Tag Archives: call for expressions of interest

Concerns about Zoom? Call for expressions of interest in “Zoom Obscura,” creative interventions for a data ethics of video conferencing

Have you wondered about Zoom video conferencing and all that data being made available? Perhaps questioned ethical issues in addition to those associated with data security? Is so and you’d like to come up with a creative intervention that delves beyond encryption issues, there’s Zoom Obscura (on the creativeinformatics.org website),

CI [Creative Informatics] researchers Pip Thornton, Chris Elsden and Chris Speed were recently awarded funding from the Human Data Interaction Network (HDI +) Ethics & Data competition. Collaborating with researchers from Durham [Durham University] and KCL [Kings College London], the Zoom Obscura project aims to investigate creative interventions for a data ethics of video conferencing beyond encryption.

The COVID-19 pandemic has gifted video conferencing companies, such as Zoom, with a vast amount of economically valuable and sensitive data such as our facial and voice biometrics, backgrounds and chat scripts. Before the pandemic, this ‘new normal’ would be subject to scrutiny, scepticism and critique. Yet, the urgent need for remote working and socialising left us with little choice but to engage with these potentially exploitative platforms.

While much of the narrative around data security revolves around technological ‘solutions’ such as encryption, we think there are other – more creative – ways to push back against the systems of digital capitalism that continue to encroach on our everyday lives.

As part of this HDI-funded project, we seek artists, hackers and creative technologists who are interested in experimenting with creative methods to join us in a series of online workshops that will explore how to restore some control and agency in how we can be seen and heard in these newly ubiquitous online spaces. Through three half-day workshops held remotely, we will bring artists and technicians together to ideate, prototype, and exhibit various interventions into the rapidly normalising culture of video-calling in ways that do not compromise our privacy and limit the sharing of our data. We invite interventions that begin at any stage of the video-calling process – from analogue obfuscation, to software manipulation or camera trickery.

Selected artists/collectives will receive a £1000 commission to take part and contribute in three workshops, in order to design and produce one or more, individual or collaborative, creative interventions developed from the workshops. These will include both technical support from a creative technologist as well as a curator for dissemination both online and in Edinburgh and London.

If you are an artist / technologist interested in disrupting/subverting the pandemic-inspired digital status quo, please send expressions of interest of no more than 500 words to pip.thornton@ed.ac.uk , andrew.dwyer@bristol.ac.uk, celsden@ed.ac.uk and michael.duggan@kcl.ac.uk by 8th October 2020. We don’t expect fully formed projects (these will come in the workshop sessions), but please indicate any broad ideas and thoughts you have, and highlight how your past and present practice might be a good fit for the project and its aims.

The Zoom Obscura project is in collaboration with Tinderbox Lab in Edinburgh and Hannah Redler-Hawes (independent curator and codirector of the Data as Culture art programme at the Open Data Institute in London). Outputs from the project will be hosted and exhibited via the Data as Culture archive site and at a Creative Informatics event at the University of Edinburgh.

Are folks outside the UK eligible?

I asked Dr. Pip Thornton about eligibility and she kindly noted this in her Sept. 25, 2020 tweet (reply copied from my Twitter feed),

Open to all, but workshop timings may be more amenable to UK working hours. Having said that, we won’t know what the critical mass is until we review all the applications, so please do apply if you’re interested!

Who are the members of the Zoom Obscura project team?

From the Zoom Obscura webpage (on the creativeinformatics.org website),

Dr. Pip Thornton is a post-doctoral research associate in Creative Informatics at the University of Edinburgh, having recently gained her PhD in Geopolitics and Cybersecurity from Royal Holloway, University of London. Her thesis, Language in the Age of Algorithmic Reproduction: A Critique of Linguistic Capitalism, included theoretical, political and artistic critiques of Google’s search and advertising platforms. She has presented in a variety of venues including the Science Museum, the Alan Turing Institute and transmediale. Her work has featured in WIRED UK and New Scientist, and a collection from her {poem}.py intervention has been displayed at Open Data Institute in London. Her Edinburgh Futures Institute (EFI) funded installation Newspeak 2019, shown at the Edinburgh Festival Fringe (2019), was recently awarded an honourable mention in the Surveillance Studies Network biennial art competition (2020) and is shortlisted for the 2020 Lumen Prize for art and technology in the AI category.

