Under and Beyond the Stars, Science in the Dome.

Under and Beyond the Stars, Science in the Dome.

Mike Phillips will be participating in Part Two of the 14th FullDomeFestival 2020.

Sunday November 22.

VIP-DINNER UNDER AND BEYOND THE STARS: SCIENCE IN THE DOME.

PANEL WITH RYAN WYATT (CALIFORNIA ACADEMY OF SCIENCES), DR. JACKIE
FAHERTY (ASTRONOMER AT THE AMERICAN MUSEUM OF NATURAL HISTORY, NEW YORK), MIKE PHILLIPS (PROFESSOR OF INTERDISCIPLINARY ARTS AND DIRECTOR OF RESEARCH AT i-DAT UNIVERSITY OF PLYMOUTH), ANDERS YNNERMAN (PROFESSOR OF SCIENTIFIC VISUALIZATION, LINKÖPING UNIVERSITY) AND OTHERS.

PIANO TILMAN WÖLZ.

FDF2020.

Lecturer in Game Design

Lecturer in Game Design

Job title: Lecturer in Game Design

Job ref: A7450

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[IMAGE: https://i-dat.org/murmuration/]

Date posted: 05/10/2020 

Application closing date: 08/11/2020 

Location: Plymouth 

Salary£34,804 to £49,553 per annum - Grade 7/8 

Contract Type: Permanent, Full-time 

Job category/type Academic/Research

 

Forward-thinking, creative, and innovative – a place to nurture your talent

i-DAT is a vibrant open research lab and teaching collective for playful experimentation with creative technology in the School of Art, Design and Architecture, situated within the Faculty of Arts, Humanities and Business. It delivers programmes of study at both undergraduate and postgraduate level such as BA/BSc (Hons) Digital Media Design, BA (Hons) Game Arts and Design and BA (Hons) Virtual Reality Design.

These programmes embed the production of digital media and design within a framework of creative and experimental artistic practice. They have a rich interaction with MRes Digital Art and Technology and MA Game Design, and a substantial and established PhD community.

They also have strong international connections with the Game Arts Design programme being delivered as a 3+1 at Nanjing University of the Arts and CODEX, an international PGR network. You will be based at the Plymouth campus and would be expected to contribute to this TNE activity.

We are seeking a Programme Leader for the MA Game Design course. You will manage a staff team, and contribute to practical and theoretical teaching and research in germane areas such as: environment, character and technical art; asset production pipelines; game studies; design theory; animation, modelling and texturing for 3D environments; storytelling / narrative development and speculative use of contemporary game engines.

You will have HE teaching experience, and will have the necessary technical skills to teach and research in the field of immersive media technologies and their application to art and design practice.

You will hold a PhD (or have equivalent professional experience) in a relevant discipline and be able to demonstrate an established research track record and evolving profile appropriate to the role. Experience in supervising masters/doctoral students is desirable. We will also consider applicants with extensive practical or industrial experience in relevant areas.

The University is committed to promoting a diverse and inclusive community – a place where we can all be ourselves and succeed on merit. We offer a range of family friendly, inclusive employment policies, flexible working arrangements, staff engagement forums, campus facilities and services to support staff from different backgrounds. We particularly encourage applications from women, black and minority ethnic people who are under-represented in this area within University of Plymouth.

Please demonstrate how you meet the essential criteria outlined in the knowledge, qualifications, training and experience elements of the job description in your supporting statement.

Please include a PDF portfolio of practice with your application or a link to your personal website.

For an informal discussion to find out more about the role then please contact Andrew Prior by email andrew.prior@plymouth.ac.uk or the School of Art, Design and Architecture by telephone on (01752) 585 150.

We offer a competitive salary package and a generous pension and holiday scheme. We also offer a range of other benefits, including ongoing development opportunities.

This is a full-time position working 37 hours per week on a permanent basis.

Flexible working options including job share will be considered.

Interviews are expected to take place on 26th November 2020.

