Open Source Software for Entertainment
- 1. ICEC2012 Tutorial Open Source Software for Entertainment (OSSE) Letizia Jaccheri, Norwegian University of Science and Technology, Trondheim, Norway
- 2. • Introduction • Inspiration Art and Technology • Open source software • Experience 09/26/12 2
- 3. Norwegian University of Science and Technology www.ntnu.no 4200 staff members budget 4.2 bNOK = 0.72 bUSD 20,000 students (10,000 full time) Trondheim 160.000 persons Norway 5 M persons
- 4. • open source software In this tutorial, we explore practices and tools that are suitable for a growing number of creators of interactive and playful systems. The introduction of open source tools such as Processing and Arduino has motivated a broader participation of technical and non-technical users in the creative Maker communities production of interactive systems. meet regularly and they share resources and knowledge for creative hacking, fun, and networking. In this context there are two main issues: on the one hand, software creation practices, based on collaboration and sharing , on the other hand, the respective end-user programming tools for artists, hobbyists or children. This tutorial presents a coherent overview of related work and our own experiences in the organization and running of maker workshops. It encompasses creative sessions whose goal is to inspire the participants to experience open software practices and tools. This goal can divided into three sub-goals: 1) Technical (Interactivity, multimedia) 2) Artistic (poetic message, • playful, experimental) 3) Open (sharing, reuse and participation). As a side effect of the study, the participants will cooperate and get to know each other and learn examples of new media prototyping tools and sharing platforms. The tutorial proposes a set of initial research questions which will challenge the participants to explore the relationship between Open Source Software and Entertainment.
- 5. The audience for this tutorial comprises software engineers, researchers and PhD students interested in creative technologies and processes.
- 6. About you • Presentation around the table • dropbox – [email protected] – Passwd trondheim2012 • Template group: rename into a new name (make groups) • Provide name surname email if you want • Upload in the end
- 7. Inspiration • http://prezi.com/aogkcqtopkbv/art-and-open-source / 09/26/12 7
- 8. • Introduction • Inspiration Art and Technology • Open source software • Experience 09/26/12 8
- 9. What is software? Computer programs, procedures, and possibly associated documentation and data pertaining to the operation of a computer system. (adopted from IEEE Std 610.12-1990 ) 09/26/12 9
- 10. Open source software (OSS) A software system is open source if its code is available to everybody for inspection, use, and modification. Use and further release of modified version of an OSS system are regulated by a license 09/26/12 10
- 11. OSS Examples • Linux (operating system) – loc 4,142,481 • Apache (web server) – Web Sites hosted 179,720,332 – Percent 60.31% – loc 89,967 • Scratch (to create animations, games, small multimedia programs) – Users 300.000 – Projects 1.5 M – http://scratch.mit.edu/users/artentnu2009 09/26/12 11
- 12. Author – audience (License) • Who can use and make copies of a cultural object? • A license places limits on who can use and make copies of a cultural object • GPL GNU General Public License • Creative Commons • Commercialization 09/26/12 12
- 13. GPL (Gnu Public License) • copyright is replaced with copyleft • copyleft licensing gives all recipients of an object the right to use, copy, modify, and distribute it, while forbidding them from imposing further restrictions on any copies they distribute. This means everyone can use, while no one can own 09/26/12 13
- 14. Licenses and commercialization – to build business models around OSS, organizations have developed licenses of their own, like for example the Apache licenses, which are less restrictive than GPL with respect to commercialization – Creative commons (CC) provides a family of licenses that enables an author to specify the constraint she wants on the cultural objects she produces 09/26/12 14
- 15. Media Formats • Open formats are standardized by International standardization bodies such as ISO (The International Organization for Standardization). • Proprietary formats are developed and owned by single organizations or groups of organizations. 09/26/12 15
- 16. Process • Open: newcomers can contribute (e.g., Linux) • Close : newcomers cannot contribute back their modifications (e.g., mySql, Scratch) 09/26/12 16
- 17. Maker communities • http://www.scratch.mit.edu • http://arduino.cc • http://makezine.com • http://makerbot.com • http://processing.org • http://www.adafruit.com • http://www.wayneandlayne.com • http://littlebits.cc 09/26/12 17
- 18. Game specific communities • SDKs for Kinect-based application development – http://openkinect.org OSS OpenKinect + libfreenect – http://openni.org/ OSS OpenNI + SensorKinect based on PrimeSense’s (the original Kinect manufacturer) – the proprietary Microsoft Kinect for Windows SDK 09/26/12 18
- 19. Game software development • how to address non-functional requirements for game characters – choice of game play mechanics well-suited for the game’s genre – the look and feel of game level or world design – user interface design and overlay – little/no focus on game’s software functional requirements 09/26/12 19
