© 2013 University of Notre Dame
The CCC provides leadership and resources to support and encourage specialized and advanced computing technologies in the arts, humanities and social sciences.
The CCC is committed to the cross-disciplinary exchange of ideas and skills for the purpose of encouraging artistic collaboration, faculty research and curricular innovation.
The Center for Creative Computing (CCC) began in 2003 as a joint venture of the College of Arts and Letters and the Office of Information Technology to address a growing need for specialized and advanced computing technologies in the arts, humanities and social sciences. The CCC provides leadership and resources to support and encourage specialized and advanced computing technologies in the arts, humanities and social sciences.
The Center fosters initiatives in research and teaching that seek new paradigms of literacy through a critical and creative exploration of emerging forms of visual communication.
The CCC is committed to the cross-disciplinary exchange of ideas and skills for the purpose of encouraging artistic collaboration, faculty research and curricular innovation.
Center for Creative Computing
251 O’Shaughnessy Hall
University of Notre Dame
Notre Dame, IN 46656
Office Phone: (574)631-9026
Weekdays: 10:30 am to 2:30 pm
William Donaruma - Director, Professor in Filmmaking
B039 Performing Arts Center
Jayson Bimber - Digital Print Studio Coordinator
219 Riley Hall
Bruce Carter - Senior Systems Engineer
212 Riley Hall
221 Riley Hall
Consultant Desk: 574-631-2656
The Riley Digital Printing Studio is open to all students and faculty in the College. The studio features 10 Apple Macintosh workstations, Epson flatbed scanners for documents and film, and state of the art Epson Ultrachrome K3 and High Dynamic Range (HDR) inkjet printers. Computer monitors are color calibrated and the studio has 5000K daylight illumination to ensure accurate color control and viewing. Traditional museum lighting is provided immediately outside the studio for exhibition color control. The DPS is staffed full time to provide user assistance.
Users wishing to print in the studio must present a current Notre Dame ID and have either an active Domer Dollar account or a completed FOAPAL form to charge a departmental account. Fees are based on the paper type and size used.
Primary Software: Adobe Creative Studio, iLife, Microsoft Office
DPS Pricing Guide and Current Hours
205 Riley Hall
The Riley Photo-Imaging Studio supports instruction and research in the Department of Art, Art History and Design. This studio was designed to facilitate the Photography program’s transition from film to digital imaging technologies. The facility is equipped with 15 Apple Macintosh workstations with color-calibrated wide-screen displays. The central seminar room is equipped with an LCD flat-panel display for lectures, critiques and multi-media presentations.
Primary Software: Adobe Creative Suite, Lightroom, iLife, Microsoft Office.
??? West Lake Hall
The Westlake 3D Design Studio supports 3D design instruction and research in the Department of Art, Art History and Design. The studio has 17 Apple Macintosh workstations (supporting both OSX and Windows) and two Epson flatbed scanners for documents and film. Additionally, Each station is equipped with a 12WX Cintiq graphics tablet. The room is also equipped with two LCD flat-panel display for lectures, critiques and multi-media presentations.
Primary Software: Sketchbook Pro, Solidworks, Alias Studio, Rhino, Flamingo.
??? West Lake Hall
The Westlake Design Studio primarily supports graphic design instruction and research in the Department of Art, Art History and Design. The studio has 21 Apple Macintosh workstations (supporting both OSX and Windows) and several Epson flatbed scanners for documents and film. The room is also equipped with two LCD flat-panel displays for lectures, critiques and multi-media presentations.
Primary Software: Adobe Creative Suite, Audacity, iLife, Microsoft Office
211 Riley Hall
CCC Office: 574-631-9026
This multi-faceted studio is an unrestricted, general-purpose production facility that is open to all faculty and student of the College for instruction and research. The Multimedia Studio features 10 Apple Macintosh workstations with dual monitors. An ingestion center, located in the studio provides users with the means to convert Betacam (Pro Beta), VHS, sVHS, DVD, and DV formats to digital data files. These workstations have fiber-optic technology and connect to the Center’s Storage Area Network system for rapid transfer and storage of user files.
