Friday, March 14, 2008

Video: Facebook App Lets Users Send Movie Clips

Paramount Pictures has teamed with with Los Angeles-based developer FanRocket to launch the VooZoo application Monday on Facebook enabling Facebook users to share thousands of movie clips with friends. After each clip is played, Paramount will briefly advertise the corresponding DVD and hopes to use the application as an innovative way of marketing new titles.

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Video: Day at the office Google style

Day at the office Google style

A tour of Google's Zurich HQ, where staff ride a slide to lunch and shimmy down a fireman's pole. Looks like a cool place to work and hang out!

This video is from the BBC.

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Video: Bill Gates Advises Congress on Competitiveness

News video from the Associated Press:

Microsoft Chairman Bill Gates advised Congress Wednesday to change laws that force many foreign students who earn computer science and other advanced college degrees in the U.S. to leave the country when they graduate.

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Video: AOL buys Bebo social network

AOL said Thursday it will pay $850 million to acquire the online hangout Bebo, giving the struggling Internet company a foothold in an expanding business. Bebo is one of the largest social networks in Britain, is ranked No. 1 in Ireland and New Zealand and has a global membership of more than 40 million, according to AOL. In the United States, however, it ranks third behind MySpace and Facebook. Ron Grant, AOL’s president and chief operating officer, said the deal should help AOL expand internationally and Bebo grow in the United States.The all-cash deal, expected to close in a month, also should give AOL an engaged audience from which it can generate additional advertising revenue.AOL has been looking for ways to boost its advertising revenue to offset steep declines in dial-up Internet subscriptions.

After several quarters of strong growth, AOL’s advertising expansion has been slowing, putting pressure on the company’s parent, Time Warner Inc., to sell off the Internet unit. The deal is an acknowledgment that AOL still needs to seek additional outlets for expanding its audience and its advertising opportunities. But it also underscores the growing value of social networks such as Bebo to media companies as potential gold mines for online advertising dollars. News Corp. bought MySpace for $580 million in 2005, but has estimated the network is now worth more than $15 billion. News Corp. also owns the Fox television and movie studios in addition to its newspaper and Internet holdings.

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Wednesday, March 12, 2008

Technovisuality and Cultural Reenchantment: Call for Papers

Conference on Technovisuality and Cultural Reenchantment

Call for Papers

21-22 November 2008

Co-Organized by Chinese University of Hong Kong & Hong Kong Shue Yan

Daily life is increasingly mediated by technology and remorseless visual stimuli in everyday technovisual forms have now become the very incarnation of what it means to be human. While technovisuality points to the visual as object and site of social interaction, it is also very much about embodiment and how we transform information and knowledge (infoledge) into material and aesthetic forms. Bergson thinks of the body itself as an image among other images, hence the theory of perception as affect (Hansen). Such a process of technical and biological symbiosis entails cultural reenchantment, which takes place where nature and nurture overlap, where becomings through circuits of intensity occur between humans and machines, humans and

Think of cinematography, digital images in all media, video games, scientific data visualization, virtual environments - all could be summed up as manifestations of the Figural (Rodowick). Together they encapsulate an epoch of hybridity in a wide range of interactive experiences, in which technovisuality programs more and more intelligence into the very fabric of a new ecology of wonders. Images are now thought to be able to think and to have desires themselves (Mitchell).

Within the spaces of visuality, cultural re-enchantment also points to eco-consciousness, warning us of our ecological violence, requiring the re-enchantment of nature by recovering a sense of the sacred as a means of survival. Here, Latour's network, Prigogine's affirmation of the fabulous
in the nature of swerving matter, the quantum enigma in new physics, might be drawn upon in leading us towards what Laszlo calls the re-enchantment of the cosmos.

There is nothing unnatural about technology; and like cyberpunk, technology is certainly us. Hence technology does not have to limit itself to those "technological devices" that Heidegger is wary of. In a sense, visualization has always been technological since the beginning of time as a
kind of primordial mechanism which has, according to Heidegger, not too much to do with "the technological." Here oriental philosophy provides an alternative perspective of how cultural reenchantment can be tied to technovision in a broad sense.

Suggested themes:

1. Cinematography's magical world, and the camera's eye.

2. Technovisuality and enchantment in mediated visualization.

3. The history and development of digital images and the way "nuanced" relationship is established between human and nonhuman.

4. Technovisuality, science and philosophy

5. Imagescape as a new ecology

6. On-line gaming as spectacular show case of cultural enchantment

7. Classical Eastern philosophy and contemporary theories of visualization: an interdisciplinary and intercultural approach.

8. Science fiction and film as artifact of cultural reenchantment.

9. Architecture and virtuality

10. Virtual life

Important Dates:

4th April - Deadline for submission of abstracts

Early May - Acceptance letters sent out

3rd October - Papers Due

October - Refereeing

31st October - 10th November - Revise Papers

Conference website:

Conference email address:

Conference Committee:

Prof. WONG Kin-yuen
Professor and Head
Department of English Language & Literature
Technoscience Culture Research and Development Centre
Hong Kong Shue Yan University

Prof. Helen GRACE
Associate Professor
Department of Cultural and Religious Studies
The Chinese University of Hong Kong

Dr. Amy CHAN Kit-sze
Assistant Professor
Department of English Language & Literature
Associate Director
Technoscience Culture Research and Development Centre
Hong Kong Shue Yan University

Flow Journal, Vol. 7, Issue 8 now online

The new issue of Flow: A Critical Forum on Television and Media Culture is available at

This issue features columns from Bernard Timberg, Andre Sirois and Janet Wasko, Ellen Seiter, Adel Iskandar, Alisa Perren, and Barbara Crow.

