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FRANK HONG 146 FINCH AVE E, TORONTO, ON, CANADA M2N 4R7 [email protected] 1-905-467-7771 Online Portfolio: http://artbyfrankhong.com Skills & Expertise Concept Design, Illustration, Matte-Painting, Set Extension, Character Design, Zbrush modelling. Education Bachelor of Animation Program, Sheridan College, Toronto, Ontario 2011 Employment Illustrator, Defiance(2013 TV). Toronto, ON. CANADA 2013 Art Department. Season 01 and Season 02. Matte-Painter, Rocket Science VFX. Toronto, ON. CANADA 2013 The Mortal Instrument (2013), Copper(TV Series), Hannibal, Hatfield and McCoy Matte-Painter, Pixomondo. Toronto, ON. CANADA 2013 Oblivion (2013). Illustrator, RoboCop. Toronto, ON. CANADA 2012 RoboCop (2013) José Padilha, Art Department. Illustrator, Still Seas. Toronto, ON. CANADA 2011 Pacific Rim (2013) (Guillermo del Toro) Background Artist, Titmouse Inc / Disney. Hollywood, CA. United States 2011 Motorcity(Animated TV Sieres). http://www.titmouse.net/ Concept Artist, Silicon Knights Inc. St.Catherines, ON. 2011 X-Men Destiny, and Unannounced title. Freelance Artist, Radical Publishing. Los Angeles, California, United States 2011 Unannounced Project [email protected] Freelance Artist, Legendary Pictures. Burbank, California, United States 2011 Godzilla (2012) Freelance Artist, BigHugeGames / 38Studios / EA. 2010 KINGDOMS OF AMALUR: RECKONING Freelance Artist, Fantasy Flight Games. MN, United States. 2010 Freelance Artist, Reloaded Studios. Korea. 2010 Matte-painter, Project 2813. Toronto, ON. 2010 Matte-painter, Phantom VFX. London, UK. 2010 Freelance Artist, Volta. Quebec, QC, 2009-2010 Canada Freelance Artist, EDGE OF REALITY Ltd. Austin, TX, 2009-2012 United States Freelance Artist, ArtByFrankHong, 5 years experience, based in Toronto, Canada 2008-2013 2D Animation Instructor, Toronto District School Board, Toronto, Ontario, Canada 2007 Feature & Publication Featured Artist, EXOTIQUE 6. 2010 www.ballisticpublishing.com Featured Artist, Excellence Award, EXPOSE 8. 2010 www.ballisticpublishing.com Invited Workshop Professional, 2Dartist Magazine (Feb, Mar, April, August issue) 2010 Invited Workshop Professional, Imagine FX - 56th issue, Magazine 2010 www.imaginefx.com Featured Artist, SciFi Art Now, Art book 2010 ILEX Books (www.ilex-press.com) Featured Artist, Art Squared - Digital Painters 2 2010 www.artsquared.co.uk Featured Artist, Imagine FX - 48th issue, Magazine 2009 www.imaginefx.com Featured Artist, Imaginary Friends Studio, The Pepper Project, Art book 2009 www.imaginaryfs.com Awards & Achievements Excellence Award, EXPOSE 8. 2010 3DTotal Excellent Award www.3dtotal.com 2010 CGHUB Gold Award Recipient/Master Artist - CGHUB.com (2009) Online Art Community 2009 Adobe Design Achievement Award, New York 2008 Filmmaker , Animator , Toronto International Film Festival Group – Sprockets, Toronto, Ontario , Canada Jump Cuts Young Filmmaker Showcase Finalist 2007 Artist and Graphic Designer, M3F digital art festival (National), Toronto, Ontario , Canada Silver Awarded in Animation and Desktop Publishing. 2007 Languages English and Mandarin Personal interests Motorsports, gaming, movies, arts and visual effects..