*All users need to contact the CCC office, adjacent to the studio, for access.
Primary Software: Apple Final Cut Studio, AVID Media Composer, ProTools, Adobe Creative Suite, GarageBand, iLife, Lightwave 3D.
B041 Performing Arts Center, Lower Level
The facility features Apple Macintosh workstations in 12 individual editing suites. The edit suites support high-definition video production and audio editing for the Department of Film, Television and Theatre. An ingestion center, located near the suites, provides users the ability to convert Betacam (Pro Beta), VHS, sVHS, DVD and DV formats to digital data files. The edit suites use fiber-optic technology to connect to the Center’s Storage Area Network system for rapid transfer and storage of user files.
Primary Software: Adobe Production Suite, Avid Media Composer and Pro Tools/
B041 Performing Arts Center, Lower Level
This facility is used by faculty and students in the Department of Film, Television and Theatre for theatre arts instruction and research. The facility features 10 iMacs with both Mac OSX and Microsoft Windows. All workstations can print to a 40" HP DesignJet plotter. A mobile projector is available for lectures, critiques and multi-media presentations.
Primary Software: WYSIWYG, VectorWorks/RenderWorks, AutoCAD, Poser, Painter, PhotoShop, Lightwright/Beamwright.
The Center for Creative Computing (CCC) in partnership with the Institute for Scholarship in the Liberal Arts (ISLA) awards research support grants each year to faculty or faculty-student teams in the College to support the production of creative projects utilizing digital visualization technologies. Grants are awarded for either research projects or curricular instruction projects. They are intended to support innovative initiatives with digital technologies that contribute to the visualization of knowledge and the integration of media-based projects into the research or teaching environment.
Grants of up to $4000.00 are awarded to assist faculty with project expenses. These grants may be used to cover costs associated with project development including image capture, multimedia production, equipment rental, exhibition preparation, software purchases or to hire a technical assistant for project completion.
To view the complete details for application please download the following: CCC Annual Research Grants
Structural equation modeling (SEM) has a long history dating back to the
development of path analysis by Sewall Wright in 1921. Nowadays, SEMs are
becoming popular in medical research of addictive behavior, psychopathology,
cardiovascular disease, and cancer research. In 2012, Professors Zhiyong
Johnny Zhang and Ke-Hai Yuan developed software, a two-stage robust
M-procedure for structural equation modeling with missing data and auxiliary
variables. Although the software they developed is sophisticated, it
requires the users to have some programming skills to use it.
Based on their experience in teaching SEM classes to undergraduate and graduate students and their interaction with researchers in applied communities, they found it both necessary and important to develop an easy-to-use interface for their software. Therefore, they proposed to develop a Web-based interface to conduct SEM analysis by drawing path diagrams. The Web interface will generate the necessary scripts automatically based on the drawing of a path diagram. It will have the functionality to draw shapes including squares, circles, and triangles. It allows single-headed and double-headed arrows to connect the squares, circles, and triangles. Names of drawn shapes can be specified, too. The interface also traces the drawing. By drawing a complete path diagram the script can be generated, the necessary analysis completed, and the results presented to the user’s Web browser.
This project is a continuation of the previously developed data collection website and relational database by Tim Wright and David Pettifor of the Center for Research Computing to improve andextend a web interface for visualizing new measures of democracy around the world. Professor Coppedge is among the leaders of a team of 15 social scientists on three continents who are generating new indicators of more than three hundred specific attributes of democracy. The result will be a set of indicators that measure aspects of regimes in a detailed and nuanced fashion, allowing policymakers and academics to better assess the strengths and weaknesses of regimes around the world, changes in these regimes through time, and the causes and consequences of democratization. They will provide this as a public service to all who work with democracy. Students and media across the world will benefit from the nuanced comparative and historical data. Governments, development agencies, and NGOs will be able to make much better informed decisions, and even go back in time to re-evaluate aid efforts.
