky changes (RGB: 111 white, 000 black), Material & Texture Appearance of Objects.

Textures should be square and in powers of 2 in .png file format

Transparent Gif - export from Photoshop, Alpha Channels

(copy & paste green channel to alpha- blacks transparent/ whites solid & the reverse)

(gif hardedge, save as png for soft edges)

Sound (.wav (preferred and can play multiple sounds), .midi type1, sample rate 22.05 kHZ) - ambient, spacialized, triggered

Present Study #1: Create an object within an object and set 4 different viewpoints - what, if any, context or narrative emerges? (turn off collision detection)

Assignment: Study #2: Create a collection of objects and embed sound into 2 of them

Read: Hollands, Robin. The Virtual Reality Homebrewer’s Handbook. West Suxxex, England:1996.

WEEK 3.

Sept 11 / Sept 14

Discuss: Hollands, Robin. The Virtual Reality Homebrewer’s Handbook. West Suxxex, England:1996.

Overview:

What is an avatar? Look at avatars on line, discuss portraiture

Review Avatar parameters: dimensions 1.75 x 2 x 2

Advanced PEP Modeling (chipping, extrusions) & Animation & basic Interaction (bounce, loop, touch sensor set to FALSE for editable ani, animating textures, spike – pep object – pick points & animate) Optimizing, Testing & Publishing your work

Troubleshooting Studio

Present Study #2 Create a collection of objects and embed sound into 2 of them - do any new meanings emerge?

Assignment: prep for Study #3: Create & post your 3D Portrait or “Avatar”

Read: Laurel, Brenda. The Art of Human Computer Interface Design. New York: Addison Wesley, 1990. “An Interview with Don Norman”

WEEK 4.

Sept 18 / Sept 21

Discuss: Laurel/Norman

Overview: Wiring Nodes, Editing Nodes, Advanced Extrusion & Modeling techniques “Doughnut”, “Skyscraper” technique of modeling (selection tools/select edges/extrude)

Troubleshooting Studio

Present Study #3: Create & post your 3D Portrait or “Avatar”

Assignment: prep for #4: Visualize a dream, fantasy or datascape by creating a spatial environment which has an embedded a trigger to activate a viewer action.

Read: Baudrillard, Jean. Simulations, New York, Semiotext(e), Inc., Columbia University, 1983.

WEEK 5.

Sept 25/ Sept 28 Shift in Crits now stressing user interaction

Discuss: Baudrillard

Overview: JavaScript, Techniques of Creating an Environment & User Guided Navigation, TrueSpace / Rhino demo – transferring 3D models from other programs: avoiding the pitfalls - exporting & polygon reduction techniques

Troubleshooting Studio

• Present #4: Visualize a dream, fantasy or datascape by creating a spatial environment which has an embedded a trigger to activate a viewer action.

Assignment: prep for #5: Create an interactive 3D Map of a real place, embed a trigger to activate a viewer action that uses JavaScript

Read: Dodsworth, Clark Jr., Digital Illusion: Entertaining the Future with High Technology, Chapter 11 PLACEHOLDER: Landscape and Narrative in Virtual Environments, by Brenda Laurel, Rachel Strickland & RobTow, pgs 181-208

& Chapter 12 Beyond Shoot your Friends: A Call to Arms in the Battle Against Violence, by Celia Pearce, pgs, 209-228

WEEK 6.

Oct 2/ Oct 5

Discuss: Brenda Laurel, Rachel Strickland & RobTow & Celia Pearce.

Overview: online instructions in 3D

Billboards, LOD, Camera tricks, your work

Present #5: Create an interactive 3D Map of a real place, embed a trigger to activate a viewer action that uses JavaScript

Visiting Artist -

Assignment: #6: Create 3DWEB on line instructions for a product, service, or other E-commerce exchange

WEEK 7.

Oct 9 (off Columbus Day) MON

CLASS MEETS ON TUES Oct 10 / Oct 12

Overview: Printing stills of your worlds: alt print screen, PhotoShop, new, paste

Movie textures -Video I/O - Video clips in mpeg file format, outline edit material node, loop to TRUE, or triggering as done previously in sound

Present: Study #6: Create 3DWEB on line instructions for a product, service, or other E-commerce exchange

Assignment: Prep for Mid Term Project & Readings & Techniques Quiz

WEEK 8.

Oct 16 / Oct 19 Mid Term Project Review & Readings & Techniques Quiz

Assignment: prep for #7: Create a collaborative world with a fellow student (gaming prototypes will be accepted)

WEEK 9.

Oct 23 / Oct 26

Overview: Advanced VRML Editing and Scripting, Sphere sensor, create extras, sensors, no controls

Present: Study #7: Create a collaborative world with a fellow student

Assignment: prep for Final

Read: Check out Perry Hoberman's BarCode Hotel work at:

http://www.portola.com.people/perry/Barcodehotel\

WEEK 10.

Oct 30/ Nov 2

Overview: What is an artist statement?, Studio Work, Trouble shooting studio, Walkthroughs to video

Assignment: prep for Final Project Check Ups & create artist statement

WEEK 11.

Nov 6 / Nov 9

Open Studio Work

WEEK 12.

Nov 13 / Nov 16

Final Project Check Ups & Readings of Artist Statements

Prep for Submission Format:

Zip entire dir into submit.zip

Folder with username:

final.zip title.txt Image: final.jpg (130 x 98)

artists statement.html

short.zip title.txt Image: short.jpg (130 x 98)

Assignment: Use critical information gained in check up to prep for Final Project Critiques

WEEK 13.

Nov 20 / Nov 23 (off Thanksgiving) *FINAL PROJECT Reviews

WEEK 14.

