Kirk Ewing, ICM Interactive, UK

Vincent Scheurer, Osborne Clarke, UK
Licensing Interactive Rights

Johannes Ulbricht, Law Firm Michow, D
Publishing contracts seen from the point of view of a developer
A developer works for years on a project and he is highly dependent that everything goes well. The publishing contract that belongs to the project is of high importance to him. It decides to which degree he has economical and artistic freedom and, last but not least, to what extent he profits from the success his game (hopefully) has.

Matt Costello, Katonah Productions, USA
The Illusion and Reality of Interaction
An session exploring and playing with different kinds of interactivity, and how they can be used in everything from console games, to interactive television. Examples will be shown to illustrate, drawn from Costello's work at the dawn of the CD-ROM (The 7th Guest) to the upcoming Doom 3.

Sebastian Belcher, Harbottle & Lewis
Legal Issues In the Early Stages of Interactive DevelopmentThe intention will be to cover issues impacting on companies or individuals in the early stages of development prior to signing a full development or publishing deal. The talk will look specifically at Freelancer Agreements, Pre-Productions Agreements and Heads of Agreement.

Harald Riegler, Sproing, A
Ad-Games – targeting new audiences with new methods
Ad-Games are becoming more and more common in the current market place. The talk will focus on existing empirical user behaviour, lessons learned and a number of do’s and don’t’s. The audience will also be given an overview over existing methods and technologies.

2.30 pm – 4.00 pm

Ashley Smith, Van Dusseldorp, NL
ITV in Europe – Status Quo and Outlook

Richard White, Squishband, UK
Creative Templates & their Role in Creating Platform Transparency
How can you ensure that you know what you are making? Can you communicate your idea successfully to other people? What happens to your idea if you have to change platform? How do you prepare to roll your idea out simultaneously across many platforms?
The seminar will address these questions whilst paying special attention to the use of design templates to avoid common pitfalls in the development process. We will also look at how they can encourage you to create a concept franchise rather than being a slave to technology.

Teut Weidemann, Wings Simulation GmbH, D
Producing Professional PC Games: From Idea to Market

Eero Iloniemi, CIM, FIN
How to Talk to Potential Investors -
Strategies and Tips for Securing Financing from the Private Sector

Networking

Frédéric Durieu, LeCielEstBleu, F
Algorithmic Poetics

Richard White, Squishband, UK
Non-fiction Narrative & Media Convergence
“Oh! So you mean you’re making an interactive documentary?” How does ‘narration’ function in a non-fiction work?  What role does the VURP (viewer/user/reader/player) take in a non-fiction title? What is the role of the interactive work within the panoply of the ‘media roll-out’?  Is there such a thing as a successful ‘stand alone’ title?
The seminar will address these questions via a personal reminiscence and will pay special attention to ‘Interface as storytelling’ and the real meaning of ‘Convergence’.

Craig Lindley, Interactive Institute, S
Narrative and Non-Narrative Structures of Experience in Interactive Virtual Worlds

Michael Lew, MIT Media Lab Europe, IR
Making films for computational media
Case study : Office Voodoo - an algorithmic sitcom with a real-time editing engine.

Karin Wehn, Universität Leipzig, D
Interactivity in Web Animation
Interactivity is one of the "buzzwords" associated with the added value of the internet as opposed to the older media. Unlike film and television, the internet presupposes an active alert and highly selective user. However. taking a closer look, interactivity is an umbrella term referring to very different types and degrees of user activity, for instance, the number of the choices to select from, the potential of the user to permanently change something, the capacity of the software to respond to the needs of the user of the grade of non-linearity, that ist the numbers of alternatives to move through a text. Interactive web animation reflects that variety of meaning.