Malta Global Game Jam

Edward-Duca-authorIndie games are seemingly unstoppable. As mainstream blockbuster AAA games stutter, new niches are opening up with nearly half of gamers being female and mobile revenue increasing rapidly. In Malta, an important piece in the indie game developer puzzle is the Malta Global Game Jam, which brings coders, designers, artists, writers, and other creatives together to create a game from scratch in just 48 hours.

Run in Malta by the Institute of Digital Games since 2013, the yearly event has grown considerably since its inception, pulling an international crowd from all over Europe. The January event this year included London-based games and pop-culture writer Philippa Warr and Milan-based indie design duo We are Müesli.

After keynotes and workshops to hone participants’ skills, 14 different games were created. The worldwide theme was ‘ritual’. In third place was the create-your-own-god game, Godowbows, and the self-explanatory non-fun game, IKEA supply assistant. In second place the beautifully designed The Passage immersed players into an ancient temple’s rite of passage. Hashtag Master Race won the local event with a game about angels and demons. Internationally over 28,000 people participated.

Apart from a fun weekend, the event is an opportunity for one to practice and learn skills, to build networks and, in a few cases, build promising new IP (Intellectual Property). Participants form a small indie development team every year. Back in the 2013 Malta Global Games Jam, the game And Then We Held Hands saw success and as it was distributed internationally following a $60,000 Kickstarter campaign. The experience can be used to help those already in the industry, or for those wishing to enter the industry, gain confidence to make more indie games or for them to join a big company with proven experience.

Intense events like this play a vital role in the building of a local game development scene that can soon see Malta join its international peers in producing top-notch, international and lucrative games.

Octopus around Malta: Safe to eat?

Heavy metals can be toxic to humans. They need to be monitored to ensure environmental levels do not go above dangerous levels. The European Commission has set acceptable maximum levels of metals allowed in food since most metals end up in humans through their diet.

But how do metals find their way into our food in the first place? Heavy metals can enter the environment in a number of ways, including through volcanism, fossil fuel burning, and antifouling paint use. The heavy metals bind with biomolecules inside living tissue, and can build up to dangerous levels. One prime example of how such metals end up in the food we eat can be seen in the case of the common octopus (Octopus vulgaris). The octopus is susceptible to accumulating high levels of heavy metals due to its high ingestion rate of benthic fauna.

Joshua Gili (supervised by Prof. Victor Axiak) recorded the concentrations of cadmium, copper, lead, and zinc in the common octopus. Specimens were collected from around Malta during summer and winter. The analysis was performed on two of the species’ tissues—the tentacles and the digestive glands— which function in a similar way to the human liver. Each tissue was gathered into one pool by site, then homogenised, dried, and acid-treated. Afterwards a technique called polarography was used to determine the levels of each metal. This data helped Gili decide whether metal accumulation in the tissue of octopi is affected by biometry, season, or geography.

In Malta, metal levels depended on where the octopus was caught. In general, the concentrations were lower than other Mediterranean regions. The levels of cadmium and lead in the tentacles were below toxic levels as stated by the European Commission, indicating that local octopus is safe to eat.

This research was performed as part of Joshua Gili’s Bachelor of Science (Honours) in Biology and Chemistry, which he is reading at the Faculty of Science, University of Malta.

Transform everything

Digital technology opens up new possibilities for the visual arts. It allows artists to go beyond the traditional constraints of art. Sculpture is a centuries-old tradition reliant on the relationship between the artefact, and its material and space around it. In the past, sculpture was confined to being a physical act; it produced three-dimensional tangible objects that had little to do with the digital world.

M-Galea--Jan-2016-3
Matthew Galea

But this is just one side, if you would forgive the pun, to sculpture. Sculpture can be viewed as a mental process. It is the act of remediating things, or rather reassigning meaning to objects. Marcel Duchamp’s infamous sculpture ‘Fountain’ (1917) is perhaps a perfect example of this. Meaning is a social and cultural construct created through interactions by people with the objects and their environment. Since meaning is fabricated by society, then it stands to reason how the same objects have held multiple interpretations through time.

