It only accesses the public data in the project, but now others can write interfaces to the stuff we’ve made and do, well, interesting things with it. An open API is, for me, fundamental to how we can conceptualise a ‘living’ archive.
Testing the Facebook like button….
Joining of Sequences 5.1 If the source media has been split into multiple files by hardware or software the most effective way to deal with such files is to: compress them using this protocol individually (things work faster when dealing with smaller files) use QuickTime 10.x to do a simple ‘butt edit’ by open the first clip locate the next clip in the finder drag the second clip into the first (which is open in QuickTime Player) it will drop in where you place it repeat click ‘done’ when finished and you will be prompted to save it name it, and when saved it will be ready for upload THE SETTINGS Description: 640 px frame controls on 1000kbs max resizing File Extension: mov Email notification to: Time remapping: source frames play at 24.000 fps Audio Encoder AAC, Mono, 24.000 kHz Video Encoder Width and Height: Up to 640 x 360 Pixel aspect ratio: Default Crop: None Padding: None Frame rate: 24 Frame Controls On: Retiming: (Fast) Nearest Frame Resize Filter: Linear Filter Deinterlace Filter: Better (Motion Adaptive) Adaptive Details: Off Antialias: 0 Detail Level: 0 Field Output: Progressive Codec Type: H.264 Multi-pass: On, frame reorder: On Pixel depth: 24 Spatial quality: 75 Min. Spatial quality: 25 Temporal quality: 50 Min. temporal quality: 25 Average data rate: 1.024 (Mbps) Fast Start: on Compressed header requires QuickTime 3 Minimum Watermark Position: Lower Right–Title Safe Scale By: 1.000 Alpha: 0.500 Repeat On File Name: Beatrice:Users:amiles:Movies:00 oz tests:watermark.png (These settings cannot simply be replicated outside of Compressor as a) some of the terminology is specific to Compressor, b) other software lacks this particular settings ability to scale to a maximum dimension using source aspect ratio.)
It emphasises the use of ready to hand video technologies (for example a mobile phone) and simple online tools for the collection and curation of video into more complex works. The sorts of projects that the students make are observational and poetic, and provide a way to rethink a) some uses of content for the archive, b) a methodology for creating poetic works using similar tools but with more ‘informal’ material from Oz gathered using ready to hand technologies.
In our glass meeting room for the weekly research catch up come agenda setting.
Meetings we have