Design for Simulation

	Key Information
	Learning Experience
	Learning Sessions

	Introducing the Module	session 1
	The Cave: Virtual Reality as Magic	session 2
>	Cybernauts: Histories of Virtual, Simulated and Artifical Realities	session 3
>	The Technologies of Virtual Reality, Immersive Environments and Augmented Vision	session 4
	*no lecture* presentations	session 5
	The Art of Simulation: Mimesis, Representation and Reproduction	session 6
	Working or Playing? VR in the infotainment industry	session 7
	The Holodeck: Constructing Narratives in Virtual, Simulated and Artifical Spaces	session 8
	Into the Matrix: Theories of Simulation and Simulacra	session 9
>	AI: The Myths and Realities of Artificial Intelligence	session 10
	BIOTECH: Digital Biology, Digital Genetics & Transhumanism	session 11
	Dreaming Utopian Visions: Writers, Artists & Designers are building a Brave New World	session 12
	Conclusion	session 13
	*no lecture* presentations	session 14
	Assessment 1
	Assessment 2
	Additional Information
	Reading List
	Films
	Websites
	Theory
	Technical
	QTVR
	VRML
	Bryce
	3D VR applications
	Director & Lingo
	Director 3D
	How to write your statement

Email will be the main form of contact outside of the Lecture and Workshop sessions.

It is vital that you regularly check you email as the tutor will be using this as a method of distribution of additional information, research materials and opportunities.

Key Information	Module Summary	During this module students will investigate, develop, articulate and evidence the potential of digital solutions for the production of Artefacts that explore issues of simulation. Lectures will present example Artworks, Theories and Ideas relating to Simulation Technologies, Virtual Spaces, Immersive Environments, Artifical Intelligence, Biotechnologies, Transgenics etc. Students will be given key texts to read and discuss. Topics of Lectures & Seminar Sessions Histories of Virtual, Simulated and Artifical Realities The Technologies of Virtual Reality, Immersive Environments and Augmented Vision Understanding the Metaphysical Implications of Simulation Technologies. The Art of Simulation - Mimesis, Representation and Reproduction Constructing Narratives in Virtual, Simulated and Artifical Spaces Theories of Simulation, Simulacra & Reality The Myths and Realities of Artificial Intelligence Digital Biology, Digital Genetics & Transhumanism Artists & Designers: Dreaming Utopian Visions These subject areas will be practically investigated through aesthetical concerns appropriate to Digital Art, Design for Interactive Media & Multimedia Computing. Students will research & develop their own projects with guidance from their workshop Tutor.
	Module Code
	Module Leader	name: Ian Grant room: Grove 332 ext: 2119 email: ian.grant@tvu.ac.uk
	Module Team	name: Edwin Love room: TA Room, Grove ext: TBC email: edwin.love@tvu.ac.uk name: Mario Michaelides room: TA Room, Grove ext: TBC email: mario.michaelides@tvu.ac.uk
	Module Content	Simulation and Artifice - This module will explore the nature of technological simulation, immersive environments and artificiality. You will employ creative and practical application of theories, concepts and ideas prevealent in philosophy, psychoanalysis and the theory of visual culture to produce digital artefacts that investigate the relationship between Art & Design and Simulation. The Lecture Will both discuss and critique ideas and concepts of simulation, virtuality, immersion and artificiality. You will research these issues, developing your own perspective on the nature and culture of simulation and artifice. These ideas will inform the creation of your Design for Simulation project. Each week there will be a given specfic text to read as preparation for the next lecture. It is important that you read this text to inform you of the content of the lectures The Workshop Sessions are intended as both practical instruction, and rigorous peer and tutor critique of student workand will require a high degree of initiative, research, interaction and participation. Each week the tutor will guide, critique and help catalyse ideas through a variety of assignments, group crits and individual tuition.
