Revisiting “Launch of a Digital Media BFA Program”

Since the writing of this article, the DIVAS program has evolved to reflect developments in the field, practical experience with the initial curriculum, and a changing group of faculty and students. The program has been renamed Interdisciplinary Arts and Technology (or ArtsTech for short), which reinforces the interdisciplinary character of the program and includes a wider variety of artistic practices.
by Mat Rappaport and Christopher Burns

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Revisiting Georgia Tech and Digital Media

In spring 2005 we were at a significant milestone in the development of our program, having just established our Ph.D. in Digital Media and our joint B.S. in Computational Media, and about to rechristen our twelve year-old MS from Information Design and Technology to Digital Media. These degrees have grown quickly: the B.S. in Computational Media is approaching 300 students, and the Digital Media graduate program enrolls over two dozen doctoral students and manages over $1.3 million in sponsored research funding annually.
by Ian Bogost, Janet H. Murray, Michael Nitsche

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Conventions and Innovations:

Understanding the structure of a digital game narrative is pivotal for both analysts and practitioners. Taking a structural approach, in this paper we conduct an in-depth analysis of Quantic Dream’s game Heavy Rain, an excellent example of how narrative can be inherent to the game structure, supporting the gameplay and creation of an emotionally and dramatically engaging narrative. Treating Heavy Rain as a game text, the discussion reveals how the game employs conventions from classical film storytelling and turns them into innovations for the medium of digital games.
by Huaxin Wei and Tom Calvert

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Space/Time, A Revisited History

I am still intrigued with the Aymara’s concept of forward/past and use this often in my photographic explorations. Originally, I wrote of the Aymara people of South America as seeing history lying in front. In their language “nayra mara” means “in past times or history,” but translates literally as “time in front.” Because you can’t see what is behind you, it is unknown. The Aymara see this as the future, since they haven’t “seen” it yet
by Ellen Jantzen

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Digital Deontology Redux: Recalibrating the Moral Compass

Digital Deontology Redux: Recalibrating the Moral Compass

If there were ideas and actions that were unethical before the development of the printed book that became perfectly ethical after its dissemination, or to fast forward in time, were “wrong” before the invention of television but are “right” now, or vice versa, migrating from moral to immoral as the culture changed, then what sort of similar changes in our ethical foundations are we undergoing at this digital moment?
by Scott R. Olson

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