(Apologies for any cross posting)
//-------------------------------------------------------------------------->
We take great pleasure in announcing that The Artvertiser source code is now
(finally) available, licensed under the GPLv3.
Introduction:
The Artvertiser is an Improved Reality platform, designed for the live
substitution of advertisements in a video stream with alternative 2D content.
The code was initially developed by Julian Oliver before being significantly
improved by Damian Stewart.
A typical application of The Artvertiser at work might be the Product
Replacement of street billboards with 2D art using a laptop with webcam or
camera-enabled mobile device. You might also want to have your own personal
exhibition in the Louvre, substituting well known paintings with your own
creations and inviting others to enjoy the show.
Counter-propaganda operations are also well suited to the platform, like
changing the imagery of a disliked political campaigner before uploading the
recorded result for all to see. Alternatively, it can be used to product replace
planar images in archival video, like a HollyWood movie or TV advert, using
popular films as an 'exhibition surface'.
You can see a couple of examples of The Artvertiser at work using our own
specially crafted digital binoculars, The Billboard Interception Unit, on the
project website:
http://theartvertiser.com
The Code:
The entire project tree exists as a git repository, cloned like so on your local
system:
git clone git://repo.or.cz/The-Artvertiser.git
The code should currently build on any modern Linux-based OS with the addition
of a couple of dependencies and - thanks to Damian - should also compile on OS X
with the correct prior tweaks in place. See the README file in the top-level
directory for more information.
A special 'mob' user has been set up allowing complete Read/Write access for
anyone at all. Once you've cloned the repository as above, just:
git checkout mob
.. to move to the mob branch. It's all yours!
We look forward to your improvements, forks, derivations and vandalisms.
Happy (urban) hacking!
Julian and Damian
http://theartvertiser.comhttp://julianoliver.comhttp://frey.co.nz
//<--------------------------------------------------------------------------
--
Julian Oliver
home: New Zealand
based: Berlin, Germany
currently: Berlin, Germany
about: http://julianoliver.com
DOME LAB 2010
CALL FOR APPLICATIONS CLOSE FRIDAY 3 SEPTEMBER 2010
Fulldome and other 'frameless' screens provide what filmmakers dream about -
an audience so immersed they become part of the story, an experience so
seamless that the story transcends its mode of delivery.
WHEN
31 October - 5 November 2010 :: Perth, Australia.
WHAT
The emergence of destination cinema‚ and the proliferation of large-format
screens in public spaces present a challenge - and opportunity - to
filmmakers and artists working in more traditional screen formats. At the
very least a new cinematic language is required, one taking account of the
audience's very different experience of stories presented on frameless‚
screens. Fulldome, with its hemispherical screens and surround-sound, is an
accessible and powerful test-bed enabling filmmakers and artists to
experiment with and develop this new language.
WHY
Reflecting its provenance, most fulldome content to date has been
educational and comprised of computer-generated animation, data
visualistion, or a combination of both. Now, however, there is a shifting
focus, with producers turning their sights to the entertainment potential of
live-action story-telling for large-formats such as fulldome.
Dome Lab is a world-leading intensive workshop investigating this potential
and the specific challenges involved in creating compelling live-action
narrative content for large format and frameless screens. Participants will
work alongside a team of creative and technical luminaries including
Academy-Award winner, Ben Shedd, 2010 Peter Rasmussen award-winner, Peter
Morse and international fulldome pioneer, Hue Walker Bumgarner-Kirby.
WHO
Filmmakers and artists excited by the chance to leap beyond the frame and
into the expansive creative potential of large-format, immersive screen
experiences are invited to apply.
Applicants must have a minimum of three years professional experience in
their field (except for SDA Scholarship applicants - see guidelines for
details).
Selection will be based on skill-set, with a view to putting together four
to five small production teams. Accordingly, applicants from the full
production chain, including writers, directors, camera and audio operators,
editors, and designers are encouraged to apply.
HOW
Deadline for applications is 5pm CST, Friday 3 September 2010.