	Module Level	3
	Module Length	You should spend 200* hours in the completion of this module*
	Semester	Semester 2 Named Pathways; Digital Arts major and minor
	Module Tutors	name: Edwin Love room: TA Room, Grove ext: TBC email: edwin.love@tvu.ac.uk name: Mario Michaelides room: TA Room, Grove ext: TBC email: mario.michaelides@tvu.ac.uk

Learning Experience	Aims of the Modules	To promote stratagies and methods for realising intentions in Digital Arts practice To promote awareness of the origin and relationship of content, and idea, to subject. To investigate and develop the creative and expressive potential of interactive and immersive virtual environments. To develop and articulate an informed and critical perspective of Immersive Design and Virtual Reality

	Learning Outcomes	These are what we base our marking on. Upon completion of this module, students will be able to: Evidence effective research skills and methods to inform practice Demonstrate and articulate a high level of awareness of intellectual, aesthetic, and historical concepts of different types of simulation. Evidence and articulate concepts appropriate to the assignment. These may include painterly concerns, architectural space and construction, sculptural awareness, spacial perception, digital language, simulation and artifice. Evidence the commitment to making work, which should be demonstrated through a level of ambition, and the personal development of digital skills, techniques, craftsmanship and working practice


Assessment	Requirements Assessment 1
	Assessment Criteria	Each student will give a 5 minute presentation of a concept and prototype to be developed and completed for Assignment 2 and submit all documentation and a 400 word project proposal to TC308 The project will be completed in a medium appropriate to the project. This will have been agreed with the tutor during Assessment 1 feedback. This will be discussed in week 1 and completed week 5 (the week before easter) PRESENTATIONS IN WORKSHOPS IN WEEK 6 BEGINNING MONDAY 15TH MARCH HAND IN TC308 DEADLINE FRIDAY 19TH MARCH This will count for 30% of the module marks SUBMISSION GUIDELINES YOU MUST ONLY SUBMIT ELECTRONIC WORK ON CD OR DV NO PAPER BASED SUBMISSIONS (SCAN ALL ARTWORKS AND HAND IN AS JPEG FILES) YOU MUST ONLY USE SEALED A4 PAPER ENVELOPES TO HAND IN WORK. YOU MUST RETAIN A BACKUP COPY YOU MUST RETAIN YOUR HAND IN RECEIPT. WE MAY RETAIN SOME OF YOUR WORK FOR EXTERNAL EXAMINATION. PLAGERISM WILL MEAN INSTANT FAILURE PRESENTATIONS WILL BE ORGANISED BY THE WORKSHOP TUTOR SUBMIT ASSIGNMENTS TO TC308 ONLY All Assignment submissions must include your NAME, MODULE , WORKSHOP TUTOR, EMAIL ADDRESS, CONTACT TELEPHONE NUMBER (pref. mobile) Any application for deadline extension must be made with your personal tutor who will discuss the issue with the module tutor. This must take place at least a week before the deadline. Applications for deadline extensions after that must be considered under the 'mitigating circumstances' guidelines outlined in your student handbook. Exceptional circumstances will be considered on their merit. Assessment Criteria We will ask these questions when grading your work: *Concept* How clear is the project idea? How imaginative is the project idea? How innovative / original is the project idea? To what level is the project idea appropriate to issues of simulation, virtuality and artifice? To what level does the project idea demonstrate awareness of key theories and debates of issues? *Prototype* How appropriate is the technology used for prototype relative to project idea? How clearly does the prototype demonstrate the project idea? How well executed is the prototype? *Evidence of Research* To what level does the presentation demonstrate awareness of related artworks / artists / designers? To what level does the presentation demonstrate awareness of theoretical issues? To what level does the presentation demonstrate awareness of technological developments? To what level does the presentation demonstrate feasibility? *Standard of Presentation* How clearly articulated is the presentation? How appropriate is the technology used to make the presentation? To what level does the does the presentation evidence preparation and planning? To what level does the does the presentation contentiousness, structure and time planning? *Media: appropriateness, clarity, quality* Multimedia: interactive, video, sound etc Text: printed material, handouts, documentation Diagrams: Flowcharts, Storyboards, Mood-boards, Synaptic Diagrams Images: Photographs, Sketches, Drawings, Maps etc Assessment Criteria Guidelines This gives you an idea of what kind of grade you will recieve for your work First 80% + AN OUTSTANDING SUBMISSION:This work will be original in concept and realisation. The presentation and protoype will demonstrate a professional level and be exemplary in all apsects First - 70-80% AN EXCEPTIONAL SUBMISSION :This will be an exceptional presentation that is both exciting and innovative. The presentation will be outstanding in its conceptualisation and is perceptive, articulate and imaginative. Upper Second - 60-69% A SUCCESSFUL SUBMISSION:Overall a successful presentation which fulfils it�s aims very well and with clarity. It is cohesive in structure and contains many of the qualities of a "first" but without the excitement or innovation. Lower Second - 50-59% A FAIRLY SUCCESSFUL SUBMISSION:Overall a fairly successful presentation but there may be problems with theories, structure, or design which leads to visual or conceptual confusion. The work will be conventional in nature and demonstrate adequate research. Third - 40-49% AN OCCASIONALLY SUCCESSFUL SUBMISSION: Lacks structure and is often confused. Shows only a limited ability to select, structure and present visual or conceptual data. Fail - 39% or less NOT SUCCESSFUL:Fails to communicate coherently, perhaps through a mixture of lack of effort, poor organisation and inattention to detail. It shows crucial omissions in content, or meaning has disappeared in a welter of irrelevant material. Research is largely irrelevant. Presentation is virtually non-existent.


