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SXSW Artist Meets Hacker with Notes

Video: https://youtu.be/cS_hDbzFiLs
Artists have always been at the forefront of defining the culture of the day, how we communicate with each other and about ourselves. Until the rise of Silicon Valley. Where Plato's Academy used to be the ultimate place of learning, mentoring, and making, now it's Y Combinator. Stravinsky's concerts started riots, now Twitter helps quell them. Picasso's cubism changed how we saw the world, now that honor belongs to the likes of Google and MakerBot.

And yet artists are making phenomenal works of art using the very bits of technology that have in large part supplanted their role of kingmaker/culturemaker. So what happens when dancers use 3D imaging, opera companies make mobile apps, museums turn to GitHub, & robots become actors? This session will explore more than one hundred case studies of artists and arts organizations using (and in some cases, failing to use) technology to comment on society, to make your neighborhood a better place to live, and to run their business.

SXSW Artist Meets Hacker with Notes

  1. 1. #ArtsHacker | @devonvsmith Artist meets hacker how technology is changing the arts
  2. 2. hello. Devon Smith Working now for digital agency Threespot But also for arts orgs for the past 10 years Often on how they can better use technology: on stage, in the back office, connecting with audiences. Last year NEA asked me to highlight what bright spots & blank spots in the intersection of arts/tech Excuse to research and speak with a bunch of artists & arts orgs about what they’re working on
  3. 3. the arts field must better leverage technology to stay relevant. artists are exploring technology as an art form. arts orgs are now in competition with audiences & tech companies. arts administrators should adopt a maker approach. 1 2 3 4 After looking at several hundred different examples, I took away four big concepts, some obvious, others less so 1. Number of arts orgs is growing faster than audiences. In many cases, (in person) audiences are shrinking. Yet people interact w/ culture now more than ever. In a world of YouTube and MakerFairs, the traditional arts field needs to better integrate technology into our work. 2. Experimentation among solo artists, especially installation artists. Technology is still a novelty. We’re less than a decade into any sort of new movement, it’s too early to tell how long lasting tech will change the art form itself, not just the administrative side. 3. Technology has also democratized the means of creation and distribution. It’s given more power to the audience to determine the experience they want, and the availability and use of data has put tech companies themselves in the driver seat of matching audience to art. The art critics recommendation isn’t as important. 4. Professional administrators aren’t equipped to effectively use technology. They’re not exposed in MFA programs, on the job, or in arts conferences. But opportunities for learning abound, if they go just slightly out of their comfort zone. That’s really what this presentation is about. Trying to show arts field where tech opportunities are, and showing tech world where collaboration opportunities exist in the arts.
  4. 4. least disruptive most disruptive social interactions multi(tasking) media devices learning models co-creation data interactive objects 7 areas where technology is fundamentally shifting the art world most examples launched in the past year, or still under development so many don’t have good “results” captured yet broad overview bounces between artists, arts orgs, from marketing to making included orgs twitter handle so you can connect with them directly
  5. 5. organizations struggle, artists innovate. #ArtsHacker | @devonvsmith social interactions multi(tasking) media devices learning models co-creation data interactive objects social media is changing how we… make and interpret art, empower audiences, distribute content, and who we consider partners
  6. 6. artists as innovators @CIIDnews SLIDE: artists as innovators (@CIIDnews) ORG: Copenhagen Institute of Interaction Design: PROJECT: Walk up to an iPad, tweet, sends message via morse code as a light signal across the bay to another device that reads the light, and prints to twitter REASON: social media as the vehicle for artistic production more typical by installation artists where technology is embedded in the experience, often Twitter. http://ciid.dk/education/portfolio/idp12/courses/systems-layers/projects/cphsignals/ Example: Better Left Unsaid Livestreamed interactive theatre: http://betterleftunsaid.tv/2010/09/09/owen-panettieri-nyc-fringe-playwright-actor-blogger-and-unsaid-backer/ Foursquare recreation of Ferris Bueller’s Day Off: http://mashable.com/2010/06/02/chicago-foursquare-giveaway/
