VICE interviews Dr Sarah Wiseman on being a lecturer in her twenties

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VICE magazine recently asked three university lecturers: ‘What’s it like to lecture at university while you’re in your twenties?’

One of them was Dr Sarah Wiseman, 29, a research and teaching fellow in the computing department at Goldsmiths University of London. She leads lab sessions, talking to around 50 students at a time, and also has some experience lecturing. Here’s what she said…

“I actually hope the students still think of me as a young person – maybe I’m just getting old and desperately want that to be the case,” she laughs. “I was a bit nervous at first, but I’ve learned a lot after a few years of teaching. I’ve learned it’s absolutely OK to admit you don’t know the answer to something. You’d look like an idiot otherwise. And I’ve learned to freestyle a bit, rather than stick to a script.”

Sarah has taken part in Science Showoff gigs designed to help young academics become more confident public speakers by getting them to do stand-up comedy about their research. “It was kind of terrifying, and definitely put the teaching into perspective,” she says.

When it comes to socialising, Sarah thinks it’s important to maintain a very clear boundary between undergraduate students and academics. “You want to be approachable… but it’s about being viewed as a professional, rather than a friend,” she explains. “There is a culture of end-of-the-day drinks among colleagues in my department, but not with the students. In fact, we do need to be a bit careful about what pubs to go to in the New Cross area to make sure there aren’t awkward encounters.”

Computational Arts student builds A.I. orchestra to play Riley’s ‘In C’

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More than 50 years after composer Terry Riley created the ever-changing ‘In C’ for an indefinite number of performers, an MFA Computational Arts student from Goldsmiths has designed an artificially intelligent orchestra which will allow musicians to play the piece solo.

Composed in 1964, Riley’s experimental and influential masterpiece consists of 53 short melodic fragments lasting from half a beat to 32 beats, with each phrase repeated an arbitrary number of times.

It has been performed with 11 musicians or up to 124, with each performer having control over which phrase they play and when. The piece also has no set running time – it could last 15 minutes or for hours.

With ‘In C++’ Gregory White has created a series of independent virtual performers who make their own decisions about which notes to play, when to progress to the next bar, whether to play hard or soft, and so on, through a form of artificial intelligence.

Each performer is aware of the others, correcting themselves if they start to lag behind or rush ahead in order to ensure what they play compliments the rest of the ensemble.

The program Gregory has written produces MIDI (digital) notes which are then sent to hardware instruments (physical digital instruments), software instruments, or any other MIDI controlled device – potentially including lights. He’s so far trialled it with chimes, a more droney version with heavy reverb, and a percussion-only virtual orchestra.

The artist explains: “I decided to choose the piece ‘In C’ for my MFA Computational Arts project for a number of reasons, but primarily because when performing Riley’s work, I realised that my thought process was rather algorithmic.

“I had 53 cells of information, each I would repeatedly execute until I decided that I had passed a certain threshold – at which point I would progress to the next cell. When all cells had been played, I would repeat the last until I decided to stop performing, or ‘terminate the program’.

“I thought it would be interesting to take the ensemble element out of the piece, and see how it could change, or what new ideas could be explored, when the decisions about which pitches to play were taken care of.

“What is the human performer’s role? They could perform with an instrument alongside the machine; they could act as a conductor, influencing volume, pattern changes, the texture of the piece, the timbre of each performer, effects processing, and so on. And how is one person’s interpretation of the piece different to an ensemble’s?”

“Plus, I just really, really, wanted to do this project so I could make the C++ pun.”

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About the artist
Gregory White’s fine art practice includes photography, filmmaking, sound design, creative coding, and human-computer interaction, as he believes that each informs the other.

He attended the University of East Anglia, and received a Bachelor’s degree in Music Technology with a specialisation in Sonic Arts. Currently Greg (@gregwht) is working as a freelance video editor, photographer, and general sound guy, while studying MA Computational Arts part-time at Goldsmiths.

Gregory White’s ‘In C++’ will be on display at METASIS, the Goldsmiths, University of London MA and MFA Computational Arts show from 8-11 September.


 

This article, written by Sarah Cox, was first published in Goldsmiths News


 

Queens of Tech: Talks by inspiring c♀mputer scientists

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15% of Goldsmiths Computing students are women. Although that’s double the national average for university computing departments, it’s nowhere near good enough. So we’re aiming for 50%. 

Join us for Goldsmiths’ new Women in Computing speaker series. These remarkable computer scientists will talk about their work – and inspire you to be part of the next generation of amazing women in tech.


