Fallout Boys and Cannon Girls
Workshops for young people aged 13 - 16.

Plymouth Arts Center, Saturday’s 27 September, 4 October & 11 October 11am - 4pm.
Free

Join artist and writer Mark Greenwood, working in association with i-DAT and Plymouth Arts Centre, for three days of creativity linked to the exhibition Kings Island by Tom Dale. During these workshops participants will be using writing, sculpture and objects, as Mark leads an investigation into local myths, monuments and celebrities. The resulting work that will be exhibited during the Plymouth Respect Festival on i-DAT’s 10m x 5m low resolution ‘Urban Screen’.

Advanced booking is essential and you can book for one or both workshops.
Contact Plymouth Arts Centre on: 01752 206 114 or info@plymouthartscentre.org

Artist’s Statement:
Mark Greenwood is a performance artist/ writer originally from Newcastle but now based in Plymouth. He has presented work across the U.K, Europe and the United States over the last ten years. Utilising indefinite durational practice as an art form, Greenwood’s interests lie in writing as a socio-physiological practice and the interrelations between gender, memory, cultural location and identity. Parallel to the generation of poetic texts through experimental procedures that seek to subvert and resist the structures of hegemonic discourse, Greenwood incorporates the ideology of gambling and chance in his current work.

As well as collaborating with London artist Liam Yeates through the medium of film and video, Mark regularly curates the Red Ape Language Project at Plymouth Arts Centre and contributes writing for a number of on-line art journals including AN Interface, Writing from Live Art and Total Theatre. He recently completed an MA in Performance Writing at Dartington College of Arts and is currently researching a doctorate in Fine Art at Kingston University in London.

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March 25th-28th 2008. The 3rd European workshop and conference in immersive cinema will be held in and around the University of Plymouth’s newly developed immersive vision theatre. The conference organisers have invited key-note speakers on the topics why dome? how dome? and what dome? and invite further contributions on each of these topics from the dome community. We welcome lectures or less formal presentations, as well as demonstrations or workshops in the immersive theatre and other domed environments. http://elcetl.org/conference/

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i-DAT has developed a programme of digital media workshops for Children and young people through an ongoing collaboration with Creative Partnerships, AimHigher and numerous schools and community organisations. i-DAT is currently engaged with the delivery of Widening Participation workshops (over 1000 participants over the last 2 years) for AimHigher and several research and networking projects for Creative Partnerships (Infinite Infants, aimed art reception level play environments, and Projecting Plymouth online resource for young peoples creative production projects). Many of the viral technology projects, such as the v-mOb workshops are also targeted at engaging young people in creative production through a range of new and domestic technologies.

“It’s about creating imaginary worlds that have a special relationship to
reality - worlds in which we can extend, amplify, and enrich our own
capacities to think, feel, and act.”
(Laurel B, 1993, Computers as Theatre Brenda Laurel, Addison-Wesley)

The current series of workshops actively involves young people in playful engagement with the production and publication of their own mobile music videos. The workshop takes the aspirations of Brenda Laurel’s ‘imaginary worlds’ one stage further by providing participants with a mechanism to share their desires across a community of peers. Workshop participants will be able to create dynamic micro-masterpieces by capturing, producing and distributing mini-movies.

The workshop explores the creative potential of the worlds most ubiquitous communications system: the Internet. As well as being a resource of near infinite information, it is also a mechanism for communicating ideas and distributing them to a potentially massive audience.

Having said this, the workshop is essentially about having fun with computers, probably the most simple and effective way of learning about these complex technologies.

Check out videodat on You Tube. http://www.youtube.com/results?search_query=videodat&search_type=&aq=f

The main part of the session will take place in the University of Plymouths Digital Media Studios. Here the music videos will be created on, and for mobile phones. The workshop is completed by a session will then take place in the Immersive Vision Theatre. Participants will get a chance to experience its cutting edge surround sound system accompanied by immersive generative visualisations, whilst being given an understanding of the origins of fulldome environments – from domed architectures, planetariums, multi-projector film environments, flight simulation and virtual reality.

Driving the workshops forward is a bunch of dedicated student ambassadors from the BA/BSc Digital Art & Technology course. Drawn from across all years of the programme the team bring a range of contemporary experiences to the workshop participants.

NB: Workshop participants are encouraged to bring their mobile phones (especially Bluetooth enabled camera phones) as well as a CD or MP3 of a music track they like to the sessions.

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Jan Bennett is Deputy Director, Research and Innovation at the University of Plymouth.
After graduation in 1989 he was engaged as a researcher on (what was then) a SERC ACME-funded electronics design project. In 1992, whilst still in the throes of writing up his PhD, he was recruited into the fledgling Plymouth Teaching Company Scheme (TCS) Centre. The Centre grew and, over the next 10 years, absorbed a number of the University’s business-facing organisations. By 2002 it had become University of Plymouth Enterprise and employed 100+ staff. In October 2002 he left Enterprise to set up and run his own consultancy business which he did successfully for 3 years. Among others, he specialised in helping clients to tender for Public Sector contracts and in writing EU and RDA grant funding applications.

In October 2005 he was recruited back into the University as Operations Manager for the Social Research & Regeneration Unit. He joined the Research & Innovation team in his current capacity of Deputy Director in August 2006.