To view and download guidelines and an application form visit:
http://anat.org.au/news_items/312 or call us on 08 8231 9037
Begin forwarded message:
> From: "Dawn Hutchesson" <dawn.hutchesson(a)aut.ac.nz>
> Date: 1 September 2010 12:12:06 PM
> To: "Dawn Hutchesson" <dhutches(a)aut.ac.nz>
> Subject: Call for papers: Colab Journal of Creative Technologies
>
>
> PLEASE DISTRIBUTE TO YOUR STUDENTS AND NETWORKS, THANK YOU!
>
>
>
>
>
>
> Call for Papers
>
> Submissions are invited for the inaugural issue of the online
> publication Colab Journal of Creative Technologies, to be published
> in January 2010.
> We encourage emerging scholars and post-graduate researchers from
> around New Zealand to contribute.
>
> The theme for the first issue is Transmedia/Transmodality - and the
> editorial board actively encourages diverse interpretations of one
> or both of these terms (see below for definitions).
>
> Papers should be submitted in English in Microsoft Word (4,000 -
> 5,000 words including notes and references). Papers should be
> accompanied by an abstract of 100–150 words. References should be in
> Chicago B style. The paper must contain a separate title page that
> should include: the title of the manuscript; the name(s) and
> affiliation(s) of the author(s); full contact details of the
> author(s); the author’s brief biographical information. All graphs,
> illustrations, images should be attached in a separate file. All
> submissions are subject to review by the editorial board.
>
> Submissions must be received no later than Friday 1 October 2010
>
> To make an enquiry or to submit a paper, email:
>
> Jennie Watts
> Editor, Colab Journal of Creative Technologies
> jennie.watts(a)aut.ac.nz
>
> Theme: Transmedia/Transmodality
> Transmedia: the use of digital platforms to extend narrative and
> build interactive content around a linear property through Apps,
> online extensions, Alternate Reality Games along with dynamic social
> media strategies.
>
> Transmodality: Working across/translating between digital, analog
> and virtual modalities, emerging practices, cultures, machines,
> formats or platforms: trans-coding: reconceptualisng ontologies:
> epistemologies: ethics: physical computing: hacking: multi-
> modalities: timebased: post-digital practices: interaction: haptics:
> post-disciplinary: information design: information architecture:
> branding: interaction services: ubicom: storytelling: heuristics:
> sensory perception: emotion: habit: embodiment: affordance:
> pervasive computing: wearable technologies: post-digital
> performance: real time 3D: transhumanism: robotics: visualisation:
> internet/web engineering
>
> About Colab: www.colab.org.nz
> Colab is an interdisciplinary creative technology centre which aims
> to facilitate and promote creative practices, research and
> development, knowledge sharing, innovation and collaboration. It
> brings together arts organisations, practitioners, educational
> institutions, commercial enterprises, technology developers,
> industry bodies and communities. It supports the development and
> public dissemination of hybrid ideas, research and creative
> practices through convergence technologies, innovative formats,
> modes and networks.
>
Call For Papers: Collaborating Now
The Collaborating Now Project would like to invite essays from writers in arts-related disciplines for a book focused on the state of contemporary collaborative practices in the arts. The Collaborating Now Project began in 2009 with an international collaborative artwork project in which artists in New Zealand and around the world created a collaborative artwork (facilitated by Gregory Sholette) and discussed their ideas about collaborative art.
Authors are invited to investigate why and how contemporary artistic practices and theories have recently emerged as ways of engaging in and thinking about collaborative art, why there is a sudden, renewed interest in collaborations within the artworld, and the implications this new trend has for making and writing about art today.
Examples of suitable topics include, but are not limited to: the nature and function of collectives in art; challenges facing collaborations working across different artistic media; challenges of forming and maintaining collectives; the disenfranchisement of artists and the rise of collectivism; hybrid collaborations; collaborations and place; collaborations and politics; why collaborate now; collaborations in the post-nationalist world. We also welcome papers about particular artworks or art groups as a springboard for discussing larger, philosophical and critical issues about collaborations.
Abstracts should be 500 words, and essays should be 2000-4000 words, in a style and format that makes them accessible to artists, art critics, curators and art historians, and written in a way to support serious and focused academic thought.
Abstracts and essays will be refereed blind by a member of the editorial advisory board. Please direct all submissions to <sondra.bacharach(a)vuw.ac.nz>.
