Saturday dinner at the Morgan Stanley CEO retreat in Deer Valley: Jeffrey Katzenberg shared that he has traveled to China every month for 6 years and was 12 days away from consummating a sale of Dreamworks to a Chinese buyer who would have taken it private, but then Comcast scrambled to make a better bid, one that did not include Katzenberg in the integrated team.

 

So he is starting a new venture called WNDR (he is always full of Wonder) that is focusing on mobile content creation. Imagine programs like Game of Thrones segmented into 7-8 minute episodes by design.

 

Game of Thrones costs $300k per minute to produce.

 

"Film is not a growth business. That got me in a lot of trouble, but I stand by it. It is in a slow decline, but it is not disappearing. TV, on the other hand is exploding. There are 500 new TV series launching this year, double that of 5 years ago. There is so much I worry that I can't watch it all!"

 

On the urge to go private: "Other than Jeff Bezos with Amazon, being in investment mode as a public company sucks"

 

Some other comments on the Little Mermaid's outfit: Reducing the number of colors (from 11 to 7) used to paint her outfit saved $1m of production cost. It was all done by hand, released in 1989. And her top? "Trust me, a lot of design went into those shells!"

More from the Social Committee and I would like to state that each member of the Organization Team, to include the Social Volunteers start working on this conference several month, at least three and often more depending on the role to make each year even better for not only people who attend the conference, also approximately 2000+ new educators and students take their first trip into the worlds of virtual reality. Everything from submissions to present, volunteers, web design, content creation and more. Generally the conference is held in March. To stay posted VWBPE.org is on all social media. If you haven't experienced Virtual Worlds Best Practices in Education I can claim without a doubt it is a wonderful experience. Everything from Keynote Speakers, Presentations from different educators, Mentors and Volunteers to make your transition easy and the Social Team to add fun, an opportunity to mingle with like-minded people as well as planning events such as this.

A portrait series with Jemima @ Atelier 5B.

I just got back from the Churchill Club’s 13th Annual Top 10 Tech Trends Debate (site).

 

Curt Carlson, CEO of SRI, presented their trends from the podium, which are meant to be “provocative, plausible, debatable, and that it will be clear within the next 1-3 years whether or not they will actually become trends.”

 

Then the panelists debated them. Speaking is Aneesh Chopra, CTO of the U.S., and smirking to his left is Paul Saffo, and then Ajay Senkut from Clarium, then me.

 

Here are SRI’s 2011 Top 10 Tech Trends [and my votes]:

 

Trend 1. Age Before Beauty. Technology is designed for—and disproportionately used by—the young. But the young are getting fewer. The big market will be older people. The aging generation has grown up with, and is comfortable with, most technology—but not with today’s latest technology products. Technology product designers will discover the Baby Boomer’s technology comfort zone and will leverage it in the design of new devices. One example today is the Jitterbug cell phone with a large keypad for easy dialing and powerful speakers for clear sound. The trend is for Baby Boomers to dictate the technology products of the future.

 

[I voted YES, it’s an important and underserved market, but for tech products, they are not the early adopters. The key issue is age-inspired entrepreneurship. How can we get the entrepreneurial mind focused on this important market?]

 

Trend 2. The Doctor Is In. Some of our political leaders say that we have "the best medical care system in the world". Think what it must be like in the rest of the world! There are many problems, but one is the high cost of delivering expert advice. With the development of practical virtual personal assistants, powered by artificial intelligence and pervasive low-cost sensors, “the doctor will be in”—online—for people around the world. Instead of the current Web paradigm: “fill out this form, and we’ll show you information about what might be ailing you”, this will be true diagnosis—supporting, and in some cases replacing—human medical practitioners. We were sending X-rays to India to be read; now India is connecting to doctors here for diagnosis in India. We see the idea in websites that now offer online videoconference interaction with a doctor. The next step is automation. The trend is toward complete automation: a combination of artificial intelligence, the Internet, and very low-cost medical instrumentation to provide high-quality diagnostics and advice—including answering patient questions—online to a worldwide audience.

 

[NO. Most doctor check-ups and diagnoses will still need to be conducted in-person (blood tests, physical exams, etc). Sensor technology can’t completely replace human medical practitioners in the near future. Once we have the physical interface (people for now), then the networking and AI capabilities can engage, bringing specialist reactions to locally collected data. The real near-term trend in point-of-care is the adoption of iPads/phones connected to cloud services like ePocrates and Athenahealth and soon EMRs.]

    

Trend 3. Made for Me. Manufacturing is undergoing a revolution. It is becoming technically and economically possible to create products that are unique to the specific needs of individuals. For example, a cell phone that has only the hardware you need to support the features you want—making it lighter, thinner, more efficient, much cheaper, and easier to use. This level of customization is being made possible by converging technical advances: new 3D printing technology is well documented, and networked micro-robotics is following. 3D printing now includes applications in jewelry, industrial design, and dentistry. While all of us may not be good product designers, we have different needs, and we know what we want. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products. The trend is toward practical, one-off production of physical goods in widely distributed micro-factories: the ultimate customization of products.

