Research and Technology Showcase – Leicester, 9 September 2010
Discover a new world of Technology expertise all under one roof, visit the Research and Technology Showcase
Creative Technologies. Computer Technology. Electromagnetics. Energy and Sustainability. Engineering. Informatics. Forensics. Media Design. Media Technology. New Product Design. Pharmaceutical Technologies. Textiles Engineering……
Thursday 9 September 2010. De Montfort University, Leicester
See how our cutting edge creative technologies can benefit your organisation at this free one day event: http://www.dmu.ac.uk/techshowcase
Our experts will be on hand to demonstrate and discuss how their specialist knowledge and research can support your business objectives. View exhibitions featuring the innovative work of our research groups, take a tour of our studios and laboratories and see our cutting edge facilities and creative technologies, first hand.
The event will be an opportunity for you to discuss any ideas or projects you have with our research experts. Reserve your place at this year’s free event and discover how DMU’s world leading research technology could bring real change to your business.
Digital Futures 2010 – Nottingham, 11-12 October 2010
Registration for Digital Futures 2010 is now open!
Digital Economy All Hands Meeting – Digital Futures 2010
Crowne Plaza, Nottingham
October 11th and 12th 2010 with satellite workshops on October 13th
In collaboration with the Research Councils UK Digital Economy Programme
www.horizon.ac.uk/digitalfutures http://www.horizon.ac.uk/digitalfutures
Following the success of the UK eScience All Hands Meetings, we are pleased to announce the inaugural All Hands Meeting devoted to the Digital Economy. The Digital Economy involves the novel design or use of information and communication technologies to help transform the lives of individuals, society or business. This is a fundamentally multi-disciplinary challenge, requiring input from areas including, but not limited to, the arts and humanities, economic and social scientists, medical sciences, in addition to computing, engineering and physical sciences, with the potential to have radical impact on many sectors (for example, transport, healthcare and the creative industries) and societal concerns (for example, quality of life, social and digital inclusion and sustainability).
The UK, through Research Councils UK, has invested significantly in this area over the last year with the creation of a number of Digital Economy Research Hubs, Doctoral Training Centres, community projects and other research grants, with a total investment of around £120m (http://www.rcuk.ac.uk/digitaleconomy/).
This two-day event will include keynote speakers, talks from selected submissions, and posters. A day of workshops will follow the main conference.
The main conference website may be found here https://www.horizon.ac.uk/news/digitalfutures.html, while the registration details may be found here https://www.horizon.ac.uk/news/digitalfutures/digital-futures-reg1.html. The conference is two days long (October 11th and 12th) with a third day of satellite workshops (October 13th). Various registration packages are available, ranging for a single day-only registration to a three-day full-board package. Accommodation at the venue is limited, and therefore we recommend registering early if you require a bedroom at the venue. The registration website https://www.horizon.ac.uk/news/digitalfutures/digital-futures-reg1.html also carries information regarding various hotels in the area, for which preferred rates have been negotiated.
Queries regarding registration may be sent to: digitalfutures-registration@horizon.ac.uk
We look forward to welcoming you to Nottingham for Digital Futures 2010!
Vision 2020 – Leicester, 13 October 2010, 9.30am – 6.30pm
Wednesday 13th October 2010
9.30am to 6.30pm
Phoenix Square Film and Digital Media Centre, Leicester, UK http://www.phoenix.org.uk
Vision2020 invites you to be part of Leicester’s big discussion.
Creative businesses, thinkers and practitioners are invited to share their visions for the future and learn how to future proof their business.
Keynote Speaker: John Thackara on ‘How To Make Less, More’ “A visionary voice for the wired era” (Wired)
Vision2020 on October 13th focuses on innovation, creative technologies and sustainability, with inspirational speakers, networking, presentations and an unconference designed to challenge traditional ways of thinking and working..