The data dissemination features currently available to the site include (1) Single-country line graphs that display values of one or more selected variables as they have changed from 1900 to the present, in any one of the twelve pilot study countries; (2) Single-variable line graphs that display values of one selected variable as they have changed from 1900 to the present, in one or more of the twelve pilot study countries; (3) Both types of line graph include the option of also plotting certainty statistics for each variable-year; (4) Histograms that show users the distribution of values on any one variable, for any set of years and any set of the twelve pilot sty countries. The next phase will improve and extend the visualization options to include (1) Color-coded world maps (choropleths) would show how countries compare on a single attribute in one year, as well as the spatial clustering of scores; (2) A “drill-down&rdquo feature that will make our line graphs interactive by clicking on a line it would split into several lines, each representing a more specific indicator that is a component of participatory democracy; (3) Scatterplots would show users how two attributes of democracy are related and where countries lie in the two-dimensional space; (4) Motion charts are animated scatterplots showing how relationships between attributes have evolved, although they can also be designed to simultaneously display country names, world regions, and any other attribute the user chooses.
Instead of a dedicated system intended for a single project, imagine a multi-purpose device for the testing and implementation of computer-driven, multi-touch, and gestural interfaces as well as a digital environmental graphics display at a large scale. In addition, imagine this device portable so that the designed information would be contextualized in the proper environment, and it also could be rolled into a classroom.
This research project brings to light that interaction design is growing in importance as electronics have become more sophisticated (and complicated). Certainly, the boon of touch driven control of information is a phenomenon that has dramatically changed a person’s interaction with everyday tasks and activities. However, designers of these interactive experiences are often left imagining or simulating the intent of a concept because no relevant vehicle for testing is available, or it cannot provide the tactile response necessary for the design concept to “feel&rdquo real.
The objective of this project is to apply the principles discovered through research to a synchronous, collaborative, virtual environment for the purpose of enhancing music education, rehearsal, practice, and performance. The pedagogy of music education is a rich, interactive, interpersonal experience, but not necessarily aided by mediating technologies. The sharing of information in real time is innately what ensemble musicians do.
To aid in the discovery and, in particular, the demonstration of methods which could enhance music education, this proposed technology is a testing platform that has potential to reveal opportunities for communication design and pragmatic interface solutions. This research topic will be brought into the following 2011 classroom projects: a way-finding exercise for Riley Hall resulting in an environment graphics program including interactive signage; an educational, interactive piece (topic researched by student) experimenting with the possibly more immersive experience of a large touch panel; environmental motion infographics depicting an upcoming event in a public space; and motion infographic shorts intended for the Digital Visualization Theater (DVT).
Island Voices is an interdisciplinary project focused on exploring and recording 19th-20th century Irish island life. It will assemble a short narrative documentary, of approximately 10 minutes duration, focusing on domestic aspects of life on Inishark in general, and the theme of Hearth and Home in specific. It is a collaboration with Professor Kuijt, Kieran Concannon (an Irish film maker and islander), and two Notre Dame undergraduate students: C. Ruhland and A. Rhoads. Both of these students were in Ireland for three weeks participating in the 2011 Cultural Landscapes of the Irish Coast project (CLIC) conducting additional video interviews with the islanders. As part of the 2009 and 2010 CLIC projects, Professor Kiujt and Mr. Concannon recorded 10 hours of video interviews with five local islanders who left the island of Inishark in October 1960. Collectively, this project team will review the 2009, 2010, and 2011 video materials and individual sections for incorporation into the documentary. This work will be structured around the memories and experiences of former Inishark villagers. Noel Gavin, Leo and Martin Murray, and Peter Corrigan will recall relevant aspects of island life from their youth. Teresa Lacey will give an insight on the women’s lives in the home and on the island. Images, both video and still, of the islanders revisiting their old homesteads will be used to underscore the poignant and personal elements of the subject matter and what it was like to live on remote coastal islands. These will be counterpointed with contemporary visuals and interviewsaround Claddaghduff, their home now for half a century. This project will be edited with scenic location footage and suitable music, possibly traditional, to evoke the former community’s love of music and dancing. Archive materials and stills, where available, will be included as relevant. The presentation will aspire to broadcast documentary production values and artistic standards.