  7. 7. appeal to amateurs @tribecafilmfest SLIDE: appeal to amateurs (@tribecafilmfest) ORG: Tribeca Film Festival PROJECT: 2nd annual Vine Fest was an intentional appeal to amateurs, though many submissions came from experienced filmmakers. REASON: Constraints of the social platforms (shorter = cheaper) force new experimentation. http://tribecafilm.com/online/competitions/6second Examples: Twitter-enabled story telling: https://shkspr.mobi/blog/2015/01/writing-a-choose-your-own-adventure-story-on-twitter/ Bruno Ribeiro’s meta-critique on social media as an art form: http://reallifeinstagram.com/ http://www.walkerart.org/internet-cat-video-festival
  8. 8. lower barriers to entry @sfmoma SLIDE: lowers barriers to entry (@sfmoma) ORG: SF Moma PROJECT: Shut down website temporarily & used Tumblr as their CMS REASON: Social media enables anyone, org or individual artist to promote and distribute their work. This has increased the competition for attention in an already crowded field. http://sfmoma.tumblr.com/ Example: https://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project
  9. 9. organizations are adapting @LACMA SLIDE: organizations are adapting (@LACMA) ORG: LACMA PROJECT: First museum on Snapchat REASON: Successful social media demands a unique tone, adapted to a new social medium/audience, puts conservative institutions at a disadvantage because they can’t take themselves quite so seriously. http://hyperallergic.com/144822/lacma-is-the-first-museum-to-join-snapchat/ Example: https://twitter.com/nmnh/status/568772601109213184
  10. 10. collaborate with networks @twitteruk SLIDE: collaborate with networks (@twitteruk) ORG: Twitter UK PROJECT: sponsored #LoveTheatre day to get UK arts organizations actively in conversation with their audience. 400k tweets w/ #LT REASON: Twitter, Tumblr, and Kickstarter each have dedicated staff members supporting cultural organizations use of the platforms. We should take better advantage of them as resources to form collaborative partnerships. https://blog.twitter.com/en-gb/2014/roll-up-for-lovetheatre-day-on-twitter Examples: Cultural Digital —> Reddit for the arts: http://culturaldigital.com/ #MuseumWeekUK
  11. 11. structure your data @foursquare SLIDE: structure your data (@foursquare) ORG: Foursquare PROJECT: Foursquare knows that I check into arts organizations more often than shopping malls, so it sent me this email the day before black friday, recommending 4 arts orgs I should visit in DC over the holidays. REASON: Social media companies more indirectly promoting arts, by knowing data about your habits and affinities. Coming from a third party source made this recommendation more compelling. Arts organizations need to structure their data to be more easily consumable by these networks. http://www.theverge.com/2013/8/29/4671936/foursquare-will-soon-push-personal-recommendations-to-your-phone Example: https://support.google.com/webmasters/answer/164506?hl=en
  12. 12. right here and now to anywhere anytime. social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models multimedia is changing… when, where, how, and who has the opportunity to experience an artistic production. This often means adding a nontraditional media experience on top of a live performance.
  13. 13. experience portability @forumtheatre SLIDE: portability of the experience (@forumtheatre) ORG: Forum Theatre PROJECT: Podcast Play, best experienced in the location where the play takes place around DC REASON: Theatre is no longer bound to a collective gathering space, or necessarily requires your full & undivided attention. Podcasting is the ultimate multi-tasking media. http://forumtheatre.bandcamp.com/releases http://wamu.org/programs/metro_connection/14/09/12/walking_podcast_play_introduces_listeners_to_other_sides_of_dc Example http://www.wired.com/2011/05/national-mall-location-aware-album/
  14. 14. movement in any direction @marshmallowlf SLIDE: movement in any direction (@marshmallowlf) ORG: Marshmallow Laser Feast PROJECT: Project Daedalus adds drones as an artistic vehicle for projection screens. Audience engages remotely, while the art moves around them. REASON: Theatre effects have been bound by pulley systems and fixed lighting arrangements. Drones allow for movement in any direction, and easily breaks the fourth wall between artist & audience. https://medium.com/@andymiah/project-daedalus-66e2cb48f716 Examples: http://www.theguardian.com/culture-professionals-network/2014/dec/19/2015-drones-art-creative-examples http://www.psfk.com/2015/02/air-2015-amsterdam-drone-circus.html http://www.cnet.com/au/news/behind-the-scenes-of-a-drone-orchestra/
  15. 15. inclusive devices @TalkingStatueUK SLIDE: inclusive devices (@TalkingStatueUK)
 ORG: Sing London
 PROJECT: Talking Statues exhibit in London. Swipe phone over tag posted at statue, and it will call you to give historical narrative of the person represented.
