EVENT: Goldsmiths’ SoundLab Play Space breaks down barriers to digital music making

Goldsmiths Computing experts have been testing musical technologies to work out which are the easiest to use, sound the best – and can be used by people with learning disabilities to make the music they want to make.

On Wednesday 25 November they’re hosting a day of free, fun and interactive performance, debate and play sessions at Nesta.

Where: Nesta, 1 Plough Place, London EC4A 1DE
When: 4-6pm and 6-8pm Wednesday 25 November
Tickets: SOLD OUT Get free tickets for the SoundLab Play Space

Participants will be able to experiment with top musical technology and talk to the developers who make it. There’ll be a chance to play in a digital pop-up band, watch live-performances, try out fantastic music-making apps, and take some home for free.

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From music apps that let you compose, DJ or play countless instruments with a fingertip, to those that make a voice sound amazing even if it’s not quite in tune, the SoundLab researchers have spent the last year rigorously testing iPhone/Pad, Android and web programmes.

Whether you’re a technologist, artist, musician, teacher, health expert or policy maker, SoundLab Play Space is designed to bring different people together to get a new perspective on, and debate, the future of music making.

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The SoundLab project is led by Heart n Soul, with Goldsmiths’ Dr Mick Grierson, Dr Rebecca Fiebrink and Dr Simon Katan working on research. SoundLab is a collaboration between our EAVI group, award-winning creative arts company Heart n Soul, and Public Domain Corporation, a company providing interactive experiences and technology for the games and digital arts sectors.

SoundLab has been funded by the Digital R&D Fund for the Arts, an initiative created by Nesta, Arts Council England, AHRC and the National Lottery.


Adapted from an article originally published in Goldsmiths News

Report on International Conference on Spatial Cognition

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PhD student Pierre-François Gerard reports on the International Conference on Spatial Cognition, which took place in Rome on 6-11 September 2015.


pfgIt felt good to leave the already cold London weather early this September and land in Roma’s Mediterranean climate for a whole week of International Conference on Spatial Cognition. What a city, what a history! My daytime was packed with talks and lectures, each giving  a different take on situated cognition. My nights were dedicated to applying all those theories along hours of walking and navigating this old city filled with memories.

The conference venue was an interesting building to start with. Situated in an old neighbourhood east of Termini Station, part of Sapienza – Università di Roma, the faculty of psychology was barely recognisable from the street. However, once you got inside, the space was quite remarkable. There was this wide and long mildly inclined ramp punctuated by little steps distributing students and conference participants alike to the four levels of rooms and auditorium. At the back, there was a large court yard to share thoughts and eat lunch in the sunlight.

Keynote speakers – Scientific Method

The main keynotes were given on the top floor. Arrived only on Tuesday afternoon, I missed Monday keynote lecture with Kevin O’Regan: Constructing space: A theoretical basis for how naive artificial or biological agents can construct spatial notions . A couple of early friends informed me that although O’Regan is a quite prolific author, this presentation wasn’t that great. There is plenty to catch up online anyway. On Tuesday was Vittorio Gallese important keynote on Embodied Simulation and the Space around us. He explained the main concept of inter- and extra-personal space used by a lot of authors that week.

The first keynote I attended was quite enlightening on the scientific methodology developed by psychologists. Yan Bao, associate professor from Peking University, explained step by step what is “attention” and how does it work through human’s eyes. To do so, she scientifically answered one very specific question by doing one very specific experiment. From there, a new question arise that lead to the next experiment that will bring a new answer and suggest the following question, and so forth. She presented a cascade of 12 studies based on a cueing task, mainly to demonstrate the effect of “Inhibition of Return”; the ecological significance of this mechanism being that it favours novelty and curiosity.

