DOCSLIB.ORG

Nightlife Empowerment and Well-Being Implementation Project (NEWIP)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Nightlife Empowerment and Well-Being Implementation Project (NEWIP) Nightlife Empowerment and Well-being Implementation Project (NEWIP) Prof. L. Gamberini, PhD University of Padova, Italy www.safernightlife.org This action was funded from the European Commission, Public Health Programme (2008–2013), year 2011-2013 Who Consortium Members: ABD Energy Control (SP), APDES (PT), Modus Vivendi (BE); Stichting Jellinek (NL); Suchtzentrum Leipzig Drug Scouts (DE), Techno Plus (FR), University of Padova (IT), Verein Wiener Sozialprojekte CHEcK iT! (AT) Participating Countries: 21 Duration: January 2011 – December 2013 Main Goal To reduce synthetic drug-related harm among European youth • Integrating innovative health promotion actions within recreational settings • Developing community/network empowerment including local authorities, NGOs and nightlife professionals • Adapting responses to partygoers' mobility and cultures • Extending responses in terms of geographic coverage Target • Target group : young partygoers (16-30 years old), synthetic drug users and potential drug users, particularly tourist partygoers and new member states partygoers. Field Operators: peers, volunteers, outreach workers. Nightlife professionals: club owners and club staff and festival organizers. Local and regional authorities • Coverage : Europe • Intervention categories : Prevention & Harm Reduction, Health and well being promotion, Community building, Social Communication Specific objectives 1 - To improve field work interventions: improving and standardizing existing interventions reducing synthetic drugs related harm, facilitating their transferability and implementation. 2 - To develop innovative responses adapted to youth cultures: developing new prevention strategies through the use of interactive technology tools and emerging media. 3 - To adapt responses to partygoers mobility: increasing HR behaviors among tourist partygoers, improving the capacity to respond to crisis situations. Specific objectives 4- To develop community empowerment: improving health settings and reducing harm through community empowerment among European night clubs and events, implementing "Party+" labels within EU Cities and Regions and involving big summer festivals organizers in HR responses. 5- To implement new projects and to enlarge the network: initiating and supporting emerging projects reducing synthetic drugs related harm in nightlife settings. 6- To improve the rapidity and quality of field responses in relation with new trends, new substances and adulterants. TRAINING ICT BASED INTERVENTION INTERVENTION IN LARGE EVENTS QUALITY LABEL NETWORK TEDI TEDI’s Database • 16.449 samples from 5 different groups working in the field with Drug Checking • 458 different substances inside TEDI’s database • 210 synthetic drugs inside • 60 NPS detected were new for TEDI members during these 3 years of project 3 TEDI trend reports (TTR) until now: 1st TTR: July 2012 2nd TTR: January 2013 3rd TTR: August 2013 GOOD PRACTICE STANDARDS Analyze existing quality standards and guidelines for prevention and harm reduction CHOOSE EDPQS AS ‘FRAMEWORK’ Meetings with experts working on safer nightlife interventions PE: Send online survey to EU peer projects SECOND DRAFT Consensus building by organizing brainstormsessions and expert group discussions Online survey of existing interventions on implementation and feasibility THE PROJECT CYCLE European Drug Prevention Quality Standards FINAL STANDARDS RESULTS, MAIN OUTPUT RESULTS & IMPACT Results achieved/ Main outputs • NETWORK 90 collaborating partners integrate the NEWIP network. A new large EU network NEW-Net has been created and is today (after the end of the project) actively working. • INTERVENTION Intervention in 8 big events: “Fusion” Festival (Germany); “Transylvania Calling” Rave (Romania); “Boom” Festival (Portugal); “Outlook” Festival (Croatia); “Dimensions” (Croatia); S.U.N. Festival (Hungary); TEKNIVAL (Romania), Rimini “Notte Rosa” (Italy). • REACHING TARGET NEWIP has directly reached 43.913 partygoers. • SAFER PARTY LABEL 207 nightclubs with a safer party label implemented, from 69 cities and 15 European countries. 