Inspirational leaders in the fields of communication, retail, transport, technology, property, law and finance will be discussing how emerging technologies are shaping the future of their businesses and attendees will have the opportunity to lead discussions of their own.
Thanks to a joint initiative between De Montfort University and the Amplified Leicester team, Leicester City Council, Prospect Leicestershire, Leicester Creative Business Depot and Phoenix Square, you have the chance to be part of a big discussion that predicts how innovation will influence business, social and family life in the future.
Book before 15th September 2010 for the special price of £19.50. Includes: Conference, lunch and wine reception. Please join us!
For more information or to book tickets visit www.vision2020.org.uk.
Follow us on Twitter http://twitter.com/vis20leic
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11th FILE Festival in Sao Paulo – review by Pau Waelder
Review by Pau Waelder.
Between July 27th and August 29th, 2010, the eleventh edition of the FILE festival is taking place in Sao Paulo (Brazil), at several locations along the popular Paulista Avenue. After a decade of existence, this veteran festival, which spreads over several cities in Brazil (including Rio de Janeiro and Porto Alegre) as well as other international locations, has introduced for the first time its own award: the FILE PRIX LUX. With a total amount of approximately 120,000 euros, distributed in three categories, the prize is unprecedented in the continent and has received, on this first edition, 1,235 registrations from 44 countries.
http://www.furtherfield.org/displayreview.php?review_id=407
International Handbook of Internet Research
http://www.springer.com/computer/general+issues/book/978-1-4020-9788-1
Edited by Jeremy Hunsinger, Lisbeth Klastrup, and Matthew Allen
Over 600 pages
With co/authors from: Africa, Asia, Australia, Europe, India, North America, South America
From a wide variety of fields and perspectives.
Contents:
Forward:
The New Media, the New Meanwhile, and the Same Old Stories
Steve Jones
Introduction
Jeremy Hunsinger and Matt Allen
Are Instant Messages Speech?
Naomi S. Baron
From MUDs to MMORPGs: The History of Virtual Worlds
Richard A. Bartle
Visual Iconic Patterns of Instant Messaging: Steps Towards Understanding Visual Conversations
Hillary Bays
Research in e-Science and Open Access to Data and Information
Matthijs den Besten, Paul A. David, and Ralph Schroeder
Toward Information Infrastructure Studies: Ways of Knowing in a Networked Environment
Geoffrey C. Bowker, Karen Baker, Florence Millerand, and David Ribes
From Reader to Writer: Citizen Journalism as News Produsage
Axel Bruns
The Mereology of Digital Copyright
Dan L. Burk
Traversing Urban Social Spaces: How Online Research Helps Unveil Offline Practice
Julie-Anne Carroll, Marcus Foth, and Barbara Adkins
Internet Aesthetics
Sean Cubitt
Internet Sexualities
Nicola Döring
After Convergence: YouTube and Remix Culture
Anders Fagerjord
The Internet in Latin America
Suely Fragoso and Alberto Efendy Maldonado
Campaigning in a Changing Information Environment: The Anti-war and Peace Movement in Britain
Kevin Gillan, Jenny Pickerill, and Frank Webster
Web Content Analysis: Expanding the Paradigm
Susan C. Herring
The Regulatory Framework for Privacy and Security
Janine S. Hiller
Toward Nomadological Cyberinfrastructures
Jeremy Hunsinger
Toward a Virtual Town Square in the Era of Web 2.0
Andrea Kavanaugh, Manuel A. Perez-Quinones, John C. Tedesco, and William Sanders
“The Legal Bit’s in Russian”: Making Sense of Downloaded Music
Marjorie D. Kibby
Understanding Online (Game)worlds
Lisbeth Klastrup
Strategy and Structure for Online News Production – Case Studies of CNN and NRK
Arne H. Krumsvik
Political Economy, the Internet and FL/OSS Development
Robin Mansell and Evangelia Berdou
Intercreativity: Mapping Online Activism
Graham Meikle
Internet Reagency: The Implications of a Global Science for Collaboration, Productivity, and Gender Inequity in Less Developed Areas
B. Paige Miller, Ricardo Duque, Meredith Anderson, Marcus Antonius Ynalvez, Antony Palackal, Dan-Bright S. Dzorgbo, Paul N. Mbatia, and Wesley Shrum
