Kyra is a researcher at i-DAT and an Associate Lecturer with the Digital Media Design programme at the University of Plymouth. Kyra also works with the NHS Torbay as a Digital Futures Healthcare Fellow, where she makes VR projects within Unity, looking at the histories and futures of VR and focusing more on how digital can help to reduce mental health, mainly for adolescents, creating applications and VR projects to suit peoples needs.
Young people from 14 UK & international centres – schools, children’s hospices, hospital schools, charities and refugee centres have worked together on a cycle of original shared poems, songs and a 360 film that explores what home means for them.
Young people from fourteen centres have worked together on a cycle of shared songs that explores what home means for them and a youth leadership group with representation from all partners came together to write a single shared chorus.
The children have never before been listened to so well. The opportunity to make links and forge bonds with other young people across the world has been life changing for our students. They have learned that their voices matter, their creativity matters and they have been able to collaborate in a shared artwork that transcends country borders Jess Selfe, English Literature Teacher, Bartholomew School, Eynsham
Through the eyes of young people we are taken on a journey from Zimbabwe, Rwanda, South Africa, Gaza, Syria, India and Nepal to England and Scotland.
A year’s collaboration between schools, children’s hospices, hospital schools and refugee centres involved creative writing, song making and 360 filmmaking
A remarkable score in response to the young people’s poems has been created by composer Jocelyn Pook
The fact that two groups of people from different parts of the world can come together to write such a creative piece of poetry amazes me. It fascinates me how total strangers are able to interact and connect so well together… It has built our confidence and exposed us to different forms of poetry to help us all become better poets. Student, Prince Edward School, Harare, Zimbabwe.
Your donations will fund the tour of the work to each location and the summer school in 2023.
Read more about the charity Rosetta Life here: www.rosettalife.org
16th Jena FullDome Festival, May 11. – 14. 2022.
FULLDOME FESTIVAL JURY
Welcome FullDome Festival jury 2022!
We extend a warm welcome to the dedicated jury members in the 16. Jena FullDome Festival! These are the people who will decide who wins a JANUS-Award in the 2022 contest.
Welcome Mike Phillips!
Professor of Interdisciplinary Arts, Director of Research at i-DAT at the University of Plymouth, UK.
Welcome Michaela French!
Artist, lecturer and researcher working with light and time-based media across a range of artistic and creative contexts.
Welcome Dr. Mariana Wagner!
Musician and astrophysicist performing her very own show SOUND OF SPACE live in the Hamburg Planetarium, a fulldome concert experience in immersive sound and astronomy.
The Jena FullDome Festival, founded in 2007, provides an open platform to present and praise immersive media, electronic arts, science, business and the exploration of fun and future in full dome.
We invite media artists, Planetarium people, science and music visualizers, interdisciplinary researchers, dome VJs, 360° performers, spatial sound creators and pioneers of immersive technologies from all around the world to show their work and share their ideas, live and surround, beyond the flat frame paradigm.
The Jena FullDome Festival is teaming up with partner festivals on three continents to form the Co-op of International Fulldome Festivals. 2021 was the first year that four festivals on three continents shared the #BestOfEarth selection in their venues, with 19 fulldome films nominated for the BestOfEarth Awards, The story of the Co-op of International Fulldome Festivals will continue. The next BestOfEarth festival is scheduled for 2023.
Toby Chanter’s Installation Practice Research
Encounters through the physics of blood, water, and light.
M a r c h 10th 1100 – 2000 / M a r c h 11th 1000 – 1400
KARST / 22 George Place / Plymouth / PL1 3NY
Blood is a vital organic material that has drawn both scientific interest and symbolic meaning for millennia.
Used in the classification, diagnosis, and treatment of disease, understanding blood and the pulse has been fundamental to the development of medical systems across the globe. From bloodletting to pulse diagnosis, from humorism to haematology, blood remains central to contemporary clinical practice. Expressive of both life and death and a point of physical touch in medical encounters, the blood and pulse share a complex social history.
Symbolising both honour and shame, blood is ritualised in rites of passage and marks the crossing of thresholds. Blood summons fear of infection and is used to articulate diverse cultural ideas of contamination and taboo. Blood points to contested discourses of power and resistance. Ideas of nationalism and boarder, kinship, gender, and race are bound up in cultural understandings of blood and the manifold cultivations of otherness.