23 new label processes were initiated with the support of the PartyPlus WP and 7.771.733 partygoers benefit each year from health services provided in the PartyPlus associated clubs. Results achieved/ Main outputs • ICT FOR SOCIAL INTERVENTION Multiplayers and multilanguage serious game “WHAT THE DOPE” developed, tested and adopted with success in the intervention. Bluetooth based “proximity social marketing” and other form of mobile transmission of psychological feedback to support behavioural changes have been scientifically explored. Social Networks (e.g. Facebook) have been also adopted for community building and to promote follow-up actions investigating the long term effects of ICT based intervention. ICT very well supported evidence based interventions, introducing updated scientific methods and permitting easier scalability. • TRAINING 4 training actions (Italy, Hungary, Poland, Romania) opening 136 training places from peers of 23 different European projects. Results achieved/ Main outputs • DRUGS TESTING 12639 tests were introduced in the TEDI database. There are 458 new substances in the database (210 synthetic drugs were detected as well as 18 new adulterants). The TEDI has made 6 contributions to the early warning system. 3 Drug trend reports have been released in 25 different countries, 5 of which are new member states • STANDARDS 4 good practice standards were produced: Peer Education Interventions in Nightlife Settings; Drug Checking; Safer Nightlife Labels and Charters; Serious Games in Nightlife Settings • CONFERENCE “NIGHTS: Health, Pleasure and Communities” created and hosted at the University of Padua. A 170 pages ISBN Proceeding book with 60 works from 130 authors has been published. About 180 people participated to the conference Outcomes assessment • 74% of partygoers reached by the NEWIP intervention declare having changed their behaviors positively. (e.g. using HR materials) • Investigations about VIDEOGAME levels of “acceptance”, “credibility”, “efficacy to support behaviors changes, “stimulating motivated learning” showed the high value of the introduction of ICT as tool to support social intervention in nightlife scenarios; results are highlighted by several peer-reviewed scientific papers . Note: follow-up investigations and parts of evaluation process is still ongoing Outcomes assessment • 92% of the staff trained by the Party Plus associated labels state that they have improved their skills to respond to health related crisis. 78% of club owners interviewed believes that the staff training has improved their staff skills to respond to health related crisis. • There are positive examples of community empowerment and building: Party plus network and the NewNet (new EU based networks created inside the project) are the main examples. Note: follow-up investigations and parts of evaluation process is still ongoing Gap identified • The intervention in party settings is still incipient in most european countries particularly in new member states. Health inequalities have been noticed in terms of lack or absence of HR and prevention interventions. • Need for more specific responses targetting «party tourism» and «intercultural phenomena» • More investment in emerging media technologies • Inclusion of early warning information in HR materials • Extend the Drug Checking services coverage • More peer inclusion The way forward • NEW-Net community/network building • NIGHTS 2014 conference (will be host in Paris NOVEMBER 22-23rd) • Continue networking and collaboration within the EU Civil Society Forum on Drugs • NEW future projects… THANKS for your attention [email protected] .
Load more

Recommended publications
  • French Underground Raves of the Nineties. Aesthetic Politics of Affect and Autonomy Jean-Christophe Sevin
    French underground raves of the nineties. Aesthetic politics of affect and autonomy Jean-Christophe Sevin To cite this version: Jean-Christophe Sevin. French underground raves of the nineties. Aesthetic politics of affect and autonomy. Political Aesthetics: Culture, Critique and the Everyday, Arundhati Virmani, pp.71-86, 2016, 978-0-415-72884-3. halshs-01954321 HAL Id: halshs-01954321 https://halshs.archives-ouvertes.fr/halshs-01954321 Submitted on 13 Dec 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. French underground raves of the 1990s. Aesthetic politics of affect and autonomy Jean-Christophe Sevin FRENCH UNDERGROUND RAVES OF THE 1990S. AESTHETIC POLITICS OF AFFECT AND AUTONOMY In Arundhati Virmani (ed.), Political Aesthetics: Culture, Critique and the Everyday, London, Routledge, 2016, p.71-86. The emergence of techno music – commonly used in France as electronic dance music – in the early 1990s is inseparable from rave parties as a form of spatiotemporal deployment. It signifies that the live diffusion via a sound system powerful enough to diffuse not only its volume but also its sound frequencies spectrum, including infrabass, is an integral part of the techno experience. In other words listening on domestic equipment is not a sufficient condition to experience this music.
