Thursday, November 4, 2010 (All day) - Saturday, November 6, 2010 (All day)
Leading academics, professionals and artists will gather at Emily Carr University of Art and Design for the International Digital Media and Art Association’s 8th annual conference to explore how digital media and art is informing, challenging and reinventing our notions of narrative structures and storytelling. The conference will include pre-conference workshops, keynote and plenary presentations, panels, networking, discussions, social events as well as opportunities to explore Emily Carr’s Intersections Digital Studios and Center for Social Media.
Call for Papers: The eighth annual International Digital Media and Arts Association Conference seeks abstracts (500 words maximum) for presentation and/or discussion about innovations and challenges pushing the edge of digital media and art, particularly as they relate to narrative. All abstracts will be refereed for acceptance and should:
Report on the results of creative or research projects that explore new areas of media design, media tools or media education
Follow Chicago Manual of Style documentary note formatting conventions
Not have been submitted for publication elsewhere
Submission guidelines
1. Submit your abstract online (https://www.uu.edu/forms/conferences/idmaa10/callforpapers.cfm) as a word document by August 30, 2010. All authors participating in the conference will have their abstract posted as is in the online conference proceedings. Abstracts must be formatted according to Chicago Manual of Style.
2. Authors will be notified via email of acceptance by approximately September 15, 2010.
3. Authors should confirm attendance by October 1.
4. To be reviewed for possible publication in The Journal of the International Digital Media and Arts Association conference proceedings, accepted papers must be sent to .(JavaScript must be enabled to view this email address) in their final form (as a word document using your last name in the filename) by November 1.
The conference will take place at Emily Carr University of Art + Design from November 6 to 10, 2010. For further information, please visit SANART.
Have a clear and definable (usually in one sentence) purpose for getting in front of people and taking up their time. Why are you giving this talk? What do you hope to accomplish? Are you educating or entertaining? (The secret is that you’re doing both - always.)
You don’t have to be the absolute know-it-all when presenting on a given topic. However, you should have something to say about that topic. Come at it from a new point-of-view. Give simple and practical advice. Pose a question even if you don’t have the answer. What is it you’re saying about your subject?
The moment you get in front of a group of people is often the moment your mind goes blank. Having a simple sentence in mind when you stand up is a good way to start strong. What’s the first thing you’ll say when you get up there? Is it interesting?
Everything you present should support your purpose. If you are selling something then show the reasons why someone should buy. If you are educating people, discuss the facts. Edit out anything that doesn’t somehow support the subject of your talk. Ask yourself, “Does this bit of information support my purpose?”
There is no better way to feel confident about an upcoming talk than to prepare for it. Preparing means that you learn as much as you can about your subject. Know your purpose and keep it in mind. Outline the things you want to talk about. Don’t worry about giving a perfect presentation, worry about getting your message across. Ask yourself, “Am I prepared enough?”
Deliver the presentation naturally. That is, just do it. If you try to emulate someone else’s presentation style you’ll most often come across as if you are faking it. Just be yourself. Acting naturally is what creates your own unique presentation style. Ask yourself, “Would I normally present something this way?”
Look at people. Talk to them as if you were sitting across the table from them. Forget that you are at the podium, on a stage, or in front of a room. This will help enable you to connect with your audience. Why are you afraid to look at people?
Slow down. Everyone gets a rush when they’re being watched by a room full of people. Rather than let that energy turn into speed, turn it into passion. Remember to breathe. Breathing brings oxygen into your system and reminds you that you’re still alive and that everything is okay. What will happen if you rush?
Nobody likes watching a presenter suffer. Even if something bad happens you can own it (by addressing it and laughing at yourself) and move on. Ask yourself, “What’s the worst that can happen?” Then see #10.
In lieu of imaging the audience in their underwear, keep this girl in mind. If she can survive that during an American Idol audition, we can all survive giving a talk. How did she get through? She owned it, laughed and let the judges laugh as well.
