iPad OpenGL ES workshop – Imperial College, London, 1-2 July 2010
We are thinking about hosting a short iPad OpenGL ES workshop, to be conducted at Imperial College London (South Kensington) on July 1, and repeated on July 2 if numbers dictate (maximum of 12 seats per day).
The workshop will briefly cover the basics of iPad app design but will focus on giving participants a working knowledge of OpenGL ES development for the iPad. It will be of greatest benefit to participants with a working knowledge of iPhone/iPad app development, although this would not be a requirement for attendance.
The workshop will be free and run by a professional instructor. Participants must bring their own Mac laptop with the iPhone SDK 3.2 installed. Participants can also bring their own devices to build to, although this is not a requirement as the simulator that comes with the SDK should be sufficient for following the exercises.
If there is sufficient interest, I can also run an informal session the day before the workshop to ensure that all participants can at least build to their simulator, and demonstrate the anatomy of a Universal iPhone/iPad app through a simple game with AI.
If you would like to attend this workshop, please email me with answers to the questions below:
Regards,
Dr Cameron Browne
Computational Creativity Group
Imperial College London
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
1. Preferred date.
2. Level of experience with iPhone/iPad development:
– Have you run an app on the simulator?
– Have you built an app to a device?
3. Level of experience with OpenGL.
4. Would you plan to build to your own device at the workshop?
5. Would you plan to also attend the informal pre-workshop session?
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.
Call for papers: Short Fiction in Theory and Practice – deadline 22 August 2010
Contributions are invited for Short Fiction in Theory and Practice, a new, peer-reviewed journal looking at the short story from a practice-based perspective. Once overlooked by literary critics, and sometimes dismissed as a practice run for the novel novel, the short story is finally receiving due attention as a major art form, and one which is especially suited to the digital age. The journal responds to this resurgence, providing an international forum for the growing number of writers who integrate critical research with their own creative practice. While there are a number of literary magazines publishing short fiction, there are fewer opportunities to discuss its writing and transmission. We are seeking articles which explore the poetics of short story writing, its reading, adaptation and translation; and the place of the short story in a global culture.
While celebrating the uniqueness of short story writing, we will also explore its diversity. We intend to cross generic and disciplinary boundaries, welcoming contributions which explore the connections between short fiction and other means of expression.
Article submissions:
Articles should be between 4000 and 7000 words in length. Topics may include (but are not limited to):
Short story composition, writerly practice and the poetics of short story writing. Transmission and publishing contexts (e.g. the anthology; online publication; the short story and radio; short story
prizes; the role of the editor)
Writing flash fiction, the novella, sequences, cycles and hybrid forms
Sub-genres, e.g. the science fiction short story, the supernatural, crime fiction
Multi-media and hypertext; short stories online
Autobiographical and non-fiction short stories
Oral storytelling
Short story writing and identity, e.g. race, class, gender, nationality
Readings of, and responses to, texts by contemporary short story authors.
Translation and adaptation
The short story and other media (e.g. photography, music)
Political, cultural, social contexts (e.g. the short story as samizdat, postcolonialism and short story writing)
Original creative work will be considered if it embodies or incorporates a substantial element of the writer’s poetics.
Proposals for interviews will also be considered. Please contact the editor in the first instance.
Deadline for Vol. 1: 22nd August 2010.
For submission guidelines and all other enquiries, please contact the
Principal Editor, Ailsa Cox, coxa@edgehill.ac.uk.
Electronic Literature Directory requesting syllabi for E-Lit
Calling for Syllabi: Featuring works and criticism of electronic literature for The Electronic Literature Directory, 2.0. http://directory.eliterature.org
Electronic literature is now an established presence over multiple media, the Web, exhibition venues, conferences, and social networks. Critical texts can be found in numerous online publications and scholars from various fields now approach electronic literature from multiple perspectives. The humanities are ready, it seems, to include electronic literature – or, perhaps, e-lit in the classroom is poised to transform the humanities.
With the relaunch of the Electronic Literature Directory, the ELO provides not only a platform of works but also a forum for critical discussion. As a scholarly resource, the ELD has attracted increasing attention and has recently been featured in the Chronicle of Higher Education’s Wired Campus Blog ( http://chronicle.com/blogPost/Electronic-Literature/23991/ )
To populate our collections, ELD editors are seeking additional resources. While we have a number of people from the community submitting and writing entries about works of electronic literature on the ELD, we suspect that there are still many projects to discover. We also suspect that syllabi from scholars and artists teaching e-lit will offer a range of works worth highlighting in the Directory. For the e-lit resources section, we wish to offer our audience contextual, theoretical, and critical scholarly writing. Assigned class readings registered in your syllabi may help us identify projects worthy of consideration and inclusion.