Before getting to the details of this issue, we want to remind you of the "Call for Papers" link on our home page ( We are currently planning a special issue focused on the recent WGA strike and welcome your submissions. The deadline for submissions is April 1. For more information, please contact our own Katherine Haenschen (

This issue's columns in brief:

"The 2008 Academy Awards ... and the Evil Just Outside the Frame"
by Bernard Timberg (
Many of the films featured at this year's Oscars including Best Picture winner No Country for Old Men feature a morally ambiguous conclusion in which the evil still lurks out there. What does this say about our contemporary social experience?

"What's Good for General Motors ..."
by Andre Sirois and Janet Wasco (
Sirios and Wasko examine the narrative strategy and effectiveness of the Chevy Our Country. Our Truck. ad campaign.

"A Place at the Table: Aliens in America and US policy in the 'Islamic World'"
by Ellen Seiter (
A consideration of the political uses of Aliens in America.

"1001 Arabian Plights: On Mediated Resistance"
by Adel Iskandar (
A look at the ways audiences in Arab countries create mediated resistant narratives.

"From Cynicism to Sentimentality: The Rise of the Quirky Indie"
by Alisa Perren (
Does Juno’s critical box-office success suggest a growing movement of hope in American culture?

"Mobile TV: Do We Want It?"
by Barbara Crow (
An examination of the uses and problems associated with mobile tv.

Hulu Adds Viewer Choice to Ad Experience with Public Launch

Premium video portal Hulu will step out of beta today with some features allowing viewers to specify how and when they see messages from the site's sponsors.

The company, a joint venture between NBC Universal and News Corp., will let people choose the advertisers they'd prefer to see attached to their chosen program or film. An individual might choose Unilever brands over Intel, for instance. Adding the element of choice will create a more relevant experience, Hulu believes. Additionally, it could potentially give the firm's sales team useful information about an individual's product interests for use in later ad targeting.

In another ad customization move, Hulu will let its visitors soak up whole episodes without commercial interruption in exchange for viewing a longer ad -- most likely in the form of a two- to three-minute film trailer.

The flexible ad features weren't available during the platform's four-month private beta. They will be offered alongside Hulu's bread-and-butter interstitial units, which are scattered throughout a given episode. Each episode is also preceded by a "sponsor card" that identifies the advertiser. At this point, Hulu does not offer Flash overlay ads of the sort made popular by YouTube, VideoEgg, and a number of other video ad networks.

Hulu has scored high early marks from its beta testers in the tech and marketing blogosphere, who have praised its clean interface and large content library. At launch that library includes approximately 250 TV series and 100 feature films. Distribution partners AOL, Comcast-owned, MSN, MySpace and Yahoo have signed on to offer content from Hulu parents News Corp. and NBC TV, as well as other partners like MGM Studios, Sony Pictures Television, Warner Bros. Television Group, Lionsgate and the NBA. However, neither ABC nor CBS has signed on.

Specific content will include feature films like "Thank You for Smoking" and "Some Like It Hot;" TV programs including "Family Guy," "The Simpsons" and "Studio 60 on the Sunset Strip;" and made-for-Web clips from Onion News Network and other sources.

End users are also permitted to embed shows and clips on their sites; according to Hulu, beta users have done so to the tune of 50,000 individual video players on 6,000 sites.

Advertisers at launch include Best Buy, Chili's, DirecTV, Intel, General Motors, State Farm and Unilever, several of which signed on almost a year ago when the project was first announced. Heading up ad sales at Hulu will be SVP John-Paul Colaco. Colaco and Hulu CEO Jason Kilar, along with their bosses at NBCU and News Corp., are betting the presence of so many top shelf shows and the elegant user experience will win over consumers and marketers alike.

"These are the same attributes that make Hulu attractive to major brands," NBCU CEO Jeff Zucker said in a statement. "Both groups see the value in a quality, clutter-free online service."

Hulu will initially stream videos only in the U.S., though the company one day intends to offer its content internationally. The company has offices in New York, L.A. and Beijing. In October it raised $100 million in funding from Providence Equity Partners.


DIMEA 2008 - International Conference on Digital Interactive Media in Entertainment and Arts

3rd International Conference on Digital Interactive Media in Entertainment and Arts
DIMEA 2008

10-12 September 2008
Athens Information Technology (AIT), Athens, Greece
Conference Web site:

Paper and Art/Demos Submission Deadline: April 30ieth, 2008

The advances in computer entertainment, multi-player/online gaming, technology-enabled art,
culture and performance have created new forms of entertainment that attract, immerse and
absorb their participants. The phenomenal success of such a "culture" to initiate a mass
audience in patterns and practices of its own consumption has supported the evolution of
an enormously powerful mass entertainment, digital art and performance industry extending
deeply into every aspect of our lives, leading further to major societal and business
contacting changes.

