Igromir Expo 2015 is the first and biggest Russian computer and video games exhibition. It will take place from October 1-4, 2015 at the Crocus Expo Exhibition Centre in Moscow. The exhibition targets 14-25 year old entertainment enthusiasts and families, and aims to attract 150-160 thousand visitors. It will feature products from computer and video game developers and publishers, as well as hardware manufacturers.
Vimeo is a video sharing website where users can upload, share and view videos. The website allows users to create personal profiles to share videos and connect with others. Vimeo also offers premium subscriptions that provide additional features and storage for users to upload high-definition videos.
The document provides links to animated short films created by students at various animation schools and programs around the world. Some of the films mentioned include "Keys" by Megan Tupper from the University of Wales, "Tous des Monstres" by students from Supinfocom, and "Train of Thought" by Leo Bridle and Ben Thomas from The Arts Institute at Bournemouth. The document also lists the schools and programs where the student films were created, such as Animation Workshop Viborg, Kingston University, and Tokyo's Tama Art University.
Art licensing 101 seminar july 2010 maria brophy rsMaria Brophy
The document provides an overview of art licensing, including what it is, the benefits for artists, how to get started, and tips for successful licensing deals. Key points include:
- Licensing means a manufacturer "rents" an artist's work to print on products for a limited time in exchange for royalties.
- It allows artists to earn money repeatedly from one image while focusing on creating art.
- Artists should brand themselves, build collections of themed works, and retain copyrights to benefit from licensing.
- Getting licensed artwork at trade shows, researching companies, and building a reputation can lead to licensing deals.
- Contracts should avoid "work for hire" and copyright assignment that take away artist
The document summarizes the Splash Art Festival, a 2-day celebration of art being held on May 29-30, 2010 in Dublin, Ireland. The festival will feature 26 artists from diverse backgrounds working in various mediums including painting, photography, mixed media, music, dance, film, and more. The goal is to celebrate the diversity of art and introduce both emerging and established artists. The venue is The Back Loft, a spacious former artists' studio that has previously hosted various art-related events.
Ten keys to an artists success power point presentation aug 10Maria Brophy
Ten keys to success for artists are outlined: 1) Choose your path and niche, 2) Brand yourself with a unique style and signature, 3) Protect your copyrights which are essential to branding, 4) Behave professionally, 5) Document your work, 6) Promote yourself shamelessly through various marketing strategies, 7) Structure your prices appropriately, 8) Manage your money and finances like a business, 9) Create multiple streams of income, and 10) Always continue learning as a student. The overall vision is for artists to be able to make a good living from their art.
The document discusses opportunities and challenges for developing the Atlantic Wharf area. It provides context on nearby attractions, residential and commercial areas, transportation access, and the requirements for developing the planned cultural/civic spaces. Specifically, it outlines programming goals and measures of success, planning requirements, and concepts being considered for the cultural spaces including artist work spaces, a museum, retail, and performance areas.
The Igromir Expo 2016 was the biggest Russian computer and video games exhibition, held from September 29th to October 2nd at the Crocus Expo Exhibition Centre in Moscow. The expo attracted over 160,000 visitors and featured games from major international developers and publishers. It occupied 25,000 square meters across four exhibition halls, making it the largest Russian event of its kind.
Igromir Expo 2015 is the first and biggest Russian computer and video games exhibition. It will take place from October 1-4, 2015 at the Crocus Expo Exhibition Centre in Moscow. The exhibition targets 14-25 year old entertainment enthusiasts and families, and aims to attract 150-160 thousand visitors. It will feature products from computer and video game developers and publishers, as well as hardware manufacturers.
Vimeo is a video sharing website where users can upload, share and view videos. The website allows users to create personal profiles to share videos and connect with others. Vimeo also offers premium subscriptions that provide additional features and storage for users to upload high-definition videos.
The document provides links to animated short films created by students at various animation schools and programs around the world. Some of the films mentioned include "Keys" by Megan Tupper from the University of Wales, "Tous des Monstres" by students from Supinfocom, and "Train of Thought" by Leo Bridle and Ben Thomas from The Arts Institute at Bournemouth. The document also lists the schools and programs where the student films were created, such as Animation Workshop Viborg, Kingston University, and Tokyo's Tama Art University.