Abstracts and papers should be prepared for blind referee and submitted in Word or RTF, via email to: <Sondra.bacharach(a)vuw.ac.nz>
Deadline for abstracts (500 words): 15 October 2010.
Deadline for final papers (2000-4000 words): 1 February 2011.
The Fuck Chairs - Textbook attack on a Fixed Installation
4 - 18 September
Opening & performance 6pm, Friday 3 September
Revisiting childhood experiences of fictionalised warfare, The Fuck Chairs'
installation is a military fortress fabricated from recycled domestic
artifacts and handmade weapons - its violence and play synthesized and
portrayed as the primitive renderings of a generation of unconscientious
objectors.
Michael Morley is an artist based in Port Chalmers, Dunedin. He has
exhibited at the Dunedin Public Art Gallery, 64zero3, Christchurch City Art
Gallery, Gertrude, Enjoy, Artspace and The Physics Room. He is also member
of The Dead C, and lectures in Fine Arts at Otago Polytechnic School of Art.
Morgan Oliver is an interactive artist and designer who lectures in
Communication Design at Otago Polytechnic School of Design.
--
HSP
84 Lichfield Street
Tuesday - Saturday 12 - 5
PO Box 3733
Christchurch 8140
New Zealand
hspgallery.blogspot.com
(03) 366 53 63
su ballard has forwarded you this email with the following message:
I've just received this email and thought you might find it interesting.
-----------------------------------------------------------------
ANNOUNCEMENT OF NEW CONTESTABLE ARTFORM IN 2011 - MEDIA ARTS
-----------------------------------------------------------------
This email is best viewed in your web browser. Click the link
below to see it:
http://creativenewzealand.createsend2.com/t/r/e/ckhkkl/l/
In this issue:
-----------------------------------------------------------------
- Independent Film Fund update and new artform category
Independent Film Fund update and new artform category
-----------------------------------------------------------------
Kia Ora
We wrote to you earlier this year to inform you that the New
Zealand Film Commission had withdrawn their support for the
Independent Film Fund (IFF) in 2010.
Creative New Zealand decided to continue with the 2010 round but
with a reduced investment and revised criteria. The results for
this round are now on our website
[http://www.creativenz.govt.nz/funding/independent_filmmakers_fund].
Due to the withdrawal of the Film Commission, this was the last
IFF round that we are able to offer and the fund has now been
disestablished.
Creative New Zealand has been researching alternative options, in
consultation with the sector, for support of this artform in
2011.
We are committed to supporting artists in creating excellent,
innovative and distinctive work and have developed a new artform
category 'Media Arts' to support a variety of artistic practices
utilising digital or analogue technologies within screen-based,
electronic, internet or mobile phone domains. Support will be
offered to projects focused on research and development,
experimentation, the creation of new work, critical dialogue and
discourse.
More information about support for media arts projects will be
outlined in Creative New Zealand's 2011 Contestable Funding Guide
[http://www.creativenz.govt.nz/funding/contestable_funding_]. The
guide will be available in late November.
In the meantime, if you have any questions about this new artform
or the final round of IFF, please contact Emma Ward
[emma.ward(a)creativenz.govt.nz] on 09 373 3066.
-----------------------------------------------------------------
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If you no longer wish to hear from us, click the link below to
instantly unsubscribe:
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Thanks,
Creative New Zealand
Pixxelpoint 2010
WHO: old new media artists.
WHAT: festival focussing on obsolete technologies with the theme of ‘Triple Conjunction'. How do artists reflect the year 2010? It is the beginning year of predictions of the end of the world, catastrophes and natural destructions. With anxiety, humor or indifference? Ecological, social and economical positions are influencing our daily reconsideration of ourselves, our environment and political changes. Artistic reflections in media art are often inspirations for another view on our planet and our lives.
WHEN: 3 - 10 December.
APPLY: application form online. Pixxelpoint, Kulturni dom Nova Gorica, Bevkov trg 4, SI 5000 Nova Gorica, Slovenia.
