CUCR & Deptford.TV, workshops / roundtable: research architecture

During April/May 2007 CUCR students joined the Deptford.TV workshops. Have a look at the 2007 channel in the http://www.Deptford.TV Broadcast Machine.

As a result the text “strategies of sharing” got published in the CUCR magazine street signs (.pdf file).

roundtable

 

Can spatial practice become a form of research? How may architecture engage with questions of culture, politics, and conflict? This new and innovative research centre brings together architects, urbanists, filmmakers, curators and other cultural practitioners from around the world to work collaboratively around questions of this kind. In keeping with Goldsmiths’ commitment to multidisciplinary research and learning, the centre also offers an alternative to traditional postgraduate architectural education by inaugurating a unique, robust studio-based combination of critical architectural research and practice at MA and MPhil/PhD levels. The MA programme is for suitably qualified graduates from a range of disciplines wishing to pursue studio-based spatial research in the context of theoretical work. The MPhil/PhD programme is aimed at practitioners of architecture and other related spatial practices who would like to develop long-span practice-based research projects. The encompassing aim of research at both levels is to explore new possibilities generated by the extended field of architecture. http://www.goldsmiths.ac.uk/architecture

moving images archive research

Deptford.TV will take part in the moving images archive research until December 2008.

Using Moving Image Archives in Academic Research

AHRC Moving Image Archives logoApplications are invited from doctoral students registered at U.K. universities in film, television, media or cultural studies, history, American studies, architecture, anthropology and other relevant disciplines for an Arts and Humanities Research Council sponsored collaborative doctoral training programme on using moving image archives and archival materials in academic research. Leading academics, together with representatives from the BFI National Archive, the Imperial War Museum, The British Universities Film and Video Council, the Media Archive of Central England, the national archives of Wales and Scotland, the Broadway Media Centre and others will deliver training events between November 2007 and December 2008. Students can be linked to an archive/institution appropriate to their research. Bursaries are available to defray the costs of travel and accommodation.

We will welcome applications from anyone pursuing doctoral research using moving image materials. To apply please contact Professor Roberta Pearson at the University of Nottingham and Dr Lee Grieveson at UCL.

Click here to download a poster (pdf).

Click here to download a letter with more information for applicants.

Click on the links below to visit the sites of participating institutions.

Graduate Programme in Film Studies : UCL

University of Nottingham : Institute of Film and Television Studies

University of Ulster : Centre for Media Research

University of Ulster : Media Studies Research Institute

Imperial War Museum

British Film Institute

Scottish Screen Archive : National Library of Scotland

British Silent Cinema

British Universities Film and Video Council

rethinking television histories, kings college, london, 19th-21st april 2007

the presentation & programme as (pdf) file

showing old television to students is a culture shock for them because there is  a difference in production, surface & deep attitude – nostalgia? memory?

archive footage offers a unique access to the complexities of history
see BIRTH television archive

video active has a catalogue application, metadata & transcoding, thesarus module, multilinguality, launch in nov 2007 videoactive.eu

Video Active’s content selection strategy will be informed by the input of a wide range of television history scholars. For this purpose a conference will be held on 19-21 April 2007 at the Strand campus of King’s College, Universty of London.The conference is being organised by the Department of Media Arts at Royal Holloway, University of London, in co-operation with the Department of Media and Representation at Utrecht University as part of the Video Active project. The conference will play a crucial role in informing and influencing the development of the project’s content selection and editorial strategies.
Rethinking Television Histories: Digitising Europe’s Televisual Heritage

see also:

the harlem digital archive
archival.tv

common work, glasgow, 19th-20th april 2007

elvira one of deptford.tv’s contributor presented the project from a collaborators POV, see programme & sessions as .pdf files.

Common Work / Glasgow

Common Work is a unique conference-event which aims to discuss and challenge some of the issues and tensions surrounding socially engaged arts practice

What is socially engaged arts practice – whose definition counts?

Who benefits?

What difference does it make?

Using Tramway’s world renowned visual art and performance spaces, Common Work will connect a range of people – artists, educators, academics – who share a belief in the power of art to explore issues of social relevance.