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Alkim Almila Akdag Salah
:: [email protected] :: +90 5326584255 :: SEHIR UNIVERSITY, DRAGOS/ISTANBUL TURKEY ALKIM ALMILA AKDAG SALAH PERSONAL INFORMATION Family name, First name: Alkim Almila, Akdag Salah Researcher unique identifier(s): H-7418-2012 (ResearcherID) Date of birth: 28.08.1975 Email: [email protected] Web: https://www.researchgate.net/profile/Alkim_Akdag_Salah; Nationality: Turkish EDUCATION University of California, Los Angeles, California Ph.D. Art History, September 2008 Thesis: ‘Discontents of Computer Art: A Discourse Analysis on the Intersection of Arts, Sciences and Technology’ Istanbul Technical University, Istanbul, Turkey M.A. Art History, June 2001 Thesis: ‘A Semiotic Evaluation of Flacons’ Istanbul Technical University, Istanbul, Turkey B.A. Industrial Product Design, June 1998 St. Georg Austrian High School, Istanbul, Turkey September 1986 – June 1994. RELATED EXPERIENCE Department of Social Informatics, Nagoya University, Nagoya, Japan Visiting Scholar, 2017-2018. College of Communications, Istanbul Sehir University, Istanbul, Turkey Assoc. Prof, 2016 - today e-Humanities Group, KNAW, Amsterdam, the Netherlands Associate Researcher, 2014 – 2016. Computer Science, Bogazici University, Istanbul, Turkey Adjunct Faculty, 2014 - today New Media Studies, University of Amsterdam, the Netherlands Postdoctoral Researcher and Lecturer, 2011-2014. Visual Communication and Design, Sabanci University, Istanbul, Turkey Visiting Scholar, 2011-2013. Virtual Knowledge Studio, KNAW, Amsterdam, the Netherlands Postdoctoral Researcher for
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Submission 80988
artstall TORONTO Submission 80988 executive summary ArtStall Toronto is a unique creative place-making project that provides durable, accessible standardized public toilets that are also aesthetically pleasing, decorated in collaboration with local artists to enhance the character of Toronto’s streets, while addressing perceived problems with both public art and public toilets. On a recent CBC broadcast, a pundit argued that Toronto needs a “Percent for Public Toilets” program 10% ADMIN more than one collecting a “Percent for Public 80% Art.” He complained that the city is awash with sculpture and suggested that Toronto should instead CAPITAL spend developer’s contributions for streetscape 10% improvements on tackling the city’s glaring lack of MAINTENANCE public toilets. But why can’t we combine the two? Toronto’s Percent for Public Art policy encourages both stand-alone artistic works and the artistic treatment of functional civic infrastructure. PERCENT FOR PUBLIC ART PROGRAM 10% ADMIN 65% MAINTENANCE Enter ArtStall Toronto. This program would use 25% ENDOWMENT percent for public art funds to address Toronto’s CAPITAL ongoing lack of public washroom facilities, improving Subway access to the city for residents and tourists. By Streetcar Route applying locally-designed artistic skins to the exteriors of the “Portland Loo” – a recently developed Intersection Pedestrian Volume (Persons) public toilet winning praise for its indestructibility, 7862-10000 ease of maintenance and low cost – Toronto can take 10000-15000 a step toward creating more inclusive, beautiful and dignified streets. 15000-20000 PERCENT FOR 20000-24677 Both public art and public toilets can be controversial. However, merging the two might actually help to ARTSTALL address concerns with both.
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Quantifying the Development of User-Generated Art During 2001–2010
RESEARCH ARTICLE Quantifying the development of user- generated art during 2001±2010 Mehrdad Yazdani1*, Jay Chow2, Lev Manovich3* 1 California Institute for Telecommunications and Information Technology's Qualcomm Institute, University of California San Diego, San Diego, California, United States of America, 2 Katana, San Diego, California, United States of America, 3 Computer Science, The Graduate Center at the City University of New York, New York, United States of America * [email protected] (MY); [email protected] (LM) a1111111111 a1111111111 a1111111111 a1111111111 Abstract a1111111111 One of the main questions in the humanities is how cultures and artistic expressions change over time. While a number of researchers have used quantitative computational methods to study historical changes in literature, music, and cinema, our paper offers the first quantitative analysis of historical changes in visual art created by users of a social online OPEN ACCESS network. We propose a number of computational methods for the analysis of temporal Citation: Yazdani M, Chow J, Manovich L (2017) development of art images. We then apply these methods to a sample of 270,000 artworks Quantifying the development of user-generated art created between 2001 and 2010 by users of the largest social network for artÐDeviantArt during 2001±2010. PLoS ONE 12(8): e0175350. https://doi.org/10.1371/journal.pone.0175350 (www.deviantart.com). We investigate changes in subjects, techniques, sizes, proportions and also selected visual characteristics of images. Because these artworks are classified by Editor: Kewei Chen, Banner Alzheimer's Institute, UNITED STATES their creators into two general categoriesÐTraditional Art and Digital ArtÐwe are also able to investigate if the use of digital tools has had a significant effect on the content and form of Received: June 1, 2016 artworks.
