Cyberarts 2020
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Production Guide 2009/2010
Editor Sanja Ravlić, Vanja Sremac Proofreading Vanja Sremac Design Šesnić&Turković Publisher Croatian Audiovisual Centre, Zagreb, May, 2010 Printed by Kolor klinika d.o.o. Print run 300 Contents 4 Croatian Audiovisual Centre 7 Production Companies 17 Production Companies - Commercials 19 Post Production Service and Rental Companies 22 Film and Art Associations 23 Distributors 25 Exhibitors 27 National Broadcasters 28 State and Public Institutions 29 Professional Associations and Guilds 31 Film Publications 32 Authors’ Rights Collecting Societies 33 Film, Television and Theatre Schools 34 Film Festivals Essential Information about the Audiovisual Industry in Croatia The Croatian Audiovisual Centre Co-productions The Croatian Audiovisual Centre is the Gov- Croatia is a signatory to the European Con- ernement-backed strategic agency for the au- vention on Cinematographic Co-production, a diovisual sector in Croatia. It aims to stimulate member of Eurimages and a member of MEDIA. a successful, vibrant audiovisual industry as Bilateral co-production agreements include well as to promote the widest possible enjoy- Canada, France, Germany and Italy. ment and understanding of audiovisual works throughout Croatia. The Law on Audiovisual Activities is available for download on www.havc.hr (About Us) As a main audiovisual agency in Croatia, we have assumed the overall responsibility for the Distribution and Exhibition growth of Croatia’s audiovisual industry. Our Two major film distributors Blitz Film and Vid- remit ranges from supporting development, eo and Continental Film dominate Croatian production, distribution, exhibition, marketing theatrical distribution market with a market and promotion, to professional training and share of almost 90%. The cinema attendance supporting national film archive through the in 2009 has stayed at the same level as in the system of public subsidies. -
Preserving New Media Art: Re-Presenting Experience
Preserving New Media Art: Re-presenting Experience Jean Bridge Sarah Pruyn Visual Arts & Interactive Arts and Science, Theatre Studies, University of Guelph, Brock University Guelph, Canada St. Catharines, Canada [email protected] [email protected] ABSTRACT Keywords There has been considerable effort over the past 10 years to define methods for preservation, documentation and archive of new Art, performance art, relational art, interactive art, new media, art media artworks that are characterized variously as ephemeral, preservation, archive, art documentation, videogame, simulation, performative, immersive, participatory, relational, unstable or representation, experience, interaction, aliveness, virtual, technically obsolete. Much new media cultural heritage, authorship, instrumentality consisting of diverse and hybrid art forms such as installation, performance, intervention, activities and events, are accessible to 1. INTRODUCTION us as information, visual records and other relatively static This investigation has evolved from our interest in finding documents designed to meet the needs of collecting institutions documentation of artwork by artists who produce technologically and archives rather than those of artists, students and researchers mediated installations, performances, interventions, activities and who want a more affectively vital way of experiencing the artist’s events - the nature of which may be variously limited in time or creative intentions. It is therefore imperative to evolve existing duration, performance based, -
Croatian Films @ 24Th Festival of Animated Films Stuttgart Studio
