Upcoming Workshops:

InterAccess's Interactive Art Workshop Series provides artists with the tools needed to begin exploring the creative uses of technology. Participants gain a solid technical foundation for realizing their artistic vision. This winter, we are happy to offer a wide variety of introductory media workshops that are beneficial to everyone from the beginner to the techno guru. Going back to basics with our award-winning (in our minds, and hopefully yours) intro courses like Intro to Electronics, and introducing more advanced intro courses like Intro to CNC, no one is left uneducated!

Intro to MAX/MSP

Date: Tuesday, March 24 and Thursday March 26, 7-10pm both days
Instructor: Frank Tsonis
Cost: $90 for members; $115 for non-members

About the workshop: The Max/MSP/Jitter software environment is ideal for artists interested in creating interactive audio/visual/sculptural installations or software for live performances.

This workshop will discuss the fundamentals of the software and cover some of the following topics:

• Discussing basic Max objects essential for any patch
• Camera Input/Tracking and Processing
• Audio Input/Output and Digital Signal Processing.
• Creating Graphical User Interfaces for existing Max patches
• Preparing for an installation: How to prepare a patch for a gallery setting
• Preparing for a live performance: Short Demo
• Making sense of all this - Where to go from here

Prerequisites:

Introduction to Visual Computing OR some basic knowledge of Max/MSP

What to bring:

If you have a laptop download the demo of Max/MSP and Jitter (Max 5 will be used for the workshop). Also bring a pen and notebook for taking notes.

About the Instructor:

Frank Tsonis is an interactive/media artist/researcher currently living in Toronto. He is a graduate of Concordia University's Computation Arts (BFA) program. In the past, he has worked as a researcher for Jason Lewis at OBX Labs and has conducted technical support for various Toronto based artists. He has taught several Max/MSP/Jitter workshops at InterAccess in the last 2 years. His art and research interests are interactive sculpture/audio installations, wearable computing for live performances and electrocacoustics. His current project is an interactive audio visual camera tracking installation. His work is located at: http://perceptivebits.com

References:

• Max/MSP: http://cycling74.com/products/maxmsp
• Jitter: http://www.cycling74.com/products/jitter

Frame Frame Frame

Date: Wednesday, April 8, 7-10pm
Instructor: Stan Krzyzanowski
Cost: $19.99

Back by popular demand, OCAD's own Stan Krzyzanowski shows us great and simple animation techniques such as stop-action and time-lapse, using images from digital cameras, scanners and screen captures. This workshop is open to both newcomers and repeat participants, as Stan will review some of his older techniques and introduce some new ones.

Workshop Description In this workshop I'll be showing you how I make the stop-motion and time-lapse animations, of the kind that you can see at < http://webspace.ocad.ca/~interval/ >. To participate you will need to bring your laptop or come with a laptop-carrying friend and you can work together. If you bring your camera don't forget to bring your download cables too. I'll be demonstrating how I use various ways of acquiring images and I'll be using various applications to process and publish these to video (see more details below). You may already have some or all of the stuff I'm using, or you may have different but similar hard/software and we'll try to help you make videos with what you have. Or you may want to just open a beer, sit back and watch.

I will be demonstrating using Canon PowerShot G5 and SD850 IS cameras, and my MacBook Pro running OSX 10.5.6. The software I'll be using includes Flash MX, Photoshop CS3, Quicktime Pro, Snapz Pro X, Quickie, BBedit and FileDeamon.

This is the second time around for me giving this workshop and I'll try to accommodate both return participants (with new and more advanced stuff) as well as first timers. Participants will be encouraged to contribute with any tips and tricks they've developed.

About the Workshop: After a brief overview of how I approach animation showing examples of my time-lapse and stop-motion techniques I will demonstrate and describe ways in which you can collect or generate images for animation using still digital cameras and computer screen captures. Then I'll show how these images can be assembled into video using a few processing methods.