Assessment	Requirements Assessment 2	Each student will give a 10 minute presentation of their Design for Simulation project and submit the project, all documentation and a 400 word project synopsis to TC308 The project will be completed in a medium appropriate to the project. The project and medium will have been agreed with the tutor during Assessment 1 feedback. This will be discussed in week 1 and completed week 13 PRESENTATIONS WILL TAKE PLACE IN WORKSHOPS DURING WEEK 14 BEGINNING MONDAY 23TH MAY DEADLINE: TC308 FRIDAY 3rd JUNE This will count for 70% of the module marks SUBMISSION GUIDELINES YOU MUST ONLY SUBMIT ELECTRONIC WORK ON CD OR DV NO PAPER BASED SUBMISSIONS (SCAN ALL ARTWORKS AND HAND IN AS JPEG FILES) YOU MUST ONLY USE SEALED A4 PAPER ENVELOPES TO HAND IN WORK. YOU MUST RETAIN A BACKUP COPY YOU MUST RETAIN YOUR HAND IN RECEIPT. WE MAY RETAIN SOME OF YOUR WORK FOR EXTERNAL EXAMINATION. PLAGERISM WILL MEAN INSTANT FAILURE PRESENTATIONS WILL BE ORGANISED BY THE WORKSHOP TUTOR SUBMIT ASSIGNMENTS TO TC308 ONLY All Assignment submissions must include your NAME, MODULE , WORKSHOP TUTOR, EMAIL ADDRESS, CONTACT TELEPHONE NUMBER (pref. mobile) Any application for deadline extension must be made with your personal tutor who will discuss the issue with the module tutor. This must take place at least a week before the deadline. Applications for deadline extensions after that must be considered under the 'mitigating circumstances' guidelines outlined in your student handbook. Exceptional circumstances will be considered on their merit. Assessment Criteria We will ask these questions when grading your work: *Concept* How clear is the project idea? How imaginative is the project idea? How innovative / original is the project idea? To what level is the project idea appropriate to issues of simulation, virtuality and artifice? To what level does the project idea demonstrate awareness of key theories and debates of issues? *Prototype* How appropriate is the technology used for prototype relative to project idea? How clearly does the prototype demonstrate the project idea? How well executed is the prototype? *Evidence of Research* To what level does the presentation demonstrate awareness of related artworks / artists / designers? To what level does the presentation demonstrate awareness of theoretical issues? To what level does the presentation demonstrate awareness of technological developments? To what level does the presentation demonstrate feasibility? *Standard of Presentation* How clearly articulated is the presentation? How appropriate is the technology used to make the presentation? To what level does the does the presentation evidence preparation and planning? To what level does the does the presentation contentiousness, structure and time planning? *Media: appropriateness, clarity, quality* Multimedia: interactive, video, sound etc Text: printed material, handouts, documentation Diagrams: Flowcharts, Storyboards, Mood-boards, Synaptic Diagrams Images: Photographs, Sketches, Drawings, Maps etc Assessment Criteria Guidelines This gives you an idea of what kind of grade you will recieve for your work First 80% + AN OUTSTANDING SUBMISSION:This work will be original in concept and realisation. The presentation and protoype will demonstrate a professional level and be exemplary in all apsects First - 70-80% AN EXCEPTIONAL SUBMISSION :This will be an exceptional presentation that is both exciting and innovative. The presentation will be outstanding in its conceptualisation and is perceptive, articulate and imaginative. Upper Second - 60-69% A SUCCESSFUL SUBMISSION:Overall a successful presentation which fulfils it�s aims very well and with clarity. It is cohesive in structure and contains many of the qualities of a "first" but without the excitement or innovation. Lower Second - 50-59% A FAIRLY SUCCESSFUL SUBMISSION:Overall a fairly successful presentation but there may be problems with theories, structure, or design which leads to visual or conceptual confusion. The work will be conventional in nature and demonstrate adequate research. Third - 40-49% AN OCCASIONALLY SUCCESSFUL SUBMISSION: Lacks structure and is often confused. Shows only a limited ability to select, structure and present visual or conceptual data. Fail - 39% or less NOT SUCCESSFUL:Fails to communicate coherently, perhaps through a mixture of lack of effort, poor organisation and inattention to detail. It shows crucial omissions in content, or meaning has disappeared in a welter of irrelevant material. Research is largely irrelevant. Presentation is virtually non-existent.