    [Show full text]
  • Phylogenetic Reconstruction of the Cultural Evolution of Electronic Music Via Dynamic Community Detection (1975–1999)
    Phylogenetic reconstruction of the cultural evolution of electronic music via dynamic community detection (1975{1999) Mason Youngblooda,b,1, Karim Baraghithc, and Patrick E. Savaged a Department of Psychology, The Graduate Center, City University of New York, New York, NY, USA bDepartment of Biology, Queens College, City University of New York, Flushing, NY, USA cDepartment of Philosophy, DCLPS, Heinrich-Heine University, D¨usseldorf,NRW, Germany dFaculty of Environment and Information Studies, Keio University SFC, Fujisawa, Japan [email protected] Abstract Cultural phylogenies, or \trees" of culture, are typically built using methods from biology that use similarities and differences in artifacts to infer the historical relationships between the populations that produced them. While these methods have yielded important insights, particularly in linguistics, researchers continue to debate the extent to which cultural phylogenies are tree-like or reticulated due to high levels of horizontal transmission. In this study, we propose a novel method for phylogenetic reconstruction using dynamic community detection that explicitly accounts for transmission between lineages. We used data from 1,498,483 collaborative relationships between electronic music artists to construct a cultural phylogeny based on observed population structure. The results suggest that, although the phylogeny is fun- damentally tree-like, horizontal transmission is common and populations never become fully isolated from one another. In addition, we found evidence that electronic music diversity has increased between 1975 and 1999. The method used in this study is available as a new R package called DynCommPhylo. Future studies should apply this method to other cultural systems such as academic publishing and film, as well as biological systems where high resolution reproductive data is available, to assess how levels of reticulation in evolution vary across domains.
    [Show full text]
  • Neotrance and the Psychedelic Festival DC
    Neotrance and the Psychedelic Festival GRAHAM ST JOHN UNIVERSITY OF REGINA, UNIVERSITY OF QUEENSLAND Abstract !is article explores the religio-spiritual characteristics of psytrance (psychedelic trance), attending speci"cally to the characteristics of what I call neotrance apparent within the contemporary trance event, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ultimate concerns” within the festival framework. An exploration of the psychedelic festival offers insights on ecstatic (self- transcendent), performative (self-expressive) and re!exive (conscious alternative) trajectories within psytrance music culture. I address this dynamic with reference to Portugal’s Boom Festival. Keywords psytrance, neotrance, psychedelic festival, trance states, religion, new spirituality, liminality, neotribe Figure 1: Main Floor, Boom Festival 2008, Portugal – Photo by jakob kolar www.jacomedia.net As electronic dance music cultures (EDMCs) flourish in the global present, their relig- ious and/or spiritual character have become common subjects of exploration for scholars of religion, music and culture.1 This article addresses the religio-spiritual Dancecult: Journal of Electronic Dance Music Culture 1(1) 2009, 35-64 + Dancecult ISSN 1947-5403 ©2009 Dancecult http://www.dancecult.net/ DC Journal of Electronic Dance Music Culture – DOI 10.12801/1947-5403.2009.01.01.03 + D DC –C 36 Dancecult: Journal of Electronic Dance Music Culture • vol 1 no 1 characteristics of psytrance (psychedelic trance), attending specifically to the charac- teristics of the contemporary trance event which I call neotrance, the countercultural inheritance of the “tribal” psytrance festival, and the dramatizing of participants’ “ul- timate concerns” within the framework of the “visionary” music festival.
    [Show full text]
  • Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Dancecult Bibliography: Books, Articles, Theses, Lectures, and Films About Electronic Dance Music Cultures Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/408 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] archive.today Saved from http://www.dancecult.net/bibliography.php search 3 Sep 2013 05:47:40 UTC webpage capture history All snapshots from host www.dancecult.net Linked from en.wikipedia.org » Talk:Trance (music genre)/Archive 1 Webpage Screenshot share download .zip report error or abuse Electronic dance music cultures bibliography Help expand this bibliography by submitting new references to dancecult! Complete list [sort by document type] [printable] [new entries] Abreu, Carolina. 2005. Raves: encontros e disputas. M.A. Thesis (Anthropology), University of São Paulo. [view online] Albiez, Sean and Pattie, David (eds.). 2010. Kraftwerk: Music Non Stop. New York / London: Continuum. [view online] Albiez, Sean. 2003. "'Strands of the Future: France and the birth of electronica'." Volume! 2003(2), 99-114. Albiez, Sean. 2003. "Sounds of Future Past: from Neu! to Numan." In Pop Sounds: Klangtexturen in der Pop- und Rockmusik, edited by Phleps, Thomas & von Appen, Ralf. Bielefeld: Transcript Verlag, 129-152. Albiez, Sean. 2005. "Post Soul Futurama: African American cultural politics and early Detroit Techno." European Journal of American Culture 24(2), 131-152.