- 20. Collaborative efforts - • competitions or hackathon game code sprint • Indie game jam • Emphasize production of useable game within a pre-specified period of time, compared to other requirements • buildable game source code • all game content assets provided • complete run-time executable installation • http:// www.clubs.uci.edu/vgdc/blog/showcase 09/26/12 20
- 21. Collaborative game software development kits • Microsoft XNA – XNA Creators Club Online • GameMaker Studio http:// www.yoyogames.com/gamemaker/studio • Unreal Development Kit http://www.unrealengine.com/udk/ free for non commercial use • http://unity3d.com/ Unity 3D • OSS http://www.blender.org/ Blender (3D modeling and animation) • OSS http://www.ogre3d.org/ OGRE (graphics run-time environment) • OSS http://www.crystalspace3d.org/main/Main_Page Crystal Space • OSS http://www.delta3d.org/ Delta 3D 09/26/12 21
- 22. Mobile development • Createjs.com A suite of Javascript libraries & tools for building interactive experiences with HTML5. • http://www.andengine.org/ Android app development • http://appinventor.mit.edu/ App inventor 09/26/12 22
- 23. • Introduction • Inspiration Art and Technology • Open source software • Experience 09/26/12 23
- 24. Art and Technology for Young Creators Marikken Høiseth and Letizia Jaccheri Norwegian University of Science and Technology International Conference on Entertainment Computing, ICEC 2011 Friday 7 October, 2011
- 25. Structure of presentation • Background • Introduction and evaluation of a workshop program • Proposals for design of future workshops
- 26. Background • Workshop program Computer + Art = Creativity • Workshop goals: – Strengthen pupils’ interest in computer science – Strengthen pupils’ interest in arts – Present creative alternatives of digital media use • How to reach these goals?
- 27. Introduction • Strategy: programming activities Scratch (OSS) + recycled materials + sensors • New media art • Computer literacy • Philosophy: reuse and creativity, constructionism • ReMida centre is a physical environment for recycling
- 28. Introduction • 2 workshops lasting 2 days • 15 pupils from School A • 14 pupils from School B • 12 years old • Teachers • 2 artists, 1 project manager • 1 senior researcher • 1 PhD student, 4 master students • Make interactive artworks
- 29. 1. Short demonstration Scratch
- 30. 2. Make 3-dimentional physical characters
- 31. 3. Scratch tutorial first part: motion, looks and sound
- 32. 4. Make a storyboard and start programming in Scratch 5. Scratch tutorial second part: sensing and variables
- 33. 6. Finish programming. Connections from Scratch to the physical world by means of light, sound and touch sensors
- 34. 7. Decorate a room for exhibition and install artworks
- 35. 8. Presentations 9. Closing Discussion
- 36. • Evaluate how we reached our workshop goals • Participant observation – Data: pictures, videos, field notes – Scratch projects • Semi structured interviews – 6 pupils from School A – 5 pupils from School B – Evaluation of the workshop goals in Master thesis
- 37. Evaluate goal: strengthen interest in computer science Using terms!
- 39. Implications for design of workshop programs • OSS or low cost technology (and stress it!) • Active engagement in • Programming concepts: carefully learning process explained • Making own characters is fun • Personal connection • Take pictures and making storyboards • Creating projects that is useful are of value to a larger • Activities should support flexible working style community • Collaborate in subgroups of two while programming • Letting children present their projects contributes to motivation and feeling of achievement
- 40. Scratch and Recycled Material for Creative Adults • Experts in Team – Compulsory master course at NTNU – Teaches multidisciplinary team work – 2000 students, 70 teachers each year. 40
- 41. Experts in Team, Liv Arnesen and Water! • 2011 Two EiT courses with water theme • 2012: One EiT course with water theme • Motivation: – Experience creative, multi-disciplinary team work – Inspire young adults in engagement and environmental issues – Learn/use new (media) technologies 41
- 42. 3 workshops • 2011 (2) • 2012 (1) • All available at http://scratch.mit.edu/users/artentnu2009 • See for example • http://scratch.mit.edu/projects/artentnu2009 /2293375 42
- 43. Products::Vill etter vann http://villettervann.com/ 43
- 44. Trå for Vann 44
- 45. Goal of the WS • Produce new media projects / games • Experience open software and new media – Technical (Interactivity, multimedia) – Artistic (poetic message, say what you want to say with a new language) playful experimental – Open (sharing, reuse) Participation – Cooperate and get to know each others – Learn Scratch as an example of new media prototyping tool and sharing platform 45
- 46. Main research question • How to understand the cooperative creation of software dependent artworks 46
- 47. Plan • 1. Short demonstration of Scratch projects – Instructors explain • 2. Make physical characters, take pictures and edit cutout images til 10.30-11.00 • Break • 3. Scratch first part: experiment with motion, looks, sound • 4. Make a storyboard. Think Scratch, the artwork will evolve by interactivity with the audience through sensors (Log!) • 5. Scratch second part: experiment with sensing (broadcast and when- receive) and variables. The connections from Scratch to the physical world by means of light, sound, and touch sensors should be implemented by Pico Board • 6. Finish programming (Upload artentnu2009 kkkkkkkk ! & Log! 10) • 7. Find a room for exhibition and install artworks • 8. Presentations • 9. Closing discussion 47
