POST-MEDIA-SHOW

Which is the actual relationship between net and television? Could we find a point of contact between linear narration and hypertext? The last decade has brought about some radical changes: new ways of broadcasting the signal have been introduced, as well as new protocols containing new specifications about audio/video quality. One hour after the most significant TV programmes have been broadcast locally, they are made available on the p2p networks to the whole world.Koja je stvarna veza između interneta i televizije? Možemo li naći dodirnu točku između linearne naracije i hiperteksta? Posljednje desetljeće donijelo je mnoge radikalne promijene: nove načine prijenosa signala, kao i nove protokole vezano za kvalitetu zvuka/slike. Samo jedan sat nakon prikazivanja na televiziji, važni događaji iz lokalne sredine, putem p2p mreža postaju dostupni cijelome svijet

Towards an archaeology of media ecologies : the case of Italian free radios

This article looks at the contemporary reinvention of the term Media Ecologies in the work of Matthew Fuller, arguing that its provenance is less form Postman's Media Ecology Association andmore form the work of Felix Guattari. It then presents an account of free radios in Italy and France in the 1970s and contemporary pirate radio as exemplary cases of media ecologies in Fuller's sense of the term

Understanding the Impact of the New Aesthetics and New Media Works on Future Curatorial Resource Responsibilities for Research Collections

The author examines the emerging impact of the works of the “New Aesthetic,” along with other works that have their genesis in the rapid technological changes of the last fifty-plus years. Consideration is given to the history of digital audio/visual works that will eventually be held by repositories of cultural heritage and how this history has, or has not, been documented. These creations have developed out of an environment of networked, shared, re-usable and re-purposed data. The article briefly examines how these works are utilized while looking at the future impact of the growing creation and use of complex, compound multimedia digital re- search and cultural collections as evidenced by augmented and virtual reality environments such as smartphone apps and Second Life.Ye

#mytweet via Instagram: Exploring User Behaviour across Multiple Social Networks

We study how users of multiple online social networks (OSNs) employ and share information by studying a common user pool that use six OSNs - Flickr, Google+, Instagram, Tumblr, Twitter, and YouTube. We analyze the temporal and topical signature of users' sharing behaviour, showing how they exhibit distinct behaviorial patterns on different networks. We also examine cross-sharing (i.e., the act of user broadcasting their activity to multiple OSNs near-simultaneously), a previously-unstudied behaviour and demonstrate how certain OSNs play the roles of originating source and destination sinks.Comment: IEEE/ACM International Conference on Advances in Social Networks Analysis and Mining, 2015. This is the pre-peer reviewed version and the final version is available at http://wing.comp.nus.edu.sg/publications/2015/lim-et-al-15.pd

Medium practices

In this essay I develop a topic addressed in my book, Film Art Phenomena: the question of medium specificity. Rosalind Krauss's essay 'Art In the Age of the Post-Medium Condition' has catalysed a move away from medium specificity to hybridity. I propose that questions of medium cannot be ignored, since they carry their own history and give rise to specific formal traits and possibilities. The research involves close critical analysis of four moving image works that have not previously been written about: two made with film, and one each with computer and mobile phone. The analyses are conducted by reference to my ideas about how technological peculiarities inform and inflect practice: I see the work's material composition, its form and final meaning as intricately bound up with each other. Film, video and the computer give rise to specific forms of moving image, partly because artists exploit a medium’s peculiarities, and because certain media lend themselves to some methodologies and not others. I do not seek hard distinctions between these media, but discuss them in terms of predispositions. For example, I discuss a 16mm cine film in which the shifting visibility of grain raises ideas around movement and stillness. The aim is to develop a definition of medium specificity, in relation to the moving image, that is not essentialist in the way previous versions were criticised for being, that is, based on ideas of "material substrate" (Wollen). I argue that film is a medium of stages, in contrast to the modern tapeless camcorder, in which all functions of recording, storage, playback and even editing are contained in a single device. Supported by a travel grant, I presented a version of this essay at the International Conference of Experimental Media Congress, Toronto, in April 2011, along with a selection of works: http://www.experimentalcongress.org/full-schedule

Reconfigurable Microwave Photonic Topological Insulator

Using full 3D finite element simulation and underlining Hamiltonian models, we demonstrate reconfigurable photonic analogues of topological insulators on a regular lattice of tunable posts in a re-entrant 3D lumped element type system. The tunability allows dynamical {\it in-situ} change of media chirality and other properties via alteration of the same parameter for all posts, and as a result, great flexibility in choice of bulk/edge configurations. Additionally, one way photon transport without an external magnetic field is demonstrated. The ideas are illustrated by using both full finite element simulation as well as simplified harmonic oscillator models. Dynamical reconfigurability of the proposed systems paves the way to a new class of systems that can be employed for random access, topological signal processing and sensing

Knight News Challenge: Casting the Net Wide for Innovation

Reviews the evolution of the Knight News Challenge contest for experimental projects in digital delivery of news and information to local communities, profiles winning projects and explores the grants' impact, and considers issues of sustainability

How can I produce a digital video artefact to facilitate greater understanding among youth workers of their own learning-to-learn competence?

In Ireland, youth work is delivered largely in marginalised communities and through non-formal and informal learning methods. Youth workers operate in small isolated organisations without many of the resources and structures to improve practice that is afforded to larger formal educational establishments. Fundamental to youth work practice is the ability to identify and construct learning experiences for young people in non-traditional learning environments. It is therefore necessary for youth workers to develop a clear understanding of their own learning capacity in order to facilitate learning experiences for young people. In the course of this research, I attempted to use technology to enhance and support the awareness among youth workers of their own learning capacity by creating a digital video artifact that explores the concept – learning-to-learn. This study presents my understanding of the learning-to-learn competence as, I sought to improve my practice as a youth service manager and youth work trainer. This study was conducted using an action research approach. I designed and evaluated the digital media artifact – “Lenny’s Quest” in collaboration with staff and trainer colleagues in the course of two cycles of action research, and my research was critiqued and validated throughout this process