SCIRIA Openmind seminar series, after effects or velvet revolution in modern culture

SCIRIA ‘OpenMind’ was a regular seminar series for University of the Arts London staff, MA and PhD students and the public. The seminars were hosted at Camberwell College of Arts and Chelsea College of Art and Design. The footage, audio and flyers offer an insight into the research processes and activities of SCIRIA members, associates and external speakers

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

Securities Laws: The Exclusivity of the Private Right of Action under Section 18 of the 1934 Act and Its Relationshp to Rule 10b-5

Ross v. A.H. Robins, 607 F.2d 545 (2d Cir. 1979), cert. denied, 446 U.S. 946 (1980). The issue resolved in Ross v. A.H. Robins concerns the viability of an action filed under section 10(b) of the Securities Exchange Act of 1934 and rule l0b-5 when section 18 of the same Act contains an express civil remedy. Section 18 imposes liability for making “any statement in any … document filed …; which statement was... false and misleading with respect to any material fact” to one who relies upon such statement and purchases or sells securities at a price affected by the statement. Section 10(b) and rule l0b-5 make it “unlawful for any person, … to make any untrue statement of a material fact or to omit to state a material fact … in connection with the purchase or sale of any security.” To decide this issue the Second Circuit Court of Appeals first examined the legislative history of the 1933 and 1934 Securities Exchange Acts. The court also examined the differences between the two sections to determine the exclusivity of section 18. The court concluded that section 18 did not provide an exclusive remedy. Thus section 10(b) and rule l0b-5 could be used. Finally, the court examined rule 9(b), of the Federal Rules of Civil Procedure to determine the sufficiency of the pleadings of the plaintiffs

Software Takes Command

This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media

A Manifesto of Nodalism

This paper proposes the notion of Nodalism as a means describing contemporary culture and of understanding my own creative practice in electronic music composition. It draws on theories and ideas from Kirby, Bauman, Bourriaud, Deleuze, Guatarri, and Gochenour, to demonstrate how networks of ideas or connectionist neural models of cognitive behaviour can be used to contextualize, understand and become a creative tool for the creation of contemporary electronic music

Selfie-Takers Prefer Left Cheeks: Converging Evidence from the (Extended) selfiecity Database

According to previous reports, selfie takers in widely different cultural contexts prefer poses showing the left cheek more than the right cheek. This posing bias may be interpreted as evidence for a right-hemispheric specialization for the expression of facial emotions. However, earlier studies analyzed selfie poses as categorized by human raters, which raises methodological issues in relation to the distinction between frontal and three-quarter poses. Here, we provide converging evidence by analyzing the (extended) selfiecity database which includes automatic assessments of head rotation and of emotional expression. We confirm a culture- and sex-independent left-cheek bias and report stronger expression of negative emotions in selfies showing the left cheek. These results are generally consistent with a psychobiological account of a left cheek bias in self-portraits but reveal possible unexpected facts concerning the relation between side bias and lateralization of emotional expression