Matthew Galea (supervised by Dr Vince Briffa) explored these social and cultural constructs to create novel artworks. To do so, he employed skills from different disciplines including drawing, painting, sculpture, music, and the other performing arts. But instead of expressing them individually he fused them into one art form. The various art forms could be experienced collectively, for example, as a musical instrument, or a painting, or even through movement.

The multidisciplinary approach also allowed Galea to investigate chemistry and physics as ways of generating content and engaging with the artefact. Galea produced an art installation that made use of the night sky, which itself has held multiple interpretations by humankind throughout time. The artwork transformed movement into audio and visual content.

Thanks to his research, Galea helped show how hyperdisciplinary artefacts that fuse various art forms are possible through digital technology. Computers can transform data into an image, audio, or text. Software can transform anything. Digital technology can enhance artworks’ interactivity with the audience, making visitors part of the artwork.

To see the project’s outcome visit the website.

This research was performed as part of a Master of Fine Art in Digital Art which Matthew Galea completed at the Faculty of Media and Knowledge Sciences (MaKS), University of Malta. It is partially funded by Master it! scheme. This scholarship is part-financed by the European Union—European Social Fund (ESF) under Operational Programme II—Cohesion Policy 2007–2013, ‘Empowering People for More Jobs and a Better Quality of Life’.

Blood, Genes, and You

Over the course of nine months, an entire human body is sculpted from a few cells into a baby. The blueprint is the information written into our DNA. But what happens if there is a mistake in these blueprints? Decades worth of research carried out in Malta and abroad have aimed to understand how these errors lead to a disease common in Malta and prevalent worldwide.
Scott Wilcockson talks to Dr Joseph Borg (Faculty of Health Sciences, University of Malta) to find out more.

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Time, Space, & the Ocean Wanders

As an archipelago, the Maltese Islands have been a hotspot for seabird nesting since time immemorial. Marie Claire Gatt talks about her research and a major EU project determining how to protect far travelling seabirds. Photography by Jean Claude Vancell.

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Modern European sculpture

French sculptor Auguste Rodin (1840–1917) is the progenitor of modern sculpture. He rebelled against idealised forms in order to express the inner truths of humanity in his artworks. His successors went on to challenge his work, continuing to explore the aesthetic revolution he had started. Key examples include Henry Moore (1898–1986), Alberto Giacometti and the largely undiscovered Swiss sculptor Hans Josephsohn (1920–2012).

Josef Kalleya, L'Abbandono della Casa Materna. Photograph of lost work (image courtesy of the Kalleya Family Archives)
Josef Kalleya, L’Abbandono della Casa Materna. Photograph of lost work (image courtesy of the Kalleya Family Archives)

These artists were studied alongside Maltese sculptor Josef Kalleya (1898–1998) at the conference entitled ‘Peripheral Alternatives to Rodin in Modern European Sculpture’ (December, 2015). The international speakers created significant links between works by renowned sculptors and Kalleya, who has been poorly understood by his contemporaries and is unknown outside Malta. Kalleya developed unique methods of creating photomontages alongside the innovative use of a knife to create powerful visceral incisions as a means of moulding his sculptures. He managed to create a new aesthetic.

The conference brought scholars from all over Europe to discuss these and other European sculptors. The scholars debated topics from the mutation of the human form to an artist’s sense of heritage. The event focused on pioneering sculptors who went beyond their current socio-political context. It also helped place Malta’s own Kalleya deservedly on the international map.

The conference and exhibition were organised by the Department of History of Art, Faculty of Arts, University of Malta. The events were convened by Dr Giuseppe Schembri Bonaci and curated by Nikki Petroni. Other participants included Dr Sophie Biass-Fabiani (Musée Rodin, Paris), Dr Jon Wood (Henry Moore Foundation, Leeds), Barbara Vujanović (Atelijer Meštrović, Zagreb), Dr Julia Kelly (Loughborough University), and Ulrich Meinherz (Kesselhaus Josephsohn, St Gallen).

Why practise Taijiquan?

In the 12th century, the Shaolin Monk Chang San Feng witnessed a battle between a snake and a crane, during which the snake managed to conquer its opponent with its grace. The monk went on to formulate a set of movements, which have become the basis of Tai Chi, a martial art based on the pillars of Taoism, Confucianism and Buddhism. Taoism upholds the importance of being one with nature and the universe.

