Monthly Archives: March 2019

ELO-L0008, (L01) Dialogues with X: Art, Film and Theory Workshop

Course for the doctoral students. Open for also for MA students.

ELO-L0008, (L01) Dialogues with X: Art, Film and Theory Workshop (2 cr).
Responsible teachers: Susanna Helke & Harri Laakso

What happens when a philosopher encounters an artwork? During the course Dialogues with X: Art, Film and Theory Workshop (2 cr) we will explore, through in-depth readings of selected texts, what happens at the intersection of a philosophical text and a contemporary artwork. The emphasis is in cinema and media art. How can the materiality of an artwork be translated into the language of philosophy? What happens in that encounter? What is encountered? The course consists of reading selected texts, viewing films and artworks discussed in the reading materials, and lectures offered by visiting experts. How does artistic research – at the intersection of art and theory – relate to the encounters that occur between philosophy and art?

Wed 27.3

9AM-4PM: Markku Koivusalo: Philosophers’ Encounters with Art.

Wed 3.4

9AM-12PM: Kari Yli-Annala: Gilles Deleuze and Time Image- Capturing the Modern and Contemporary Cinema

1PM-4PM: Film screening.

Fri 5.4.

9AM-10:15 AM: Susanna Helke: Jacques Rancière and Cinematic Ruptures.

10:30AM-4PM: Ivana Momčilović: Jacques Rancière and Modern Times in Cinema.

Wed 10.4

9AM-12PM Harri Laakso: Jean Louis Schefer and the Body That Is Missing.

1PM-4PM Katja Lautamatti: Giorgio Agamben – For Ethics of Cinema.

Wed 17.4

9AM-4PM: The students prepare a presentation with a chosen method reflecting the questions of encountering an art work, formulating their own philosophy of art. They can discuss their own artistic work, artistic processes or a chosen art work by someone else, using dialogically philosophical texts.

(Sign up in weboodi!)

OpenGLAM @Aalto

OpenGLAM @Aalto
Thursday 28.3 at 15:00-17:00 at Aalto Learning Centre, K. floor

Welcome to a meetup about creative reuse of open heritage materials. Get to know the people behind the OpenGLAM community and Open Knowledge Finland and learn about current projects concerning creative use of archives.

The aim of this meetup is to gather Galleries, Libraries, Archives and Museums (GLAMs) and connect them with heritage lovers, students, professionals and creative people, both in and outside Aalto University and the GLAM community.

More info: https://www.facebook.com/events/301780357178637/

Preliminary program:

15:00 Presentation of Open Knowledge Finland and OpenGLAM.
Teemu Ropponen, Executive Director, Open Knowledge Finland and Tuomas Nolvi, Planner, Yle Archives

15:20 The making of a massive open online course about Open Digital Cultural Heritage.
Maija Paavolainen, Information Specialist, Helsinki University

15:40 On Returning. The making of a workshop for Post-Digital Archives.
Ksenia Kaverina, Curator for Global Outreach, Aalto University

16:00 Visual Resources Centre as a guide on how to find and how to use visual material.
Marika Sarvilahti, Information Specialist, VRC + Aalto Archives

16:15 News from the field (Open stage)
– Aalto Archives and mass digitization, 5 million pages and 150 000 images in one year.
Tove Ørsted, Photo Archivist, Aalto Archives
– OpenGLAM, next steps. Discussions and networking.

Robert’s Coffee on the first floor serves coffee and refreshments during the event.

The event is open for all! No registration needed.

Welcome everyone to the second Media Lab Doctoral Seminar of the year!

On the 28.03.19, at 16.30-19.30, led by Professor Lily Díaz in Learning Centre, JUHO the doctoral student Andrea Mancianti will present his on-going research titled:

The Living Threshold / Altered States. Designing experiences for sustainable audio-visual immersive ecosystems. 

Augmenting our physical world with digital, immaterial, virtual layers, introduces thresholds between the two dimensions, separating, like portholes an inside and an outside, a “here” and an “elsewhere”. Although never fully crossable or completely permeable, these thresholds still allow for exchanges with the other side, like porous, semi-transparent membranes between real and virtual worlds, gateways between two realities. These thresholds reveal and hide at the same time. Their materiality, their appearance, their affordances shape the kind of experience we undergo when  our body interfaces with and extends through such layered realities. Unfortunately, the materiality of these thresholds is often concealed or mystified.

