Working with Realspace and the Liverpool University, School of Medicine, I have recently been involved in filming a number of medical scenarios using multiple 360 cameras, including a high end stereoscopic camera called the Nokia Ozo, to test out the benefits of 360 degree video training for doctors learning about procedures in high pressure environments.
The research challenge is to see how doctors deal with multiple information inputs and distractions whilst working and the scenarios that have been developed include diagnostics, emergencies as well as some of the practical and pastoral care issues that doctors face as they go about their practice.
We are then editing this into a VR app (for Samsung Gear Headsets) with a user interface, alongside supporting the development of a 360 interactive learning resource.
VR has a number of benefits for the training of health professionals, including providing cost effective simulations that really enable learners to experience a situation in context. Here’s a few pictures from the shoot…
Have recently been working on a collaborative research project with folk from the Liverpool Institute of Performing Arts, FACT Liverpool, LJMU, Kinicho and Manchester School of Art exploring fictional storytelling in 360/VR.
The aim of the project is to develop a prototype scene from Kafka’s novel ‘The Trial’ as a way to explore the medium specific aesthetics and logistics of making films in immersive environments. The team comes from a number of disciplines including filmmaking, theatre, storytelling, new media and sound. We are exploring a number of questions related to using sound, cinematography, editing, agency, embodiment and dramatic staging and performing in a uniquely VR way.
The camera has kindly been provided by the Creative Camera Company in Manchester
It’s a rather exciting time at the moment working with a medium where the conventions are unestablished, and going in a number of different directions, regarding how an audience member is positioned when they are in a film. It feels a bit like it must of felt 120 years ago.
Here’s some pics from the rehearsals at LIPA
I recently began my PhD research journey exploring mixed reality storytelling in the smart city, as part of an AHRC Funded Collaborative Doctoral Award with McCann Manchester, the Virtual Engineering Centre and the Centre for Architecture and Visual Arts at Liverpool University.
My focus is looking at how immersive media technologies (such as mixed reality (AR/VR), internet of things, locative media, sensors and data) can be used to create imaginative interactions between people and place by connecting them to heritage and culture. My aim is to find ways to conceptualise and develop prototypes to make urban spaces more playful, imaginative & emotive through the use of mixed reality creative technologies and networked storytelling for visitors– which will hopefully be useful knowledge for future filmmakers, gamesmakers, advertisers, place marketers, placemakers, place hackers and urban designers.
The Practice-based PhD also involves a number of other collaborations within Arts, Culture organisations mainly in Manchester and Liverpool.
“As connected devices and services continue to develop, filmmakers will be able to place a story layer over the real world. Inanimate objects and physical locations will become an opportunity to extend stories and engage audiences in ways that propel 21st-century storytelling.” Lance Weiler
This project is exploring the possibilities for transmedia, augmented and virtual reality storytelling by creating a number of experimental films that fuse filmmaking, digital environments and creative technologies. I am particularly interested in the way that these immersive environments create new forms of embodiment and can help us to experience geographical space in new ways.
Many people argue that VR can lead to highly empathetic and emotional kinds of storytelling experiences, which could have a number of applications for the social sciences, humanities and the arts. They therefore have really strong potential for storytellers addressing issues related to personal, cultural, social and behavioural change.
Filmmakers and storytellers who are working in this area are also having to rethink the way that they design ‘story architecture’ around non-linear forms of transmedia engagement. It is therefore an inter-disciplinary project that explores a range of areas such as the behavioural and cognitive sciences, user-experience design, immersive performance and transmedia storytelling.
We are currently developing a number of projects, campaigns and teaching initiatives with partners and organisations under this banner, so stay tuned for updates as they develop…
In the meantime, follow the Immersive Storylab on twitter for updates and links to work that we think is really exciting. Or get in touch with me to discuss a project via: mail (at) petewoodbridge.info
I’ve been out and about the last few weeks getting my head around virtual reality 360 degree filmmaking for a few upcoming projects that I am developing. As part of my testing I’ve made this short video, called Virtual (anthropo) Reality , whilst out and about on the Wirral over the weekend.
I’m really excited at the moment by the potential of virtual and augmented reality as a highly empathetic storytelling medium, as well as enabling us to embed stortelling into the physical world. There’s a number of research projects currently happening around the world that show how VR/AR can contribute to peoples emotional and embodied understanding of other peoples experiences so this has enormous potential for those involved in the media, campaigning and communications industries.