Bennett has a BSc (Hons) First Class degree in Computing and Informatics (from Plymouth Polytechnic) and a PhD in the management of the electronics product design process in small and medium-size businesses (from the University of Plymouth).

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Margarete Jahrmann (A/CH), artist and media epistemologist, born 1967 in Vienna, lives in Zurich. Her working focus are games arts and software scenes.

Research Topic: Software Scenes and Real Life. Formats of social gatherings in coded cultures as radical constructivist practice for the reshaping of social and technological frameworks in Open Source engine development and Game Arts.

Her arts and research work was exhibited and presented internationally and was given several awards. In 1996, she established the independent art server konsum.net with the artist Max Moswitzer in Vienna. In 2004 they received at Software Arts Award transmediale Berlin the second price for the anti-war shooter installation nybble engine under the label climax.at. In 2003 the Prix Ars Electronica award of distinction in interactive arts and in 2004 a research award of the Artists in labs-Programm, artificial intelligence lab Zurich followed.

Public exhibitions of Game Arts works with a dimension of real life play were shown for example at DEAF, Dutch Electronic Arts Festival 2003, for which occasion the anti war shooter was developed in collaboration with the V2lab Rotterdam. In 2003 the show Games, Computerspiele von K¸nstlerinnen in Dortmund showed the retro-console style networked game with live ASCII video feed and databody displays, linX3D.konsum.net. Its first version was exhibited in 1999 at the net_consition show and is now in the permanent collection at the ZKM Karlsruhe. In 2004 also participations followed as for example at Game.Arts at the Weltkulturerebe H¸tte Vˆlklingen or at the Art In Motion Festival 04 in Los Angeles at the Armory Center for the Arts.

Jahrmann is lecturing internationally, as for example in 2004 at the transmediale Berlin together with Erik Davis on Spam Poetry, at the coded culture symposion at the Museums Quartier Vienna on the topic of machinima game-filmmaking scenes, on epistemological circular and causal feedback loops in code-based artsworks at the Basics-Festival Salzburg or at the art and science conference Fusion on open source game arts developments in Zurich.

She also was since 2000 internationally teaching, helt workshops on Game Arts, free hardware and Modding Cultures in Zurich, Vienna and at the MA Media Design Programm at the Piet Zwart Institute Rotterdam.

art server
game art
lectures

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Michael Punt is a Professor of Art and Technology at the University of Plymouth and is Editor-in-Chief of Leonardo Reviews. He is a member of the Leonardo/ISATS Advisory Board, and the MIT/Leonardo Book Series Committee. He has had over one hundred exhibitions of his work including one person shows, made 15 films. He gained his PhD at the University of Amsterdam (Early Cinema and the Technological Imaginary, 2000) and has published over 80 articles on cinema history and digital technology for The Velvet Light Trap, Leonardo, Design Issues, Technoetic Arts and Convergence. Between 1996 and 2000 he was a regular contributor to Skrien, a Dutch journal of film and television criticism, where he wrote a monthly column on cinema, art and the Internet.
His most recent book, in collaboration with Robert Pepperell, “Screening Consciousness: Cinema, Mind and World’ (Rodopi 2006) follows their earlier collaboration, The Post-Digital Membrane: imagination technology and desire, (Intellect Books 2000). His essay ‘More Sign than Star: Diana, Death and the Internet’, is published in Stars in Our Eyes - the Star Phenomenon in the Contemporary Era, edited by Angela Ndalianis, (Westport: Praeger, 2002). His most recent major articles include ‘The Postdigital Analogue and Human Consciousness’, Leonardo 35 (2) and ‘A Taxi Ride to late Capitalism: Hypercapitalism, Imagination and Artificial Intelligence’ AI and Society (2002), The Martian in the Multiverse at www.refractory.unimelb.edu.au/journalissues/vol3/vol3.htm, (2003) ‘Orai and the Transdiciplinary Wunderkammer.’ Leonardo, 37 (3) (2003) ‘d-cinema-déjà-vu.’ Convergence. (2004) Renaming the Future. Leonardo 37 (2004) ‘A Postdigital Universe. Technoetic Arts. (2004), ‘What Shall We Do With All Those Old Bytes? Saving the Cinematic Imagination in the Postdigital Era.’ Design Issues. 21 (2).
A full list of publications, films and exhibitions can be found at: http://www.trans-techresearch.net

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Nema is currently on secondment at Arts Council England national office within the Arts Strategy Department. Her primary role is to lead on strategic developments, policy and relations within the creative economy, working closely with government departments, agencies and the arts sector. Previously Nema was at the South West regional office where shed led on the partnerships with local government and was the regional lead with Arts Council England’s international policy working group. She also worked with colleagues across the organisation on the Artist Insights: Interact programme and was involved in both the SW placements with HP and the Brazilian placements.

Nema has worked in both the private and public sector supporting the creative economy, regionally, nationally and internationally. She was the driving force and founder of an initiative called submerge which since 1999 has been supporting, promoting and networking new talent in the creative economy and technology sectors.

Nema has a BSC (Hons) Media Lab Arts and an MSc in Digital Futures from the University of Plymouth where her research area was focused on the emergence of social networking in the digital age.

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