Common Work – a collaboration between the Participation Inclusion and Equity Research Network (PIER) and Tramway – promises to inform, challenge, entertain and enlighten

For more information please go to: www.ioe.stir.ac.uk/commonwork/abstract.html

Venue: Tramway, 25 Albert Drive, Glasgow, G41 2PE, Scotland

open knowledge conference, limehouse, london, 17th march 2007

                    Open Knowledge 1.0
            Saturday 17th March 2007, 1100-1830
                    Limehouse Town Hall
                http://www.okfn.org/okcon/
          Organized by the Open Knowledge Foundation

  * Programme: http://www.okfn.org/okcon/programme/
  * Registration: http://www.okfn.org/okcon/register/
  * Wiki: http://okfn.org/wiki/okcon/
  * http://www.okfn.org/okcon/after/

On the 17th March 2007 the first all-day Open Knowledge event is taking
place in London. This event will bring together individuals and groups
from across the open knowledge spectrum and includes panels on open
media, open geodata and open scientific and civic information.

The event is open to all but we encourage you to register because space
is limited. A small entrance fee of £10 is planned to help pay for costs
but concessions are available.

## Speakers

### Open Scientific and Civic Data

  * Tim Hubbard, leader of the Human Genome Analysis Group at the Sanger
    Institute
  * Peter Murray-Rust, Professor in the Unilever Centre for Molecular
    Science Informatics at Cambridge University
  * John Sheridan, Head of e-Services at the Office of Public Sector
    Information

### Geodata and Civic Information

  * Ed Parsons, until recently CTO of the Ordnance Survey
  * Steve Coast, founder of Open Street Map
  * Charles Arthur, freeourdata.org.uk and Technology Editor of the
    Guardian

### Open Media

  * Paula Ledieu, formerly Director of the BBC's Creative Archive
    project and now Managing Director and Director of Open Media for
    Magic Lantern Productions
  * Fleur Knopperts of DocAgora
  * Zoe Young of http://www.transmission.cc/

## Theme: Atomisation and Commercial Opportunity

Discussions of 'Open Knowledge' often end with licensing wars: legal
arguments, technicalities, and ethics. While those debates rage on, Open
Knowledge 1.0 will concentrate on two pragmatic and often-overlooked
aspects of Open Knowledge: atomisation and commercial possibility.

Atomisation on a large scale (such as in the Debian 'apt' packaging
system) has allowed large software projects to employ an amazing degree
of decentralised, collaborative and incremental development. But what
other kinds of knowledge can be atomised? What are the opportunities and
problems of this approach for forms of knowledge other than Software?

Atomisation also holds a key to commercial opportunity: unrestricted
access to an ever-changing, atomised landscape of knowledge creates
commercial opportunities that are not available with proprietary
approaches. What examples are there of commercial systems that function
with Open Knowledge, and how can those systems be shared?

Bringing together open threads from Science, Geodata, Civic Information
and Media, Open Knowledge 1.0 is an opportunity for people and projects
to meet, talk and plan things.


Open Knowledge 1

Source: http://www.epsiplus.net/epsiplus/news/open_knowledge_1

21/03/2007

The Open Knowledge 1 conference demonstrates the value to be gained from opening up data and information.

London: Saturday, 17th March 2007

The old Lime House Town Hall in east London built in a by gone age (1879) hosts an Information Age event organised by the Open Knowledge Foundation. The Open Knowledge Foundation is a not for profit organisation that is incorporated in the United Kingdom as a company limited by guarantee.

The Open Knowledge Foundation exists to promote the openness of knowledge in all its forms, in the belief that freer access to information will have far-reaching social and commercial benefits.

The event titled Open Knowledge 1 focussed on two pragmatic aspects of Open Knowledge: atomisation and commercial possibility. This theme was developed throughout the day via an interesting programme that brought together the Science, Geodata, Civic Information and Media communities. The event concluded with a series of short sharp workshops that covered a broad range of topics.

The programme opened with an introduction from Rufus Pollock of the Open Knowledge Foundation. Rufus explained the objectives of the Open Knowledge Foundation and then the audience of 80+ people considered and took part in active debate following a series of presentations grouped under the headings:

Session 1: Open Geodata

An audio recording of this session has been published.