Inishark, which is located eight miles into the Atlantic Ocean, was abandoned on October 20, 1960 by the last 25 people who lived there. The 2009 and 2010 video interviews involved taking islanders back to their empty homes on Inishark and having Notre Dame undergraduate students (in groups of two) interview these 75-80 year olds. Most of these islanders had not been on the island for 25-48 years. Despite widespread interest in Irish folklore, most studies are text based, and therefore, they lack the power and access provided by visual media, such as photography and video ethnography. This project offers several contributions to scholars of Irish lifeways, Notre Dame students and faculty, to Irish islanders, and the general public. First, it will produce a rich documentary record of 20th century Irish island life through the words, perspectives, and eyes of islanders. Second, the video produced in this work will be shownas part of the anticipated 2012 Irish Film Festival at Notre Dame in March 2012. Third, in combination with Silent Stones of Inishark, the documentary will be shown to c. 100 Notre Dame students as part of the class, The Irish in Us, co-taught by Kuijt in the spring term of 2012. It is anticipated that this will be shown each term this class is offered over the next 5-10 years. Finally, in June 2012, the resulting documentary will be shown at the Inishbofin Community Center (the still inhabited island next to Inishark) as part of the 2012 Cultural Landscapes of the Irish Coast Heritage Event.
This project is an art video addressing the persistence of European nationalist ideals in the contemporary art world. The making of this film, titled Intervals, is a collaborative project with graduate student Benjamin Funke of the Art, Art History, and Design Department. The collaboration also includes the three members of the Factums (Matthew Ford, Dan Strack, and Jesse Paul Miller), an experimental music collective based in Seattle, Washington, who will be composing and producing the soundtrack.
Intervals is a remake of an identically-titled short film made in 1969 by noted British director, Peter Greenaway. Greenaway’s low-tech, black and white film deliberately focuses visual attention on the ordinary storefronts and facades of Venice for seven minutes rather than the city’s famous canals. This aesthetic decision allows the auteur to unveil unfamiliar and overlooked aspects of the cityscape. Greenaway shot this short in Venice in the summer of 1968, as radical student activism disrupted the Venice Biennale, a major contemporary art exhibition, forcing changes in the festival’s format.
Professor Gopinath has conceived this new version of Intervals as a homage to Greenaway’s original and intends for it to function as a strategically distanced commemoration of the 2012 Biennale. This teams plans to capture a record of social dynamics that are often overlooked, by shooting video footage at the perimeter of the Biennale exhibition site. By focusing on the perimeter, they plan to record the interactions and confrontations that take place between members of the international art audience and Venetian citizens, who go about their daily business while hundreds of thousands of international art cognoscenti descend upon their city.
TOC is an interdepartmental, multidisciplinary, multimedia meditation on time, and how people relate through time to each other and the world. We refer to TOC as a “multimedia novel,” but it is also a project to re-imagine the “book.” That is, this is a work that brings together a variety of disciplines at Notre Dame, we come from the English, Music and Art Departments, though TOC has also received contributions from artists at The School of the Art Institute, Northwestern University, New York University, and private industry: each of the disciplines brought together in our hybrid book will provide a layer of aesthetic and cognitive experience much as they do in opera or multimedia performance but with a difference.
You’ve never experienced a novel like this. TOC is a multimedia epic about time: the invention of the second, the beating of a heart, the story of humans connecting through time to each other and to the world. An evocative fairy tale with a steampunk heart, TOC is a breath-taking visual novel, an assemblage of text, film, music, photography, the spoken word, animation, and painting. It is the story of a man who digs a hole so deep he can hear the past, a woman who climbs a ladder so high she can see the future, as well as others trapped in the clockless, timeless time of a surgery waiting room: God’s time. Theirs is an imagined history of people who are fixed in the past, those who have no word for the future, and those who live out their days oblivious to both.