 

[NO. Personalization is happening just fine at the software level. The UI skins and app code is changeable at zero incremental cost. Code permeates outward into the various vessels we build for it. The iPhone. Soon, the car (e.g. Tesla Sedan). Even the electrical circuits (when using an FPGA). This will extend naturally to biological code, with DNA synthesis costs plummeting (but that will likely stay centralized in BioFabs for the next 3 years. When it comes to building custom physical things, the cost and design challenges relegate it to prototyping, tinkering and hacks. Too many people have a difficult time in 3D content creation. The problem is the 2D interfaces of mouse and screen. Perhaps a multitouch interface to digital clay could help, where the polygons snap to fit after the form is molded by hand.]

     

Trend 4. Pay Me Now. Information about our personal behavior and characteristics is exploited regularly for commercial purposes, often returning little or no value to us, and sometimes without our knowledge. This knowledge is becoming a key asset and a major competitive advantage for the companies that gather it. Think of your supermarket club card. These knowledge-gatherers will need to get smarter and more aggressive in convincing us to share our information with them and not with their competitors. If TV advertisers could know who the viewers are, the value of the commercials would go up enormously. The trend is technology and business models based on attracting consumers to share large amounts of information exclusively with service providers.

 

[YES, but it’s nothing new. Amazon makes more on merchandising than product sales margin. And, certain companies are getting better and better at acquiring customer information and personalizing offerings specifically to these customers. RichRelevance provides this for ecommerce (driving 25% of all e-commerce on Black Friday). Across all those vendors, the average lift from personalizing the shopping experience: 15% increase in overall sales and 8% increase in long-term profitability. But, simply being explicit and transparent to the consumer about the source of the data can increase the effectiveness of targeted programs by up to 100% (e.g., saying “Because you bought this product and other consumers who bought it also bought this other product" yielded a 100% increase in product recommendation effectiveness in numerous A/B tests). Social graph is incredibly valuable as a marketing tool.]

       

Trend 5. Rosie, At Last. We’ve been waiting a long time for robots to live in and run our homes, like Rosie in the Jetsons’ household. It’s happening a little now: robots are finally starting to leave the manufacturing floor and enter people's homes, offices, and highways. Robots can climb walls, fly, and run. We all know the Roomba for cleaning floors—and now there’s the Verro for your pool. Real-time vision and other sensors, and affordable precise manipulation, are enabling robots to assist in our care, drive our cars, and protect our homes and property. We need to broaden our view of robots and the forms they will take—think of a self-loading robot-compliant dishwasher or a self-protecting house. The trend is robots becoming embedded in our environments, and taking advantage of the cloud, to understand and fulfill our needs.

 

[NO. Not in 3 years. Wanting it badly does not make it so. But I just love that Google RoboCar. Robots are not leaving the factory floor – that’s where the opportunity for newer robots and even humanoid robots will begin. There is plenty of factory work still to be automated. Rodney Brooks of MIT thinks they can be cheaper than the cheapest outsourced labor. So the robots are coming, to the factory and the roads to start, and then the home.]

  

Trend 6. Social, Really. The rise of social networks is well documented, but they're not really social networks. They're a mix of friends, strangers, organizations, hucksters—it’s more like walking through a rowdy crowd in Times Square at night with a group of friends. There is a growing need for social networks that reflect the fundamental nature of human relationships: known identities, mutual trust, controlled levels of intimacy, and boundaries of shared information. The trend is the rise of true social networks, designed to maintain real, respectful relationships online.

  

[YES. The ambient intimacy of Facebook is leading to some startling statistics on fB evidence reuse by divorce lawyers (80%) and employment rejections (70%). There are differing approaches to solve this problem: Altly’s alternative networks with partioning and control, Jildy’s better filtering and auto-segmentation, and Path’s 50 friend limit.]

  

Trend 7. In-Your-Face Augmented Reality. With ever-cheaper computation and advances in computer vision technology, augmented reality is becoming practical, even in mobile devices. We will move beyond expensive telepresence environments and virtual reality games to fully immersive environments—in the office, on the factory floor, in medical care facilities, and in new entertainment venues. I once did an experiment where a person came into a room and sat down at a desk against a large, 3D, high-definition TV display. The projected image showed a room with a similar desk up against the screen. The person would put on 3D glasses, and then a projected person would enter and sit down at the other table. After talking for 5 to 10 minutes, the projected person would stand up and put their hand out. Most of the time, the first person would also stand up and put their hand into the screen—they had quickly adapted and forgotten that the other person was not in the room. Augmented reality will become indistinguishable from reality. The trend is an enchanted world— The trend is hyper-resolution augmented reality and hyper-accurate artificial people and objects that fundamentally enhance people's experience of the world.