Stay tuned for more updates as I develop some projects, but in the meantime please enjoy this short video…
After.video : Assemblages is a hybrid video book (paperback book and video) stored on a Raspberry Pi computer and packaged in a VHS case that assembles theory into practice. It will be available here soon.
The project was demonstrated at this years Transmediale Festival and includes a ‘re-assembled version’ of my video essay on Control Societies.
ISBN: 978-1-906496-23-4, 2016, published by Open Humanities Press
after.video realizes the world through moving images and reassembles theory after video. Extending the formats of ‘theory’, it reflects a new situation in which world and video have grown together.
This is an edited collection of assembled and annotated video essays living in two instantiations: an online version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.
We hope that different tribes — from DIY hackercamps and medialabs, to unsatisfied academic visionaries, avantgarde-mesh-videographers and independent media collectives, even iTV and home-cinema addicted sofasurfers — will cherish this contribution to an ever more fragmented, ever more colorful spectrum of video-culture, consumption and appropriation…
Table of Contents
Peter Woodbridge + Gary Hall + Clare Birchall
Scannable images: materialities of Post-Cinema after Video
Karin + Shane Denson
The Crying Selfie
Rózsa Zita Farkas
Contingent Feminist Tacticks for Working with Machines
Lucia Egaña Rojas
Capturing the Ephemeral and Contestational
You Spin me Round – Full Circle
Oliver Lerone Schultz
Pablo de Soto
Laila Shereen Sakr (VJ Um Amel)
Jacob Friedman – Open Hypervideo Programmer
Anton Galanopoulos – Micro-Computer Programmer
Adnan Hadzi – OHP Managing Producer
Jacob Friedman – OHV Format Development & Interface Design
Joscha Jäger – OHV Format Development & Interface Design
Oliver Lerone Schultz – Coordination CDC, Video Vortex #9, OHP
Cover artwork and booklet design: Jacob Friedman
Copyright: the authors
Licence: after.video is dual licensed under the terms of the MIT license and the GPL3
Art + Civic Media as part of Centre for Digital Cultures @ Leuphana University.
Art + Civic Media was funded through Innovation Incubator, a major EU project financed by the European Regional Development Fund (ERDF) and the federal state of Lower Saxony.
In contemporary liberal democracies there is a polarisation between ideals of transparency – borne out in open government legislation, freedom of information, and confessionary culture – and what we might call a secret sphere, an institutionalised commitment to covert security operations that exist beyond the public view.
In the wake of the Snowden revelations about the surveillance capabilities of intelligence agencies around the globe, an interdisciplinary symposium at King’s College London** in 2015 gathered experts to discuss the place and implications of secrecy for contemporary cultural politics. Speakers addressed what was politically, ethically, socially and ontologically at stake in cultures of secrecy at the individual, national and international level.
Recordings from the event have been hidden across some of the darkest corners of the world wide web and will be revealed through a series of leaks and revelations.
#secrecymachine was a project of slow secretion, devised by Pete Woodbridge and Clare Birchall, to reveal the event’s secrets beyond the academy. It started on the 8th October 2015. Participants were exposed to a number of secret emails, each revealing codes and details for accessing content from the event.
All of the talks are now available and open to the public here http://immersivestorylab.com/secret/
Please share this secret with anyone you trust …
**’The Politics and Practices of Secrecy’ was a symposium organised by Clare Birchall & Matt Potolsky and funded by the Institute of North American Studies, King’s College London.
I’ve recently been working on the development of a BA (Hons) Degree in Digital Media at Coventry School of Art and Design. It’s a brand new degree exploring media design, storytelling, digital arts and digital culture.
Students will be working on convergent media projects in content production, moving-image, storytelling, speculative design and a number of related areas across the digital arts. Designed for learners who want to be hybrid-media artists, creative professionals and entrepreneurs in the increasing pervasive digital realm.
First year modules will explore digital culture, convergent multimedia production, digital publishing, storytelling and creative technology. The year will culminate in an intensive ‘creative hack lab’ project where students put their problem solving, innovation and design skills to the test with a live brief.
The second year will explore the creative and critical side of the digital arts, along with modules in digital advertising, transmedia storytelling and opportunities to undertake professional experience. There will also be options to develop skills in other areas of media production, including photography, experimental media and short film as well as opportunities to undertake visits with international partner organisations.
The final year will focus on critical digital research methods, exploring how to use creative technologies for research and the creation of new forms of knowledge, products and artistic expression. Students will then use their skills to develop a final research project, aimed at creating cutting-edge experiences and speculative possibilities for the future.
