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Madalyn Fernandez

image.png

 collective, and she was kind enough to sit down to chat with me about their work.

 started out as a student collective aiming to close the gender gap by empowering women in technology and highlighting female role models in the tech industry. It was formed in Fall 2017 by Berklee alumni Jasmine Kok, Anna Parry & Lilian Gagnon, and has hosted many tech workshops and panel discussions since its inception.

Bring your live performance to the next level with some live visuals! You will learn how to do simple coding to create and automate visuals for a live performance. Spring 2019 Tech Training program is open to all Berklee female & female identifying students. Registration for undergraduate students are open now!

[Course Work]
Session 1: Intro to Max/Vizzie
Session 2: Intro to VSynth
Session 3: Send MIDI from Ableton to Max to control visual parameters
Session 4: Max: write some code to manually switch between visuals
Session 5: Practice performing a song; iron out anything that is confusing with Max/Resolume
Session 6: Practice projection mapping in Resolume
Session 7: Perform work in class

....................................................................................................................

[Video Credit] 
Video shot by: Dana Fakhoury
Edited by: Jasmine Kok & Dana Fakhoury
Music by: Jasmine Kok
Audio Mixed by: Marcela Rada

Spring 2019 Tech Training Program - Live Visual

In 2018, SKT branched out and went online, releasing the "

 series of videos featuring a number of women in the tech industry. Here's a set of links for the series thus far:

How did the concept of the peer-to-peer teaching system come about? What are the advantages of this system?

Over the course of the club, founder Jasmine Kok noticed that while our typical two-hour workshops were educational and informative, they didn’t help students build momentum and follow through on long-term goals. The Tech Training Program is her way to address that gap. It is a semester-long program that pairs graduate mentors with first-year and sophomore mentees to guide them through their journey of learning tech. The goal of this program is to inspire and encourage female-identifying students to consider a technical major or minor.

The mentors teach during bi-weekly group meetings and work with mentees one-to-one if they need extra help. Having a person to tailor course material to individual needs is a huge advantage of the mentor system. It prevents students from feeling lost or behind, and it ensures that technical tools remain accessible for everyone. In addition to new knowledge, we hope that mentees will walk away from the program feeling empowered with enough context to learn new things on their own. The program is going really well so far, and we already have mentees who are expressing interest in being future mentors.

Roughly how many students and instructors sign up for the program each semester?

This is actually the first semester of our Tech Training Program. Since it is such a customized experience, we capped the program at 20 undergraduate students for our 5 graduate instructors. We’re definitely planning to scale this up in the future, since our application process proved there is a lot more interest.

What was your motivation to become an instructor in the program?

There was no program like this when I was an undergraduate student, and that serves as my motivation to be involved. I would have loved to be part of a group like She Knows Tech when I was in school, so I'm really happy to play my part in making it available for the students now.

I was first introduced to visual programming in 2010, but the entirety of my experience with Max has been here at Berklee. I studied computer science in college and then worked as a software engineer, so my coding experience is predominantly in text-based languages. The transition to Max has been fun.

Everyone has a different pathway and process of incorporating Max into their artistic practice, can you describe when you were first introduced to the software and why you've incorporated it into your work and classes?

As an Ableton user, it was a no-brainer to start using exploring Max as part of my audio projects. Then, I took a course here at Berklee called Nonlinear Structure for Real-Time Media, taught by Pierce Warnecke. It quickly showed me how powerful the language is for data visualization and generative art, and I have since incorporated Max into my graduate thesis project as the main coding language.

For my project, I am building a hardware/software system called EXLO, which allows artists to turn any surface into an audio/visual controller. The system uses sensor data from piezo microphones to detect positions and gestures of the artist’s interaction. I’ve built the majority of the software using Max, including the UI, audio analysis, data processing, and visual generation. I’ll admit that approaching Max with a text-based coding mindset can be tricky at times, but the ability to fall back on some quick Javascript logic right within the Max development environment reduces a lot of friction and helps me maintain momentum. With its simple audio data streaming and built-in audio/visual functions, I think Max is the best language I could have used to get my project prototypes up and running quickly.

What did you find most helpful when you were first learning Max that you relay to your students?

The Max reference manual and forums are incredible resources if you know what to search for. As long as you keep track of object names that you’re working with, searching the Forums should be your first go-to resource. I am always learning by reading forum threads.

We’re at a very interesting time period in the development of Max for visual projects - while working with geometry and analysis of images remains firmly rooted in matrix-based processing, there is an increasing move into the jit.world GPU-based way of doing things, and new things to learn. In the beginning of its life, Vizzie was an attempt to provide the experience of recombinant patchers and algorithmic control to absolute beginners as an accessible point of entry. Do you use Vizzie at all in your teaching?

Absolutely. I covered Vizzie in our very first session for the exact reasons you describe. It’s simple for absolute Max beginners to grasp at a high level, even though a lot of the technical details are hidden under the hood. I think Vizzie is a good way to introduce fundamental Max-wide concepts, like how data flows through cables and what data ranges are. I find it to be a very welcoming tool, because you can make something that looks awesome by playing around for only a few minutes. This feeling of empowerment makes my students want to keep coming back to Max and learn more. Once everyone is motivated to learn the language, then we can dive into the deeper details.