CONTACT: pixxelpoint2010(a)gmail.com
www.pixxelpoint.org
Deadline: 30 September 2010
Sonja van KerkhoffART: http://www.sonjavank.comBLOG:www.sonjavank.blogspot.com DESIGN: www.sonjavank.com/design VIDEOS: www.vimeo.com/sonjavank
BOOKMARKS: http://del.icio.us/sonjavank
Below is information for an exhibition of artwork at the Mary Newton Gallery
http://www.marynewtongallery.com/- most were augmented, and in some cases
fabricated, with 3D and/or video digital media and digital fabrications
processes. Images are at: http://www.facebook.com/album.php?aid=18350
<http://www.facebook.com/album.php?aid=18350&id=1702601580&l=25ff5e78e1>
&id=1702601580&l=25ff5e78e1
"Don't Worry, Be Happy" is show of images, objects and video representing
apocalyptic paranoia combined with trancelike whimsy. A 3d model of Homer
Simpson's nuclear factory is transformed into a winter dreamscape. Emergency
vehicles cross over a bridge over a satellite image of the Verdun, a region
ripe with heroic but often tragic historical significance. It seems that in
every era, no matter how optimistic, the social mood is either mitigated by
or closely followed by a period of pessimism...in turn, followed by
optimism.
The phrase "Don't Worry, Be Happy" was made popular this century by the
plastic singing fish, Big Mouth Billy Bass. When one pushed a button, the
toy fish "sang" the 1988 hit by Bobby McFerrin. The simple phrase,
originally written to supporters by Indian mystic Meher Baba, has a trite
but poignant message...trite to the point of parody, but poignant as a
harbinger of the social mood.
John Casti who is based at the International Institute for Applied Systems
Analysis in Laxenburg, Austria recently wrote an article in a recent New
Scientist magazine, The Wisdom of Herds: How Social Mood Moves the World.
Casti hopes to develop early-warning indicators for extreme events in human
society -a "Sociometer". "Put simply, the mood of a group - an institution,
state, continent or even the world - is how that group, as a group, feels
about the future". Far more attention is given the negative paranoid moods
of impending disaster than utopian optimism. "Sociometer" is a term coined
by the American financial guru and social theorist Robert Prechter in his
studies of social mood. His interpretation of the mood is almost always bad.
Prechter is one of several famous economists of whom it is said jokingly to
"have correctly predicted nine of the last five recessions".
Sure, terrorism, impending nuclear war, Stalinist infiltration, fascist
dictatorship, the neoliberal war on democracy, global warming, the end of
oil, stock market crashes, destruction of the biosphere and rogue asteroids
are all realities. They have been for decades. These threats are also
ameliorated by the possibilities of innate human creativity, critical
thinking, the thirst for freedom, courage, the ability to adapt and change
and the catharsis within real tragic drama.
As the American baseball player Yogi Berra once quipped: "It's tough to make
predictions, especially about the future." We cannot predict the future, so
find beauty within the tragic. It's not over until it's over. Don't worry,
be happy. J
Hi,
Could you please pass it on?
Merci ;-)
*** apologies for cross posting ***
The Institute of Communication Design of the College of Creative Arts (Massey University) warmly invites you to participate in the 7th Australasian Conference on Interactive Entertainment 22-23rd November New Zealand.
http://ieconference.org/ie2010/
"Fish of the Day"
This years theme: play as an agent for change.
In this current economic climate of uncertain- ty, we see a convergence of innovative minds, creative solutions and emerging technologies enabling change. IE2010 will cover how play can contribute to both major and minor chal- lenges we are facing in these roaring times. What can we learn from being inventive and playful? And how can interactive entertain- ment contribute towards facilitating these changes? What do we need to do as designers, developers, critical thinkers and researchers
to consider, bring in, promote when faced with these challenges? What is the role of play in future scenarios?
We have now 2 wonderful and excellent keynote speakers confirmed:
Katie Salen: Game designer and Professor of Design and Technology, and Director of the Center for Transformative Media at Parsons the New School for Design.
Joe Bleakley QSM: Art director for the Lord of the Rings Trilogy and King Kong, and theatrical experience designer.
We have also extended the deadlines for submissions:
Long Paper Submission and exhibition submission: 31 Aug 2010
Short Papers/Demo Submission: 1 Sep 2010
Author Notification: 1 Oct 2010
Camera Ready Papers: 1 Nov 2010
Our topics are, but not limited to:
Cultural Play
Engaging cultural discourse through play, Cross cultural communication, Museology and educational play. Cultural and media studies on games, policy and legislative responses to games
Experimental Play
Cutting edge interactive entertainment design development across any dicipline. Novel interfaces for games, mixed-reality. augmented-reality applications, mobile games Interactive installations, multi-model interactive systems. Experimental design.
