In August, I developed 3 “learning objects” related to Flash and ActionScript, entitled “Multimedia Development”:
http://multimediadev.wordpress.com/

This is similar to an online course (although allowing for self-exploration), and somehow adapts some of the lessons I’ve been teaching in my latest Flash-related courses. It has been commissioned by Tallinn University. Check it out if you want to learn Flash/ActionScript 3, or if you are just curious. Feedback is welcome.

Conference link: http://smc2010.smcnetwork.org/

Link to related project: http://www.avclash.com

Abstract

In this paper, the project AV Clash will be presented. AV Clash is a Web-based tool for integrated audiovisual expression, created by Video Jack (the author and André Carrilho, with the assistance of Gokce Taskan). In AV Clash, users can manipulate seven “objects” that represent sounds, incorporating audio-reactive animations and graphical user interface elements to control animation and sound. The sounds are retrieved from online sound database Freesound.org, while the animations are internal to the project. AV Clash addresses the following research question: how to create a tool for integrated audiovisual expression, with customizable content, which is flexible, playful to use and engaging to observe? After an introduction to the project, a contextualization with similar works is presented, followed by a presentation of the motivations behind the project, and past work by Video Jack. Then the project and its functionalities are de- scribed. Finally, conclusions are presented, assessing the achievement of the initial aims, and addressing the limitations of the project, while outlining paths for future developments.

Poster from the presentation, Universitat Pompeu Fabra, 22/7/2010:

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Conference link: http://www.vc-conf.org/

Link to related project: http://www.videojackstudios.com/heatseeker

Abstract

Heat Seeker is an audio-visual project, which has been released in different formats: performance, video, and website. In this paper, it is contextualized with similar projects that combine music and visuals. The motivation and aims behind Heat Seeker are then presented. The main objective is to combine visuals with sound in an electronic music performance, creating an engaging hypermediated experience for the audience. A description of the project and its development follows, including project extensions to different platforms, such as the Web. Conclusions are reached regarding the accomplishment of the initial aims, which are only partially achieved, particularly in the areas of flexibility of the project and coherence of content. Paths for future developments are then outlined, in terms of additional project extensions and additional projects.

Slides from the presentation, University of Freiburg, 27/7/2010:

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In the next two weeks, I’ll be presenting two papers in conferences in Barcelona and Freiburg:

AV Clash – Online Tool for Mixing and Visualizing Audio Retrieved from Freesound.org Database.

To be presented at: “7th Sound and Music Computing Conference”,Universitat Pompeu Fabra, Barcelona, 21-24/July/2010
http://smc2010.smcnetwork.org/
Link to related project: http://www.avclash.com (beta version)

Heat Seeker – An Interactive Audio-Visual Project for Performance, Video and Web.

To be presented at: IADIS Visual Communication 2010, University of Freiburg, 27-29/July/2010
http://www.vc-conf.org/
Link to related project: http://www.videojackstudios.com/heatseeker

The theme of the lecture is Multimedia Project Management, which will be centered around a generic new media project proposal.

Project proposal (a possible structure):

• Summary / scope of the project
  • Statement from the client / brief / request for proposal
  • Was there a possibility to re-open / question the brief or request?
• Concept and approach
  • Diagrams and/or sketches
  • Inspiration and benchmarks
  • Relevant past own work
  • User/audience/market studies, if available; description of target audience
• Project team
• Schedule, deliveries, milestones
• Cost/budget
• Limitations/special conditions/technical requirements (if relevant)
• Possibilities for future developments
• Conclusion

References:

• England, E and Finney, A., 2007. Managing Interactive Media: Project Management for Web and Digital Media, Harlow: Addison-Wesley.
• Moggridge, B., 2006. Designing Interactions, Cambridge: MIT Press.

