Michael Filimowicz is Associate Dean in Lifelong Learning and a Senior Lecturer in the School of Interactive Arts and Technology at Simon Fraser University. He is founder of the conference and film festival Cinesonika and co-editor of the academic journal The Soundtrack. His research area interweaves the phenomenology of mediation and information semiotics toward the development of new forms of audiovisual and multi-modal display. He is also an internationally exhibiting new media artist and has published widely in journals such as Organised Sound(Cambridge University Press), Arts and Humanitues in Higher Education (Sage), Leonardo (MIT Press), Comparative Literature (Duke University Press), and Semiotica (DeGruyter).
BIO
Crowdfunding: Computer Vision and Sonification Research
Deadline:
Sat Jun 13, 2015 17:00
Location:
Vancouver,
Canada
Please disseminate - this new crowdfunding campaign supports doctoral research that develops new technologies integrating Computer Vision and Sonification, http://igg.me/at/cvson
Several Full-Time Limited Term Lecturer Positions
Deadline:
Thu Jul 31, 2014 23:55
Location:
Surrey,
Canada
School of Interactive Arts & Technology
Closing Date: Applications review will start on May 2, 2014 and will continue until positions are filled
We have openings for several Limited term Lecturer positions in various disciplines including digital media, electronic entertainment/games, graphics/animation, design methods and evaluations, programming, and interactive technologies. Ideally, this person combines strong discipline skills together with programming and scripting skills. Versatility is a plus as we seek an individual broadly experienced in digital media, electronic entertainment and/or graphics/animation.
For full information about these positions, please visit our link below:
Closing Date: Applications review will start on May 2, 2014 and will continue until positions are filled
We have openings for several Limited term Lecturer positions in various disciplines including digital media, electronic entertainment/games, graphics/animation, design methods and evaluations, programming, and interactive technologies. Ideally, this person combines strong discipline skills together with programming and scripting skills. Versatility is a plus as we seek an individual broadly experienced in digital media, electronic entertainment and/or graphics/animation.
For full information about these positions, please visit our link below:
CALL FOR BOOK CHAPTER PROPOSALS: A Thousand Platforms: Deep Teaching for Computational Media and Generalist Design
Deadline:
Fri Aug 01, 2014 23:55
CALL FOR BOOK CHAPTER PROPOSALS
A Thousand Platforms: Deep Teaching for Computational Media and Generalist Design
Edited by Michael Filimowicz, School of Interactive Arts and Technology, Simon Fraser University
Today’s creators of interactive media “switch hardware and software tools like colors of paint.”[1] This edited collection focuses on undergraduate teaching and learning by bringing together essays addressing pedagogies that produce the fabled "unicorns" – graduates who can Program, Design and Create. Curricula in computational media are faced with various challenges, such as (1) maintaining a balance between breadth and depth of specialist knowledge; (2) developing fluency in coding despite otherwise advanced technological creativity; or (3) the role of numeracy in visually-dominated media.
A multiplicity of technical skillsets– animation, graphic design, electronics, computer vision, web design, sound design, 3D printing, algorithmic thinking amongst many others – contribute to an equally diverse set of professional fields, such as UXD, audiovisual postproduction, web application development, project management, creative directing practices, game programming, storytelling, industrial design, communication design and beyond. This rich combination of skillsets and possible roles are profoundly cross-pollinating and thus trigger continuous shifts in professional contexts.
Within this framework, this edited collection intends to address topics such as (but not limited to):
• Project-based courses and teamwork
• Entrepreneurial components to curricula
• The perception and realities of specialist vs. generalist knowledge
• Translating faculty research and graduate collegiality into the undergraduate realm
• Conceptualization of similarities, differences, continuums and relationships between art and design pedagogies
• Ways in which generalist creative and technical knowledge translate to a student audience with "glamour job" expectations
• Pedagogical strategies that acclimate students for a fast changing workforce where much of the most interesting and rewarding work is performed on a per project basis
• Instructional strategies that evoke students’ passion about coding, mathematics, research methodologies and writing
In brief, this edited collection asks: what does it mean to teach students toward a thousand technological platforms? Please send your original 500 word abstracts in the body of the email along with a short bio to mfa13@sfu.ca with the subject heading “1000 Platforms.”
Deadline: Aug 1, 2014.
Notification of acceptance: Oct 1, 2014
Full chapters (6000-7000 words) due: January 11th, 2015.
---------
[1] To cite an interview with Matt Cottam in Joshua Noble's Programming Interactivity.
A Thousand Platforms: Deep Teaching for Computational Media and Generalist Design
Edited by Michael Filimowicz, School of Interactive Arts and Technology, Simon Fraser University
Today’s creators of interactive media “switch hardware and software tools like colors of paint.”[1] This edited collection focuses on undergraduate teaching and learning by bringing together essays addressing pedagogies that produce the fabled "unicorns" – graduates who can Program, Design and Create. Curricula in computational media are faced with various challenges, such as (1) maintaining a balance between breadth and depth of specialist knowledge; (2) developing fluency in coding despite otherwise advanced technological creativity; or (3) the role of numeracy in visually-dominated media.
