Pixels of Fury 2013 at HOW and SF Design Week

Interesting delivery in my Inbox today! Pixels of Fury competition. Read all about it below. If you’re a crazy talented pixel pusher, this may be right up your alley. OR, you may know someone, feel free to pass it along.

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We’ve already told you about some of the great things we have planned for our Pixels of Fury design competition this year. Last month, we brought the Fury to Adobe MAX in LA, and now we’re doing it again during HOW Design Live and SF Design Week! Better yet, we want you to be a part of it! If you’re a designer in the Bay Area (or will just be in town), we’d love to have you apply to be a contestant.

Pixels of Fury is the perfect opportunity to show off your design skills under pressure. With just 20 minutes to create a poster from scratch in front of a live audience, the pressure is on to see whose inspiration shines brightest. Of course, you’ll have the whole Shutterstock library at your disposal — used wisely, it can help you earn the coveted Furious Pixel trophy.

Interested in participating? Check out the video below of the contestants from last month’s event, look at our wrap-up of the Fury in 2012, and then email us at pixelsoffury@shutterstock.com with your contact info and a link to your portfolio.

~ Text Source: Shutterstock blog

Arts Organization Feature on Gray Area Foundation for the Arts

Asterisk Arts Organization feature on Gray Area Foundation for the Arts (GAFFTA)

On San Francisco’s bustling, highly trafficked Market Street, the organization Gray Area Foundation for the Arts (GAFFTA), is changing the face of arts and technology in a significant and dramatic way. Seeing a lack of representation in the digital arts movement accompanied by a profound interest in creating a space where such art could be seen, founder and Executive Director Josette Melchor created the nonprofit in 2009 in the midst of a financial crisis. Despite the downturn in the economy, Melchor dedicated her efforts to creating a space for both aspiring and established artists and creative technologists. From interactive artworks and data visualization to creative coding, this organization has become one of the most prominent spaces for arts and technology, fostering change and innovation not only regionally, but also internationally.

At its core, Gray Area works with established artists such as Aaron Koblin and Camille Utterback to expose the public to software-based works that are both interactive and immersive through various tools of technology, such as programming, coding and data visualization. Integrating audio- and sensory-based controls, the works you might experience at a GAFFTA exhibition or event undoubtedly showcase most ingenious and experimental uses of programming technology and how contemporary art is created. Even donations to Gray Area have been made into a work of art. The nationally recognized and award-winning work Seaquence is a virtual art piece intertwined with a participatory aspect where donors are given a gift in return: a musical life form. Resident artists Ryan Alexander, Gabriel Dunne and Daniel Massey co-created this interactive music platform, forming multifaceted art to dynamically and physically enable donors to see their contributions transform within a virtual environment, thus becoming part of an even larger visual- and music-based system. Gray Area artists, technologists and faculty are constantly forging radical new ways to bring the community into the creation and discussion of the work. Although the organization can easily boast its tremendous creative talent, the exceptionally skilled faculty aims to teach novice technologists within the community both technical and artistic skills such as programming and electronics. The goal is to draw different sets of curious minds into the discussion and progression, bridging the gaps between arts and technology.

Gray Area is particularly well known for weekend events called hack-a-thons, which gather creative professionals across multiple disciplines such as art, engineering, education, architecture, journalism and writing. These events facilitate the creation of mobile applications, with objectives such as fostering transparent communication between citizens and government officials. Hack-a-thon participants also produce conceptual artworks that transform public data into visually dynamic pieces. More recently, the nonprofit was awarded a $100,000 grant by the National Endowment for the Arts to put toward the implementation of a National Data Canvas Project. According to Gray Area, “The project will distribute data-driven art in urban environments across the United States and will include a mobile application for public use. Utilizing data.gov, the project will allow the general public an enjoyable and engaging way to discover new information through artistic data visualization and interactivity.” Essentially, the project will allow for artists, designers and developers across the nation to create works in their own region based on creative coding assembled by the San Francisco–based Gray Area team.