The current technologies for interfacing real and virtual environments (often addressed as Mixed or Extended Realities) are driven by commercial preoccupations, being more and more employed in consumer electronic commodities. The mainstream approach to XR today is characterised by proprietary technologies exposed to extremely rapid obsolescence, black box tools and by a general ideology of novelty that, on the one hand reinforces waste accumulation and consumeristic drives and on the other makes it harder for artists and practitioners to design experiences outside of those paradigms.

In this mainstream scenario technology is designed to disappear, to conceal itself, and the experiences it channels are conceived like visual illusions, where simulation and plausibility are the key ideas, in a well established traditions of cinema and video games. My research, reflecting on the idea of threshold, its materiality, its behaviour, its autonomy, proposes an alternative direction to investigate the design of audio-visual immersive experiences, facing the technical challenges from a DIY, alternative, low-impact perspective. The initial step of this process has been the immersive installation Blindphones, developed in the frame of the joint program Futurelab Academy between the Department of Media, MediaLab and the festival Ars Electronica, Linz.

The idea behind this installation was to re-appropriate some of the key concepts behind VR, such as re-embodiment and immersion, but, abandoning any commercial device and proprietary technology, attempted to reimagine the head mounted display as a form of an almost alien living prosthetics, radically changing our perception providing a glimpse of an alternative embodiment.

Rather than as a tool to fool our senses by providing (some of) them with a credible simulation of the world, conforming the viewer into a normative embodiment, Blindphones, by heavily impairing sight, forces the body to function using hearing, rather than sight,  to articulate sense in a dreamy world made of shifting lights and sound. Inspired by the altered states induced in the sensory deprivation tank, where the body floats weightlessly in a dark quiet environment and the mind shifts from a meditative state up to an hallucinatory one, the project draws from the psychedelic tradition of early VR art and drone music.

Bio

Andrea Mancianti is a composer, performer, sound and media artist. With his work, that include music compositions, installations and mixed media performances, he seeks to investigate compositional and performative aspects of interconnected audiovisual ecosystems, where real-word phenomena extend in the virtual digital world and complex feedback networks are established between the two realm. His works have been performed in Europe and Usa, for institutions such as Ircam (Paris), Biennale Musica (Venice), Impuls and KUG (Graz), Muziekcentrum De Bijloke (Ghent), Centre Henri Pousseur (Liege), STUK (Leuven), Boston University (Boston), Nuova Consonanza (Roma), Sibelius Academy (Helsinki) and others


Guest speaker:

Synes Elischka (Doctoral Candidate Department of Film, Television and Scenography)

EGO CURE: Exploring the liminal space between immersion and self-awareness

My PhD is made up of two equal parts that inform each other: a monograph and an artistic project.

The aim of my monograph is to give audio-visual artists a theoretical and practical basis for using new media technology to tell their stories, while also giving insight into the current context that these media are embedded in.

My artistic project (“Ego Cure”, a cinematic VR experience with enactive elements) is set in a world where the perception of art as a product has come to its logical technological conclusion: the Ego Cure mask is a technical tool that helps artists who get stuck (for example writers block), to continue with their practice.

This has been used to make art more of a commodity, by forcing an artist who is unable or unwilling to provide a commissioned art piece to use the mask.

The plot of the film follows Emma, a choreographer who decides to redo her entire performance a day before the premiere which meets the resistance of the curator.

At the turning point of the story the protagonist is forced to use the EgoCure mask, and we are thrown with her into a world that both literally and conceptually rips open the fourth wall and teases the possibility space of storytelling in Virtual Reality.

The physical experience of the viewer becomes intermeshed with film itself, when Ego Cure introduces enactive elements that support both the theme and the flow of the plot – by making use of the liminal space between immersion and self-awareness.

During the making of my artistic PhD we developed a workflow for creating VR experiences that are sustainable, while reframing existing aesthetics and cinematic conventions to this new medium.

We used current digital cinema cameras and compositing software, which allowed us to adopt conventional working methods, team structures, tools, workflows and aesthetics.

Context of Research

Synes Elischka (AT), Filmmaker/Researcher for VirtualCinemaLab at ELO Film School, Aalto University

If you compare novels and cinema there are certain experiences you can explore in one medium that are impossible in the other. Over the last 120 years cinema kept evolving visual storytelling for example, as a tool that engages both our perception and our imagination.

Since Cinematic Virtual Reality (CVR) is a very young art form it is lacking its own set of storytelling tools. My work provides concepts and a proof of concept (artistic project) which can help artists explore the narrative potential of this new medium and engage their audiences’ imagination.