	Assessment Criteria
Learning Sessions	Session 1	Introducing the Module *& Assignment 1* Workshops Seminar on possible ideas for environment. Introduction to QTVR - its possiblities and its limitations Shooting footage for panoramas Creating Panoramas in QTVR Linking Panoramas in QTVR Student Assignment Clarify ideas for assignment 1 Required Reading MSG Suggested Reading Howard Rheingold online version of "Virtual Communities" Example Files cd examples from hedley object: head following cursor movie object: zoom in object: fly around panorama: with qt movie playing in panorama Workshop Handouts overview of QTVR QTVR: Panorama Instructions
	Session 2	The CAVE: Mimesis, Representation and Magic Plato, Issues of Representation and Prehistoric Cave Painting as a form of magic. Workshops Technical issues in QTVR Introduction to object movies using turntable Using QT video to make Object movies Settings for object movies Student Assignment Discuss Ideas for Assignment 1 with Tutor / Peers Required Reading Virtual Realities: Then and Now Suggested Reading example files see tutor for cd workshop handouts QTVR: Object Instructions
	Session 3	*Cybernauts: A History of Virtual, Simulated and Artifical Realities* This Lecture looks at a history of Immersive technology from the gutenberg press, camera obscura, the panorama, stereoscopic vision, to VR Workshops Cubic VR - how to do it... Studio Seminar/Critique What is QTVR good for / bad at ? Discuss Ideas for Assignment 1 with Tutor / Peers Student Assignment Continue to work towards assignment 1 Required Reading Read visual culture handout - Geoffery Batchen Suggested Reading look up Rene Descartes in http://www.popcultures.com/ look up Michel Foucault in http://www.popcultures.com/ look up Roland Barthes in http://www.popcultures.com/ view image online here...
	Session 4	The Technologies of Virtual Reality, Immersive Environments and Augmented Vision Workshops More with Director and Video / Sound / QTVR - responding to sound input using xtras, queueing, playlists, hotspots & sounds. Lingo_qtvr_dir.zip ZIP compressed 468k Example Lingo for testing and setting hotspots - includes example qtvr .scene file, .wav sounds and .dir file. this director file includes a qtvr scene that has a object movie linked to another object movie. Each hotspot has an ID number, the hotspot ID behaviour attached to the QTVR creates an ALERT each time the hotspot is clicked. Comment out the alert and setup the included if conditions to play the included wave files. The hotspots are on the top of the cube in the first movie Student Assignment Required Reading Suggested Reading
	Session 5	no lecture* presentations Assignment 1 Presentations
	Session 6	*The Art of Simulation: Mimesis, Representation and Reproduction* Workshops Student Assignment Required Reading Read representation handout - Velasquez's Las Meninas Suggested Reading
	Session 7	*Working or Playing? VR in the infotainment industry* Workshops Developing a project idea, producing a statement of intent / proposal of works. Using Director 3D - Generating Primitives from external devices Student Assignment Research using 3D max with Director 3D, importing w3d files and animations, using directors library of behaviour for 3d Required Reading Simulation and the creation of a Human World Suggested Reading SImulation & Hyper-reality
	Session 8	*The Holodeck: Constructing Narratives in Virtual, Simulated and Artifical Spaces* Scripting narratives for Virtual Environments and Virtual Characters Workshops Using Multiuser Server and Chatbot.ls serverside script feedback for statement of intent / proposal of works by email to Tutor Student Assignment Develop project Required Reading Read "Hamlet on the Holodeck" Handout Fiction, AL, and the Memeing of Life Matthew Aaron Taylor http://www.kurzweilcyberart.com http://library.thinkquest.org/18242/robotics.shtml?tqskip1=1&tqtime=1126 http://web.media.mit.edu/~minsky/papers/sciam.inherit.html http://www.frc.ri.cmu.edu/~hpm/project.archive/robot.papers/2000/Cerebrum.html http://i5.nyu.edu/~mm64/x52.9265/january1966.html http://www.cybermecha.com/ http://www.abelard.org/turpap/turpap.htm Suggested Reading Sherry Turkle, "Playing in the MUDs" A Culture Based on Fantasy and Acting Out multiuser server chat-room example - using library behaviours server side scripts "chat_bot.ls" from macromedia
	Session 9	*Into the Matrix: Theories of Simulation and Simulacra*