Winner of the Mary Shelly Award for Excellence in Fiction, TOC re-imagines what the book is and can be. Produced as a DVD for playback on personal computers (both Macs and PCs), TOC retains the intimate, one-on-one experience that a reader can have with a book as it draws on the power of other art forms to immerse readers in an altogether new multimedia story. See excerpts, images, and more information at: www.tocthenovel.com
This multimedia art project is comprised of three video projections and associated sound installations. The videos document three categories of lived experience in and around the University of Notre Dame and the surrounding city of South Bend, Indiana. They constitute a tripartite surveying enterprise, one organized by means of visual metaphor rather than geographic proximity. The project functions on several levels: as a meditation on the character of a particular place; as a structural inquiry into the relations between center and periphery; and as a demonstration of the ways in which digital media can be used to construct visual narratives. This video suite is intended to function as an independent artwork, but it also has been designed with the potential for pedagogic use in a multimedia classroom setting.
This project will plan and pilot an innovative concept for immersive learning in the subject of arts and culture by creating a prototype exhibition space using the 3D virtual world Second Life. On Notre Dame’s Second Life island, Sophia, faculty and students will be able to interact with digital versions of art that challenges the traditional museum experience. It provides an engaging setting for introducing undergraduates to the collections at the Snite Museum and the primary source collections of the Julian Samora Library at the Institute for Latino Studies, along with direct links to library and web resources on the exhibits.
The CCC grant contributed to work on two DVT sequences supporting teaching of the cosmological revolution of the seventeenth century, and in particular the shift from Earth-centered cosmology to a Sun-centered planetary system in a vastly expanded cosmos. Why was it so hard to discover that we are not at the center of the cosmos, and how exactly did we accrue convincing evidence and arguments for the motion of the Earth and a Sun-centered planetary system?
This innovative project is a collaboration between Professor Donaruma (Director) and ND student Mark Weber (Producer/Writer); FTT alumnus John Klein was also the Director of Photography. The film is a documentary featuring the Bengal Bouts and the impact it has had on the Holy Cross missions in Bangladesh. The story will be about the history of the Bengal Bouts, from the days of Knute Rockne to the present, but mostly presenting the story of a small part of the world where a difference is being made every day. The project will use HD technology which provides many learning opportunities as not all HD is the same and there are issues of mixing the footage to overcome. Footage from the Bengal Bouts and boxer interviews will accompany footage from a trip to Notre Dame College and the outlying missions in Bangladesh that capture the essence and present day impact of charitable donations provided by the Bengal Bouts tournament.
This grant award aided Professor Lopez in preparing for exhibitions in St. Louis and Cape Cod. In the past, she had always relied on scanning film and print material in order to digitally manipulate images, however, with adigital camera she could expedite the gathering of source images and bypass film altogether.
My interest in the electronic environment lies in the believability of the photograph and malleability of the digital medium. I have always been fascinated by the intersection of traditional photography and the digital world. Although my images are created digitally, they have always begun and ended in photographic material. I would like to continue this investigation by working with digital negatives and an early 19th century salt print process as recently introduced by a visiting artist, Dan Estabrook. In addition to the handmade prints, it is my desire to make color digital prints from the same digital file.