Art licensing 101 seminar july 2010 maria brophy rsMaria Brophy
The document provides an overview of art licensing, including what it is, the benefits for artists, how to get started, and tips for successful licensing deals. Key points include:
- Licensing means a manufacturer "rents" an artist's work to print on products for a limited time in exchange for royalties.
- It allows artists to earn money repeatedly from one image while focusing on creating art.
- Artists should brand themselves, build collections of themed works, and retain copyrights to benefit from licensing.
- Getting licensed artwork at trade shows, researching companies, and building a reputation can lead to licensing deals.
- Contracts should avoid "work for hire" and copyright assignment that take away artist
The document summarizes the Splash Art Festival, a 2-day celebration of art being held on May 29-30, 2010 in Dublin, Ireland. The festival will feature 26 artists from diverse backgrounds working in various mediums including painting, photography, mixed media, music, dance, film, and more. The goal is to celebrate the diversity of art and introduce both emerging and established artists. The venue is The Back Loft, a spacious former artists' studio that has previously hosted various art-related events.
Ten keys to an artists success power point presentation aug 10Maria Brophy
Ten keys to success for artists are outlined: 1) Choose your path and niche, 2) Brand yourself with a unique style and signature, 3) Protect your copyrights which are essential to branding, 4) Behave professionally, 5) Document your work, 6) Promote yourself shamelessly through various marketing strategies, 7) Structure your prices appropriately, 8) Manage your money and finances like a business, 9) Create multiple streams of income, and 10) Always continue learning as a student. The overall vision is for artists to be able to make a good living from their art.
The document discusses opportunities and challenges for developing the Atlantic Wharf area. It provides context on nearby attractions, residential and commercial areas, transportation access, and the requirements for developing the planned cultural/civic spaces. Specifically, it outlines programming goals and measures of success, planning requirements, and concepts being considered for the cultural spaces including artist work spaces, a museum, retail, and performance areas.
The Igromir Expo 2016 was the biggest Russian computer and video games exhibition, held from September 29th to October 2nd at the Crocus Expo Exhibition Centre in Moscow. The expo attracted over 160,000 visitors and featured games from major international developers and publishers. It occupied 25,000 square meters across four exhibition halls, making it the largest Russian event of its kind.
Curating new media in a gaming room, Transmediale 2003Isabelle Arvers
This conference was given at Transmediale in 2003 about Playtime, the gaming room of Villette Numerique, it explains why I confrontated video and computer games from the past from the present and created by artists.
Les Machinimas par Isabelle Arvers, Cinéma 104, 13 juin 2012Isabelle Arvers
En partenariat avec Kyrnéa Passeurs d’images, la Direction du développement culturel de la Ville de Pantin organise un colloque intitulé Adolescences numériques qui se tiendra le 13 juin 2012, de 14h à 18h, au Ciné 104. Présentation des machinimas et des ateliers de création de films à partir de moteurs de jeux vidéo par Isabelle Arvers, commissaire d'exposition indépendante.
Nouvelles relations et nouvelles expériences avec les publics jeunesIsabelle Arvers
Jeux Vidéo, Internet et éducation artistique.
Faire participer le public à des projets artistiques, leur donner les clés de la création accompagnée avant restitution publique.
Animer des ateliers WJ-S (on mixe du web et on crée une narration à partir de sites internet dans lesquels le public sera immergé)
Animer des ateliers machinima qui sont des films conçus avec des moteurs de jeux vidéo pour transformer les jeux vidéo en moyen d'expression. Ateliers destinés aux jeunes et adolescents.
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
Curating new media in a gaming room, Transmediale 2003Isabelle Arvers
This conference was given at Transmediale in 2003 about Playtime, the gaming room of Villette Numerique, it explains why I confrontated video and computer games from the past from the present and created by artists.
Les Machinimas par Isabelle Arvers, Cinéma 104, 13 juin 2012Isabelle Arvers
En partenariat avec Kyrnéa Passeurs d’images, la Direction du développement culturel de la Ville de Pantin organise un colloque intitulé Adolescences numériques qui se tiendra le 13 juin 2012, de 14h à 18h, au Ciné 104. Présentation des machinimas et des ateliers de création de films à partir de moteurs de jeux vidéo par Isabelle Arvers, commissaire d'exposition indépendante.
Nouvelles relations et nouvelles expériences avec les publics jeunesIsabelle Arvers
Jeux Vidéo, Internet et éducation artistique.