 

[NO, lenticular screens are too expensive and 3D glasses are a pain in the cortex. Augmented reality with iPhones is great, and pragmatic, but not a top 10 trend IMHO]

   

Trend 8. Engineering by Biologists.

Biologists and engineers are different kinds of people—unless they are working on synthetic biology. We know about genetically engineered foods and creatures, such as gold fish in multiple other colors. Next we’ll have biologically engineered circuits and devices. Evolution has created adaptive processing and system resiliency that is much more advanced than anything we’ve been able to design. We are learning how to tap into that natural expertise, designing devices using the mechanisms of biology. We have already seen simple biological circuits in the laboratory. The trend is practical, engineered artifacts, devices, and computers based on biology rather than just on silicon.

 

[YES, and NO because it was so badly mangled as a trend. For the next few years, these approaches will be used for fuels and chemicals and materials processing because they lend themselves to a 3D fluid medium. Then 2D self-assembling monolayers. And eventually chips , starting with memory and sensor arrays long before heterogeneous logic. And processes of biology will be an inspiration throughout (evolution, self-assembly, etc.). Having made predictions along these themes for about a decade now, the wording of this one frustrated me]

 

Trend 9. ‘Tis a Gift to be Simple. Cyber attacks are ever more frequent and effective. Most attacks exploit holes that are inevitable given the complexity of the software products we use every day. Cyber researchers really understand this. To avoid these vulnerabilities, some cyber researchers are beginning to use only simple infrastructure and applications that are throwbacks to the computing world of two decades ago. As simplicity is shown to be an effective approach for avoiding attack, it will become the guiding principle of software design. The trend is cyber defense through widespread adoption of simple, low-feature software for consumers and businesses.

 

[No. I understand the advantages of being open, and of heterogencity of code (to avoid monoculture collapse), but we have long ago left the domain of simple. Yes, Internet transport protocols won via simplicity. The presentation layer, not so much. If you want dumb pipes, you need smart edges, and smart edges can be hacked. Graham Spencer gave a great talk at SFI: the trend towards transport simplicity (e.g. dumb pipes) and "intelligence in the edges" led to mixing code and data, which in turn led to all kinds of XSS-like attacks. Drive-by downloading (enabled by XSS) is the most popular vehicle for delivering malware these days.]

 

Trend 10. Reverse Innovation. Mobile communication is proliferating at an astonishing rate in developing countries as price-points drop and wireless infrastructure improves. As developing countries leapfrog the need for physical infrastructure and brokers, using mobile apps to conduct micro-scale business and to improve quality of life, they are innovating new applications. The developing world is quickly becoming the largest market we’ve ever seen—for mobile computing and much more. The trend is for developing countries to turn around the flow of innovation: Silicon Valley will begin to learn more from them about innovative applications than they need to learn from us about the underlying technology.

 

[YES, globalization is a megatrend still in the making. The mobile markets are clearly China, India and Korea, with app layer innovation increasingly originating there. Not completely of course, but we have a lot to learn from the early-adopter economies.]

 

Lighting The Sails 'Songlines'

World Premiere, Sydney Only

  

Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts

  

Co-curated by Sydney Opera House and Destination NSW

  

Visual content and animation created by Artists in Motion

  

Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.

  

Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.

  

As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.

  

ABOUT THE ARTISTS

  

Karla Dickens (Wiradjuri)

  

Karla Dickens was born in Sydney in 1967; the Year of the Referendum that gave Aboriginal people human status. A double dawn for Aboriginal people; a major national political and social shift, and an innocent newborn seemingly as yet without any connection to her history and Aboriginal heritage. Karla’s Aboriginality and sexuality profoundly inform her work – her insight and breadth of artistic practice both deeply embraces the notion of identity politics and yet works with universal human experiences.

  

Djon Mundine OAM (Bandjalung)

  

Djon Mundine is a member of the Bandjalung people of northern New South Wales. Djon has an extended career as a curator, activist, writer, and occasional artist and is renown as the concept curator for the Aboriginal Memorial installation permanently exhibited at the National Gallery of Australia. Djon was awarded an OAM in 1993 and is currently Indigenous Curator-Contemporary Art at the Campbelltown Art Centre.

  

Gabriella Possum (Nungurrayi)

  

Gabriella Possum was born in 1967 and she is the eldest daughter of the internationally renowned artist Clifford Possum Tjapaltjarri who was awarded the Order of Australia in 2002. Gabriella is best known for her Seven Sisters paintings, with her iconic depiction of the Milky Way and she also paints Bush Tucker and Grandmother's Country stories.

  

Reko Rennie (Kamilaroi/Gamilaraay/Gummaroi)

  

Through his art Reko explores what it means to be an urban Aboriginal in contemporary Australian society. Rennie received no formal artistic training but as a teenager discovered graffiti which became an all-consuming passion. His art and installations continually explore issues of identity, race, law & justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders in contemporary society.