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Letter from Brian J. Winterfeldt to ICANN Community Evaluation Panel
2900 K Street NW North Tower - Suite 200 Washington, DC 20007-5118 202.625.3500 tel 202.298.7570 fax www.kattenlaw.com.. BRIAN J. WINTERFELDT [email protected] March 6, 2014 (202) 625-3562 direct (202) 339-8244 fax ICANN Community Evaluation Panel Re: Comment Opposing Dadotart’s Community-based new gTLD Application for .ART Dear ICANN Community Evaluation Panel: We write on behalf of Aremi Group S.A. (“Aremi”) in opposition to the community basis of the .ART community-based new gTLD application by Dadotart, Inc. (“Dadotart”). See New gTLD Application Submitted to ICANN by Dadotart, Inc. (June 13, 2012) (“Application”). Based on our close analysis of the Application, Applicant Guidebook (“AGB”) criteria, and Community Priority Evaluation (“CPE”) Guidelines, we have concluded that Dadotart has not submitted a qualified community application, and should not prevail in the community priority evaluation. Introduction The CPE scoring process is conceived to prevent both “false positives” (awarding undue priority to an application that refers to a “community” merely to get a sought-after generic word as a gTLD string) and “false negatives” (not awarding priority to a qualified community application). AGB 4.2.3 at p. 4-9. As one of ten applicants for the string, Dadotart has submitted a community-based application for the highly sought after generic word “art.” For the reasons described below, Dadotart is not eligible for the 14 points necessary to prevail in a community priority evaluation. This confirms Dadotart has not submitted a qualified community application, and it should not prevail in the community priority evaluation.
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What's So Deviant About Deviantart
Spontaneous Wanderers in the Digital Metropolis: A Case Study of the New Literacy Practices of Youth Artists Learning on a Social Media Platform. by Brian Jones A Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Approved July 2012 by the Graduate Supervisory Committee: Mary Stokrocki, Chair Barbara Guzzetti Bernard Young ARIZONA STATE UNIVERSITY December 2012 ABSTRACT This qualitative case study of 12, eighteen to twenty-four-year-olds from seven countries provided insight into the learning practices on an art-centered, social media platform. The study addressed two guiding questions; (a) what art related skills, knowledge, and dispositions do community members acquire using a social media platform? (b), What new literacy practices, e.g., the use of new technologies and an ethos of participation, collective intelligence, collaboration, dispersion of abundant resources, and sharing (Knobel & Lankshear, 2007), do members use in acquiring of art-related skills, concepts, knowledge, and dispositions? Data included interviews, online documents, artwork, screen capture of online content, threaded online discussions, and a questionnaire. Drawing on theory and research from both new literacies and art education, the study identified five practices related to learning in the visual arts: (a) practicing as professional artists; (b) engaging in discovery based search strategies for viewing and collecting member produced content; (c) learning by observational strategies; (d) giving constructive criticism and feedback; (e) making learning resources. The study presents suggestions for teachers interested in empowering instruction with new social media technologies. i DEDICATION To Pop. & Toffee I ache into the absence . ii ACKNOWLEDGMENTS I must thank those who's love and understanding sustained me throughout this journey.