What challenges do you face within the program?

Coming from text-based coding languages, I sometimes find myself approaching problems in Max differently than I should. Most of the time, Max has a built-in object or group of objects that can reproduce the behavior I want, but it can take me some time to chase down the best solution path.

Do you have any advice for others that are working in programs such as She Knows Tech?

Put together a strong team of leaders that represent a diverse skill set, and set a concrete, tangible goal for the program. Feature and highlight as many women as possible, and share updates about your program! I hope we can inspire others to build more programs like She Knows Tech by sharing stories and showcasing our skills and projects.

Meghan Gaudet is a mentor with the She Knows Tech collective, and she was kind enough to sit down to chat with me about their work.

She Knows Tech started out as a student collective aiming to close the gender gap by empowering women in technology and highlighting female role models in the tech industry. It was formed in Fall 2017 by Berklee alumni Jasmine Kok, Anna Parry & Lilian Gagnon, and has hosted many tech workshops and panel discussions since its inception. 

In 2018, SKT branched out and went online, releasing the "5 Questions with She Knows Tech" series of videos featuring a number of women in the tech industry. Here's a set of links for the series thus far:

How did the concept of the peer-to-peer teaching system come about? What are the advantages of this system?

Over the course of the club, founder Jasmine Kok noticed that while our typical two-hour workshops were educational and informative, they didn’t help students build momentum and follow through on long-term goals. The Tech Training Program is her way to address that gap. It is a semester-long program that pairs graduate mentors with first-year and sophomore mentees to guide them through their journey of learning tech. The goal of this program is to inspire and encourage female-identifying students to consider a technical major or minor.

The mentors teach during bi-weekly group meetings and work with mentees one-to-one if they need extra help. Having a person to tailor course material to individual needs is a huge advantage of the mentor system. It prevents students from feeling lost or behind, and it ensures that technical tools remain accessible for everyone. In addition to new knowledge, we hope that mentees will walk away from the program feeling empowered with enough context to learn new things on their own. The program is going really well so far, and we already have mentees who are expressing interest in being future mentors.

Roughly how many students and instructors sign up for the program each semester?

How long have you been using Max?

I was first introduced to visual programming in 2010, but the entirety of my experience with Max has been here at Berklee. I studied computer science in college and then worked as a software engineer, so my coding experience is predominantly in text-based languages. The transition to Max has been fun.

As an Ableton user, it was a no-brainer to start using exploring Max as part of my audio projects. Then, I took a course here at Berklee called Nonlinear Structure for Real-Time Media, taught by Pierce Warnecke. It quickly showed me how powerful the language is for data visualization and generative art, and I have since incorporated Max into my graduate thesis project as the main coding language.

For my project, I am building a hardware/software system called EXLO, which allows artists to turn any surface into an audio/visual controller. The system uses sensor data from piezo microphones to detect positions and gestures of the artist’s interaction. I’ve built the majority of the software using Max, including the UI, audio analysis, data processing, and visual generation. I’ll admit that approaching Max with a text-based coding mindset can be tricky at times, but the ability to fall back on some quick Javascript logic right within the Max development environment reduces a lot of friction and helps me maintain momentum. With its simple audio data streaming and built-in audio/visual functions, I think Max is the best language I could have used to get my project prototypes up and running quickly.

What did you find most helpful when you were first learning Max that you relay to your students?

The Max reference manual and forums are incredible resources if you know what to search for. As long as you keep track of object names that you’re working with, searching the Forums should be your first go-to resource. I am always learning by reading forum threads.

Absolutely. I covered Vizzie in our very first session for the exact reasons you describe. It’s simple for absolute Max beginners to grasp at a high level, even though a lot of the technical details are hidden under the hood. I think Vizzie is a good way to introduce fundamental Max-wide concepts, like how data flows through cables and what data ranges are. I find it to be a very welcoming tool, because you can make something that looks awesome by playing around for only a few minutes. This feeling of empowerment makes my students want to keep coming back to Max and learn more. Once everyone is motivated to learn the language, then we can dive into the deeper details.

What challenges do you face within the program?

Coming from text-based coding languages, I sometimes find myself approaching problems in Max differently than I should. Most of the time, Max has a built-in object or group of objects that can reproduce the behavior I want, but it can take me some time to chase down the best solution path.

Do you have any advice for others that are working in programs such as She Knows Tech?

MeghanGaudet-feature.jpg

She Knows Tech is a grass-roots initiative that seeks to do some great work - helping to close the gender gap in the tech industry by empowering women in technology and highlighting female role models in the tech industry. Meghan Gaudet is a mentor with the She Knows Tech collective, and she was kind enough to sit down to chat with me about their work

an-interview-with-meghan-gaudet

An Interview with Meghan Gaudet

Darwin Grosse

One of the luxuries we have here in the Age Of The Interwebs is the ability to learn from masters of the past and to track the great work of the present. While the work of the present tends to be of immediate interest to most people, I'd like to spend some of this article visiting some sites with which you may be less familiar that inspire the development of visuals, and that prevent me from having to ‘reinvent’ the work of the past. Let's start with the present, and then move on!

