Hanging out, catching up on some reading, listening to music, and digging through favorites I’ve stashed for chill out evenings like tonight. Found this infographic for The Neurology of Gaming. A lot of the positive and negative effects of gaming are relatively common sense but “parts of the brain activated” by game play make the graphic worth perusing. I can’t wait to delve into arts and tech research. Game design and theory has piqued my interest lately. My goodness, so much to read. For now, an infographic will do!
ZERO1 artist alum, Scott Kildall, is working on yet another amazing arts and technology project, Tweets in Space. The project has been covered by BBC, Forbes, Scientific American, CNET, Tech Trendy, Tech Mash and many other media organizations! Below, you will find a full description of ‘Tweets in Space’ and links to the Rocket Hub fundraising page and the project site.
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Official Press Release and Text Source: Artists ‘Tweets in Space’ Project Site
Artists, Scott Kildall and Nathaniel Stern will beam Twitter discussions from participants worldwide towards GJ667Cc – an exoplanet 22 light years away that might support earth-like biological life. Anyone with an Internet connection can participate during two performance events, which will simultaneously take place online, at the International Symposium on Electronic Art (ISEA2012, New Mexico), and in the stars. By engaging the millions of voices in the Twitterverse and dispatching them into the larger Universe, Tweets in Space activates a potent discussion about communication and life that traverses beyond our borders or understanding. It is not just a public performance; it performs a public.
The artists will collect all Twitter messages tagged #tweetsinspace and transmit them into the cosmos via either a home-built or borrowed communication system. Our soon-to-be alien friends will receive scores of unmediated thoughts and feedback about politics, philosophy, pop culture, dinner, dancing cats and everything in between. All tweets will also be streamed to a live public website, where they’ll be permanently archived, as well as projected – as animated twitter spaceships towing messages – at the Balloon Museum and planetarium-like digital dome (IAIA), in Albuquerque and Santa Fe.
Your donation will help buy equipment that will enable the artists to build their own open-source transmission system, upgrade an existing one through partnership with another institution, and/or time with one of the world’s extant high-powered communicators. Any funds above our goal will pay for a better system, or go towards online coding, design, and promotion. RocketHub is not an investment or charity. It is an exchange: funds from fans for rewards from us: both the ability to send Tweets into Space, and then some. It’s an All & More funding mechanism for us: if we don’t reach our financial goal we get to keep what we raise. But if we do reach our goal, we get access to exciting opportunities.
Tweets in Space asks us to take a closer look at our spectacular need to connect, perform and network with others. It creates a tension between the depth and shallowness of sharing 140 characters at a time with the entire Internet world, in all its complexity, richness and absurdity, by transmitting our passing thoughts and responses to everywhere and nowhere. These “twitters” will be stretched across all time and space as a reflection on the contemporary phenomenon of the “status” updates we broadcast, both literal and metaphoric.
Kildall and Stern are slated to launch the project at ISEA — the International Symposium on Electronic Art — this September in New Mexico, and are excited and are now trying to raising $8500 since it turns out it’s pretty difficult to send messages into the cosmos.
* What is RocketHub? RocketHub is very much like Kickstarter, only a better fit for our project. They do direct credit card payments, instead of going through Amazon Payments, they can handle international orders and have more of a science focus.
Originally posted to ZERO1, please click here to view
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
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.
I went to the Night Light: Multi-Media Garden Party at the SOMArts Cultural Center. It was great seeing friends and meeting some wonderful artists. Below, you’ll find some footage I shot of Radka Pulliam‘s piece, Up and Down the Street. It’s quite clever in that the viewer must “look in” the building to “look out” at the street view. The placement was spot on since it was in a relatively inconspicuous place towards the front of the entrance. I noticed people stopped when they noticed someone looking down and ponder the location of the projection.
One of the memorable performances of the evening was the Spanish Contemporary dance routine of Elias Aguirre and Alvaro Esteban. They are amazing. The isolations and articulation of their bodies is best seen in person. If you were at Night Light, you would know exactly what I’m talking about. Fortunately, there is a video of this phenomenal Spanish Contemporary Dance duo.