Strangers and Friends: Collaborative Play in World of Warcraft
Bonnie Nardi and Justin Harris
Trouble with the Commercial: Internets Theorized and Used
Susanna Paasonen
(Dis)Connected: Deleuze’s Superject and the Internet
David Savat
Language Deterioration Revisited: The Extent and Function of English Content in a Swedish Chat Room
Malin Sveningsson Elm
Visual Communication in Web Design – Analyzing Visual Communication in Web Design
Lisbeth Thorlacius
Feral Hypertext: When Hypertext Literature Escapes Control
Jill Walker Rettberg
The Possibilities of Network Sociality
Michele Willson
Web Search Studies: Multidisciplinary Perspectives on Web Search Engines
Michael Zimmer
Appendix A: Degree Programs
Appendix B: Major Research Centers and Institutes
as described on the backmatter:
This handbook, the first of its kind, is a detailed introduction to the numerous academic perspectives we can apply to the study of the internet as a political, social and communicative phenomenon. Covering both practical and theoretical angles, established researchers from around the world discuss everything: the foundations of internet research appear alongside chapters on understanding and analyzing current examples of online activities and artifacts. The material covers all continents and explores in depth subjects such as networked gaming, economics and the law.
The sheer scope and breadth of topics examined in this volume, which ranges from on-line communities to e-science via digital aesthetics, are evidence that in today’s world, internet research is a vibrant and mature field in which practitioners have long since stopped considering the internet as either an utopian or dystopian “new” space, but instead approach it as a medium that has become an integral part of our everyday culture and a natural mode of communication.
(I don’t know if it was the first of the kind published, but I think it was the first done this way -jh)
Jeremy Hunsinger
Center for Digital Discourse and Culture
Virginia Tech
http://www.stswiki.org/ sts wiki
http://transdisciplinarystudies.tmttlt.com/ Transdisciplinary Studies:the book series
It’s literature, Jim… but not as we know it: Publishing and the Digital Revolution – by Edward Picot
From Vooks to ebooks, from the iPad to the Google settlement, and from print-on-demand to new styles of writing, this article attempts to analyse the effects of the digital revolution on the publishing industry, and to make some educated guesses about how things may develop in the next few years.
“An alternative to the Big Publishing model is already with us, and despite the odd viral phenomenon it consists in the main of very large numbers of small-scale products reaching small audiences, rather than small numbers of very high-profile products reaching huge audiences. This alternative model is enabled by digital technology, and it replaces high production values and market-minded editorial controls with the principle that people’s desire to publish themselves and to look at each other’s efforts is itself a profit motor.”
To read the whole article, go to http://www.hyperex.co.uk/reviewdigitalpublishing.php or http://www.furtherfield.org/displayreview.php?review_id=406 .
The Visual Poems of Alexander Jorgensen – by Karl Kempton
For more of Alexander’s work and upcoming live events, see http://www.facebook.com/home.php?#!/event.php?eid=134843639871958&ref=ts
THE VISUAL POEMS OF ALEXANDER JORGENSEN
For those unfamiliar with the multimedia/intermedia of the literary — visual wedding called visual poetry, I first offer up a definition followed by an overview of a very generalized context. This may help the reader-viewer to frame and set in time and place the works of Alexander Jorgensen.
A visual poem may be defined simply as a poem composed or designed to be consciously seen.
The contemporary visual poem is generally composed with assembled and/or disassembled language material. This stuff of language includes word, text, note, code, petroglyph, letter or other phonic character, type, cipher, symbol, pictograph, sentence, number, hieroglyph, rhythm, iconograph, grammar, cluster, stroke, ideogram, density, pattern, diagram, logogram, accent, line, color, measure, etc.