    [Show full text]
  • Proceedings of the Fourth International Conference on Live
    4th International Conference on Live Interfaces Inspiration, Performance, Emancipation ICLI 2018 4th International Conference on Live Interfaces Inspiration, Performance, Emancipation Dates 14-16 June 2018 Location Casa da Música & Passos Manuel, Porto, Portugal Website www.liveinterfaces.org Edited by José Alberto Gomes Miguel Carvalhais Rui Penha Design Michelle Martins ISBN 978-989-746-170-5 Published by Universidade do Porto Praça Gomes Teixeira 4099-002 Porto Portugal Contents 11 Foreword Keynotes 14 Rajele Jain From the Natyashastra 16 Andrew McPherson Comparative Musical Instrument Design Papers 19 Vincent Goudard Gestural Ergonomics of Visual Interfaces: The MP.TUI Library for Max 27 Raul Masu, Nuno N. Correia Penguin: Design of a Screen Score Interactive System 34 Raffaella Folgieri, Maria Elide Vanutelli, Paola Maria Sala, Ludovico Dei Cas, Dario Dei Cas, Claudio Lucchiari The Creative Mind: DRACLE Further Development 45 Henrique Portovedo, Paulo Ferreira-Lopes, Ricardo Mendes HASGS: The Repertoire as an Approach to Prototype Augmentation 52 Tiago Ângelo, Rui Penha, José Alberto Gomes, Pedro Rebelo Actuated Musical Instruments: a State of the Art 62 Visda Goudarzi, Enrique 151 Koichi Samuels, Hadi Bastani Tomás, Artemi-Maria Gioti Digital Media, Live Interfaces Collaborative Design Methods and Inclusion: ethnographic towards Evaluation of perspectives a Tangible Interface 160 Jung In Jung 71 Alex McLean, Dave Griffiths, Bridging Abstract Sound and Dance Ellen Harlizius-Klück Ideas with Technology: Interactive Digital Art: A Long
    [Show full text]
  • Exploring the Drugs-Crime Connection Within the Electronic Dance Music and Hip-Hop Nightclub Scenes
    The author(s) shown below used Federal funds provided by the U.S. Department of Justice and prepared the following final report: Document Title: Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Author(s): Tammy L. Anderson, Ph.D. ; Philip R. Kavanaugh ; Ronet Bachman ; Lana D. Harrison Document No.: 219381 Date Received: August 2007 Award Number: 2004-IJ-CX-0040 This report has not been published by the U.S. Department of Justice. To provide better customer service, NCJRS has made this Federally- funded grant final report available electronically in addition to traditional paper copies. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. This document is a research report submitted to the U.S. Department of Justice. This report has not been published by the Department. Opinions or points of view expressed are those of the author(s) and do not necessarily reflect the official position or policies of the U.S. Department of Justice. Exploring the Drugs-Crime Connection within the Electronic Dance Music and Hip-Hop Nightclub Scenes Final Report to the National Institute of Justice Grant # 2004-IJ-CX-0040 April 30, 2007 Tammy L. Anderson, Ph.D. Principal Investigator Philip R. Kavanaugh Ronet Bachman Lana D. Harrison Department of Sociology and Criminal Justice University of Delaware 322 Smith Hall Newark, DE 19716 We would like to thank all of the study participants for their effort, candor and cooperation.
    [Show full text]
  • Mediated Shame of Class and Poverty Across Europe
    Mediated Shame of Class and Poverty Across Europe “As the wealth gap increases to grotesque proportions and more and more people plunge into economic desperation around the world, this timely collection rightly returns the spotlight to class relations in Europe three decades after the end of socialism had dimmed it. It offers an eye-opening tour of how shame has been mobilized in a range of European media to stigmatize the poor and legitimize the very world order that runs on creating poverty.” —Aniko Imre, Professor of Cinematic Arts, University of Southern California, USA “Poverty is frst and foremost about being deprived of essential material resources. But it is also cultural: about being excluded from many of society’s demands and being blamed for your own impoverishment. The media play a major part in con- structing the demonology and in popularising the imagery of blaming the victim that exacerbate poverty, and this book gathers chilling evidence of the various forms this takes in differing European countries. An essential and troubling read.” —Peter Golding, Northumbria University, UK Irena Reifová • Martin Hájek Editors Mediated Shame of Class and Poverty Across Europe Editors Irena Reifová Martin Hájek Faculty of Social Sciences Faculty of Social Sciences Department of Media Studies Department of Sociology Institute of Communication Studies Institute of Sociological Studies and Journalism Charles University Charles University Prague, Czech Republic Prague, Czech Republic ISBN 978-3-030-73542-5 ISBN 978-3-030-73543-2 (eBook) https://doi.org/10.1007/978-3-030-73543-2 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2021 This work is subject to copyright.