	Session 10	*AI: The Myths and Realities of Artificial Intelligence* Simulation, Consciousness, Existence Hans Moravec(1996) Chess Is Too Easy. An essay by Selmer Bringsjord. Computing, Machinery, and Intelligence. Alan Turing's classic essay. Conscious Machines. An essay by Marvin Minsky. Daniel Dennett's Online Papers The Further Exploits of AARON, Painter. An illustrated essay by Harold Cohen on AARON, his software painter. One of the few attempts to harness artificial intelligence to the tasks of art. Minds, Machines, and Gödel. An essay by J.R. Lucas. Philosophy and Cognitive Science. An essay by Serge Sharoff. Technological Singularity. An essay by Vernor Vinge. Ignore the preface by John Klett. Thinking Computers and Virtual Persons. A new anthology of essays on AI (and against Searle's Chinese Room argument), edited by Eric Dietrich. The site contains a table of contents and abstracts of the essays. What is Artificial Intelligence? An essay by John McCarthy, a founder of the field. Albert One. Winner of the 1998 Loebner competition. From FringeWare. Site contains information and transcripts, but not an interactive web version of Albert. However, you can download Albert for free and interact to your heart's content. Alice. Written by Richard S. Wallace. Barry DeFacto. Written by Robby Glen Garner and Paco Xander Nathan. From FringeWare. The Best Natural Language Systems on the Web. Collected by Chris Marvin. Bob and Fnord. From Luka Crnkovic-Dodig. Fnord is the more advanced of the two, but unfinished. The BotSpot. "The Spot for all Bots and Intelligent Agents." Brain the Bot. Requires Microsoft Explorer 3.02 or higher. (So much for its brain.) A Collection of Chatterbots. From Simon Lavon. Chomskybot. Generates a new paragraph of original language on each click but won't answer your questions. By John Lawler. Eliza The Forbin Project. Bots talking to each other, not to you. You listen in. Julia NonI, MegaHAL, HeX, and SEPO. From Jason Hutchens. Contains one winner (HeX, 1996) and two second-place finishers (SEPO in 1997 and MegaHAL in 1998) in the Loebner version of the Turing Test. Shallow Red. From Neuromedia. On the same page, read about NeuroMedia's software that helps you make your own interactive web bots. Sid Inquisitron. From FringeWare. Stig Barrymore Turing Machine Java Applet. Not AI but interactive and the foundation of any possible AI. From Graham Stalker-Wilde. For other online Turing Machine simulators, see the list in the Turing Scrapbook. Yahoo Guide to Interactive AI Programs on the Web
	Session 11	BIOTECH: Digital Biology, Digital Genetics & Transhumanism Introducing the concepts of genetic programming, Darwinism and generative art Workshops Neural Nets and Genetic Programming with Director Binary Genetic Encoder - wrttin in lingo by Hedley... alpha version Binary Genetic Encoder 2- wrttin in lingo by Hedley... new version Student Assignment research Artists Required Reading Generative.net - especially Phillip Galanter and Adrian Ward Suggested Reading Darwin - Origin of the species - Final Chapter Peter j Bentley - Digital Biology Stephen Wilson - Information Arts - chapter 4 Artists Orlan Stelarc Jane Prophet Steven Rooke Artificial life Games Nell Tenhaaf Websites DigiMask
	Session 12	Lecture - Dreaming Utopian Visions: Are Writers, Artists, Technologists & Designers are building a Brave New World? Metaphysical Visions of Heaven in digital art, contemporary literature and film Studio Seminar/Critique Mid project critique Student Assignment Develop chosen project Required Reading Outerspace or Virtual space (Florian Roetzer 1996) Suggested Reading Thomas More - utopia online text Film 2001 A Space Odyssey (Stanley Kubrick, 1968) Star Wars: The Magic of Myth Miltons "Paradise Lost" FIlm "What Dreams may Come" (xxxxx) Discovering CyberAntarctic: A Conversation with Knowbotics Research Paolo Atzori Pleasure Island An Instruction Booklet for a New and Virtual Life Kenneth Chen
	Session 13	Lecture - In Conclusion... Assignment 2 final questions before presentations Required Reading xxx Suggested Reading xxx
	Session 14	No Lecture Assignment 2 Presentations Workshops - Presentations of artefact and evaluation


Reading Lists
*****	Richard Coyne 1999	Technoromanticism Digital Narrative, Holism and the Romance of the Real
	Stuart Mealing ed. 1997	Computers & Art [intellect books]
	Stephen Oetterman	Text:'The Panorama', Zone Books
	Frederick Ferre (1995)	Philosophy of Technology [Uni of Georgia Press]
*****	Gaston Bachelard (1958)	The Poetics of Space [Beacon Press]
*****	Gombrich	Art & Illusion
	Frank Biocca & Mark R Levy	Communication in the Age of Virtual Reality
*****	Benjamin Wooley (1992)	Virtual Worlds [Penguin Books, London]
*****	Chris Horrocks and Zoran Jevtic (1996)	Baudrillard for Beninners [Icon Books, London]
	Jean Baudrillard (1987)	The Ecstasy of Communication[Semiotext[e], London]
	Michel Foucault (1980)	Power/Knowledqe [Pantheon Books, New York, USA]
	Madan Sarup (1993)	An Introductory Guide to Poststructuralism and Postmodernism [Harvester Wheatsheaf, London]
	Umberto Eco (1986)	Travels in Hyperrealitv [Picador, London]
