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.
Please click here to help fund Tweets in Space via RocketHub* and to learn more info on the project, click here.
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.
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.
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.
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.