The degree is underpinned by an interdisciplinary approach to the design and analysis of digital culture and media, drawing on a range of methodologies from the digital and media arts, sciences, business and creative computing subject areas. It will be addressing the implications, challenges and possibilities of living in a world of disruptive innovation, peer 2 peer collaboration, connected devices, augmentation, pervasive storytelling, automation, big data and the internet of things and exploring this through projects that challenge and critique it.
Students will be involved in live projects, real industry and cultural briefs and working simulations that are informed by problem-based, activity-led and challenge-based learning methodologies. This will be supported by technology-enhanced learning approaches in a department that is internationally recognised for its innovative approach to learning design.
To find out more about the digital media research work in the Department of Media please visit the Centre for Disruptive Media website.
Large parts of the UK are currently being licensed for Hydraulic Fracturing, Underground Coal Gasification and Coal Bed Methane Extraction. A growing base of evidence is showing that these technologies could have a massive impact on the environment, as well as on the health of people and wildlife. Despite this, it seems that planning applications are being allowed to go ahead with very little debate, and consent, from the people who it will directly impact upon.
The Liverpool, Wirral and Merseyside campaign to raise awareness has received considerable community support so far. It even managed to get a mention by Yoko One, who is an eminent campaigner against the tide of fracking across the globe. A number of other merseyside bands are also supporting the campaign.
— Yoko Ono (@yokoono) April 7, 2014
As part of the efforts, I’ve helped to make a film to raise awareness of the impacts of extreme energy extraction in the area.You can watch it here:
A number of organisations have helped to get this out there, many thanks for helping to share this issue and for helping the campaign to raise signatures for the petition to put this on the agenda.
— Margaret Greenwood (@MGreenwoodWW) July 11, 2014
— Wirral Green Party (@WirralGreens) July 5, 2014
Liquid-Cinema is a visual art/technology project that is exploring the potential of inserting fluid and manipulable layers into the visual imagery of film in the cinema. This technology will effectively enable film audiences to become part of the narrative imagery and story of the ‘mass-distributed’ film itself. Enabling filmmakers and distributors to develop new kinds of narrative experiences and database driven hyper-localisation for their stories and back-catalogues.
It is an attempt at creating a participatory cinema, one that is open to audience and contextual engagement in a number of fluid and dynamic ways. It builds on the practical and theoretical work in the broad area of the study, and practice, of transmedia storytelling and the digital arts.
It’s aim is to apply it to the creation of new narrative experiences, as well as enabling cinematic archives and back-catalogues to be reconceived and remediated and potentially resold as new versions. On top of this there will also be potential to integrate the hyper-localisation of advertising and product placement content in the background of film itself. A film that becomes aware
Here are some of the illustrations from the thinking behind the project so far (created by Illustrator Catherine Askew)….
Culture Machine Live is a podcast series dedicated to discussions of culture and theory.
and many more
Editors: Janneke Adema, Clare Birchall, Gary Hall and Pete Woodbridge.
Following on from our Open Class in Creative Activism, we’ve decided to think about how we can use some of the working practices we developed to explore other areas on our curriculum.
So this October we are launching the ‘Cine Collective‘- which is an Open Undergraduate Class exploring and experimenting with Digital Cinematography.
Over the course of 10 weeks we will be looking at a variety of approaches to studying, practicing and interrogating cinematography. Alongside this, the participants on the course will work on a series of cinematic responses to weekly creative briefs- that will contribute to form a showreel of work by the end of the class. Students are asked to openly post their response to each task to our community.
It’s an exciting time for ‘Open Teaching’ in Film, with a number of organisations and universities opening up their doors and helping to change the way that education is structured in the 21st Century. Surely it won’t be long until there is a very real prospect of undertaking a truly ‘distributed’ degree- choosing the best and most appropriate courses from around the world, to create some kind of educational playlist. There’s a lot of potential here for something truly digital, and radical, to emerge. It’s really exciting to see projects such as the Peer 2 Peer University, Coursera, OERU and Mozilla’s Open Badges gaining momentum in this area- each taking a different approach and model to rethinking education.
In the meantime here are a few other open classes that you might want to explore next academic year….
