The project is creating and sharing innovative new personalised accessible learning tools to empower learners of all ages, languages and abilities. Results include publication of the Inclusive Learning Handbook and preparations for conference and dissemination activities to come. . .
Attendees include representatives from Dublin, Girona, Barcelona, Geneva, and Piraeus.
Following on from the successful co-direction of ISEA 2012 Education Track with Agnes Chavez, Anita and Agnes were pleased to be invited to be Guest editors of the Education track for the special edition journal.
The Education track includes submissions from Kenneth Wesson – Independent Education consultant, Linda Weintraub – Artist Curator and Author, Ariane Koek – Collide @ CERN, Nettrice R. Gaskins – Georgia Tech and a collaborative paper from Daria Tsoupikova with Helen-Nicole Kostis, Tina Shah, and Brenda Lopez Silva, members of Media Art Group.
Anita’s own submission is included in the journal – ‘The Matter of Technology – Why it Matters’ an AV presentation, introduced by ISEA 2012’s Director Andrea Polli. The submission presents the panel Anita convened at ISEA 2012, taking a closer look at the environmental impact of our relationship with technology within artistic practice.
The publication is freely available online, with a print on demand edition via Lulu publishers. Both editions can be accessed here: http://median.newmediacaucus.org/.
Dr Yurgos Politis and Dr Deveril have been hard at work on the Widening Participation and Web Accessibility agenda! As part of our ongoing Leonardo Project for the European Commission, the SMARTlab team’s main task is to develop an Accessibility Guidelines Handbook (WP2), as an online Open Educational Resource to integrate the work carried out by European and Canadian partners in the e-Access and Alternativa projects. The SMARTlab team at UCD is also assisting with the pilotting phase of a new Certified Accessible e-Training Course, including advising on educational pedagogies attached to the uses of creative technology innovation.
SMARTlab’s Anita McKeown’s chapter ‘Virtual Communitas, “Digital Place-Making,” and the Process of “Becoming”’ has been included in Professor Dew Harrison’s forthcoming title. The book brings together a variety of artistic practices in virtual spaces and the interest in variable media and online platforms for creative interplay. Presenting frameworks and examples of current practices, this book is useful for artists, theorists, curators as well as researchers working with new technologies, social media platforms and digital culture.
Dr Nalls’ article, Flashmob Robins, formed as a result of a twelve-week period of field observations of North American robins. Nalls looked at how the birds signal and communicate with one another, coordinating acts of collective behaviour to more safely access food sources and escape predators. She has been looking at similarities between animal behaviour and human behaviour, to form theories about what underlies the human collective behaviour of flash mobbing.
Dr Bruce Damer is serving as lead editor on an upcoming book for Springer, a major international scientific publisher. He was invited to create the book on computational chemistry in research on the origins of life. This subject is derived directly from his SMARTlab PhD thesis, ‘The Evogrid‘, taking the hypothesis and applying it to a synthesis of computation and chemistry. Chapter contributors will include scientists, technologists and philosophers and his co-editors are Prof. Joseph Seckbach and Prof. Richard Gordon. (more…)
Congratulations to Dr Camille Baker, whose SMARTlab PhD thesis ‘MINDtouch’ topped the ranks of all abstracts reviewed in 2011 by the Leonardo peer review panel. Camille has been invited to publish her thesis abstract in the Leonardo electronic journal (LEA) and invited to publish an article on her thesis work in the journal Leonardo (MIT Press).
Recent advances in eye-tracking technology will allow for a proliferation of new applications. Improvements in interactive methods using eye movement and gaze control could result in faster and more efficient human–computer interfaces, benefiting users with and without disabilities.
the moment I saw you I knew I could love you TOUR DATES
This is how I dream it. This is how it feels. And I am not a sailor. I cannot steer a craft. I cannot tie a reef knot. I cannot swim. But still this is how it ends. I am out here with the lost mariners, the castaways, the ship wrecked and the sea swallowed.
the moment I saw you I knew I could love you is the new performance by Leslie Hill and Helen Paris made in collaboration with film-maker Andrew Kötting, composer and sound designer Graeme Miller and performers Claudia Barton and Joseph Young. The piece is about ‘gut feelings’; fight, flight and freeze reactions; impulse, love and undefended moments. Designed for life-raft sized groups of audience members at a time, the performance is set in the belly of a whale.
The piece premiered at Chelsea Theatre, London on the 21st November and will touring nationally and internationally from March 2010.
“There are a thousand beautiful moments: my favourites include a film of a woman floating adrift at sea projected onto a tiny Sealegs packet and a harrowing story of a childhood terrorised by a sword-swallower’s accident. It’s a rich and rewarding experience being immersed in this watery world.” Total Theatre
“Film and live performance, soundscape and installation combine in this love story to offer glimpses of an endless horizon as well as intimate close-ups…. There is something immensely wistful about a piece that demonstrates that we are merely chemical compounds, and yet also shows us how to discover equilibrium.” The Guardian
the moment I saw you I knew I could love you is commissioned by Chelsea Theatre for SACRED 2009, Colchester Arts Centre and New Moves International for The National Review of Live Art 2010. It has been made with the support of a Wellcome Trust Arts Award, the National Lottery through Arts Council England, Brunel University, a residency at the Royal Shakespeare Company and the Hosking Houses Trust and collaboration with scientists at the Wingate Institute of Neurogastroenterology.