Dr. Andrew Dwyer is a research associate  in the University of Bristol’s Cyber Security Group. Andrew gained a DPhil in Cyber Security at the University of Oxford, where he studied and questioned the role of malware – commonly known as computational viruses and worms –  through its analysis, detection, and translation into international politics and its intersection with multiple ecologies. In his doctoral thesis – Malware Ecologies: A Politics of Cybersecurity – he argued for a re-evaluation of the role of computational actors in the production and negotiation of security, and what this means for human-centred notions of weapons and warfare. Previously, Andrew has been a visiting fellow at the German ‘Dynamics of Security’ collaborative research centre based between Philipps-Universität Marburg, Justus-Liebig-Universität Gießen and the Herder Institute, Marburg and is a Research Affiliate at the Centre for Technology and Global Affairs at the University of Oxford. He will soon be starting a 3-year Addison Wheeler research fellowship in the Department of Geography at the Durham University

Dr Chris Elsden is a research associate in Design Informatics at the University of Edinburgh. Chris is primarily working on the AHRC Creative Informatics project., with specific interests in FinTech and livestreaming within the Creative Industries. He is an HCI researcher, with a background in sociology, and expertise in the human experience of a data-driven life. Using and developing innovative design research methods, his work undertakes diverse, qualitative and often speculative engagements with participants to investigate emerging relationships with technology – particularly data-driven tools and financialn technologies. Chris gained his PhD in Computer Science at Open Lab, Newcastle University in 2018, and in 2019 was a recipient of a SIGCHI Outstanding Dissertation Award.

Dr Mike Duggan is a Teaching Fellow in Digital Cultures in the Department of Digital Humanities at Kings College London. He was awarded a PhD in Cultural Geography from Royal Holloway University of London in 2017, which examined everyday digital mapping practices. This project was co-funded by the Ordnance Survey and the EPSRC. He is a member of the Living Maps network, where he is an editor for the ‘navigations’ section and previously curated the seminar series. Mike’s research is broadly interested in the digital and cultural geographies that emerge from the intersections between everyday life and digital technology.

Professor Chris Speed is Chair of Design Informatics at the University of Edinburgh where his research focuses upon the Network Society, Digital Art and Technology, and The Internet of Things. Chris has sustained a critical enquiry into how network technology can engage with the fields of art, design and social experience through a variety of international digital art exhibitions, funded research projects, books journals and conferences. At present Chris is working on funded projects that engage with the social opportunities of crypto-currencies, an internet of toilet roll holders, and a persistent argument that chickens are actually robots.  Chris is co-editor of the journal Ubiquity and co-directs the Design Informatics Research Centre that is home to a combination of researchers working across the fields of interaction design, temporal design, anthropology, software engineering and digital architecture, as well as the PhD, MA/MFA and MSc and Advanced MSc programmes.

David Chatting is a designer and technologist who works in software and hardware to explore the impact of emerging technologies in everyday lives. He is currently a PhD student in the Department of Design at Goldsmiths – University of London, a Visiting Researcher at Newcastle University’s Open Lab and has his own design practice. Previously he was a Senior Researcher at BTs Broadband Applications Research Centre. David has a Masters degree in Design Interactions from the Royal College of Art (2012) and a Bachelors degree in Computer Science from the University of Birmingham (2000). He has published papers and filed patents in the fields of HCI, psychology, tangible interfaces, computer vision and computer graphics.

Hannah Redler Hawes (Data as Culture) is an independent curator and codirector of the Data as Culture art programme at the Open Data Institute in London. Hannah specialises in emerging artistic practice within the fields of art and science and technology, with an interest in participatory process. She has previously developed projects for museums, galleries, corporate contexts, digital space and the public realm including the  Institute of Physics, Tate Modern, The Lowry, Natural History Museum, FACT Liverpool, the Digital Catapult and Science Gallery London, and has provided specialist consultancy services to the Wellcome Collection, Discover South Kensington and the Horniman Museum. Hannah enjoys projects that redraw boundaries between different disciplines. Current research is around addiction, open data, networked culture and new forms of programming beyond the gallery.