The minimalist poet composes with fissioned language material to create new and free particles, and/or sonic patterns, clusters, densities, and/or textures. Generally, today’s minimalist visual poet maintains the post World War Two tradition of Concrete Poetry, begun in Northwest Europe, Brasil and Japan around 1951. Others in Northeast USA followed later.
Ideally, the visual poet composes with these freed particles and generally weds or fuses them to one or more art forms. By doing so, by crossing art form boundaries, the visual poet composes in a field of multimedia or borderblur or intermedia with unrestricted horizons.
The contemporary visual poem is a form reinvented by various twentieth century avant-garde movements and influenced by abstract, surrealist, minimalist, photo realistic . . . art and photography. It is the contemporary expression of the pre-1900 visual poem handed down through millennia under a host of forms such as acrostics, anagrams, colored or illuminated text, emblems, labyrinths, pattern and shaped poems which in turn evolved from other forms back to the earliest ancestor, rock art.
Within this setting, Jorgensen’s works evolve from his American primary river of influence and concerns expressed and composed by Kenneth Patchen, Robert Creeley and others within the area of societal concerns. Patchen is considered by many as the American Blake. With great skill and eloquence, he essentially covered all the space most concrete poets, but with much less dexterity and eloquence, would later attempt. From Creeley, one can see and read the influence of condensed lexical lines and arrays.
Jorgensen carries on what I consider to be an important lineage of American visual poetry. That is to say, he composes along Patchen’s trajectory. He does so not as a copier but as a continuer with his unique evolving use of a deeper American visual poetry shaped and shaded by his long residence in a variety of diverse cultures and nations. By deeper, I mean in contrast with most of his contemporaries trapped within a shallow almost veneer neo-concrete poetic.
Each culture and nation has its own expression uniting sign, word and image. Jorgensen has absorbed these various expressions at the visceral level, wedded them with his conscious American and European artistic influences to make his own unique work.
Conjoined language, sign and image are found far back in the proto-writing eras of various cultures. One of the oldest writing systems remaining untranslated was initially called the Indus Valley Script. It was found on terra-cotta and fired clay seals. I point to these seals because they are part of a culture for which Jorgensen and I share a deep admiration and respect. He spent more time in Bharat (India) than I. This particular writing system’s age is older and more widely spread than previously theorized. New recoveries of the script and associated imagery on objects other than seals now range in Bharat from south of Mumbai to northern Afghanistan. The name of the culture has been changed to the Saraswati Culture. One can clearly make a link between these seals and the visual poems of Jorgensen: visual image and esthetically placed language and sign.
Since the seals are yet to be translated, much is made out of each seal and the entire script. Likewise, once can approach Jorgensen’s visual poems as a mystery to be unraveled. Each needs a focused viewing: first as a whole, then its parts and finally as a whole again that now has a deeper meaning than the first look and read. His works are a log of seeking out the truth of our human condition. Some point to the consequences of our darker nature, others to the Beauty Way in which we are all surrounded by and immersed in.
Karl Kempton
Oceano, Ca
July 2010
Playing Hard: Urban Art Games of Summer 2010 – by Angela Ferraiolo on Furtherfield
Playing Hard: Urban Art Games of Summer 2010.
Article by Angela Ferraiolo.