ELISABETH BIONDI (Moderator)
PANELIST – LAUREN GREENFIELD, GILLIAN LAUB, JEFF JACOBSON & ROB HORNSTRA
Thursday, May 13th at 11am in St. Ann’s Warehouse, 38 Water Street, Brooklyn, NY(DUMBO)
FREE TO THE PUBLIC (ONLY 400 SEATS, FIRST COME FIRST SERVED)
“New Directions in Storytelling” – Panel discussion, moderated by Elisabeth Biondi (Visual Editor, New Yorker) and featuring Gillian Laub, Lauren Greenfield, Rob Hornstra and Jeff Jacobson
Moderated by Elisabeth Biondi, “New Directions in Storytelling” shall endeavor to explore how visual artists are adapting to the rapid changes in media platforms and distribution.
Elisabeth Biondi (Moderator) - Elisabeth Biondi joined the staff of The New Yorker in 1996, shortly after photography was introduced to the magazine and as it began to play a more prominent editorial role. As visuals editor she has helped shape the look of the publication by establishing a group of staff photographers, commissioning both masters and emerging talent, and utilizing portrait, fine art and documentary photography. She continues to build the magazine’s reputation for its use of photography, which is much acclaimed and has received numerous awards.Elisabeth Biondi started working with photography when GEO Magazine, often described as a more contemporary and controversial version of National Geographic, made its appearance on the American market. Although the magazine won many awards for its photography and design, it ultimately ceased publication in 1984.Subsequently, she moved to Vanity Fair, which soon began to grow into the highly successful magazine it is today. As director of photography, she focused on lively, witty portraiture – an important contribution to the increased success of the publication.After seven years at Vanity Fair, Elisabeth Biondi returned to Germany to work for Stern, one of Germany’s largest news weeklies. As head of the photography department, she explored the fast-paced world of news and reportage photography, and worked with photographers around the world. After five years, she returned to New York, where she has since worked as visuals editor of The New Yorker.
Gillian Laub – Gillian Laub is a photographer born in Chappaqua New York. She graduated from the University of Wisconsin-Madison with a degree in comparative literature before studying photography at the International Center of Photography, New York. She was selected for the World Press Photo’s Joop Swart Masterclass in 2003 and as the winner of Nikon’s Storyteller Award for her work in the Middle East. With the support of the Jerome Foundation, Laub’s first monograph Testimony was published by Aperture in 2007 to critical acclaim. This body of work is comprised of portraits and testimonies from Israeli Jews, Israeli Arabs, and Palestinians all directly and indirectly affected by the complicated geopolitical context in which they live. 2007 Laub was awarded Aperture’s Emerging Artist. She contributes regularly to The New York Times Magazine among many other publications and commissions. Her work is widely exhibited and collected.
Lauren Greenfield – Acclaimed photographer Lauren Greenfield is considered a preeminent chronicler of youth culture as a result of her groundbreaking projects Girl Culture and Fast Forward. Her photographs have been widely exhibited and are in many museum collections across the US.
Greenfield’s first feature-length documentary film, THIN, aired on HBO, and is accompanied by a book of the same name. In this unflinching and incisive study, Greenfield embarks on an emotional journey through a residential facility dedicated to the treatment of eating disorders. The feature-length documentary premiered at the Sundance Film Festival and was nominated for an Emmy for Outstanding Direction. It won the Grierson Award at the London Film Festival and prizes at the Independent Film Festival of Boston, the Newport International Film Festival, and the Jackson Hole Film Festival. The Thin Book was honored by the 2007 International Photography Awards and the Photo District News Annual.
Her last film project, an original short film entitled kids + money (trailer), premiered at the AFI Film Festival where it won the Shorts Audience Award. The film went on to screen at the Sundance Film Festival and also won awards at the Ann Arbor Film Festival and at the Hugo Television Awards. It has also screened at more than 40 other festivals throughout 2008. The film is a conversation with young people from diverse Los Angeles communities about the role of money in their lives.