This grant award helped fund the production of a limited run of audio CDs titled Bodies in Flatland. The CD project combines a dramatic reading from Professor Tomasula’s novel VAS: An Opera in Flatland, with music composed by Professor Paul Johnson and music composed and performed by Alloy Orchestra, along with dramatic readings by members of the Notre Dame community: Steve Tomasula, Paul Appleby, Paul Johnson, and Maria Tomasula. This project could not have existed before the advent of the digital technologies that allow small studios to do what could only be done in large, commercial ventures, thus giving the smaller, alternative, or indie “poetry” project the kind of voice once only reserved for commercial publishers. The CD is comprised of two parts. In Part 1, Alloy Orchestra’s music matches ideally with the narrative themes which ask what it is to be human in a world where the technologies used to modify bodies are increasingly becoming more extreme even as they become more common. The fusion of this story line with Alloy’s music has resulted in a musical/spoken word hybrid uncommon in literature. For Part 2 of the CD, the music Paul Johnson created can be thought of as an opera in miniature because it operates as opera does, moving through an overture and three scenes of increasing dramatic complexity. The three acts of this opera, titled “The Strange Voyage of Imagining Chatter,” tell the story of imagining humans from three very different times and perspectives: a highly romanticized act centered on beauty; a modernist and scientific depiction in act two; and culminating in the experimental surgery that is described in the third and final act. The music is an interpretation of the text to California Light and Space music (Act I), march form (Act II), and industrial film music (Act III). That the three movements employ a more dissonant language than is usually associated with these genres was a choice also suggested by the text. This fusion of thematic specific music, along with an award-winning story has resulted in a work unlike many others; a fusion of literature and music that will be both a literary work, and a musical achievement in it’s own right; a new genre of micro-opera, that is of and about our contemporary landscape, and which was not possible until recent advances in composing and performance technology, along with the digital recording, editing, and mixing tools used in this project which allowed them to bring their work together in this fashion.
0il on panel, 2008
This project collaborated with a graduate student and sought to change the way Professor Tomasula collected the source materials for her paintings. Previously, once a theme and images for a show were conceived, she engaged in a protracted period of intense image research and gathering. Because her paintings are highly realistic, she needs clear photographic source materials to look at and paint from. These materials have come from images in books, magazines, the web, and her own photographs; she then would use them to make drawings that arranged the various-sized images from sundry sources into seamless compositions. This process is cumbersome, time-consuming, and doesn’t allow for a fluid look in the final paintings. However, digital photography, with its capacity to be manipulated in terms of scale, color, value, and object position, has the potential to quickly deliver source images from which she could paint and to do so in a form that requires little further editing from her. Using digital photographs as source images promises to make for more compositionally fluid and visually arresting paintings: the sense of deep space can increase, color compatibility can be easily achieved, the arrangement of objects can be experimented with to achieve more dynamic compositions, etc. A graduate student photographed chandeliers, fruit, flowers, and more, then digitally manipulated (under her direction) the various objects into single images that became source materials for the 30 or so paintings she created for exhibitions in the Snite Museum of Art at Notre Dame, Zolla/Lieberman Gallery in Chicago, and the Forum Gallery in New York.
With the increasing growth of digital technology used with SD and HD video as well as film, it is important to stay abreast of the tools being used in post-production. It is vitally important that ND instructors teach the most current knowledge of professional tools being used today. This project supported research on some of the newest softwares (Magic Bullet and Kodak Look Management) available to manipulate video and film transfers and high end color correction whereby you can correct, add or subtract lighting, filter effects, color, film-look, and mattes for blue and green screen effects shots.
Uses explored with these materials include: the ability to key images using blue or green screen; the exposure and experimentation with cutting edge technology; demonstration of how images are being manipulated; illustrating the process of a digital intermediate or even showing what happens to an image with standard procedures using filters and lab processing, like grad filters and skip bleach processes.
This project was an integration of a multimedia dimension to the course entitled Christian Spirituality and Social Justice taught by Father Groody. It consisted of giving students the responsibility of creating a 10-minute video clip on each of the ten core topics of the course (The Reality of Poverty, The Challenge of Justice, The Biblical Foundations of Justice, Patristic Foundations of Justice, Catholic Social Teaching, The Preferential Option for the Poor, Icons of Justice, Liturgy and Justice, Contemporary Issues, Spirituality, Discernment, and Justice). These clips were then used to produce a classroom instructional video to introduce students to the issues of poverty, liberation, and justice, and to examine them in light of Christian faith and the following of Jesus. The video will accompany Fr. Groody’s book, Globalization, Spirituality, and Justice that is part of the Theology in Global Perspective Series, as well as supplement social justice courses at Notre Dame and other universities.
