Ada_list August 2010

ada_list@list.waikato.ac.nz

13 participants
15 discussions

// The Artvertiser source code is now available! //

by Julian Oliver

(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.com http://julianoliver.com http://frey.co.nz //<-------------------------------------------------------------------------- -- Julian Oliver home: New Zealand based: Berlin, Germany currently: Berlin, Germany about: http://julianoliver.com

10 years, 11 months

Dome Lab: Application deadline THIS Friday 3 September 2010

by Amanda Matulick

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

11 years, 1 month

Fwd: Call for papers: Colab Journal of Creative Technologies

by Luke Duncalfe

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. >

11 years, 1 month

Call for Papers: Collaborating Now

by Sondra Bacharach

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.

11 years, 1 month

THE FUCK CHAIRS / HSP

by HSP

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

11 years, 1 month

FW: Announcement of new contestable artform in 2011 - Media arts

by su ballard

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. ----------------------------------------------------------------- We sent this email to su.ballard(a)gmail.com. If you no longer wish to hear from us, click the link below to instantly unsubscribe: http://creativenewzealand.createsend2.com/t/r/u/ckhkkl/l/ Thanks, Creative New Zealand

11 years, 1 month

call for old new media

by Sonja van K

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.com BLOG:www.sonjavank.blogspot.com DESIGN: www.sonjavank.com/design VIDEOS: www.vimeo.com/sonjavank BOOKMARKS: http://del.icio.us/sonjavank

11 years, 2 months

Don't Worry, Be Happy

by Brit Bunkley

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

11 years, 2 months

CFP: Interactive Entertainment Conference New Zealand: extended deadline!

by Laurent Antonczak

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

11 years, 2 months

DreamWorlds: Australian Moving Image in Beijing

by Melinda Rackham

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- -----------------------------------------------

11 years, 2 months

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Ada_list August 2010