A range of topics then arose in the discussion that followed as a result of questions raised by the audience. The topics discussed included amongst others:

  • UK Ordnance Survey of Great Britain – behaviour of a monopoly, pricing, licencing, data quality, NIMSA, internal culture, led and dominated by the legal people employed.
  • Role of legal advisors – they are involved in all parts of the business process but the Business Managers should be taking the decisions and guiding the organisation not the legal advisors.
  • The role of the UK HM Treasury – lack of policy, Corporation Tax, not recognising the Information Society changes and that their policy needs to change
  • The Role of politicians – they need to be challenged
  • Whether Civic campaigns brought about change or rather direct action to over come the immediate issue lead to change in culture and policy. For example – providing maps for all by capturing topographic data and making that available.

Session 2: Open Media

A range of topics then arose in the discussion that followed as a result of questions raised by the audience. The topics discussed included amongst others:

  • Metadata – metadata interoperability, why not WWW Consortium
  • BBC Creative Archive – what can be done to ensure the BBC opens up the archives that they hold on behalf of society? BBC Charter, BBC Trust.
  • Understanding the collaboration process
  • Business models
  • Middle Class approach – most people have to focus on earning a living there is limited time available for voluntary activities such as some presented.
  • Educational aspects: How to create a community. How to respond to a community.
  • Human nature and the herd instinct.
  • Life cycles: how long are people interested in particular information and initiatives.

Session 3: Open Scientific and Civic Information

A range of topics then arose in the discussion that followed as a result of questions raised by the audience. The topics discussed included amongst others:

  • Transformation government policy: too many web sites
  • Allowing society to contribute by opening up the data: public sector spends too much time thinking about a solution before delivering it, allow innovation to operate, need to enable parallel paths and peer pressure competition to operate, allow the community to assist rather than be held at arms length.
  • Skills – the society is skill rich and has a role to play.
  • Use of click-Use-Licences
  • EU initiatives and frameworks.

The day clearly demonstrated that:

  • The information society was very broad as it touched on most human interest areas and as such no one part of society has the complete knowledge and skills to develop the knowledge economy.
  • Opening up public sector data as well as that of large private sector publishing organisation’s would enable society to develop the information society in parallel with the Government initiatives.
  • Knowledge and skills existed throughout society and that this would continue to grow as a result of the changing demography within Europe (The aging society and shrinking workforce). Opening data would enable this latent force of knowledge and skills to contribute to, participate in and benefit from the Information Society.
  • The information age was clearly challenging the old models and methods developed and adopted by large organisation’s whether they be in the public sector or private sector and that they were slow to adapt.
  • Civil society through direct action provided the catalyst for change.
  • Infrastructure initiatives needed to ensure all parts of society were involved not just one part.
  • The London School of Economics and Political Science (LSE) Charles Booth Online Archive (Charles Booth and the survey into life and labour in London (1886 – 1903)) map of Lime House Town Hall summarises the issue neatly as the Charles Booth map is available and the comparison with the map of today from a private sector is also available!

ePSIplus analyst Chris Corbin whom filed this report attended the Open Foundation 1 meeting.

Freeing the Data in London

email discuss Posted by Jessica Clark on Mar 20, 2007 at 7:46 AM

quoted from http://www.centerforsocialmedia.org/blogs/future_of_public_media/freeing_the_data_in_london/

How much access should members of the public have to the data and media projects that their tax dollars fund? How about corporations looking to make a buck from government-financed data? Does information really “want to be free,” as Stewart Brand famously pronounced more than two decades ago, and if so, who’s going to pay for its production?

These and other questions were on the table at the Open Knowledge 1.0 gathering this past weekend. Radical geographers, documentary filmmakers, DNA researchers and UK bureaucrats were among the panelists and audience members at London’s grubby but vibrant Limehouse Town Hall. What motivated this disparate bunch to devote their sunny Saturday to data? A passionate belief that information becomes more valuable when everyone is free to repurpose it.

Rufus Pollock, executive director of the Open Knowledge Foundation, kicked off the event by exploring the day’s themes of “atomization and commercial possibility.” From “genes to geodata, statistics to sonnets,” he suggested, data differs, but commonalities are greater. He noted that software developers have a rich history of open source practices for developing collaborative and iterative projects like the Linux-based operating system Debian; the idea now is to migrate those habits and legal structures to other disciplines.

