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
“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
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.
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.
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.
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
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 :
It was a practice based research attempt at making theoretical praxis, when I first started becoming academically influenced in my media practice in 2006.