New Media Pipelines:
The introduction of new media to art, architecture and design culture
Dean Bruton (bio)
The University of Adelaide
Abstract
This paper aims to explore and explicate identifiable patterns of praxis associated with the introduction of new media into a) a visual art and design school program and, b) into an architectural school's postgraduate program. The benefit of observing and tracing the patterns of cultural change with the introduction of new media technology to the higher education curricula, is the recognition of changes and the need for the recording of this rarely documented history of higher education. Others may usefully find these 'pipeline' patterns in future visual arts education environs.
Introduction
New media culture is an emergent story, of transition from conventional media to the adoption of digital technology and its associated ontology. The term 'pipeline' is understood as a connected series of actions that lead to the production of a digital media outcome. These actions involve the use of software, often plug-ins and proprietary systems that contribute to the creation of 3D objects for film and games. In a more general sense, the sequence of activities that are undertaken in an education or training program may also be considered as a pipeline process as multiple tasks may be arranged for instructional purposes. The arrangement of these tasks may vary with the cultural interests of a specific community of users.
New media academics have developed curricula that reflect the recent changes in network technology and communications protocol. The advent of YouTube, Facebook and unfettered blogging released educators from previously tedious data preparation and web design tasks accompanied with the delivery of new media courses. In the early days of new media education, the pipeline for new media course delivery included several mandatory skills that were to be self taught late into the night sometimes just before the lecture the next day. Once the course material was decided upon there were reading lists and course outlines to be crafted and delivered for approval before their photocopied hardcopies were passed out to students within the first two weeks of semester. The exciting initial developments of web presentation and the now ubiquitous PowerPoint presentation changed many course delivery pipelines in the 1990s and throughout the new millennium.
When the web editing software was in its infancy there seemed to be a choice between learning HTML or using the WYSIWYG programs such as Pagemaker or Dreamweaver. For art and design students Pagemill gave way to Flash which emerged as a clear winner for the visually orientated and soon became the standard for visual arts courses. By 2003 Macromedia was clearly in demand for its clean code and was easy to pick because of the useful Help files and tutorial assistance. Online 3D environments are rapidly establishing new ways of teaching due to software such as AC3D, the first commercial 3D modeller to integrate full support for exporting models to the platform Second Life. Online tutorials are now ubiquitous and readily available to assist the design and resource delivery of higher education new media courses: our re-ritualised culture is shaped by a new media pipeline of online networking.
For those 1990s educators who introduced 3D applications into the tertiary curricula, this online facility has been accompanied by changes in the emphasis and order of computer graphics animated movie production, as Michele Bousquet notes: “There is a myth that you should spend most of your time modeling, then cram all the lighting, texturing and animation into whatever time remains in the schedule. This so-called wisdom stems from the early 1990s when computer graphics were new, modeling was a rare skill, and any rendering at all was impressive” (Bousquet, 2008). More time may now be devoted to gathering online or real world reference material and to developing alternate awareness of the end result, say in character animation through online resources such as the 11 Second Club, (Animationmentor, 2008). The difference here is that the end point is available for immediate critique, instead of being a vague idea way down the track of the production pipeline.
The Pipeline Metaphor
The 'pipeline' in this paper has two associated meanings: a) the process by which a new media graduate acquires knowledge and skills in the area of art and design with digital media publications tools, and b) the pipeline for the production of digital media productions for web, game/simulation and film industries. The interdependent relationship between these two meanings is a part of the dilemma for the academic who aims to keep up with the rapid changes in both software design and cultural acquisition processes that utilize new media.