Angela Ferraiolo investigates an international collection of different ‘Urban Art Games’, taking place this Summer 2010. And finds connections that directly and indirectly link to Situationist ideas and approaches, with artists creating alternate experiences, constructed situations, psychogeography projects, and play as a form of critical engagement & thinking. Featuring SFZero, Atmosphere Industries, The Crux Club, Opt-in Productions, Berlin Invisible Playground & Hakim Bey and more…
“Not long ago, urban games were a kind of novelty. Some grew out of the street performance tradition of live theater. Some came from gamers who were involved in tabletop RPG and wanted to experiment with live reenactment. Others were produced by media artists as a way of experimenting with new technologies like GPS and text messaging. But along with these approaches to play, and at times learning from their carefree attitude towards entertainment, there grew another tradition of the urban game, a tradition of using the city focusing on exploration, and as a specific kind of critique.”
http://www.furtherfield.org/displayreview.php?review_id=399
Interview with Danja Vasiliev on Furtherfield – ‘Meat Space and the World Inside the Machine’
Meat Space and the World Inside the Machine.
Marc Garrett talks to Danja Vasiliev about his personal works, ideas and intentions, asking what motivates him to use computers, technology and networks, as well as understand more about the social contexts and implications of his endeavors.
http://www.furtherfield.org/displayreview.php?review_id=397
Danja was an Artist in Residence at Furtherfield’s HTTP Gallery space between the 1st March – 9th April 2010. A Russian born computer artist currently living between Berlin and Rotterdam. Working with diverse methods, technologies and materials Danja ridicules the contemporary affection for digital life and questions the global tendency for cyborgination. Danja co-founded media-lab moddr_ in 2007 which is a joint project at Piet Zwart Institute alumni and WORM Foundation. Based in Rotterdam moddr_ is a place for artists and hackers, engaging with critical forms of media-art practice.
The email interview took place a few weeks after his residency. A recent collaborative project that many readers may already know of, by Danja Vasiliev, Walter Langelaar and Gordan Savicic, all part of the moddr.net group is,Web 2.0 Suicide Machine, which lets you delete your social networking profiles and kill your virtual friends. Danja is certainly prolific, he is also collaborating with New Zealander artist, Julian Oliver who is now based in Berlin. This interview unearths some of the ideas and intentions behind Danja’s personal works, asking what motivates him to use computers, technology and networks, as well as understand more the social contexts and implications of his endeavors.
Adventures of a Networked Explorer – Marc Garrett interviews Patrick Lichty (Part 1).
http://www.furtherfield.org/displayreview.php?review_id=390
“Patrick Lichty is an individual who seems to be like a non-stop engine. A hungry human being, engulfed in a prolific journey of constant exploration, whether it be making artworks, writing, activism, curating, collaborating, researching or teaching; he’s deeply involved and engaged in media arts culture. Since 1990, he has pursued art and writing that explores how we relate to one another through technology and how we relate to it. This includes art, media, and computer technology.
Lichty also works in almost all forms of Digital 3D – Animation, VR, Fabrication, Physical Computing. Translating the work for display through video, animation, live installation, electronics, virtual reality, physical computing, robotics, digital fabrication and imaging. As well as realising virtual works into traditional forms such as plates for print, paintings, expanding the focus of his work in a broader context.
Lichty’s work, concepts and practice do not rest in one place, it crosses over into many areas of creative production. By getting his hands dirty with the medium of technology, with its relational aspects. The spirit of the work goes beyond singular catch phrases and one-liners, adding complexity and value which only media art and its ever widening scope can demonstrate.
It’s big art with big ideas, interwoven with micro levels of human emotion, asking questions about life and more. This two part interview aims to clarify some questions I have been wanting to ask Patrick Lichty for a while now, so hang on and lets see what happens.” M.Garrett
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Recent Posts
- Read | Write: “Remix and the Rouelles of Media Production”
- Apology Typology: An Internet Refrain, by Sarah Jacobs
- Research and Technology Showcase – Leicester, 9 September 2010
- Processing and Arduino – free online course – Tuesdays, 31 August – 28 September 2010
- Digital Futures 2010 – Nottingham, 11-12 October 2010
- Vision 2020 – Leicester, 13 October 2010, 9.30am – 6.30pm
- 11th FILE Festival in Sao Paulo – review by Pau Waelder
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