“Open Source Culture” taught by Mark Tribe (@marktribe on Twitter) Brown University
“Digital Storytelling -DS106” taught by Alan Levine et al (@cogdog on Twitter) University of Mary Washington
“Guerilla Film Marketing” taught by Randy Finch (@randyfinch on Twitter) Florida State Uni
“Building StoryWorlds: the art, craft and biz of storytelling in 21c” taught by Lance Weiler (@lanceweiler on Twitter) Columbia University
“Digital Media and Participatory Culture” taught by Melanie E.S. Kohnen, Ph.D (@_mesk on Twitter) Georgia Tech
“The Language of Hollywood: Storytelling, Sound and Color” taught by Scott Higgins at Wesleyan University
“The Camera Never Lies ” taught by Emmett Sullivan at Royal Holloway, London University
(List originally published by Sheri Candler on The Film Collaborative)
“Changing how we see images is clearly one way to change the world……critically intervene in a way that challenges and changes.” – bell hooks
“I didn’t start making films until I was 34. But that wasted youth was probably the most valuable asset for what I’m doing now. You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don’t have anything to say then you shouldn’t be making films. It’s nothing to do with what lens you’re using.” – Christopher Doyle
“A democratic civilization will save itself only if it makes the language of the image into a stimulus for critical reflection — not an invitation for hypnosis.” – Umberto Eco
“All I’ve ever wanted to do is take stills of people, or take documentaries about people, and try to express to an audience how somebody lives next door. You know what I mean? Just how similar we all are as individuals.” – Roger Deakins
“A writer needs a pen, an artist needs a brush, but a filmmaker needs an army.”- Orson Wells
“Education is the kindling of a flame, not the filling of a vessel”- Socrates
“The first draft of anything is shit.”– Ernest Hemingway
“Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery – celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from – it’s where you take them to.”” – Jim Jarmusch
“Make visible what, without you, might perhaps never have been seen.” – Robert Bresson
“I hear and I forget. I see and I remember. I do and I understand” – Confucious
If you have any more good ones please add them in the comments below…..
Living Books About Life is a series of curated, open access books about life — with life understood both philosophically and biologically — which provide a bridge between the humanities and the sciences. Produced by a globally-distributed network of writers and editors, the books in the series repackage existing open access science research by clustering it around selected topics whose unifying theme is life such as air, agriculture, bioethics, cosmetic surgery, electronic waste, energy, neurology and pharmacology.
By creating twenty one ‘living books about life’ in just seven months, the series represents an exciting new model for publishing, in a sustainable, low-cost manner, many more such books in the future. These books can be freely shared with other academic and non-academic institutions and individuals. Taken together, they constitute an engaging interdisciplinary resource for researching and teaching relevant science issues across the humanities, a resource that is capable of enhancing the intellectual and pedagogic experience of working with open access materials.
All the books in the series are themselves ‘living’, in the sense that they are open to ongoing collaborative processes of writing, editing, updating, remixing and commenting by readers. As well as repackaging open access science research — along with interactive maps, visualisations, podcasts and audio-visual material — into a series of books, Living Books About Life is thus engaged in rethinking ‘the book’ itself as a living, collaborative endeavour in the age of open science, open education, open data and e-book readers such as Kindle and the iPad. The book that I worked on, along with Janneke Adema, explored the way that concepts and ideas around the theme of Symbiosis can be applied to a number of areas within the (digital/networked) humanities.
Living Books About Life is a collaboration between Open Humanities Press and three academic institutions: Coventry University, Goldsmiths, University of London, and the University of Kent. Funded by the Joint Information Systems Committee (JISC), and published by Open Humanities Press (OHP) (http://openhumanitiespress.org). The Editors of the series are Clare Birchall (University of Kent), Gary Hall (Coventry University), Joanna Zylinska (Goldsmiths, University of London). Other members of the project team include Sigi Jőttkandt (Open Humanities Press), David Ottina (Open Humanities Press) and myself (Coventry University).
‘The Post-Secret State: Openness and Transparency in the Era of Gov 2.0’ (co-authored with Clare Birchall and Gary Hall) is published in a new journal called Ctrl-Z: New Media Philosophy, alongside an essay, ‘How to Do Justice to Media Specificity: or, Should This Video Be Left to Speak for Itself?’.
Find out more about Liquid Theory TV
In January 2012 we launched our Free and Open Undergraduate class exploring Creative Activism– opening up the class, as much as we can, so others can participate, join the discussions and follow our lectures and podcasts.
The class explores the potentials of creative media activism through encouraging the creation of ‘live’ creative interventions that make a positive change.
Looking at how media activists and campaigners have used their media knowledge, creativity and community building skills to ask difficult questions, provoke debate and raise awareness of important issues and problems in their local, national and international communities.
The class is supported by a range of collaborators and guest speakers who are changing the world. So far our participants include:
and many more.