The next keynote, Inter-subjective relations in lived space and instituted space was given by Shaun Gallagher, an interesting fellow American philosopher. He is actually working with astronauts, trying to understand their feelings in space travel using Virtual Reality. Where it really pumped me up was when he started to talk about how architecture shapes our experience and how we can modulate the way we are experiencing things by modifying our environment. He also coined a powerful concept which is the “affordance landscape”. I will follow him closely.

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My favourite lecture was given by Sergei Gepshtein on Solid field of sensitivity: Perceptual structure of immersive space. He works with two well known people, Alex Mc Dowel and Greg Lynn. Alex Mc Dowel was the art producer behind the Minority Report interface and many other film productions. Greg Lynn represent the avant garde of the digital turn in architecture in the nineties with the concept of folding and topological geometry. After a quick reminder of what is the “perspective” we’ve been living by since the 15th century (thanks to Alberti’s “The Pictura”), Gepshtein went on to explain how he is working to change this paradigm; to get past the restriction of this portable window. Their project uses different techniques to go from cinema to immersion by creating maps that can be transferred in solid space: sensory mapping, multi modal design, adaptive smart environment, mixed realities are just a few of the concept mentioned during this really exciting lecture.

Talks – eclectic topics

Every day started with three simultaneous symposium. A lot to choose, from a large panel of research. A variety of fields were represented: psychology, neuroscience, computer science, architecture, social studies and philosophy, to name just the main ones.

Starting from a philosophical point of view to explain “space concept”, T. Holichka defined what is a virtual place at the confluence of possible worlds and fictional worlds. The importance of the concept of affordances (Warren 1984) and places were then discussed by Jonietz & Timpf from an GIS (Geographic Information System) perspective. After that, some phenomenology were involved by Nitsche to analyse impressionist paintings with the notion of distancing instead of understanding. The main question really was: “How do we perceive space?” which brought the notion of situated knowledge.

The next talk centred on a potential new field of research which I am relating to – Computing Embodied Architecture. Prof. E. Ackerman’s talk on developing more appropriate self-directed learning space for children definitely pulled some strings. Then came Paloma G. Rojas, student from MIT, with a methodical approach applying computational model to analyse our perception of space; best hint so far directly related to my own research.

Wednesday’s symposium on Body & Space, explored the concept of peripersonal space and relative perception through the lens of Virtual Reality (VR). You can find more about this research by searching for the CS-IVR Lab, the Immersive Virtual Reality Laboratory and for Mirage Lab, the Multi Sensory Illusions Laboratory.

Thursday’s theme was Navigation. Researchers presented studies exploring how blind people, children, men and women were using different mechanism to find their way around.

On Friday, we returned to the theme of Embodied Space in Architecture with a neuroscience twist. Peri and extra-personal space were still leading the dance backed up with neurophysiological correlations. One specially engaging presentation on central and peripheral vision by Rooney, brought a striking point on how vision drives two different type of embodiment: projected and extended. The last talk I followed, before having to catch the train, was given by Van der Ham, on human navigation in real and virtual environments, and the role of locomotion. The experiment she presented showed the closest settings to mine: participants have to remember their way inside a 3D virtual environment with landmark images hanging on the the wall.

To summarise, an eclectic field of research was represented at this conference. A variety of presentations were showing a large range of disciplines to study the relation between humans and their surroundings and how we are perceiving our body into space. Embodiment, inter and extra -personal space, affordances and places are the main concepts embedded in the body of those researches. VR is used throughout those studies. It is a fantastic tool of research that allows to approach real world situations yet offering a wide range of control, flexibility and scalability on the designed VEs.

Posters – People from all over the world

My poster made a good impression. It gave me the opportunity to start a few conversations with different people from all over the world: Columbian, Swedish, Turkish, French and a couple of Italians. Each had their own take on my project, so being here really brought me a lot of value and new perspectives on what I am working on.