Your data will be treated confidentially and will be used solely for the purpose of populating the ELD. Like all materials on the ELD, this information will be protected by our Creative Commons license and marked with the Creative Commons logo.
Please send syllabi and potential works to
Patricia Tomaszek, ptomaszek.usb@googlemail.com
If you have any questions, please contact us, and we’d be glad to provide further details.
Joseph Tabbi
Project Director, Department of English, University of Illinois at Chicago
Davin Heckman
Editorial Director, Associate Professor, English/Communications, Siena
Heights University
Patricia Tomaszek,
Research Assistant, Media Upheavals, University of Siegen
VAD (Video and Digital Arts International Festival Competition of Girona) 2010 call for works – deadline 20 July 2010
We are pleased to inform you that you can send your videos, digital works, video installations, etc. to VAD, Video and Digital Arts International Festival Competition of Girona (Spain), that will take place from October 7th to 16th.
This year, due to the current economic context, we have been forced to remove the international call for entries and work in a curated exhibition project at Casa de la Cultura. We maintain however the following calls for entries started at last year edition: the Fundació Fita Award to the best work by an artist from Girona, and Metropolis Award to the best single-channel works made in Spain.
Although there is no international call we would like to see your new productions to evaluate the possibility of inclusion in the curated exhibition or at the VAD Nights in the case of visual performing concerts.
We invite you to visit our website http://2010.vadfestival.net were you will find all the necessary information to participate: application form, terms and conditions, awards, etc. as well as previous program of the festival.
Deadline for submitting works: 20th July.
Attention!
Call for entries for the co-production of a site-specific work – MAPA/VAD:
For the second consecutive year, MAPA and VAD festival are organizing the support to the production for artists living at Catalunya. The term for submitting applications is June 15 to August 15, 2010.
VAD Festival Internacional de Vídeo i Arts Digitals
Plaça de l’Hospital, 6.
17004 Girona
T. 972 20 20 13
www.vadfestival.net
info@vadfestival.net
Taipei call for residency and exhibition proposals – deadline 12 June 2010
AIR Taipei has announced an open call to international artists who can apply for one of three fellowships in 2011. Selected artists will be funded with free accommodation and studio space for 4 to 24 weeks. Special fellowships also provide additional airfare funding.
Applications must be postmarked (not emails accepted) by 12 June 2010.
To download application guidelines and forms visit http://www.artistvillage.org/en_artist_apply.php
Poole Literary Festival New Media Prize – deadline 15 September 2010
http://www.poolelitfest.com/new-media-prize.php
Poole Literary Festival is delighted to announce their partnership with The Media School at Bournemouth University to establish a Prize for New Media Writing. The prize will allow writers working with New Media to showcase their skills, provoke discussion and raise awareness of new media writing and the future of the written word. The competition is now open for entries. The deadline for entries to reach us is Midday, 15th September 2010. Click here for information on how to enter and here to see who is on the judging panel.
Michael Bhaskar, a member of the judging panel, said: “This award is breaking genuinely new ground in looking at how digital technology is transforming written communication. As the first award of its kind globally it will be a landmark in the increasingly exciting arena of new media writing and I am thrilled to be involved.”
What it is:
Storytelling, whether fiction or non-fiction, written specifically for delivery and reading/viewing on a PC or Mac, on the web, or via mobile phone.
Could be thought of as a short story, a novel, a documentary, or poetry.
However, ‘writing’ and ‘literature’ in the digital age now can include words, images, film, animation, and interactivity for the audience.
New media writing can be created using any equipment you wish, from a word processor, to a DV camera; you can shoot photos on your mobile phone, or scan objects on you desktop scanner – anything goes, as long as you have an engaging story to tell (or poetry to express).
You can tell your story by combining any number of media elements, e.g. words on a screen combined with images and video clips.
What it isn’t:
A story/poem written for print which you upload to a webpage or place on a CDROM.
Simply screens of words uploaded to your blog.
Simply a slide show of photos uploaded to Flickr.
Simply a video uploaded to YouTube.
What do we mean by ‘interactivity for the audience’?
Typically new media writing exploits the potential of the web, and so offers the reader/viewer of the narrative a range of ‘activity’ beyond simply reading text or watching film.