If you’d like to get involved, or just stay up to date with the work of this class, please contact me via twitter/facebook. You can also download the Creative Activism Podcasts in iTunes U – all are free to share, rip and remix
Over the past few months I have been working with Jonathan Worth and the Photography Team at Coventry University to develop an iPhone App for a free and open undergraduate course called ‘Picturing the Body’.
The ‘trendsetting’ app has been mentioned by the British Journal of Photography, PDN Pulse, Times Higher Education and Professional Photographer Magazine. The innovative class, and the innovations associated with it, have been described by one of the teams collaborators as ‘an innovation in photography education’ and by Wired’s Rawfile team as ‘Blowing minds & shifting paradigms in photo education’.
The beta App allows people to engage with the community of practitioners and students who are taking part in the course. Pulling in photographs from Flickr, content from the blog, comments from Twitter as well as a range of photography podcasts from our iTunes U Project.
The intention is to see whether mobile applications can enhance the experience of being involved in the course and to help us to think about future developments in this area as part of our mantra for Open Media at Coventry University. Since the launch of this app, we have been involved in developing a number of innovations for mobile based learning, including the launch of the MediaPRO – Media Production Course App
(The image at the top and on my homepage – Crash Courtesy of Jonathan Shaw)
The Picbod App was developed as a part of my Postgraduate Certificate in Higher Education. You can find the poster presentation of the PICBOD App here. Thanks to all the colleagues, students and other people who were involved in its development.
Here’s a short look at some of the projects that I have been involved with, I’ve tried to make it a bit more personal than I usually would with a showreel, so please let me know if you think it works or not.
My thanks also go to all of the people who have worked on these projects with me over the years!
Back in early 2008, and at a time when I was only just getting to grips with the whole digital ‘thing’ myself, I came up with the idea of viral education and made this video to ask some key questions about the nature of education in relation to emerging participatory technologies:
Originally made as part of a presentation for my own institution, the video has been used by a number of educational organisations to open up conversations about the way that education is using new viral possibilities enabled by the open web to change the way we think about what education can be. It’s been cited on hundreds of blogs and in a number of reports. Many of the comments have helped to shape my own ideas about education in relation to technology. Here’s just a few of the places it has been used over the last 4 years:
The second episode in the series takes as its focus Gilles Deleuzes short essay Postscript on the Societies of Control. While this episode is being made available for the first time in an issue of Culture Machine: An Open-Access Journal of Culture and Theory culturemachine.net/index.php/cm/issue/view/22 which has the theme of creative media; and while Liquid Theory TV could be described as a creative project, to the extent it is concerned with producing alternative, rival, or counter-desires to those currently dominant within much of society (at its simplest, a desire for philosophy or more broadly theory, rather than for the creations of Richard Branson, Simon Cowell or Rupert Murdoch, say), this does not mean that either the series, or this particular episode, should be regarded simply as an attempt to perform Deleuzes philosophy. The critical and interpretive aspects of scholarly work remain important to us here, even if they are being undertaken in a medium very different to the traditional academic journal article or book.
It’s been used in various websites and e-learning platforms as a network resource, and seems to have captured people’s interest on YouTube
Liquid Theory TV is a collaboration between Clare Birchall, Gary Hall and Peter Woodbridge. It has been widely cited by a number of publications, journals, elearning repositories and blogs.
Here are some links :
I initiated and project manag the Coventry University partnership with Apple’s iTunes U, enabling us to significantly raise our international profile through open sharing of teaching and research resources.
At the time of launch in June 2009 we were the 6th UK institution to launch our content through this platform and since its inception it has grown to include over 600 open multimedia resources ranging from lectures to online tutorials.
The site now attracts thousands of visitors every week and now has over 7 million hits (including the other sites where we send the content to) and includes a diverse portfolio of free content from across the University. It also enabled the University to be Highly Commended for ‘Innovation and Creative Thinking Campaign’ at the 2010 HEIST Awards. bank of america site down . As well as paving the way for a number of funded projects in the area of Open Access for the University and the development of further applications and projects.
Find out more information about the CU on iTunes U project
It was a practice based research attempt at making theoretical praxis, when I first started becoming academically influenced in my media practice in 2006.
I initiated and develop this project, whose aim was to set up an online channel for Coventry University. To date the CUTV channel has had over two million views. It includes a range of videos including lectures, research projects and student work from around Coventry University. browser test tool . It is helped with the support of a number of people around Coventry University including students and staff from the Media Production degree.
The CUTV project is also part of the Youtube Edu global education platform, which includes thousands of free academic videos from YouTube’s educational partners around the world.