On 25/6/2010, Fast Company ran an article on an interactive billboard on Times Square:
“Designed by interactive agency Space150 for Forever 21, the billboard features a model walking in front of an image of the crowd below. And then it gets interesting: The model occasionally leans over, and appears to pluck someone out of the crowd. Sometimes, they stink, so she tosses them.”
(from: http://www.fastcompany.com/1663846/times-square-billboards-use-spy-tech-to-reach-out-and-grab-you)

The journalist from Fast Company posted the video featured on the article to Vimeo, which prompted a comment from artist Chris O’Shea, asking the following question:
“Doesn’t it remind you of this piece I made last year?
http://www.pixelsumo.com/post/inspired-by-hand-from-above”

This is a video of Chris O’Shea’s “Hand from Above”:

This sparked a discussion on Vimeo, which was disturbed by the unrefined intervention of director Nicholaus Goossen. Following the discussion, the agency apologized, and Chris O’Shea accepted the apology. The discussion can be followed here: http://www.vimeo.com/12855619, with an older version archived here: http://www.chrisoshea.org/vimeo-debate/ (since in the current version comments were deleted by Nicholaus Goossen, destroying the sense of the discussion, as can also be seen here: http://www.flickr.com/photos/pixelsumo/4752204508/sizes/o/).

Fast Company wrote a follow-up article:
http://www.fastcompany.com/1664669/times-square-billboard-touches-off-controversy-over-artistic-credit-sharing

How can agencies and artists work together?

In the course of the discussion, Chris O’Shea asked some pertinent questions regarding how agencies and artists can work together.

“1) originality of ideas and ownership of those. If no ideas are truly original, where does the grey area of originality sit?
2) Should artists be credited for inspiration? Should ad agencies claim to be original knowing they will be told otherwise by social media later?
3) What should an ad agency do in an ideal situation in terms of working with artists?
4) What do artists want from ad agencies?”

Golan Levin had written a very interesting article on this subject, which he updated with the present case:
http://www.flong.com/blog/2009/new-media-artworks-prequels-to-everyday-life/

As an artist who has also worked on an agency, and having studied innovation management and intellectual property for my MA, this discussion is quite interesting for me. Bellow I will write some observations on these questions.

1) originality of ideas and ownership of those. If no ideas are truly original, where does the grey area of originality sit?

This is a tricky one, and can be best illustrated with examples. It’s a question of degree – in my mind I have my own judgment of “degree of copy”, but it would differ from others I’m sure. I see originality as developing an idea further in a way that takes it substantially further and/or into another territory (also the idea of “territory” is vague).

During the discussion of this particular case, many examples of work more or less related to Hand from Above were quoted, some further away that others from it, and in 2 different axes: the theme (superior being interacting with / attacking lesser beings) and interaction technology (computer vision). I would add a couple more, on the thematic side – this Lily Allen music video: http://www.dailymotion.com/video/x9nn8k_lily-allen-fuck-you-official-video_music and… Apple’s iPhone video ads. In my opinion, the iPhone embedded in the “social unconscious” (or at least in mine) a vision of an “all powerful” hand that manipulates a “virtual” reality (but one that Apple wants us to believe is less virtual than it really is). And “Hand from Above” is a witty manifestation of that hand manipulation anxiety, in my opinion.

I believe the Lily Allen example is a good example of that “grey area” Chris mentions. They seem to have similarities from their starting point (a “superior” being affecting “smaller/weaker” beings), but different aesthetic approaches and tones (different degrees of aggressiveness and irony, points of view), besides the obvious interactive/non-interactive nature. So I would not say one is a copy of the other, like I would say in the present case, where the degree of similarity is much greater.

2) Should artists be credited for inspiration?
Yes, it’s the least that can be done in my opinion, and it is a sign of respectful attitude towards the creative environment.

Should ad agencies claim to be original knowing they will be told otherwise by social media later?
I think this case proves that not crediting properly, in case of close “inspiration”, generates very bad publicity.

This brings another question: What do agencies want from artists? I hope it is not just to recycle their ideas, but instead to develop innovative work (acknowledging inspiration), engage in stimulating collaborations, and build a positive reputation as a respectful and creative company. This also applies to the software used for interactive projects, as was underlined by Casey Reas in the discussion (see comments section: http://www.fastcompany.com/1664669/times-square-billboard-touches-off-controversy-over-artistic-credit-sharing)

3) What should an ad agency do in an ideal situation in terms of working with artists?

In the Vimeo discussion, Golan Levin provided a very good answer to this: “We intend to reinterpret this idea; in respect of your obvious prior authorship, what would be an acceptable form of acknowledgment/involvement/remuneration to receive your blessing? So that we can go forth without damaging our reputation in the worldwide community of interactive designers and developers?”

