Testimony is an interaction between the author, computer, and the user of the content. the author is the one who has designed it, allowing the computer to randomly place the material within given block and locations. All of the content can be managed by the user, though not fully controlled. Because of the the random nature of the images which appear and text within the balloons, it makes recreating the same scene over and over again very complicated and hard. -- Much like an actualy Testimony.
Question:
Why now allow the user to have more control over the comic? Perhaps the ability to allow users to type into text bubbles to further "create" their own story might be a successful take on a comic of a similiar, yet different nature.
Tuesday, March 6, 2007
Testimony Comic Responce
The interactive comic strip, "Testimony: A Story Machine" is a very interesting example of interactive flash elements. By pressing several panels you can change the image, there-by constructing your own comicstrip. The dialogue that the characters say is also as random as the images themselves, so the story is never really there. But it's enjoyable to watch how it all evolves and unfolds, allowing the user to play with the elements for several minutes at a time to see what is all there to offer. The most ineresting element is the dream-state which combines several animations and various "rollover" and "mouse location" commands.
http://www.myballoonhead.com/storymach.html
http://www.myballoonhead.com/storymach.html
Assignment 7 Write Up
Turned in March 6th 2007, the project was an experiment with time lines and and action script adjustments to objects already on the stage. The idea was to originally make a "screen" in which the user would have to erase, while erasing they'll locate the button at the center of the screen. Upon pressing it the large doors will open up and load up the small mini-game within. The transition between opening doors and mini-game was a time-line trick where I would control the master-time line from a movie clip.
Once the movie clip hit a certain section of code, it would switch to the main time line and complete the animation. After the screen loads, a reset button can also be seen on the stage. As the user plays with three pieces of fruit, they can press the reset button as many times as they like to set the fruit back on the belt for transformation once again. Each fruit has two effects, a drag-over and a press effect that is activated by the user. I had some problems with a would of drag-over elements, such as the banana turning. The button at the very beginning had problems too, because it didn't seem to respond correctly the custom pointer while everything else on the stage did.
Once the movie clip hit a certain section of code, it would switch to the main time line and complete the animation. After the screen loads, a reset button can also be seen on the stage. As the user plays with three pieces of fruit, they can press the reset button as many times as they like to set the fruit back on the belt for transformation once again. Each fruit has two effects, a drag-over and a press effect that is activated by the user. I had some problems with a would of drag-over elements, such as the banana turning. The button at the very beginning had problems too, because it didn't seem to respond correctly the custom pointer while everything else on the stage did.
Tuesday, February 6, 2007
1. netart; (n)
Describes a form of artwork that exists only in the computerized realm. Not tangible, work of this sort can be found on the World Wide Web, also considered cyberspace or the Internet. The media created is a consistent string of repeating animations, which can or cannot be interactive. The most abundant source is found in various advertisements throughout the Internet.
Other forms attempt to allow users on their personal computers to use keyboard and mouse functions to either play with or control the work itself. Media such as this cannot be appreciated anywhere beyond these basic functions.
Other forms attempt to allow users on their personal computers to use keyboard and mouse functions to either play with or control the work itself. Media such as this cannot be appreciated anywhere beyond these basic functions.
2. Is "netart", Art?
Whether or not “netart” is actually artwork greatly depends on how the work functions, and how it is does or doesn’t have an impact upon the viewer. Much of what if often considered netart isn’t art at all, but a simply construction of basic loops and layers that replays endlessly.
For a piece of Internet artwork to be considered art means it has to go beyond that which tangible work can go. There are limits to sculptures, painting, printed media, and various other forms of artwork that art on the net does not have. Since artwork on the net doesn’t technically exist, it has the ability to allow users to touch the work in other ways.
Users can become part of the work itself and not only allow the artist to drive a message, but to further carry home in ways other works cannot. Very few pieces meet this objective and probably few ever will.
For a piece of Internet artwork to be considered art means it has to go beyond that which tangible work can go. There are limits to sculptures, painting, printed media, and various other forms of artwork that art on the net does not have. Since artwork on the net doesn’t technically exist, it has the ability to allow users to touch the work in other ways.
Users can become part of the work itself and not only allow the artist to drive a message, but to further carry home in ways other works cannot. Very few pieces meet this objective and probably few ever will.
3. Work and Peers
No, I personally have no constructed a piece of netart. My fellow peers have made their own attempts, and many of them did experiment with different fashions of execution of these criteria. However, a further ideal form of net artwork has not been produced by the class and may only come to light if the entire class actually functions as a whole.
Larger complex internet structures can be built by young digital architects in due time since it is just very hard to really put together something of real meaning alone.
Larger complex internet structures can be built by young digital architects in due time since it is just very hard to really put together something of real meaning alone.
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