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Jon McCormack – Creative Ecosystems for the 21st Century
In just a few decades, technology has radically changed many creative disciplines. Once the domain of experimental artists and researchers working in expensive and often esoteric laboratories, technology is now a fundamental part of almost all creative conceptualisation, production, communication and distribution. But how well do people using these new technologies understand how they work and what effect have they had on individual and collective creativity?
We are now producing more information than any time in human history and much of that information is digital and almost instantly accessible. In this talk I will look at the new creative ecosystems of the 21st century and discuss how recent changes in technology will facilitate new forms of creativity between people, society and machines.
Jon McCormack is a researcher in computing and an internationally acclaimed electronic media artist. He is currently an ARC ARF/QEII fellow in the Faculty of Information Technology at Monash University in Melbourne.
With a background in art, mathematics and computer science, his research seeks to discover new kinds of creativity using computers. This research spans visualisation and virtual environments, evolutionary systems, machine intelligence, human-computer interaction, music composition and sound arts.
McCormack is the recipient of more than 15 international awards for both art and computing research, most recently the 2012 Eureka Prize for Innovation in Computer Science. His artworks have been widely exhibited at leading galleries, museums and symposia, including the Museum of Modern Art (New York, USA), Tate Gallery (Liverpool, UK), ACM SIGGRAPH (USA), Ars Electronica Museum (Austria) and the Australian Centre for the Moving Image (Australia). His recent book, “Computers and Creativity” (co-edited with Prof. Mark d’Inveno at the University of London) looks at how human creativity is being radically changed by technology and was recently described by the head of Sony research labs in Europe as “required reading for everyone involved in the create arts and interested in the role of technology towards shaping its future.”
Adobe Keynote – Breaking through the noise
Dr Tim Kitchen – Senior Education Advocate – Adobe (APAC)
Richard Turner-Jones – Adobe Solutions Consultant – Digital Media
In a world where there is so much digital noise, effective and creative visual communication is more important than ever for educators to do well. Creativity in education is nothing new, what is new is how we are being creative and how effective our messages as educators are breaking through the digital noise that is so prevalent in today’s society and constantly distracting our students. This presentation looks at some of the research surrounding the importance of digital creativity in education and provides samples of how Adobe video tools can be used to enhance the teaching and learning process and break through the noise.
Dr Tim Kitchen is the Senior Education Advocate at Adobe for Asia Pacific and the Vice President of DLTV (Digital Learning and Teaching Victoria). He is also the Co-Director of the Building Bridges interfaith dialogue program in Melbourne schools. Tim started his education career in 1991 and has taught in all three sectors (Primary, Secondary and Tertiary). Most recently, he was the Director of Learning Technologies at Strathcona Baptist Girls Grammar School in Melbourne, Australia. Tim is on the sessional teaching staff at Swinburne University of Technology in Melbourne where he teaches ICT in Education and also works casually with Wilkar Productions as a video producer, camera operator and editor. A passionate advocate for creativity in education, Tim is a regular writer and presenter for a wide range of national and international journals and conferences.
Richard Turner-Jones is a Solutions Consultant for Adobe (ANZ) utilising his knowledge of Adobe’s tools & services to develop a seamless integration into existing workflows. With more than 18 years in the multimedia and web application development field, as both an Adobe Certified Developer and Instructor, he has been involved in the development of many high profile projects for the Australian Army, Airservices Australia, Suncorp and Caterpillar, to name but a few. In addition, he works fostering and supporting the local creative community including managing the Brisbane Adobe User Groups.
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Quartz Composer 101
This is an introduction to Quartz Composer for new or novice users showing the basics of patching through to output choices and integration with other applications such as Final Cut Pro. Starting with a basic demonstration of how the modular environment of Quartz Composer works, the workshop will progress into the creation of a Quartz file based on still images and video materials and incorporating dynamic manipulation and formatting techniques.
How do I Game Design?
Paris Buttfield-Addison, Jon Manning and Tim Nugent
In this workshop, you’ll learn how to apply the art and science of constructing enjoyable, engaging games. This is entirely non-electronic; we’re not talking about programming, game engine development, or how to approach a publisher with your totally rad idea about how you can have, like Mario only there’s explosions. Everything you’ll work on will be done with pens, paper, and human brain-meat.
Sonification: Can bloogle resonators enhance representation of time, space and culture through the Person-Environment-Occupation Model?
In this workshop, participants are encouraged to create their own sonifications with bloogle resonators in a dynamic social context. The significance of socio-cultural representation will be demonstrated in relation to musical performance on bloogle resonators in educational, occupational therapy, and creative arts practice contexts.
The Psychology of Embodied Creativity: Preparing the Creative Space before approaching the Digital Space
This theoretical and experiential workshop is designed to assist participants to safely explore ways of tapping into the creative process in addition to discovering ways of nurturing and protecting that process. The workshop is intended to give one an experience of creativity as it is felt in the body, before even approaching the keypad. Whilst it is experiential in nature, it also includes important conceptual and referential information about the creative process.