The International Conference on Digital Interactive Media in Entertainment and Arts (DIMEA),
in cooperation with ACM, is the premier forum for the presentation of societal, business
and technological advances and research results in cross-disciplinary areas related with
digital interactive media in entertainment, art and creative technologies. This conference
is dedicated to build common ground between research, design and development, learning
and collaboration in its myriad digital media forms: one of its many objectives is the
exploration of 'play & learn', demonstrating new arenas and applications for digital
gaming and incorporating leading edge technologies, designs and models in our changing
views about what is involved in gaming.

DIMEA 2008 is jointly organized by Athens Information Technology (AIT), ACM Special
Interest Group on Computer Human Interaction (ACM SIGCHI, Singapore Chapter) and the
Society for Excellence and Innovation in Interactive Experience Design (InExDe)

DIMEA 2008 will bring together academics, technologists, artists, designers, and
industry representatives to address and advance the leading edge of new digital and
interactive media. Who should attend: Academics, Animators, Artists, Designers,
Developers, Educators, Engineers, Game Designers, Industry Professionals, Media Industry,
Video Producers, Directors, Writers, Performers, Photographers, Videographers,
Researchers, Students. Anyone who wants to be inspired to adopt advanced ways in
industry, society, business, research and teaching, expand their knowledge on a wide
variety of topics within the field of digital media, network with cross-disciplinary
experts from digital media professionals to academic experts, and evolve with this
ever-changing field!

The following, non exclusive, topics are called for:

- Entertainment, Art and Technology
Location-based and Pervasive Gaming, Mobile Entertainment, Digital Games in Practice,
Computer Entertainment Research, Open-Source Gaming Engines, Implications for Multimedia
and Web Design, Artistic Games, Commercial Games, Edutainment, Educational/Serious Games, Interactive Games, Games as Pedagogy, Analysis of Games, e-Performance (e-Opera, e-Theatre, e-Concert, ...), Virtual Exhibitions and Museums

- New Media Emerging Technologies
Personal Broadcasting (Podcasting and Vlogging), Novel Applications for Mobile Phones, Social and Interactive Computing Applications, Collaborative Spaces/Environments, Innovative Applications of Technology in the Arts, Mixed Reality and Enhanced Visualization, Context-aware Environments and Devices, Immersive Learning Experiences, Communication
Technologies and Systems for Digital Media, Advanced Authoring and Composition of Media,
Advanced Interaction, Targeted/Personalized Media, Adaptable Media and AI

- Code Art
Algorithmic Art, Software Art, Net Art, Installation Art, Tangible Computing, Sonic Art

- Digital Visual and Auditory Media
Digital Photography, Digital Imaging as Art, Advances in 3D Modelling, Digital Printing,
Non-Photorealistic Rendering, Digital Sound and Music, Digital Music Synthesis and
Composition, Graphics and Animations, Digital Comics

- Moving Media
Digital Video, Distance Collaboration/Performance, Computer Animation, Interactive Movies

- Culture of New Media
Network Culture, Philosophy of New Media, Digital Identity

- Interactive Stories
Digital Narrative, Digital Asset Management, Semantic Web Technologies, Interactive Television and Cinema, Game Design and Storytelling


Full Paper Submissions
Prospective authors are invited to submit full technical papers of not more than 8 pages, including tables, figures and references. Papers should present original research related to the above mentioned scientific areas, not published elsewhere. Full paper submissions should adhere to the ACM SIG Proceedings style guidelines. The respective templates may be found at:

Please use the style "Strict Adherence to SIGS style - (Sheridan Printing)" on that page.

Demo/Art/Game Submissions
Practitioners in the DIMEA2008 areas are invited to submit not more than 1 page short description of their Digital Art Work/Demo/Game to be considered for demonstration at DIMEA2008.

Papers or Demo/Art/Game short descriptions may be submitted electronically at the DIMEA 2008 online paper submission service. Until the online paper submission system is opened up to prospective authors and practitioners, papers or demo/art/game short descriptions may be submitted by e-mail to:

In either submission process, authors are advised to contact the Conference Organizers
(, in case they have not received an acknowledgement of paper receipt
within two days of submission.

Full papers will be peer-reviewed by at least two reviewers from the International
Technical Program Committee in a single-blind process. Demo/Art Work/Game submissions
will be reviewed by the respective Chairs and their formulated committees.

Tutorials and Seminars, Special Sessions, Exhibitions and Industrial Demos will additionally be organized during DIMEA2008.


Full Paper Submission: April 30, 2008 Demo/Art Work/Game Submission: April 30, 2008
Notification of Acceptance: May 30, 2008 Camera-ready Paper Submission: June 15, 2008


Sponsorship offers an effective way of demonstrating your interest in and commitment to digital interactive media technologies and their impact in diverse applications fields spanning the entertainment and art areas. Corporate sponsorship can offer companies publicity and the ability to influence current and future leaders in digital interactive media technologies research and development. We will recognize and acknowledge the generosity of all of our sponsors on the DIMEA 2008 website ( and in the conference program (to be available in print and on-line).