Social Play
Play as a social communicator, entertainment and interaction as a part of everyday life. Mobile games and games that leverage from social networking tools, convergence and cross-platform media. Integrating games into traditional computer science classes as well as novel ways of teaching games, curriucula development at university, high-school or middle-school levels, special games based programs for attracting disadvantaged or underepresented groups.
Technical Play
Technical advancement in the field of interactive entertainment.
Path-planning, camera-control, terrain analysis, user-modeling, machine learning, interactive storytelling, NPC modelling, planning and general AI architectures. Papers that show advances in technical fields that make games work, such as databases, networking, cryptography, security, programming languages,
Visual Play Art and design
The aesthetic development and functionality of graphic user interfaces, installations and visual design. Games as art forms, novel approaches to game design. Advances in graphics techniques with applications to games, new animation techniques, novel interfaces for games, mixed-reality. augmented-reality applications, mobile games
Please find more on submission guidelines, the venue and other information on the conference website.
Or email us: ie2010(a)ieconference.org<mailto:ie2010@ieconference.org>
Warm wishes
dr. Aukje Thomassen - academic chair
dr. Erik Champion - program chair
***********************************************
Dr. Ing. Aukje Thomassen
Associate Professor
Research Director
Institute of Communication Design
College of Creative Arts
Massey University
Museum Building
Buckle Street
Wellington
New Zealand
Ph: +64 4 801 5799 ext 62384
http://creative.massey.ac.nz<http://creative.massey.ac.nz/>
__________________________
Laurent Antonczak | +64 9 921 9999 # 8724
AUT University | School of Art & Design | Private Bag 92006 | Auckland 1142 | New Zealand * Aotearoa
profile:
http://www.linkedin.com/in/laurentantonczak | www.atz119.com
PRESS RELEASE
(中文版本见下 - Chinese below)
-----------------------------------------------
DreamWorlds: Australian Moving Image in Beijing
4 September - 16 October 2010
-----------------------------------------------
DreamWorlds presents unique perspectives from eight leading Australian
artists on timeless themes of intimacy, isolation and the imaginary.
Forged in a vast island continent embraced by sea, these dreamy realms
will be on public display on the spectacular 27m outdoor media screen
in Beijing’s Sanlitun Village.
Curator Melinda Rackham, ex-Director of the Australian Network for Art
and Technology, is an award-winning new media artist, writer, producer
and curator, with a background in sculpture, installation and
performance. For Sanlitun Big Screen she has brought together a
selection of the most outstanding Australian media artists working
today, many showing for the 1st time in China.
The short video works move between mediations on daily life to
fantastical computer creations, ranging from Anita Fontaine’s
rebellious sense of play and a taste for magic in a modified video
game to Daniel Crook’s rhythmic stretching and compacting of time and
space in dreamy urban scapes shot in China and Australia. Jess MacNeil
traces the abstract movement of swimmers through the undulating waters
of the Bondi Iceberg ocean pool, while composer Peter Miller’s
generates delicate digital microscopic life forms. Dream Worlds
includes an exclusive 3 minute edition of Warwick Thornton’s
Indigenous Australian film Samson and Delilah (winner of the Camera
d'Or at the 2009 Cannes Film Festival), a powerful cinematic depiction
of first love framed by the red earth in a remote desert community.
DreamWorlds is an exciting opportunity to view Australia’s most
innovative and thought-provoking moving image art in a major Beijing
public space.