Nov 27 / Nov 30 *FINAL PROJECT CRITIQUES

WEEK 15

Dec 4 / Dec 7 Wrap up/Website Creation & Testing / Semester Review & Ideas for the Future of Web 3D

Electronic Communication:

Email: All students are expected to have an active electronic mail account, and should check mail at least twice a week for class information. Some essential class information is communicated by email only.

Statement On Academic Integrity:

All 3D Models are to be your own original models. Collaboration and discussion about class projects is actively encouraged, and is in no way considered cheating. This is a studio course, and personal ownership of information is not deemed to be appropriate. Projects are expected to reflect personal endeavor, but may also be collaborative in nature.

Class Attendance Policy:

Class attendance is mandatory. As an enrolled student, you have made a commitment to this class, and your attendance is a significant part of that commitment. Attendance will be taken at every class. Two (2) unexcused absences will result in a reduction of one entire letter grade. An absence is considered excused if the student has informed the course instructor by phone, email or in person before the beginning of the class and the excuse is considered reasonable by the instructor.

Other Recommended Readings:

Casey, Steven. Set Phasers on Stun: And Other True Tales of Design,

Technology, and Human Error, 1998 Aegean Pub Co; ISBN: 0963617885

Virilio, Paul. The Lost Dimension. New York, Semiotext(e), Inc., New York: Columbia University, 1991.

Stone, Allucquere, Rosanne. The War of Desire and Technology at the Close of the

Mechanical Age. Cambridge, Mass.: The MIT Press, 1995.

Benedict, Michael. Cyberspace: First Steps.Cambridge: The MIT Press, 1994.

Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Mass,: MIT Press, Cambridge, 1990.

Prisoner's Dilemma/John Von Neumann, Game Theory and the Puzzle of the Bomb by William Poundstone

Spalter, Ann Morgan. The Computer in the Visual Arts. Addison Wesley Longman, Inc., 1999.

Morse, Margret. Virtualities : Television, Media Art, and Cyberculture

(Theories of Contemporary Culture) Indiana Univ Pr; ISBN: 0253211778

Malraux, André. “Museum Without Walls”. In The Voices of Silence.New Jersey: Princeton University Press, 1978.

Bender, Gretchen & Druckery, Timothy. Culture on the Brink. “Making Sense Out of Nonsense” by Gary Chapman

Damer, Bruce. Avatars!: Exploring and Building Virtual Worlds on the Internet. Peachpit Press, 1998.

Postman, Neil. Technolopy: The Surrender of Culture to Technology. New York:

Vintage Books, 1993.

Graham, Ian S. HTML Sourcebook, A Complete Guide to HTML, end ed. John Wiley & Sons.

Ritchin, Fred. In Our Own Image. New York: Aperture, 1990.

Gombrich, E.H. Art & Illusion: A Study in the Psychology of Pictorial

Representation. New Jersey: Princeton University Press, 1960.

Boyer, Christine, Cybercities, Labrynths of the Mind and the City –

Real and Virtual pgs 45-71

Gibson, William. Neuromancer. New York: Ace Book, 1984.

Stephenson, Neal. Snow Crash, New York, Bantam Spectra, 1996.

Pimentel, Ken & Teixeira, Kevin. Virtual Reality: through the new looking glass. New York: Intel/Sindcrest/McGraw-Hill, Inc., 1993.

Kandinsky, Wassily. Concerning the Spiritual in Art. New York: Dover Publications, Inc., 1977.

Penley, Constance, Ross, Andrew eds., Technoculture. Minneapolis: University of

Minnesota Press, 1991.

Lemay, Laura. Teach Yourself Web Publishing with HTML in a Week, 3^rd ed.

Dams.net Publishing.

Weiman, Lynda. Deconstructing Web Graphics.

Ames, Andrea L.; Nadeau, David R.; and Moreland, John L.. VRML 2.0 Sourcebook.

New York: John Wiley and Sons, 1997.

Hartman, Jed; Wernecke, Josie; and Carrie, Rikk. The VRML Handbook : Building

Moving Worlds on the Web. New York: Addison-Wesley Pub Co, 1996.

Roehl, Bernie; Couch, Justin; Reed-Ballreich, Cindy; Rohaly, Tim; and Brown, Geoff.

Late Night VRML with Java. New York: Ziff-Davis Press, 1997.

Lyotard, Jean-Francois. “Can thought exist without a body?”. In The Inhuman. Stanford, California: Stanford University Press, 1991.

Jacobs, Karrie. “Robobabes: Why Girls Don’t Play Video Games”, in I.D. May/June, 1994.

Kantrowitz, Barbara. “Men, Women & Computers” in Newsweek, May 16, 1994, pp. 48-52. Tannen, Deborah. “Gender Gap in Cyberspace” in Newsweek, May 16, 1994, p. 52-53.

Heidegger, Martin. "The Age of the World Picture". In: M. Heidegger, The Question

ConcerningTechnology and Other Essays. New York: Harper & Row, 1977.

Kitchens, Susan A. The QuickTime VR Book : Creating Immersive Imaging on Your Desktop Peachpit Pr; ISBN: 0201696843

De Goes, John,& Lampton, Christopher F.. Cutting-Edge 3d Game Programming

With C++ , The Coriolis Group; ISBN: 1883577705

The QuickTime VR Book : Creating Immersive Imaging on Your Desktop

by Susan A. Kitchens Peachpit Pr; ISBN: 0201696843

C++for Dummies

"JavaScript for the World Wide Web"
by Tom Negrino and Dori Smith

URL's

Class Websites:

http://www.rpi.edu/~ruiz