NEW DATE - Creative Informatics Researcher Show & Tell

Creative Informatics

Come along to our CI Research Show and Tell to see Chris, Susan, Ingi, Inge, Pip &amp; our small grant award holders present their research.

<h2>CI Researcher Show &amp; Tell 19th May 5-7pm</h2> Sign up to to hear about some of the creative research and projects that Creative Informatics PDRAs - Chris, Susan, Inge, Ingi and Pip - have been working on over the last year, as well as how this work addresses and supports some of the current issues around COVID-19 and the creative industries. Also presenting their newly funded projects will be the successful award holders of the recent CI Small Research Grants for Early Career Researchers, an initiative which aims to grow and foster the CI research community in and around Edinburgh. Please note that in the spirit of sharing work-in-progress, and in an attempt to recreate a sense of ephemerality in these newly virtual times, these talks will not be recorded. All speakers will, however, be invited to submit overviews or project updates to the soon-to-be launched Creative Informatics Research Blog as and when they wish, and participants are encouraged to ask questions during the event and after. The event will be held by Zoom Webinar. Link will be sent following registration.<h3>Brief agenda (full abstracts below):</h3>5.00pm – Welcome and Introduction (<a href="https://creativeinformatics.org/bio/melissa-terras/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Melissa Terras</a>) &amp; link to <a href="https://creativeinformatics.org/bio/pip-thornton/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Pip Thornton</a>’s written contribution Critique in a time of Crisis5.10pm - The Trouble with Data: Mapping the Creative Sector, Scotland, Edinburgh (<a href="https://creativeinformatics.org/bio/inge-panneels/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Inge Panneels</a>)5.20pm - Emerging Questions about Data-Driven Creativity: What is Creative Informatics Surfacing? (<a href="https://creativeinformatics.org/bio/susan-lechelt/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Susan Lechelt</a>)5.30pm - Creative Transactions: Probing Values, Money and Data (<a href="https://creativeinformatics.org/bio/chris-elsden/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Chris Elsden</a>)5.40pm - Hybrid Studios: blending physical and virtual spaces for social and collaborative learning (<a href="https://creativeinformatics.org/bio/ingi-helgason/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Ingi Helgason</a>)5.50pm - Discussion and further questions (hosted by <a href="https://creativeinformatics.org/bio/melissa-terras/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Melissa Terras</a>)6.00pm – 6.10pm - Break6.10pm – 6.40pm - Short presentations from the winners of the recent Creative Informatics Small Research Funding Awards (hosted by <a href="https://creativeinformatics.org/bio/chris-elsden/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Chris Elsden</a>):<ul><li>Creatives in Crisis: How freelance creatives mobilise online communities in response to the COVID-19 pandemic (<a href="https://www.napier.ac.uk/people/holly-patrick" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Holly Patrick</a>)</li></ul><ul><li>Creating a grammar for gesture creation with limited sensors and computing power (<a href="https://www.eca.ed.ac.uk/profile/joshua-hosking" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Josh Hosking</a>)</li></ul><ul><li> Oceanic Heterotopias (<a href="https://victoriaevans.space/about" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Victoria Evans</a>)</li></ul><ul><li>String Figures – Collective value mapping of a distributed feminist currency network based on principles of social justice and mutual care (<a href="https://www.designinformatics.org/person/bettina-nissen/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Bettina Nissen</a> &amp; <a href="https://www.ailierutherford.com/" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Ailie Rutherford</a>)</li></ul><ul><li>Mapping Digital Film Production and Distribution Strategies in Times of Covid-19 (<a href="https://www.eca.ed.ac.uk/profile/dr-itandehui-jansen" target="_blank" data-msys-clicktrack="0" rel="nofollow noopener noreferrer">Ita Jansen</a>)</li></ul>6.40pm - 7pm - Discussion, questions and wrap up (hosted by Melissa Terras)<h3>Full abstracts:</h3>Critique in a time of Crisis (Pip Thornton) : Is a mechanically reproduced piece of art, on public display during a lockdown, still art if no one can see it? Is ‘pivoting’ online really the solution to everything? Is 'staying with the trouble' helpful or disruptive at a time like this? And where does surveillance and disaster capitalism fit into our response to the pandemic? Pip’s written piece is a brief exploration and provocation into some of the issues around remaining critical and creative amidst the coronavirus crisis. The Trouble with Data: Mapping the Creative Sector, Scotland, Edinburgh (Inge Panneels) : In this ‘tale of data’ Inge speaks about the legacy of a growth agenda from the 00’s to the start of the current decade in the wake of Brexit and post-devolution landscape of Scotland, and the particulars of Edinburgh, whilst speculating on a post-Covid future for the Creative Industries.Emerging Questions about Data-Driven Creativity: What is Creative Informatics Surfacing? (Susan Lechelt) : Susan’s talk will discuss our ongoing work cataloguing and analysing the projects that Creative Informatics has funded so far, and the questions that they’ve begun to raise about data-driven innovation (DDI) in the creative industries, as a whole. For example, what new skills/knowledge will workers in creative industries require to work with DDI? What is lost and gained by organisations and individuals in automating aspects of a creative process? It will also touch on whether we can leverage these questions in light of the COVID-19 crisis and how.Creative Transactions: Probing Values, Money and Data (Chris Elsden): The value of art and creativity to our society may be priceless, and yet now more than ever, working in the creative industries is a precarious affair. In this talk, Chris introduces his research to explore how new financial technologies (or FinTech), and data-driven economies mediate and translate value in the creative industries. From crowdfunding to live-streaming; pivoting a creative business online; working in a creative gig-economy; or more radical economic alternatives through community currencies, and distributed ownership of creative work; data and technology plays an increasingly pivotal role in creative transactions. As we look to benefit from these new mediums of exchange, how are the deeper values of creative work maintained?Hybrid Studios: blending physical and