Greenfield graduated from Harvard and started her career as an intern for National Geographic. Since then, her photographs have been regularly published in the New York Times Magazine, Time, ELLE, and American Photo and have won many awards, including the International Center for Photography Infinity Award, the Hasselblad Grant, the Community Awareness Award and the Moscow Biennial People’s Choice Award.
Rob Hornstra – Rob Hornstra (1975) is a documentary photographer. Since he graduated he has worked predominantly on long-term projects, both at home and on the other side of the world. His work is characterised by a stylised rawness, with a large dose of intrinsic engagement. He has published three books on his own (101 Billionaires, Roots of the Rúntur, Communism & Cowgirls) which, despite increasing print runs, sell out ever faster. He has been commissioned by international magazines to produce documentary series. He has also taken part in numerous (solo) exhibitions in the Netherlands and abroad. In addition to his own work as a documentary maker.
Rob is based in the Netherlands.
Jeff Jacobson – Jeff Jacobson was born in Des Moines, Iowa, in 1946. He graduated from the University of Oklahoma in 1968, and from Georgetown University Law Center in Washington, D.C., in 1971. While practicing as an ACLU lawyer in the American South in the early 70’s, Jeff became interested in photography, shooting in southern jails and rural areas. After completing a workshop at Apeiron with Charles Harbutt, in 1974, Jacobson quit his law practice to devote full energies to photography.
In 1976, Jeff began working in color while photographing the American presidential campaign. It was during this personal project that he began experimenting with strobe and long exposures, a now familiar technique that he pioneered. Jacobson joined Magnum Photos in 1978, and in 1981 he left Magnum and helped found Archive Pictures. He continued his color explorations in the United States throughout the 80’s which culminated in the publication of his monograph, My Fellow Americans, by the University of New Mexico Press. Jeff does assignments for magazines, such as The New York Times Magazine, Fortune, Time, Geo, Stern, Life and many others.
Jacobson’s photographs are in the permanent collections of The Whitney Museum of American Art in New York, The San Francisco Museum of Modern Art, The Houston Museum of Fine Art, George Eastman House in Rochester, NY, The Center For Creative Photography, Tucson, Az., The Joy of Giving Society in New York, and have been exhibited at George Eastman House in Rochester, N.Y., The Walker Arts Center, Minneapolis, Minnesota, The International Center of Photography, New York, The Jewish Museum, New York, High Museum of Art, Atlanta, Ga., Museo Rufino Tamayo, Mexico City, The Armand Hammer Museum in Los Angeles, Carla Sozzani Gallery in Milan, Italy, The Kircaldy Museum in Scotland, Museum of The Jewish Diaspora in Tel Aviv, Newhouse Center for Contemporary Art, Staten Island, NY, Smithsonian Institution, Washington, D.C., Nexus Gallery, Atlanta, Georgia, The Toledo Museum of Art, Toledo, Ohio, Carnegie-Mellon University Art Gallery, Pittsburg, Pa., The Jersey City Museum, Jersey City, NJ. Ackland Art Museum, Chapel Hill, NC, Spencer Museum of Art, Lawrence, Kansas, Laguna Gloria Art Museum, Austin, Texas and at photography festivals in Charlottesville, Virginia, Pingyao, China, Perpignan, France, Coimbra, Portugal, and Eindover, The Netherlands. Jeff teaches workshops regularly at ICP in New York, and has also taught or lectured at The Tuscany Photo Workshop, in Buonconvento, Italy, The Anderson Ranch, in Aspen Colorado, Centro de la Imagen, in Mexico City, The Center for Photography at Woodstock, NY, and The Julia Dean Workshops, in Los Angeles. He has been awarded grants from the National Endowment For The Arts, and The New York Foundation For The Arts.