Prerequisites: There are no prerequisites for this workshop. The methods I use and will demonstrate involve simple techniques that can combine in various and complex ways according your skill and interest. Time and facilities don't really allow for you to complete a finished project in one evening but we'll try to have fun and make some trial clips.

While you don't need to know any of the following to benefit from the evening (think beer), I will begin by assuming that you are familiar with computer basics, particularly as they apply to file and directory structures, simple digital photography and the elements of digital image resolution. I will also expect that you know a bit about using still digital cameras, about camera controls (shutter speed, exposure levels, manual control v.s. automatic, etc.) and about downloading images to a computer.

What to Bring With You: To participate you will need a laptop and some software for working with digital photos and video. A pen and notebook may be helpful for taking notes. You may want to bring a camera (bring download cables too). Some of software I use has a free trial period and can be downloaded and installed on your machine in advance of the workshop (see links below). NOTE: If you don't have a laptop, please let Jennifer Cherniack know at least a week in advance of the workshop so she can find one for you to use.

What Will be Supplied: I believe beer will be available. I'll also prepare a few handouts.

References/Links:

The site that I demonstrate from is my own archive of animations, which I use as a tool for research and teaching: http://webspace.ocad.ca/~interval

I use a variety of software programs for processing animations. There is a lot of stuff out there that I haven't tried and which may work just as well, or better, so you may want to adapt my process to what you already have, or are accustomed to. The following is a list of software that I use:

• Mac OS X 10.5.6: I use the the Finder on my Mac quite a bit for this work (do you know a quick way to select every 7th file in a folder of 2000 files?) and the screen capture function is fantastic - I use it all the time.
• FlashM (http://www.adobe.com/products/flash) I use Flash MX to assemble and publish the animations, although I really only use it in a very basic and simplistic way - it does what I need it to do. An older version of Flash, if you can get one, may be cheaper (or free!?) and will work just fine for doing what I'm going to show you. (Note: Adobe Flash CS3 prevents me from doing some of my favorite tricks, so I still use Macromedia Flash MX, which is no longer available).
• Photoshop (http://www.adobe.com/products/photoshop/photoshop ) If you can afford it, photoshop is invaluable for making adjustments to image files. I make frequent use of the "actions" tool for a batch image cropping, among other things.
• Quicktime Pro (http://www.apple.com/quicktime/pro) While not as versatile as Flash, Quicktime Pro is inexpensive, quick and very powerful. It can be used for animation assembly and publishing and it's easy to use. (Note: This is an upgrade of the free Quicktime Player that you can buy.)
• Snapz Pro X (http://www.ambrosiasw.com/utilities/snapzprox) "Snapz Pro X allows you to effortlessly record anything on your screen, saving it as a QuickTime® movie or screenshot that can be e-mailed, put up on the web, or passed around however you want." This is a great program and I use it a lot.
• BBedit (http://www.barebones.com) Shareware/Freeware. BBedit is a text editor that I use for editing HTML code when making adjustments for loading Flash files on web pages. There are several other text editors out there that you can use (including TextEdit on your Mac). Barebones used to offer a lite version for free, but now provides TextWrangler for free instead.
• Quickie Web Albums (http://www.lajdesignsw.com/home.html) Shareware. This is a great tool for quickly batch re-sizing JPEG files. It saves me hours and hours.
• FileDeamon 2.5 (http://www.tucows.com/preview/263474) Shareware. This is a super little file manipulation tool that I find invaluable for batch renaming / renumbering files that includes renumbering in reverse order. I'm not sure how I would be able to do some of the things I do without this helpful little program.
• Safari and Firefox (http://www.apple.com/safari + http://www.mozilla.com/en-US/firefox) Freeware. Some of the Flash animations I assemble perform differently on different browsers. These are the two that I work with most.

About the Instructor: Bio Stan Krzyzanowski teaches at the Ontario College of Art & Design and is a Toronto based artist working in various media including sculpture, installation, video, electronics, and photography. His interests revolve around time-based work and process and frequently does this through the documentation of what's ordinary and mundane.