Overall, I had a really great experience. From a scientific point of view, it made me realised how narrow the field of research has to be to conduct valid case studies that answer one specific question at a time. Psychology research definitely set definitely the measure on that matter, by processing one variable in a very controlled environment. However, a new trend is to take research much closer to real life situations. It also brings a lot more data to manage. That is where computation power become really handy for two mains reasons: on one hand, computational models help to simulate systems and behaviours, on the other hand, visualisation engine and Virtual Reality help simulate close to real life environments to work with.

The interdisciplinarity of research also aroused my attention – psychologists trying to make sense of architects’ approach about space perception and embodiment, computer scientists questioning behavioural methodology, or even psychologists between themselves – these were all common discussions during the conference. Only a few presentations were really cross-disciplinary; this is a very interesting subject way easier to debate than to put into real practice.

Most of all, it is the excitement and the enthusiasm of those dozen of researchers from every corner of the earth, supported by the strong foundations of Romans walls and history, that I will carry along my own pursuit of adding a stone to existing knowledge.


Pierre-François Gerard is studying for a PhD in Computer Science

Applications now open for our 2016 PhD programme

above_london[1]The Department of Computing at Goldsmiths, University of London invites applications for October 2016 entry to our PhD programme.

Goldsmiths is part of the CHASE AHRC Doctoral Training Partnership (alongside the Courtauld Institute of Art, the Open University and the Universities of East Anglia, Essex, Kent and Sussex) and successful applicants for PhD study will be able to apply for studentship funding.

Our intellectual environment fosters the problem-driven and cross- and interdisciplinary research vital to addressing the new challenges of a world shaped by the speed of technological innovation and global change. Understanding and promoting the value of human culture and creativity in addressing such challenges is central to the CHASE vision of postgraduate research and professional development.

We support discipline-based projects, but also specialise in interdisciplinary research and research in emerging fields of study and creative practice. Our research and training environment encourages our doctoral students to develop interdisciplinary methodologies and to explore how to integrate their research with developments in digital technologies. In addition, our network of partnerships with leading arts and humanities organisations and creative industries provides an outstanding resource for future CHASE scholars.

Applications for funding will be considered by Goldsmiths with the best applicants put forward to four CHASE selection panels. Applications will be considered on a competitive basis.

For UK students, these awards cover both fees and maintenance and for EU residents awards are on a fees only basis. The funding will cover professional development opportunities, including the enhancement of public engagement skills and placements with CHASE partner organisations in the UK and overseas.

To be considered for one of these awards, please note that you need to have applied to a PhD programme by 13 January 2016. We encourage you to contact us as early as possible to discuss your proposal.

  • For any enquiries to our PhD programme, please email the PhD admissions tutor as well as the member(s) of staff you’d like as your supervisors.
  • See Goldsmiths Computing’s staff expertise on our research website.
  • Full details of the subject areas covered, and how to apply, is on the CHASE website.

FREE TRAINING: Computing & Entrepreneurship Business Club

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This autumn, Goldsmiths Computing are running free drop-in workshops on the first Tuesday of 
the month.

Come to all, or come to just one. Participants will work in groups to complete a series of business computing & entrepreneurial challenges. All welcome, but especially suitable for people considering studying business or computing at university.

5pm-7pm, Tuesday 6 October 2015
How much am I worth? Discover how businesses use and track your data to create a picture of who you are, to sell you products and services. Book your place

5pm-7pm, Tuesday 3 November 2015
Why are we all brand junkies? Learn how businesses use brands and digital identities to sell products & services – and why we love them. Book your place

5pm-7pm, Tuesday 1 December 2015
How do social media sites actually make money? You use social media like Instagram, Facebook and Twitter, but rarely pay for it. Find out how they make money and why these businesses are worth so much. Book your place

ABOUT THE TUTOR

Dr James Ohene-Djan is a senior lecturer in Business Computing at Goldsmiths, University of London. He is an internationally recognized innovator, designer and creator of digital products, services and businesses and has a strong strategic and technical understanding of creative approaches to implementing business solutions.