  

Donny Woolagoodja (Worora)

  

Donny, Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation (MASWAC) chairman, is the fourth eldest of ten children. His father, Sam, was the last of the Worora banmen (lawman and medicine man).

  

Donny's remarkable upbringing bridges the white Christian beliefs he became aware of at the mission churches and the ancient Wandjina laws his father taught him allowing him to move easily between his Aboriginal people and non-Aboriginal people.

  

Gulumbu Yunupingu (1954-2012, Gumatj)

  

Using distinctive white and black crosses on a red ground, Yolgnu artist Gulumbu Yunupingu (1945-2012) painted Garak, the starry universe, on barks and poles. She came to national prominence when she won the National Aboriginal and Torres Strait Islander Award (2004), and to international acclaim in 2006 with her scaled-up version of Garak on permanent display at Musee du Quai Branly (2006).

  

Artists In Motion

  

Artists in Motion is a Creative Project company that are highly regarded as pioneers of the industry. Known for their work around the world they still remain a proudly home grown creative force that produces all of their creations from their Sydney studio.

  

AIM is a collective of unique talent and experienced artists who have worked as a united team for several years. From the Epic to culturally emotional, they continue to transfix audiences of all kinds.

  

Under the creative leadership of Richard Lindsay, previous projects include content creation for the Beijing Olympics Ceremonies, Vancouver Winter Olympic Ceremonies, Hong Kong Pulse Shows, Alfa Bank Projection Moscow, 1st European Games Baku, the iconic UAE production “Clusters of Light”, as well as previous works for VIVID, including the popular Play projection on the Sydney Opera House.

  

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

9/15 - Content Creation Challenge

 

Curiosity.

Visit this location at ACC ALPHA {Art and Content Creation} in Second Life

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

Lighting The Sails 'Songlines'

World Premiere, Sydney Only

  

Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts

  

Co-curated by Sydney Opera House and Destination NSW

  

Visual content and animation created by Artists in Motion

  

Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.

  

Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.

  

As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.

  

ABOUT THE ARTISTS

  

Karla Dickens (Wiradjuri)

  

Karla Dickens was born in Sydney in 1967; the Year of the Referendum that gave Aboriginal people human status. A double dawn for Aboriginal people; a major national political and social shift, and an innocent newborn seemingly as yet without any connection to her history and Aboriginal heritage. Karla’s Aboriginality and sexuality profoundly inform her work – her insight and breadth of artistic practice both deeply embraces the notion of identity politics and yet works with universal human experiences.

  

Djon Mundine OAM (Bandjalung)

  

Djon Mundine is a member of the Bandjalung people of northern New South Wales. Djon has an extended career as a curator, activist, writer, and occasional artist and is renown as the concept curator for the Aboriginal Memorial installation permanently exhibited at the National Gallery of Australia. Djon was awarded an OAM in 1993 and is currently Indigenous Curator-Contemporary Art at the Campbelltown Art Centre.

  

Gabriella Possum (Nungurrayi)

  

Gabriella Possum was born in 1967 and she is the eldest daughter of the internationally renowned artist Clifford Possum Tjapaltjarri who was awarded the Order of Australia in 2002. Gabriella is best known for her Seven Sisters paintings, with her iconic depiction of the Milky Way and she also paints Bush Tucker and Grandmother's Country stories.

  

Reko Rennie (Kamilaroi/Gamilaraay/Gummaroi)

  

Through his art Reko explores what it means to be an urban Aboriginal in contemporary Australian society. Rennie received no formal artistic training but as a teenager discovered graffiti which became an all-consuming passion. His art and installations continually explore issues of identity, race, law & justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders in contemporary society.

  

Donny Woolagoodja (Worora)

  

Donny, Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation (MASWAC) chairman, is the fourth eldest of ten children. His father, Sam, was the last of the Worora banmen (lawman and medicine man).

  

Donny's remarkable upbringing bridges the white Christian beliefs he became aware of at the mission churches and the ancient Wandjina laws his father taught him allowing him to move easily between his Aboriginal people and non-Aboriginal people.

  

Gulumbu Yunupingu (1954-2012, Gumatj)

  

Using distinctive white and black crosses on a red ground, Yolgnu artist Gulumbu Yunupingu (1945-2012) painted Garak, the starry universe, on barks and poles. She came to national prominence when she won the National Aboriginal and Torres Strait Islander Award (2004), and to international acclaim in 2006 with her scaled-up version of Garak on permanent display at Musee du Quai Branly (2006).

  

Artists In Motion

  

Artists in Motion is a Creative Project company that are highly regarded as pioneers of the industry. Known for their work around the world they still remain a proudly home grown creative force that produces all of their creations from their Sydney studio.

  

AIM is a collective of unique talent and experienced artists who have worked as a united team for several years. From the Epic to culturally emotional, they continue to transfix audiences of all kinds.

