Putting Machinima in (or out of) Cinema: A Roundtable on Films Made in Virtual Worlds

 Monday, 11 June 2012 17:15 - 19:00 

Location: Centre for Research in the Arts, Social Sciences and Humanities (CRASSH)
Alison Richard Building
7 West Road
Cambridge CB3 9DT, Seminar room SG1, Ground floor

Jenna Ng ((Facilitator), Newton Trust/Leverhulme Early Career, CRASSH) University of Cambridge)
William Brown (Lecturer in Film at the University of Roehampton, London)
Sarah Higley (Professor of English at the University of Rochester, NY) 

Abstract

'I am excited by [machinima] essentially because it can be personalised - it should perhaps become like letter writing used to be - one to one in abundance - where everyone had his or her own handwriting. Don't put it in the cinema - you will kill it.'
- Peter Greenaway

Machinima - films created in game or virtual worlds - converges cinema, animation, video games, television, puppetry, performance, music video and social virtual worlds, among others. No other media form in history pulls off such a smorgasbord of media in its makeup, or so defies placement in the mediascape. The challenge is to locate machinima's hybridity, preferably (as Greenaway implores) without killing it, in the process re-visiting our definitions and conceptions of cinema and, indeed, the future of the moving image. Beginning with a short reel of a few machinima films, this roundtable seminar features three speakers who will discuss machinima as an emerging media form. Does machinima provide a new visual regime for the digital moving image? Or might it provide new answers to what cinema is - or will be - in its slippery dialectic between the real and the virtual?

Open to all. No registration required

Part of the Cambridge Screen Media Group series.

Katerina Karoussos

This is a documentation of the presentation Katerina Karoussos gave in HUMlab via Skype following her residency on the HUMlab Island in Second Life. While not the best video, it does give a good account of the main points.

Virtual Macbeth Seminar

On Friday 8th May at 11:00am (CET) HUMlab will be hosting its first official seminar from the virtual world of Second Life. Angela A. Thomas, senior lecturer in English and Arts Education at the University of Sydney, Australia and author of the book Youth Online: Identity and Literacy in the Digital Age (Peter Lang, 2007), will be speaking, showing and performing on the theme of:

Inside the mind of Macbeth: Understanding and interpreting literary worlds in a virtual environment.
Virtual Macbeth was designed to demonstrate how we might best use the affordances of virtual environments for Education. Shakespeare’s Macbeth reimagined in Second Life provides an adaptive bridge between classic texts and new media technology. In the virtual, the abstract can be made concrete, and complex poesis and abstractions of Shakespeare’s verse can become embodied, elusive, visceral, and affective. The poetic use of metaphor, image and symbol that permeate Shakespeare’s language is brought to 3D life using the online world as a discursive design space where visitors experience the motivations and emotional journey of character, and explore and make personal sense of the universal themes of Shakespeare.

In this presentation I will demonstrate Virtual Macbeth and discuss the way the design of the island allows students to explore aspects of narrative theory, literary criticism, drama theory, gaming theory and digital culture. In particular, I will highlight the deep potential of virtual worlds for immersive, experiential and student-centred learning. The presentation will include opportunities for questions and discussion.

I think this seminar will be an exciting opportunity for anyone who is interested in experiencing a high quality example of digital technology that has been used to engage students in one of the canonical areas of English language learning.

If you are interested in taking part in the seminar there are a number of ways to do so. You can come to HUMlab, under the UB library and Lindell Hall in the social sciences building at Umeå University. If you have access to broadband internet you can watch a live streamed version of the seminar (it will be broadcast from Second Life so you will be watching avatars in a virtual world - much like the video below). The video stream opens a little before 11:00 on Friday the 8th May from here. If you are a Second Life resident you can log into Second Life and participate in the tour and discussion on the Virtual Macbeth sim. The URL to teleport into the sim is http://slurl.com/secondlife/Macbeth/44/54/54 (click or copy and paste).

Of course you need to have a Second Life account and the Second Life program installed on your computer to be part of the tour in world. I would say that if you are unfamiliar with Second Life, come to HUMlab for the seminar and we can introduce you to it or you can watch the video stream if unable to visit us.

To provide some background to the Virtual Macbeth project here is a video about the island that captures well the atmosphere created by the site:



Filmed and edited by Gary Hayes of MUVEDesign. Note: This film does not demonstrate the many interactive elements, social intentions or literary integration.