Thurs 16 June: Dr Kate Devlin _ My Life with the Sex Robots

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Dr Kate Devlin is a Senior Lecturer in the Department of Computing at Goldsmiths, University of London. This evening she gives a lively overview of her career and her current research on sexual companion robots.

Kate has a background in both archaeology and computer science and has combined these with applied perception, focusing on digital cultural heritage. She is an active campaigner for mental health awareness and also for raising the profile of women in computing.

Where: Room 342, Richard Hoggart Building, Goldsmiths
When: 6:30 – 8pm Thursday 16 June 2016
Book your free ticket


Thurs 23 June: Susan Stepney _ Can slime mould compute?

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If you have a PC, tablet, or smartphone, you have used a computer. But some people use billard balls, beams of light, sticks of wood, chemicals, bacteria, slime moulds, spaghetti, even black holes, as computers (although some of these only in theory!).

How can these things be computers? What can we do? Can they do things your smartphone can’t? And why are these people using such peculoar things to compute with, anyway?

Susan Stepney is Professor of Computer Science at the University of York, Department of Computer Science. In this informal lecture, she discusses her career and research in non-standard computation, biologically-inspired computational models, and emergent systems.

Where: Room 342, Richard Hoggart Building, Goldsmiths
When: 6:30 – 8pm Thursday 23 June 2016
Book your free ticket


Thurs 30 June: Vinoba Vinayagamoorthy _ Inventing the TV of the future

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Vinoba is an R&D Engineer for the BBC, working within Broadcast & Connected Systems. She thinks up new types of synchronised companion screen experiences for connected homes. Currently, this ranges from building prototypes for new & archived content to running exploratory studies to gauge how our audiences might react to them.

Previously, Vinoba Vinayagamoorthy focused on building prototypes that combine content on social networks with programmes being played on a connected TV.

Where: Room 342, Richard Hoggart Building, Goldsmiths
When: 6:30 – 8pm Thursday 30 June 2016
Book your free ticket


More posts involving Women in Computing

Goldsmiths research student builds Daphne Oram’s unfinished ‘Mini-Oramics’

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A Goldsmiths Computing researcher has built a music synthesiser and sequencer designed – but never realised – by electronic music pioneer Daphne Oram more than 40 years ago.

PhD student Tom Richards has spent the last three years poring over an unfinished project by Daphne Oram (1925 – 2003), one of the central figures in the development of British experimental electronic music.

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Daphne Oram

Oram was the co-founder and first director of the BBC Radiophonic Workshop, and is credited with the invention of a new form of ‘drawn sound’ synthesis – Oramics, which was recently the subject of the ‘Oramics to Electronica’ exhibition at the Science Museum.

The original Oramics machine was designed in the early to mid 1960s and was built with funding from the Calouste Gulbenkian Foundation.

It was different to many early forms of electronic synthesisers: the composer/musician drew onto a set of 35mm film strips which ran past a series of photo-electric cells, generating electrical signals to control amplitude, timbre, frequency and duration.

The original Oramics Machine was the size of a large office photocopier, so was too cumbersome for the average musician. In the early 1970s Oram began work on Mini-Oramics (perhaps inspired by Moog’s development of the Minimoog), but as far as we know she never completed a prototype.

“There were a lot of reasons why she didn’t launch Mini-Oramics,” explains Tom. “She was working on her own, she wasn’t affiliated to a large organisation or university.

“She had ups and downs in her life, and at the time she was working on Mini-Oramics, she also worried that her approach to musical research was out of fashion when compared to chance-based and computerised techniques. She was unable to secure the further funding she needed and she eventually moved on to other research.

“In an alternate universe, Mini-Oramics might have become an actual product, bought and used by musicians all over the world.”

Dr Mick Grierson, director of Goldsmiths’ Daphne Oram Archive, and Tim Boon head of research at the Science Museum, invited Tom Richards to do a practice led PhD on the subject of Oramics. Tom decided to re-imagine and then build Mini-Oramics.

“The rules were simple. I had to imagine I was building the machine in 1973, interpreting Daphne Oram’s plans and using only the technologies that existed at that time.”

Tom is now working with six contemporary composers, giving each of them a few days to play with the Mini-Oramics machine.

One of the composers, London-based sound artist Ain Bailey has recently been working with the MiniOramics synthesiser. “It’s a fantastic instrument. I’m not a formally-trained musician, so it’s been great to work with an instrument where I can create the sounds graphically,” she said.