To keep on top of the current state-of-the-arts, there’s probably no better place to go than the 

, the home of the annual and ongoing Berlin-based festival that is host to some of the leading edge work in visual and media arts.

 has just completed, and the group has placed all of the presentations and panel discussions in their extensive archive. You can also review the work of their resident artists and researchers, and learn about other festivals, residencies, academic programs and exhibitions through their active news and communications network.

While we're all drawn to that notion of the current state of the art, I have come to find that the web also contains a number of less well-known sources that illuminate the present by showing us where we came from - the work of those who came before us, the ideas that inspired them, the tools they used (discussions that often inspire me in terms of the tools I'm making myself), and the environments for creating and sharing work that they made. I'd like to share a few of these with you.

I was recently reviewing some work by the media writer 

, and was reading an article on seminal video artwork. It pointed to a periodical from the 70’s, called Radical Software, that embraced the combination of computers, video technology and expanded cinema. With a title like that - and a description to suit - I had to check it out via their archive website: 

I was blown away by what I found: the first issue had an article by Gene Youngblood, some future-casting by Nam June Paik (his viewing schedule for a television station in the far future - 1996!) and more. The web page has a “History” tab that's pure gold.

Reading through the materials on this tab really brought the world of 1970’s New York video experimentalists to life for me. The publication of this magazine and the creation of the book ‘

' was a great combination of artistic radicalism and the innate desire to share what these artists had learned – it was a great landing spot for a deep dive into the text. The collection of issues of Radical Software are not only exciting from a historical perspective, but they also serve as inspiration for new uses of our current tools.

Note: For each issue of the magazine, if you click into the “Thumbnails” link, you will find a complete PDF of that issue. It made the perfect document for me to read on my e-reader!

VasulkaDotOrg.jpg

 — the home for the archives of Woody and Steina Vasulka — offers a similarly shocking amount of amazing historical literature. Their site not only features information/documentation about their individual works, but also includes a vast collection of correspondence, designs, essays and photos of their early work at 

, New York’s hotbed of media art development. The amount of artwork is astounding, and should be required viewing for anyone interested in video art and expanded cinema development. In addition, you have a chance to get great insight into the workings of The Kitchen as a fledgling organization, created by truly driven people.

Note: You can get a PDF copy of the Gene Youngblood "Expanded Cinema" text — a foundational text in the world of experimental video work — from the Vasulka's site, as well: 

http://www.vasulka.org/Kitchen/PDF_ExpandedCinema/book.pdf

The Daniel Langlois Foundation for Art, Science, and Technology

fondation.png

Another rich resource for insight and inspiration is 

The Daniel Langlois Foundation for Art, Science and Technology. 

This Canadian foundation was created to support both technical and artistic research in media arts. It maintains a significant film collection (including films by Frank J. Malina and Jean-Pierre Boyer) and also acts as a central location for scientific-artistic collaborations, historical archives, and in-depth case studies on particular artists and movements.

The case studies are especially interesting; they take a deep dive into a variety of subjects, including David Rokeby’s 

’s work on the preservation of video and installation artwork. Each of these studies provides numerous on- and off-site links for learning more about the subject. They'll help you connect the dots between the different technologies at play.

 is an organization located in central New York State that combines in-person Media Arts residencies with a vibrant website and active publishing effort. Foremost in the latter is the production of “Signal Culture Cookbook”, a compendium of media art techniques, interesting algorithms and the occasional bit of geek-humor. Available for a donation of US$25, this e-book places video processing directly in the middle of the broader media art scene.

For me, it's an examination of the residencies that provide some insight into the depth of the work that Signal Culture is doing. They're active in preserving the past (by maintenance and restoration) and developing the systems of the future by providing space and resources for artists, researchers and toolmakers. If you dig into the residency web pages, you will find an amazing list of people that have works in and around the Signal Culture world.

This is just a start. Chatting around ‘the office’, people also pointed to a few more resources:

It’s also important to find local artists that share your passion, and social media can help. For example, in my area (Minneapolis, MN, US), there is a Facebook group called 

, which shares information about locale exhibitions and performances, and is also a great place to share newly-found resources. Nothing beats directly interfacing with other artists. So, take the opportunity to engage in - or even create - the communities in your area.

To keep on top of the current state-of-the-arts, there’s probably no better place to go than the transmediale website, the home of the annual and ongoing Berlin-based festival that is host to some of the leading edge work in visual and media arts.

Their most recent festival has just completed, and the group has placed all of the presentations and panel discussions in their extensive archive. You can also review the work of their resident artists and researchers, and learn about other festivals, residencies, academic programs and exhibitions through their active news and communications network.

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