From more information about Virtual Macbeth there is a wiki from the project and a long article with many links from the MUVEDesign online journal on virtual world design, Atmospheric Australian Virtual Macbeth.

Seminar on Mobile Gaming Culture

The Big Bang: A Case Study of Mobile Media and Gaming as New Media in South Korea

HUMlab
21 oktober 2008 kl. 13:15 (CET)
Larissa Hjorth, RMIT University, Melbourne Australia.
Live Stream available (opens at 13.15)
In media cultures of late, the synergy between two global dominant industries – mobile communication and gaming – has attracted much attention and stargazing. As part of burgeoning global media cultures, gaming and mobile media are divergent in their adaptation at the level of the local. In some locations where broadband infrastructure is strong and collectivity is emphasized (such as South Korea), online multiplayer games prevail. In locations where convergent mobile technologies govern such as Japan, mobile gaming platforms dominate.

In order to address the uneven adoption and definitions of mobile gaming, this paper will focus on the convergence between mobile technologies and gaming in the Asia-Pacific through a case study on one of the dominant locations for the production and consumption of innovative mobile technologies, Seoul, South Korea. Lauded by the OECD as the most broadbanded country in the world, South Korea’s particular technoculture demonstrates a high deployment of online space in everyday urban life. From the PC bangs (rooms), online gaming and social networking sites such as Cyworld mini-hompy, Seoul provides a fascinating study in twenty-first century technocultures. I will begin with contextualizing South Korea as one of the major global leaders in mobile technologies. I will then turn to the South Korean new media group INP who have conducted location aware game projects such as Urban vibe (2005) and, more recently, ‘mobile hacker’ project called Dotplay (2007).

HUMlab Seminar on Thursday: Art History and Computer Art (Live Stream Available)

In HUMlab this week we have a very interesting seminar. It will be streamed live over the net from HERE (channel only open during seminar times) for those who cannot be in HUMlab under the UB at Umeå University. There should also be a live chatroom running during the seminar as well for those who would like to ask questions or communicate with others watching the stream. It will be available from HERE during the seminar times.

May 15 at 10:15 am CET]
Art History and Computer Art: Exploring arts-sciences-technology interrelations through Leonardo
Almila Akdag, University of California at Los Angeles

A kind of abstract from Almila Akdag:

"When I applied for Digital Humanities Fellowship, I had in mind to use citation networks to map out the birth of Visual Cultural Studies. I was especially interested in Visual Culture Studies’ engagement with the “digital”, i.e. digital art. However, to build such a huge citation network out of undigitized/and or poorly digitized data turned out to be a big hassle, and impossible to finish in the time limit of the fellowship period, during which I received technical support. This experience greatly helped me to fine-tune my questions, reduce the amount of data, and focus on a smaller project.

For my dissertation I investigated the relation of Computer Art with the agenda of art history. This is a topic that inevitably touches upon the interaction between Arts and Sciences, and one of my chapters is devoted how this topic is covered in Leonardo, an art journal with the aim of bridging arts, sciences and technology. A close inspection shows that Leonardo emphasized the importance of scientific standards in its way of offering a confluence to these three cultures. Tilting the balance heavily to one cultures has its sacrifices: one clear outcome of this is related to Computer Art, which is heavily criticized on the grounds of lacking critical content. In my study of Leonardo I have delved many papers which define art in a shallow way, disregarding its emotional and conceptual depth, cutting it from its historical, social and cultural roots, erasing its connection to the tradition. All this is done just to strengthen arts parallelism with sciences.

At HumLab, I would also enjoy showing the different digital humanities tools I might/should have been used to enhance my research. I’d also like to talk about my personal experience as a digital humanities fellow, and how I tried to combine my interest and wish in using digital tools with the prevailing methodologies of my own discipline. Digital Humanities as a methodology is not the norm in art history; far from it, it is rather regarded as a scientific approach to art historical problems, and as a potential threat to the theory infused perspective of the discipline. Here I see a parallelism with the intrinsic problems of Computer Art. As a movement, it is associated heavily with sciences, an association that resulted in staying at the peripheries of the art world for almost 40 years. For a traditional humanities scholar, digital humanities presents similar negative associations with sciences. This position poses vital questions about the nature/future of digital humanities: Should digital humanities aim to become a new culture, or just a space for humanities scholars to develop digital tools? Should the existing humanities research methodology updated/enhanced to incorporate digital tools, or should humanities take on a new role in the face of 21st century’s digital world by developing digital methodologies?"