This immersive and interactive installation mobilises blood and the pulse to explore the relational politics of encounter. Using wireless and wearable technology, participants real-time heart rate data excites the physics of light across a large body water. The visual effects of reflection and diffraction create a dynamic canvas while pointing to the wider philosophical influence of lens and light metaphors on knowledge and meaning.
![[Anti]disciplinary Topographies](https://i0.wp.com/i-dat.org/wp-content/blogs.dir/28/files/2021/09/Leonardo_header_LASERmap_23jun2021.jpg?resize=720%2C300&ssl=1 "[Anti]disciplinary Topographies")
https://ars.electronica.art/newdigitaldeal/de/antidisciplinary-topographies/
Culturing transnational dialogue for creative hybridity
Leonardo LASER Garden gathers our global network of artists, scientists, humanists and technologists together in a series of hybrid formats addressing the world’s most pressing issues. Animated by the theme of a “new digital deal” and grounded in the UN Sustainability Goals, Leonardo LASER Garden cultivates our values of equity and inclusion by elevating underrepresented voices in a wide-ranging exploration of global challenges, digital communities and placemaking, space, networks and systems, the digital divide – and the impact of interdisciplinary art, science and technology discourse and collaboration.
Dovetailing with the launch of LASER Linz, this asynchronous multi-platform garden will highlight the best of the Leonardo Network (spanning 47 cities worldwide) and our transdisciplinary community. In “Extraordinary Times Call for Extraordinary Vision: Humanizing Digital Culture with the New Creativity Agenda & the UNSDGs,” Leonardo/ISAST CEO Diana Ayton-Shenker presents our vision for shaping our global future. This will be followed by a Leonardo Community Lounge open to the general public, with the goal of encouraging contributions to the cultural environments of different regions through transnational exchange and community building.
Leonardo/ISAST & the Global Network of LASER Hosts in partnership with the Interface Culture Department, Institute for Media, University of Art and Design Linz
Organizing Committee:
Christiana Kazakou, Leonardo LASER Program Lead (UK/GR)
Vanessa Chang, Leonardo Senior Program Manager (US/SG/AU)
Tami Spector – Leonardo LASER Committee Co-Chair (US)
Alan Boldon – Leonardo LASER Committee Co-Chair (UK)
Nina Czegledy – Leonardo LASER Committee (CA)
Piero Scaruffi – Leonardo LASER Committee (US)
JD Talasek – Leonardo LASER Committee (US)
Participating LASER Hosts:
LASER Alberta (CA) / LASER Auckland (NZ) / LASER Cambridge (UK) / LASER Fortaleza (BR) / LASER Helsinki/Espoo (FI) / LASER Linz (AT) / LASER Mexico (MX) / LASER Montreal (CA) / LASER Nomad (DE) / LASER New York City (US) / LASER Pasadena (US) / LASER Rio de Janeiro (BR) / LASER Santa Fe (MX) / LASER São Paulo (BR) / LASER St. Petersburg(RU) / LASER Tempe (US) / LASER Toronto (CA) / LASER Totnes (UK) / LASER Vienna (AT) / LASER Zurich (CH)
LASER Host Institutions & Partners:
ArtSci Salon (CA), The Fields Institute for Research in Mathematical Sciences (CA), Medical University of Vienna (AT), University of Applied Arts Vienna (AT), CrossLab, University of Fortaleza (BR), Atelier Tania Fraga (BR), University of Cambridge (UK), Hexagram (CA), University of Bergen (NO), Universidad Autónoma Metropolitana (MX), Aalto University (FI), Dartington Hall Trust (UK), Life Science Zurich (CH), Wageningen University Research (NL), VTT Technical Research Centre of Finland (FI), University of Zurich (CH), ETH Zurich (CH), Artists in Labs Program at the University of the Arts, ZHdK (CH), World Wildlife Fund Volunteers (CH), Art and Science Node (DE), CYLAND Media Art Lab (RU), Fulcrum Arts (US), ArtCenter College of Design/Williamson Gallery (US), Ubiquitous Lab (DE), AUT University (NZ), LevyArts (US), Washington University in St. Louis (US), Arizona State University (US), Biodesign Institute (US), Arizona Cancer Evolution Center (US), National Cancer Institute (US), University of Alberta (CA), Interface Culture Department, Institute for Media, University of Art and Design Linz (AT), SciArt Santa Fe (MX), Instituto Oswaldo Cruz (BR), Helsinki Design Week (FI), Vienna Biennale for Change (AT), Evolutionary Ecology, Biological Intelligence Lab – Southern Cross University (AU), Biologiezentrum O.Ö Landeskultur G.m.b.H. (AT), Leisenhof Gärtnerei (AT)