Other composers working with MiniOramics include James Bulley (see video above), John Lely Jo Thomas, Head of Goldsmiths Electronic Studios Ian Stonehouse and Rebecca Fiebrink.

Tom adds: “This is an opportunity to experience what it would have been like to use Mini-Oramics, had Oram managed to complete it. It’s a way to test how important her ideas were, and to consider how influential she could have been.”


Computational Arts graduate wins £5,000 Aspen Online Art Award 2016

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Goldsmiths alumna Matilda Skelton Mace has been announced as the winner of the Aspen Online Art Award 2016.

Matilda Skelton Mace graduated from Goldsmiths’ MA/MFA Computational Arts programme in 2015. She is a London-based artist and designer, working with the building blocks of reality- space, light, and geometric form. She is interested in the ‘in between’, exploring ideas of implied, imagined and virtual space, the dissonance that can arise between real and virtual and the way we perceive it.

Last year she was shortlisted for the HIX Award and has exhibited installations at galleries, nightclubs and festivals. This year her work is centred on providing visuals for music events by promoters including Gottwood festival, Inverted Audio and Blueprint Records.

'Party at our place'. Projection mapping and sculpture, 2015.
‘Party at our place’. Matilda Skelton Mace, 2015. Projection mapping and sculpture.

As winner of the Aspen Online Art Award, Matilda has been commissioned to create a virtual world based on the unique digital ‘fingerprints’ of visitors to their website.

Drawing on the phenomenon of ‘Sky Islands’ – mountains with unique flora and fauna caused by climatic isolation from the surrounding lowland – users’ metadata are used to create particular landforms with their own plants and weather systems. Visitors with matching characteristics (for example using the same hardware or operating system) generate landforms in a similar location to eventually build up a mountain range corresponding to correlations in metadata. Their weather and plant life reflects the geographical location of the user. Visitors can explore this expanding world and a visual representation of metadata profiling emerges, with its implications for anonymity rights and freedom of expression.

Launched in 2014 by Aspen Insurance Holdings in association with the Contemporary Art Society, the Aspen Online Art Award is the first of its kind in the UK.

The judges, who included Attilia Fattori Franchini, Curator, and the Aspen Art Committee, selected Skelton Mace from a shortlist of seven artists to win a commissioning prize of £5,000 and the opportunity to create a new online-based work for Aspen’s renowned art collection.

Attilia Fattori Franchini said: “This award is a fantastic opportunity for an emerging artist and the strength of Matilda’s proposal shows that she is one to watch. It will also sit particularly well within Aspen’s collection as her ideas around data privacy and cyber risk are particularly pertinent to our contemporary culture.”

Lanny Walker, Art Consultant at the Contemporary Art Society, said: “Matilda’s artwork explores many themes relevant to current debates within contemporary art and beyond, where identity, data privacy and our virtual footprint are continuous concerns. In this she follows in the footsteps of artists including Hito Steyerl, Oliver Laric and Heath Bunting, who touch upon these issues in their own practices.”

This year’s shortlist was dominated by Goldsmiths’ 2015 Computational Arts graduates, with Lior Ben Gai and Angie Fang also nominated.


Thu 2 June: GENERATION undergraduate Computing show

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Get ready for GENERATION 2016 – the exhibition and performance event showcasing the very best work produced by undergraduates across our degree programmes in 2015-16.

Expect virtual reality games, experimental architecture, Deep Dream technology, audiovisual performances and a musical table – all developed this year by students from our Creative Computing, Games Programming, Music Computing and Digital Arts Computing undergraduate degrees.

All are welcome to come experience the work, talk to exhibitors & performers and enjoy a good old party. Over 18s only after 5pm, when the bar opens.

Where: The Stretch, Goldsmiths Student Union, Goldsmiths, London SE14 6NW
When: 12noon – 8pm Thursday 2 June 2016
Online: GENERATION 2016 website

All are welcome. No booking needed.


UPDATE: Here’s what judge Justin Spooner said about the show

“The level of inventiveness and craft skills was fantastic throughout the show, and it gladdens my heart to think of many of those students taking their idiosyncratic approach to digital creativity out to meet the world.” Read his full review here

Sept 2016: Goldsmiths Digital Bootcamp

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Ten hup! Time to get yourself in shape for the digital world of interconnected device computing. This summer we are running an eight-day Bootcamp suitable for anyone who wants to access contemporary digital culture more deeply.