  

Under the creative leadership of Richard Lindsay, previous projects include content creation for the Beijing Olympics Ceremonies, Vancouver Winter Olympic Ceremonies, Hong Kong Pulse Shows, Alfa Bank Projection Moscow, 1st European Games Baku, the iconic UAE production “Clusters of Light”, as well as previous works for VIVID, including the popular Play projection on the Sydney Opera House.

  

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

A portrait series with Jemima @ Atelier 5B.

Dear Customers and Second Life Community,

we plan for the future to improve our releases and to focus all our energy in releasing more requested items that fits a higher number of tastes. Our goal is to meet the expectations from the market users and we are aiming to your needs fullfillment. The team is growing and we hope to be able to deliver more high quality content.

Please help us in improving your SL-experience! 😊

 

Thank you for your interest, patience and your participation in advance!

 

After the survey will be closed, i'll be glad to share information of general interest resulting from the survey itself, such as Analytics.

 

Please CLICK HERE to Participate.

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

Lighting The Sails 'Songlines'

World Premiere, Sydney Only

  

Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts

  

Co-curated by Sydney Opera House and Destination NSW

  

Visual content and animation created by Artists in Motion

  

Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.

  

Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.

  

As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.

  

ABOUT THE ARTISTS

  

Karla Dickens (Wiradjuri)

  

Karla Dickens was born in Sydney in 1967; the Year of the Referendum that gave Aboriginal people human status. A double dawn for Aboriginal people; a major national political and social shift, and an innocent newborn seemingly as yet without any connection to her history and Aboriginal heritage. Karla’s Aboriginality and sexuality profoundly inform her work – her insight and breadth of artistic practice both deeply embraces the notion of identity politics and yet works with universal human experiences.

  

Djon Mundine OAM (Bandjalung)

  

Djon Mundine is a member of the Bandjalung people of northern New South Wales. Djon has an extended career as a curator, activist, writer, and occasional artist and is renown as the concept curator for the Aboriginal Memorial installation permanently exhibited at the National Gallery of Australia. Djon was awarded an OAM in 1993 and is currently Indigenous Curator-Contemporary Art at the Campbelltown Art Centre.

  

Gabriella Possum (Nungurrayi)

  

Gabriella Possum was born in 1967 and she is the eldest daughter of the internationally renowned artist Clifford Possum Tjapaltjarri who was awarded the Order of Australia in 2002. Gabriella is best known for her Seven Sisters paintings, with her iconic depiction of the Milky Way and she also paints Bush Tucker and Grandmother's Country stories.

  

Reko Rennie (Kamilaroi/Gamilaraay/Gummaroi)

  

Through his art Reko explores what it means to be an urban Aboriginal in contemporary Australian society. Rennie received no formal artistic training but as a teenager discovered graffiti which became an all-consuming passion. His art and installations continually explore issues of identity, race, law & justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders in contemporary society.

  

Donny Woolagoodja (Worora)

  

Donny, Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation (MASWAC) chairman, is the fourth eldest of ten children. His father, Sam, was the last of the Worora banmen (lawman and medicine man).

  

Donny's remarkable upbringing bridges the white Christian beliefs he became aware of at the mission churches and the ancient Wandjina laws his father taught him allowing him to move easily between his Aboriginal people and non-Aboriginal people.

  

Gulumbu Yunupingu (1954-2012, Gumatj)

  

Using distinctive white and black crosses on a red ground, Yolgnu artist Gulumbu Yunupingu (1945-2012) painted Garak, the starry universe, on barks and poles. She came to national prominence when she won the National Aboriginal and Torres Strait Islander Award (2004), and to international acclaim in 2006 with her scaled-up version of Garak on permanent display at Musee du Quai Branly (2006).

  

Artists In Motion

  

Artists in Motion is a Creative Project company that are highly regarded as pioneers of the industry. Known for their work around the world they still remain a proudly home grown creative force that produces all of their creations from their Sydney studio.

  

AIM is a collective of unique talent and experienced artists who have worked as a united team for several years. From the Epic to culturally emotional, they continue to transfix audiences of all kinds.

  

Under the creative leadership of Richard Lindsay, previous projects include content creation for the Beijing Olympics Ceremonies, Vancouver Winter Olympic Ceremonies, Hong Kong Pulse Shows, Alfa Bank Projection Moscow, 1st European Games Baku, the iconic UAE production “Clusters of Light”, as well as previous works for VIVID, including the popular Play projection on the Sydney Opera House.

  

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

...a surreal memory of mine... of life imitating fiction

with fiction imitating life.

 

VR is one of the tech sectors I have strongly avoided. For a few decades now, the headsets have suffered from heat, weight and "brain strain" in the visual cortex. I know the headsets will be better one day, but they are not ideal yet for long-form experiences.

