andrew sempere
Architecture and Design for Virtual Conferences: A Case Study Sempere, Andrew. 2011. "Architecture and Design for Virtual Conferences: A Case Study." Future Internet 3, no. 3: 175-184.
[Available here]
IBM Research Reports When available, these IBM Research Reports can be downloaded here 2011.8
Circles of Crowdsourcing: The Social Organization of Participatory Sensing
Michael Muller, Susanne Hupfer, Stephen Levy, Daniel Gruen, Andrew Sempere, Reid Priedhorsky

2011.7
Participatory Sensing through Participatory Design: Collaborating on Requirements with the CARD Method
Michael Muller, Susanne Hupfer, Andrew Sempere, Stephen Levy, Reid Priedhorsky, Daniel Gruen

2011.6
MoCoMapps - An Experiment in Crowdsourcing both Data and Applications for Mobile Services
Michael Muller, Susanne Hupfer, Stephen Levy, Daniel Gruen, Reid Priedhorsky, Andrew Sempere

2010.12
Avatars Meet Meetings: Design Issues in Integrating Avatars in Distributed Corporate Meetings
N. Sadat Shami, Li-Te Cheng, Steven Rohall, Andrew Sempere, John Patterson

2010.3
Enhancing Distributed Corporate Meetings with 'Lightweight' Avatars
N. Sadat Shami, Li-Te Cheng, Steven Rohall, Andrew Sempere, John Patterson

2009.14
The Work of Art in the Age of Virtual Production
Andrew Sempere
The Social and the Spacial: Occupying Place and Space October 17+18 2010 Cambridge, MA
In October of 2010 I am organizing a summit in un-conference style for the IBM Center for Social Software. The summit, a small invitational event, seeks to facilitate a cross-disciplinary discussion of social software as impacted by geolocation, place and space.
Microsoft Research Social Computing Symposium January 12th-14th New York, NY
Microsoft Research Social Computing Symposium

Ignite Talk: Social Software and #marisolSearch
 ⇒ Ignite Slides (PDF)
November 6-10 2009 London, England
25th Annual Computers and the History of Art Conference (CHArt)
In his landmark 1936 essay The Work of Art in the Age of Mechanical Reproduction, Walter Benjamin sought to sift through the burgeoning role mechanical production had on the creation and appreciation of artwork. In particular Benjamin built his argument around the concept of the original object as a prerequisite to authenticity and the way in which "original" was eroded by the advent of mechanical production. This is a seminal work, but it did not predict the impact of computation on mechanical production, nor did it imagine the creation of virtual artworks, wherein the idea of original object is not only undermined, it is nonexistent.

In short the arrival of the Internet and the application of computational concepts to the means of production has resulted in a condition of virtual production. In many ways this has borne out Benjamin's predictions about the democratization of art, but in others the result is more surprising. This paper will revisit some of Benjamin's original thoughts in light of the impact of computation by examining as a case study the creation of completely virtual artworks inside of a private virtual world called Second Life. In particular we will look at the permissions system, which enforces a commodity style trading system onto art practice.

The Work of Art in the Age of Virtual Production (PDF)
Presentation (PDF)

MIT Graduate Work Prior to 2010 2005 Animatronics, Children and Computation
IEEE Journal of Educational Technology & Society 2005, Vol. 8, Issue 4 Special Issue on "Crafting Learning in Context"

2004 CTRL_SPACE: Using Animatronics to Introduce Children to Computation
Proceedings, IEEE International Conference on Advanced Learning Technologies

SAIC Undergraduate Thesis 2001 Typography and Murder: Jan Tshichold and the Fascist Aesthetic
Undergraduate Thesis, School of the Art Institute of Chicago

Internship: Hypermedia Teaching Facility 1997 Hypermedia in Education: A Case Study
HTF Report, MIT. Sonwalkar, N., Andrew Sempere and David Rodriguez