As co-founder and inventor of WinkBall Video Media, James pioneered key aspects of the use of video in social networking, reporting and mobile technologies. He is currently managing director of the digital businesses Bizwinks and RecoverySpaces.
He has appeared numerous times in the press and on BBC1, Sky News and CNBC.

Goldsmiths welcomes new joint-head of MA Computer Games Art & Design

IamPalmerheadshpt350This week we welcome our first cohort of students to the new MA in Computer Games Art & Design and welcome a new co-head of the programme, digital artist Ian Palmer. We caught up with Ian (before he goes on a quick pre-term motorbike trip to the Alps) to talk early computers, career highlights, and his all-time favourite games.

“I’ve been into computers from the age of eight, way back in 1980 when I got my first one,” Ian says. “It was a Sinclair ZX80! Being part of the ‘cultural boom’ of home computing was something I’ve always been very proud to have lived through and I still remember how through my teenage years I was regarded as a nerd because I had a computer – long before nerds were regarded as cool.”

“I have fond memories of my BBC Micro, circa 1984, and in particular my first real gaming addiction – Elite. I was always an avid gamer during this period and remember wasting countless hours typing in code from the back of computer magazines and then debugging the typing errors! Such fun..”

Mixing art with computers was something still very much in its infancy during this period and it wasn’t until Ian was in his 20s and studying at art college that he started using digital tools like early Photoshop and Corel Paint to create.

“My plan at the time was to move into practical model-making for film and SFX and I took a degree in 3D Design – creative model-making. It was during the first term of my BA that I was introduced to 3d Studio R3 and that was it, I was hooked. I never went back in the workshop again.

“Thankfully being a new degree course, my lecturers and course leaders were interested in seeing how I would develop and I was pretty much left to my own devices, creating 3D visualisations of ideas as opposed to practical ones.”

After graduating, Ian went to work for a west London publishing company, setting up a team to work on creating the visuals for a 90-part encyclopaedia – a demanding job where they were expected to create up to 40 illustrations a week. “It was cool,” he recalls. “I still have the archive disks of the hundreds of models we created. I guess you could say that this was a period where I really started to hone my craft as a 3D artist and it was certainly a very creative time.”

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In 2001 Ian was looking for a new challenge and speculatively applied for a job at Argonaut Games, despite having no game art experience. He was offered the job and spent four years with Argonaut, working his way up to Senior Artist before they sadly closed doors in 2004.

Moving to Criterion Games in 2005, Ian worked on first-person-shooter game Black which at that time was very much in pre-production, and then on the “relentlessly intense” Burnout Revenge. “After a pretty hectic few months we finished Burnout Revenge and I still regard it as one of titles I am most proud of,” he says. “There was a lot of blood, sweat and tears from everyone involved in that game.”

“I was asked to head up an art team at EA’s main UK office after finishing Burnout Revenge. I went to work on a small team developing games for the Playstation Portable (PSP), which then led to me working on another Burnout title, an action role-playing game for the Nintendo DS, a Need for Speed title, an oddball 2D puzzle game called Create and some Harry Potter magic sprinkled in there somewhere too!”

Moving to Codemasters in 2011, Ian began developing titles for the UNITY platform – a fairly new piece of middleware which was starting to make waves in the industry. He explains: “Here I was introduced to service based gaming and it was certainly a huge challenge designing games which had to be packaged up, visually scalable and fit within download limits. It was also here that I got the chance to develop for the iPad and iPhone. Luckily having experience in developing for hand-held platforms from my days at EA, it wasn’t too much of a culture shock and I enjoyed the experience immensely.”

So why the move into teaching? Ian says that it’s something that he’s always wanted to do: “Even when I was a student myself, I always knew that someday it would be me up there talking to the group and giving direction and guidance to the next generation of artists. It feels like a natural progression to be moving into more of a mentoring role, and a recent guest lecturer post at DeMontfort in Leicester only served to reinforce that lecturing was something I should do.”

