The Artist’s Guide to Useful Technology is a Harvestworks’ project of workshops, symposia, consultations, tutorials and problem-solving forums on-site at Harvestworks, on our website and around the country.

Computer driven media is changing the fabric of our daily lives. These complex mechanizations and databases deliver sound, images and kinetic objects with increasing speed and personalized accuracy.  As art becomes more dependent on technology, a thorough understanding of both the possibilities and implementation becomes increasingly important for artists in all fields.  Without this information, it can become increasingly difficult for them to realize their vision.

This free workshop & presentation will include Max/MSP/Jitter, a software program that provides real-time video, 3-D, and matrix processing capability, for live interactive performances and installations. Topics covered include: Harvestworks project case studies, with in-depth discussion of technical approach and project management; presenting projects by the workshop leaders (live sound processing & V-J software instruments), with in-depth discussion of the artistic implications. The event will be moderated by two representatives from Harvestworks, a non-profit media arts center that offers artist support and residency opportunities, located in Lower Manhattan.

Reserve your spot today - call 884-7172 or email office@squeaky.org!

(If you didn't get a chance to RSVP, that's okay. You can still take the workshop, but the chances of getting the Harvestworks Workbook may be slim - make sure RSVP if you'd like to have a workbook to study from later!)

Artists Biographies

As Deputy Director at Harvestworks Digital Media Arts Center in New York, Hans Tammen is responsible for the oversight of all projects related to Max/MSP/Jitter and Physical Computing, and manages the education program, the audio, audio postproduction and video studios. In this position he encounters the projects of approx. 250 clients, students and Artist In Residence per year.
Hans Tammen’s use of computer technologies is an integral part of his performances and works. He programs a computer for realtime live sound processing and uses his guitar equipped with proximity sensors as a human interface and controller. He specializes in multichannel audio performances, where a single (mono) motif is juxtaposed against a multichannel pattern that surrounds the audience.

Adam Rokhsar is a multimedia artist with degrees in psychology from Cornell University and the University of Pennsylvania. He is a member of the Music Information Retrieval Laboratory, and the head coordinator of NYU’s Music Technology student research groups. Adam designs sound for interactive installations, teaches computer music and video programming, and is working on a Master’s thesis on machine-learning algorithms. His sound design work can currently be heard in the United States Holocaust Memorial Museum and the Chicago Museum of Science and Industry, and his video work was displayed in the Jakopic Gallery as part of multimedia project Senza Televisione.

ABOUT HARVESTWORKS:
Founded as a not-for-profit organization by artists in 1977, Harvestworks has helped a generation of artists create new works using technology. Our mission is to support the creation and presentation of art works achieved through the use of new and evolving technologies. Our goals are to create an environment where artists can make work inspired and achieved by electronic media; to create a responsive public context for the appreciation of new work by presenting and disseminating the finished works; to advance the art community's and the public's "agenda" for the use of technology in art; and to bring together innovative practitioners from all branches of the arts collaborating in the use of electronic media. We assist with commissions and residencies, production services, education and information programs, and the presentation and distribution of their work.

For more information about HARVESTWORKS, visit http://www.harvestworks.org

This workshop was funded by the National Endowment for the Arts.  Program development was supported by the New York State Music Fund.