Please send an e-mail to , , if you would
like to pledge your sponsorship. More details can be found at:


Honorary Conference Chair
Christos Halkias, AIT, Greece

General Conference Chairs
Sofia Tsekeridou, AIT, Greece
Adrian David Cheok, ACM SIGCHI, National University of Singapore, Singapore
Konstantinos Giannakis, InExDe, Greece
John Karigiannis, InExDe, Greece

Technical Program Chairs
Ryohei Nakatsu, Kwansei Gakuin University, Japan
Kevin Wong, Murdoch University, Australia
Thanassis Tiropanis, University of Southampton, UK

Special Sessions Chairs
Krzysztof Walczak, Poznan University of Economics, Poland
Nikos Nikolaidis, Aristotle University of Thessaloniki, Greece

Art & Demos Chairs
Naoko Tosa, Kyoto University, Japan
Manthos Santorineos, School of Fine Arts, Fournos Center for Art and New Technology, Greece
Thomas Rist, University of Augsburg, Germany

Local Arrangements Chairs
Sofia Tsekeridou, AIT, Greece
Aristodemos Pnevmatikakis, AIT, Greece
Konstantinos Giannakis, InExDe, Greece
John Karigiannis, InExDe, Greece

Publications Chair
Aristodemos Pnevmatikakis, AIT, Greece

Exhibitions Chairs
David Fuschi, Giunti Interactive Labs, Italy
Vassilis Kyriazis, Telmaco S.A., Greece


Antonis Argyros, University of Crete, FORTH, Greece
Stephen Barrass, University of Canberra, Australia
Philip Branch, Swinburne University of Technology, Australia
Andrew Brooks, MIT Media Lab, Cannytrophic Design LLC, USA
Marcello Carrozzino, IMT Lucca Institute for Advanced Studies, Italy
Andrew Chiou, Central Queensland University, Australia
Angelo Ciarlini,Federal University of the State of Rio de Janeiro, Brazil
Nuno Correia, New University of Lisbon, Portugal
John Dack, Sonic Arts, Middlesex University, UK
Abdennour El Rhalibi, Liverpool John Moores University, UK
Chek Yang Foo, Temasek Informatics & IT School, Singapore
Lance Fung, Murdoch University, Australia
Anastasia Georgaki, University of Athens, Greece
Yutaka Ishibashi, Nagoya Institute of Technology, Japan
Arnav H. Jhala, North Carolina State University, USA
Carmen Juan, Technical University of Valencia, Spain
Haruhiro Katayose, Kwansei Gakuin University, Japan
Dimitrios Kontarinis, Velti SA, Greece
Michael Kwok, IBM, Canada
Peter Loh Kok Keong, Nanyang Technological University, Singapore
Artur Lugmayr, Tampere University of Technology, Finland
Moises Manas, Polytechnical University of Valencia, Spain
Nipan Maniar, University of Portsmouth, UK
Panos Markopoulos, Eindhoven University of Technology, Netherlands
Carsten Matysczok, UNITY AG, Germany
Ramon Molla Vaya, Technical University of Valencia, Spain
Peter Nelson, University of Edinburgh, UK
Elina M.I. Ollila, Nokia Research, Finland
Samir Otmane, Evry University, France
Narcis Pares, Universitat Pompeu Fabra, Spain
George Pavlidis, Cultural and Educational Technology Institute, Greece
Yusuf Pisan, University of Technology, Australia
Lazaros Polymenakos, Athens Information Technology, Greece
Cristina Portales, Polytechnic University of Valencia, Spain
Shri Rai, Murdoch University, Australia
Christian Reimann, Siemens AG, Germany
Gemma San Cornelio, Open University of Catalonia, Spain
Shigeru Sakurazawa, Future University-Hakodate, Japan
Nobuya Suzuki, Institute of Advanced Media Arts and Sciences, Japan
Isis Truck, University Paris 8, France
Lucia Vera, University of Valencia, Spain
Charles Woodward, VTT Technical Research Centre, Finland
R. Michael Young, North Carolina State University, USA
Sebastian Zander, Swinburne University of Technology, Australia
Suiping Zhou, Nanyang Technological University, Singapore

Colour and the Moving Image: History, Theory, Aesthetics, Archive Conference

Colour and the Moving Image: History, Theory, Aesthetics, Archive
Conference: 10th July - 12th July 2009, Bristol, UK


Keynote speakers: Tom Gunning University of Chicago, Laura Mulvey Birkbeck,

'An inquiry into colour can take you just about anywhere' (David Batchelor, Chromophobia, 2000).

This conference addresses questions emerging through a renewed interest in colour film and as an interdisciplinary subject. The event is part of an AHRC-funded project on colour film, led by Professor Sarah Street.

While colour is a fundamental element of film forms, technologies and aesthetics it is rarely singled-out for analysis. The aim of the conference is to extend previous work on colour and to
consider its form and functions from a range of perspectives within four major strands: histories and technologies; film theory; philosophies and aesthetics of colour; the ethics, practices and theories surrounding the deterioration and conservation of colour film. In addition to formal
conference papers, the event will include screenings of prints from the BFI National Archive as an occasion to mark the 50th Anniversary of Screen. We invite proposals which address broad issues raised by colour and the moving image. The conference will provide a forum for discussion which is informed by, and directly addresses, the interrelations of the theory, history and aesthetics of colour film and of moving image technologies in their broadest sense.