Introduction to Sensors

Date: Saturday, April 18 and Sunday, April 19 from 12-4pm both days.
Instructor: Jessica Field
Cost: $120 for members; $150 for non-members

The workshop will introduce you to a variety of different sensors, explain how they work, show the three different types of interfaces to work your sensor and prepare you for using any sensor you would like in the future.

What are Sensors?: There are a wide variety of sensors out on the market, but they all have one thing in common, they all work in one of three ways. They all either have a digital, analog or serial interface that can be used to make any project autonomous. So once one knows what these interfaces are and what they mean, one has the opportunity to use any number of interesting sensing device (ie: sonar, motion detection, light detection, temperature sensing, and the list goes on).

So what is a digital sensor? It is a sensor that is either seeing something or not. An analog sensor can see a range of things, giving the user lots of data to work with to make more than one response depending on what the sensor is seeing. And lastly, the serial interface is a specially timed method of sending lots of information using one output. Thus, it makes the sensor have very large number of possible responses for your project to use to respond to the object it is sensing.

The advantage of using sensors allows anyone to make their project autonomous, meaning their project can think for itself and doesn't require you, the creator, to sit by your project and turn it on and off, but alas, that too is a sensor.

About the Workshop: The workshop will introduce you to a variety of different sensors. Explain how they work, show the three different types of interfaces to work your sensor and prepare you for using any sensor you would like in the future. This course is designed to show you all the dirty tricks to avoiding the microcontroller to make interactive art, it is also designed to learn to understand when you need a microcontroller to make your projects work.

The main focus in this class is on the nature of sensors and learning how to figure out what the numbers mean, so the serial interfacing method will only be explained hypothetically as it is impossible to teach microcontrollers as well. The main focus in working with digital and analog interfaces as they are the most affordable and simple sensors to work with and as it so happens they are actually the only two types of sensors that exist but some kind company simplifies them into serial interfaces so you don't have to get to know your sensor, they tell you what the numbers mean.

Prerequisites: This course is directed to students who are new to electronics and would like to learn how to make effective projects in the simplest way possible. It is always to the student's advantage to know some basic electronics so only the principles of sensors is the main focus of the class.

What to bring: You will want to bring a notebook.

References:

• HVW Technologies: http://www.hvwtech.com
• Robot shop: http://www.robotshop.ca

About the Instructor: Jessica Field is a Montreal artist and educator. She teaches at Concordia University intro courses for digital media and electronic workshops. Jessica focuses mainly on robotics in her art practice and is presently researching methods of creating robots that appear to have artificial life as well as creating robot ecosystems where all robots are co-dependant on each other to keep a balance between them.

See CNC? Learn CNC. Use CNC.

Date: Saturday, February 7, 2-6pm
Instructor: Jess Brouse and Luis Hernandez
Cost: $75 (members) $90 (non members)

The CNC machine is here! Wanna use it? You gotta learn how first, so take this workshop and get oriented in the art of CNC. The abbreviation CNC stands for computer numerical control, and refers specifically to a computer "controller" that reads G-code instructions and drives a machine tool, a powered mechanical device typically used to fabricate components by the selective removal of material. CNC does numerically directed interpolation of a cutting tool in the work envelope of a machine. The operating parameters of the CNC can be altered via a software load program.

What is CNC milling?: Think of it as the primitive predecessor of the replicator from Star Trek. It is a computerized method of fabricating physical 2D and 3D objects out of wood, plastics and light metals. Circuit boards, robotic parts, mounts, engraving, instrument making, and image making are examples of practical applications of this technology.

How does it work?: Designs are first created in vector image or CAD softwares such as autoCAD, Eagle, and Inkscape. Next they are imported into our CAM software Mach3 where the designs are converted to G-Code- the language which controls the physical path of the milling tool in 3D space. The result is a physical manifestion of the design created with unhuman precision.

