[spectre] lea special issue:Creative Data: Visualisation, Augmentation, Telepresence And Immersion call for abstracts

[hight at 34n118w.net]

*Creative Data: Visualisation, Augmentation, Telepresence And Immersion*
http://leoalmanac.org/cfp/calls.asp#cd

Guest Editors: *Jack Ox, Jeremy Hight, and Erik Champion *
LEACreativeData at astn.net

Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp
Discussion Group: leacreativedata-subscribe at googlegroups.com
Deadline: *8 July 2007 *
**
*Call for papers - LEA Creative Data Special*
*------------------------------------------------------------------*

The Leonardo Electronic Almanac (ISSN No: 1071-4391) is inviting papers and
artworks that deal with the emerging practice of data visualization as an
immersive experience. Data has long been the property and domain of screen
based collection, archiving, processing and interaction. The emergence of
new processes, functionality and ways of interacting with information is
opening up several new areas of great possibility in which the data allows
newfound thematic and engaging forms of immersion, as well as innovative and
perception-reshaping interaction.
**
*Introduction
-------------------*

Consider a simple analogy; to swim in a pool is to understand three
dimensionality, interaction, spatial relationships and a macro-micro view,
as well as contextual and embodied interaction. Can we swim with data? How
do we build, debate and discuss the future and shape of immersivity in its
relation to data? Can the representation of data as an immersive environment
be considered a creative accomplishment or support creativity in action or
as spectacle? How does this change the way we collect and archive
information? How does it relate to our ways of interacting with information
in study and analysis? How can this enhance or fuse key aspects of image
projection, virtual reality, augmented reality, new media and even locative
media?

We are looking for essays, interviews, reports and other forms of writing
that look at spatialization and layering of information, a greater sense of
immersion, new forms of visualization and depth of field, precedents, future
applications and connotations, our relationship to immersion and information
inherently as how this applies to this new area.

Topics of interest may include (but are not limited to): case study related
analysis, historical context and related precedents, future and new
applications of the technology, spatial relationship analysis and analysis
of immersive interaction, screen based graphic visualization, project and
concepts of augmentation, relationship to augmented reality, virtual
reality, locative media and spatial interaction, data visualization,
creativity and the drawn line between "science" and "art", applications to
spatial interpretation of architecture (from buildings to architecture of
data, form, etc.), or new paradigms of the kinesthetic and proprioception
applied to multi leveled or layered data and information processing
(data/and/or human) in ways that creates or enhances immersivity. There is a
nexus point of technology, information, creativity and interaction that
connects back to essential concepts of seeing, ordering, interacting and
interpreting. This call invites papers that explore the myriad ways this is
now possible.
*Key topics of interest *
*---------------------------------*

*** CREATIVE DATA VISUALISATION: *
How can scientific data be streamlined and filtered to immerse the public in
an intuitive and explorative yet also educational manner? Or allow them to
explore their neighborhood, world or even universe at vastly varying scales
and detail without cognitive overload?

*** AUGMENTED AND INTERMEDIAL REALITIES: *
How can various fields and disciplines and areas of artistic endeavor take
advantage of new digital technologies to mediate new spatial experiences and
perspectives?

*** STREAMED EXPERIENCE, SOCIAL PRESENCE AND TELEPRESENCE:*
Which networking and distributed technologies and systems have and can be
creatively used to share the thoughts, actions and feelings of artists,
scientists, actors and/or participants? Immersive environments are not
standing alone today. They are more often part of a network of immersive
environments. For instance, the OptiPuter consortium (
http://www.optiputer.net/) has developed and distributed "OptiPortals" to
many of its members. An OptiPortal is an immersive SAGE WALL that is
connected to the LambdaRail ( http://www.glif.is/). Huge data sets do not
have to be stored at more than one site as it is less expensive to
communicate them over optical networking that has a capacity of up to 10Gb
per second.
*** THEMATIC IMMERSION AND INTERACTION:*
How can virtual reality technology and thematic interaction combine to
create immersive and engaging digitally mediated experiences? For example,
what new types of audience participation, setting, interfaces, interaction
devices and metaphors, background story etc can help add to a specific sense
of space place or time in order to enhance engagement and a sense of
immersion in a virtual environment?

While case study based analysis and critical analysis are highly desired we
are also very interested in larger contextualization(s) and personal entry
points. It is often observed that although we live in a society of
escalating specialization and stratification, creative use of newer
technology often begets a hybrid skill set and background. As creative
practitioners, what brings you to this topic and field? What areas and
specialties have already benefited from this field of technology and
interaction? What new areas of potential are as yet untouched or waiting to
be utilized? What is the line between art and science here; do the
boundaries blur or crystallize?
*Want to be kept informed?
------------------------------------------
*
For the latest news, updates and discussions, join the LEA Creative Data
Mailing List.

LEA encourages international artists /academics /researchers/ students
/practitioners /theorists to submit their proposals for consideration. We
particularly encourage authors outside North America and Europe to send
their proposals for essays/artist statements.
**
*Publishing Opportunities
----------------------------------------*
**
As part of this special, LEA is looking to publish:

- Critical Essays
- Artist Statements/works in the LEA gallery
- Bibliographies (a peer reviewed bibliography with key texts / references
in Immersive Data).
- Academic Curriculum (LEA encourages academics conducting course programs
in this area to contact us)

Expressions of interest and outline should include:
- A brief description of proposed text (300 words)
- A brief author biography Short Author Bio (150-300 words)
- Any related URLs

Contact Details: In the subject heading of the email message, please use
"Name of Artist/Project Title: LEA Immersive Data Visualization-Date
Submitted".

Please cut and paste all text into body of email (without attachments).
*Deadlines*
*----------------
*
8 July 2007 - submission of abstracts
22 July 2007 - short-listed candidates informed
2 September 2007 - contributors to submit full papers for peer review
Editorial Guidelines: http://leoalmanac.org/cfp/submit/index.asp

Please send proposals or queries to:
Jack Ox, Jeremy Hight, and Erik Champion
LEACreativeData at astn.net
or
Nisar Keshvani
LEA Editor-in-Chief
lea at mitpress.mit.edu


***********************************************************************
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*What is LEA?
-----------------*

Established in 1993, Leonardo Electronic Almanac (ISSN No: 1071-4391)
is the electronic arm of the pioneer art journal, Leonardo - Journal
of Art, Science & Technology.

 Leonardo Electronic Almanac (LEA), jointly produced by Leonardo, the
International Society for the Arts, Sciences and Technology (ISAST), and
published by MIT Press, is an electronic journal dedicated to providing a
forum for those who are interested in the realm where art, science and
technology converge.
For over a decade, LEA has thrived as an *international peer reviewed
electronic journal *and web archive covering the interaction of the arts,
sciences, and technology. *On average 5 - 10% of manuscripts received are
eventually published. *LEA emphasizes rapid publication of recent work and
critical discussion on topics of current excitement with a slant on shorter,
less academic texts. Many contributors are younger scholars, artists,
scientists, educators and developers of new technological resources in the
media arts.

Contents include profiles of media arts facilities and projects, insights of
artists using new media and feature articles comprising theoretical and
technical perspectives. Curated galleries of current new media artwork are
also a regular feature, and occasionally, LEA publishes special issues on
topics such as locative media, new media poetics, and wild nature and the
digital life.