Patterns of Adoption of new technology in higher education
The term 'Art school' is often an oxymoron, in that there is little art taught in the School and little art that emanates from the teaching. The term 'art' may be the source of the confusion in the visual arts realm and art schools often can do little to alleviate the confusion. Especially when the prevailing philosophy is “anything goes”. Finding a balance between the use of traditional approaches to art studio education, (the easel, the palette and life model etc) and technically challenging computerized systems is a battle that is still within many of today's art and design school walls. A prevalent 'low tech' approach to art and design studio is based on the assumption that 'real' art occurs in the conceptual stage, well outside the realm of electronic obfuscation. If we are looking for innovative change in terms of form or content or both, then why should the media that a student is using matter? This simple approach refuses to recognize the power of new media to search and store, to evolve and generate outcomes and to present them in more transparent ways than ever before. The use of new media has created a new cultural crisis for a generation of 1970s art 'educators' who are unable to see the value of new technology. Does a two-minute animation equate to a large paint covered canvas or a carved sculptural object? Early adopters of new media found their students work was often unfairly dismissed as too technical and conceptually barren at a time when context was paramount: collections of detritus or a shit-in-a-tin was considered significant art. The Art School pipeline delivered graduates that had few skills and little understanding of their chosen field – and consequently little attraction for the work force. If novelty is something new, and creativity is distinguished by its relevance to community then there was little creativity and lots of new triviality in this type of institution at that time.
Examples from a prototypical situation: University of SA
Examples of some of the early 1990s digital media student's work show their involvement with both form and content, as well as, the technically demanding requirement for rigorous software processes. The introduction of concept driven visual art that used the idea of grammatical rules resulted Fig 1, a visual alphabet that could interpret language in an original hieroglyphic style, and be animated in three dimensions, Fig 2. For many students finding their way into multimedia meant learning Macromedia Director and each semester an interactive group CD-ROM was assembled Fig 3, from the individual student folios for a group exhibition often by default in a now conventional gallery format using computer screens. Two such examples that seemed to explore new territory were Shift/Enter and Red Fuse. Working in the Classic Macintosh format soon became obsolete with the advent of OSX and beyond. By 2003 the PC environment became mandatory in the many budget conscious centralized universities resulting in the transition form Windows NT to Win XP and ultimately Vista. Via (2001) a ground breaking 18 minute computer graphics animated movie was nominated for the best animation category of the Zoom awards. It was the result of interdisciplinary collaboration between students from a variety of institutions that sought the team experience of working on an animation movie together with the associated production components such as scriptwriting, storyboarding, sound tracks, marketing and distribution (CD-ROM, DVD and Press release pack). This was a rewarding but very demanding experience as the technology and resources were not ready for the demands being imposed by the aims of the project. These examples indicate the broad scope and ambitious depth of new media exploration that occurred in a small section of a School of Art inside a large university.
Fig 1. 2D – letters of visual alphabet a, b, c, Neal Powell
Fig 2. Animated 3D Grammatical Poem, Neal Powell

Fig 3. Stills from early interaction design projects: Shift/Enter (1998); Red Fuse (2000), using Macromedia Director, Photoshop and Premiere
Fig 4. Stills from CD-ROM for the 18 min animated short Via (2001)
New Rituals: New Media Patterns of Skill Acquisition
Consider the issues that arise in the recognition of new ways of working, new ways of thinking – previous situations that occurred in higher education. The introduction of new software required the dedication to a steep learning curve. The well intentioned academic would enlist in a plethora of workshops, seminars and conferences that supplied the latest means of acquiring fast facility and ease of delivery to the eager students awaiting enlightenment in the web design, interactive or 3D modeling and animation class. Software skills aside, the new technology for interactive exploration of space in real-time became part of the requirements for new media education. Avatars in Active Worlds pioneered the imaginative territory that Second Life now commands. For the New Media educator, patterns of skill acquisition demanded a sound knowledge of a wide range of software and technical issues well beyond those of the average conventional media art educator such as VRML, panoramic imagery, html and stereoscopic real-time simulation.