About the Workshop: Participants will be trained on safety and proper usage of InterAccess's CNC milling machine. During the workshop we will fabricate several small projects demonstrating the workflow of fabricating circuit boards, and converting images into digital images into physical images. Participation in this workshop is mandatory for permission to access InterAccess's CNC milling machine.

Prerequisites: This course assumes no prior knowledge of CNC fabrication. You should have some basic familiarity of vector image programs or CAD softwares, and a keen interest to learn the ins and outs of computer aided fabrication.

What to Bring with You: A notebook and pen.

References

• Romaxx CNC website: http://romaxxcnc.com
• Mach3 CAM Software: http://www.machsupport.com You can download a free version of mach3 to familiarize yourself with its interface.

About the Instructors:

Jess Brouse is an inventor, educator, and designer. He is a graduate of Ryerson University with a BFA in New Media. Jess is interested in studying the nature of energy that connects hardware, software and wetware circuits. His projects include virtual environments, robotics, interactive exhibits, and microscopic exploration. Jess is also an enthusiast for the open source movement, hacktivism, and participatory culture.

Luis Hernandez is a Toronto based artist, electronic composer, and designer. He has attended Ryerson University for Photography and Japanese Language studies. His work utilizes a wide range of mediums, including slitscan photography, analog video synthesis, ceramic sculpture, virtual architecture, human interface devices, and electronic feedback systems. Luis specializes in restoring and reproducing vintage electronic musical instruments. He is currently researching the subtractive synthesis possibilities of Electron Tubes.

Intro to New Media

Formerly two separate workshops (Zero to One & One to One Hundred), Intro To New Media is now a two-day course covering the history and practice of new media art. Please note, the dates and structure of the course have changed since we originally posted them. We apologize for any confusion.

Cost: $50 (members), $65 (non-members)
Dates: Day One: Thursday, Febuary 19, 7-10pm, Day Two: Saturday, February 21, 12-4pm

Day One Thursday, Febuary 19, 7-10pm
Instructors: Co-taught by Dana Samuel, Director/Curator, InterAccess and Mark Schilling, Studio Art Professor and Art Historian (OCAD)

Learn about the history and importance of electronic and new media art with InterAccess's Director/Curator, and her favourite Art Study-Buddy (and former-roommate!) In this seminar-based course, participants will learn about the origins and early practices of electronic art, and contemporary counterparts. Starting from a grounding in early 20th century avant-garde, and moving through minimalism and fluxus movements, various origins and inspirations will be examined and discussed alongside the development of post-WWII computer science. Conceptualism, "systems" art and post-modernism provide a grounding for both "relational aesthetics" and "postproduction" in the 80s ad 90s, alongside post-cold war internet expansions. Trivia, audio-visual examples and short, fun exercises provide the setting for discussions on why electronic art and new media matter within the vast canon of art history. This is considered part 1 of a 2-part course.

Don't just think about it, do it, do it, do it! Learn technical approaches to making your ideas come to life, and get helpful feedback on your ideas within a studio setting. In this studio-based course, participants bring their ideas for projects, inspired by the discussion of the previous week. Technical considerations are addressed alongside a setting of critical feedback and assistance for honing concepts and ideas. Learn what specific technologies, practices, workshops and tools you need to realize your ideas, and get a sense of whether you can produce the work yourself, or what benefits collaborations or production assistance from a technical specialist can bring to the table. Most importantly, the "why" of making electronic art is addressed alongside the "how" and "how much." This is considered part 2 of a 2-part course.

Next Workshop: Intro to Visual Computing

About the Workshop: Visual Computing/Programming (VP) is a programming language where users manipulate graphical elements rather than writing lines of code. This course is designed as an introduction to Visual Programming focusing on the fundamental concepts required before using Max/MSP and Pure Data. We will create simple Max and Pure Data programs and also examine pre-programmed audio and video programs. This is an introductory course serving as a foundation for future Max and Pure Data courses offered at InterAccess.