Globalization, Spirituality, and Justice offers a rigorously critical, and yet inspiring, vision of justice as an integral part of Christian spirituality in our complex, globalized world. At the same time, Daniel Groody’s analysis draws on the conviction that faith and spirituality have an integral role in the struggle to achieve a more just social order. Specially designed for the classroom, this text will help all readers understand the facts and values from which a just world must be fashioned. In his nine chapters, Groody introduces readers to the core of the biblical worldview, the Christian message on justice and human liberation in its historical context, and the challenge of Catholic social teaching.
More information at:http://www.nd.edu/~dgroody
The Fall 2005 IRLL 103 class, taught by Professor McKibben, took on the project of a student performance of Máiréad Ní Ghráda’s An Triail (The Trial), a compelling watershed 1964 play in Irish about social obloquy and hypocrisy in pre-boom Ireland. Instead of creating a script, students would be able to focus immediately on the language, performance, and meaning of the text, which is linguistically accessible but intellectually meaty. The performance was created for video, not live public presentation, so that students could refine and reshoot scenes as they wish, rather than being asked to perform under pressure at a level that may seem unreachable after just three semesters. Studying and performing a play takes students beyond mere linguistic study to an encounter with Irish culture. It pushes them to shift their attention from mere correctness to the emotional impact and underlying implications of their lines. The process of performing the play on video also transforms the students into literal “actors” in and of the language: producers, not consumers, of something that they thus come to share in and own. It also makes them agents in the sense that they are crafting something for others through the web-streamed archive (a key element of the project) so that Irish is not simply something from Ireland that they apprehend, passively, from a distance, but something dynamic that can be created, deployed, transformed, and revitalized right here at Notre Dame. In turn, by presenting the performance in public via the web, we address a larger audience of Irish speakers across the United States, in Ireland, and internationally, opening up communication with those diverse constituencies, contributing to the ongoing critique of the domestication and delimitation of the language and sharing the activities and experimentation of the Department of Irish Languages and Literatures.
This project began an annual classroom project in Sarah McKibben’s third semester Irish class (IRLL 20103) where students write, edit, and film a video in Irish. This video is then shared with the entire class, simultaneously addressing (and redressing) the lack of videos in Irish available for multimedia language-teaching. The key to this project is that students themselves contribute to the creation of resources while simultaneously opening a channel of video communication with the Irish-speaking community on campus, throughout the nation, and around the world. They in effect join the conversation in a way that is reflective, meaningful, and visibly transformative – not to mention exciting and highly motivating.
It has long been clear that audio-visual and new media make an effective addition to language teaching. Audio-video materials (including music, video, and television), computer programs, and websites bring a dynamic dimension to the language classroom that helps students to engage and to retain demonstrably more than “two-dimensional” instruction alone. The web is giving what was once called a “dying” language new life, an important theme of Professor McKibben’s own research. In this course she frames her students’ efforts as a challenge to the assumption of linguistic death and thus as a significant intervention in the intellectual discourse in her field.
More information and videos posted here: http://irishlanguage.nd.edu/people/projects/
The CCC (UND), Media Lab Europe (a partnership between MIT Media Lab and the Irish Government) and the Irish Fulbright Foundation were partners in a project called CELL, which was a multimedia installation that took place in October 2003 at Mountjoy Prison in Dublin, Ireland. Professor Biddick’s project created a video archive of the CELL installation over three days of its presentation. Artistically the archive would capture the critical scholarly stakes of CELL. CELL constructs for the invited public a kinesthetic journey into the normalized and secret architecture of the Victorian model prison of Mountjoy. This model prison was designed as a panopticon which instantiated in bricks and mortar the fantasy of complete visual control. Therefore the archive has to work against the grain of visual control. The video record has to “move” with the installation at the same time that it refuses to substitute the camera for the panopticon. The video archive models how digital projects can move across site-specific problems of civic culture through public installation on to performance space through staging at the Performing Arts Center on campus.