Sunday, November 21, 2010
When I first heard the concept for Cyberfest 2010, "Housebugs," exploring technology in everyday domestic life, I knew I had to take a comic angle. The tools of domestic technology, like vacuums are great, but what I could really use...
All the promises of technology for improving domesticity, like so many of the images of domesticity in culture, are idealized fantasies very distant from my everyday experience. In a virtual world like Second Life, representations of homes and homelife are even more idealized than on film or television, and the necessarily messier reality beyond the computer screen conflicts with the idealized images on it.
Monday, November 8, 2010
Free Sound Effects Download thousands of free sound effects from PartnersInRhyme.com And if you, too, put this link on your site, you will get a free sound effects library :)
More about CYBERFEST 2010: HOUSE BUG: see & the Cyland blog
Friday, October 15, 2010
Friday, October 8, 2010
Filmed during the last week of Friends Beach at Mori Pwani in the virtual world Second Life, this video is for the places--and people--we wish were here, wherever here may be.
A virtual world is impermanent, ephemeral, and as quick as it is to create entire environments, they can vanish in an instant. People come and go, as well. And then there are the places and people you wish were really here, wherever you are, not only there in a virtual world.
Mahalo, in Hawaiian, means thank you, and also has some of the same connotations as peace or namaste.
Saturday, October 2, 2010
Why I built my installation at the Caerleon Museum of Identity even though I know you probably don't use it, and why I hope you will log in with v2 to see it.
I, too, dislike it: there are things that are important beyond all
Reading it, however, with a perfect contempt for it, one
it after all, a place for the genuine.
Hands that can grasp, eyes
that can dilate, hair that can rise
if it must, these things are important not because a
high-sounding interpretation can be put upon them but because
useful. When they become so derivative as to become
the same thing may be said for all of us, that we
do not admire what
we cannot understand: the bat
holding on upside down or in quest of something to
eat, elephants pushing, a wild horse taking a roll, a tireless wolf
a tree, the immovable critic twitching his skin like a horse that
flea, the base-
ball fan, the statistician--
nor is it valid
to discriminate against 'business documents and
school-books'; all these phenomena are important. One must
make a distinction
however: when dragged into prominence by half poets, the
result is not poetry,
nor till the poets among us can be
insolence and triviality and can present
for inspection, 'imaginary gardens with real toads in them', shall
it. In the meantime, if you demand on the one hand,
the raw material of poetry in
all its rawness and
that which is on the other hand
genuine, you are interested in poetry.
Wednesday, September 22, 2010
To see the video in full size, go directly to youtube: http://www.youtube.com/watch?v=2Sf3Q2VAlKE
Thursday, April 22, 2010
Monday, April 12, 2010
Here are Ten Questions (ok, there are more, because some questions are kind of nested) to ask about a new technology tool that help us think about it in its wider cultural context. I am working off of, as usual, Cultural Studies founder Stuart Hall's idea of the circuit of culture, in which production, consumption, regulation, representation, and identity are all mutually informing. When we combine this with the historical trajectory perspective I am always harping on--which puts any given cultural text (game, device, app, film, dvd menu, etc) in a lineage of antecedents, looks for its peak if it has had it yet, and then speculates wildly on what might come next--we will always have a lot to talk about when we talk about any new aspect of technology, beyond the thumbs up/thumbs down reaction from which we might start and then come back to at the end, perhaps more thoughtfully.
Ten questions to ask about a new technology:
1) What is its purpose?
2) What was its analog, if there was one? How does a mediated, digital, or networked version of the tool or technique change it?
3) Who uses it? How? When? Where? Why? Does the use change over time? Do different users use it differently?
4) How does a user learn how to use it?
5) Who makes it? Who profits? How?
6) How is it regulated?
7) How does it spread?
8) Does it create or fill a need?
9) What is the interface? Is it also an object? Or a practice? Both? (think cell phone)
10) How does the user change the technology as he or she uses it? (mods and hacks and appropriations) How does the technology change the user? How does it become part of a person's sense of self?
Tuesday, March 2, 2010
Wednesday, February 24, 2010
Monday, February 15, 2010
MaMachinima International Festival
Saturday Feb. 20th , 2010
MMIF sims (SL™) + PLANETART, Wibautstraat 150 Amsterdam (NL)
‘MMIF 2010′ is the second edition of an annual film festival in 3D cyberspace with a screening in physical space (‘RL’). A seven hour movie marathon with a two hour afterparty. MMIF 2010 can also be followed on the web via live stream broadcasts.
The MMIF is a celebration of ‘Machinima’: a new cinematic art form, created with virtual worlds and video games. On 3D Internet platforms like Second Life®, any kind of movie sets can be build for very low costs. The MMIF aims to bring machinima to a wider audience, online – and offline. Machinima artists from all over the world are present in real time at the virtual MMIF Theatre. They present over 50 short films and have talks with other machinimatographers and an international audience.