A multiplicity of technical skillsets– animation, graphic design, electronics, computer vision, web design, sound design, 3D printing, algorithmic thinking amongst many others – contribute to an equally diverse set of professional fields, such as UXD, audiovisual postproduction, web application development, project management, creative directing practices, game programming, storytelling, industrial design, communication design and beyond. This rich combination of skillsets and possible roles are profoundly cross-pollinating and thus trigger continuous shifts in professional contexts.
Within this framework, this edited collection intends to address topics such as (but not limited to):
• Project-based courses and teamwork
• Entrepreneurial components to curricula
• The perception and realities of specialist vs. generalist knowledge
• Translating faculty research and graduate collegiality into the undergraduate realm
• Conceptualization of similarities, differences, continuums and relationships between art and design pedagogies
• Ways in which generalist creative and technical knowledge translate to a student audience with "glamour job" expectations
• Pedagogical strategies that acclimate students for a fast changing workforce where much of the most interesting and rewarding work is performed on a per project basis
• Instructional strategies that evoke students’ passion about coding, mathematics, research methodologies and writing
In brief, this edited collection asks: what does it mean to teach students toward a thousand technological platforms? Please send your original 500 word abstracts in the body of the email along with a short bio to mfa13@sfu.ca with the subject heading “1000 Platforms.”
Deadline: Aug 1, 2014.
Notification of acceptance: Oct 1, 2014
Full chapters (6000-7000 words) due: January 11th, 2015.
---------
[1] To cite an interview with Matt Cottam in Joshua Noble's Programming Interactivity.
CINESONIKA 4 Film and Video Festival
Deadline:
Sun Jun 01, 2014 11:40
Location:
Canada
CINESONIKA 4 will showcase international works of film and video with fascinating soundtracks, idiosyncratic sound design, eclectic scoring and innovative approaches to the sound-image relationship. The festival will be held at Vancity Theatre in Vancouver, British Columbia, Canada in conjunction with the academic conference on soundtrack studies at Simon Fraser University, July 8-10 2014.
The festival is open to works in any format, including narrative, documentary, animation, experimental, and uncategorizable styles, with no minimum or maximum run time. Please note that there is a $15 entry fee that needs to be paid online along with submissions. Submit online at http://cinesonika.com/submit
The festival is open to works in any format, including narrative, documentary, animation, experimental, and uncategorizable styles, with no minimum or maximum run time. Please note that there is a $15 entry fee that needs to be paid online along with submissions. Submit online at http://cinesonika.com/submit
CINESONIKA 4 International Conference and Festival of the Soundtrack
Deadline:
Sun Jun 01, 2014 11:30
Location:
Canada
Keynote Speaker:
Amy Herzog (Queens College, CUNY) author of Dreams of Difference, Songs of the Same: The Musical Moment in Film and co-editor of The Oxford Handbook of Sound and Image in Digital Media
We are seeking multi-disciplinary contributions on sound in relation to the moving image. Media thinkers, film scholars, art historians, performance theorists, composers, filmmakers, sound practitioners, multimedia semioticians, philosophers of perception – we invite these and others to submit proposals for 20 minute panel presentations. All accepted presentations will be considered for inclusion in The Soundtrack academic journal if expanded into papers and submitted for peer review (1000-3000 words for short articles, 5000-6000 words for long papers).
Submitting to the Conference:
Please write "Cinesonika 4 Abstract" in the subject heading.
Deadline for Abstracts (under 500 words): June 1 2014
Please submit your abstract and short bio both as an attachment (.doc or .pdf) and also pasted into the body of your email submission, to submit@cinesonika.com
Amy Herzog (Queens College, CUNY) author of Dreams of Difference, Songs of the Same: The Musical Moment in Film and co-editor of The Oxford Handbook of Sound and Image in Digital Media
We are seeking multi-disciplinary contributions on sound in relation to the moving image. Media thinkers, film scholars, art historians, performance theorists, composers, filmmakers, sound practitioners, multimedia semioticians, philosophers of perception – we invite these and others to submit proposals for 20 minute panel presentations. All accepted presentations will be considered for inclusion in The Soundtrack academic journal if expanded into papers and submitted for peer review (1000-3000 words for short articles, 5000-6000 words for long papers).
Submitting to the Conference:
Please write "Cinesonika 4 Abstract" in the subject heading.
Deadline for Abstracts (under 500 words): June 1 2014
Please submit your abstract and short bio both as an attachment (.doc or .pdf) and also pasted into the body of your email submission, to submit@cinesonika.com