Highly recommended for those without a technical background and about to embark on postgraduate course in digital humanities or even those who simply want to bring themselves up-to-date in a fast-moving digital world, this course covers the basics of computing from ‘what’s inside the box’ through to the basics of coding and Big Data.

Over the last three years this course has become the starting point for many careers at major newspapers, consultancies, NGOs, software startups, and social and public researchers. At less than a £100 per day this represents incredible value for such high-level training.

When: 10am-5pm Mondays-Thursdays (8 days)
Dates: 5-15 September 2016
Cost: £750

The course assumes only a basic knowledge of computer operating systems, word processing and the internet. Students have ample time to practice skills and experiment with tools and ideas. Daily self-assessment exercises allow students to gauge their own progress.

If you aren’t able to commit to the full course, we offer one-day (labs 3 and 4) and two-day (labs 5-6 and 7-8) standalone courses.


Lab 1: Lab primer and Computing basics
10am-5pm Monday 5 September 2016

An introduction to our working environment and the basics of computing, hardware and software. This day forms the base for a good understanding of later technical material and gets you started in the computing department labs environment.

Participants will learn how to:

  • use the resources offered by the computing department labs in a safe and efficient way in order to complete their study and coursework requirements
  • use the university’s virtual learning environment and computing department intranet servers in order to get information on their courses and submit their coursework for assessment
  • gain basic knowledge of computing history and internal computer organisation in order to identify the differences between hardware and software, manage resource requirements and fix common issues involved in contemporary networked computing.
  • identify the common hardware and software components of a modern computer and computer networks in order to manage those resources and work effectively at all times
  • use common computing units of measurement (Bits, MB, GB etc) in order to calculate sizes of informational units and thus transmit and store them in an efficient manner
  • set up their working environment for correct ergonomics in order to minimise physical harm and maximise efficiency
  • perform backups of their work in order to protect their digital work from loss or corruption
  • use the university’s computing support resources in order to overcome computing-related issues.

Lab 2: Desktop Skills (Mac OS X, Browser, Apps) 
10am-5pm Tuesday 6 September 2016

This day builds on day one and gives a detailed introduces the Macintosh operating system used in Goldsmiths Computing labs. The session then moves onto developing skills with common desktop apps including a variety of web browsers, spreadsheets, code editors and media editing tools. Although focussed on computing lab machines, those with laptops can bring them in and the tutor will give you guidance of setting them up for completing coursework.

Participants will learn how to:

  • use the software suite supplied by the computing department in order to research and complete coursework requirements
  • use advanced MacOS X and web browser skills in order to work quickly and efficiently on computing lab machines
  • use advanced web and desktop searching techniques in order to quickly find material relevant to their research or coursework
  • use the core functions of the Microsoft Office suite in order to manage data and complete coursework for submission
  • use advanced features of the Chrome web browser to profile and identify issues with web sites in order to design and build efficient and correctly coded web sites
  • use a code editor to write text or computer code in order to work on websites and software production
  • use an FTP tool in order to transfer files between machines
  • secure their computer and online resources in order to prevent loss or theft.

Lab 3: UNIX Fundamentals
10am-5pm Wednesday 7 September 2016

Also available as a one-day standalone course.

UNIX is a key technology of contemporary networked computing and is the world’s most popular operating system. Understanding how to use it and develop practical skills with it is the key to participation in the wider world of digital humanities, open source and creative and social computing.

Participants will learn how to:

  • use the Macintosh terminal program in order to enter UNIX commands
  • use the terminal program to perform basic file commands in order to manage files and directories
  • use the terminal program to connect to remote websites in order to use their resources or move files to them
  • use the terminal program to create code files and run a webs server in order to develop web resources for publication or perform research related analysis
  • use the terminal program to interact with the MacOS finder in order to work quickly and efficiently on web and coding projects
  • use Git version control soft are in order manage and protect code resources and digital assets.

Lab 4: HTML and CSS 
10am-5pm Thursday 8 September 2016

Also available as a one-day standalone course.

HTML and CSS are the basic digital languages of the current online and device-based computing era. By understanding the basics of HTML and CSS, students will be able to work at a higher level with a huge range of contemporary online resources such as WordPress, web site publishing, social media and digital mapping. This day serves as a basic introduction to this important markup and layout technology.