Please note, due to the COVID-19 pandemic the University is currently implementing a number of safety measures as per Government advice therefore the successful applicant may be required to work from home in the first instance.

The University of Plymouth is committed to equality of opportunity, promoting a diverse and inclusive culture, demonstrated through our commitment to the gender equality Athena SWAN Charter and as a Stonewall diversity champion. All applications will be judged solely on merit, however, we particularly welcome applications from groups currently under-represented in the workforce, for example black and minority ethnic groups.

University of Plymouth holds a TEF (Teaching Excellence and Student Outcomes Framework) Silver by the Office for Students.

The School of Art, Design and Architecture holds a Bronze Athena SWAN award in recognition of our commitment to advance gender equality in higher education.

Job Description

Teaching Qualifications and Recognition Policy

Cutting together-apart: Transimage 2020

Cutting together-apart: Transimage 2020

Cutting together-apart: Creative and critical practices as agential cuts within digital economies

Date: 6 November 2020.

Stephen Loo / Warren Parry / Chris Speed / Mike Phillips / Pip Thornton / Andrew Dwyer / Birgitte Aga / Coral Manton.

 

 

Dark Eden Program

6.30 – 7.35 pm (7.30 – 8.35 am UK)

 

 

Session 5 (part 1) – Chaired by Mike Phillips (Plymouth)

Cutting together-apart: Creative and critical practices as agential cuts within digital economies

6.30 pm Presentation 1: Stephen Loo (Hobart?)

6.45 pm Presentation 2: Warren Parry (Sydney)

7.00 pm Presentation 3: Chris Speed (Edinburgh)

7.15 pm Discussion

7.35 – 7.50 pm Break

 

7.50 – 8:55 pm (8.50 – 9.55 am UK)

 

 

Session 5 (part 2) – Chaired by Chris Speed

Cutting together-apart: Creative and critical practices as agential cuts within digital economies

7.50 pm Presentation 4: Mike Phillips (Plymouth)

8.05 pm Presentation 5: Pip Thornton and Andrew Dwyer (Edinburgh)

8.20 pm Presentation 6: Birgitte Aga and Coral Manton (Plymouth?)

8.35 pm Discussion 8.55 pm

THE PRACTICE OF NEW MEDIA ART ISEA2020 Panel

THE PRACTICE OF NEW MEDIA ART ISEA2020 Panel

PANEL SESSION 2 // THE PRACTICE OF NEW MEDIA ART: SENTIENCE, PER-CEPTION, COGNITION, AND CONSCIOUSNESS?

The practice of New Media Art: The roundtable will examine how new media art practice reframes our contemporary understandings of perception, cognition, and consciousness through a myriad of approaches. Innovation, accident, and crisis defined the perceptible qualities of new media artworks; invention, serendipity, and speculation catalyzed and altered the past, present, and futures of new media art practice. These practices – both individual and collective – frequently overlap with other aspects of art theory, curation, and exhibition. Perpetual increases in transistor density of integrated circuits drove artists working with digital technologies to revise their practices at an unprecedented rate.
The roundtable speakers are participants in the development of the forthcoming Encyclopedia of New Media Art, volume 2 focusing on artists and practice. The provocations posed by the artists is to make sense from personal perspectives of what has driven their practice and its context within the evolution of Media Art. What were and are the achievements, failures, expectations, demands and dreams for art under the title of New Media Art. Each speaker will give a short presentation to identify key areas of focus that will stimulate the roundtable discussions.

SWCTN Automation Showcase.

SWCTN Automation Showcase.

The South West Creative Technology Network invites you to spend the day with us online as we share our year of Automation.

Date And Time: Fri, October 16, 2020 / 9:00 AM – 6:00 PM BST

Spend the day with us online as we share a year of deep thinking and prototype-making by artists, technologists, health & education professionals, engineering & manufacturing experts, architects, academics and researchers, in the field of Automation.

Thirteen Ways Of Looking

Thirteen Ways Of Looking

donald.rodney:autoicon v1.0: Thirteen Ways Of Looking.

donald.rodney:autoicon v1.0: is included in the Thirteen Ways Of Looking Exhibition at the Herbert Art Gallery and Museum, Coventry.