For example, a viewer might need to click the mouse on a word or image on screen to activate the next sequence of text, or to link them to the next ‘chapter’.
In some cases, interactivity might involve the reader/viewer in making choices about how the story progresses (remember those ‘Choose Your Own Adventure’ books).
There might be game-like elements, e.g. answer a question before the next episode or chapter is activated.
There might be a choice of themes for the reader/viewer to explore, rather than follow the conventional chapter 1,2.3,4 pattern.
Some new media narratives allow readers/viewers to follow characters, again rather than the usual chapter structure.
It’s up to you to use new media inventively to build your narrative; and it’s up to you to include interactivity engagingly for the reader/viewer.
What do we want when you enter the New Media Writing Competition?
Your work must be a complete story, i.e. have a discernible beginning middle and end; or be a complete poem or collection of poems, i.e have a title/s and clearly defined textual and visual boundaries.
It must be clearly your own work. If we can’t work out where your piece ends and someone else’s work begins we may have to disqualify your entry..
It must use interactive elements for the reader/viewer, and these must be effective in telling your story or expressing your poetic ideas.
Make sure you supply us with an active link (URL) to your story or poem – your work must be online for us to be able to read/view it.
Make sure you are not breaking anyone’s copyright if you have sourced material from anywhere other than your imagination, e.g. an image downloaded form Google. If we suspect copyright has been infringed we may have to disqualify your entry.
Our judging criteria:
Innovative use of new media to create an engaging, satisfying narrative, or poetry
Ease of accessibility for the reader/viewer
Effective use of interactive elements
Show us that new media can do things ‘old’ media can’t!
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
Claudia Robles – ‘The use of Bio-interfaces in my interactive Multi-Media’, London Metropolitan University, UK, 3 June 2010
June 3rd (Thursday): Claudia Robles (Colombia, resident in Cologne – Germany)
The use of Bio-interfaces in my interactive Multi-Media performances.
5.15 pm – Parker Gallery (ground floor), 41-71 Commercial Road, London E1, London Metropolitan University:
There will be a live performance of the piece INsideOUT (2009), which works with 2 computers using both MAXMSP/Jitter, 2 screens, an EEG (electroencephalogram) interface and a quadraphonic sound field. The brain waves control video and sound during this performance.
After the performance, she will talk about this and another of her pieces, also using Bio-feedback.
Claudia Robles about her work: “I am particularly interested the interaction between media (audio and
visual) and bio-data from performers or from an audience. This is done by using Biofeedback – the process of measuring physiological data from a subject, analyzing the data, and feeding it back to the subject. This presentation is about two interactive performances which I created using bio-interfaces: an EMG (electromyogram) and an EEG (electroencephalogram). Both pieces, which were programmed in real time media with the software MaxMsp/Jitter, are described below:
Seed/Tree (2005) Installation: Butoh performance created during an artist in residence at the ZKM (Center for Art and Media) Karlsruhe (Germany). In this installation there are two types of interactivity. The first is the interaction between dance and sound in which the performers have microphones and EMG electrodes attached to their bodies; the breathing and heartbeat of two of the performers produce sounds that are continuously modified by the muscular tension of the third dancer. The second type of interactivity is that between the installation space and the visitors: during the performance, visitors can walk freely around the virtual forest and their presence interacts with the video projections.
INsideOUT (2009). This project was created during an artist in residence program at the Academy of Media Arts in Cologne (Germany). The performer, who is surrounded by sound and images, interacts with them using an EEG (electroencephalogram) interface, which measures the performer’s brain activity. The sounds and images – already stored in the computer – are continuously modified, via MAX/MSP-Jitter, by the values from two electrode combinations.”
Masterclass by Chris Jones, author of the Guerilla Film Makers Handbook – Leicester, UK, 19-20 June 2010
Oscar-shortlisted director and author of the bestselling Guerilla Film Makers Handbook, Chris Jones, in conjunction with Hive Films, brings his highly acclaimed Masterclass to Leicester.
This two-day workshop is designed to empower YOU to make your own movie, bring it to market and sustain a life-long career.
Covering the film making process from conception to completion and beyond, this roller coaster course will demystify film industry mythology and arm you against common pitfalls. It will also ask the biggest question… WHY…? It is this component that informs the whole course and is the genesis for the amazing transformation that many attendees experience. Buckle up!
Sat 19th June – Sun 20th June. £150.
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