Proposals which focus on questions of colour in one or more of the following areas are particularly welcome:

• star systems

• reception theory

• pre-filmic, pro-filmic and onscreen spaces

• fantasy, spectacle, realism and/ or 'natural' colour

• synaesthesia: theories and practices of the interrelations of colour, sound, music as sensation

• chromophilia/chromophobia

• theories formulated at the intersections of colour theory, film theory and/or philosophy

• distanciation and avant garde film making, histories and theories

• colour and genre

• film histories and new technologies: video, DVD, small screen technologies as new viewing spaces

• Colour systems including Kinemacolor, Dufaycolor, Chemicolor, Agfacolor, Technicolor, Eastmancolor

We invite abstracts of c. 200 words for individual papers or pre-constituted panels consisting of 3 papers to be submitted by 1st September 2008.

Please send abstracts to

If you prefer to submit your abstract by post, the address is as follows:

Colour and the Moving Image Conference,
c/o Dr Liz Watkins,
Department of Drama: Theatre, Film, Television,

Cantocks Close,
Woodland Road,
University of Bristol,

Colour and the Moving Image: History, Theory, Aesthetics, Archive is hosted by the Department of Drama: Theatre, Film, Television, University of Bristol in association with Kingston University and with support from the Arts and Humanities Research Council. Screenings in co-operation with the BFI National Archive, UK and supported by Screen as one of its 50th Anniversary regional events.

Internet Users Think It's All About Them

The majority of US Internet users think the Internet speaks directly to their age group.

Burst Media said that more than one-half of respondents to its February 2008 survey thought that online content was focused on them.

Respondents over age 44 were far less likely to say that online content focused on them.

Burst also found that starting at age 35, respondents felt that online ads were aimed at younger Internet users.

Burst concluded that content providers and advertisers were missing an opportunity to target Internet users over the age of 34.

"You may have opportunities to expand content offerings to segments that currently see themselves as under-served by the Internet," Burst researchers wrote. "The 55 years and older segment is rapidly replacing other media as the primary source for news, entertainment, and information."

The company also recommended that advertisers "utilize creative that is age-appropriate in both design and messaging."

That is always good advice, but the study raises at least two issues of equal importance.

For one, "online content" is a generic term that does not reflect the quantity or range of material housed on the Web. It also ignores the fact that Internet users invariably deliberately search for material that is of interest.

The second problem is that more than one-half of 18-to-44-year olds thought online content focused on them.

Online content's appeal is pretty wide if that range of users thinks it focuses on them. That's an argument for more material with universal appeal, not for "age-appropriate content."

The Burst study is spot-on in one sense. According to eMarketer calculations of comScore Media Metrix there are more Internet users ages 35 to 64 than 18 to 34.

If content producers or advertisers are trying to reach the greatest number of Internet users, they may want to focus on consumers with more gray in their hair than neon dye.


Open Movements: FLOSS, Open Contents and Open Communities

HICSS 42: Minitrack on Open Movements: FLOSS, Open Contents and Open Communities

This year, it focuses on FLOSS, Open Contents and Open Communities, so it is especially
suitable for Wikipedia and wiki related research papers from many different points of view (semantics, ontologies, social networks, quantitative analysis, etc.)

Full papers deadline: 15 june.
The conference will be held from 5-8 January, 2009.

Topics and research areas include, but are not limited to:

* Issues in distributed software development for FLOSS

* Issues in content development in OC and OComm

* Distributed collaboration in and coordination of FLOSS and OC development teams

* Distributed group development for FLOSS

* Community development and its evolution in OC

* FLOSS teams as communities of practice

* Leadership, management and policies in FLOSS, OC groups and Open Communities

* Creators roles in OC, and OComm and how they evolve over time

* Implementation of FLOSS systems

* Distributed project management and distributed team management

* Knowledge management and learning in OComm, OC and FLOSS development

* Member satisfaction and effectiveness in OComm, OC and FLOSS development

* Analysis and assessment of software development processes for FLOSS

* Motivations and ideologies in OC, OComm and FLOSS

* User involvement and user support in FLOSS development

* FLOSS systems supporting OC projects

* Web 20, Enterprise 20, mashups and their relationships with OC and OComm

* Forecasting the evolution of FLOSS and OC projects, as well as OComm

* Application, implementation and cases of use of OC and FLOSS projects
in education, health care, public administrations and mass media

* Social networks in FLOSS, OC projects and OComm

Felipe Ortega (Primary Contact)
Universidad Rey Juan Carlos
Tulipán s/n28933 Mostoles, Madrid, Spain
Phone: +34-91-488-8523

Kevin Crowston
School of Information Studies
Syracuse University
348 Hinds HallSyracuse, NY 13244-4100 USA
Phone: +1-315-443-1676

Monday, March 10, 2008

Pixilerations [V.5] - Call for works

PIXILERATIONS [V.5]: Fragments & (W)Holes
A festival of digital media and interactive performance

[part of the FirstWorksProv festival]

October 2 - 12, 2008 in Providence, Rhode Island

CALL FOR WORKS! PIXILERATIONS [V.5] invites artists, musicians and film/video makers to submit work that investigates connections or disparities between fragments and (w)holes.


