Hospice competition seeks 360 VR filmmakers to help terminally ill

first_img Tagged with: competition virtual reality Melanie May | 27 September 2018 | News  145 total views,  1 views today Advertisement AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis6 Hospice competition seeks 360 VR filmmakers to help terminally illcenter_img About Melanie May Melanie May is a journalist and copywriter specialising in writing both for and about the charity and marketing services sectors since 2001. She can be reached via www.thepurplepim.com. Hospice charity LOROS is looking for 360 filmmakers to submit virtual reality films in a competition aimed at helping to transform the lives of terminally ill people.LOROS uses VR to give terminally ill patients whose lives have become restricted due to their illness the chance to see the world from their chair or bed. It has launched the VR for Good competition to encourage filmmakers to create new 5-10 minute long films that will provide its patients with a welcome escape, some entertainment or a therapeutic experience.Films can be entered under any of the following categories:Indoor environmentOutdoor environmentHistorical/National Trust environmentMusicalThey must also be 5-10 minutes in length, therapeutic and easy to experience, technically excellent, and designed with terminally ill users in mind.£10,000 in prize money is available, with the best film overall winning £6,000, and the winners of each category receiving £1,000.Further information on the criteria for entry is available online, and the competition has a deadline of 23 November.  146 total views,  2 views today AddThis Sharing ButtonsShare to TwitterTwitterShare to FacebookFacebookShare to LinkedInLinkedInShare to EmailEmailShare to WhatsAppWhatsAppShare to MessengerMessengerShare to MoreAddThis6last_img read more

Jay-Z To Perform At Re-Opening Of NYCs’ Newly Renovated Webster Hall

first_imgNew York City’s beloved Webster Hall is ready to re-open after undergoing extensive renovations, and they’ve recruited perhaps the biggest NYC artist of this century to help celebrate their return: Jay-Z.The four-level venue located in the East Village of Manhattan closed its doors for some serious renovations starting back in August 2017 following its acquisition by AEG Live and BSE Global. Now, BSE Global and The Bowery Presents, AEG Presents’ regional partner, are responsible for booking Webster Hall’s artist lineup.Webster Hall will officially re-open on Friday, April 26th with Jay onstage. The performance is billed as “Jay-Z: B-Sides 2.” As Brett Yormark, CEO of BSE Global, explained in a statement, “When we were thinking about who would be the right choice to open this legendary venue, we knew it had to be a world-famous New York City icon. No one fits that description better than JAY-Z, who will join an unparalleled list of celebrated performers who have played Webster Hall.”The performance at the club is a massive underplay for Jay-Z, who routinely tours major arenas around the country. An AMEX Card Member pre-sale for the show will begin this Thursday, April 18th, at 10:00 a.m. local time. Tickets will go on sale to the general public the following day, Friday, April 19th. For further ticketing information, head here.The announcement of Jay-Z as the re-opening night performer at Webster Hall comes in the wake of the venue’s announcement of a busy slate of shows for this summer and fall, including shows by Patti Smith (5/1), Dharon Van Etten (5/4), FKJ (5/7), Lawrence (5/10), Broken Social Scene (5/16, 5/17), Chromeo Live Band (5/20), MGMT (5/22, 5/23, 5/24), Empire of the Sun (6/6, 6/7), Chris Robinson Brotherhood (10/9) and many more. For a full list of upcoming dates at Webster Hall, head to the venue’s website here.last_img read more

Social engagement through music connects students with local musicians of color

first_img Read Full Story “Social Engagement Through Music: Histories, Economies, Communities” is a new, team-based, immersive course in which students collaborate with and provide professional support to musicians from Boston’s immigrant communities. The course also provides an intellectual framework for understanding the historical circumstances, economic and political realities, and community needs of these artists.The course is the first of its kind, a collaboration with the Massachusetts Cultural Council (MCC). Maggie Holzberg, MCC folklorist, helped recommend the artists through MCC’s 2018 Traditional Arts Apprenticeship Program. The course also collaborated with the Bok Center Learning Lab, the Mindich Program in Engaged Scholarship, the Music Department’s faculty — Carol Oja, Kay Kaufman Shelemay, and Michael Uy — graduate students Matthew Leslie Santana and Caitlin Schmid, and the four brilliant musicians from around the world who have made Boston their home.Fourteen Harvard undergraduates spent the spring semester working with artists Bethlehem Melaku, Sixto Ayala, Lin Zhantao, and Shyam Nepali. Each artist was assigned a team of three or four students and a faculty advisor.Student teams executed ethnographic interviews, assessed the needs of the artist, and collaborated with them to come up with concrete methods of support. One team created business cards, another helped teach their artist how to build a kickstarter page, others searched out performing and teaching venues, drafted letters, and helped write grants. All the teams produced materials that their artists can use for promotion in the future.“At our last class, some students commented on how close they got to the musician,” said Uy. “They’re struggling with what to do next; they want to do more. One, for example, will be exchanging English lessons for lessons on the erhu.”“The students were amazing,” Santana said. “I was surprised at how happy they were to do extra work. We asked a lot of them, but they were willing to do more; they wanted to help. And although we can’t fix the bigger issue of ‘this course ends,’ these students did the best they could to find ways to support their artist long-term. They were immediately thinking of sustainability.”Websites, for example, were built on free platforms, and where there was a language or technology issue, social media access was given to the artist’s adult children so that updates would be easier.The technical pieces of the course — video and photo shoots — were bolstered by the Bok Center Learning Lab and coordinated by Schmid. “Students learned to record and edit video of their artist teaching, shoot and produce good head shots, and conduct ethnographic interviews, all skills that are useful going forward,” she says.“I would say that our students may have benefited more from this collaboration than the musicians,” said Uy. “This was a great cohort. They put their hearts and souls into this class and they wanted to do more, learn more, engage more, which speaks to their level of commitment.”last_img read more