    [Show full text]
  • Music Education Through Popular Music Festivals: a Study of the OM Music Festival in Ontario, Canada
    Action, Criticism & Theory for Music Education The refereed scholarly journal of the Volume 4, No. 2 September 2005 Thomas A. Regelski, Editor Wayne Bowman, Associate Editor Darryl A. Coan, Publishing Editor Electronic Article Music Education Through Popular Music Festivals A study of the OM Music Festival in Ontario, Canada Karen Snell © Karen Snell 2005 All rights reserved. The content of this article is the sole responsibility of the author. The ACT Journal, the MayDay Group, and their agents are not liable for any legal actions that may arise involving the article's content, including but not limited to, copyright infringement. ISSN 1545-4517 This article is part of an issue of our online journal: ACT Journal http://act.maydaygroup.org See the MayDay Group website at: http://www.maydaygroup.org Action, Criticism & Theory for Music Education Electronic Article Page 2 of 35 ______________________________________________________________________________________ Music Education Through Popular Music Festivals A Study of the OM Music Festival in Ontario, Canada Karen Snell: University of Western Ontario, Canada Introduction Most people think of the teaching and learning of music as taking place in formal, institutional contexts like schools and universities. This study will look at the transmission of music teaching and learning that takes place in a more informal, musical 1 environment, namely at a popular music festival. In particular, it will discuss the OM music festival, which has taken place for the last six years in northern Ontario, Canada. Through in-depth interviews with four people, individual musical experiences are explored. These individuals’ recollections help to demonstrate that there are unique forms of the teaching and learning of musics from a variety of cultures and genres that take place at the OM festival.
    [Show full text]
  • Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum
    Rogue Two Reflections on the Creative and Technological Development of the Audiovisual Duo—The Rebel Scum Feature Article Ryan Ross Smith and Shawn Lawson Monash University (Australia) / Rensselaer Polytechnic Institute (US) Abstract This paper examines the development of the audiovisual duo Obi-Wan Codenobi and The Wookie (authors Shawn Lawson and Ryan Ross Smith respectively). The authors trace a now four-year trajectory of technological and artistic development, while highlighting the impact that a more recent physical displacement has had on the creative and collaborative aspects of the project. We seek to reflect upon the creative and technological journey through our collaboration, including Lawson’s development of The Force, an OpenGL shader-based live-coding environment for generative visuals, while illuminating our experiences with, and takeaways from, live coding in practice and performance, EDM in general and algorave culture specifically. Keywords: live coding; collaboration; EDM; audiovisual; Star Wars Ryan Ross Smith is a composer, performer and educator based in Melbourne, Australia. Smith has performed and had his music performed in North America, Iceland, Denmark, Australia and the UK, and has presented his work and research at conferences including NIME, ISEA, ICLI, ICLC, SMF and TENOR. Smith is also known for his work with Animated Notation, and his Ph.D. research website is archived at animatednotation.com. He is a Lecturer in composition and creative music technology at Monash University in Melbourne, Australia. Email: ryanrosssmith [@] gmail [.] com . Web: <http://www.ryanrosssmith.com/> Shawn Lawson is a visual media artist creating the computational sublime. As Obi-Wan Codenobi, he live-codes, real-time computer graphics with his software: The Force & The Dark Side.