Participants will learn how to:

  • use a professional code editor to write correct HTML in order to build websites
  • use the Chrome browser inspector in order to identify issues with HTML or CSS
  • use a range of HTML tags in order to produce a basic web page with images, text and hyperlinks
  • use CSS in order to style and layout a page
  • use an FTP tool in order to put their work on a website
  • use Uniform Resources Locators (URLs) to provide links to pages.

Lab 5: Introduction to Programming with JavaScript I
10am-5pm Monday 12 September 2016

Labs 5 and 6 are also available as a two-day standalone course.

JavaScript has become the world’s most popular programming language and is available on almost every device that can run a web browser. From a relative novelty offering simple enhancements to web page it has grown to take centre stage not only as a technology for web pages but also for web apps and general command line programs. This course assumes that you have already have some basic knowledge of HTML/CSS and have already made your own web page (you will be asked to supply a URL) or have completed Lab 4.

Participants will learn how to:

  • use the Chrome developer tools in order to write JavaScript interactively, test commands and interact with existing web pages
  • use the HTML script tag in order to include JavaScript in their web pages
  • use the console.log statement in order to debug their programs
  • use variables in order to hold data or various types
  • use control structures and loops in order to manage the flow of execution in their program
  • use functions in order to encapsulate and reuse their code
  • use JavaScript Objects in order to build compound data structures.

Lab 6: Introduction to Programming with JavaScript II
10am-5pm Tuesday 13 September 2016

Labs 5 and 6 are also available as a two-day standalone course.

This day moves on from yesterdays basic introduction to talk more about how JavaScript objects are used through contemporary networked computing and using the Document Object Model (DOM) commands to interact with web pages and respond to user generated events. We also introduce the popular utility library jQuery that makes writing effective JavaScript easier for the beginning programmer.

Participants will learn how to:

  • use external files in order to organise your code and include third party libraries like jQuery or UIKit
  • use JavaScript objects in order to produce and consume common online data structures
  • use jQuery in order to simplify common programming tasks
  • use jQuery to animate HTML elements
  • use jQuery to retrieve and use web resources and include them in your web pages
  • use online resources in order to develop coding skills and overcome common programming errors.

Lab 7: Handling data with spreadsheets
10am-5pm Wednesday 14 September 2016

Labs 7 and 8 are also available as a two-day standalone course.

Spreadsheets are the basic tool of data analysis and investigation for a range of professions from social marketing through to data science. Good data handling skills are essential for the public researcher or marketer and in this course we cover the three central skills, sorting, filtering and pivots that are required to analyse data sets. Although our emphasis is on using Excel we will also look at using Google Sheets to perform the same level of analysis.

Participants will learn how to:

  • use shortcuts in order to navigate large data sets effectively
  • use correct formatting  in order to represent numbers, money and percentages
  • use formulas in order to calculate new columns
  • use formulas to calculate percentage change, rates and per capita values
  • use sorting in order to find outliers in data sets
  • use filtering in order to produce subsets of data for further analysis
  • use pivot tables to summarise and analyse data sets
  • use export and import functions to produce or consume other common file types.

Lab 8: Statistics with spreadsheets
10am-5pm Thursday 15 September

Labs 7 and 8 are also available as a two-day standalone course.

Data ‘evidence’ is the fundamental principle of many contemporary decision making processes in various levels of business or government. Whatever your opinions on this trend, a lack of data skills can hamper your engagement with the issues. Building on Lab 7, we look at the central principles of modern descriptive statistics such as measures of centrality and distribution. We also take a brief look at the world of inferential statistics and probability. Throughout the day we will use current data sets involving crime, health and the census.

Participants will learn how to:

  • use a spreadsheet to produce and check summary statistics from large data sets
  • use a measures of centrality in order to describe large datasets
  • use a spreadsheet to calculate measures of spread
  • use charts in a spreadsheet to do visual analysis of data sets
  • use a spreadsheet to perform basic trend analysis
  • identify tools to manage very large datasets used in Big Data.

Course tutor

andy-freemanAndy Freeman has 30 years of experience with corporates, startups, non-profits and arts organisations, from Apple Computers to Islington Council.

He now teaches award-winning students on Goldsmiths’ Digital Journalism, Digital Sociology, Creative Computing and Computer Science degree programmes.

Andy Freeman on LinkedIn

Register for Digital Bootcamp

Two-week course for £750

One-day courses for £150 each

Two-day courses for £275 each

Students registering for one-day and two-day courses will be required to attend their first day at 9.30am, in order to read through some notes on how to use the computing lab resources.

Creativity, independence and learning by doing.