 

More importantly, the content is expensive. We need to crack the nut of 3D content creation (and it's still "creation", not capture, as with a camera). It still takes a lot of money and time. Like the early days of PIXAR, good story telling endogenous to the new medium might carry the day. But I have not seen it yet. And that is still a high-budget studio model, relegating it to gaming so far. Have people seen other use cases that have caught on, from the decades of trying?

 

I recently sampled the education work at ASU, but it had all the same problems and costs. The Marshall McLuhanesque recreation of the classroom seemed the most compelling use case to me, but they are stuck in the high-budget gaming model and have not built that yet. It felt like wow-factor marketing with no apparent educational value.

 

Are there some new ideas for content generation? Synthetic AR using a light field camera was the closest I've seen, but it's a not a consumer application (telemedicine example)

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

Lighting The Sails 'Songlines'

World Premiere, Sydney Only

  

Directed by the Head of Indigenous Programming at Sydney Opera House Rhoda Roberts

  

Co-curated by Sydney Opera House and Destination NSW

  

Visual content and animation created by Artists in Motion

  

Lighting the Sails for the eighth year of Vivid Sydney, Sydney Opera House will transform into an animated canvas of Australian indigenous art featuring iconic contemporary works from Karla Dickens, Djon Mundine, Gabriella Possum Nungurrayi, Reko Rennie, Donny Woolagoodja, and the late Gulumbu Yunupingu.

  

Celebrating First Nations' spirituality and culture through the songlines of our land and sky, this year’s Lighting the Sails is about painting and celebrating country through a pattern of sharing systems, interconnected history lines and trade routes. Lighting the Sails Director and Head of Indigenous Programming at Sydney Opera House Rhoda Roberts has selected six artists of different clans, national estates and territories for an immersive projected artwork that weaves through time and distance.

  

As the first indigenous work commissioned exclusively for the sails of the Sydney Opera House, this visual tapestry will weave through personal journeys, while celebrating the timeless themes and enduring art of Australia's most influential contemporary First Nations artists, exclusive to Vivid Sydney.

  

ABOUT THE ARTISTS

  

Karla Dickens (Wiradjuri)

  

Karla Dickens was born in Sydney in 1967; the Year of the Referendum that gave Aboriginal people human status. A double dawn for Aboriginal people; a major national political and social shift, and an innocent newborn seemingly as yet without any connection to her history and Aboriginal heritage. Karla’s Aboriginality and sexuality profoundly inform her work – her insight and breadth of artistic practice both deeply embraces the notion of identity politics and yet works with universal human experiences.

  

Djon Mundine OAM (Bandjalung)

  

Djon Mundine is a member of the Bandjalung people of northern New South Wales. Djon has an extended career as a curator, activist, writer, and occasional artist and is renown as the concept curator for the Aboriginal Memorial installation permanently exhibited at the National Gallery of Australia. Djon was awarded an OAM in 1993 and is currently Indigenous Curator-Contemporary Art at the Campbelltown Art Centre.

  

Gabriella Possum (Nungurrayi)

  

Gabriella Possum was born in 1967 and she is the eldest daughter of the internationally renowned artist Clifford Possum Tjapaltjarri who was awarded the Order of Australia in 2002. Gabriella is best known for her Seven Sisters paintings, with her iconic depiction of the Milky Way and she also paints Bush Tucker and Grandmother's Country stories.

  

Reko Rennie (Kamilaroi/Gamilaraay/Gummaroi)

  

Through his art Reko explores what it means to be an urban Aboriginal in contemporary Australian society. Rennie received no formal artistic training but as a teenager discovered graffiti which became an all-consuming passion. His art and installations continually explore issues of identity, race, law & justice, land rights, stolen generations and other issues affecting Aboriginal and Torres Strait Islanders in contemporary society.

  

Donny Woolagoodja (Worora)

  

Donny, Mowanjum Artists Spirit of the Wandjina Aboriginal Corporation (MASWAC) chairman, is the fourth eldest of ten children. His father, Sam, was the last of the Worora banmen (lawman and medicine man).

  

Donny's remarkable upbringing bridges the white Christian beliefs he became aware of at the mission churches and the ancient Wandjina laws his father taught him allowing him to move easily between his Aboriginal people and non-Aboriginal people.

  

Gulumbu Yunupingu (1954-2012, Gumatj)

  

Using distinctive white and black crosses on a red ground, Yolgnu artist Gulumbu Yunupingu (1945-2012) painted Garak, the starry universe, on barks and poles. She came to national prominence when she won the National Aboriginal and Torres Strait Islander Award (2004), and to international acclaim in 2006 with her scaled-up version of Garak on permanent display at Musee du Quai Branly (2006).

  

Artists In Motion

  

Artists in Motion is a Creative Project company that are highly regarded as pioneers of the industry. Known for their work around the world they still remain a proudly home grown creative force that produces all of their creations from their Sydney studio.