Faire participer le public à des projets artistiques, leur donner les clés de la création accompagnée avant restitution publique.
Animer des ateliers WJ-S (on mixe du web et on crée une narration à partir de sites internet dans lesquels le public sera immergé)
Animer des ateliers machinima qui sont des films conçus avec des moteurs de jeux vidéo pour transformer les jeux vidéo en moyen d'expression. Ateliers destinés aux jeunes et adolescents.
Voice as a game modification in Machinima - ISEA 2011 IstanbulIsabelle Arvers
ISEA 2011 Istanbul panelist : Voicing electronic arts
Chair Person : Norie Neumark Presenters : Nermin Saybasili, Igor Stromajer, Isabelle Arvers
Location : Sabanci Center Room 1, Sabanci Center, Levent
There is an uncanny quality to voice in electronic arts, viscerally carrying bodily intimacies to the listener through physical spaces, yet dislocated from the speaker’s body through reproduction and transmission. The digital voice is paradoxically human and machinic – intimate and intense, as it connects subjectivities on the one hand and the digitally abstract on the other hand, as it passes through machines on to the other. Whether voices call to us across the internet, or across the smaller space of an installation, or from the small screen of machinima, media artists have found this paradoxical and uncanny quality alluring and have worked with it across a range of media and emotional ranges. While voice is often discussed in a political and metaphorical sense (giving people a voice through media) the aim of this panel is to address the aesthetics of voice in media art.
Machinima as a Political or Artistic Detournement of Video Games by Isabelle Arvers
This paper presents Machinima as a political or artistic detournement of video games. By using virtual spaces and changing perspective as an artistic strategy, machinima allow a distanced critique of a simulated world. They tend to erase the boundaries between reality and fiction and redefine the transgressive power of the game. As Guy Debord states in The Society of the Spectacle, “There, where the real world is changing into simple images, simple images become real human beings and efficient motivations for an hypnotic behavior.” Machinima re-actualize the Situationist conception of cinema in which voices in dialogs, or interviews, or voice over and images, act as different layers of content. In the purest hacking tradition, machinima can be perceived as a « detournement » or a diversion of mass media to become a means of expression, political or artistic…
Machinima represents the particular moment when gamers begin to produce content and where games become tools of expression. These movies are mostly narrative, but they can also be experimental, artistic, or related to music, documentaries, ads, and feature films. They can be seen as a new way of representation in the digital age, along with 3D animation, digital cinema, or video. Machinima has a huge potential because it uses mass consumption objects that are games, to help people self-express. A recent French study showed that 99.8 % of teenagers play video games daily. Therefore, it can be said that games surround our everyday life. This is the reason why it is meaningful to diffuse a cinematographic genre using games and open source tools, to make movies and artworks, enabling and amplifying other ways for people to express themselves.
1. isabelle arvers art critic & curator www.isabelle-arvers.com selected events and exhibitions 2000-2009 network as a curatorial space new forms of cinema games and politics games as creative tools cities as playground upcoming projects
3. New forms of cinema France numérique, 2004, Bitfilm Festival, Germany French VJaying animation and video clip program Video Cuts, Centre Pompidou, 2001 Festival des festivals, 2002
4. New forms of cinema New audiovisuals, CH, Sperm Festival, Praha, 2007 Animation, video and machinimas.
5. New forms of cinema Emerging swiss creation, Articule, Annecy, 2006 Animation, video and interactive video installation.
6. Playtime - the gaming room, Villette Numérique, Paris, 2002 Retro gaming vs game art
8. Mind Control, Banana RAM, Ancona, Italy 2004 Net.art exhibition : Lack of entertainment create monsters Games and Politics
9. No Fun : games and the gaming experience Piksel Free and open source softwareFestival Norway, 2005 Games and Politics
10. Reactivate, Adelaïde Film Festival, 2004, Australia Sound toys, interactive fictions , mobile and computer games, video installation games as a medium
11. games as a medium Mal au Pixel, Paris, 2006 Interactive installations, games and free softwares
14. games as creative tools : 8bit music 8 bit Party, Project 101, Paris, 2003 High Score, Boulogne,2003
15. Games as creative tools : Machinimas Screenings, workshops, conferences This Spartan Life, Festival Nemo, 2006 4 Machinima Programs Mostravideo, Brazil, 2009 Machinima vs demos, Centre Pompidou, 2005