The 3D Modeling and Animation Class
Until the mid 1990s typical art and design studios stressed the importance of drawing. Often the class would be drawing still life or the life model to gain knowledge and understanding of 2d and 3d layout and form issues. New media changed this pattern by introducing ways of using both 2d and 3d visualization at the same time. In a 3d application such as 3DS Max the startup screen shows four views of the object: top, front, left and perspective. This changed the mental construct for spatial relations and developed new ways of interpreting the representation of space and form. The model could be built whilst viewing it in three dimensions interactively. For the first time students could see what their form looked like from any angle as the form developed, not just from the view they had chosen to draw as in a traditional paper based drawing studio. Furthermore, movies could capture the three dimensional visual adventures for post production and experimentation. If we understand animation as the representation of life in moving pictures, then the world became a playground for animators. Maloney notes in review of the first (2006) issue of the Animation: An Interdisciplinary Journal that Buchan “seems to be deliberately bridging the gap between older styles of film scholarship with a newer emphasis on production and history…” (Maloney, 2007). During the transition to this awareness of interdisciplinary approaches to design, art and design education is revised as a new game with new rituals: the pipeline developed in relation to issues of how to represent the world in moving pictures as well as static paintings, photographs and sculptures. This shift in cultural awareness is fundamental to the ultimate direction for visualization studios today as it led to the inclusion of explorations of real-time imagery in games and telepresence/video conference networking.
The standard pipeline for 3D animation production followed a path from 2D linear plan to 3D form, maps, textures, lighting, camera(s) and rendering. The usual pedagogical barriers occurred when students needed to learn entirely new terms such as “gizmo” or “modifier”. Finding a student who could become a tacit user of the software was extremely rare. Usually students wanted to make the independent short animation, or group feature. The latter required a subjugation of ego and teamwork, a huge impediment for many. Animation fundamentals were keenly sought and depended on conventional cell animation knowledge in books such as Preston Blair's Cartoon Animation (Blair, 1994), Ollie Johnston's The Illusion of Life (Johnston, 1995) and other Disney studio animators (Whitaker & Halas, 1981). Effects production was the alternative direction and compositing became an important career path as the Australian movie industry grew in the 2000s. Companies such as Rising Sun Pictures and Animal Logic led the way in movie production and were attractive career targets for young new media graduates.
International conferences such as the Apple 'World Wide Developer's Conference' (WWDC) were a Mecca of information and research that could be assimilated quickly and relegated to course handouts for new media students. Sometimes the effort to learn a software package outweighed the benefit because the software (such as Macromedia Director) became obsolete, too expensive or unfashionable. Dogma such as 'designers use Apple Macs' have now become a joke, but were then a creditable position to take for the design fraternity.
Changes to centralized computing in the late 1990s encouraged the use of Windows platform – of course later to be subsumed and incorporated in compromise solutions and challenged by the open source Redhat community. To be productive in 3D modeling and animation was to be rendering savvy. Students soon learnt that if their model contained huge amounts polygons it could not be rendered in time for assessment. This led to a production pipeline that included long periods of computer rendering time that incapacitated the student's learning cycle. The film VIA made in 2002, with 45 students from a variety of institutions and private practice took 6 months to render – we were rendering right from the first few weeks as we knew it would be the worst technical obstacle to overcome. The production pipeline was dominated by the rendering limitations of the computers we were using. This project challenged the standard course teaching pipeline that assumed the student would produce a series of assignments individually and present them in a folder – or in new media terms in a web site folio. At that time, the operation of a large production team along the lines of a Hollywood studio was ambitious but it produced a creditable result: the movie VIA and the documentary movie RE:VIA. Influenced by the success of local industry companies such as Rising Sun Pictures, the group felt proud to have completed an 18 minute computer generated animation that was successfully screened in the local commercial cinema to a packed house. The ontological pattern here is a belief in the value of the emulation of industry and the connection with non-institutional members of the new media fraternity such as local music composers, writers, producers and filmmakers. This re-ritualized approaches to the teaching of new media and set the scene for developments in other academic settings such as TAFE and the local traditional universities where new media was unheard of except in regard to computer science and architectural education.