Pixilerations is a New Media festival in Providence, Rhode Island that investigates the state of
New Media arts through installations, concert performance and film/video screenings. The
festival is part of the larger FirstWorksProv festival (, Providence's
multidimensional fall performing arts festival. Pixilerations is produced by FirstWorks in
collaboration with the Rhode Island School of Design, Brown University and MIT.

Now in its fifth year, Pixilerations showcases groundbreaking work in digital music and art.
Last year's festival, Pixilerations [v.4]: story +/- ornament, presented innovative works by
over seventy artists from the United States, Germany, France, South Africa and the
Netherlands, and featured guest artists Myriam Thyes, Jon Orentlicher, and Skif++.


Consciously and unconsciously our world view has been altered by the quantum mechanical
view of the world; a world composed of discrete waves and particles.
This minute level of physical investigation, developed first by Werner Heisenberg and Max
Planck, is one of the means by which we have broken the world down in order to make sense
of the whole from its parts. This dissection has been explored through the tools of
psychoanalysis pioneered by Freud, Pavlov's behavioral studies and the recent efforts of
cognitive science to understand human psychology and the latest conjuring of artificial intelligence. Artists have reflected this fragmented world with its mind/body split since the 1900's with the early collages of Picasso and the psychological works of the Surrealists. The digital realm is developing its own paradigm for separating and putting the world together. How has the fragmentary view created deeper holes, how has it allowed us to see the whole with
sharper eyes and minds? How do artists shape their world, with fragments of life or with
(w)holistic views?


Submissions will be accepted in three categories:

1. Installations & Gallery works:
Installations will be mounted at the Sol Koffler Gallery in the Rhode Island School of Design's Center of Integrative Technology Building, and an additional alternative gallery space in downtown Providence, to be announced at a later date. Works will be installed in spaces with
visual - but not acoustic - separation. Care should be taken when planning and installing your work to minimize the impact of audio/video bleed on the work of other participating artists.
Artists must provide their own technology resources whenever possible (including power strips & extension cords). A limited amount of the equipment may be available upon explicit request (excluding computers or monitors).

2. Video works:

a. Video works will be screened at the Cable Car Cinema in collaboration with the Magic Lantern Experimental Film Collaboration the week of October 5. Please limit your submission to 15 minutes. Pixilerations would prefer video works to be in NTSC format if possible

b. Do you have minute?: Multimedia projected works one minute or less in duration will be screened continuously in one of the galleries, and also at the film/video screening hosted in collaboration with the Magic Lantern Experimental Film Collaborative. Pixilerations would prefer video works to be in NTSC format if possible

c. Microcinema: While the term 'microcinema' has been in use for several decades connoting an underground practice, first referring to 8mm and super8 film, then later digitally edited video, all distributed to marginal and 'alternative' venues, it has of late acquired a new meaning. With the advent of small digital display screens and limited memory accommodating smaller
'films', microcinema has found a new direction and aesthetic. It is a hand-held cinema: new works rely heavily on the close-up, sound limited to stereo, shorter time spans for the new audience of one. It is the personal, downloadable, portable cinema that we propose to showcase in a small screen viewing room and, where possible, downloadable to personal viewing devices.
Please limit your submission to 15 minutes, and submit works as QuickTime files.


Submissions will be accepted in four categories:

1. Interactive performance works incorporating real-time music and/or video, with or without acoustic instruments.

Pixilerations [v.5] Call4Works

2. Interactive performance works for dance and real-time music and/or video.

3. Sound-only acousmatic/radiophonic works, in stereo or 5.1. (NOTE: All works must be submitted in stereo for judging purposes.)

NOTE: Pixilerations is unable to provide performers - it is up to the submitting artist to
provide all necessary performers.

A concert 5.1 sound system and computer projection will be provided for the two interactive
performance evenings. Additional equipment (microphones, monitors, etc.) will also be
provided. Composers accepted with 5.1 acousmatic pieces will have the following options for
playback: DVD (DVD-A, or DVD-V with Dolby or DTS encoding), or clearly labeled AIFF/WAV
sound files.

When submitting your piece, please note your preference for one of the following performance dates:

ClubPixil performance will be held October 2, 2008. Experimental electronic performances
in a club-like venue. (Note: if your work requires a quiet atmosphere, please choose Oct. 11
or 12 as date preference).

Concert performances will be held October 10 & 11, 2008. These performances will be held
at the URI Sheppard Building Auditorium.



Details on the submission process will be posted on on April 1.
All applicants must complete an online submission form on the Pixilerations website.

Applicants are invited to submit a total of two works for consideration. A separate
application for each works is required.

Funding: please note that, regretfully, Pixilerations does not have financial resources to fund selected artists.

A New Digital Right?

The German Constitutional Court (the Bundesverfassungsgericht) ruled this week on what the
German press is calling "a new basic right" guaranteeing the confidentiality and integrity of computer systems. It's easy to see this as a new right in itself -- but perhaps it is better to understand it, as the court did, in terms of a reasonable updating of the language of traditional human liberties.