- 48. Evaluation • Each group produced a project and a process report for a total of ten documents of approximately 30 pages each. 48
- 49. Data • After the visit to ReMida center we were more motivated to produce a computer game • When the ”Drop” became the main character at ReMida center, the group decided to use the figure as a character in the game. • The day at ReMida center is a very positive experience for the group as a unit. We had several hours of completely free time to play and be creative, both by creating characters and put them into a story where we could experiment with Scratch, the computer program we ended up using to make our game. But we did not only results in the form of that we formed the basis of experience with Scratch, we also had a common experience and had fun while we made our film clip, and saw more of each other's personality through both creativity and humor. In this way, made our day at ReMida center that we are more relaxed around each other, and became more social. • The experiences at ReMida made us become more aware that our product should have a deeper meaning or message. 49
- 50. Pictures 50
- 51. Data • The day was perceived as positive from all group members, as we were challenged to create something physical and then put it in context using Scratch and present this as an animation 51
- 52. Moreover • Trå for Vann received good attention in Norwegian media (newspaper, Radio) and selected for technoport exhibition • http://scratch.mit.edu/projects/artentnu2009 /2393402 (keyboard) • http://scratch.mit.edu/projects/artentnu2009 /2393390 (pico) 52
Editor's Notes
- #5: We present the file Scratch tutorial here. We will present it again after lunch.
- #12: OSS tools: computer programs which can be used freely and whose source code is available for modification. run on Linux, Mac OS and/or Windows Free versions of commercial tools, ex. GIMP Unique tools, ex. Scratch
- #13: A license places limits on who can use and make copies of a cultural objects. An important license is the GPL (Gnu Public License). GPL introduces an important cultural change as the term copyright is replaced with the idea of copyleft. Copyleft licensing gives all recipients of a file the right to use, copy, modify, and distribute it, while forbidding them from imposing further restrictions on any copies they distribute. This means everyone can use, while no one can own. While GPL was conceived for software, Creative commons provides a family of licenses that enables an author to specify the constraint he or she wants on the cultural objects he or she produces. The license that governs the content of the site Artentnu.com and its submissions is part of the creative commons family. Organizations wanting to build business models around OSS have developed licenses of their own, like for example the Apache licenses, which are less restrictive than GPL with respect to commercialization.
- #22: Current SDKs and frameworks tend to reinforce one style (or genre) of game and game development to domain-specificity does have its advantages for reuse and development process familiarization.
- #25: Intro: Marikken, PhD stud, NTNU, Letizia, prof ,NTNU Presenting paper called art and technology for young creators, Presentation will include background for the research topic, introduction and evaluation of a workshop program where children created new media art, and a discussion. Questions as the end. (2 min)
- #26: General research interest that motivates this work is the intersection between art and technology, goal is to produce new knowledge about this intersection What do we see here? Art + technology – and interaction - a girl wondering, imagening, a creator – a spectator? Assumption: art and technology = creativity, exploring creative expressions in the intersection between art and technology (1 min)
- #27: Computer literacy is important in today’s society. Few children learn to program (few learn to appreciate art?). Our argument is that computer literacy can be learnt in a context in which technology is combined with art. (2 min) Research program ArTe Framework of Meta.Morf ( biennale for art and technology) and the 100-year anniversary of NTNU Research program was funded by Arts Council Norway. Cooperation between NTNU, Meta.Morf 2010, the ReMida Centre in Trondheim and the Culture Mesén
- #28: What issues we are addressing Place work in context of existing literature (scratch, workshops, philosophy) Identify specific research questions (2 min)
- #29: (1 min)
- #30: Scratch demo included (15 sec)
- #31: Making 3D characters by (15 sec)
- #32: First meeting with Scratch (15 sec)
- #33: Telling a story (15 sec)
- #34: Bringing the physical and digital together (15 sec)
- #35: Exhibiting new media art, an installation (15 sec)
- #36: Presenting new media art (15 sec)
- #37: Why are these research questions interesting? How do they relate to other research. What policy relevance do they have, if any? What is innovative about the methodology or research? Are we using a new method? Well-accepted method with new data. What differentiates what we have done from what all the other work that has been done in the area Describe methods in moderate but sufficient detail Describe data (2 min)
- #38: Vocabulary, Scratch terms (implies interest) Reflect upon why specific behaviors occurred in Scratch (indicates understanding) Difficult, challenging to grasp concepts (0,5 min)
- #39: During their presentations we understood more about what the pupils understood (0,5 min)
- #40: Key aspects of findings (2 min)