1,720,978 research outputs found
FLOSSTV Free, Libre, Open Source Software (FLOSS) within participatory 'TV hacking' Media and Arts Practices
No full textThis research operates in the context of a European political discourse, where the main concern is countercultural approaches to non mandatory collaboration and contractual agreements. FLOSSTV (Free, Libre, Open Source Software TV) covers a broad range of practices, from television via documentary up to media arts productions. This thesis documents the endeavour to formulate a policy for FLOSS culture. FLOSSTV studies the impact of new intellectual property legislation on media production, as well as conceptions and applications of collective authorship and alternative licensing schemes.
FLOSSTV sets out to explore methods that can facilitate media and arts practitioners wishing to engage in collaborative media productions. The thesis sets out to investigate the theories and histories of collaborative media and arts productions in order to set the ground for an exploration of the tools, technologies and aesthetics of such collaborations. The FLOSSTV thesis proposes a set of contracts and policies that allow for such collaborations to develop. It is through practice that this research explores FLOSS culture, including its methods, licensing schemes and technologies. In order to focus the research within the field of FLOSSTV I initiated the practice based Deptford.TV pilot project as the central research experiment for the FLOSSTV thesis. DVD ONE contains a series of films produced collaboratively for Deptford.TV that express the characteristics and contractual arrangements of FLOSS culture.
Deptford.TV is an online audiovisual database primarily collecting media assets around the Deptford area, in SouthEast London, UK. Deptford.TV functions as an open, collaborative platform that allows artists, filmmakers, researchers and participants of the local workshops in and around Deptford, and also beyond Deptford, to store, share, reedit and redistribute their footage and projects. The open and collaborative nature of the Deptford.TV project demonstrates a form of shared media practice in two ways: audiences become producers by submitting their own footage, and the database enables the contributors to interact with each other. Through my practicelead research project Deptford.TV I argue that, by supporting collaborative methods and practices, FLOSS (Free, Libre, Open Source Software) can empower media and arts practitioners to collaborate in production and distribution processes of media and arts practices
Interdisciplinary immersive experiences within artistic research, social, and cognitive sciences
Get PDFThis paper analyses the use of Immersive Experiences (IX) within artistic research, as an interdisciplinary environment between artistic, practice based research, visual pedagogies, social and cognitive sciences. This paper examines IX in the context of social shared spaces. It presents the Immersive Lab University of Malta (ILUM) interdisciplinary research project. ILUM has a dedicated, specific room, located at the Department of Digital Arts, Faculty of Media & Knowledge Sciences, at University of Malta, appropriately set-up with life size surround projection and surround sound so as to provide a number of viewers (located within the set-up) with an IX virtual reality environment.peer-reviewe
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Erasmus XR - immersive experiences in European academic institutions
Get PDFThis paper discusses the Erasmus XR project which responds to the urgent need to enrich the existing educational programs for both cultural and media managers, but also for artists aspiring to connect with their audiences in the digital space. The project’s overall goal is to develop an educational offer for these groups in the field of immersive media (XR), and ways of using these media to engage audiences. More specifically, the project aims at increasing the skills and competences of the participants in designing and evaluating immersive experiences in order to effectively manage, disseminate, and produce culture in the digital sphere.peer-reviewe
after.video presented during the indefinite vision symposium @ whitechappel art gallery
No full textA two-day event bringing together academics, film-makers and artists to explore the indefinite and the illegible in film – from artists’ film and video to experimental film and commercial cinema
Art meets radical openness - Open.Video
No full textThis exhibit and/or paper presents the after.video video book, discussing the topic of “Online and offline platforms for the exhibition and circulation of audiovisual media”. The after.video book represents a fusion of the modes of the digital/networked publication and the traditional form of the physical (wasted?) book. There have been first thoughts about the links and exchanges of the old traditional format of the book and the possible accordances of the digital book on a more practical level. The theoretical framing is given by thinkers of the book like Bob Stein: “the computer screen became a place for synchronous and asynchronous conversation. As web technology improved people started putting essays and books in a browser with a dynamic margin where readers could make comments visible to everyone. Over the past ten years the experience of dozens of 'social reading' platforms suggests that books will become places where people congregate to hash out thoughts and ideas.” (1). Practically this fusion of the possibilities and formats of new digital media (like video) and traditional academic text-form is also making headways – like exemplified in the 'Frames of Mind'-project (2). Open Humanities Press has taken these beginnings and fused different pre-existing trajectories of development as instantiated by above projects and conceptions, and fused them with the idea of rendering the digital book after.video as a physical device, much along the lines already taken in the landmark project “The Weise7 in/compatible Laboratorium Archive” (3). This conceptual leap represented by the dual-mode video-book enables the Centre for Digital Cultures (4) and Open Humanities Press (5) to not only go beyond the format offered by the first two volumes of Video Vortex (as put out by the Institute for Network Cultures (6), but also beyond the current state of digital publishing in media-rich, video-centric contexts, thus presenting a unique publication which reflects upon video theoretically, but attempts to fuse form and content in its own dual format
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