TV 2.0: animation readership / authorship on the internet

Traditional platforms for animation, such as broadcast television or cinema, are rapidly becoming obsolete as a new type of spectator demands more choice, the ability to interact with animated content and access to global distribution for their own user-generated work. Audiences are no longer satisfied with receiving a top down distribution of content from traditional cinema or broadcasters. Internet technologies are emerging to address this demand for active spectatorship and enable communities of interest to evolve their own alternative distribution methods. Viewing animation online has become increasingly accessible with the mass adoption of broadband and the emergence of new file formats. TV 2.0 is an amalgamation of Internet technologies that combine video on demand with the social networking capabilities of Web 2.0. In the age of TV 2.0, the role of the viewer has increased in complexity with new possibilities for active interaction and intervention with the content displayed. This new audience seeks a form of spectatorship that can extend beyond the passive recipience of programming distributed by elite broadcasters. TV 2.0 on the Internet has changed both methods of distribution and traditional patterns for the viewing of animation. However, any potential for democratic participation in the visual culture of moving images that this could entail may be a brief historic moment before the assimilation and control of active readership by mainstream corporate culture

Animation Installation: the Affect of Place

Goosebumps, hairs stand on end, a knot in the stomach, an inexplicable feeling of chill or even panic...walking through an unfamiliar place can have a visceral impact on the human subject. This artist’s presentation will consider the experience of viewing animation within the context of a site-specific installation and, through reference to examples of exhibitions by Birgitta Hosea in which contemporary animations are displayed as an intervention in historic spaces, will investigate the affect of site and the impact of the viewing context on the embodied perception of an animation

Drawn Together: Collaborative Performance

In the collaborative work of Drawn Together, a group formed by the artists Maryclare Foá, Jane Grisewood, Birgitta Hosea and Carali McCall, diverse practices are collectively materialised through performance drawing. Focusing on the notion of fragmentation has been instructive in identifying how the collaboration binds together a series of fragments and discontinuities that are enacted and reassembled in unpredictable and new ways

Women's Empowerment in Digital Promotion Strategies for Optimization of Ecotourism Border Areas

This study discusses the women empowerment in digital promotion strategies to solve the problem optimization of ecotourism border areas. This study uses a descriptive research method with a qualitative approach. The data collection technique used is the technique of Observation, Interview and Documentation. The research location is in Sebente Village, Shout District, Bengkayang Regency, West Kalimantan Province. The research subjects were the Sebente Village Head, Pokdarwis Chair, PKK Chairmen and members, women who had businesses, and visitors. The results showed that the optimization of ecotourism was carried out by empowering women in tourist villages through local potential and wisdom. This potential is the development capital of the village government so that women can have the ability to manage natural resources to increase production capacity, output, and ultimately improve women's welfare

Beyond a digital écriture féminine: cyberfeminism and experimental computer animation

In the 1990s, Sadie Plant declared in Zeros and Ones (1998) that the future would be female since women were ideally suited to working with information technology. However, the numbers of women working in digital technology today remain disproportionately low compared to the population overall. Whatever happened to cyberfeminism? From the pioneers of the 1970s, the cyberfeminists of the 1990s and today’s intersectional post-cyberfeminists, radical artists have argued for the use of digital technology to critique, subvert, innovate and deliver social change. This chapter aims to re-evaulate the experimental practice of cyberfeminist artists and its relevance for contemporary practitioners. What does it mean for women to experiment in computer animation? Can digital techniques be used as a new form of language to represent the voices of those who are not normally heard in the mainstream? The chapter draws upon first-hand interviews, archival and historical literature review. Lillian F. Schwartz, Rebecca Allen and Vibeke Sorenson are presented as artist pioneers of computer animation in the 1970s and 1980s who advanced feminist ideas in male-dominated environments. Cyberfeminist discourses of the 1990s from Sadie Plant, VNX Matrix, Linda Dement and others then blended radical, post-structuralist French feminism with utopian ideas about the revolutionary potential of ‘new media’ for the creation of new, virtual worlds and the transformation of gender relationships. These ideas were subsequently accused of techno-naivity, essentialism and exclusivity. In the 21st century, post-cyberfeminist discourses are now re-emerging through xenofeminism, Afrofuturism and glitch feminism. The chapter concludes that inequality can be seen as hard wired into the very code of the technologies we take for granted due to the language used and assumptions programmed into them by the people who created them, and therefore, it is vitally important to ensure that a diverse range of people are inspired to work with technology

Calabi Symmetry and the Continuity Method

We study the convergence and curvature blow up of La Nave and Tian's continuity method on a generalised Hirzebruch surface. We show that the Gromov-Hausdorff convergence is similar to that of the Kahler-Ricci flow and obtain curvature estimates. We also show that a general solution to the continuity method either exist or all times, or the scalar curvature blows up. This behavior is known to be exhibited by the Kahler-Ricci flow.Comment: 18 pages, 1 figures. Any comments are welcome