Transmedia as ‘Unmixed Media’ aesthetics

What is ‘transmedia’? This chapter attempts to understand what this phenomenon is from a transhistorical perspective. The transhistorical nature of media combinations is interrogated in light of media specificity and in relation to the key phenomena of Intermedia. Transmedia is argued to be a transhistorical urge towards unifying that which has been artificially estranged.

Distracted

Distracted is a luminous, interactive, computational media installation of sound, light and translucent sculptural materials. The work is inspired by scientific ice core samples taken in Antarctica. The sculpture is capable of displaying data taken from these ice core samples, and responding to the proximity of an audience. Rather than simply using the interface as a didactic display device, we have chosen a more poetic approach of generating visual effects from the data that are evocative of the ice, fluids and the notion of change. The data has also been used in the composition of an evolving soundscape. As well as data from ice core samples, such as the Vostok ice core, we have incorporated data from the Keeling Curve that shows the annual rise and fall of atmospheric carbon dioxide, following the pattern of the Northern Hemisphere winter. These effects combine with changes caused directly by audience members as they come within close proximity to the work.

Distracted : poetic interpretations of climate change

This paper introduces the creative work Distracted and discusses conceptual, aesthetic and technical aspects of the work. The work was conceived as a luminous, interactive, computational media installation informed by our interest in the Antarctica. Through the paper we focus on: how the work addresses the themes of climate change and sustainability; how we attempted to work with selected sets of scientific data to evoke the delicate yet extreme nature of the environment and the ways in which ice is a record of the earth’s geological history and recent human impacts; and how the process of making this artwork caused us to reconsider our practices and formulate strategies for redirecting our practice in a manner that addresses the challenges of sustainability.

Emergence and the art system ‘plus minus now’

Emergence is discussed in the context of a practice-based study of interactive art and a new taxonomy of emergence is proposed. The interactive art system ‘plus minus now’ is described and its relationship to emergence is discussed. ‘Plus minus now’ uses a novel method for instantiating emergent shapes. A preliminary investigation of this art system has been conducted and reveals the creation of temporal compositions by a participant. These temporal compositions and the emergent shapes are described using the taxonomy of emergence. Characteristics of emergent interactions and the implications of designing for them are discussed.

Ghost/Machine: cinema in a digital age

Cinema, with its passive cinematic apparatus and linear narrative is often characterised as a contrast to new media narrative strategies, yet from Vertov’s Man with a Movie Camera to Mike Figgis’ TimeCode and Wong Kar Wei’s 2046 cinema provides narrative strategies and spatial conceptualisations which prefigure or are contiguous with new media environments. Both our perception of what cyberspace constitutes and the technology that actualises those perceptions arise out of and are driven by fantasy and desire. This paper will explore the metaphors used to represent and understand new media aesthetics through cinematic representations of new media environments. Two key themes relevant to new media aesthetics emerge. Irigaray, Haraway, and Grosz are used to explore the de-essentialising haptic and penetrative potential of new technologies and their ability to collapse the boundary between the body and the machine. The second fantasy, of new media as a liminal space that expresses the memorialising function of technology and its relation to mourning, is analysed using Benjamin, Burgin and Rutsky. These altered spaces and perceptions of the body and memory of the post-cinematic subject are illustrated through an analysis of Gondry’s Eternal Sunshine of the Spotless Mind and Jonze’s Being John Malkovich. [From the Author]

Self-directed Learning in the Technological Age

Concerns arising out of technology often being used as an add-on to self-directed learning practices in the workplace and factors affecting such learning were investigated through a literature analysis. What is needed is an exploration of new possibilities of computational media on how self-directed learners think, create and learn.

Aesthetics of urban media façades

This paper sets out to develop and extend current literature on design practices for ambient media façades. It does this by bringing together theories of ambient media, computational aesthetics, and urban aesthetics. This unique theoretical combination has informed the design of several exemplars produced by the author, which are discussed as case studies.