Audience in Amsterdam can follow the MMIF event projected live on a big screen at the PLANETART Medialab Artspace. They can bring their own laptop computers to interact with the show on the big screen. Free wireless Internet and electricity is provided. No entrance fee at PLANETART, however tickets are required - reservations must be made via email. Details at http://MMIF.org
The MMIF is a volunteer-run non-profit collaboration of MaMachinima withPLANETART , Volkskrantgebouw, Meta.Live.Nu, Pop Art Lab, VMax, AviewTV,Ystreams.TV, Metaworld Broadcasting, MetaMeets, Gallery Fermate, Museum Of The Bohemian, and many volunteers. MMIF 2010 is financed by donations and gifts. Virtual land sponsored by Linden Lab®. The MMIF was initiated by the Dutch film maker Chantal Harvey.
MMIF 2010 info, promo video, full programme, live streams, contact and latest updates and changes at http://MMIF.org
MMIF 2010 ARTISTS:
Gala Charron – Ogogoro - Lainy Voom – Draxtor Despres – Bryn Oh - Rohan Fermi – Toxic Menges – Tara Yeats – Phaylen Fairchild – Pooky Amsterdam & Russell (Rosco) Boyd – Poid Mahovlich – CodeWarrior Carling – Evie Fairchild – Graham Miami – Kronos Kirkorian – Osprey Therian – Chaffro Schoonmaker - SaveMe Oh - Dulci Parx – Chatnoir Studios – Paisley Beebe – Rysan Fall – Sol Bartz (phil Rice) – Rocksea Renegade – Cisko Vandeverre – Nitwacket (Pyewacket Bellman) – Chantal Harvey – Lowe Runo – Pia Klaar – Al Peretz – Halden Beaumont – Kolor Fall – Binary Quandry – spyVspy Aeon – Animatechnica – Miles Eleventhauer – Lizsolo Mathilde – Delgado Cinquetti – L1aura Loire – Iono Allen – Pyewacket Kazyanenko – Fort Knight – Luca Lisci – Larkworthy Antfarm – Beans Canning - Gtoon Jun – Tutsy Navarathna – Hadji Ling – Colemarie Soleil – Xineohp Guisse – Lorin Tone – Ian Friar – Suzy Yue – Claus Uriza / Emily Hifeng – Meta Lord, and others.
MMIF 2010 TIMES:
Saturday 20th of February
19:00 CET (= SL 10 am PST) – DOORS OPEN
20:00 CET (= SL 11 am PST) – Opening ceremony + Machinima film screenings
03:00 CET (= SL 6 pm PST) – THE END + After party online in SL
PLANETART Medialab Artspace
1091 GR Amsterdam (NL)
MMIF 1, 2, 3, 4
Teleport links via http://MMIF.org
Sunday, January 24, 2010
I've seen a lot of amazing builds in SL, and had a lot of fun, but getting a tour from Lemondrop Serendipity, a fairy even more delightful than her name, of the imaginative, super-fantastical sim she and Photon Pink (also a name indicative of good things!) have built at Lemondrop's Forest was one of the most fun experiences at the most amazing places. (slurl) Lemondrop is one to run, not walk, and trying to keep up was a blast. The huge tree at the center of the sim has wonderful leaves, and the colors and phosphorescence if your settings are at Midnight are glorious.
Saturday, January 23, 2010
I will try not to neglect this blog, but I am pretty excited about my new course, Digital Narrative Theory and Practice, and will be posting on the blog for that a lot this semester. For the past 4 years, I have been teaching a course in the Film Scoring Department at Berklee that I designed for the film composing students, to help them better understand the movies that they will be scoring and be better able to communicate with the directors with whom they will be working. Now, with the explosion in audio for video games, reported on by the Boston Globe (with a great picture of my student Nazer who is President of the Video Game Music Club!) and picked up by the Chronicle of Higher Education, I've created a new class, Digital Narrative, to explore gaming and other forms of new media in their wider contexts, to provide the students who are working in this new field with a stronger background in storytelling and to start to think about what the people who make the games, DVDs, and immersive environments they will write music for are thinking about. In the Fall, we'll start having minors in the Liberal Arts, and Visual Culture and New Media Studies will be one of them, and I am completely thrilled to be developing this area at Berklee.
Monday, January 18, 2010
Last week, on Monday at Berklee College of Music, I was really thrilled to bring together an amazing panel of Second Life musicians inworld while Pathfinder Linden and I held down the fort in the physical venue at Berklee's annual faculty development conference, BTOT (Berklee Teachers on Teaching).