  

AIM is a collective of unique talent and experienced artists who have worked as a united team for several years. From the Epic to culturally emotional, they continue to transfix audiences of all kinds.

  

Under the creative leadership of Richard Lindsay, previous projects include content creation for the Beijing Olympics Ceremonies, Vancouver Winter Olympic Ceremonies, Hong Kong Pulse Shows, Alfa Bank Projection Moscow, 1st European Games Baku, the iconic UAE production “Clusters of Light”, as well as previous works for VIVID, including the popular Play projection on the Sydney Opera House.

  

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

More from the Social Committee and I would like to state that each member of the Organization Team, to include the Social Volunteers start working on this conference several month, at least three and often more depending on the role to make each year even better for not only people who attend the conference, also approximately 2000+ new educators and students take their first trip into the worlds of virtual reality. Everything from submissions to present, volunteers, web design, content creation and more. Generally the conference is held in March. To stay posted VWBPE.org is on all social media. If you haven't experienced Virtual Worlds Best Practices in Education I can claim without a doubt it is a wonderful experience. Everything from Keynote Speakers, Presentations from different educators, Mentors and Volunteers to make your transition easy and the Social Team to add fun, an opportunity to mingle with like-minded people as well as planning events such as this.

A portrait series with Jemima @ Atelier 5B.

This is what you get:

- Two of these three choices: 1) A photograph lesson by Luka, where he'll teach you his favorite photoshop tricks or how to take the best snapshot 2) he'll DJ one event/party for free and no tips OR 3) he'll go on a PG rated activity with you (dancing, shopping, etc) - your pick!

- The August cover story of ECLIPSE Magazine includes: 1) a photo session with Lessthen Zero, 2) another photo session (YOUR CHOICE) by a staff photographer and 3) a fantastic article about ANYTHING you want (you, your business, your family, etc), where you will be interviewed by our lead writer. After publication, all photographs taken will be provided to you for your own use.

 

maps.secondlife.com/secondlife/Fuyumi/130/143/29

 

*Worth noting, in the year and a half ECLIPSE Magazine has been in publication: it has been company policy to NEVER sell our cover and those featured have been by invite only. For this fundraiser, it is the ONLY exception.

 

**Definitely check out all the other amazing people on the bid boards, and they have a fabulous group of designers who have donated their content creations where a portion if not all the proceeds go to Equality Florida. So get shopping!

Hatsune Miku from Vocaloid --------

Hatsune Miku (初音ミク, Hatsune Miku?) is the first installment in the Vocaloid2 Character Vocal Series released on August 31, 2007. The name of the title and the character of the software was chosen by combining Hatsu (初, First?), Ne (音, Sound?), and Miku (未来, Future?).[5] The data for the voice was created by actually sampling the voice of Saki Fujita, a Japanese voice actress. Unlike general purpose speech synthesizers, the software is tuned to create J-pop songs commonly heard in anime, but it is possible to create songs from other genres.

 

Nico Nico Douga played a fundamental role in the recognition and popularity of the software. Soon after the release of the software, users of Nico Nico Douga started posting videos with songs created by the software. According to Crypton, a popular video with a comically-altered Miku holding a leek, singing Ievan Polkka, presented multifarious possibilities of applying the software in multimedia content creation.[6] As the recognition and popularity of the software grew, Nico Nico Douga became a place for collaborate content creation. Popular original songs written by a user would generate illustrations, animation in 2D and 3D, and remixes by other users. Other creators would show their unfinished work and ask for ideas.[7]

 

On October 18, 2007, an Internet BBS website reported Hatsune Miku was suspected to be victim of censorship by Google and Yahoo!, since images of Miku did not show up on the image searches.[8] Google and Yahoo denied any censorship on their part, blaming the missing images on a bug that does not only affect "Hatsune Miku" but other search keywords as well. Both companies expressed a willingness to fix the problem as soon as possible.[9] Images of Miku were relisted on Yahoo on October 19.

 

A Hatsune Miku manga called Maker Hikōshiki Hatsune Mix began serialization in the Japanese manga magazine Comic Rush on November 26, 2007, published by Jive. The manga is drawn by Kei, the original character designer for Hatsune Miku. A second manga called Hachune Miku no Nichijō Roipara! drawn by Ontama began serialization in the manga magazine Comp Ace on December 26, 2007, published by Kadokawa Shoten.

 

Her first appearance in an anime is in (Zoku) Sayonara Zetsubō Sensei, where she (and various other people and characters) try out to be the voice of Meru Otonashi. For online multi-player games, the Japanese version of PangYa started a campaign with Hatsune Miku on May 22, 2008 in which she is included as one of the characters.[10][11]. Her first appearance in a video game is in 13-sai no Hello Work DS (13歳のハローワークDS, 13-sai no Hello Work DS?) for the Nintendo DS where she is included as one of the characters.[12][13]

 

Hatsune Miku's color scheme and image was used by a BMW Z4 from Studie (a tuning shop for BMW), which participated in the GT300 class of the 2008 Super GT season. The car was named "Hatsune Miku Studie Glad BMW Z4" and had its debut in round six in the Suzuka Circuit.[14]

 

Vocaloid is a singing synthesizer application software developed by the Yamaha Corporation that enables users to synthesize singing by just typing in lyrics and melody.