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This term we welcome the first cohort of students to a new MA in Computer Games Art & Design, based in the Department of Computing and run by Ian, Professor William Latham and Professor Frederic Fol Leymarie.

It’s a course that responds to the pressing need for a high quality postgraduate degree serving the computer games and entertainment industries. With an emphasis on games design, art and animation, students will also develop the fundamentals of computer programming, entrepreneurship, and their own practice. They’ll be given the opportunity to work with a wide range of industry partners, graduating well-positioned to have a career in an exciting global industry.

“The opportunity to teach on the MA Computer Games Art & Design course at Goldsmiths is something which I am very proud to be given the chance to participate in,” says Ian.

“I’m looking to approach the course from a very practical standpoint and want to teach the students both industry relevant practices and put them in similar scenarios which they will face while working in a development studio.

“Employability is my key focus on this course – ensuring that students have the knowledge, insight and relevant skills to make an impact as soon as they start working for their first employer.”

After more than three decades of gaming, it must be tough to choose your favourite games. But if you had to, what would they be?

TIE Fighter for the PC in 1994, Deus Ex (PC 2000), 2007’s Bioshock on the Xbox360, Harpoon (1990) and X-Com Enemy Unknown – the 1994 version, although the recent remake is excellent as well.

“There are some great games out now but these are the ones that I look back on and think, those were really quite special to me.”


First published in Goldsmiths News. Images © Ian Palmer

Thu 8 October: EAVI experimental music night

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The legendary EAVI gigs are back for the new academic year, with a night of experimental & electronic beats, bass and new music at the Amersham Arms, New Cross.

EAVI gigs showcase a blend of music from electroacoustic pioneers to free improvisers, instrument builders and techno wizards. The gigs offer a way for EAVI’s research to find its way onto the stage and the dance floor. They are also a cheap, relaxed and friendly way to experience some of the most interesting, cutting edge new music you’ll find in London.


When: 8pm till late, Thursday 8 October 2015
Where: Amersham Arms, New Cross SE14 6TY. Map
Tickets: £5. Buy advance tickets for £4.50


This month’s performers > > > > >

grahamGraham Dunning – Rhythm and Drone Set
Master of mechanical techno and Ghost-in-the-Machine music, Graham Dunning presents his delicate and accidental form of techno. He is currently “maker in residence” at the Machines Room and hosts his own NTS radio programme, Fractal Meat on a Spongy Bone. About Rhythm and Drone

irisIris Garrelfs
An internationally-successful composer/performer intrigued by change, voices and technology, Iris uses her voice as raw material which she transmutes into machine noises or choral works. Her most recent ‘performance walk’ took place at the National Gallery as part of the Soundscapes Late series. About Iris Garrelfs

nunoNuno Correia
Audiovisual artist and researcher Nuno Correia is interested in interactive multi-sensorial experiences. Nuno will present AVZones, part of Goldsmiths’ Enabling AVUIs research project. This is an iPad audiovisual app – an audio sequencer/looper with a visualizer.

helenaHelena Hamilton
Belfast artist Helena marks the end of her three month residency with EAVI with a performance of The Butterflies in my Brain, where she transforms an overhead projector into a site-specific, performative sound device where all sounds originate live from within and around the machine. About Helena Hamilton

roseRose Dagul & Penny Klein
Rose Dagul is a composer, cellist and vocalist based in London. She writes patterned pop music under the moniker Rhosyn. Tonight she improvises under her own name with violinist Penny Klein – possibly an echo of their project Alien Wind.

Kim Kate
Kim Kate is a London based producer / DJ who brings a synesthesiac image onto the dance floor. Kim Kate sonifies connections between the city, technology and human perception.

DJs
Chloe Freida from Alien Jams & NTS and Mike & Dan of Team GBH will yet again be taking over the decks, providing the perfect soundtrack in between the acts and giving us something wonderful to dance to at the end.


Creativity, independence and learning by doing.