Friday, May 5th, 16:00, Metropol 2 studio presentation zagreb film Zagreb film is an Academy Award winning production company, founded by the city of Zagreb in 1953. The studio’s focus is on short animated and experimental films, it aims th to preserve the archive films that won over 600 awards over focus on croatia @ 24 festival the years. Zagreb film produces, distributes and sells short films and organizes animation workshops for children and of animated films stuttgart professionals. www.zagrebfilm.hr bonobostudio Bonobostudio is a Zagreb-based company specialised in production and distribution of award-winning animated and experimental films. Founded in 2008 as a hub for creativity and innovation in experimental animation passionate about expressing the filmmakers’ visions. Films produced and distributed by Bonobostudio were screened at a number of festivals all over the world winning more than 200 awards. www.bonobostudio.hr adriatic animation Adriatic Animation is a small, authors-owned studio for short animation films based in Croatia. It has so far produced more than eight commissioned videos, two short films in co-production, and has four short films in production. The studio is also developing two commercial projects for TV distribution, one for adults and one for children. www.adriaticanimation.hr croatian films @ 24th festival of animated films stuttgart international competition panorama Tuesday, May 2th, 21:00, Gloria 1 | Wednesday, May 3rd, 11:00, Metropol 2 Wednesday, May 3rd, 23:00, Gloria 1 nighthawk ghost town Špela Čadež | Slovenia, Croatia | 2016 | 8’50’’ | cut-out Marko Dješka | Croatia | 2016 | 12’15’’ | 2D A badger lies motionless on a local road. -
Animation: Types
Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film. -
GAIN-Tokyo-Workshop-Report.Pdf
September 12th, 2018 Global AI Narratives – Tokyo Workshop 01 Table of Contents Summary ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・2 Welcome remarks ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・5 ・Dr Stephen Cave, Executive Director, CFI, University of Cambridge ・Professor Emeritus Shuji Hashimoto, Vice President, Waseda University Session 1: UK AI Narratives ・・・・・・・・・・・・・・・・・・・・・・・・・・・・ 7 ・Dr Kanta Dihal, PI ‘Global AI Narratives’ CFI, University of Cambridge ・Dr Stephen Cave, Executive Director, CFI, University of Cambridge ・Dr Sarah Dillon, University Lecturer in Literature and Film and co-PI ‘AI Narratives’ at CFI, University of Cambridge Session 2: JAPAN AI Narratives ・・・・・・・・・・・・・・・・・・・・・・・・・・9 ・Professor Toshie Takahashi, Faculty of Letters, Arts and Sciences, Waseda University ・Mr Masayoshi Sakai, visiting research fellow, GLOCOM(Center for Global Communications, International University of Japan) ・Professor Osamu Sakura, the Interfaculty Initiative in Information Studies, University of Tokyo, and RIKEN Center for Advanced Intelligence Project (AIP) ・Dr Kentaro Watanabe, Planning Offcer, Research Planning Offce for Artifcial Intelligence, Department of Information Technology and Human Factors, National Institute of Advanced Industrial Science and Technology (AIST) Session 3: KOREA AI Narratives ・・・・・・・・・・・・・・・・・・・・・・・・・ ・13 ・Professor Kyung Sin Park, Korea University Law School, Director, Open Net Korea ・Professor Chihyoung Jeon, KAIST ・Professor So-Young Kim, Head of the Graduate School of Science & Technology Policy, KAIST ・Dr Kyoungmi Oh, Seoul National University of Science and Technology Session 4: Interactive Exercise on Global AI Narratives “Cultural Differences between East and West about AI Imaginings” ・・・・・・・・ ・16 Closing Remarks ・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・・ ・20 Professor Hironori Kasahara, Waseda University, IEEE Computer Society 2018 President Speakers and Participants ・・・・・・・・・・・・・・・・・・・・・・・・・・・ ・22 September 12th, 2018 Global AI Narratives – Tokyo Workshop September 12th, 2018 Global AI Narratives – Tokyo Workshop 02 Summary Dr. Stephen Cave & Dr. -
Short Films Supports in Europe
