A Guide to Good Practice in Collaborative Working Methods and New Media Tools Creation

ISSN 1463-5194

(by and for artists and the cultural sector)

eds.: Lizbeth Goodman and Katherine Milton
copy editor: Robynn Weldon

Commissioned by

Purchase the printed version

Acknowledgements

Contributors

Preface
Catherine Owen (AHDS Performing Arts, University of Glasgow, UK)

Part I: The Story so Far

Foreward
Calculated Risk
Michael Naimark (ARTSlabs, USA)

Chapter 1
Introduction: Mapping Good Practices in and through Creative Praxis
Lizbeth Goodman (SMARTlab, UK)

Chapter 1b
Abridged Version of the RADICAL Manifesto
Sally Jane Norman (ESI, France), Sher Doruff (WAAG, NL) et al

Chapter 2
Humanising Technology: the Studio Lab and Innovation
Michael Century (Rensselear Polytechnical Institute, USA)

Chapter 3
Surveying the Scene and Analysing Data on Good Practice and Desired Software
Katherine Milton (SMARTlab,UK; Arizona State University, USA)

Chapter 4
Creative / Technology Synergy in Research Development Tools forthe Information Society Technologies Programme DT (facts and figures on good practice in creative and industrial collaborations in the IST Programme to date)
Geoffrey Stephenson (KnowledgeExchange Technologies Ltd. / EPIFOCAL and INFORM Projects, EC)

Part II: Cross-Purposes

IIa: Collaborative Models and Competitive Markets

Chapter 5
Project Management: the second key to trust and success in creative projects
Paul Theron (Theron Associates and SMARTlab,UK)

Chapter 6
User-based models of action research and the reflexive practice shared by tool-makers: the iVisit model
Katherine Milton (SMARTlab,UK; Arizona State University, USA)

Chapter 7
Human factors in artistic research and development in multi- and inter-disciplinary collaborations
ANne Nigten (V2 Lab Rotterdam)

Chapter 8
Collaborative Working Methods: The Banff Method
Sara Diamond (Banff New Media Institute, CA and SMARTlab, UK)

Part IIb: Case Studies

Chapter 9
The Finished Middle: A Hot Wired Live Art Conversation about collaboration, prototypes, tools as art and rules for engagement
Scott delaHunta (Dartington College and Writing Research Associates, Amsterdam) with Niels Bogaards, Scott deLahunta, Sher Doruff, Gisle Frëysland, Hans Christian Gilje, Jeff Mann, Per Platou, Amanda Ramos, Ellen Röed, Amanda Steggell and Michelle Teran

Chapter 10
KeyWorx: The Working-Alone-Together Reflection
Sher Doruff (Sensing Presence Group, the WAAG, Amsterdam)

Chapter 11
Formalising Operational Adaptive Methodologies or Growing Stories within Stories
Maja Kuzmanovic (FOAM)

Chapter 12
Orchestrating a Mixed Reality Performance - Desert Rain
Boriana Koleva, Ian Taylor, Steve Benford, Mike Fraser, Chris Greenhalgh, Holger Schnädelbach, School of Computer Science,The University of Nottingham; Dirk vom Lehn, Christian Heath, The Management Centre, Kings College London; Ju Row Farr, Matt Adams, Blast Theory UK

Chapter 13
Documenting Live and Mediated Performance - the Blast Theory Case Study
Fiona Wilkie (University of Surrey Roehampton)

Chapter 14
The Performing Arts Lab
Susan Benn (the Performing Arts Lab)

Part III: Communities of Practice, Connected Learning Tools and Practices

Chapter 15
Transformation of the Internet: The Worldbuilding Project at the Institute for Learning Technologies
Louis Tomaino (Columbia University)

Chapter 16
The SMARTshell: Connecting Performance Practice to Tools for Connected Learning
Lizbeth Goodman, Susan Kozel and Katherine Milton (SMARTlab, UK, Simon Fraser University, CA AND Arizona State University, USA)

Chapter 17
Adequate Pedagogy: the missing piece in Digital Culture
Simon Penny (University of California at Irvine, USA)

Chapter 18
With or Without Age Comes Wisdom: A Case for Intergenerational Collaboration in the Digital Reality
Richard Loveless (Arizona State University)

Part IV: 'Creativity' reframed in the IST Programme and the European and Wider International Contexts

Chapter 19
Digital Heritage and Cultural Content
Bernard Smith (DG13-Head of Unit EC IST Programme)

Chapter 20
User-Centered Product Creation in Electronic Publishing: Good Practice Models
Miles McLeod (VNET5, UK and Germany)

Chapter 21
The Money Man's Perspective
Thomas Hoegh (Arts Alliance, Norway and UK)

Chapter 22
Investing in New Media: Judging Criteria for Tools and Applicationsin the EC and International Markets
Jak Boumans (Electronic Media Reporting/Europrix, NL)

Chapter 23
EC Creativity and Cultural Projects in the IST and Beyond
James Hemsley (EVA/VISARI)

BIBLIOGRAPHY

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