Well done. Here is a couple of links with DOM/Canvas navigation and JS timer basics: https://www.youtube.com/watch?v=6oUcehYy77U https://www.youtube.com/watch?v=fkxkzkKZGJ4 https://www.youtube.com/watch?v=SwpS6fP1_hE https://www.youtube.com/watch?v=on9p11gv1k4 https://www.youtube.com/watch?v=31ViueuIXGE https://www.youtube.com/watch?v=zucCjXApXOU You will find more tutorials on this guy's YT page, and there are well written and illustrated tutorials behind all these videos. I hope this helps.

A Carrie Tale*

 An overall comment: This is a thorough and ambitious critical analysis which gives you a solid platform to make a strong final work. Please make sure to select and articulate all these creative criteria into an useful procedural system. You do not need to present this system in the work progress or in the class. Rather than being presentable it should be functional for your working methodology - it will be your tool for building this upgraded and more nuanced work. As far as I can say at this point, this system could be structured as an algorithm, but it does not need to be formal in any way - it can and probably should be idiosyncratic or self-tailored just for you. A few more comments: On the first two ideas (a branching narrative and 3 selectable options): Both ideas are good and well justified, just be careful on finding a system (mentioned above) to control both the complexity and to make a seemingly coherent sense of each narrative branch. This would entail your storytelling/writing skills, planning and, of course, some psych. On I might be replacing images from the story with certain parts of the text to add more visuals to the story: OK, and this will make the whole work more interesting. Please remind me in class to tell you about one of my students' video work in which they played with SDH subtitles. Formal components such as visuals and music can also change with the branching narrative "mood" or "atmosphere". On the choice dilemmas: Choice can be and often is structured (or interpreted) in such a way that it conceals the more important levels of decision-making within a given context. On sadistic: Please don't worry. 1. A lot of art is sadistic willingly or unwillingly. 1a. On that note, being boring and weak, most art is unwillingly sadistic. 2. Art (creativity in general) and political correctness are ultimately incompatible in the sense that every meaningful act is always political (carries some intention) but usually not universally equal, so not everyone affected can be equally satisfied. Probably the strongest rationale for this work (if you are still looking for it) is that it emphasizes how, ultimately, all our narratives are senseless/meaningless or non-sensical. This deconstructive critique especially applies to the narratives which are highly manipulative of the reader/listener, weather politically (ideological narratives), socially (social norms, "traditions", etc.), economically (advertising, and to a large degree design in general). Fairy tales belong to this category of highly manipulative storytelling, so they are your legitimate subject and target. * Carrie [as in the classic: https://en.wikipedia.org/wiki/Carrie_(1976_film)] sounds like / rhymes with fairy.

It was a pleasure reading your update!

Class notes recap and additional thoughts You can have a camera take a snapshot of a stone, than convert just the colors of its surface into different properties for sound generation. If you want to convert a visual 2D scan into a 3D "landscape" and then into sound, you can line-scan the image captured by video/photo camera, convert each scanned line through its RGB data into a 2D curve and feed these 2D curves sequentially to build a 3D wavetable (with or without the interpolation between each curve, depending on the scanning resolution), and finally to play the wavetable. Another important point is on how to overcome making noise and generate pleasing sonic output by scanning. There are probably many techniques for this "harmonization" or "musification" of generated sound. I believe there is a way to achieve this by manipulating audio samples instead of sound synthesis. Regarding these two points, I have no formal music education so I am wildly guessing here and probably there are much more elegant solutions. So you need to do your research to find and implement them within your system. You can also consult with professor Ross - if you want to do that, please let me know so I can ask him to help you out. You can additionally consult with Philippe about that at his guest talk.

Two quick links on wavetables, the first one for Ableton Live 10, second one for Arturia Pigments: https://youtu.be/c5Sn0Kibu2w https://youtu.be/_w1h4vknfow

Class notes recap In addition to sonic/acoustic qualities of your chimes, their visual and kinetic qualities are important parts of the overall experience, so take that into account in further planning and designing. You need to include some more sound sources. In order to create a complex generative dynamics, you need to pay a lot of attention and to invest some time in coordinating/calibrating all the mechanical aspects and factors of each individual chime suspension and of the whole system. Add some external device which will initiate and sustain the interesting generative sound experience. It can be a mechanical device like metronome, or an electromagnet for more variable options of generativity. You can start with a mechanical device, and once you construct a well functioning system around it, proceed with an electromagnet which can be controlled by analogue means (potentiometer) or digitally through a microcontroller and sensors.

You should also try to assemble your chimes so that all the acoustic objects are hanging (none are on the surface), except in the setups where you have a relatively heavy but acoustically very efficient object.

Well done Joey. All your observations in the concluding paragraph are correct. A simple but important feature of interaction you have missed is marking the linkable page elements (feather to move on, and the optional decisions). This is easily achieved with CSS by assigning different color or cursor change to the linkable elements. In class, we will discuss how to develop this further into the final generative artwork. Two quick ideas in that context: You can publish your work in progress on one of the many free web hosting services (de facto no time limit), then propagate the link through social media to monitor the audience's reactions, and perhaps use some of them to refine the work. Also, you want your audience as broad as possible and primarily adult, so there should be some teasing elements in the online publication/propagation strategy as well as in the design and narrative (which you have already incorporated and are working on).

Class notes recap You were smart to "run away" at the end of class because with what follows I would have probably kept you in the lab for the following 30 minutes, ha ha! My suggestion is to first work out and polish up the key technical/coding issues that we outlined together up until now, so you can continue experimenting without major tech issues. Of course, you will do the coding improvements as you progress. Design your strategy by looking at your work in a broader context which includes not only the narratives, presentational design/media and interaction but also the overall logic/motivation for your work and its public presentation. Specifically, it is the deception and the playful subversion of the conventional approaches to designing and consuming interactive narratives. Regarding sound, there could be several musical backgrounds, each matching the current narrative mood/position in the narrative. What could be the logic for selecting these backgrounds? Another important factor is the selection criterion or criteria for the progressing narrative steps. Right now it is pure randomness which in itself does not carry much meaning. How about introducing some spicy/humorous inputs which determine the branching decisions? For example, these inputs could be some continuously and unpredictably changing data from online sources, like the stock market indexes or specific stock prices, various types of weather data, pollution data, various GPS data sources, etc. The specific type of this source data may be more or less witty within the narrative context of your work. Here is an "ancient" media art example: John Klima's ecosystm (cca. 2000), also here: https://www.fondation-langlois.org/html/e/page.php?NumPage=41. Also think about the presentational campaign strategy and the gameplay elements which will motivate the player to repeat the game, giving them the chance to notice that the same decisions lead to somewhat different unfolding of the narrative, and to try to figure out why. Teasing is your key strategy here. Finally (at this point), you will want to include in your content some visuals which can change by the same criteria as your narrative.