Thirteen Artists and Curators show why one perspective is never enough.

Image credit: Garry Jones

Co-Creating Ethical, Inclusive and Sustainable Futures

Co-Creating Ethical, Inclusive and Sustainable Futures

South West Creative Technology Network: Interim Report – September 2020

Co-Creating Ethical, Inclusive and Sustainable Futures.

In this Interim report we begin to share our learning and highlight the diversity of impacts that SWCTN has had on building the breadth, connectivity and capacity of the creative technology sector in the South West UK, as well as growing its international reach.

https://www.swctn.org.uk/wp-content/uploads/2020/09/SWCTN-interim-report-compressed.pdf

ARS ELECTRONICA: In Kepler’s Gardens

ARS ELECTRONICA: In Kepler’s Gardens

Mike Phillips will be presenting at S+T+ARTS at UCA: Understanding complex data in COVID times + Fashion: Materialising Numbers at Ars Electronica2020 In Kepler’s Gardens, A global journey to survey the ‘new’ world.

“In these two sessions, panelists will share their work individually, addressing the topics below before all taking part in a round table discussion on the issues highlighted.

Taking inspiration from the Hieronymous Bosch painting’s central panel “Garden of Earthly Delights”, and the Ars Electronica 2020 meta-topics of ecology, democracy, uncertainty, humanity, reality, and autonomy, the UK Garden will act as a unifying community celebration of amazing art-tech/art-science collaborations showcased from the North to South of the UK. It will also include some STARTS Prize 2020 winners, runners-up, nominees, and other STARTS projects (Residencies, Lighthouse projects) at the heart of the program.

The link the STARTS initiative is through the people involved in the garden: Camille Baker and Lucy Bunnell are in the STARTS Ecosystem consortium; Irini Papadimitriou, artistic director of FutureEverything has been a jury member for STARTS Prize and the STARTS Residencies project for the last several years; Denise Doyle has a funded research project studying the methodologies of and collaboration of the artists who have won the STARTS Prize over the last few years – it made sense that this team lead an initiative to showcase UK Art & Technology innovation and collaboration as it exits the EU.”

SWCTN Data Prototype Funding Call

SWCTN Data Prototype Funding Call

We are excited to announce that our SWCTN Data Prototype Funding Call is now open. 

We are aiming to fund ideas for prototypes in the field of Data that are brave and distinctive, that open up the field to new voices and challenge the status quo. 

We are interested in collaborative working practices, and in alternative business models. We want to grow creative businesses across the South West.

We anticipate awarding grants of between £10k and £40k, and would encourage applications of all sizes between these limits. Prototyping will run from Dec 2020 for three months with a SWCTN Data Showcase between March – June 2021. We expect prototype teams to commit to the programme during this period.

Deadline for applications: 5pm on Sept 7 2020.

Immersive Media Lab

Immersive Media Lab

The new Immersive Media Lab in the School of Art Design and Architecture (opening 09/2020) complements a suite of creative Labs that enable a blurring between the physical and the virtual, the real and the imaginary.

Immersive Media Lab:

The Immersive Media Lab is a new digital initiative which sits alongside the Digital Fabrication Lab on the ground floor of the Roland Levinsky Building. These spaces are showcase statements for the School of Art Design and Architecture which celebrate a dynamic engagement with (post)digital innovation as a catalyst for creative production, playful experimentation, pedagogic invention and industrial engagement.

Context:

The Immersive Media Lab builds on the rich digital history of the School’s research and creative activities which date back to the first wave of VR technologies in the 1990’s and beyond to the development of shared immersive experiences of fulldome environments. Recent initiatives, such as the South West Creative Technologies Network ‘Immersion’ fellowships and the development of the Market Hall £7 million Fulldome in Devonport, demonstrate an experimental and progressive approach to these new immersive technologies, associated production practices, new audiences and the broader industrial context for these volatile and emerging technologies.