April 27, 2012
FOR IMMEDIATE RELEASE
ASTERISK SAN FRANCISCO GALLERY PRESENTS, Cholas to Picasso: The 3D Artworks of Rio Yañez
Exhibition runs: Thursday, May 3, 2012 – Friday, June 1, 2012
Opening Reception: Thursday, May 3, 2012 7PM -9PM
3156 24th Street, San Francisco, CA 94110
Gallery hours: Wednesday to Saturday, from 11am -7pm
Asterisk San Francisco Gallery is pleased to present Cholas to Picasso: The 3D Artworks of Rio Yanez, a collection of 3D drawings and photography. Please join us on Thursday, May 3, 2012 from 7-9pm for the exhibition opening.
As a native San Francisco artist, curator, and photographer, Yañez includes the viewer into the art experience. This show is particularly meaningful as it is Yañez’s first solo exhibition in the neighborhood where he was raised. In Cholas to Picasso: The 3D Artworks of Rio Yañez, three-dimensional works of his ongoing series, The Ramirez Sisters, depicting two siblings and their parallel lives in San Francisco’s Mission District takes on the form of sequential art. Although Yañez negates text, the images of the sisters evokes a strong sense of the how the city shapes the sisters’ individual identities. With his re-contextualization and imaginings of Frida Kahlo and Picasso inspired works, the images mesh into the contemporary fabric Yañez calls home. His photographic works depict the richness and vibrancy of San Francisco. Through Red and Cyan colored lenses, the dynamic simulation of being in these moments of creation is brought to the participant. The textures and scenes of the city enliven the urban landscape. The three-dimensional facet of the works are also kinetic and engaging as they lure the viewer into participating into the city’s infectious and energetic spirit.
About the Artist
Rio Yañez is a curator, photographer, graphic artist, and San Francisco artist. As a curator, he is a frequent collaborator with his father, Rene Yañez, and the two have been developing exhibits together since 2005. He has exhibited in San Francisco, Santa Barbara, and Tokyo. His reimaginings of Frida Kahlo have included the Ghetto Frida Project, a series of prints, writings, and performance pieces featuring a thugged-out Kahlo. Yañez is also a founding member of The Great Tortilla Conspiracy, the world’s most dangerous tortilla art collective. Most recently, his work is featured alongside Miguel “Bounce” Perez and Susie “Tendaroni” Lundy in current exhibition, The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk at the De Young Museum. Yañez received his BFA in Photography from the California Institute of the Arts. He currently works and resides in San Francisco, California.
About Asterisk San Francisco Gallery
Asterisk San Francisco Gallery is located in San Francisco’s vibrant Mission District. The gallery was founded in January 2012 by Asterisk San Francisco co-founders Chief Editor, Jeremy Joven, and Managing Editor, Alex Winter. The gallery focuses on supporting emerging artists within the Bay Area community. It is also available for art openings and single evening events. Rental of the space is available upon request.
Gallery hours are Wednesday through Saturday from 11 am to 7 pm. To visit, please visit us at 3156 24th Street (at Shotwell), San Francisco, CA 94110.
Last weekend, Eric Slatkin, founder of High Beam Media and co-founder of the Disposable Film Festival, sat down with me to discuss his current projects and technology’s effect on our culture. Below, you will find our conversation. Please share your on thoughts on the subject, check out Heart 2 Heart (and consider submitting your conversation, and, most importantly, enjoy! 🙂
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Dorothy Santos (DS): Regarding the Heart 2 Heart project, what did notice in the video submissions? Specifically, what did you notice in people’s’ speech?
Eric Slatkin (ES): For one thing, it’s hard for people to say ‘you’. The project aims to anthropomorphize our phones, though calling it out directly, is a challenge for people. To give something that credence, there needs to be an interaction, a back and forth. But we often just think of the one-sided nature of our phones, and that keeps us from thinking of the idea of a relationship. But once we admit that there is a discourse there, it opens up some interesting ideas, like what we, ourselves, give back to them.
DS: We give back to them?