Seminar Today

Tuesday October 2 at 15.15 in the Conference Room

Jim Barrett:
Frames for Interaction: The Implied Respondent of the Digital Preface

Seminar language: English

All are welcome

The text is available in E202.

Introduction (revised after the seminar...ouch):

The term ‘interaction’ is frequently associated with digital media artifacts that are used to convey stories. Terms such as ‘interactive media’, ‘interactive fiction’ and ‘interactive art’ have been used to describe contemporary digital media. Interaction in the context of digital media is commonly understood as the audience being granted some degree of authority over the story and becoming involved by mechanical or representational means in its outcomes. I term specific examples of computer based digital media as texts. I begin critically analyzing the six digital texts of my corpus by reading their prefaces for implied responses to the texts. The preface is that which “goes before”, the “fore-word” that advances the contents of the text on the terms of its creators, owners and/or publishers in a future tense. The preface introduces and frames the text and ultimately positions the reader in relation to it. The preface’s subject is the digital text that is about to be taken up by the reader. In such an analysis, by mapping out the contradictions and consistencies of implied response in the prefaces, it becomes possible to discuss the broader cultural and social significance of each text.

HUMlab Seminar: Actually Bridge the “Two Cultures” in Techno-Science

I have just returned from Professor David Hakken's seminar in HUMLab, Transdisciplinarity in Cyberspace Ethnography, or Can We Leave Off Mere Toleration and Actually Bridge the “Two Cultures” in Techno-Science? (nice short title). I really enjoyed Prof. Hakken's summary of a line of technological thought and action beginning with the writings of Norbert Weiner (who I have read about but never actually read, but I think I will). Being a literary/language person (if we are going to talk disciplines here) and from my recent stumbling in the field something clicked from the seminar.

In the last few days I have been enjoying From Modernism to Postmodernism American Poetry and Theory in the Twentieth Century by Jennifer Ashton. The life and work of Gertrude Stein is a major topic in Ashton's text (a fascinating one I think). Within this Ashton devotes pages to the connections between the work of William James and Stein's system of images and tropes. Taken up in Ashton's critique of Stein's The Making of Americans (1925) are mind, self, repetition, remembering, and plasticity ("plasticity means the possession of a structure weak enough to yield to influence, but strong enough not to yield all at once. Each relatively stable phase of equilibrium in such a structure is marked by what we may call a new set of habits" William James Pychology a brief Course 1892:126). This conneted for me in Hakken's discussion on the transdisciplinary possibilities in relation to IT (writing, language, novels are all forms of IT, as are computers and so on). According to Ashton, Stein was attempting to describe "everything" to come to a point of knowledge (that which is knowledge) where one does not need to describe the thing any more. Having no need of description (representation) is to have knowledge.

The streamed video of David Hakken's seminar should be online soon. I am going to Helen Petterson's thesis defence tomorrow where he is to be the opponent (congratulations Helena!!! UCLA awaits). It should be interesting.

The Art of Living a Second Life

The Art of Living a Second Life
Emerson College, New Radio and Performing Arts, Inc./Turbulence.org, and the Museum of Science present OurFloatingPoints 4: The Art of living a Second Life :: DATE: April 25, 7 pm :: VENUE: Museum of Science, Cahners Theater, Boston :: STREAMED LIVE online and BROADCAST TO SECOND LIFE :: FREE AND OPEN TO ALL!
A panel discussion with Wagner James Au (aka Hamlet Linden), John Lester (aka Pathfinder Linden), and John (Craig) Freeman (aka JC Freemont); moderated by Eric Gordon (aka Boston Borst).
Called "the biggest digital art installation in the world" (Warren Ellis), Second Life is a highly imaginative, online, 3-D rendered environment populated with avatars (graphic representations of people). In Second Life you can teleport, fly, live in a house, go to clubs, take classes, make and view art, or just "hang out." You cannot drown and you do not age. Spanning more than 42,000 acres in real-world scale--larger than metropolitan Boston--Second Life is second home to over 2 million "residents," many of whom collaboratively create its content. It is a place where real business is conducted using virtual dollars that can also be traded in the real world. Join us during the Boston Cyberarts Festival for a discussion about the creative, social and economic implications of Second Life. For more information, go to the Museum of Science.