Just as EFF has argued that the United States' Constitution's wording against warrantless searches should protect the privacy of the contents of your computer and email as strongly as it does the privacy of real world "papers and effects," so the German constitutional court
said that the 1949 constitution protects the digital contents of a PC or laptop (or any other
"informationstechnischer Systeme") against secret surveillance as tightly as your possessions in the real world. A virtual trojan horse is as uncivilized a tool of the police as sneaking an officer into your own home.

Germany, a country with a proud modern tradition of protecting the privacy of its citizens, now has some interesting new legal territory to explore. On the modern Internet, the core of a citizen's private life is increasingly distributed among many different computers. A conversation between family members can take place on Facebook (or StudiVZ, its German equivalent); the private contents of a home PC may be backed up on an online storage service.

German law enforcement will have to tread carefully not to violate its citizens' basic rights in a world where even the most private life is remotely accessible and spread far and near. We hope that the techniques they develop will be shared with the rest of the world's lawmakers and law
enforcement community.

For more about the "general personality right" in Germany:

For this complete post by EFF International Outreach Coordinator Danny O'Brien:

Stop Copyright Term Extension in Europe!

Stop Copyright Term Extension in Europe!

Charlie McCreevy, the EU's Commissioner for the Internal Market and Services, wants to nearly double the European copyright term in sound recordings - from 50 years to an astounding 95. Join us and stop overextending copyright:

If you read Commissioner McCreevy's declaration this month to bring American-style copyright terms for sound recordings to the EU, you might think that it was all a done deal. He gave the impression that he had consulted with everybody who counted in the matter, balanced all the
arguments, and had all the powerful players on his side.

We don't think he has. McCreevy still has to persuade his fellow Commissioners and the European Parliament before sound recordings are locked away in Europe for another 45
years. And while the record labels support the government stretching their contracts far into the future, the facts stand against term extension. Impartial studies, copyright scholars, and some of the world's most respected economists all say that longer terms mean little new wealth for
performers, yet create a disadvantage of a creative world depleted of its valuable long-promised public domain.

And it's not true that McCreevy and the Commission have heard from all key figures. They have yet to hear from YOU!

To help the EU's decision makers understand how bad an idea for innovation and the future copyright term extension is, EFF has joined forces with Britain's Open Rights Group to
launch a grassroots-led campaign against McCreevy's plans.

Visit Sound Copyright now to learn more (in English, French or German), and add your voice:

For more about the Open Rights Group:

For this complete post by EFF International Outreach Coordinator Danny O'Brien:

Call for papers for a themed issue of the journal Culture, Theory and Critique to be published in April 2009

Call for papers for a themed issue of the journal Culture, Theory and Critique to be published in April 2009.

Democratic aesthetics: actual, radical, global.

Since Walter Benjamin equated aestheticized politics with fascism and war, projects to conduct politics aesthetically generally have been regarded as inimical to democracy. Yet, given the role of the US as a hegemonic world power exporting democracy by force of arms, it is timely to re-examine the potential of productive relations between aesthetics and democratic politics. There are many different notions of “aesthetics,” ranging from a philosophical discourse about art (often understood as distinct cultural practices, objects, experiences, perceptions and judgments), to its original broader sense (by Baumgarten) of the study of sensory, bodily aspects of cognitive interactions with the world. Moreover, ongoing processes of globalization generate and intensify tensions among culturally variable ideologies of the aesthetic, even as they problematize the presupposition of democracy’s universal value. It thus becomes at once more difficult and more urgent to think the relation between democracy and aesthetics.

Issues to be Explored: The purpose of the issue is to focus on those senses of aesthetics that pertain to the sensory communication of social meanings through the production/dissemination and consumption/interpretation of cultural symbols. In these senses, democratic aesthetics can consist of, among others:

a) particular genres of art forms that embody specific democratic values (such as portraits of ordinary people and individualism, or Brechtian, didactic, realist theatre);

b) democratic styles of political performance (such as political actors presenting themselves according to the modes of popular culture, such as politicians as celebrities, or theatrical or “spectacular” activism);

c) the democratization of aesthetics, recognizing aesthetic activity in everyday life (as in Paul Willis’ “grounded aesthetics” or Pierre Bourdieu’s “popular aesthetics”);

d) the constitution of democratic publics as communities of aesthetic judgment (e.g. drawing from Kant’s and Arendt’s notions of sensus communis).

The issue will analyse general processes and particular examples of democratic aesthetics, while also assessing them in terms of conceptual and normative distinctions of democracy. In particular, the issue will address the question of whether democratic aesthetics is irrevocably associated with commodified and mass mediated capitalist culture, and hence is symptomatic of attenuated forms of actually existing liberal or market democracy (as in critiques by Terry Eagleton and David Harvey), or whether (and under what circumstances) democratic aesthetics can motivate more radical, emancipatory versions of democracy. The distinctions between actual, critical and radical notions of democracy is also crucial to addressing a key motivating question for the issue, namely, whether under current conditions in which the Western militarized export of democracy cannot be considered an unqualified “good,” democratic aesthetics offer less hostile ways of practising democracy in an international and transnational environment.