Situated in San Francisco’s Tenderloin, Gray Area wanted to take part in the overall revitalization of the neighborhood by bringing some the city’s brightest creative talent to the district to assist in affecting change. As this center takes on even more demanding and worthwhile projects, there is one particular initiative that is both notable and eye-opening. The Creative Currency: New Tools for a New Economy is the latest initiative seeking to bring community leaders and organizers, politicians, artists and technology professionals together to affect change within a community with their collective skills.

Originally published and posted to Asterisk SF Magazine, please click here to view

ZERO1 Artist Alumni, Tim Roseborough ~ “A Puzzling Display” Online Arts and Culture Game

A Puzzling Display by Tim Roseborough

Official Press Release and Text Source: Tim Roseborough, Digital and New Media Artist

A Puzzling Display” is a new artist-created online arts and culture game, where registered participants compete and test their arts and culture knowledge. Inspired by the annual “puzzle hunts” hosted by institutions such as MIT and Microsoft, Silicon Valley digital artist Tim Roseborough has created “A Puzzling Display”: an Internet-based set of 20 intelligent and challenging interactive puzzles covering topics such as art history, music, film and culture.

In the 21st century, gaming and game-related paradigms are steadily integrating themselves into contemporary culture. “A Puzzling Display,” continues Roseborough’s exploration of the techniques and theories of gaming and play in the context of contemporary art. The website will be accompanied by an exhibition of Roseborough’s limited edition prints that translate each puzzle into the artist’s “Englyph” writing system, created via hieroglyphic-like images from everyday language. With an aim of blurring the distinction between fine art and diversion, Roseborough’s virtual artwork incorporates interactivity, video, sound art, and computer animation to take a fresh look at arts and culture. For “A Puzzling Display”, Roseborough has utilized limericks, silhouettes, common names, videos and art charades to challenge gamers.  All of the challenges are fun, but not all of them are easy. The order in which you play the challenges is up to you.

  • Win points for correct answers, check your overall progress and compare your score with other players on the scoreboard.
  • The competitive game time coincides with an exhibition of prints related to the game at the New Art Center in New York City.
  • The dates of the exhibition are May 1-19, 2012. The game begins at 8am EDT on May 1, 2012 and ends at 11:59pm EDT on May 20th, 2012.
  • The first five players to reach a perfect score or the highest five scorers at the end of the competition will receive 8″ x 10″ prints from the exhibition signed by the artist and infinite bragging rights!

A Puzzling Display: How to Play

1) Register:

Register for the game by choosing a username and email. You will be asked to verify your account with an email address. Your address will not be shared with or sold to a third party.

Q: Why do I have to register to play?

A: Registering with a username, password and email address will allow you to play the game at your pace, check your progress and compare your progress with others’.

2) Pick a Challenge:

Pick from twenty (20) challenges. You can play the challenges in any order you like.

Q: Should I start with the first puzzle? 

A: The challenges are loosely arranged from easier to more difficult, by you may have skills and knowledge that may help you do better on some puzzles more than others. Feel free to explore!

3) Explore the Puzzle:

Read the instructions above each puzzle carefully, as they hold clues to solving the puzzle. Be sure to click around the puzzle space below, as the challenges are sometimes behind the Englyph artwork.

Q: I’m stuck! Can I get some help?

A: Don’t be afraid to use search engines or the links provided at the bottom of this page to help you solve the puzzles.

4) Enter Your Answers

Answer entry fields are always below the puzzle space. As an aid, the correct number of letters for each answer is displayed. Your score on each challenge will be revealed immediately after you submit answers.

Q: Does punctuation count in the answers?

A: Letter counts do not include punctuation except for the dot (“.”) in a URL, but feel free to enter appropriate non-letter characters. They will not be counted in your answer. 

Q: How many times can I submit answers?

A: You can only submit answers once per challenge, so check them carefully before submitting. Feel free to write down your answers on scratch paper. 

Q: When can I see the correct answers?

A: Correct answers to the puzzles will only be posted after the main competition is over, after 11:59pm, May 20, 2012.

5) Check Your Progress

You can track your progress by clicking on the “My Progress” link and check your scores against other players by clicking on the “Scoreboard” link.