According to Pollock, software development has learned to effectively atomize information processing, parsing out packets of coding to discrete individuals and stringing them back together into a working whole. Versioning systems, tagging, and numbered releases are all examples of practices that can be applied to other modes of knowledge.

Such a divide-and-conquer approach “allows us to deal with complexity,” he said. “Without it we’d be hopeless” His remarks reflect a similar realization in the creative arts—that the future is in aggregation and recombination, that reuse is the new creativity.

Mapping for the people

Becky Hogge, executive director of the Open Rights Group, moderated the day’s first panel on open geodata—a topic that has become particularly hot with the rising popularity of Google’s map-based mashups. Panelists included Charles Arthur, the technology editor of The Guardian and a principal organizer of the Free Our Data campaign; Ed Parsons, the former CTO of Britain’s national mapping agency, the Ordnance Survey; and Steve Coast, the founder of Open Street Map, a project that allows ordinary people to create collaborative digital maps by participating in “mapping parties” in which they attach GPS devices to their cars, bikes or persons and wander an agreed-upon region. Volunteers then translate these “traces” into lines, which are merged with existing public domain maps to provide up-to-date renderings.

Parsons kicked off the session by agreeing that government-funded geographical information should be more openly available, but noting that it is both expensive to produce and not particularly politically compelling. “Geodata doesn’t get votes,” he said. He suggested that the answer lies in more innovative, less bureaucratic licensing of the data for different uses.

In contrast to the United States, which places federally funded information in the public domain, Britain keeps much of its government-funded data under wraps, charging taxpayers, corporations and other government agencies to use it. Parsons had headed up an effort to provide more geodata for noncommercial use via an Ordnance Survey project dubbed OpenSpace, the hope of which was to “fill in the white space that is the gaps between the roads.” But the project has been scuttled for now, and he wasn’t able to provide details about what had happened to it.

Coast explained how his OpenStreetMap project is leading the charge against government ownership of geodata by harnessing the energy of volunteers to generate up-to-the minute maps, a “grassroots remapping.” The work of OpenStreetMap has revealed some of the tricks of commercial map-makers, who place small “easter eggs,” or false cul-de-sacs, in their maps to detect and prevent copyright infringement. OpenStreetMappers around the world can contribute to the “Free Wiki World Map” on the group’s site, and the process is “atomized,” because different volunteers perform different steps along the way. While the project is in is infancy, Coast suggested, it will gather momentum as data is added, putting pressure on private and government map-makers to lower the price of their information.

Arthur picked up the call for more public geodata with an explanation of his Free Our Data campaign, the goal of which is to make “impersonal data collected by the UK government organizations available for the cost of reproduction—which for digital is zero.” He explained that there’s some funny math happening within the government’s accounting: taxpayers dollars are used to produce one agency’s information, and that agency turns around and sells it to another agency for a profit, creating a false market value. “There’s a lot of data in there,” he said, “the trouble is that we can’t get it out.” He characterized data as the “mitochondria in the cell of government,” and suggested that by putting it in the public domain the government would both rid itself of administrative costs and significantly benefit the UK economy. He offered South Africa as an example—in 2000 the government made its maps available for free, and use of the data has grown by 500 percent.

“I don’t think this is a conspiracy, it’s a cock-up,” commented Parsons. “Government really doesn’t understand the value of the data that it’s sitting on.”

Content, copyright and community-building

The next panel examined some of the technological and legal underpinnings that are determining the use and distribution of digital media. Paula Ledieu, the director of Open Media at Magic Lantern Productions, and the former project director for the BBC’s Creative Archive project, spoke about the potential of open content and the challenges of licensing media in the digital age. She lauded the current explosion of user-generated archives like Flickr, “an extraordinary body of still images as a repository for us…a few years ago this would have sounded like a utopian la-la land.” However, content producers are still having a hard time finding visual, film and audio that is in the public domain. And, she warned, license experiments like Creative Commons risk creating “content ghettos.” She also noted that open culture experiments like the BBC’s Creative Archive are at risk; the project is currently closed down as the BBC puts it through a “public value test.” Measurements for assessing the value of such resources are scarce and poorly understood; Ledieu encouraged audience members to explore this area further, and in a later presentation, to respond to a whitepaper published by Ofcom (the UK’s version of the FCC) about the role and structure of public media in the digital era.