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Entertainment and the Rise of Digital Media in the LA Basin
ENTERTAINMENT AND THE RISE OF DIGITAL MEDIA IN THE LOS ANGELES BASIN An Industry Disrupted January 2018 CCW | 1 Contributions Authors Shannon M Sedgwick Lori Sanchez Senior Economist Director LAEDC Center of Excellence for Labor Market Research Tyler Laferriere Funded by the California Research Analyst Juan Madrigal Community Colleges, LAEDC Assistant Director Chancellor’s Office under Center of Excellence for the Strong Workforce Eric Hayes Labor Market Research Program (SWP) Los Angeles Research Analyst Regional Project under grant LAEDC agreement DO-17-2185-02 awarded to Citrus College, Additional Research Assistance: as the lead college for SWP Round 1. Wendy Disch & Sheri-Anne Vaughans LAEDC Interns Additional Contributions We thank the following for additional contributions made to this report: Wallace Walrod Ph.D. Alma Salazar, Ed.D. Adrian McDonald Chief Economic Advisor Senior Vice President Research Analyst Orange County Business Center for Education FilmLA Council Excellence & Talent Development Scott Porter Lauren McSherry Los Angeles Area Chamber and his team at Writing and Editing of Commerce Ernst & Young CCW | 2 CENTER FOR A COMPETITIVE WORKFORCE Center for a Competitive Workforce, a regional Strong Workforce project, is a partnership of 19 L.A. Region community colleges in the L.A.|O.C. Regional Consortium, LAEDC, Los Angeles Area Chamber of Commerce, and the Center of Excellence for Labor Market Research at Mt. San Antonio College. The Center’s mission is to better align supply and demand data with labor market information, support industry-driven career education and workforce development programs, and strengthen industry engagement across our region’s talent development systems with the goal to train, educate and upskill a more competitive workforce in the LA Basin for the knowledge- intensive industries that will come to dominate our economic future.
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Dissertation Mining Software Artefact Variants for Product Line Migration
PhD-FSTC-2016-48 EDITE de Paris Faculté des Sciences, de la École doctorale Informatique, Technologie et de la Communication Télécommunications et Électronique (Paris) Dissertation Defense held on the 18th October 2016 in Luxembourg to obtain the degree of Docteur de l'Université du Luxembourg en Informatique and Docteur de l'Université Pierre et Marie Curie Spécialité: Informatique by Jabier Martinez Born on 11th March 1984 in Barakaldo, Basque Country (Spain) Mining Software Artefact Variants for Product Line Migration and Analysis Dissertation Defense Committee Dr. Jacques Klein, chairman Université du Luxembourg, Luxembourg Dr. Pascal Poizat, vice-chairman Professor, Université Paris Ouest Nanterre La Défense et UPMC, Paris, France Dr. Jean-Marc Jézéquel, member Professor, Institut de Recherche en Informatique et Systèmes Aléatoires (IRISA), Rennes, France Dr. Klaus Schmid, member Professor, University of Hildesheim, Department of Computer Science, Hildesheim, Germany Dr. Yves Le Traon, supervisor Professor, Université du Luxembourg, Luxembourg Dr. Mikal Ziane, co-supervisor Maître de conférences HDR, Université Paris Descartes et UPMC, Paris, France Dr. Tewk Ziadi, expert, co-supervisor Université Pierre and Marie Curie, Paris, France THESE DE DOCTORAT DE L’UNIVERSITÉ PIERRE ET MARIE CURIE et L’UNIVERSITÉ DU LUXEMBOURG Spécialité Informatique EDITE de Paris École doctorale Informatique, Télécommunications et Électronique (Paris) Présentée par M. Jabier Martinez Pour obtenir le grade de DOCTEUR de l’UNIVERSITÉ PIERRE ET MARIE CURIE et DOCTEUR de l’UNIVERSITÉ DU LUXEMBOURG Sujet de la thèse : Exploration des variantes d'artefacts logiciels pour une analyse et une migration vers des lignes de produits soutenue le 18 Octobre 2016 devant le jury composé de : Dr.