	Mary Tiles and Hans Oberdick (1995)	Livinq in a Technolonical Culture [Routledge, London]
	Lyn Hershman Leeson (1996)	Clicking In: Hot Links to a Digital Culture [Bay Press, Seattle, USA
	Philip Hayward (ed.) (1990)	Culture, Technology and Creativity [John Libbey, London]
	Doug Rushkoff (1994)	Cyberia: Life in the trenches of hyperspace [Flamingo, London] Convergence: The Journal of Research into New Media Technologies
	Nicholas Mirzoeff ed. (1998)	The Visual Culture Reader [Routledge, London]
	John Libbey	Media,[University of Luton Press]
	Paul Glister 1994	"Digital Literacy", [Wiley]
*****	Howard Rheingold	Virtual Reality
	John Berger 1972	"Ways of seeing", [Penguin[
Fiction	William Gibson Phillip K Dick Neal Stephenson Neal Stephenson Isaac Asimov Isaac Asimov Arthur C Clark	Neuromancer [voyager] Do Andriods Dream of Electric Sheep [Gollancz] Snowcrash [ROC] Cryptonomicon [ROC] I, Robot [Voyager] Robot Dreams {Voyager] 2001 ( the whole series....) [Voyager] Reading is of utmost importance in this module. You must read the handouts and some of the suggested reading lists. More Titles will be given to you during the lectures. If you don not read you will not be equipped to pass this module
Film
		The Matrix (Larry Wachowski, 1998) BladeRunner (Ridley Scott, 1982) The LawnMower Man (Brett Leonard, 1992) 2001 A Space Odyssey (Stanley Kubrick, 1968) Star Wars (George Lucas, 1977) Johnny Mnemonic (Robert Longo, 1995) Strange Days (Kathryn Bigelow, 1995) The Net (Irwin Winkler, 1995) Electric Dreams (Steve Barron, 1984) Superman III (Richard Lester, 1983) War Games (John Badham, 1983) Demon Seed (Donald Cammell, 1977) Alien (Ridley Scott, 1979) The Truman Show (Peter Weir 1998)
websites
	theory	http://www.transparencynow.com/
		http://carmen.artsci.washington.edu/panop/
		http://www.propylaean.org/
		http://www.manovich.net/
		http://www.fondation-langlois.org/e/CRD/eat/eat.html
		http://www.popcultures.com/

		Artificial Intelligence Links (from Peter Suber) The Agent Society AI, Cognitive Science, and Robotics. Large collection of links. From Stephanie Warrick. AI on the Web. From Stuart Russell and Peter Norvig. A very large collection of links. Part of the web supplement to their popular AI textbook. AI-Related FAQs. From Mark Kantrowitz. AI Repositories and Resource Lists. From Carnegie-Mellon University. Extensive. AI, VR, Alife Resources. From Alexander Chislenko. Links on artificial intelligence, virtual reality, and artificial life. American Association for Artificial Intelligence The Ants: A Community of Microrobots. From James McLurkin. The Applied AI Reference Tree of Knowledge. A user-built tree of AI topics and references. Artificial Intelligence. From Jonathan Bowen. Artificial Intelligence. Well-organized collection of links. From Yossi Mamroud. Artificial Intelligence Center. At the Stanford Research Institute. Artificial Intelligence FAQ's. From the Institute for Information Technology. Artificial Intelligence Information. From Terry H. and Knowledge Technology. Artificial Intelligence in Medicine Web Resources. From Philip Davis. Artificial Intelligence Links. Artificial Intelligence Resources. From the Institute for Information Technology. Very comprehensive set of links. Artificial Intelligence Societies and Organizations Directory Artificial Intelligence Resources. From the Institute for Information Technology. A very good collection of links. Artificial Life "Games" Page. From Luigi Pagliarini and others. Artificial Life Online. From MIT Press. Association for the Scientific Study of Consciousness Automated Reasoning Project. From the Australian National University. The Brain Project. From Stephen Jones. Can Machines Think? Graphical maps of the major positions and arguments from MacroVU. This is the web site for the maps I've been posting in the philosophy foyer during the course. Center for Research on Concepts and Cognition. Douglas Hofstadter's research group at Indiana University. The Cog Shop. On Cog, a robot being built at MIT. Cognitive and Psychological Sciences on the Internet. From Scott Mainwaring. Cognitive Science Dictionary. From Michael Dawson and David Medler. Cognitive Science Links. From Links2Go. Cognitive Science Links. From the York University Department of Science and Technology Studies. The Cognitive Science Society Complexity and Artificial Life. From Chris Lucas and CALResCo. Computational NeuroEngineering Lab. University of Florida. Computing Research Repository. Co-sponsored by the Association for Computing Machinery, the Los Alamos E-print Archive, and the Networked Computer Science Technical Reference Library. Searchable. Consciousness. Links and resources. From David Chalmers. Consciousness and the Brain: Annotated Bibliography. By Ralph Ellis and Natika Newton. Consciousness Studies. Links