Other panelists offered examples for how content producers can engage with open information practices. A duo of presenters from Platoniq, a Barcelona-based collective, described a series of projects designed to combine open media distribution with public spaces, such as Burn Station. Their Bank of Common Knowledge project adapts the techniques of peer-to-peer media sharing to peer-to-peer education, allowing discrete chunks of information to be broken down and passed on via a network of volunteers. Presenters from the Transmission project described an international effort to develop open metadata standards for digital documentary film; the effort would make it easier for viewers to find the films online. They urged audience members to “join them in the fight for the freedom of the feeds.”

The science of openness

The final panel of the day tackled the question of how scientists might more easily gain access to data and research, often restricted by proprietary corporate ownership or the copyright protections of scientific journal publishers. Tim Hubbard, the leader of the Human Genome Analysis Group at the Sanger Institute, described how the process of opening up information about the human genome during a multi-organization collaborative research effort both made the research more effective and ensured that the data would remain in the public domain. The result was a shift in both scientific and corporate understanding of why it makes sense to “free the data.” Even companies are now agreeing, he said, that there’s “pre-competitive” information which it benefits everyone to have access to. He noted some current experiments in liberating pharmaceutical data from corporate control for pressing public health issues like malaria. “Biology is too complex for any organization to have a monopoly on data or ideas,” he said.

And yet, the scientific process of publishing research in peer-reviewed journals does often create a monopoly on news about new discoveries, held by influential publications like Nature. Peter Murray-Rust, a chemist based at Cambridge, described the efforts of the American Chemical Society to crack down on an open database of chemical structures, and praised the efforts of the Wellcome Trust to support open access scholarly publishing. He pointed audience members to the World Wide Molecular Matrix, an open respository of chemical information and molecules.

John Sheridan, the head of e-services for the UK government’s Office of Public Sector Information rounded out the day by trying to defend the official stance on public sector information, and to explain that they’re dancing as fast as they can. The audience was not impressed.

Formal panels were followed by informal presentations of a few interesting projects, including a proposed multimedia archive of the works of filmmaker Sally Potter, a database of public domain works, and a forthcoming project to make obscure but crucial U.N. documents more accessible to members of the public.

Proprietary system designers, grabby governments, and privatizing corporations beware! This was only version 1.0 of this intriguing event.


					

independent media conference, newcastle, 10th march 2007

“With Not For” – Independent Media Conference

Saturday March 10, 12:00 AM

poster (designed by sophia kosmaoglou) resentation together with exploding cinema:

A half-day event built around the cultural urgency of independent and dissident film.

Opportunity to bring together a number of organisations and individuals who work independently to screen films: The Star And Shadow Cinema (Newcastle), Cube (Bristol), Cinilingus (Belfast), Camcorder Guerillas & Document Human Rights Film Festival (Glasgow), Exploding Cinema (London), Undercurrents (Swansea) and more, to discuss issues that affect the, provide a platform to celebrate each others’ activities, witness some much needed collaborative models, and aid in connecting groups together that might not otherwise meet to share experiences and exchange thoughts.

download the poster here.

future of film, ica, london, 5th march 2007

Peercasters – Future Film workshop #3 with Penny Nagle and Adnan Hadzi

Based at the ICA, the third masterclass in the Future Film series was on the subject of ‘Peercasters, podcasting and P2P’ and was hosted by Penny Nagle and Adnan Hadzi.

Penny Nagle began with a breakdown of the issues of distribution and marketing of film online – but also via more traditional routes to give a sense of perspective. It was surprising how well Internet marketing and distribution compared to more established markets, and it seemed – encouragingly – that there were more and more possibilities for film makers to get their work shown to large audiences.
You can download a high quality archive of Penny Nagle’s presentation here.

Adnan Hadzi then talked about the possibilities and potentials of collaboratively editing film, deriving his ideas from his first experience of learning to do ‘paper edits’ of celluloid film. By adopting new technologies of collaboration, his presentation pointed towards collaborative film editing online – sharing edit decision lists – as in some ways being a return to that simple, accessible paper medium.

You can download a high quality podcast of Adnan Hadzi’s presentation here.

