2015 GO423 Symposium

The 2015 GO423 Symposium is the fourth time for the event. It cements the annual nature of the event. The Game On program and the Game On Symposium supports sector building and sustainability of the local game making industry through strengthening community networks and fostering recognition of our local game making industry. The Game On Symposium ��� GO423 is a two-day festival focused on Queensland practitioners and community ��� from leaders in the field to emerging professionals and students (High School and tertiary level). With a program of presentations, debates, discussions, and exhibition around interactive screen culture and practice, GO423 promotes an understanding of the Queensland and Australian screen production industry within a broad global context.

Temporal: The artwork

The interactive artwork Temporal arose from a series of art-science investigations with some of Australia���s leading flying fox ecologists. It was designed as a gently evolving meditation upon the complex, periodic processes that mark Australia���s often irregular seasonal changes. In turn these changes directly govern the migratory movements of Australia���s keystone pollinating mammals - the mega bats (Flying Foxes). Temporal further called attention to our increasing capacity to profoundly disturb these partners within Australia���s complex, life-supporting systems

Citizens breaking out of filter bubbles: Urban screens as civic media

Social media platforms risk polarising public opinions by employing proprietary algorithms that produce filter bubbles and echo chambers. As a result, the ability of citizens and communities to engage in robust debate in the public sphere is diminished. In response, this paper highlights the capacity of urban interfaces, such as pervasive displays, to counteract this trend by exposing citizens to the socio-cultural diversity of the city. Engagement with different ideas, networks and communities is crucial to both innovation and the functioning of democracy. We discuss examples of urban interfaces designed to play a key role in fostering this engagement. Based on an analysis of works empirically-grounded in field observations and design research, we call for a theoretical framework that positions pervasive displays and other urban interfaces as civic media. We argue that when designed for more than wayfinding, advertisement or television broadcasts, urban screens as civic media can rectify some of the pitfalls of social media by allowing the polarised user to break out of their filter bubble and embrace the cultural diversity and richness of the city.

Fragments of place : revealing sense of place through shared phone images.

Is an interactive new media art installation that explores how the sharing of images, normally hidden on mobile phones, can reveal more about people's sense of place and this ultimately shared experience. Traditional views on sense of place, as exemplified by Wagner (1972) and Relph (1976), characterise the experience as a fusion of meaning, act and context. Indeed, Relph suggests that it is not just the identity of a place that is important, but also the identity that a person or group has with that place, in particular whether they are experiencing it as an ���insider��� or ���outsider���. This work stimulates debate concerning the impact of technology on sense of place. Technology offers a number of bridges between the real and virtual worlds, but in so doing places an increased tension on the sense of place and subsequently the identity of the individual. This, coupled with the increased use of camera phones, has enabled the documentation of all aspects of our lives, the things we do, the objects we encounter and the places we inhabit. The installation taps into these hidden electronic resources by letting people share their sense of place associated with a large scale event. The work explores the changing nature of the sense of place of performers, visitors and residents over the duration of the event. Interaction with the installation will transform the viewer into performer, echoing Relph���s insider-outsider dichotomy

What the Papers Say: Trends in Sustainability

This paper presents an overview of the results of a longitudinal analysis of the coverage of sustainability-related concepts in 115 leading national newspapers worldwide between January 1990 and July 2008, covering approximately 20,500,000 articles in 340,000 newspaper issues in 39 countries. On a global level, sustainable development and corporate social responsibility seem to have reached the mainstream public arena, whereas the coverage of corporate citizenship and corporate sustainability remains marginal. The increase in sustainability related media coverage since 1990 largely seems to be of an incremental nature, rather than clearly associated with specific events. Only very few truly global events can be identified that triggered a substantial amount of media coverage globally. Furthermore, marked regional and national differences in the coverage of sustainability related concepts can be identified.

Interview with Paul DeMarinis

Since the early 1970s, the American electronic media artist Paul DeMarinis (b. 1948, Cleveland, Ohio, USA) has created works that re-imagine modes of communication and reinvent the technologies that enable communication. His works (see Table 1) have taken shape as recordings, performances, electronic inventions, and site-specific and interactive installations; many are considered landmarks in the histories of electronic music and media art. Paul DeMarinis pioneered live performance with computers, collaborated on landmark works with artists like David Tudor and Robert Ashley, undertook several tours with the Merce Cunningham Dance Company, and brought to life obscure technologies such as the flame loudspeaker (featured in his 2004 sculpture Firebirds). His interactive installation The Music Room (1982), commissioned by Frank Oppenheimer for the Exploratorium in San Francisco, was the first automatic music work to reach a significant audience. His album Music As A Second Language (1991) marks one of the most extensive explorations of the synthesized voice and speech melodies to date. Installations like The Edison Effect (1989-1993), in which lasers scan ancient recordings to produce music, and The Messenger (1998/2005), in which electronic mail messages are displayed on alphabetic telegraph receivers, illustrate a creative process that Douglas Kahn (1994) has called "reinventing invention." [etc]