Analysis for Pedagogical Change
Evaluation of early New Media Studio operations and analysis of the changes required for the successful development of higher educational programs. My transfer to the University of Adelaide gave me a chance to act on my recognition for the need to change the approach to design studio thinking and practice. The new postgraduate digital media course incorporated the new media ideas I had developed at UniSA. The course were planned to deliver a new approach both in terms of thinking and professional practice. Architects were looking for digital media expertise once they had completed their design degrees. International schools were still paper based in 2003 and their graduates needed assistance to be digitally aware and technically ready for the workforce. The patterns that were previously applied in the Architecture School were challenged – design studios removed drawing boards in favor of computers and students began to arrive with laptops. The ethos changed too. Students became team members for many projects replacing the previous assumption that a good graduate achieved alone in a single individual-based endeavor. Some believe open source software to be the future as Blender and Scribus develop popularity.
Changes in systems and software also created new patterns of 'praxis'. As Heidegger argued, central to the rethinking of the relation between theory and practice was the idea of reflection. In sympathy, Barabara Bolt argues that “art can be seen to emerge in the involvement with materials, methods, tools, and ideas of practice.” (Bolt, 2004) The now ubiquitous web folio can be most useful as a reflective cornerstone of students' final presentation. This 'enframing' practice was based on the philosophy of hermeneutics (D Bruton, 2007). The idea was that the student would use reflective practice (Schön, 1983) throughout their course – to develop a dialogue with their own selves and their own work. This was like a diary but it included all stages of the development of a project. The software Flash and Photoshop became the key to this approach. Students used 3DS Max and Maya as well as standard Architectural Desktop products for the realistic depiction of models and animations. The production pipeline had changed towards an animation industry protocol: model, map and texture, animate, light, render. However, fundamental principles of animation (Balda, 2008) are integral to the program. Using the lessons from the growth of tutorials online, students quickly learnt tasks that were previously very time consuming. For example the code for a rollover was a considered a significant achievement in the early days and now is an inherent and simple part of Photoshop templates and how-tos. Alongside these new media production pipelines a pedagogical shift developed in our studio based on the idea of using rules and recognizing the value and importance of contingency (D. Bruton, 1998) in designing. Based on the work of shape grammarians such as George Stiny (Stiny, 2006) and Terry Knight (Knight, 1994) the patterns of design used the recognition of rules as an enabling device. This new ontological shift in the understanding of art and design spawned exciting changes in approach and output as shown in the following examples:
Examples from current postgraduate studio: The University of Adelaide
Fig 5. 2D – Mondrimat – generative design online 1st (left) and 200th (right) iteration
Fig 6. 3D – Mental Ray use in Animation Pet Rocks, – Tim Forbes & Jacob White. Click here to watch.

Fig 7. Stills from architectural animation, Venice Biennale – Australian Pavilion, Jeremy Gryst. Click here to watch.

Fig 8. SALUD web site design (left), Australian Centre for Visual Technology logotype (right), Ron Keller
Fig 9. Torque game design and movie making, Andrew Osborne
Fig 10. International Design Studio, using video conferencing for collaborative interdisciplinary design classes held in May 2007 between Penn State University and SALUD, University of Adelaide
Beyond the City of Bits
At the beginning of the 20th century cinema faced the same issues that new media technologies face in the early 21st century: “Without a history of its own, masters to emulate, or models to follow cinema displayed all the problems of a new born language needing gifted technicians and amateurs as well as artists skilled in the use of the camera. Such circumstances were ignored by universities and at schools which considered cinema as a poor copy of theatre and a place the artistically gifted should avoid” (Bendazzi, 1995). In 1977 William J. Mitchell used 'representation' as a starting point for the design process and conceived of architectural design as problem solving. This view assumed “that we can construct some kind of representation of the system that interests us, and that problem solving can be characterised as a process of searching through alternate states of the representation in order to discover a states that meets certain specified criteria.” (Mitchell, 1977) Mitchell develops the then alternative idea of a “generative system” (p29) suggested by Aristotle, as a methodology or a new kind of design 'pipeline'.