This time we had the ICA’s excellent caterers to thank for the classy sandwiches and drinks, and after a quick re-fueling, the workshops began.
Penny’s workshop was a film promotion surgery, where participants were invited to bring up their current ideas and projects, and develop niche marketing strategies for them. It was fascinating to see how breaking down a film into which niche audiences need to be addressed transformed how it should be presented and marketed in unexpected (and sometimes hilarious) ways.

Adnan’s workshop was very hands-on. Laptop-wielding participants paired up and learned the nitty-gritty of podcasting using Broadcast Machine and some other simple tools to edit, compile and upload video documentation of the first Future Film workshop into a new narrative. Technical problems abounded (of course) but everyone got there eventually.
There is a short summary video of the Peercasters workshops here.

Pressed for time by the overrunning workshops, the Talkaoke table did it’s best to make itself heard in the crowded bar, as you can see from the Peercasters talkaoke video podcast.
Many thanks to Irem and Sion and the ICA for hosting the event, and to London Westside and the London Development Agency for organising and funding it!

inventing methodologies, goldsmiths university of london, 12th february 2007

paper presented at IM2.

method a particular procedure for accomplishing or approaching something, from Gk methodos ‘pursuit of knowledge, Concise Oxford Dictionary

Research Unit for Contemporary Art Practice

inventing methodologies2 is the second in a series of experimental workshops which aim to provide a platform for the discussion of the novel and highly-contested notion of practice-based research.

Practice-based researchers are faced with a dual challenge. The first is the intrinsically bifurcated nature of a research project composed of a written element in conjunction with a practical element. The second is the interdisciplinarity inherent in writing art. These structural complexities are also an enduring characteristic of the practice/theory relationship.

What constitutes research in the context of practice-based PhD? What is the relationship between research and artpractice? Is the written element also a practice requiring its own set of competencies? Indeed, how many practices are involved in practice-based research?

Can the tension between theory and practice provide one way to unravel methodological processes? Does the reflexive monitoring of empathic or ‘obsessive’ research strategies in fact generate the discourse and criticality of the project? Is it possible to outstrip the criteria of legitimation by setting tailor-made criteria for research objectives?

inventing methodologies2 provides the opportunity to unravel these processes and the incentive to articulate these personal avenues by encouraging discussions on the possibilities of practice-based research.

Adnan Hadzi “Deptford.TV – strategies of sharing”

What Is Deptford.TV?
• A platform for collaboration with a focus on Deptford communities. (Elvira)
• A collaborative environment for film-making on the Deptford regeneration that accommodates different levels of participation and engagement. A community project. (Bitnik)
• A pool of clips. (Stephen)
• A grassroots media project. (Camden)
• A public access media project that investigates into new areas such as collaborative film editing. (James)
• A project that aims to generate shared resources by uploading materials which people will be able to share. (Gordon)
• A collaborative film – a project on issues of regeneration. (Amanda)
Deptford.TV (1) is a research project on collaborative film-making in collaboration with Deckspace media lab (2), Bitnik collective (3), Boundless (4), Liquid Culture (5) and Goldsmiths College (6). It is an online media database documenting the regeneration process of Deptford, in South- East London. Deptford.TV functions as an open, collaborative platform that allows artists, filmmakers and people living and working around Deptford to store, share, re- edit and redistribute the documentation of the regeneration process. The open and collaborative aspect of the project is of particular importance as it manifests a form of liberated media practice. In the case of Deptford.TV this aspect is manifested in two ways: a) audiences can become producers by submitting their own footage, b) the interface that is being used enables the contributors to discuss and interact with each other through the database. Deptford.TV is a form of ‘television’, since audiences are able to choose edited ‘timelines’ they would like to watch; at the same time they have the option to comment on or change the actual content. Deptford.TV makes use of licenses such as the creative commons (7) and gnu general public license (8) to allow and enhance this politics of sharing.
1 See http://www.deptford.tv
2 See http://dek.spc.org/
3 See http://www.bitnik.org/en/
4 See http://www.boundles.coop
5 See http://www.liquidculture.info
6 See http://www.goldsmiths.ac.uk
7 Creative Commons is a nonprofit organisation that offers flexible copyright licenses for creative works. See http://creativecommons.org
8 The Gnu General Public License aims to guarantee everybody’s freedom to share and change free software. See http://www.gnu.org/copyleft/gpl.htm