About the Artist

Tim Roseborough is a digital artist and musician. His artwork and exhibitions have been featured in numerous publications, including Art In America, ARTNews, San Francisco Chronicle, SF Arts Monthly, SF Examiner, and the San Francisco Bay Guardian. Roseborough has performed and exhibited his artwork nationally, including the 2010 ZERO1 Biennial, San Francisco Museum of Modern Art, Root Division, Artexpo New York, The Garage San Francisco, ARTWork SF, and the Catharine Clark Gallery in San Francisco. Mr. Roseborough lives and works in San Francisco, California. Please visit his site and learn more about A Puzzling Display here.

My first Augmented Reality Piece! Something New to Hang on the Fridge!!

With the help of new media artist, Scott Kildall

Here’s my augmented reality piece for the I Am Crime exhibition currently showing at SOMArts Cultural Center! This piece was made during the Making Art with Augmented Reality workshop taught by John Craig Freeman. With the help of Bay Area new media artists DC Spensley and Scott Kildall (artist attacked by my Golden Knife above), I was able to learn a lot about Layar and creating augments. It was A LOT of fun. More to follow. At the moment, I’m working feverishly on lots of writing, which I will be posting in the next few days.

Also, curious, how do you perceive my augment (or, virtual art piece)? What do you think it symbolizes? In addition, I placed my golden knife in one of the San Francisco museums. I’m wondering if you can guess which one…

Interview with John Craig Freeman

I had the great pleasure and opportunity to ask artist, John Craig Freeman, a few questions regarding his art practice and work. Below, you will find some wonderful answers that include his perspective on the trajectory of public art and art as intervention. In addition, Freeman will be doing an artist talk at the SOMArts Cultural Center Thursday, March 29th! Lastly, there are spots left if you are still interested in taking his Augmented Reality Workshop this weekend. Please click here for more information.

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Dorothy Santos (DS): What was the impetus for you intermingling virtual art objects as interventions into physical space? Is there even room for translation to occur? Cognitively, I find it fascinating the way visual information is processed and what occurs when the two (virtual interventions and physical objects) are mixed versus an actual translation (i.e., virtual to physical, physical to virtual).

John Craig Freeman (JCF): My interest in public art as intervention precedes augmented reality technology by more than two decades. In 1990, I created “Operation Greenrun II,” which consisted of eleven 10′ X 40′ bitmap images on billboards along Highway 93 at the Rocky Flats nuclear weapons plant in Colorado. This project demonstrates an early interest in emergent technology as art practice and public art as intervention. Intervention in in both institutions of high culture and intervention in government policy and the institutions of the nation state. Think of the media as a kind of virtual reality, which of course it is, that can be intervened in. The decision to shutdown Rocky Flats was made in 1991, during the media firestorm this project was created, proving that art does have a role to play in tangible political change.

Whereas the public square was once the quintessential place to air grievances, display solidarity, express difference, celebrate similarity, remember, mourn, and reinforce shared values of right and wrong, it is no longer the only anchor for interactions in the public realm. That geography has been relocated to a novel terrain, one that encourages exploration of mobile location based monuments, and virtual memorials. Moreover, public space is now truly open, as artworks can be placed anywhere in the world, without prior permission from government or private authorities – with profound implications for art in the public sphere and the discourse that surrounds it.
In the early 1990s, we witnessed the migration of the public sphere from the physical realm, the town square, to the virtual realm – the Internet. In effect, the location of public discourse and the site of national identity formation has been extended into the virtual world. Augmented reality folds the distributed, placeless network back upon location and brings it crashing back down to place.

Using emergent technologies, including augmented reality, to produce large-scale public work at sites where the forces of globalization are impacting the lives of individuals in local communities, my work seeks to expand the notion of public by exploring how digital networked technology is transforming our sense of place.

Much of my work is located in contested places such as borders and ports. I like to explore, and make evident, the edges, if you like. The metaphor of liminal space can also be applied to the boundary between the physical and the virtual. Augmented reality makes this boundary porous, allowing the digital network to spill into the physical.

DS: This issue has been brought up several times in my writings, blog posts, and general conversation about new media and digital arts. I’m curious of your perspective. How do you envision people with very little or no accessibility to technology (i.e., no smartphone or android) to engage in the discourse of Augmented Reality?

