Epidemic Menace is a pervasive crossmedia game. Crossmedia games focus on a wide variety of gaming devices including traditional media channels, game consoles as well as mobile and pervasive computing technology to allow for a broad variety of game experiences. The overall goal of the game is to prevent the virus from escaping the campus, to clear the campus from the virus instances, create an antivirus to save Prof. Ivy Miller and to find out what happened on the campus. The winner is the team that that leads the high score list.
The game consists of two competing teams and each team holds a minimum of 5 players. Each team receives at the beginning of the game: 5 smart phones (one for each player); 1 Palmpilot; 1 AR system; 5 special online accounts (one for each player). Players can change devices or play modes anytime and can play on their own if they wish but have clear advantages through collaboration.
Game Space: The game is played in a physical and a virtual game space and teams have to play in both spaces in order to extinguish the virus. The virtual game space will be a model of the physical game space and game appearance and game mechanics will be adapted in the physical and the virtual game space. For example, the virus appears differently in both spaces.
In the physical world the virus may appear as: Spatialized sound, 2D Map, based display of viruses in proximity, Overlaid 3D graphics on AR devices, And in the virtual world the virus may appear as: Sound, Animated 2D and 3D graphics.
Storyline: The Dean of the Schloss Birlinghoven medical research laboratory Prof. Dr. Wolfgang Mathiessen has been working on a epidemic prevention program called EEPA (European Epidemic Prevention Association) for ...
Call for soundart
deadline 30 June 2006
is invited to launch its 4th edition
in the framework of the Cologne based soundart event
KlangDrang Festival www.klangdrang.org
6-7 October 2006 and be part of the interactive media exhibition
by [R][R][F]2006--->XP - http://rrf2006.newmediafest.org
on the same occasion.
--->Call for submissions
Deadline 30 June 2006
is looking for soundart works of
a) experimental character
b) electronic music
c) Voice -sound/music integration
d) and other forms
Theme : "Memoryscapes"
based on the subjects: ---> "memory" and "identity"
The submission has to be posted on a webpage for download,
please do not send it as an email attachement.
Submission format: .mp3
Size: Max 5MB, exceptions possible, but on request.
The authors/artists keep all rights on their submitted works.
Deadline 30 June 2006
Please use this form for submitting:
1.name of artist, email address, URL
2. short biography/CV (not more than 300 words)
3. works (maximum 3), year of production, running time
a) URL for download
4. short statement for each work
(not more than 300 words each)
The submitter declares and confirms
that he/she is holding all author's rights
and gives permission to include the submitted work
in "Soundlab" online environment until revoke.
Signed by (submitter)
Please send the complete submission to
subject: Soundlab edition IV
Deadline 30 June 2006
This call can be also found on
editions I - III of SoundLab -
can be found on
SoundLab Channel/Memory Channel 7-->at
http://rrf2006.newmediafest.org via the artistic body
or separately also ...
We Don't Need Event Divas!!
Event organizing. Over the past year many experiments with conferencing formats took place. They were aimed at escaping the same old predicaments. People are fed up with the orthodoxy of traditional, hierarchical proceedings of keynote speakers, panels, and unconcentrated topical orientation! There is the soporific style of delivering a 30-page paper to an audience that could have read this text online beforehand. Paperism! There is the work-shy re-inscription of yet the same players of the virtual intelligentsia over and over again! Peeps and masters! Why look at proposals of the "young nothings" if we can have trophy names to pull people into the touristy event spectacle? The big names are all that matters, never mind if it is just another check off on someone's resume.
Issue 9: Dossier: Artistic Production and Collecting
ARTECONTEXTO, art culture and new media is a magazine about the art of today that is intended to stimulate discussion and theoretical analysis of artistic practices in the international context. It pays particular attention to new media and net.art. ARTECONTEXTO is a bridge connecting Europe and Latin America.
The profound changes that the world of art is undergoing call for new approaches. Artistic practices are now affected by formulas coming from other fields which call for greater complexity in their analysis and new and different tools of understanding. ARTECONTEXTO takes up and reflects this complexity and constitutes a new critical space in progress.
Issue 9: Dossier: Artistic Production and Collecting--+ Intervention in Space: Dan Perjovschi + Antoni Muntadas + John Baldessari + Ignasi Aballì + Austria in ARCO 06 + Entrevistas + Cybercontext + Info + Books + Reviews.
ARTECONTEXTO is a quarterly publication in Spanish and English. 156 pages in colour. Distributed around the world in specialised bookstores. Publisher and Managing Editor: Alicia Murría; Subscribe before 15th February at a 10% discount.
The Grammar of Technologies for Cooperation
New Course by Trebor Scholz
Department of Media Study
The State University of New York at Buffalo
This course introduces the history, realities and potentials of collaborative technologies. The particular focus is on the field of culture. Debates about online collaboration and social networking often do not go beyond the management rhetoric of business. Effectiveness and group dynamics are they key issues in streamlining corporate group work. The Grammar of Technologies for Collaboration investigates historical perspectives on tools for collaboration and traces their influence on communication.
A recent study of The Pew Internet & American Life Project reports that 51 million Americans of all ages (and 57% of all US teenagers) have contributed content online. They wrote blog entries, book reviews, uploaded mp3s and video, or podcasts. The average European Internet user spends 10 hours 15 minutes a week online. Artists use this huge participatory potential to create input-driven projects. But often web-based rooms are opened and nobody comes to party. What are the needed incentives for people to participate? Video makers use video blogs to create an offline audience for their tapes. Artists use blogs as portfolios, for day-to-day reflection, and as platforms for their work as public intellectuals. Art activist groups further their political agendas. Artists form social networks to create sustaining venues for their work and contexts for their ideas. Inexpensive social networking tools create new publics for cultural producers. A culture of widespread free sharing emerges along with the development of social software tools. Media theorists argue that a creative cooperative proficiency is the key skill for the next decade. After successful completion of this course you will have a deeper practical, historical, theoretical, and political understanding of contemporary media spheres.
We will read, discuss ...