The issue will be edited by Jon Simons, Associate Professor, Department of Communication and Culture, Indiana University. Please contact him with any queries about the suitability of essays for inclusion in the issue (preferably including an abstract), or any other editorial matters, at:

Article submissions

Authors should submit an electronic copy of the abstract and the article to
, retaining one copy for their own records. Essays should be in English, double-spaced (including all quoted material, notes and references) on one side only of the paper. Authors should confirm at submission that their essay is not also under consideration with another journal or publisher, and also indicate that their submission is for the themed issue on democratic aesthetics.

Submissions will be subjected to blind review before acceptance.

Deadline for submissions: May 6th 2008.

Form. Essays should not normally exceed 7000 words, including quotations and footnotes, and the word count should be printed at the end.
For further details about note and referencing formats, the use of illustrations and other issues, please see:

Culture, Theory and Critique is a refereed, interdisciplinary journal for the transformation and development of critical theories in the humanities and social sciences. It aims to critique and reconstruct theories by interfacing them with one another and by relocating them in new sites and conjunctures. Culture, Theory and Critique' approach to theoretical refinement and innovation is one of interaction and hybridisation via recontextualisation and transculturation.

Sunday, March 9, 2008

Special Track on Applied Cryptology and Network Security (STACNS)

Special Track on Applied Cryptology and Network Security (STACNS)
July 14-17, 2008, Las Vegas, USA

A number of Special Sessions on Applied Cryptology and Network Security will be organized within the 2008 International Conference on Security and Management (SAM’08), July 14-17, 2008, Monte Carlo Resort, Las Vegas, USA. This conference is an annual meeting on quality papers focusing on the latest developments in security. The goal of these sessions is to explore the research work of graduate students, and junior faculty/researchers.

Topics of Interest

Topics of interest include, but are not limited to, the following:

-- Applications of Block and Stream Ciphers
-- Applications of Symmetric and Public Key Cryptology
-- Applications of Hash Functions and Digital Signatures
-- Network Security

Submission Guidelines

Prospective authors are invited to submit their draft paper (5-8 pages - single space, font size
of 10 to 12) via email to (Kevin Daimi). MS document and PDF formats are preferable.

Papers must not have been previously published or currently submitted for publication elsewhere.

The first page of the draft paper should include:

-- The title of the paper
-- Name, affiliation, postal address, E-mail address, telephone number, and fax number for each
-- The name of the author who will be presenting the paper (if accepted) and a maximum of 5

Authors of accepted papers should submit their Camera-Ready papers in PDF format. The maximum number of pages in the final papers is 7. Papers must conform to IEEE style guidelines at

Conference Proceedings

Accepted papers will appear in the SAM’08 Conference Proceedings published by CSREA Press (ISBN) in hardcopy. The proceedings will be available for distribution at the conference.

Important Dates

March 10, 2008: Submission of papers (about 5 to 8 pages)
April 7, 2008: Notification of acceptance
April 28, 2008: Camera-Ready papers and Registration due
July 14-17, 2008: The 2008 International Conference on Modeling,
Simulation, and Visualization Methods (MSV'08)

Conference Web sites



Multiconference sponsors (this is a partial list):

Academic/Technical Co-Sponsors (a partial list):

--> Computational Biology and Functional Genomics Laboratory, Harvard University, Cambridge, Massachusetts, USA
--> International Society of Intelligent Biological Medicine
--> Horvath Lab., University of California, Los Angeles (UCLA), USA
--> Minnesota Supercomputing Institute, University of Minnesota, USA
--> Functional Genomics Laboratory, University of Illinois at Urbana-Champaign, USA
--> BioMedical Informatics & Bio-Imaging Laboratory, Georgia Institute of Technology and Emory University, Atlanta, Georgia, USA
--> Intelligent Data Exploration and Analysis Laboratory, University of Texas at Austin, Austin, Texas, USA
--> Biomedical Cybernetics Laboratory, HST of Harvard University and MIT, USA
--> Center for the Bioinformatics and Computational Genomics, Georgia Institute of Technology, Atlanta, Georgia, USA
--> Harvard Statistical Genomics and Computational Laboratory, Harvard University, Cambridge, Massachusetts, USA
--> Hawkeye Radiology Informatics, Department of Radiology, College of Medicine, University of Iowa, Iowa, USA
--> Medical Image HPC & Informatics Lab (MiHi Lab), University of Iowa, Iowa, USA
--> The University of North Dakota, Grand Forks, North Dakota, USA
--> PSU - Prince Sultan University
--> Institute for Informatics Problems of the Russian Academy of Sciences, Moscow, Russia.
--> NEMO/European Union at Institute of Discrete Mathematics and Geometry, TU Vienna

Corporate Co-Sponsors (a partial list):

--> Google, Inc.
--> Salford Systems
--> NIIT Technologies

Other Co-Sponsors (a partial list):

--> High Performance Computing for Nanotechnology (HPCNano)
--> International Technology Institute (ITI)
--> GridToday - enewsletter focused on Grid, SOA, Virtualization, Storage, Networking and Service-Oriented IT
--> HPCwire - The Leading Source for Global News and Information Covering the Ecosystem of High Productivity Computing
--> Hodges' Health (H2CM), UK