More information and making-of here: http://virtualcinema.aalto.fi/view/ego-cure-vr-film/

 

Google News Initiative Fellowship

The European Journalism Centre is taking in applications for the Google News Initiative Fellowship.

The positions are paid summer placements for journalism, technology or design students who want to gain valuable work experience in leading newsrooms across Europe. In Finland, there are 2 newsrooms participating: Yle Kioski and Helsingin Sanomat. It’s a great opportunity that can allow your students to kickstart a career in the news industry as developers, data scientists, reporters for example.

The fellowship scheme is organised by the European Journalism Centre and funded by the Google News Initiative.

Timeline & important dates:

  • 1st April: Deadline to submit your application
  • April-May: News organizations review applications and contact the successful candidate.
  • Early June: All fellows participate in a one-day Bootcamp in Brussels.
  • Between June and September (8 weeks): Fellows join their host organizations.

For further information about the application procedure,  program and the participating newsrooms, please see https://journalismfellowships.eu

CHI PLAY 2019 | CALL FOR PARTICIPATION 6th ACM SIGCHI Annual Symposium on Computer-Human Interaction in Play

CHI PLAY 2019 | CALL FOR PARTICIPATION
6th ACM SIGCHI Annual Symposium on Computer-Human Interaction in Play

Submission deadlines

  • April 9, 2019: Full papers (4-10 pages
  • May 2, 2019: Workshop and Course Proposals
  • July 5, 2019: Rapid Communications Papers, Doctoral Consortium, Student Game Competition, Interactivity, Works-in-Progress, andWorkshop Position Papers

Barcelona, Spain, October 22–25, 2019 | https://chiplay.acm.org/2019/ | @acmchiplay | #chiplay19


CHI PLAY is the international and interdisciplinary conference, sponsored by ACM SIGCHI, for researchers and professionals across all areas of play, games, and human-computer interaction (HCI). We call this area ‘player-computer interaction’. The goal of the CHI PLAY conference is to highlight and foster discussion on high-quality research in games and HCI as a foundation for the future of digital play. To this end, the conference blends academic research papers, interactive play demos, and industry insights. Full paper acceptance rate is typically below 30%.

SUBMISSIONS 

As a SIGCHI-sponsored conference, CHI PLAY welcomes contributions that further an understanding of the player experience, as well as contributions on novel designs or implementations of player-computer interactions, including, but not limited to, the following:

  • Playful interactions and new game mechanics
  • Innovative implementation techniques that affect player experiences
  • Studies of applied games and player experiences (e.g., games and play for health,wellbeing, and learning)
  • Accessible and inclusive design and play experience  Advances in game user research and game evaluation methods
  • Psychology of players and typologies of games and players
  • Gamification, persuasive games, and motivational design
  • Virtual and augmented reality in games and play
  • Novel controls, input or display technologies for games and play
  • Tools for game creation
  • Innovations to advance the work of game designers and developers
  • Game analytics and novel visualizations of player experiences
  • Developer experiences and studies of developers
  • Industry case studies

Although CHI PLAY welcomes contributions on the effects of various technologies, software, or algorithms on player experience, technical contributions without clear indications of the impact on players or developers are not within the scope of CHI PLAY. The conference invites submissions including full papers, workshop and course proposals, interactive demos, work-in-progress papers, and Rapid Communications papers. Additionally, students are invited to submit to the student game competition and the doctoral consortium.

FULL PAPERS

Authors are invited to submit high-quality original work to advance the field of player-computer interaction research, in 4 to 10 pages in the new ACM SIGCHI Proceedings format, references excluded. Important dates (all times are 23:59 Hawaii-Aleutian Time Zone (UTC -10:00)):

  • April 9, 2019: Full papers submission deadline
  • May 30, 2019: Reviews sent to authors
  • June 6, 2019: Rebuttal deadline
  • June 20, 2019: Decisions sent to authors
  • July  26, 2019: Final publication-ready papers due

CHI PLAY 2019 will not make a distinction between notes and papers, but encourages authors to use the number of pages necessary, with a lower limit of 4 pages and an upper limit of 10 pages. Paper length should match the size of the contribution. References do not count towards the page limit. All papers, irrespective of length, will undergo the same review process and are evaluated against the same review criteria. All accepted papers will be included in the conference proceedings published in the ACM Digital Library and will be presented at the conference with a standard speaking length.
For further details please see the website:  https://chiplay.acm.org/2019/


///////////CHI PLAY 2019
6th ACM SIGCHI Annual Symposium on Computer-Human Interaction in Play
http://chiplay.org
Twitter: #chiplay19 //////////////