Experts who participated in the project:


Andre Valentim Almeida is a Portuguese filmmaker, professor and PHD candidate on Interactive Documentary. Andre has been teaching media production at the University of Porto and was the scientific coordinator of a major video training program at the newsroom of the Portuguese news agency. He was a fellow at UnionDocs Collaborative Studio where he was after the Collaborative Studio Director. As a filmmaker, he directed “The Quest of the Schooner Creoula”, “From New York with Love”, “Uma na Bravo Outra na Ditadura” and “New York is a Big Apple” and his has been screened at MoMA, Doclisboa, IndieLisboa, Carpenter Center for Visual Arts, TEDx Brooklyn among others.


Brenda Longfellow is an award-winning filmmaker, writer and film theorist. Her productions includeOur Marilyn (1987), an experimental documentary on Canadian swimmer Marilyn Bell; the feature-length drama Gerda (1992), on the life and times of Gerda Munsinger; A Balkan Journey/Fragments From The Other Side of War (1996); the Genie Award-winning documentary Shadow Maker: Gwendolyn MacEwen, Poet (1998); and Tina in Mexico (2002), a feature documentary on the silent film star and avant-garde photographer Tina Modotti, which won Best Arts Program at the Yorkton Film Festival, Bronze at the Columbus Film Festival, and a Golden Rose at the Montreux Television Festival.


Jesse Shapins is a media entrepreneur, cultural theorist and urban artist. He is Co-Founder/CEO of Zeega, a platform revolutionzing interactive storytelling for an immersive future. For the past decade, he has been a leader in innovating new models of web and mobile publishing, his work featured in WiredThe New York TimesBoingboing and other venues.Ç


Judith Aston is co-founder of i-Docs (i-Docs.org,  DCRC) and Senior Lecturer in Creative Media at the University of the West of England. She holds a PhD in Interaction Design from the Royal College Art and a Masters degree in Social Science from the University of Cambridge. Working with the BBC Interactive Television Unit on pioneering interactive videodisc projects in the mid-1980s, she has witnessed the development of interactive documentary from the ground up. This fascinating journey has led to her current passions for bringing interactive documentary into live performative contexts and looking at the more intimate one-to-one experiences that can be achieved on tablet media such as the iPad. She is currently working on several interactive documentary projects and is an academic partner on the REACT Future Documentary programme.

Mandy Rose is Associate Professor and Director of the Digital Cultures Research Centre, University of the West of England. She is co-convenor of the i-Docs Symposium 2014 and author of the CollabDocs blog. Mandy has led ground-breaking participatory media projects for the BBC (Video Nation, Capture Wales, My Science Fiction Life) and is creative director of The “Are you happy?” Project (2013). Her recent writing appears in The Documentary Film Book (Palgrave) and Studies in Documentary Film (Vol. 6 Issue 2).


is pushing technological boundaries for narrative endeavors, including exploring 3D environments for fiction, news, and documentary. Called “One of the 13 people who made 2012 more creative” by FastCompany’s CoCreate, she has built more than five virtual reality constructs including Hunger in Los Angeles, which premiered at the Sundance Film Festival in January 2012.  Her other projects include the MacArthur funded Gone Gitmo, a virtual Guantanamo Bay Prison; Cap & Trade, an interactive exploration of the carbon markets built with Frontline World and CIR; Ipsress which investigates detainees held in stress positions; and Three Generations, the Games for Change winner on the California eugenics movement.  Currently a graduate fellow at the University of Southern California’s Interactive Media Arts department, she spent the past two years as a Senior Research Fellow in Immersive Journalism at USC’s Annenberg School of Journalism and Communications.


Robert K. Logan (born August 31, 1939), originally trained as a physicist, is a media ecologist. He received from MIT a BS in 1961 and a PhD in 1965 under the supervision of Francis E. Low. After two post-doctoral appointments as a Research Associate at the University of Illinois at Urbana-Champaign (1965-7) and theUniversity of Toronto (1967-8), he became a physics professor in 1968 at Toronto until his retirement in 2005. He is now professor emeritus.[1] He is a fellow of St. Michael’s College, University of Toronto, the Origins Institute at McMaster University and Institute of Biocomplexity and Informatics at the University of Calgary. Logan has also been Chief Scientist at Strategic Innovation Lab at OCAD University in Toronto, Ontario since 2007, and a senior fellow at the university’s Beal Institute.


Sandra Gaudenzi has started her career as a television producer, she then moved into interactive television, and taught interactive media theory at the London College of Communication (University of the Arts London) from 1999 till 2013. She is now Visiting Research Fellow at the University of the West of England, co-convenes i-Docs (an academic conference totally dedicated to interactive documentaries), mentors interactive factual projects and is Creative Editor of i-Docs’ website. While writing her PhD on interactive documentary Sandra created http://www.interactivedocumentary.net/ but she has now moved on and blogs at  http://www.interactivefactual.net.


William Uricchio is Professor and Director of the Comparative Media Studies Program and Professor of Comparative Media History at Utrecht University in the Netherlands. He is also Lead Principal Investigator of the MIT Game Lab. His efforts as a documentary maker began in grammar school, and led to a short but formative professional career as an editor and director of social activism and anthropological documentaries. Uricchio’s academic career began in the classroom with Leo Hurwitz, Lewis Jacobs, Jay Leyda and George Stoney, and resulted in a dissertation on the ‘city film’ that focused on the early years of non-fiction film production, and particularly film’s relationship to other representational technologies such as the photograph, stereograph and panorama. Uricchio’s most recent books include Media Cultures (2006 Heidelberg), on responses to media in post 9/11 Germany and the US, and We Europeans? Media, Representations, identities (2009, Chicago). He is currently completing a manuscript on the concept of the televisual from the 17th century to the present.


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