JCF: I have had to contend with this question as well, most recently during a talk I gave at the College Art Association conference.

I have to say that the concern over this issue puzzles me in regard to both art and technology. To begin with, art has always been an elitist proposition. Even if people can afford the price of admission to the museum, conceptual access to the meaning of art and its value is carefully controlled by taste-makers and marketers. Incidentally, the Rocky Flats work was a response to the art world’s mission of social class reinforcement. Further, the ubiquity of cell phone technology is our best chance at the collapse of the digital divide. From the favelas of São Paulo to the shantytowns of Kinshasa, cell phones are becoming the rule rather than the exception. It is just a matter of time before these devices will all be internet ready. Less than a decade ago, it would cost tens of thousands of dollars to create a cave environment for viewing virtual reality. Augmented reality is virtual reality in your pocket.

DS: Typically, imagination conjures images from a story or a narrative. What role does the imagination play in Augmented Reality when the images are created and inserted into our visual perception?

JCF: The most profound example I can offer was from my experiences documenting to Border Memorial project in Southern Arizona last January. Each one of the data points represents a very specific location where human remains were recovered. Accordingly, each place I visited represented a very real and tragic story of how an individual person died trying to cross the desert in search of work and a better life. Although I was careful to strip individual names from the data, prior to the project being deployed, the scene was often rich with details. These details, both large and small, evidence of a campfire; fragments of clothes; empty water bottles, as well as the topology of the landscape, a sandy wash indicating the most likely route over the pass on the mountain just beyond, painted a sobering picture.

DS: Lastly, other than a formal intervention, how do you see Augmented Reality making an impact amongst traditional art institutions and patrons? More and more individuals are learning about the impact of new media and digital arts but there still seems to be a very specific following and engagement from the art community.

JCF: ManifestAR, the international artists’ collective with which I often work, formed after the groundbreaking uninvited augmented reality intervention at the MoMA in autumn of 2010. It is now the artist, not the curator, who decides which artworks can be placed where. The group sees this medium as a way of transforming public space and institutions, by responding to and overlaying the configuration of located physical meaning. Utilizing this technology as art is a new proposition that explores all that we know and experience as the mixture the real and the hyper-real. Art world power structures, the nature of art exhibitions and discourse, are all called into question, even the border between art and life itself.

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John Craig Freeman is a public artist with over twenty years of experience using emergent technologies to produce large-scale public works at sites where the forces of globalization are impacting the lives of individuals in local communities. John is currently an Associate Professor of New Media at Emerson College (Boston) in the Department of Visual and Media Arts and a Visiting Scholar at the Center for Research in Computing and the Arts at UC San Diego.

Originally posted to ZERO1

Augmented Reality Workshop and Public Talk with John Craig Freeman

John Craig Freeman

Upgrade! San Francisco is proud to present two events with Boston-based media artist and activist John Craig Freeman at SOMArts Cultural Center, 934 Brannan St. San Francisco

2-day Workshop: “Making Art with Augmented Reality” – Register HERE

Saturday March 31st & Sunday April 1st, 11am–5pm both days

Learn how to place digital 3D objects in real physical space (virtually) forever. Augments can be created in any scale for any location in the world and viewed through the camera and screen of mobile devices. This workshop provides a hands-on and in-depth introduction to AR for participants to make giant artworks, public interventions and personal or historical memorials. This is a beginner to advanced workshop. No previous programming or design experience is required. All participants in John’s workshop will have their finished digital augment and a 17″ x 22″ color print automatically added to the current SOMArts exhibition “I Am Crime: Art On the Edge of Law“.

Free Public Talk: “Emergent Technology as Art Practice and Public Art as Intervention”
Thursday, March 29th, 7-7:30PM meet and greet; 7:30-8:30PM lecture + questions

John Craig Freeman is a public artist with over twenty years of experience using emergent technologies to produce large-scale public works at sites where the forces of globalization are impacting the lives of individuals in local communities. John is currently an Associate Professor of New Media, at Emerson College (Boston) in the Department of Visual and Media Arts and a Visiting Scholar at the Center for Research in Computing and the Arts, at UC San Diego.