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HAL HEFNER MARKETING EXECUTIVE CONTENT STRATEGIST • CREATIVE DIRECTOR • ARTIST 5004 Coolidge Ave
HAL HEFNER MARKETING EXECUTIVE CONTENT STRATEGIST • CREATIVE DIRECTOR • ARTIST 5004 Coolidge Ave. : Culver City, CA 90230 : 213-713-1219 : [email protected] About: Hal Hefner is a Creative Director/Strategist who has developed marketing strategies and content for brands, studios and advertising agencies. Specializing in the entertainment industry, Hal's ideas are brought to fruition through award winning art, design and writing that spans the gamut of content creation including videos, web series, short films, comic books, animation, and a plethora of other digital marketing experiences and their coinciding social media campaigns. In addition to creating the ideas and strategies that form the foundation of these campaigns, Hal carefully builds his teams for the very specific needs that each project presents. Hal's most recent work includes content creation for Amazon’s, Man in the High Castle Season 2 in which he developed a Resistance Radio Station as a companion to the show for Campfire, NYC, which was nominated for an emmy and won three bronze Lions and two silver Lions at the Cannes Film Festival. As the Creative Director for DeviantArt, Hal became an expert at building community through highly engaging content. He created several advertising campaigns, art contests and more for a variety of studios, gaming companies and tech products. At DeviantArt Hal partnered with Blizzard to launch their highly successful game Overwatch. In addition he created engaging campaign for Universal Studios and M Night Shyamalan for the movie SPLIT. Prior to DeviantArt Hal was creating content strategy for Ridley Scott's marketing company 3AM, where he consulted on the development of brand partnerships, marketing strategies, content development, design and storyboard creation for the films, the Martian, Morgan, Concussion, War for the Planet of the Apes and Tim Burton's, Miss Peregrine's Home for Peculiar Children, RoosterTeeth’s Lazer Team and more.
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Remix Dialectics and the Material Conditions of Immaterial Art Olivier
Remix Dialectics and the Material Conditions of Immaterial Art Olivier Sorrentino A Thesis In the Humanities Program Presented in Partial Fulfillment of the Requirements For the Degree of Doctor of Philosophy (Humanities) at Concordia University Montreal, Quebec, Canada April, 2017 © Olivier Sorrentino, 2017 CONCORDIA UNIVERSITY SCHOOL OF GRADUATE STUDIES This is to certify that the thesis prepared By: Olivier Sorrentino Entitled: Remix Dialectics and the Material Conditions of Immaterial Art and submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Humanities) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the ﬁnal examining committee: Chair Dr. David Pariser External Examiner Dr. Christine Ross External to Program Dr. Owen Chapman Examiner Dr. Rosanna Maule Examiner Dr. Norma Rantisi Thesis Supervisor Prof. Trevor Gould Approved by Chair of Department of Graduate Program Director Dean of Faculty Abstract Remix Dialectics and the Material Conditions of Immaterial Art Olivier Sorrentino, Ph.D. Concordia University, 2017 Remix Dialectics and the Material Conditions of Immaterial Art proposes the art of remixing as both a dialectical approach and creative tool for understanding immaterial art, and by extension, the immaterial economy. Artworks defined as ‘immaterial’ are not limited to digital domains, but instead describe objects that reduce their concrete presence to incorporate more communicative means of artistic expression. A work’s inherent concepts and narrative anecdotes, the status of its author, its provenance from known collections as much as its process of fabrication and links to a particular history or geographic location, all contribute to its value as immaterial art.
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Deviantart Welcomes This Opportunity to Submit Comments in the Above Referenced Request for Comment
November 13, 2013 Department of Commerce United States Patent and Trademark Office National Telecommunications and Information Administration 1401 Constitution Ave NW, WasHington, D.C., DC 20230 Re: Request for Comments on Department of Commerce Green Paper: CopyrigHt Policy, Creativity, and Innovation in tHe Digital Economy [Docket No. 130927852-3852-01] DeviantART welcomes tHis opportunity to submit comments in tHe above referenced Request for Comment. We sHare tHe Department’s concern wHetHer “tHe creation of remiXes is being unacceptably impeded” by tHe uncertainties found in copyright law.1 FurtHermore, we are concerned by tHe Green Paper’s concept of “a digital copyright hub”2 and its practicality particularly as applied to visual art. We are therefore pleased to see THe Department of Commerce requesting comments on tHese topics. In tHis comment, we will (1) intoduce deviantART and its role in tHe visual art world [Pages 2-5] (2) provide a short context for our concerns [Pages 5-9], (3) discuss tHe impact and value of remiXes as defined by tHe Green Paper and as applied to visual works as well as how the current state of copyright law, particularly fair use, creates uncertainty for visual artists [Pages 9-22], (4) discuss the practical difficulties of a “digital copyright hub” and centralized licensing [Pages 23-32], and (5) offer our conclusion [Pages 32-33]. If we Have one aim witH our comments, it is to ask tHe Department of Commerce or otHer government 1 Green Paper at 29. 2 Green Paper at 98. deviantART’s comment on Department of Commerce Green Paper 1 departments to tHe study of evolving social norms in tHe re-use and repurposing of content in the digital space.