For a full list of our international LASER Hosts Network please see leonardo.info/laser-hosts
Book through eventbrite:
Presenters:
Prof. Dr. Isabella Beyer. Immersive Medien und Transmedia, Technische Hochschule Lübeck – University of Applied Sciences https://i-dat.org/isabella-beyer/
GaiaNova: Philip Mayer / Ben Stern. https://www.gaianova.co.uk/
Prof Mike Phillips. I-DAT, University of Plymouth. https://i-dat.org/mike-phillips/
Dr Nick Lambert, Ravensbourne University London. https://www.ravensbourne.ac.uk/about-us/our-people/dr-nicholas-lambert
On March 26 The South West Creative Technology Network (SWCTN) invite you to join them online for their Data Showcase.
It’s a day to share, reflect on and challenge ideas in DATA, INCLUSIVE FUTURES and CREATIVE BUSINESS DEVELOPMENT.
Explore the inspiring work of the Data Prototype teams, and learn more about their developing work, as well as diving into the deep thinking done by our Data Fellows.
Tickets:
Tickets are free so sign up now!
https://www.watershed.co.uk/whatson/10678/south-west-creative-technology-network-data-showcase/
Accessibility:
There will be BSL interpretation on talks, plus captioning on pre-recorded material, as well as live captioning on all events throughout the day.
Contact:
If you have any additional questions regarding access for the day, please contact Producer Katherine on katherine@kaleider.com.
Fulldome Hybrid Hub Project.
The Fulldome Hybrid Hub is an R&D project funded by the South West Creative Technology Network (SWCTN).
The project was initiated through the South West Creative Technology Network in response to the COVID-19 pandemic and its broader impact on the cultural sector, and asks creative practitioners to imagine the possibilities of a physical and digital future for our venues – a Hybrid Hub.
In July 2021, the Market Hall immersive dome opened in Devonport, Plymouth. The first of its kind in Europe, the 210-degree, flat floor dome, designed and built by dome experts, GaiaNova, offers students, graduates, researchers, organisations and businesses a unique opportunity to experiment with and develop content for domes and other, related technologies. Domes, as environments for shared VR, AR and mixed reality, offer a new environment for collaborative experiences and experimentation.
Unique double fisheye projector projection system
19.1 audio system.Images by GaiaNova.
The ambition of the Fulldome Hybrid Hubs project is to network the Market Hall dome with other domes across the UK and beyond. To do this, the project will develop a hybrid hub capable of linking domes and enabling regular, live contact between dome users in a number of locations.
The project is led by Real Ideas, in collaboration with i-DAT, through a series of round tables and workshops (primarily online) with local partners, national and international partners. The sessions explored and developed the hybrid hub concept, specifying design requirements and commissioned a prototype build.
This website documents the development process and the software and hardware framework developed by the collaboration. Ultimately further funding was achieved from the British Council for the Ludic Architecture Project which allowed the collaboration to fully realise the ambitions of the Fulldome Hybrid Hub prototype.
Workshop #1: 04/02/2021
Workshop #1 Participants:
Luke Christison (Immersive Vision Theatre/Impact Lab), Tom Edie (SWCTN/UoP), Mathew Emmett (Architecture), Lindsey Hall (Real Ideas), Madeline Hall (Real Ideas), Niall Hamilton (Architecture), Bryn Higgins (BA GAD), Claire Honey (Real Ideas), Mohamed Hossam (MRes DAT), Philip Mayer (GaiaNova), Mike Phillips (i-DAT).