Users:

Immersive Media Lab will be used by Undergraduate and Masters programmes from within the School where these practices are core, such as Virtual Reality Design, Digital Media Design, Game Art and Design, but also areas such as Architecture, Creative Media, Illustration, Design), the Faculty (such as performance) and across the University (such as eHealth, robotics and Earth Sciences), as well as by PhD, post doc and researchers. The Immersive Media Lab is fundamentally interdisciplinary. It will also provide an interface with industry, allowing collaborative production and research projects.

Immersive Media Lab:

The Immersive Media Lab explores the development and application of virtual, augmented and simulated worlds. The Immersive Media Lab is equipped with: multi camera Motion Capture (Vicon) with marker and markerless data capture / a variety of Augmented Reality and Virtual Reality systems (Vive, Oculus, HoloLens 2, Magic Leap) / modeling and gaming workstations / 3m Fulldome / Pro 3D camera kit / Projection wall.

 

Maker Lab:

The Maker Lab is equipped for experimental electronics, micro-controllers/computing, robotics, 3D scanning and printing. Developed as a prototyping space to bring together elements from all the other labs to synthesize experimental elements into wearables, Internet of Things, environmental technologies, remote sensing and drones. From large scale interactive props to micro-electronics, the Maker Lab cultivates experimental and makerly practices.

Digital Fabrication Lab:

The new Digital Fabrication Laboratory enables new solutions to close the gaps between digital media and physical production processes, forcing a step change in the way we design, make and build, including: Additive Manufacturing: Fused Filament Fabrication, Stereolithrography, and Polyjet: Laser Cutting, CNC Milling, 3D Laser Scanning (objects and environments), and Robotic arms.

Immersive Vision Theatre:

The IVT is a ‘Fulldome’ architecture that houses a powerful projector fitted with a ‘fisheye‘ lens, 10.1 audio system, and customised powerful computers to wrap data, models, video and images around its inner surface. The IVT is used for a range of learning, entertainment and research activities, including transdisciplinary teaching, bleeding edge research in modelling and data visualisation.

The Market Hall:

i-DAT and the University of Plymouth are supporting the new Market Hall development in Plymouth by RIO. This unique 18 meter fulldome will be used as a venue for experimental immersive audience experiences. Inspired by the Satosphere in Montreal the Market Hall Fulldome will allow the prototypes and productions developed through the Immersive Media, Digital Fabrication and Maker Labs and the IVT to reach significant audiences.

Production Pathways:

The Immersive Media Lab incorporates immersive technologies such as virtual reality, augmented reality, immersive audio and mixed reality. It will be used to capture aspects of the real world through motion capture, scanning, data modelling and simulation and project back into the world using augmented reality, fulldome and projection mapping.

The Immersive Media Lab offers a highly flexible workflow with easy distribution of digital assets to other labs and studios. As an example, the flow of production could begin with a real-time mocap character capture into Unity 3D and out to a fulldome corrected projection mapping interactive game, with 3D models feeding into the Digital Fabrication Lab for 3D printing.

Whilst there are specific workflows between the mocap system and game engines or 3D modelers, the space, systems and pedagogic/research practice will allow users to define new experimental production processes which respond to both the technological affordances and in response to interdisciplinary insights.

Space:

The Immersive Media Lab sits at the centre of a complex and experimental series of overlapping production pathways which offers opportunities for high level research, enterprise and knowledge exchange, creative experimentation and general messing around with the future.

The space itself has been designed to be flexible to allow several parallel activities. The space may also need to be cleared to allow for specific usage, such as a projection space, mocap performance or hackathon lab. Fundamentally the Immersive Media Lab is not locked down to any single practice, discipline or user group. The technologies will need to be flexible enough to enable this approach.

The space will be used to develop new pedagogic approaches to digital design and creative practice which will go beyond any typical or traditional usage.  The student experience is central to this pedagogy and an open, experimental and playful approach will be reflected in the technologies incorporated in the Immersive Media Lab.