In 1990, Jeff moved to Los Angeles and began a series of pictures which were published in his book, Melting Point, by Nazraeli Press, Autumn, ’06. An exhibition of Melting Point was at the Peer Gallery, in New York City, Nov. ’06 – January ’07, Cedro 26 Gallery, in Rome, Italy, April, 2008, and the Festival Of The Photograph, Charlottesville, Va., June, 2008. Jeff now lives with his wife, Marnie Andrews, in Mt Tremper, a Catskills hamlet about two hours north of New York. In 2010, Jeff joined the Institute For Artist Management.
Songs have a structure. There are conventions in songs. Songs have an aesthetic. Songs are one of the most popular ways in which humans experience and create music. However, a song is only part of something larger that is music.
Music encompasses many sound producing phenomena. Music is made up of sounds. Music may or may not have a designed aesthetic. Music can be made by a train, by a bird or by a running river. Music exists in nature without humans, but it is humans who label this phenomena as music. Humans identify music as music.
Stories have structure. There are conventions in stories. Stories have an aesthetic. Stories are one of the most popular ways in which humans experience and create narrative. However, a story is only part of something larger that is narrative.
Narrative encompasses many story producing phenomena. Narrative is made up of actions and events. Narrative can be created by a train or a bird, or a tree, or the weather. Narrative exists in nature without humans, but it is humans who label this phenomena as narrative. Humans identify narrative as narrative.
AAAI 2010 Fall Symposium on Computational Models of Narrative
November 11-13, 2010, Arlington, Virginia
Submissions Due: Friday, May 14, 2010
Narratives are ubiquitous. We use them to educate, communicate, convince, explain, and entertain. As far as we know, every society has narratives, which suggests they are deeply rooted and serve an important cognitive function: that narratives do something for us. It is clear that, to fully explain human intelligence, beliefs, and behaviors, we will have to understand and explain narrative.
Topics
Despite a revival of interest in the computational understanding of narrative, there is still great uncertainty regarding fundamental questions. What does narrative do for us? What exactly is narrative? What representations are required to model narrative? This symposium will address fundamental topics and questions regarding the computational modeling and scientific understanding of narrative. Immediate technological applications, while not discouraged, are not required. Questions include:
* What makes narrative different from a list of events or facts? What is special about the discourse that makes something a narrative, rather than something else?
* What is the relationship between narrative and common sense? Does understanding narrative first require we understand common sense reasoning?
* How are narratives indexed and retrieved? Is there a “universal” scheme for encoding narratives?
* What impact does the purpose, function, and genre of a narrative have on its form and content?
* Are there systematic differences in the formal properties of narratives from different cultures?
* What comprises the set of possible narrative arcs? Is there such a set? Is there a recipe for generating narratives?
* What are the appropriate representations for the computational modeling of narrative? What representations underlie the extraction of narrative schemas from experience?
* How can we evaluate computational models of narrative?
The symposium will bring together researchers with a wide variety of perspectives to share what is known about the fundamentals of the computational modeling of narrative and to explore the forefront of that knowledge. We seek participation from as wide a variety of approaches as possible, including not only AI researchers and technologists, but also psychologists, cognitive scientists, linguists, philosophers, narrative theorists, anthropologists, educators, storytellers, and neuroscientists.
Submissions
Interested parties should send either a full paper (8 pages maximum) or a position paper (2 pages maximum) as a AAAI-formatted PDF to .(JavaScript must be enabled to view this email address). Accepted papers will be published in the proceedings of the symposium, which will be released as a AAAI Symposium technical report. For detailed formatting instructions, see the AAAI website http://www.aaai.org/Publications/Author/author.php
Organizing Committee
* Mark Finlayson (Massachusetts Institute of Technology, CSAIL)
* Pablo Gervas (Universidad Complutense de Madrid)
* Erik Mueller (IBM)
* Srini Narayanan (ICSI and University of California at Berkeley)
* Patrick Winston (Massachusetts Institute of Technology, CSAIL)
For More Information
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Web: http://narrative.csail.mit.edu/fs10
Email: .(JavaScript must be enabled to view this email address)
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