e Un programme de l’Union européenne SHORT FILMS SUPPORTS IN EUROPE Belgium Bulgaria Croatia Denmark Estonia Finland France Germany Greece Ireland Italy Lithuania Netherlands Norway Poland Portugal Romania Spain Switzerland Published in 2013 MEDIA Desk France - 9 rue Ambroise Thomas - F-75009 Paris +33 1 47 27 12 77 - [email protected] - www.mediafrance.eu SHORT FILMS SUPPORTS IN… belgium Funding opportunities Centre du Cinéma or 50000 € for animated films. et de l’Audiovisuel (CCA) Foreign projects can be eligible if all the admissibility conditions are met. The maximum amount for those projects is 15000 €. Admissibility: independent pro- CSF (Film Selection Commis- duction company, registered in sion) – Short-length Films pro- Belgium. the whole support has duction and postproduction to be spent in Belgium. The di- GENERAL OVERVIEW support - made up of profes- rector has to be Belgian or Eu- Population: 10,9 million sionals, must issue an advice on ropean citizen (or resident in Languages: French, Dutch each admissible file submitted Belgium for 5 years). The direc- and German by the candidates. This advice tor’s nationality and country of Currency: Euro is then transmitted to the com- residence play a part in the dis- Number of theatres and petent Minister, who decides tinction between a national or a screens: 491 screens on granting or not the subsi- foreign project. (144 digital screens) / dies. For short-length films, the For foreign projects: All the 103 theatres committee meets 3 times a year. admissibility conditions above The members are spread over 2 must have been met. 30% of the Average admission colleges to examine the projects: financing has to be confirmed. -
Tina GARABEDIAN ARM Simon PROULX-SENECAL
ICE DANCE Date of birth: 13.06.1997 Tina GARABEDIAN Place of birth: Montreal CAN Height: 163 cm ARM Home town: Montreal CAN Profession: student Hobbies: swimming, music Start sk. / Club: 2002 / Armenia Internet / Social Media contact (couple): Facebook: Ice Dance Armenia.com Former Partners Alexandre Laliberte Date of birth: 06.12.1991 Simon PROULX-SENECAL Place of birth: Lasalle CAN Height: 186 cm ARM Home town: Montreal CAN Profession: student Hobbies: swimming, music, biking Start sk. / Club: 1998 / Armenia Internet / Social Media contact (couple): Facebook: Ice Dance Armenia.com Former Partners Melissandre Dumas Coach: Elise Hamel, Shawn Winter Choreographer: Former Coach: Shae Zukiwsky Practice low season: 25 h / week Montreal/CAN Practice high season: 25 h / week Montreal/CAN Music Short Program / Short Dance as of season 2016/2017 Blues Swing Music Free Skating / Free Dance as of season 2016/2017 Pearl Harbour (soundtrack) by Hans Zimmer Personal Best Total Score 139.28 07.12.2016 ISU CS Golden Spin 2016 Personal Best Score Short Dance 53.94 18.11.2016 ISU CS Warsaw Cup 2016 Personal Best Score Free Dance 87.54 07.12.2016 ISU CS Golden Spin 2016 09/10 10/11 11/12 12/13 13/14 14/15 15/16 16/17 Olympic Games World Champ. 27. European Champ. 18. 19. Four Continents World Juniors 16.(1) National Champ. 11.J(3) 11.J(3) 15.J(2) 9.J(1) / 11.S(4) 1.S(1) / 12.S(4) 1.S S=Senior; J=Junior; N=Novice International Competition Year Place Internation Competition Year Place ISU CS Ice Challenge 2015 Graz 2015 6. -
Photo Journalism, Film and Animation
Syllabus – Photo Journalism, Films and Animation Photo Journalism: Photojournalism is a particular form of journalism (the collecting, editing, and presenting of news material for publication or broadcast) that employs images in order to tell a news story. It is now usually understood to refer only to still images, but in some cases the term also refers to video used in broadcast journalism. Photojournalism is distinguished from other close branches of photography (e.g., documentary photography, social documentary photography, street photography or celebrity photography) by complying with a rigid ethical framework which demands that the work be both honest and impartial whilst telling the story in strictly journalistic terms. Photojournalists create pictures that contribute to the news media, and help communities connect with one other. Photojournalists must be well informed and knowledgeable about events happening right outside their door. They deliver news in a creative format that is not only informative, but also entertaining. Need and importance, Timeliness The images have meaning in the context of a recently published record of events. Objectivity The situation implied by the images is a fair and accurate representation of the events they depict in both content and tone. Narrative The images combine with other news elements to make facts relatable to audiences. Like a writer, a photojournalist is a reporter, but he or she must often make decisions instantly and carry photographic equipment, often while exposed to significant obstacles (e.g., physical danger, weather, crowds, physical access). subject of photo picture sources, Photojournalists are able to enjoy a working environment that gets them out from behind a desk and into the world. -