Tinderbox Collective : From grass-roots youth work to award-winning music productions, Tinderbox is building a vibrant and eclectic community of young musicians and artists in Scotland. We have a number of programmes that cross over with each other and come together wherever possible.  They are open to children and young people aged 10 – 25, from complete beginners to young professionals and all levels in between. Tinderbox Lab is our digital arts programme and shared studio maker-space in Edinburgh that brings together artists across disciplines with an interest in digital media and interactive technologies. It is a new programme that started development in 2019, leading to projects and events such as Room to Play, a 10-week course for emerging artists led by Yann Seznec; various guest artist talks & workshops; digital arts exhibitions at the V&A Dundee & Edinburgh Festival of Sound; digital/electronics workshops design/development for children & young people; and research included as part of Electronic Visualisation and the Arts (EVA) London 2019 conference.

Jack Nissan (Tinderbox) is the founder and director of the Tinderbox Collective. In 2012/13, Jack took part in a fellowship programmed called International Creative Entrepreneurs and spent several months working with community activists and social enterprises in China, primarily with families and communities on the outskirts of Beijing with an organisation called Hua Dan. Following this, he set up a number of international exchanges and cross-cultural productions that formed the basis for Tinderbox’s Journey of a Thousand Wings programme, a project bringing together artists and community projects from different countries. He is also a co-director and founding member of Hidden Door, a volunteer-run multi-arts festival, and has won a number of awards for his work across creative and social enterprise sectors. He has been invited to take part in several steering committees and advisory roles, including for Creative Scotland’s new cross-cutting theme on Creative Learning and Artworks Scotland’s peer-networks for artists working in participatory settings. Previously, Jack worked as a researcher in psychology and ageing for the multidisciplinary MRC Centre for Cognitive Ageing and Cognitive Epidemiology, specialising in areas of neuropsychology and memory.

Luci Holland (Tinderbox) is a Scottish (Edinburgh-based) composer, sound artist and radio presenter who composes and produces music and audiovisual art for film, games and concert. As a games music composer Luci wrote the original dynamic/responsive music for Blazing Griffin‘s 2018 release Murderous Pursuits, and has composed and arranged for numerous video game music collaborations, such as orchestrating and producing an arrangement of Jessica Curry‘s Disappearing with label Materia Collective’s bespoke cover album Pattern: An Homage to Everybody’s Gone to the Rapture. Currently she has also been composing custom game music tracks for Skyrim mod Lordbound and a variety of other film and game music projects. Luci also builds and designs interactive sonic art installations for festivals and venues (Refraction (Cryptic), CITADEL (Hidden Door)); and in 2019 Luci joined new classical music station Scala Radio to present The Console, a weekly one-hour show dedicated to celebrating great music in games. Luci also works as a musical director and composer with the youth music charity Tinderbox Project on their Orchestra & Digital Arts programmes; classical music organisation Absolute Classics; and occasionally coordinates musical experiments and productions with her music-for-media band Mantra Sound.

Good luck to all who submit an expression of interest and good luck to Dr. Thornton (I see from her bio that she’s been shortlisted for the 2020 Lumen Prize).

ISEA 2013 in Australia: Electronic Art – Resistance is Futile

The timing is a little tricky since ISEA (International Symposium on Electronic Arts) 2012 (being held in Albuquerque) is taking place in Sept. 2012 while ISEA 2013 in Australia is taking place in June 2013,  which means you might not manage to attend and/or present at both. Still, the Australian organizers must be pressed for time so they are now asking for expressions of interest from artists and organizations wanting to present performances, events, etc. in 2013.

Here are a few details about the 2013 event (from the home page),

Theme

Electronic Art – Resistance is Futile

The bleeding edge of digital art has moved from the margins to become part of the fabric of everyday life. At once ubiquitous and unnoticed, resistance to electronic art has proven futile — it now lies embedded in the heart of our contemporary cultures. ISEA2013 will bleed through Sydney, from the margin to the core. More than a series of exhibitions (although that will be part of it), the symposium events will infuse the city’s social, digital and physical infrastructure. ISEA2013 aims to create a fluid body of thought, culture, community, industry, science and technology.

Artists play an important role in this “bleeding edge.” By creatively investigating the possibilities and pushing the limits of new technologies, artists help us imaginatively experience and critically reflect on their implications for life in the 21st century. Digital electronic art is our source of innovation, the new norm in everything from publishing to TV, to radio, games, film, fashion, music, architecture, design, applications and gadgets. Ubiquitous and pervasive, digital media permeates almost all creative endeavors in everyday life and the city. The urban spaces of Sydney will provide the scene for thinking through the consequences of digital life, creative industries, and contemporary electronic art practice.

ISEA 2013 will be held from Friday, June 7 – Sunday, June 16, 2013 in Sydney, Australia.