The ethics, aesthetics and practical politics of ownership in co-creative media

What is ‘best practice’ when it comes to managing intellectual property rights in participatory media content? As commercial media and entertainment business models have increasingly come to rely upon the networked productivity of end-users (Banks and Humphreys 2008) this question has been framed as a problem of creative labour made all the more precarious by changing employment patterns and work cultures of knowledge-intensive societies and globalising economies (Banks, Gill and Taylor 2014). This paper considers how the problems of ownership are addressed in non-commercial, community-based arts and media contexts. Problems of labour are also manifest in these contexts (for example, reliance on volunteer labour and uncertain economic reward for creative excellence). Nonetheless, managing intellectual property rights in collaborative creative works that are created in community media and arts contexts is no less challenging or complex than in commercial contexts. This paper takes as its focus a particular participatory media practice known as ‘digital storytelling’. The digital storytelling method, formalised by the Centre for Digital Storytelling (CDS) from the mid-1990s, has been internationally adopted and adapted for use in an open-ended variety of community arts, education, health and allied services settings (Hartley and McWilliam 2009; Lambert 2013; Lundby 2008; Thumin 2012). It provides a useful point of departure for thinking about a range of collaborative media production practices that seek to address participation ‘gaps’ (Jenkins 2006). However the outputs of these activities, including digital stories, cannot be fully understood or accurately described as user-generated content. For this reason, digital storytelling is taken here to belong to a category of participatory media activity that has been described as ‘co-creative’ media (Spurgeon 2013) in order to improve understanding of the conditions of mediated and mediatized participation (Couldry 2008). This paper reports on a survey of the actual copyrighting practices of cultural institutions and community-based media arts practitioners that work with digital storytelling and similar participatory content creation methods. This survey finds that although there is a preference for Creative Commons licensing a great variety of approaches are taken to managing intellectual property rights in co-creative media. These range from the use of Creative Commons licences (for example, Lambert 2013, p.193) to retention of full copyrights by storytellers, to retention of certain rights by facilitating organisations (for example, broadcast rights by community radio stations and public service broadcasters), and a range of other shared rights arrangements between professional creative practitioners, the individual storytellers and communities with which they collaborate, media outlets, exhibitors and funders. This paper also considers how aesthetic and ethical considerations shape responses to questions of intellectual property rights in community media arts contexts. For example, embedded in the CDS digital storytelling method is ‘a critique of power and the numerous ways that rank is unconsciously expressed in engagements between classes, races and gender’ (Lambert 117). The CDS method privileges the interests of the storyteller and, through a transformative workshop process, aims to generate original individual stories that, in turn, reflect self-awareness of ‘how much the way we live is scripted by history, by social and cultural norms, by our own unique journey through a contradictory, and at times hostile, world’ (Lambert 118). Such a critical approach is characteristic of co-creative media practices. It extends to a heightened awareness of the risks of ‘story theft’ and the challenges of ownership and informs ideas of ‘best practice’ amongst creative practitioners, teaching artists and community media producers, along with commitments to achieving equitable solutions for all participants in co-creative media practice (for example, Lyons-Reid and Kuddell nd.). Yet, there is surprisingly little written about the challenges of managing intellectual property produced in co-creative media activities. A dialogic sense of ownership in stories has been identified as an indicator of successful digital storytelling practice (Hayes and Matusov 2005) and is helpful to grounding the more abstract claims of empowerment for social participation that are associated with co-creative methods. Contrary to the ‘change from below’ philosophy that underpins much thinking about co-creative media, however, discussions of intellectual property usually focus on how methods such as digital storytelling contribute to the formation of copyright law-compliant subjects, particularly when used in educational settings (for example, Ohler nd.). This also exposes the reliance of co-creative methods on the creative assets storytellers (rather than on the copyrighted materials of the media cultures of storytellers) as a pragmatic response to the constraints that intellectual property right laws impose on the entire category of participatory media. At the level of practical politics, it also becomes apparent that co-creative media practitioners and storytellers located in copyright jurisdictions governed by ‘fair use’ principles have much greater creative flexibility than those located in jurisdictions governed by ‘fair dealing’ principles.