and resources. From Stephen Jones. Constructions of the Mind: Artificial Intelligence and the Humanities. A special issue of the Stanford Humanities Review. Contemporary Philosophy of Mind: An Annotated Bibliography. From David Chalmers. Jump to section on philosophy of AI. CYC home page. From Cycorp. CYC FAQ. From David Whitten. Reflections on CYC. By Jorn Barger, author of The Robot Wisdom Pages. Daniel Dennett Dictionary of the Philosophy of Mind. Compiled by Chris Eliasmith. Also contains a link page. The Distributed Artificial Intelligence Laboratory. At the University of Massachusetts. Ecology of Mind. From Vincent Kelly. Encyclopedia of Neuroscience. Not the full-text but some content to supplement the print edition. Epistemology, Consciousness, and the Mind. From the Sputnik Drug Information Zone. A good collection of links. A Field Guide to the Philosophy of Mind. From Marco Nani and Massimo Marraffa. Foundation for Neural Networks. Headquartered in Holland. Free Online Dictionary of Computing The Game AI Page. From Steven Woodcock. Glossary of the Philosophy of Mind. From Darren Brierton. A Guide to Artificial Intelligence and Law Resources. From Michael Aikenhead. Intelligent Software Agents. From Sverker Janson. International Neural Network Society International Society of Applied Intelligence Internet Softbot Research The Life Artificial Life Page Mind and Body, From Descartes to William James. From Robert Wozniak. Mind/Brain Resources. Very good set of links. From Valerie Gray Hardcastle. Mind Uploading Page. From Joe Strout. MIT Artificial Intelligence Laboratory MIT Encyclopedia of Cognitive Science. Requires registration ("subscription"), at no charge. MIT LCS/AI Reading Room Catalog. Searchable catalog of AI literature at MIT. The Natural Language Software Registry Net Culture Artificial Life & Intelligence Archive. From The Electronic Frontier Foundation. Neural Information Processing Systems. At Carnegie Mellon University. Neural Network FAQ Neural Networks. From Z Solutions in Atlanta. Neural Networks Council. From the Institute of Electrical and Electronics Engineers (IEEE). Neuron Emulation List. Ways to emulate neurons in hardware and software. NEuroNet. From Chris Hinton. Neuroscience for Kids. From Eric Chudler. Neurosciences on the Internet. From Neil Busis. Non-Cartesian Cognitive Science Online Center for the Cognitive Science of Metaphor. University of Oregon. Online Papers on Consciousness. Collected by David Chalmers. Jump to the papers on the philosophy of AI, on the Turing Test, or on the Chinese Room.

	technical	http://www.wakowako.com
		http://www.tokitoki.com/
		http://www. ipix.com
		http://www. ipix.com
		http://www.nikon.com
	QTVR	QTVR Samples, Tutorials & Tips http://www.axisimages.com/manual/indexmanual.html http://www.electricfish.com/products/QTVRMatte/QTVRMatte.html http://www.letmedoit.com/qtvr/qtvr_online/course_index.html http://www.intermed.dk/qtvr/guide.htm http://www.natureshift.org/oldsite/natureshift/curricula/Cafe/tizers/nsc_qtvr2.htm http://cartoon.iguw.tuwien.ac.at/tom/quicktime/qtvr_tutorial/overview/overview.html http://www.apple.com/quicktime/preview/gallery/ http://www.seeingeyesite.com/qtvr/qtvr_dir.html http://www.seeingeyesite.com/qtvr/qtvrlinks.html http://www.wagsfx.com/ http://www.ics.uci.edu/~eppstein/junkyard/qtvr/ http://www.evox.com/ http://www.axisimages.com/ http://www.concentric.net/~Qtvr/ingrid/rose.html http://www.concentric.net/~Qtvr/ingrid/window.html http://www.concentric.net/~Qtvr/ingrid/corkie.html http://www.vrview.com/sacredworlds/ http://www.peaceriverstudios.com/index.html http://www.iqtvra.org/frameset.html http://www.losgatosx.com/tech/pano/qtvr.html http://ova.zkm.de/ http://www.multimedialibrary.com/Diana/qtvr_sites.html
	Bryce	Bryce Tutorials & Tips http://www.petersharpe.com/ http://www.petersharpe.com/Tutorials.html http://www.geocities.com/SoHo/Lofts/9589/bryce_tutorials.html http://lightning.prohosting.com/~aznandy/b1.html http://www.hinchu.com/bryce/ http://web3d.about.com/compute/web3d/cs/brycetutorials/index.htm http://www.ruku.com/lite.html http://www.ruku.com/bryce.html http://raven.ubalt.edu/classes/old/pbds753_F99/brycePanos.cfm http://www.brycetech.com/ BryceManual.pdf
	VRML	VRML Samples, Tutorials & Tips http://www.virtualrealms.com.au/vrml/tute01/tutorial.htm
	3D VR APPLICATIONS	3D VR Applications Samples, Tutorials & Tips http://www.virtualrealms.com.au/vrml/tute01/tutorial.htm http://www.sense8.com - 14 day demo of worldup vr package. inputs data gloves joysticks etc outputs stereo vision http://www.vrnews.com/issuearchive/vrn1003/vrn1003shwrv.html www.caip.rutgers.edu/vr2000/vrnews.pdf http://www.aliaswavefront.com/freemaya - free educational copies of maya for you to use at home http://www.cc.gatech.edu/gvu/people/Phd/Benjamin.Watson/links/vr.html http://www.ndirect.co.uk/~vr-systems/text/links1.htm http://www.web3d.org/vrml/wb31.htm http://developer.apple.com/quicktime/quicktimeintro/tools/ - free QTVR tools inc. CUBICVR! here - CUBICVR to download docs for cubicvr