Taijiquan shares concepts with Confucianism, a system of philosophical teachings that stresses that all under the sky is one family. Everyone can be part of this great family regardless of their social status, political or religious creed. By practising Tai Chi together and sharing knowledge, participants learn and develop respect and obedience; qualities stressed by Chinese teacher and founder of Confucianism, Confucius.

During my Tai Chi classes, I like to first develop the technical aspects of a student’s movements in order for them to have a solid foundation. This is then followed by an emphasis on self-expression through movement and concentration on these movements. In the film Enter the Dragon, Bruce Lee tells his apprentice ‘like a finger pointing away to the moon. Do not concentrate on the finger or you will miss all that heavenly glory.’ At first a movement is just a movement. However, after constant practice and analysis, the practitioner realises that the movement has a rhythm behind it and this charges them with feeling, a process that resembles the way a musician feels the beat/the rhythm when performing.

The benefits of Taijiquan 

Taijiquan is a good method to alleviate stress and achieve good health. Rather than going to a gym, where a lot of energy and effort are required, with Tai Chi, a lot can be achieved without any force, and like Taoism, Tai Chi is based on the principle, known as Wu Wei (effortless effort). This means that those who practise Tai Chi should be soft and flexible in the same way that water flows smoothly. Water can take the form of any container yet on its own it is formless and shapeless.

Some scientific studies have shown Tai Chi’s benefits. One study concluded that moderate Tai Chi practice helps older people maintain fitness, while other studies showed that Tai Chi was good for a healthy and well-functioning heart, as well as to regulate blood pressure levels.

Taijiquan is based on the principle of Yin and Yang, an element of Chinese philosophy that describes how two contrary forces can be complementary. Building on this belief, those who practise the discipline try to achieve harmony which in turn brings with it good health.

Who owns you?

One fifth of human genes have already been claimed as US Intellectual Property. But should anyone own our genes? And what happens when gene ownership can drastically prevent the advancement of life-saving cures?

The US Patent Office’s most controversial patents are on BRCA1 and BRCA2, both linked to the high risks of ovarian and breast cancer. They are now owned by Myriad Genetic Laboratories. In 1996, Myriad Genetics developed and began marketing a predictive test for the presence of possible cancer-causing mutations: the ‘BRCAnalysis’ test. The price of the test was US$3,000 but the company promised that it would eventually drop the price to US$300. This never happened because its patent holder had the right to stop any other party from duplicating the patented sequences. This single test accounted for over 80% of Myriad Genetics’ multibillion dollar business.

In 2009, the American Civil Liberties Union (ACLU) decided to challenge the patenting of human genes on legal grounds. The ACLU was the representative of 20 medial organisations, geneticists, women’s health groups, and patients unable to be screened due to the prohibitive patents. The ACLU’s position was that Myriad’s patents violated the patent law on the issue of patent-eligibility.

The case went before the Supreme Court. By 3 June, 2013 it was declared that the Myriad patents were invalid because they did not create or alter any of the genetic information encoded in the BRCA1 and BRCA2 genes. The location and order of the nucleotides existed in nature before Myriad found them. The company simply discovered what was already there and did not create anything new.

There is no worldwide consensus on whether parts of the human genome should be granted intellectual property protection. The Myriad patents should alert us to the injustice of having a pharmaceutical company make money out of cancer predictive tests that could cost 10 times less than what is charged. The same patents stifled diagnostic testing and research that could have led to cures as well as limiting women’s options regarding their medical care in Malta as in all other parts of the world. There are various international and regional agreements that have described the human genome as being part of humanity’s ‘common heritage’, including the 1998 UN Declaration on the Human Genome and Human Rights. The Myriad patents controversy has shown that gene patenting does not work to stimulate more research—one of the prime arguments Big Pharma uses. It is time to explore other avenues that will both promote scientific progress and technological development but at the same time protect the special nature of human genes that make us who we are. No one should own our genes—they should be exploited in the interest of everyone.

Written by: Dr Jean Buttigieg