Further development of discrete computational techniques for calculation of restricted diffusion propagators in porous media

Magnetic resonance is a well-established tool for structural characterisation of porous media. Features of pore-space morphology can be inferred from NMR diffusion-diffraction plots or the time-dependence of the apparent diffusion coefficient. Diffusion NMR signal attenuation can be computed from the restricted diffusion propagator, which describes the distribution of diffusing particles for a given starting position and diffusion time. We present two techniques for efficient evaluation of restricted diffusion propagators for use in NMR porous-media characterisation. The first is the Lattice Path Count (LPC). Its physical essence is that the restricted diffusion propagator connecting points A and B in time t is proportional to the number of distinct length-t paths from A to B. By using a discrete lattice, the number of such paths can be counted exactly. The second technique is the Markov transition matrix (MTM). The matrix represents the probabilities of jumps between every pair of lattice nodes within a single timestep. The propagator for an arbitrary diffusion time can be calculated as the appropriate matrix power. For periodic geometries, the transition matrix needs to be defined only for a single unit cell. This makes MTM ideally suited for periodic systems. Both LPC and MTM are closely related to existing computational techniques: LPC, to combinatorial techniques; and MTM, to the Fokker-Planck master equation. The relationship between LPC, MTM and other computational techniques is briefly discussed in the paper. Both LPC and MTM perform favourably compared to Monte Carlo sampling, yielding highly accurate and almost noiseless restricted diffusion propagators. Initial tests indicate that their computational performance is comparable to that of finite element methods. Both LPC and MTM can be applied to complicated pore-space geometries with no analytic solution. We discuss the new methods in the context of diffusion propagator calculation in porous materials and model biological tissues.

ModelDB in Computational Neuroscience Education - A research tool as interactive educational media

ModelDB's mission is to link computational models and publications, supporting the field of computational neuroscience (CNS) by making model source code readily available. It is continually expanding, and currently contains source code for more than 300 models that cover more than 41 topics. Investigators, educators, and students can use it to obtain working models that reproduce published results and can be modified to test for new domains of applicability. Users can browse ModelDB to survey the field of computational neuroscience, or pursue more focused explorations of specific topics. Here we describe tutorials and initial experiences with ModelDB as an interactive educational tool.

A packing computational method relating fractal particle size distribution and void fraction in granular media

The study of granular systems is of great interest to many fields of science and technology. The packing of particles affects to the physical properties of the granular system. In particular, the crucial influence of particle size distribution (PSD) on the random packing structure increase the interest in relating both, either theoretically or by computational methods. A packing computational method is developed in order to estimate the void fraction corresponding to a fractal-like particle size distribution.

A Packing Computational Method Relating Fractal Particle Size Distribution and Void Fraction in Granular Media

The study of granular systems is of great interest to many fields of science and technology. The packing of particles affects to the physical properties of the granular system. In particular, the crucial influence of particle size distribution (PSD) on the random packing structure increase the interest in relating both, either theoretically or by computational methods. A packing computational method is developed in order to estimate the void fraction corresponding to a fractal-like particle size distribution.

A computational approach to measuring the correlation between expertise and social media influence for celebrities on microblogs

Existing approaches of social influence analysis usually focus on how to develop effective algorithms to quantize users' influence scores. They rarely consider a person's expertise levels which are arguably important to influence measures. In this paper, we propose a computational approach to measuring the correlation between expertise and social media influence, and we take a new perspective to understand social media influence by incorporating expertise into influence analysis. We carefully constructed a large dataset of 13,684 Chinese celebrities from Sina Weibo (literally 'Sina microblogging'). We found that there is a strong correlation between expertise levels and social media influence scores. In addition, different expertise levels showed influence variation patterns: high-expertise celebrities have stronger influence on the 'audience' in their expertise domains.