Alternative approaches to the hegemony of traditional 20th century Hollywood scriptwriting rules are part of the fresh thinking of younger generations documented by Aitken in his book, Broken Screen (Aitken, 2005) which takes a look at ideas behind the important yet under-documented visual language of nonlinear narratives, split screens, and fragmentary visual planes that define the most progressive moving images today. The emerging focus for Aitken lies on the shattering of linear narrative in the visual arts through the use of image-based work to articulate the speed and fragmentation of modern life. This redefines the pipeline for new media production in terms of storytelling interventions that use contra-positioning of previous narrative styles. It contributes the online image savvy audience demand for change and innovation in the conception and illusions of contemporary reality. For example, modifying game engines introduces students to the rigors of computer code for game design (see Fig 5).
In Collective Intelligence in Design, Hight and Perry highlight new directions for innovative design pipelines that incorporate alternate modes of social, economic and political organization in the form of peer-to-peer networks and open-source communities. For Hight and Perry a new design agenda has arrived with the age of information: “This has radically altered conventional models of collective invention, as well as challenging received notions of individual authorship and agency, questioning the way in which traditional disciplines organize themselves. This reorganization is apparent within architectural practice, as well as within its participation in a greater cultural context of increasing interdisciplinarity. For the design disciplines, this includes the emergence of new forms of collective intelligence in a number of different fields including architecture, software and interaction design, gaming, motion typography and product design” (Hight & Perry, 2006). Always prevalent as a digital media industry convention, the use of collective teamwork intelligence has become a key part of educational pedagogy for movie and game design as seen in the example of the Pet Rocks (see Fig 4).
As N. Katherine Hayles suggests: “…computation is fundamentally altering the ways in which humans conceive of themselves and their relations to others” (Wardrip-Fruin & Harrigan, 2004). This paper argues on the macro level that that the design process responds to new technical and cultural conceptions of the designer and design collaborators. On a micro level the production pipeline also responds to altered conceptions of self and other brought about recent technological change. In a 2007 research study of 1,400 American business travelers Peter C Yesawich found that “33 percent agree that they are actively seeking ways to use technology – and not just videoconferencing – to reduce business travel” (Finney, 2007). As the cost of videoconferencing reduces, design studios will embrace technology as part of the new collaborative design pipeline collective as in the example of the SALUD International Design Studio (see fig 6).
Current Approaches
As animation and effects are taught in tertiary institutions with increasingly sophisticated software tools and equipment, the interrelation between screen and physical media is a fundamental concern for art and design educators. In a broad ranging coverage of animation pipelines Furniss records the move towards collaborative online integration of digital media in the art production process: “Since the 1990s, when the Web started to become part of our everyday lives, it has provided a platform for animated imagery of all kinds” (Furniss, 2008). William J. Mitchell's 1995 prediction of the proliferation of the Virtual Design Studio now applies to all fields of designing: “The networking integration of digital video with computational processes and hand-held wireless digital communications devices will radically change the daily practice conditions of an architect” (Wojtowicz, 1995). Contemporary pipelines for a “Virtual Design Studio” include motion capture, green screen, and post production facilities. The pipeline responds to new technology that simplifies previously complex expensive operations. As technology becomes available to the makers, hands on smaller studios will prosper. This is clearly apparent in the animation field which recognises significant changes in motion capture systems, Andrew Tschesnok claims, “There is no technician. Animators can just jump into the capture space themselves” (Dunlop, 2007). The student animations completed during their postgraduate candidature at the University of Adelaide demonstrate a sophistication rarely seen in the early days of digital media education. Each of the four examples show a) a collaborative exploration of two and three dimensional qualities in a short feature called Moon Hare (
) by Betty Qian and Poppi Doser; b) the development of Pixar style animation influenced by traditional animation principles in Balls (
) by Tom Lee, c) the technical influence of Hollywood studios on student productions in Pet Rock (
) by Tim Forbes and Jacob White and, d) the transference of filmic quality and presentation modes into architecture in the Venice (
) Biennale competition project by Jeremy Gryst. However, the patterns of production show that emerging technologies associated with new media offers new image qualities that extend the graphic possibilities for expression and the modes of communication.