Norges Skøyteforbund Årbok 2015–2017
Norges Skøyteforbund Årbok 2015–2017 Versjon 2 – 30.05.2017 ©Norges Skøyteforbund 2017 Redaktør: Halvor Lauvstad Historikk/resultater: Svenn Erik Ødegård Trond Eng Bjørg Ellen Ringdal Tilrettelegging: Halvor Lauvstad Distribusjon: Elektronisk (PDF) Innholdsfortegnelse Norges Skøyteforbunds Årbok 2015-2017 2/150 Innkalling til ordinært ting for Norges Skøyteforbund Det innkalles herved til Forbundsting på Quality Hotel Edvard Grieg (Sandsliåsen 50, 5254 Bergen) på Sandsli like utenfor Bergen, 9. – 11. juni 2017. Tingforhandlingene starter fredag 9. juni kl. 16.30. Forslag og saker som ønskes behandlet på Skøytetinget 2017, må være begrunnet og innsendt gjennom et lag eller en krets til forbundsstyret innen 9 mai 2017. Minimumskrav for at for at saker/lovforslag skal bli behandlet ifb med NSFs Ting, er at innmeldte saker/forslag inneholder henvisninger til aktuelle lover/regler og konkrete forslag til endret tekst/ordlyd. NSFs lover er her: https://skoyte.klubb.nif.no/dokumentarkiv/Documents/NSF%20lov%20revidert%20NIFs%20lovnorm %20Mai%202017.pdf Forslag/saker sendes elektronisk til Norges Skøyteforbund på epost: [email protected] Skøytetinget 2017 avholdes i henhold til § 14, 15, 16, 17 og 18 i Norges Skøyteforbunds lov. Dagsorden 1. Tingets åpning a) Minnetaler b) Åpningstale c) Hilsningstaler 2. Konstituering a) Godkjenning av innkalling til Tinget b) Godkjenning av fullmaktene c) Godkjenning av dagsorden d) Godkjenning av forretningsorden e) Valg av: - 2 dirigenter - sekretærer - 2 tillitsvalgte til å undertegne protokollen - reisefordelingskomité - tellekorps - Valg av redaksjonskomite på 3 medlemmer 3. Beretninger 4. Regnskap Norges Skøyteforbunds Årbok 2015-2017 3/150 a) Regnskap for perioden 1.1.2015 til 31.12.2015 b) Regnskap for perioden 1.1.2016 til 31.12.2016 5. -
Genome of Phaeocystis Globosa Virus Pgv-16T Highlights the Common Ancestry of the Largest Known DNA Viruses Infecting Eukaryotes
Genome of Phaeocystis globosa virus PgV-16T highlights the common ancestry of the largest known DNA viruses infecting eukaryotes Sebastien Santinia, Sandra Jeudya, Julia Bartolia, Olivier Poirota, Magali Lescota, Chantal Abergela, Valérie Barbeb, K. Eric Wommackc, Anna A. M. Noordeloosd, Corina P. D. Brussaardd,e,1, and Jean-Michel Claveriea,f,1 aStructural and Genomic Information Laboratory, Unité Mixte de Recherche 7256, Centre National de la Recherche Scientifique, Aix-Marseille Université, 13288 Marseille Cedex 9, France; bCommissariat à l’Energie Atomique–Institut de Génomique, 91057 Evry Cedex, France; cDepartment of Plant and Soil Sciences, University of Delaware, Newark, DE 19711; dDepartment of Biological Oceanography, Royal Netherlands Institute for Sea Research, NL-1790 AB Den Burg (Texel), The Netherlands; eAquatic Microbiology, Institute for Biodiversity and Ecosystem Dynamics, University of Amsterdam, Amsterdam, The Netherlands; and fService de Santé Publique et d’Information Médicale, Hôpital de la Timone, Assistance Publique–Hôpitaux de Marseille, FR-13385 Marseille, France Edited by James L. Van Etten, University of Nebraska, Lincoln, NE, and approved May 1, 2013 (received for review February 22, 2013) Large dsDNA viruses are involved in the population control of many viruses: 730 kb and 1.28 Mb for CroV and Megavirus chilensis, globally distributed species of eukaryotic phytoplankton and have respectively. Other studies, targeting virus-specific genes [e.g., a prominent role in bloom termination. The genus Phaeocystis (Hap- DNA polymerase B (8) or capsid proteins (9)] have suggested tophyta, Prymnesiophyceae) includes several high-biomass-forming a close phylogenetic relationship between Mimivirus and several phytoplankton species, such as Phaeocystis globosa, the blooms of giant dsDNA viruses infecting various unicellular algae such as which occur mostly in the coastal zone of the North Atlantic and the Pyramimonas orientalis (Chlorophyta, Prasinophyceae), Phaeocys- North Sea. -