virtual spaces for social and collaborative learning (Ingi Helgason) : Ingi addresses topics around structuring peer-based learning for creatives, particularly in digital and data skills. Central to this is the idea of the studio space, and how this can be extended into the virtual world, using novel methods and distributed skill sharing approachesCreatives in Crisis: How freelance creatives mobilise online communities in response to the COVID-19 pandemic (Holly Patrick) : Despite the economic importance of the UK’s creative industries, much of the work undertaken in the sector is characterised as low paid (e.g. Siebert and Wilson, 2013), insecure (e.g. Gill and Pratt, 2008), and sometimes even exploitative (Banks and Hesmondhalgh, 2009). The often individualised and freelance nature of creative work, and the power imbalance between these workers and those who purchase their labour or products led to falling wage rates and insecure employment across many creative occupations, even before the COVID-19 pandemic struck. As a largely non-unionised group of workers, freelance creatives have often found it challenging to resist these power imbalances and achieve fairer pay for all. This research will utilise a netnographic approach, supplemented by online video interviews, to consider how freelance creative workers are affected by the unprecedented COVID-19 pandemic and explore how they are mobilising online communities to respond. By uncovering the impact of the COVID-19 pandemic on these workers, this research will better enable the government, professional associations and the third sector (where relevant) to support freelance creatives, in addition to developing academic knowledge on how macro social events impact on labour relations in the creative industries. I welcome approaches from anyone who is interested participating in or hearing more about the research at h.patrick@napier.ac.uk.Creating a grammar for gesture creation with limited sensors and computing power (Josh Hosking) : Current schemes for gesture recognition are prohibitive for many uses either by cost, portability or the range of possible gestures. Solutions using cameras are very good at detecting a range of hand or movement based gestures. These however require a static camera and a high level of computation, both of which are expensive. Simpler options are heavily reliant on context. A Nintendo ‘Wiimote’ can be used for gestural inputs, however the relationship between the input to the remote and the in game output is dictated by the expected input to the game and so a gesture is more easily derived. A structured approach, drawing on transformational grammars for translating sensor data into recognised gestures, would facilitate users to create custom gestures using simple sensors with limited computing power. The ability for user customisation and the development of novel gesture signatures provides new opportunities for HCI, particularly in the ability to exchange and disseminate gesture signatures and packages across existing platforms, allowing for collaborative creative output in art, design, music and in accessibility contexts. To open these possibilities, I propose to create a gesture grammar where several pieces of sensor data are used to recognise gesture signatures. Oceanic Heterotopias (Victoria Evans) : Oceanic Heterotopias is a practice-based research project, through which I will develop an online interface that allows users to interact with tidal information to create ambient music. Using a process of data sonification (the use of non-speech audio to perceptualise data), the interface will enable the creation of distinctive tidal ‘songs’ whose tones and rhythms correspond to the current tidal pattern of the audience member’s chosen location. This artist-led, collaboratively generated artwork will form an ongoing, interactive audio-visual installation, capable of mapping the natural oscillations of the UK coastal environment in a poetic way through sound. It will also explore questions about what a collectively activated online art exhibition might be, especially in a time of social distancing.String Figures – Collective value mapping of a distributed feminist currency network based on principles of social justice and mutual care (Bettina Nissen &amp; Ailie Rutherford) : String Figures is a continuation of the collaborative Crypto-Knitting-Circles project between researcher Bettina Nissen and artist Ailie Rutherford co-developing ideas for possible use of new technologies in feminist community ­currency. Working with local organisations in Glasgow as well as international networks with similar ethos and aims, this project will explore new forms of shared, online tools for mapping community value exchanges, hidden labour practices, shared skills and knowledge throughout a distributed network. Taking a community-centred approach to empower and enable communities and creatives we will collectively design a system for shared experiential learning across feminist and social justice groups moving from a local to a trans-local network of mutual care, solidarity and fair labour practices. The term String Figures by Donna Haraway acts as a metaphor for the inextricable threads that connect us all which have become more visible and essential in the current global crisis. Shifts in language towards solidarity economies, mutual aid and online collaboration highlight the need for new tools and visions of future alternative models of distributed power and labour practices to challenge the increasingly visible issues of the current economic model and the digital gig-economy.Mapping Digital Film Production and Distribution Strategies in Times of Covid-19 (Ita Jansen) : Covid-19 has a severe impact on both the production and distribution of Cinema. Film practice is intrinsically collaborative and requires face to face contact, hence social distancing measures are forcing productions around the world to halt. For the same reason cinemas have closed, film festivals and international film markets have been cancelled or postponed, including the Cannes International Film Festival. In response to the ongoing Covid-19 crisis, broadcasters, funding bodies and film festivals have taken a variety of measures and approaches to continue production and / or distribution. Different film festivals, markets and commissioning events have opted for online streaming editions. This project maps diverse innovative (online and digital) film production and distribution strategies that were developed as a response to Covid-19 crisis. Through a comparison of alternative digital production and distribution strategies of independent films it is possible to gain a better understanding of the possible future of production and online distribution for Independent Cinema.

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