Workshop #2: 12/03/2021
Workshop #2 Participants:
Luke Christison (Immersive Vision Theatre/Impact Lab), Tom Edie (SWCTN/UoP), Mathew Emmett (Architecture), Lindsey Hall (Real Ideas), Madeline Hall (Real Ideas), Bryn Higgins (BA GAD), Claire Honey (Real Ideas), Mohamed Hossam (MRes DAT), Christiana Kazakou (i-DAT), Rhys Lamble (Team-3), Konstantin Leonenko (The Bridge), Philip Mayer (GaiaNova), Mike Phillips (i-DAT).
Workshop #3 Fulldome Network: 23/03/2021
Workshop and consultation with key figures from the international Fulldome community:
Workshop #3 Participants:
Tom Edie (SWCTN/UoP), Martin Kusch (University of Applied Arts Vienna, Austria), Lindsey Hall (Real Ideas), Madeline Hall (Real Ideas), Johannes Hucek (University of Applied Arts Vienna, Austria), Philip Mayer (GaiaNova/Fulldome UK), Paul Mowbray (NSC Creative), Mike Phillips (i-DAT), Ben Stern (GaiaNova/Fulldome UK), Micky Remann (Fulldome Festival, Jena, Germany), Jacob Watson (NSC Creative).
Workshop #4 Production Phase: 25/03/2021.
Following the workshop/consultancy process in Workshop #3 the team assessed options and developed a production process in order to present at the SWCTN Hybrid Hub Data Showcase, with further iterations planned for a Fulldome UK presentation in October.
Workshop #4 Participants:
Tom Edie (SWCTN/UoP), Mathew Emmett (Architecture), Lindsey Hall (Real Ideas), Madeline Hall (Real Ideas), Bryn Higgins (BA GAD), Claire Honey (Real Ideas), Mohamed Hossam (MRes DAT), Christiana Kazakou (i-DAT), Rhys Lamble (Team-3), Konstantin Leonenko (The Bridge), Philip Mayer (GaiaNova), Mike Phillips (i-DAT).
Fulldome Composite:
Prototype/Code:
The Hybrid Hub Project is built using EPIC’s Unreal Engine.
To be published here shortly….
The Hybrid Hub Project provided the software/server/network framework for the British Council for the Ludic Architecture Project.
The design and build of an interactive virtual crime scenes prototype for students and external professional partners to explore. The prototype requires participants to follow correct forensic crime scene procedure ensuring the appropriate steps are taken to help identify, preserve and seize evidence. The virtual environment is highly interactive, allowing the participant the ability to roam within the parameter of the crime scene and also to interact with specific elements of interest via an interface which provides lists of actions which could be taken. These actions follow correct procedure and will serve as a learning resource for students and professionals alike.
The prototype:
Provides a real-world Interactive VR design problem for students
Supports classroom learning in Criminology by allowing participants to engage in experiential learning within a simulated virtual world.
Constructs a meaningful and deeper knowledge of the processes used during an investigation and create more meaning from it.
Support a dialogue with external partners to assist in the design and development and application within a professional context.
Crime Scene Plan:
1: Muddy footprints (fading to nothing by the last one) / 2: Ear print on outside of window / 3: Finger print on kitchen drawer / 4: Body (stabbed) / 5: Blood spatter on wall, bed and floor / 6: Knife / 7: Blood drops / 8: partial bloody footprints (Same as shoe print 1 and fading to nothing by the last one) / 9: Blood on interior door handle / 10: Mobile phone / 11: Broken watch (slightly hidden from view between bed and cabinet) / 12: Hair (loose on leg of victim) / 13: Running trainer footprints / 14: Partial bloody hand print in door / 15: Open bottle of whisky with some blood on.
The project was a result of a cross Faculty collaboration between staff and students in Criminology in the School of Law, Criminology and Government and i-DAT in the School of Art Design & Architecture.
Project design team:
i-DAT: Joel Hodges, Rhys Lamble, Mike Phillips, Andrew Prior (lead).
Criminology and Criminal Justice: Brendan Brookshaw, Iain Channing (lead).