Sound Art and Spatial Practices: Situating Sound Installation Art Since 1958

This dissertation examines the emergence and development of sound installation art, an under-recognized tradition that has developed between music, architecture, and media art practices since the late 1950s. Unlike many musical works, which are concerned with organizing sounds in time, sound installations organize sounds in space; they thus necessitate new theoretical and analytical models that take into consideration the spatial situated-ness of sound. Existing discourses on ���spatial sound��� privilege technical descriptions of sound localization. By contrast, this dissertation examines the ways in which concepts of space are socially, culturally, and politically construed, and how spatially-organized sound works reflect and resist these different constructions. Using an interdisciplinary methodology of critical spatial analysis and critical studies in music, this dissertation explores such topics as: conceptions of acoustic space in postwar Western art music, architecture, and media theory; the development of sound installation art in relation to philosophies of everyday life and social space; the historical links between musical performance, conceptual art, and sound sculpture; the body as a site for sound installations; and sonicspatial strategies that confront politics of race and gender. Through these different investigations, this dissertation proposes an ���ontopological��� model for considering sound: a critical model of analysis and reception that privileges an understanding of sound in relation to ontologies of space and place.

e-poltergeist

E-poltergeist takes over the user���s internet browser, automatically initiating Web searches without their permission. Web-based artwork which explores issues of user control when confronted with complex technological systems, questioning the limits of digital interactive arts as consensual reciprocal systems. e-poltergeist was a major web commission that marked an early stage of research in a larger enquiry by Craighead and Thomson into the relationship between live virtual data, global communications networks and instruction-based art, exploring how such systems can be re-contextualised within gallery environments. e-poltergeist presented the 'viewer' with a singular narrative by using live internet search-engine data that aimed to create a perpetual and virtually unstoppable cycle of search engine results, banner ads and moving windows as an interruption into the normal use of an internet browser. The work also addressed the ���de-personalisation��� of internet use by sending a series of messages from the live search engine data that seemed to address the user directly: 'Is anyone there?'; 'Can anyone hear me?', 'Please help me!'; 'Nobody cares!' e-poltergeist makes a significant contribution to the taxonomy of new media art by dealing with the way that new media art can re-address notions of existing traditions in art such as appropriation and manipulation, instruction-based art and conceptual art. e-poltergeist was commissioned ($12,000) for 010101: Art in Technological Times, a landmark international exhibition presented by the San Francisco Museum of Modern Art, which bought together leading international practitioners working with emergent technologies, including Tatsuo Miyajima, Janet Cardiff, Brian Eno. Peer recognition of the project in the form of reviews include: Curating New Media. Gateshead: Baltic Centre for Contemporary Art. Cook, Sarah, Beryl Graham and Sarah Martin ISBN: 1093655064; The Wire; http://www.wired.com/culture/lifestyle/news/2000/12/40464 (review by Reena Jana); Leonardo (review Barbara Lee Williams and Sonya Rapoport) http://www.leonardo.info/reviews/feb2001/ex_010101_willrapop.html All the work is developed jointly and equally between Craighead and her collaborator, Jon Thomson, Slade School of Fine Art.

Diferencias en factores de protecci??n del consumo de sustancias en la adolescencia temprana y media

Resumen tomado de la publicaci??n. Resumen tambi??n en ingl??s

Alumnat, depend??ncia dels centres i batxillerat a les Illes Balears : notes per a una sociologia hist??rica i territorial de l'ensenyament mitj??. 'Alumnado, dependencia de los centros y bachillerato en las Islas Baleares : notas para una sociolog??a hist??rica y territorial de la ense??anza media'

Resumen tomado de la publicaci??n

Ricardo Alc??ntara : el senyor de la Terra Mitjana. 'Ricardo Alc??ntara : el se??or de la Tierra Media'

Resumen de la revista en catal??n

Combinat??ria l??xica i discurs acad??mic : aplicaci?? a l'an??lisi de manuals d'ensenyament mitj??. 'Combinatoria l??xica y discurso acad??mico : aplicaci??n al an??lisis de manuales de ense??anza media'

Resumen del autor. Este art??culo forma parte de la monograf??a 'Fraseologia i educaci?? discursiva'

La memoria en las obras pedag??gicas de la Baja Edad Media

Resumen tomado de la publicaci??n

El aula de 'Cultura' del Colegio 'San Estanislao de Kostka' : Instituci??n modelo dentro de las actividades complementarias de Centros de Ense??anza Media

Contiene fotograf??as

Uso de objetos de aprendizaje que favorecen la comprensi??n del conocimiento matem??tico : buenas pr??cticas en educaci??n media

Resumen basado en el de la publicaci??n