	DIRECTOR & LINGO	Director & Lingo Samples, Tutorials & Tips http://www.penworks.com/LUJ/lingo-l.cgi - lingo newsgroup http://www.mcli.dist.maricopa.edu/director/ - director stuff http://www.shocker.com/digests/index.html - shockwave email news subscription http://www.director-online.com/ - tips & tricks http://www.herts.ac.uk/lis/mmedia/directortutorial/ - director tutorial basics http://www.sfx.co.nz/tamahori/thought/shock_3d_howto.html -shockwave 3d how-to http://www.director-online.com/ -send questions get replys... http://www.theburrow.co.uk - director stuff; including a free 3d engine! http://www.mediamacros.com/index.htm - xtras, behaviours & libraries http://www.dubbus.com/devnull - director 3d polygons using dave's engine - dave makes the most popular lingo 3d engine - don't ask me how it works i haven't figured it out yet. http://www.fbe.unsw.edu.au/learning/Director/ - obvious i think. http://www.behaviors.com/ - best selection of lingo behaviours ready written
		Lingo_qtvr_dir.zip ZIP compressed 468k Example Lingo for testing and setting hotspots - includes example qtvr .scene file, .wav sounds and .dir file
	DIRECTOR 3D	simple 3d first person camera movement - 12 degrees of freedom on keypressed - uses arrows, shift, A key, Z key - no limits simple 3d third person camera and avatar - on keypressed - uses arrows, shift, A key, Z key forwards, back, rotate left & right, collision detection, remapping textures.Camera is a child of invisible sphere01 which has the same transform.position co-ordinates as the animated avatar - thus enabling the camera to track the avatar without being animated itself. joystick xtra - enhancer -download xtra from www.macromedia.com/software/xtras/director use this file - this is without comments at the moment... It uses the enhancer xtra to read the joystick axis position and the button states. These are displayed on the stage. To use this - find the jsx and jsy variables in the frames script - create a conditional statement in the exitframe handler that checks to see if the the jsx or jsy variable is greater than the original js variables. (the default state of the jopystick when not moved) These are created on the startmovies handler. If this condition is true then move the object along the x or y axis. I will be adding more functionality to this example over this week. Try it for yourself - its not hard...

	Art & Artists	http://www.arch.carleton.ca/SITES/PROJECTS/LIQUID/Novak1.html
		http://www.letmedoit.com
		http://www.kaidan.com
		http://www.peaceriverstudios.com
		http://www.studio360.com
		http://www.artmuseum.net/Refresh/exhibit.html
		http://www.entropy8zuper.org/ http://www.rodencrater.org/ -james turrell http://www.jeffrey-shaw.net/ http://www.immersence.com/ - Char Davies http://www.technosphere.org.uk/ - Jane Prophet http://www.ucl.ac.uk/slade/swarm/ - jane prophet http://www.cairn.demon.co.uk/decoy/landscape.htm - jane prophet http://www.cairn.demon.co.uk/index.htm - jane prohet home http://www.cnca.gob.mx/viola/ - bill viola http://www.hitl.washington.edu/projects/knowledge_base/artapps.html - loads of vr links, art, research centres etc http://vr-atlantis.com/

How to write your statement		Tips on how to write your statement Your Name Your Pathway Combination The title of your work A short statement of intentions What you initially wanted the piece to be about / for - its conceptions How you initially intended to create the work Conceptualisation of the work What the actual concept of the work is. The purpose of the work Relevance of the work to issues of your initial conceptions Relevance of the work to issues of the module If relevant, who the target audience is The relationship between the subject and content of the work Analysis of the separate components within the work The relationship between the virtual work and the expected concrete response to it What you expect the spectator / user to experience The modes of interaction / interface design The relationship between the what is being observed and the spectator What resources you used to create the work Technical advances you have made Creative solutions to conceptual problems Creative solutions to technical problems References Symbolic / representational modes of study Visual references Historic references Enviromental / geographic references Academic references Art / Design references Web references to other relevant sites, content How successful the work is (Be positive) Measure against your intentions Measure your practical solutions to problems encountered