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The Jewish Psychiatric Hospital, Zofiowka, in Otwock, Poland
See discussions, stats, and author profiles for this publication at: http://www.researchgate.net/publication/272518954 The Jewish psychiatric hospital, Zofiowka, in Otwock, Poland ARTICLE in HISTORY OF PSYCHIATRY · MARCH 2015 Impact Factor: 0.26 · DOI: 10.1177/0957154X14542570 · Source: PubMed READS 30 1 AUTHOR: Mary V. Seeman University of Toronto 414 PUBLICATIONS 4,298 CITATIONS SEE PROFILE Available from: Mary V. Seeman Retrieved on: 01 October 2015 HPY0010.1177/0957154X14542570History of PsychiatrySeeman 542570research-article2014 Article History of Psychiatry 1 –7 The Jewish psychiatric hospital, © The Author(s) 2014 Reprints and permissions: Zofiówka, in Otwock, Poland sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/0957154X14542570 hpy.sagepub.com Mary V Seeman University of Toronto Abstract The T4 euthanasia programme within Nazi Germany has been well researched, but much less is known about the extermination of psychiatric patients in Nazi-occupied territories during the same period. In Poland 20,000 mentally ill patients were deliberately killed during the German occupation. This paper traces the history of one psychiatric hospital, Zofiówka, in Otwock, south-east of Warsaw. The hospital once served the Jewish population of Poland and was the largest, most prestigious neuropsychiatric centre in the country. It is now in ruins and said to be haunted by ghosts. Keywords Jews, massacre, Nazism, Poland, psychiatry, 20th century Introduction The mere scent of the woods of Otwock, Poland, with their abundance of oaks, firs, juniper bushes and pine trees, was in itself enough to cure patients suffering from mental illness (Jellenta, 1935: 58; Załęczny, 2011: 403). The climate of Otwock, it used to be said, was more therapeutic than any medication (Jellenta, 1935: 56–60).
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Deviantart and the Production of the Web by Daniel Perkel
Making Art, Creating Infrastructure: deviantART and the Production of the Web by Daniel Perkel A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Information Management and Systems and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Nancy Van House, Chair Professor Paul Duguid Professor Jenna Burrell Professor Laura Sterponi Fall 2011 Making Art, Creating Infrastructure: deviantART and the Production of the Web © 2011, All Rights Reserved Daniel Perkel Abstract Making Art, Creating Infrastructure: deviantART and the Production of the Web by Daniel Perkel Doctor of Philosophy in Information Management and Systems and the Designated Emphasis in New Media University of California, Berkeley Professor Nancy Van House, Chair The development and widespread use of Internet technologies and platforms that are grouped under the labels “Web 2.0” and “social media” have led to celebratory accounts of their potential as tools to unleash human creativity. A “creativity consensus” has emerged that describes a vision of creative production via these new platforms as universal, democratic, communal, non-commercial, and revolutionary. The avant-garde of Web 2.0 creativity are said to be young, web-savvy media makers: a new generation that has embraced new technology and is upending old notions of creativity and related cultural practices. This dissertation challenges these views through an ethnographic investigation of deviantART, the self-described “world’s largest online art community.” The dissertation demonstrates how conflicting ideals of art, creativity, and the web, when put into practice, shaped the site as ideological and technical infrastructure for creative practice and the formation of members’ creative identities.
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