WIP Seminar

Just repeating the details for the seminar next Tuesday with the added information that I will be presenting my chapter first, during the morning session. This is due to the seminar Guds ord på nätet? En digital generation möter en religiös auktoritet (Gods Word on the Net: The Digital Generation meets a Religious Authority) by Anders Sjöborg from Uppsala universitet in HUMlab at 13:15 the same day.

Work in Progress Seminar
April 24 at 10.15-12.00; 13.15-15.00
Jim Barrett: WIP
Hilda Härgestam: WIP
The Conference Room at the end of the E Corridor in the Humanities Building
Umeå University
All are welcome
The texts are available in E202 from April 17

Work in Progress Seminar

Work in Progress Seminar

April 24 at 10.15-12.00; 13.15-15.00

Hilda Härgestam: WIP

Jim Barrett: WIP

The Conference Room at the end of the E Corridor in the Humanities Building

Umeå University

All are welcome

The texts are available in E202 from April 17

Script for Copyright Creativity and the Commons

Copyright Creativity and the Commons
Short Course in HUMlab

9:00-12:00 Thursday 12 April 2007

Some Background:

“We cannot, indeed, foresee to what extent the modes of production may be altered, or the productiveness of labour increased, by future extensions of our knowledge of the laws of nature, suggesting new processes of industry of which we have at present no conception. But howsoever we may succeed in making for ourselves more space within the limits set by the constitution of things we know that there must be limits.”
John Stuart Mill (1848)

Copyright is a set of exclusive rights regulating the use of a particular expression of an idea or information. At its most general, it is literally "the right to copy" an original creation. In most cases, these rights are of limited duration. The symbol for copyright is ©, and in some jurisdictions may alternatively be written as either (c) or (C).
Copyright may subsist in a wide range of creative, intellectual, or artistic forms or "works". These include poems, theses, plays, and other literary works, movies, choreographic works (dances, ballets, etc.), musical compositions, audio recordings, paintings, drawings, sculptures, photographs, software, radio and television broadcasts of live and other performances, and, in some jurisdictions, industrial designs. Designs or industrial designs may have separate or overlapping laws applied to them in some jurisdictions. Copyright is one of the laws covered by the umbrella term 'intellectual property'.
Copyright law covers only the form or manner in which ideas or information have been manifested, the "form of material expression". It is not designed or intended to cover the actual idea, concepts, facts, styles, or techniques which may be embodied in or represented by the copyright work. For example, the copyright which subsists in relation to a Mickey Mouse cartoon prohibits unauthorized parties from distributing copies of the cartoon or creating derivative works which copy or mimic Disney's particular anthropomorphic mouse, but does not prohibit the creation of artistic works about anthropomorphic mice in general, so long as they are sufficiently different to not be deemed imitative of the original. In some jurisdictions, copyright law provides scope for satirical or interpretive works which themselves may be copyrighted. Other laws may impose legal restrictions on reproduction or use where copyright does not - such as trademarks and patents.
Copyright laws are standardized through international conventions such as the Berne Convention in some countries and are required by international organizations such as European Union or World Trade Organization from their member states.
From the Wikipedia http://en.wikipedia.org/wiki/Copyright

Web 2.0 in just under 5 minutes
http://www.youtube.com/watch?v=6gmP4nk0EOE

“Treaty on the Protection of Broadcasting Organizations” emerging from the World Intellectual Property Organization at the UN Internet Governance Forum in Athens Greece
http://www.youtube.com/watch?v=Ef45dySJEtg

More on the proposed Treaty on the Protection of Broadcasting Organizations
http://www.cptech.org/ip/wipo/bt/

Mining Lobby Silencing Community Comment
http://sydney.indymedia.org.au/node/50223

Lawrence Lessig
http://www.lessig.org/blog/

Yochai Benkler, The Wealth of Networks
http://www.benkler.org/wealth_of_networks/index.php/Main_Page

Basic Structures of International Copyright Regulations and Practices
World Intellectual Property Organization (WIPO) Berne Convention (1996):
http://www.wipo.int/treaties/en/ip/wct/trtdocs_wo033.html
Behind Technology: Sampling, Copyleft, Wikipedia, and Transformation of Authorship and Culture in Digital Media by Sachiko Hayashi
http://fylkingen.se/hz/n9/hayashi.html
A manifesto on WIPO and the future of intellectual property http://www.law.duke.edu/journals/dltr/articles/2004dltr0009.html


How can the creative digital individual use the technology available today and still live within the present system of law?