Here’s more information from the Proposals page about Expressions of Interest,

ISEA2013 will consist of exhibitions, performances, symposium and public events to be held in Sydney from the Friday 7th of June until Sunday 16th of June 2013. It will also support residencies and associated events throughout regional NSW and across Australia leading into and out of the core event.

Australian Artists and Organisations with large-scale projects and collaborations

In this round we are inviting applications from Australian organisations and artists who want to propose large-scale new works and developmental projects with long lead-times in the areas of Visual Arts, Theatre, Music, ATSIA, Dance, Literature and Community Partnerships. If you have an idea for a Creative Australia project that might be suitable for an outcome in ISEA2013, we encourage you to apply now.

Artists with Individual Artworks

Unless your Expression of Interest is for a large-scale project that requires long lead-times, we recommend that you apply in our next round. This next round will be an Open Call for Artworks and will have more specific categories and guidelines. We will be announcing this final round in the next few weeks.

International Artists

If you are an international artist, with an individual artwork, we recommend that you apply in the next round. However, if you have an idea for a particularly large-scale project that is dependent on funding from other sources (i.e. government, philanthropic agencies, etc.) with deadlines approaching, you should contact us to discuss your idea please contact isea@anat.org.au.

The deadline for this round is Friday, 27th April 2012 (midnight).

ISEA 2013 has not yet begun to solicit conference papers and proposals.

Care to commercialize graphene in the UK?

The UK’s Engineering and Physical Sciences Research Council (EPSRC) has announced a call for proposals for research that is directly linked to commercializing graphene. From the Feb. 28, 2012 news item on Nanowerk,

The aim of the call, where there will be up to £20 million of funding available, is to focus research on manufacturing processes and technologies linked to graphene in order to accelerate the development and generation of novel devices, applications technologies and systems.

In 2010 the Nobel Prize for Physics was awarded to UK researchers Andre Geim and Kostya Novoselov from the University of Manchester, who demonstrated graphene in 2004. EPSRC has funded their work for over a decade.

The call is divided into two parts: research programmes and equipment bids. EPSRC is committing £10 million to the call, with up to £10 million more available by the Department for Business, Innovation and Skills (BIS) to fund the capital equipment as part of either research programmes or for equipment-only bids.

Proposals for research programmes should range between £1.5 million and £3 million and should seek to understand how to commercialise and enhance the ‘manufacturability’ of graphene as the material of choice. Programmes should have an emphasis on applications, strongly align with industry needs and foster an environment of collaboration across the UK. The programmes of research should also focus on developing people to stimulate the future sustainability of UK graphene engineering research and future commercialisation opportunities across a variety of sectors.

Proposals for equipment are to allow groups with existing capability in graphene research to help researchers advance the commercialisation of graphene and improve the emphasis on applications.

There’s a 10 pp. PDF description for the call, which includes gems like this, as well as, details about the call,

Recognising this opportunity, on 3 October 2011, the Chancellor (George Osborne, UK’s Chancellor of the Exchequer [roughly equivalent to a Minister of Finance]) pledged a £50M investment to establish the UK as a graphene research and technology ‘hub’ with the aim to capture the commercial benefits of graphene (http://www.epsrc.ac.uk/newsevents/news/2012/Pages/graphenehub.aspx). The chancellor stated “We will fund a national research programme that will take this Nobel prize-winning discovery from the British laboratory to the British factory floor…” “We’re going to get Britain making things again.” (p. 2)

There’s a six-page PDF called an Expression of Interest for interested parties to fill out. For anyone who experiences difficulties filling out PDF forms and/or submitting them, there is a set of guidelines.

Frankly, I found the description for eligibility in the EPSRC Funding Guide a little confusing but it seems a fairly safe guess that pretty much everyone involved in the proposed project, investigators, postdoctoral students, and research assistants must be resident in the UK.

It’s fascinating to track this graphene effort, which seems designed to lift the UK from its economic doldrums, from afar. It seems there’s some sort of announcement on this front on a weekly basis, at least (my most recent posting about these efforts is Feb. 21, 2012).

My experience with these kinds of announcements is that they are often recycled. For example, an announcement is made in Oct. 2011 about government funding for graphene research then months later, a research funding agency announces a call for proposals with references to the amount of research money available. Next on the agenda will be an announcement of the recipients for the grants. This practice can make it seem as if the second and third announcement are for new funds when it is money that was promised months before.