Issue #1: Volume 7, 2020 Published.
https://www.ubiquityjournal.net/
Issue #1: Volume 7, 2020
ingentaconnect download
3–16: Architectural paradox in the smart home – ALEXANDER ĆETKOVIĆ
Abstract
Bernard Tschumi pointed out that architecture redefines itself continuously out of the conflict between it being a product of abstract design and the condition that architecture is experienced sensually – conditions that are interdependent and, at the same time, mutually exclusive. How does this relationship change when a further layer is introduced, the user roles determined by the digitized home? For the users, the conceived roles (design and digital) stand in competition and sometimes even in conflict with the habitual roles experienced by their bodies in the physical environment. The awareness of the juxtaposition of the different roles can lead to interesting new possibilities in the user-architecture relationship. On the other hand, disguising or even hiding the differences can not only frustrate users but also further undermine their trust in a technology that tries to impose such roles or, in the users’ eyes, even tries to abuse them.
E-mail: acetkovic@acm.org
17–23: Eco art: Art is life and life is embedded in nature – NINA CZEGLEDY
Abstract
Nature may be considered as the world of living organisms and their environment; in a larger sense, the shape of nature can also be understood to include particular extents of space and time. The visual perspectives of nature form a particular course that begins with the earliest historical depictions and might be currently expressed by a variety of cross-disciplinary contributions. The diverse perspectives form eclectic threads that today are frequently manifested within the eco-activist art movement. Several of the contemporary ecological art projects are grounded in explicit experiences and connections to specific spaces relevant to where the work is created. The local or international ecological labs, experimental urban gardens, projects on the migration of plants and the creation of new species included here are all new models contributing to a speculative future culture.
E-mail: czegledy@interlog.com
25–36: Between Us: Desire, touch and seduction as immaterial agents in augmented sonic artworks – JANE GRANT
Abstract
New media has expanded our experiences of art forms from the retinal to the immersive and embodied. This evolution offers novel experiences as we push the boundaries of these emerging technologies. Recently, I have been working with augmented reality headsets. These headsets sometimes separate us from the physical and the sensory, substituting the world of matter for the virtual. My research questions whether the exchange of the sensory for the digital provides an opportunity to redesign experiences that act upon the body? Developing sound design to create the illusion of touching, could our skin become a site where artworks are experienced?
E-mail: J.Grant-1@plymouth.ac.uk
37–46: Weaving quantum chaos – PAUL THOMAS
Abstract
No matter how hard we strive to be certain, absolute certainty cannot be achieved. The article focuses on chaos to identify, conceptualize and visualize a liminal space between the classical and quantum world, where everything is in some state of chaos. The article asks questions of visualizing the invisible, indiscernible and unfathomable quantum world of subatomic particles. This quantum artistic research examines a role of atomic and subatomic particles in the search for consciousness, materially, ethically, scientifically and culturally. The burden of molecular ethics and aesthetics of care are discussed to enable a critique of the information given to us by science.
E-mail: p.thomas@unsw.edu.au
Abstract
This ultimate Archaeology celebrates the legacy of Leonardo, an idea that became a Journal that developed into a global transdisciplinary community. The author reflects on the last half century of innovation in the practice of art and science that has galvanized generations of creative practitioners entangled in the turbulence of transdisciplinary thinking. In tracking the emergence of this mind space, this Archaeology projects to the future where Leonardo has a vital role to play in engaging and shaping new world perspectives.
E-mail: christiana.kazakou@plymouth.ac.uk
Web address: www.i-dat.org/christiana-kazakou/
Balance-Unbalance. Ecology and citizenship – RICARDO DAL FARRA
Abstract
It can be difficult to acknowledge our own fragility. The equilibrium between a healthy environment, the energy our society needs to maintain or improve its usual lifestyle, and the world’s interconnected economies can pass more quickly than expected from a delicate balance to an entirely new reality where human beings would need to be more creative than ever before to survive. The frequency and severity that certain weather and climate-related events are having around us are increasing, and the ability of human beings to modify our adjacent surroundings has turned into a power capable of altering the planet. Do the media arts have a role in all this?
E-mail: ricardo.dalfarra@concordia.ca
A little synthetic autopoetic GPT-2 (OpenAI 2019) summary of Ubiquity, the Journal of Pervasive Media, volumes 1–7, might look something like this…
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