Immersion is part of the attraction for digital media production. Game design often in conjunction with storytelling in movies aims to capture people in new places by immersing them in virtual environments. Many movies such as, Laura Croft, Final Fantasy, I am Legend, The Golden Compass and Kung Fu Panda create a synergy between movies and video gaming. Trends indicate that the pipeline may now include online delivery as traditional newspaper companies lament the demise of the hard copy daily news. “With the rise in broadband capabilities, advertisers are looking to the internet to provide a distribution channel for branded content that can be targeted at specific audiences, is inexpensive and allows repeated hits by visitors” (Parker, 2004).
The needs of an end-user are a key part of design concerns and planning. Higher education institutions increasingly encourage students to consider not only the commercial applications of interactive projects, but also the human context of technology. Teamwork continues to be a major part of design educational programs and industry developments indicate this is a fundamental aspect. For example the prehistoric action movie 10,000BC used a team of 18 members instead of the usual team of four to work on the animation of the snarling saber-tooth tigers (Pelican, 2008). Specialised work like this requires a continuous communication pipeline that offers real-time interaction using quality imagery. An example that heralds new directions is the Electronic Visualization Laboratory at the University of Illinois at Chicago, that boasts its use of “Cyberinfrastructure” – “coined by the National Science Foundation refers to high end performance computing and communications environments that integrate data, computers, and people on a global scale in order to stimulate scientific exploration, theories and knowledge” (Leigh & Brown, 2008). Perhaps the alternative new media pipeline may be seen in the future “Cyber-Commons” as it “will support continuous interaction, respond to human gesture, and encourage mobility among team members and information” (Leigh & Brown, 2008).
Conclusion
Lessons for the adoption of new technology in higher education – current scenarios in higher education favour the development of game design and real time interactive communications. Whether all technologies (for example the addition of mocap as at Deakin University (Rosenberg, 2007)) are required for a successful tertiary education is debatable. The patterns that are apparent on reflection are:
- The need for the recognition for the qualities of new media and a determination to highlight them for use by students in an interdisciplinary context.
- For the qualities of new media to be linked with other sought after graduate outcomes of creativity and social responsibility.
- That modernist “representation” constructs are giving way to alternative systems of generative and parametric networking
- That technology for its own sake is a red herring - it is needed as a balanced approach to the quest for innovation in form and content
- That new media culture is a complex mix of beliefs values and attitudes about art and design that contribute to new languages of expression
- That the need for clarity in the pursuit of excellence in design requires a better acknowledgement of the role of new media and recent information technology
Conceiving of academic life in terms of pipelines and production pipelines may result in alternative thinking and acting in the realm of new media production. Although new media primers have long been used to the questioning of the newness of new media, other cultural questions posed by Lister et al are still pertinent: “Do media proceed with a decisive series of ruptures or decisive breaks with the past? Can a medium transcend its historical contexts to deliver an 'entirely new language'?” (Lister, Dovey, & Giddings, 2003) Alternative cultural patterns emerge once there is a recognition and encouragement of the value of innovative art and design in any media, but especially new media. The development of a 3D animated short film genre in Australia and its online counterpart is an essential part of the changing pattern of culture and new media practice. Furthermore, there are now a lively series of specialized forums and visual arts discourse about new media (Australian Film Commission, 2008). From 2008-9, with the introduction of XDCAM technology and the subsequent use of FTP instant uploads of real-time proxy HD movie footage for online news and entertainment, the cinematographic pipeline has irrevocably changed how people will conceive of using new media – the culture of new media will be a culture of instantaneous visual gratification, contributing to an increasingly shrinking cosmos of data rich info-overloaded content seekers and attendant commercial providers. These patterns of technological pipeline changes together with the move towards high definition images that are immediately accessible in a global online environment will contribute to a cultural reassessment of the new media potential for new languages of expression, for new educational pedagogy and fresh approaches to storytelling productions for film and games.
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