ES: I’m talking on the lowest level. Touching it. Talking into it. Stroking it. Looking at it. Thinking about it. All of those things, when applied to some sentient being, that would equal a relationship. And sure, it’s just an object, so we don’t think to attribute any emotions to it. But the sophistication of what we do with it, what it does for us is constantly being built upon, and with Siri, it shows that when then you can have a conversation with it, we have to take into consideration the idea of it ascending to some sort sentient level. I think a lot of people think it’s crazy that we might have a relationship as meaningful with a friend as we do with our phones – but I think it’s coming. And I think it’s important to have conversations about how we relate to it, vice versa, and what kind of understanding we can come to. As Kevin Kelley says, technology are introduced, and we are guinea pigs, making mistakes, learning from them. We saw that with Facebook privacy issues, as people lost their jobs, got divorced, didn’t get into colleges, all because they didn’t understand the implications of who they were sharing their social graph with.
And so Heart 2 Heart is a project in some senses about negotiating our relationships with our devices.
DS: Do you think technology is a right or an enabler?
ES: Saying that it’s our right I feel, begets the idea that somehow, it has a theological grounding. That it’s a part of the constructs of how we’re evolving. I don’t believe that though. It just enables people to do things. It’s impartial, and what we do with it determines it’s opinions.
ES: With all technology, there is a quantity over quality argument. Technology solves problems and makes things easier so it opens us up to do other things. But that kind of logic is easier to stomach when it’s a machine that makes car parts, rather than when it compromises our need to do something like memory recall. But eventually (and we already see it coming) it will just make more sense not to remember anything because the phone /device will do it for us. I’m a little upset about that idea but it’s one of those things, where the jury’s out on whether in social evolution of things, it will still be thought of as integral in the future. If we don’t have to limit ourselves to 8 bits of memory/information, then we can obviously accomplish a lot more. But before any of this happens, with Heart 2 Heart and my other projects, I’m trying to elicit the conversation of the implications of that kind of transition.
DS: What kind of sacrifices have you made for technology?
ES: There are tons. They’re no different from anyone else’s though. I miss writing with a pen. Writing with a pen is intimate to me, closer to what I’m really thinking than when it appears on a screen – not to mention the different kind of real-time editing you do by backspacing – deleting and replacing, than with a simple strike through with a pen.
DS: It’s organic.
ES: It’s what you’re creating. You’re creating what shows up on the page. There’s this whole other system when you’re on a laptop such as spell/grammar check and it fixes it for you. You feel less involved in the process. I write poetry and it’s all by hand, at first because if it’s on the computer, it feels further along in the process, when all I’m trying to do is get my thoughts down. But I always edit them on my computer – there’s no way, I’d write multiple drafts by hand.
DS: Since you discussed converging with technology and seeing it as a form of mutualism, I’m curious what you mean by that?
ES: I add a level of sentience behind these devices already. We give to it. It gives to us. In any kind of relationship. In our gut, there’s a world of bacteria, mostly helping us. And many people, like Ray Kurzweil, believe that our mutualism with technology will eventually get deep enough, so that it actually becomes part of us, just like bacteria (think Google searches right from our brain or turning house lights on and off just by thinking about it).
DS: What do you think about accessibility to technology? There is a lot of the world that is not hard-wired in the way people are within a city or urban landscape. It definitely separates people.
ES: It’s a socio-economic privilege. If, one day, there is an implanted chip in someone’s head, they’re gonna probably have a better chance at getting a job than someone who cannot afford. Even within our smaller cultural spheres, there are going to be those discrepancies. I don’t think it’s distinct than the historically having access to an education or books versus growing up without those abilities. I think that technology does a great job of helping to bridge the gap and democratizing knowledge – but I don’t think it will create a perfect society where everyone is on the same level – some will still have access to certain technologies, while others will not.
DS: Do you want everyone to be connected?
ES: I don’t know.
DS: Does it matter?
ES: It’s hard to say – you either don’t know, or if you do, base all your other experiences on it. It feels like why Thoreau left Walden – because he knew what was on the other side … I waffle between technophobia and technophilia, but ultimately I want to be, just like I assume other people want to be, part of society – and to do that, now, means to be connected.
DS: Should everyone be connected?
ES: It seems a little self-righteous to say yes, they should, or no, I want to think that there are people still living in the wilderness. It’s a choice that EVERYONE should make themselves.
DS: Most of your projects, you seem to want the viewer/participant to use technology in moderation. Would you say that’s true?
ES: I think the purpose of all these projects, is to make people take a step back. Think about your relationship with technology, so that we can have a conversation about their implications. And to ultimately, find a balance.
To learn more about Eric, please click here