-----------------------------------------------
Media Contacts:
-----------------------------------------------
For more information, images and interviews please contact:
Email: info(a)dreamworlds.com.au
Beijing: Edward Sanderson +86 13621078560 (English), 马赛 86
15901010870(中国)
Australia: Melinda Rackham +61 410506592
-----------------------------------------------
DREAMWORLDS: NOTES for EDITORS:
-----------------------------------------------
Event: Dreamworlds: Australian Moving Image 2010
Curator: Melinda Rackham
Producer: Michael Yuen
Premiere: 4 September 2010, 6.30pm
Screening Dates: 4 September – 16 October 2010
Times: Screening every half hour, please see website for details www.dreamworlds.com.au
Venue: The Sanlitun Village Screen,
Courtyard 19, Sanlitun Road,
Sanlitun Area, Beijing
Cost: Free
-----------------------------------------------
Media
-----------------------------------------------
Images and Information available in English and Mandarin at:
www.dreamworlds.com.au/media
-----------------------------------------------
Artists
-----------------------------------------------
Daniel Crooks
Anita Fontaine
Warwick Thornton
Jess MacNeil
Troy Innocent
Kate Richards
Peter Miller
Chunky Move
-----------------------------------------------
Sponsors
-----------------------------------------------
Australia International Cultural Council
Australia–China Council
RMIT University
Swire Properties – Sanlitun Village, Beijing
-----------------------------------------------
-end-
-----------------------------------------------
媒体发布
-----------------------------------------------
《梦幻岛》澳洲影像艺术在北京
4/9/2010 – 16/10/2010
-----------------------------------------------
《梦幻岛》由八位杰出的澳大利亚艺术家共同完成,展
示了他们在亲密、孤独、虚幻等这些永恒主题上的独特
视角。这一系列作品诞生在澳洲大陆——一个被海水温
柔环抱的巨大岛屿,充满了梦幻色彩。你将会在北京三
里屯Village高达27m的巨型露天屏幕上看到它们。
策展人Melinda Rackham,曾担任澳大利亚艺术与技术网络
(ANAT)的总监一职,她是一位屡获殊荣 的新媒体艺术
家、作家、制片人,拥有在雕塑、装置、艺术演出等方
面的丰富学识背景。这次她为三里屯大荧幕带来了澳大
利亚当今最杰出媒体艺术家的一系列作品,其中很多都
是在中国第一次展出。
这些短片种类繁多,从日常生活的片段到荒诞的电脑创
作。从Anita Fontaine对玩乐的叛逆念头和在改进的视频游
戏中流露出的对“奇迹”的品味,到Daniel Crook梦幻的城
市风景镜头中展现出的时间与空间韵律般的伸缩。Jess
MacNeil追踪记录了人们在邦迪冰山的海水游泳池里抽象
的运动,而作曲家Peter Miller以数字的方式生成精妙的微
观生命。Dream Worlds还将独家呈现Warwick Thornton的澳大利
亚土著电影——Samson and Delilah 的三分钟版本(该电影
曾获得2009年戛纳电影节金摄像机奖),这是个发生在
遥远的沙漠部落,生长于红土地上的初恋爱情故事。
对于北京的公众来说,《梦幻岛》是一次激动人心的良
机,让我们看到来自澳大利亚最具创新性和发人深思的
移动影像艺术。
-----------------------------------------------
媒体联系方式:
-----------------------------------------------
更多信息、图片和访谈请联络:
Email: info(a)dreamworlds.com.au
Beijing: Edward Sanderson +86 13621078560 (English), 马赛 86
15901010870(中国)
Australia: Melinda Rackham +61 410506592
-----------------------------------------------
《梦幻岛》展览信息:
-----------------------------------------------
名称: 《梦幻岛》澳洲影像艺术2010
策展人: Melinda Rackham
制片人: Michael Yuen
首演: 6.30pm, 4 September 2010
展出时间: 4 September – 16 October 2010
播放时间: 每隔半小时播放一次, 更多详情请见网站
www.dreamworlds.com.au
展出场馆: 三里屯Village大荧幕,
北京,三里屯路19号院
费用: 免费
-----------------------------------------------
媒体
-----------------------------------------------
英文和普通话信息&图片在以下网站可见:
www.dreamworlds.com.au/media
-----------------------------------------------
参展艺术家
-----------------------------------------------
Daniel Crooks
Anita Fontaine
Warwick Thornton
Jess MacNeil
Troy Innocent
Kate Richards
Peter Miller
Chunky Move
-----------------------------------------------
赞助商
-----------------------------------------------
Australia International Cultural Council
Australia–China Council
RMIT University
Swire Properties – Sanlitun Village, Beijing
-----------------------------------------------
-end-
-----------------------------------------------