A portrait series with Jemima @ Atelier 5B.

"Hall of Wonders; Wherein Escher Meets Hogwarts" - A blogpost: npirl.blogspot.com/2009/04/hall-of-wonders-wherein-escher...

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

Some adventurous walkways ahead.

 

Visit this location at ACC ALPHA {Art and Content Creation} in Second Life

slurl.com/secondlife/Albemarle%20Cliffs/73/227/21/?title=...

    

Please view on black by pressing L. There are 5 photos in this series so far.

    

This is my new favorite place in Second Life. Filled with flying birds and authentic birdsongs and other nature sounds, it is a truly peaceful and beautiful place. The birds are for sale and are the best I've ever seen in sl ... wonderful for photography. Morgan Garret has made an amazingly detailed collection of songbirds with realistic songs and movements ... and each bird comes with perching, standing and shoulder variations. Amazing content creation at this place and great customer service.

A portrait series with Jemima @ Atelier 5B.

[Ed. Note: The image on the right, "The Learning Pyramid," is NOT based on any verifiable research; perhaps, no research at all (see this and that). This pyramid is widely cited yet it is, as Christopher Harris shared in an email, a hoax. You can learn even more about the origins of the Learning Pyramid hoax here. Nonetheless, I stand by the idea that the marriage of teaching and content creation is a powerful pedagogical practice (see this).]

 

What I call "The Twin Triangles" provides a paradigm for instructional design that leads to powerful learning on the part of students.

 

The marriage of the concepts represented in these two triangles leads to students having long lasting (in term of effect) learning experiences. I try to design learning experiences for students where they create content that educates.

A portrait series with Jemima @ Atelier 5B.

Ava Jhamin For

 

JR Wolf Designs

 

"Yule Outfit in Sky"

 

WINTER SOLSTICE EVENT

 

Heathen Court Celebrates Winter Solstice - December 5, 2019 throught December 23, 2019

 

Heathen Court Celebrates

 

This event is dedicated to all forms of art, fashion, decor, and even content creation from goth to everything fantasy. Around 40 content creators wait for you with light.

 

Winter Solstice. maps.secondlife.com/secondlife/Enoshima/43/46/2294

A portrait series with Jemima @ Atelier 5B.

Some photos I recently captured at the beautiful Hasdrubal Thalassa & Spa Yasmine Hammamet in Tunisia ❤️

 

👉 Visit www.benheine.com to view more projects and for Art & Tech News

 

✅ Photo and portraits services: www.benheine.com/services/photo-shootings

 

✅ Video content creation: www.benheine.com/services/video-content

 

#benheinephotography #hasdrubal #hasdrubalsousse #hasdrubalportelkantaoui #tunisia #tunisie #benheine #hotel #hotelsandresorts #emarketing #photomarketing #marketing #contentcreation #portraits #architecture

 

A portrait series with Jemima @ Atelier 5B.

A portrait series with Jemima @ Atelier 5B.

Camera phones have also been very useful to street photographers and social documentary photographers as they enable them to take pictures of strangers in the street without them noticing, thus allowing the artist/photographer to get close to her or his subjects and take more liveful photos. While most people are suspect of secret photography, artists who do street photography (like Henri Cartier-Bresson did), photojournalists and photographers documenting people in public (like the photographers who documented the Great Depression in 1930s America) must often work unnoticed as their subjects are often unwilling to be photographed or are not aware of legitimate uses of secret photography like those photos that end up in fine art galleries and journalism.

 

As a network-connected device, megapixel camera phones are playing significant roles in crime prevention, journalism and business applications as well as individual uses. They can also be used for activities such as voyeurism, invasion of privacy, and copyright infringement. Because they can be used to share media almost immediately, they are a potent personal content creation tool. On January 17, 2007, New York City Mayor Michael Bloomberg announced a plan to encourage people to use their camera-phones to capture crimes happening in progress or dangerous situations and send them to emergency responders. Through the program, people will be able to send their images or video directly to 911.

 

..........Wikipedia

The Underdog Event was proud to have The White Crow as part of this August round! The White Crow has some of the most wicked Appliers, for those who love RP or just generally love to look like an all around BAD ASS!

 

To Keep up to date on this store, please visit their:

 

Main store: maps.secondlife.com/secondlife/Indus/36/205/3502

Flickr: www.flickr.com/photos/67947987@N07/

A portrait series with Jemima @ Atelier 5B.

npirl.blogspot.com/2008/09/bryn-oh-chronicles-fall-of-ang...