December 2 & 3 2020 Online
INTERNATIONAL SYMPOSIUM December 2 & 3 2020 Masaryk University, Faculty of Arts Brno, Czech Republic online Speakers: Amy Alexander Hans Bernhard Sarah Cook & Roddy Hunter Wendy Coones & Oliver Grau Jana Horáková Michal Klodner Barbora Kundračíková Alessandro Ludovico Alex McLean Organized by: PhD study programme Digital Culture and Creative Industries Team: Svatava Doubková, Jana Horáková, Ivan Koutný Contact: [email protected] INTERNATIONAL SYMPOSIUM DIGITAL CURATOR Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art 10:50–11:30 Alessandro Ludovico: Curating Media Art in Physical Spaces, Online, and on Printed Pages 11:30–13:00 Lunch break 13:00–13:40 Alex McLean: Archiving Live Code 13:50–14:30 Hans Bernhard, UBERMORGEN: The Next Biennial Should be Curated by a Machine 14:30 Symposium closing, day 1 Thursday, December 3 09:00–09:10 Symposium opening, day 2 09:10–09:50 Amy Alexander: “Always Only Once.” The Paradox of Preservation: From Expanded Cinema to Performative Algorithms 10:00–10:40 This contribution was unfortunatelly canceled. 10:50–11:30 Sarah Cook & Roddy Hunter: Networked Art Practice after Digital Preservation 11:30 - 13:20 Lunch break 13:20–14:00 CZ archives: Jana Horáková: Do neural networks dream of videoart? Media Art Live Archive for Vašulka Kitchen Brno Barbora Kundračíková: CEAD New Media Archive state funded institutions and new media storage Michal Klodner: National Film Archive Prague 14:00–15:00 Discussion 15:00 Symposium closing, day 2 Full Program Wednesday, December 2 10:00–10:10 Symposium opening, day 1 10:10–10:50 Wendy Coones & Oliver Grau: Digital Curation in a Living Archive - History and Future of the Archive of Digital Art In the past five decades, Media Art has evolved into a critical field at the intersection of art, science and technology. -
Resilience of Microbial Communities After Hydrogen Peroxide Treatment of a Eutrophic Lake to Suppress Harmful Cyanobacterial Blooms
microorganisms Article Resilience of Microbial Communities after Hydrogen Peroxide Treatment of a Eutrophic Lake to Suppress Harmful Cyanobacterial Blooms Tim Piel 1,†, Giovanni Sandrini 1,†,‡, Gerard Muyzer 1 , Corina P. D. Brussaard 1,2 , Pieter C. Slot 1, Maria J. van Herk 1, Jef Huisman 1 and Petra M. Visser 1,* 1 Department of Freshwater and Marine Ecology, Institute for Biodiversity and Ecosystem Dynamics, University of Amsterdam, 1090 GE Amsterdam, The Netherlands; [email protected] (T.P.); [email protected] (G.S.); [email protected] (G.M.); [email protected] (C.P.D.B.); [email protected] (P.C.S.); [email protected] (M.J.v.H.); [email protected] (J.H.) 2 Department of Marine Microbiology and Biogeochemistry, NIOZ Royal Netherland Institute for Sea Research, 1790 AB Den Burg, The Netherlands * Correspondence: [email protected]; Tel.: +31-20-5257073 † These authors have contributed equally to this work. ‡ Current address: Department of Technology & Sources, Evides Water Company, 3006 AL Rotterdam, The Netherlands. Abstract: Applying low concentrations of hydrogen peroxide (H2O2) to lakes is an emerging method to mitigate harmful cyanobacterial blooms. While cyanobacteria are very sensitive to H2O2, little Citation: Piel, T.; Sandrini, G.; is known about the impacts of these H2O2 treatments on other members of the microbial com- Muyzer, G.; Brussaard, C.P.D.; Slot, munity. In this study, we investigated changes in microbial community composition during two P.C.; van Herk, M.J.; Huisman, J.; −1 lake treatments with low H2O2 concentrations (target: 2.5 mg L ) and in two series of controlled Visser, P.M.