Fair use is a doctrine ONLY in United States copyright law that allows limited use of copyrighted material without requiring permission from the rights holders, such as use for scholarship or review. In Sweden teachers and researchers are allowed to reproduce limited numbers of extracts from a copyrighted work for use only in teaching. Libraries and archives that have three of four examples of a work are allowed to publish descriptions of the work but NOT software. Copyright in Sweden exists up to 70 years after the copyright holder’s death

File sharing:
- not illegal in itself and a technology that is a necessary tool in today’s information economy
- as a tool for dissemination of information P2P protocols are perhaps the most pervasive and flexible yet devised.

The Public Sector (one example): The Library "There are many supporters of strong intellectual property rights today. Media companies and their trade associations view ever increased rights for copyright owners as the best way to maximize their potential revenue. It is somewhat harder, however, to find equally prominent defenders of the other half of the copyright balance, namely the needs of the public to have reasonable legitimate access to copyright material. This can be attributed to some degree to the fact that many advocates of stronger rights for copyright owners have a financial interest in such an outcome. The wider public interest in being able to access this material is more diffuse and usually has no direct economic motive and so is less likely to attract professional advocates. The library sector, however, is proud to view itself as a custodian of the public interest in this regard.”
The Shifted Librarian
http://www.theshiftedlibrarian.com/2002/10/17.html

Google Books: http://books.google.com/

Parody Satire Comment and Critique:
An important function of language and democracy is to be able to take the words and expressive forms of others and be able to use them to either comment upon them or to expand ones own understanding.
http://soulsphincter.blogspot.com/2007/03/roots-of-creative-remixing.html
Language functions as a joining technology. I have to be able to take on the language of others in order to produce my own. Art also functions in a similar way; the student learns (steals) from the master and then produces their own works. Parody and satire are protected under many copyright legislations but not all: http://www.freehills.com.au/publications/publications_6512.asp

Creative Commons (CC) system of licenses
What are they and how do they work?
Creative Commons is an alternative to traditional copyright, developed by a nonprofit organization of the same name. By default, most original works are protected by copyright, which confers specific rights regarding use and distribution. Creative Commons allows copyright owners to release some of those rights while retaining others, with the goal of increasing access to and sharing of intellectual property.
7 Things You Should Know About Creative Commons http://www.educause.edu/ir/library/pdf/ELI7023.pdf

Creative Commons: Share, reuse, and remix — legally.
Creative Commons provides free tools that let authors, scientists, artists, and educators easily mark their creative work with the freedoms they want it to carry. You can use CC to change your copyright terms from "All Rights Reserved" to "Some Rights Reserved."
http://creativecommons.org/

Remix phenomenon
What is it? How does it work?
“A remix may also refer to a non-linear re-interpretation of a given work or media other than audio. Such as a hybridizing process combining fragments of various works. The process of combining and re-contextualizing will often produce unique results independent of the intentions and vision of the original designer/artist. Thus the concept of a remix can be applied to visual or video arts, and even things farther afield. The disjointed novel House of Leaves has been compared by some to the remix concept.”
Wikipedia http://en.wikipedia.org/wiki/Remix

We live in a remix culture. Our modes of communication are, to some extent, predetermined by software and interfaces that presuppose a tendency to copy and paste. Musicians' remixes are often released simultaneous to the original track, now, and even the word 'remix' has attached itself to the name of soft drinks, food products, cinematic sequels, and other cultural artifacts. Arguably, this condition has been perpetuated by digital artists, from pioneering DJ's to filmmakers, to net artists.

