MINDtouch embodied ephemeral transference: Mobile media performance research

This is the post-print version of the final published article that is available from the link below. Copyright @ Intellect Ltd 2011.The aim of the author's media art research has been to uncover any new understandings of the sensations of liveness and presence that may emerge in participatory networked performance, using mobile phones and physiological wearable devices. To practically investigate these concepts, a mobile media performance series was created, called MINDtouch. The MINDtouch project proposed that the mobile videophone become a new way to communicate non-verbally, visually and sensually across space. It explored notions of ephemeral transference, distance collaboration and participant as performer to study presence and liveness emerging from the use of wireless mobile technologies within real-time, mobile performance contexts. Through participation by in-person and remote interactors, creating mobile video-streamed mixes, the project interweaves and embodies a daisy chain of technologies through the network space. As part of a practice-based Ph.D. research conducted at the SMARTlab Digital Media Institute at the University of East London, MINDtouch has been under the direction of Professor Lizbeth Goodman and sponsored by BBC R&D. The aim of this article is to discuss the project research, conducted and recently completed for submission, in terms of the technical and aesthetic developments from 2008 to present, as well as the final phase of staging the events from July 2009 to February 2010. This piece builds on the article (Baker 2008) which focused on the outcomes of phase 1 of the research project and initial developments in phase 2. The outcomes from phase 2 and 3 of the project are discussed in this article

In the Battle for Reality: Social Documentaries in the U.S.

Provides an overview of documentaries that address social justice and democracy issues, and includes case studies of successful strategic uses of social documentaries

The Digital Architectures of Social Media: Comparing Political Campaigning on Facebook, Twitter, Instagram, and Snapchat in the 2016 U.S. Election

The present study argues that political communication on social media is mediated by a platform's digital architecture, defined as the technical protocols that enable, constrain, and shape user behavior in a virtual space. A framework for understanding digital architectures is introduced, and four platforms (Facebook, Twitter, Instagram, and Snapchat) are compared along the typology. Using the 2016 US election as a case, interviews with three Republican digital strategists are combined with social media data to qualify the studyies theoretical claim that a platform's network structure, functionality, algorithmic filtering, and datafication model affect political campaign strategy on social media

Collaborative pedagogy and digital scholarship: a case study of 'Media Culture 2020'

This paper presents an educational case study of ‘Media Culture 2020’, an EU Erasmus Intensive Programme that utilised a range social media platforms and computer software to create open, virtual spaces where students from different countries and fields could explore and learn together. The multi-disciplinary project featured five universities from across Europe and was designed to develop new pedagogical frameworks to encourage collaborative approaches to teaching and learning in the arts. The main objective of the project was to break down classroom and campus walls by creating digital learning environments that facilitated new forms of production, transmission and representation of knowledge. Media Culture 2020 was designed to pilot a novel mode of ‘blended learning’, demonstrating a number of ways in which ‘Web 2.0’ networked technologies might be adopted by academics to encourage open and collaborative modes of practice. The project utilised a number of social media platforms (including Facebook, Twitter, Google+, Google Hangout, Google Docs and Blogger) to enhance the learning experiences of a diverse set of students from different cultural and international contexts. In doing so, Media Culture 2020 enabled participants with a diverse range skills and cultural experiences to develop new working practices that respond to the convergence of digital media and art, as well as the internationalisation of media production and business, through the use of open, interactive software

The crowd as a cameraman : on-stage display of crowdsourced mobile video at large-scale events

Recording videos with smartphones at large-scale events such as concerts and festivals is very common nowadays. These videos register the atmosphere of the event as it is experienced by the crowd and offer a perspective that is hard to capture by the professional cameras installed throughout the venue. In this article, we present a framework to collect videos from smartphones in the public and blend these into a mosaic that can be readily mixed with professional camera footage and shown on displays during the event. The video upload is prioritized by matching requests of the event director with video metadata, while taking into account the available wireless network capacity. The proposed framework's main novelty is its scalability, supporting the real-time transmission, processing and display of videos recorded by hundreds of simultaneous users in ultra-dense Wi-Fi environments, as well as its proven integration in commercial production environments. The framework has been extensively validated in a controlled lab setting with up to 1 000 clients as well as in a field trial where 1 183 videos were collected from 135 participants recruited from an audience of 8 050 people. 90 % of those videos were uploaded within 6.8 minutes

What's Going on in Community Media

What's Going On in Community Media shines a spotlight on media practices that increase citizen participation in media production, governance, and policy. The report summarizes the findings of a nationwide scan of effective and emerging community media practices conducted by the Benton Foundation in collaboration with the Community Media and Technology Program of the University of Massachusetts, Boston. The scan includes an analysis of trends and emerging practices; comparative research; an online survey of community media practitioners; one-on-one interviews with practitioners, funders and policy makers; and the information gleaned from a series of roundtable discussions with community media practitioners in Boston, Chicago, Minneapolis/St. Paul, and Portland, Oregon

Video Art: Cultural Transformations

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television\u27s conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art\u27s growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising

Artspeak : articulating artistic process across cultural boundaries through digital theatre

In early 2009, researchers in the English Department of the University of Amsterdam collaborated with researchers in the Drama Department, Deakin University, Australia on a project which brought English as a Second Language students from The Netherlands into the rehearsal studio of Australian students engaged in play-building on Australian themes. The project aims were multiple and interconnected. We extended a language acquisition framework established by the Dutch investigators in previous collaborations with the Universities of Venice and Southampton, and combined this with an investigation of ways to harness technology in order to teach Australian students to communicate with and about their art. The Dutch language students were prompted to develop art-related language literacy (description, interpretation, criticism), through live, video-streamed interaction with drama students in Australia at critical points in the development of a group-devised performance (conception, rehearsal, performance). The Australian student improved their capacity to articulate the aims and processes which drove their art-making by illuminating the art-making process for the Dutch students, and providing them with a real-life context for the use of extended vocabulary whilst making them partners in the process of shaping the work. All participants engaged in the common task of assessing the capacity of the art work produced to communicate meaning to a non-Australian audience.<br /

New Media Art/ New Funding Models

Investigates the current state of funding for new media artists, with an emphasis on the support structures for innovative creative work that utilizes advanced technologies as the main vehicle for artistic practice