4) What do artists want from ad agencies?

There are 2 answers to this, one strictly related to copy: “what artists want when ad agencies wish to use their ideas from a previous project”, and one more generic one.

Regarding the first question:

Again, it depends on the degree of inspiration. Imagining an axis where “blatant copy” is in one extreme, and “advanced further exploration of the idea” (for lack of a better term) would be on the other, artists would want different things. Probably, more monetary if closer to the former, more looser crediting (acknowledgment) if closer to the latter.

Also, different artists might want different things. I believe that Creative Commons licenses provides tools for artists to communicate what type of return they are after (commercialism, attribution, etc).

One intersting example was quoted during the discussion Robert Hodgin’s “flattered and amused” reaction to a copy of one of his designs by Paul Smith:
http://www.flight404.com/blog/?p=135

Regarding the general question:

I think artists want to be able to partner with agencies, in ways that are creative. I believe they do not wish to develop caricatures/pastiches of their own work. I personally think this case is a caricature of Chris’s work, but that is a matter of taste (it’s curious to imagine how it would have developed had Chris O’Shea gotten involved).

Artists want to develop their ideas further, and the larger funding (usually meaning in the new media field also better technology and resources) from agencies might be positive, if a constructive creative dialogue can be achieved. I know this dialogue is sometimes quite hard (interest might conflict), and in these cases the parties should part amicably (meaning that the agency would still not use the artist’s creative input). But if the relationship goes well, very good projects could emerge, and this could be good for all parts involved (and for the public).

After initially using Mendeley (nice stand-alone app with good UI; good meta-data retrieval from PDFs), I found that it had 3 major shortcomings compared to Zotero:
- worse integration with Microsoft Office 2008 for Mac, which I use;
- inability to add page numbers to citations there;
- Mendeley doesn’t add a “accessed on” field to bibliographical items retrieved from the web (Zotero adds it automatically on retrieval, and includes them in bibliography).
Please note that these shortcomings might result from my lack of knowledge of the tool. But ease of use, and of discovering functionalities, counts…

Anyway, Mendeley has a very nice “sync with Zotero” functionality, so I’ll keep using both. Both are also syncing with my online profiles in the respective websites.

I’m also using LibraryThing for my “physical” books (which are anyway catalogued in my Mendeley and Zotero databases).

I’ve made all my libraries public. Here are the links:
http://www.zotero.org/ncorreia
http://www.mendeley.com/profiles/nuno-correia
http://www.librarything.com/catalog/nunocorreia
(feel free to add me there if you’re using any of these services)

Images from the virtual libraries (and one of the real thing):
http://www.flickr.com/photos/nunocorreia/sets/72157624006397200/

Today I will make a presentation on “Master and Margarita – An Interactive Audiovisual Adaptation of Bulgakov’s Novel” at the seminar “From interdisciplinarity to intermediality – A change in the research paradigma?”, at University of Helsinki, Finland.

http://helsinginyliopisto.etapahtuma.fi/Default.aspx?tabid=310&id=701

This is the slideshow I presented at the event:

It “showcases the latest developments in digital and interactive design, from small, screen-based, graphics to large-scale interactive installations”, and includes works by “established international artists and designers such as Daniel Brown, Golan Levin, Daniel Rozin, Troika and Karsten Schmidt”.

More information:

http://www.vam.ac.uk/microsites/decode/

Karsten Schmidt created the visual identity for the exhibition, which includes open source code:

http://postspectacular.com/work/decode/start

My photos of the exhibition:

• String Theories (2008) – Sinem Erkas
  http://rhizome.org/editorial/3254
• Play (And Record) The Piano (2010) – Kokokaka
  http://rhizome.org/editorial/3255
• Raindrop Melody Maker (2009) – Lullatone and Secondary School
  http://rhizome.org/editorial/3257
• ToneWheels (2009) – Andre Michelle
  http://rhizome.org/editorial/3258
• The Tiny Drum Machine (v. 4) (2007) – The Pixel Plant
  http://rhizome.org/editorial/3259
• Chromedrones (2009) – Aaron Meyers
  http://rhizome.org/editorial/3261