Tools and examples of creative remixing
Jumpcut video remix
http://www.jumpcut.com/

Creative Archive at the BBC
http://creativearchive.bbc.co.uk/

Freesound Project
http://freesound.iua.upf.edu/index.php

Audacity
http://audacity.sourceforge.net/

Ourmedia
http://www.ourmedia.org/

Internet Archive.
http://www.archive.org/index.php

Headline Bandit
http://www.flickr.com/groups/newspaper/

Our Lives in the Bush of Disquiet
A dozen remixes (2006) of Brian Eno and David Byrne's My Life in the Bush of Ghosts (1981)http://www.archive.org/details/OurLivesInTheBushOfDisquiet

The Week Ahead

Although tomorrow is another holiday (not sure what exactly but part of the Easter thing) I have a busy week ahead of me. First there is the slowly coming together chapter, now simply titled; The Preface and Implied Respondent of the Digital Text (Ill think of something better when I do the rewrite after the seminar). The chapter will be a constant activity up until the 17th (Deadline). Then there is the visit by Steina Vasulka to HUMlab on Tuesday and Wednesday:

Steina will be giving a seminar in HUMlab on Tuesday 11 April at 15:00 with the title The Artist and Her Tools with a possible performance of Violin Power as well (yes please…). The seminar will be live streamed as is usual for HUMlab and will be
available from HERE
a few minutes before the given seminar time. (from the HUMlab blog)

Then on Thursday I will be giving a short course in Copyright Creativity and Commons....9am in HUMlab:

This short course introduces some of the basic structures of international copyright regulations and practices. How can the creative digital individual use the technology available today and still live within the present system of law?
One way to do this it the Creative Commons (CC) system of licences. What are they and how do they work? Finally, the Remix/Mash-up phenomenon is fast becoming a part of mainstream cultural production. What is it? How does it work? What does it mean for media in the future?By looking at both academic sources and practical examples, including some of the tools used, we will spend three hours exploring Copyright, Commons and Creativity. Kursen hålls på engelska men det går utmärkt att ställa frågor på svenska.

Register HERE.

HUMlab seminar Designing Culture: A work of the technological imagination

In twenty minutes I will participate over the net in the HUMlab seminar Designing Culture: A work of the technological imagination by Anne Balsamo, University of Southern California.
I wish I could be in the lab for Anne Balsamo but today Benyamin started his preschool. Here in Sweden (well maybe also in the rest of the world but not when I started formal education in the 1970's) there is a two week 'in-schooling' period where I go along to the center with him and hang with him until he feels comfortable. Today went brilliantly, he played and checked out the space, smiling most of the time. In fact the only time he got a bit upset was when it was time to leave!
If you happened to be reading this post before 13:15 CET on Monday 19 Feburary then you too can watch the live stream of Anne Balsamo HERE (opens just before the seminar starts) and join in the simulataneous chat HERE.

HUMlab Seminars Spring 2007

The Spring Term 2007 series of HUMlab seminars has been announced. Here is the list with details of content and online live streams available on the HUMlab website (doesn't the new website look great!). While you are in the HUMlab neighbourhood be sure to check out the short courses for the Spring term. I am teaching two; Copyright Commons and Creativity on 12 April and Ditt andra liv: att bygga och leva i Second Life (Your Other Life: To Build and Live in Second Life) on 17 May. Here are the Seminars:


[14 februari kl 13.15]
Träd-baserad musikgenerering
Johanna Högberg, Datavetenskap

[19 februari kl 13.15]
Designing Culture: A Work of the Technological Imagination
Anne Balsamo, University of Southern California
I samverkan med Kulturanalysprogrammet, CSVOV och Designhögskolan

[3 april kl 13.15]
Located media and the Question of Manifestation in Archaeology
Christopher Witmore, Brown University
I samverkan med Arkeologi

[18 april kl 15.15]
Visuella vändningar i Kerstin Ekmans författarskap: skönlitteratur, film, hypertexter och datorspel
Cecilia Lindhé, Blekinge tekniska högskola och Uppsala universitet
I samverkan med Litteraturvetenskap

[3 maj kl 13.15]
Burning Man: Participatory Rituals, Dangerous Beauty, Public Grieving, Dust and Celebration, Co-Creating the Present
Galen Brandt, DigitalSpace

[7 maj kl 13.15]
Will Bona Fide Life Evolve from within Human Technology (and what are the consequences of this happening)?
Bruce Damer, DigitalSpace

[15 maj kl 13.15]
Beyond the Desktop Metaphor
Victor Kaptelinin, Informatik, Umeå universitet

[22 maj kl 13.15]
Robot Ethics
Peter Asaro, University of Illinois at Urbana-Champaign
I samverkan med Filosofi

[29 maj kl 13.15]
Nya media - från papyrus till cyberspace
Mikael Hörnqvist, Uppsala universitet och Högskolan på Gotland
I samverkan med Idéhistoria