How did I get here? <ul><ul><li>Road to iCommons, Rio, 2006 </li></ul></ul><ul><ul><li>Andrew Garton MA Program Director, ...
Motivations #1 <ul><li>Collaboration </li></ul><ul><ul><li>Creative and personal development. </li></ul></ul><ul><ul><li>F...
Motivations # 1 / Undercurrents 'a totally new perspective on electronic music and vision mixing…   the   show evokes clas...
Motivations #1 / Undercurrents
Motivations # 2 <ul><li>Public access </li></ul><ul><ul><li>The freedom to communicate. </li></ul></ul><ul><ul><li>Access ...
Motivations # 2 / D3 <ul><li>Public access kiosk to deposit CC licensed images into, with the addition of “found” text spa...
Motivations # 2 / D3 <ul><ul><li>To remix those images and text, including 12 frames from an embedded, motion controlled c...
CUE D3 DVD
Motivations # 3 <ul><li>Freedom of expression </li></ul><ul><ul><li>Synthesis of what has been into what will become. </li...
Motivations # 3 / Nooka
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Getting to the Commons

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Rationale behind my work in the global information and cultural commons. Prepared for the iCommons iSummit 2006, Rio de Janerio, Brazil.

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Getting to the Commons

  1. 1. How did I get here? <ul><ul><li>Road to iCommons, Rio, 2006 </li></ul></ul><ul><ul><li>Andrew Garton MA Program Director, OPEN CHANNEL Executive Board Member, Association for Progressive Communications </li></ul></ul><ul><ul><li>toysatellite.org/agarton/ </li></ul></ul>
  2. 2. Motivations #1 <ul><li>Collaboration </li></ul><ul><ul><li>Creative and personal development. </li></ul></ul><ul><ul><li>Facing challenges. </li></ul></ul><ul><ul><li>Sustaining cultural and intellectual diversity. </li></ul></ul>
  3. 3. Motivations # 1 / Undercurrents 'a totally new perspective on electronic music and vision mixing… the show evokes classical composers like Prokofiev, Philip Glass and producers like Adrian Sherwood of On-U-Sound, only juiced up a bit' Taipei Time s, April 2001 . Melbourne / Taipei improvised audio-visual performance, Taipei International Arts Festival, Melbourne International Film Festival, 2001
  4. 4. Motivations #1 / Undercurrents
  5. 5. Motivations # 2 <ul><li>Public access </li></ul><ul><ul><li>The freedom to communicate. </li></ul></ul><ul><ul><li>Access to the tools with which to communicate, ask questions and tells one’s story. </li></ul></ul><ul><ul><li>Ensure the protections of these freedoms. </li></ul></ul>
  6. 6. Motivations # 2 / D3 <ul><li>Public access kiosk to deposit CC licensed images into, with the addition of “found” text spatially located within the interface. </li></ul>
  7. 7. Motivations # 2 / D3 <ul><ul><li>To remix those images and text, including 12 frames from an embedded, motion controlled camera, and create individual representations of one’s association with the urban environment. </li></ul></ul><ul><ul><li>15,000 visited the D3 prototype, an attempt at engaging the public in the ongoing development of this work. </li></ul></ul><ul><ul><li>The entire asset base of D3 will soon be available for release under a CC license. </li></ul></ul>
  8. 8. CUE D3 DVD
  9. 9. Motivations # 3 <ul><li>Freedom of expression </li></ul><ul><ul><li>Synthesis of what has been into what will become. </li></ul></ul><ul><ul><li>That moves, inspires and seeks to ask questions. </li></ul></ul><ul><ul><li>Why are we here at all? </li></ul></ul>
  10. 10. Motivations # 3 / Nooka

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