    [Show full text]
  • The DIY Careers of Techno and Drum 'N' Bass Djs in Vienna
    Seasoned Exodus The Exile Mosaic of Psyculture Feature Article Graham St John University of Queensland (Australia) Abstract Psychedelic trance music and culture (psyculture) is explored as a culture of exodus rooted in the seasonal dance party culture evolving in Goa, India, over the 1970s/1980s, and revealing a heterogeneous exile sensibility shaping Goa trance and psyculture from the 1990s/2000s. That is, diverse transgressive and transcendent expatriations would shape the music and aesthetics of Goa/psytrance. Thus, resisting circumscription under singular heuristic formulas, Goa trance and its progeny are shown to be internally diverse. This freak mosaic was seasoned by expatriates and bohemians in exile from many countries, experienced in world cosmopolitan conurbations, with the seasonal DJ-led trance dance culture of Goa absorbing innovations in EDM productions, performance and aesthetics throughout the 1980s before the Goa sound and subsequent festival culture emerged in the mid-1990s. Rooted in an experimental freak community host to the conscious realisation and ecstatic abandonment of the self, psyculture is heir to this diverse exile experience. Keywords: Goa trance, psytrance, psyculture, exodus, cultural exile, counterculture, festival Graham St John is an Honorary Research Fellow at the Centre for Critical and Cultural Studies at the University of Queensland. His book forthcoming with Equinox in 2012 is Global Tribe: Spirituality, Technology and Psytrance. Other recent books include Technomad: Global Raving Countercultures
    [Show full text]
  • Free Parties and Teknivals: Gift-Exchange and Participation
    University of Birmingham Free parties et teknivals Garcia, Luis-Manuel; Petiau, Anne DOI: 10.12801/1947-5403.2014.06.02.01 License: Creative Commons: Attribution-NonCommercial-ShareAlike (CC BY-NC-SA) Document Version Publisher's PDF, also known as Version of record Citation for published version (Harvard): Petiau, A 2015, 'Free parties et teknivals: Dans les marges du marche et de l’etat, systeme de don et participation', Dancecult, vol. 7, no. 1, pp. 116-128. https://doi.org/10.12801/1947-5403.2014.06.02.01 Link to publication on Research at Birmingham portal Publisher Rights Statement: © 2008–13 Dancecult This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License. General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document.
    [Show full text]
  • Tech As Art: Supporting Artists Who Use Technology As a Creative
    TECH AS ART Supporting Artists Who Use Technology as a Creative Medium FRONT COVER: 1. Daniel Suominen in 16 [R]evolutions by Troika Ranch. Photo by Richard Termine, full photo page 20 1 2. Refik Anadol,Machine Hallucination. Photo courtesy of Refik Anadol Studio, full photo page 88 4 3. Stephanie Dinkins, Not the Only One. Image courtesy of Stephanie Dinkins, full photo page 92 2 6 4. Paisley Smith and Lawrence Paul Yuxweluptun, Unceded Territories. Photo courtesy of the artists, full photo page 20 5 8 5. Darcy Neal. Photo courtesy of Darcy Neal, full photo page 93 6. Sondra Perry, Young Women Sitting and Standing And Talking and Stuff (No, No, 3 7 No). Photo by Sondra Perry, courtesy of the artist and Bridget Donahue, NYC, full photo page 20 7. ELEVENPLAY×Rhizomatiks Research×Kyle McDonald, discrete figures. Photo by Suguru Saito, full photo page 24 8. Design I/O, Connected Worlds. Photo courtesy of David Handschuh, full photo page 89 TECH AS ART Supporting Artists Who Use Technology as a Creative Medium Based on a field scan by the National Endowment for the Arts in collaboration with the Knight Foundation and the Ford Foundation June 2021 National Endowment for the Arts 400 7th Street, SW Washington, DC 20506 arts.gov Produced by the National Endowment for the Arts’ Office of Research & Analysis in collaboration with the Media Arts Division Sunil Iyengar, Director, Research & Analysis Patricia Moore Shaffer, Deputy Director, Research & Analysis Patricia Germann, Research Administrative Officer Jax Deluca, Media Arts Director Sarah Burford, Media Arts Specialist Avril Claytor, Media Arts Specialist Don Ball, Editor Kelli Rogowski, Designer Research Team Members Sarah Lutman, Principal, 8 Bridges Workshop Jessica Fiala, Research Associate, 8 Bridges Workshop Patricia Johnson, Associate, 8 Bridges Workshop Greta Rudolph, Associate, 8 Bridges Workshop Jessica Clark, Principal, Dot Connector Studio Katie Donnelly, Co-Founder, Dot Connector Studio Michelle Polyak, Assistant Director, Dot Connector Studio Supported by Ford Foundation John S.
    [Show full text]