 REASON: Enlists a pedestrian piece of technology to turns static objects into interactive pieces of art. http://news.artnet.com/art-world/london-public-statues-speak-out-79977 http://talkingstatues.co.uk/ Example: Kennedy Center’s OK Go concert - http://artsedge.kennedy-center.org/multimedia/series/videostories/ok-go-at-kc
  16. 16. adding an interpretative layer @PhilaOrchestra SLIDE: adding an interpretive layer (@PhilaOrchestra) ORG: Philadelphia Orchestra PROJECT: LiveNote app provides visual notes about the performance, Shazaam-like technology REASON: For those audiences who need more than just an aural experience to stay engaged with the art https://www.philorch.org/introducing-livenote%E2%84%A2-nights#/ http://www.drexel.edu/now/archive/2014/October/LiveNote/ Example: http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/jul/25/live-revive-lament-opera-performance-app
  17. 17. interacting with artists @carnegiehall SLIDE: interacting with artists (@carnegiehall) ORG: Carnegie Hall PROJECT: Livestream concerts & classes
 REASON: Allows for international, interactive participation. Old joke “How do you get to carnegie hall” has a new answer. http://www.vulture.com/2014/10/livestreamed-concerts-from-carnegie-hall.html Example: http://pica.org/event/mike-daisey-6/ http://qrius.si.edu/watch/bilingual-hangout-mammal-scientists-smithsonian-and-beyond
  18. 18. time-shifted and space-shifted @The_Globe SLIDE: time-shifted & space-shifted (@The_Globe) ORG: Shakespeare’s Globe
 PROJECT: Globe Player - professional recordings of live performances you can subscribe to Netflix-style, or purchase one off. 
 REASON: Live performance can be preserved, organizations can earn revenue from them, and audiences can choose whether to watch live or recorded. (Rent or own, 4-8 lbs) https://www.globeplayer.tv/ Example: On the Boards TV in Seattle offers many different performances & arts orgs: http://www.ontheboards.tv/
  19. 19. mediate artistic experience before, during, and after social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models mobile apps are changing… what is possible before, during & after a performance/visit embedded in the artistic experience—in performing & visual arts,
  20. 20. personalized content @pepysinc SLIDE: personalized content (@pepysinc) ORG: Threespot folks, at DC Fringe Festival PROJECT: live performance built around the e-Geaux mobile app. Audiences downloaded app & connected their social accounts, performance would change based on user’s data, incorporating the names of their Facebook friends as characters, determine plot points based on how many single people were in the audience, and asked audiences to participate with characters onstage using their social media handles. REASON: Imagine tailoring the experience of the performance to the unique needs of every person in the audience. http://pepysinc.com/ Example: http://www.psfk.com/2014/11/artwork-uses-data-inflict-emotions.html Mood App - Tour the Amsterdam Museum based on your mood: http://www.stedelijk.nl/mobile-apps/mood-app & https://www.youtube.com/watch?v=V36x13iCmtQ
  21. 21. artist as builder @miranda_july SLIDE: artist as builder (@miranda_july) ORG: Miranda July PROJECT: Somebody app (currently being rebuilt) Turns your friends & people around you into ‘performers’ by giving them tasks to complete and lines to say
 REASON: Takes participatory arts to an extreme. No way to create this experience if the artist doesn’t deeply understand what’s possible with technology. http://somebodyapp.com/ http://www.wired.com/2014/09/miranda-july-creates-an-app-that-doubles-as-a-social-experiment/
  22. 22. technology as playwright @blasttheory SLIDE: technology as playwright (@blasttheory) ORG: Blast Theory
 PROJECT: Karen - narrative experience, based on a voice over app that learns about you and adapts the storyline as you go. Think of ScarJo in Her. REASON: Rise of artificial intelligence makes it possible for technology itself to theoretically become a playwright. http://www.blasttheory.co.uk/projects/karen/
  23. 23. augment your reality @insaland SLIDE: augment your reality (@insaland) ORG: Street artist INSA 
 PROJECT: The Cycle of Futility - public mural I stumbled across in Shoreditch London that can be animated through an augmented reality app
 REASON: Screens we have in our pockets allows us to mediate static works of art, what will happen when we’re wearing devices and the whole world is mediated through a screen? http://www.shoreditchstreetarttours.co.uk/news/insa-the-cycle-of-futility/ Example: Re+Public: last year’s SXSW - http://www.republiclab.com/projects
  24. 24. inspire educational opportunities @NMNH SLIDE: inspire educational opportunities (@NMNH)
 ORG: Smithsonian’s Museum of Natural History
 PROJECT: Skin & Bones app - 13 different AR experiences based on the museum’s collections, many of them animated. Hold your hand out to a spider in front of the app, and it looks like the spider is crawling up your arm. 2 years to build, largest collection of 3D modeling in any iPhone app.
 REASON: Audiences aren’t just looking at artifacts behind a glass, now they (digitally) interact with them. Game changer for educational opportunities. http://naturalhistory.si.edu/exhibits/bone-hall/ Example: Kennedy Center iPad app prepares kids on autism spectrum for what to expect during the performanceL https://www.gettoknowthekc.org/stories/welcome http://showandtell.circus-starr.org.uk/ https://culturalpolicy.uchicago.edu/digest/testing-technology-how-augmented-reality-helps-museum-visitors-appreciate-paintings
  25. 25. real-time marketing @idatorg SLIDE: real time marketing (@idatorg)
 ORG: collaboration of several museums in Plymouth England, built by iDAT
 PROJECT: Artory - digital loyalty card, purpose began with how to collect data about culture goers
 REASON: real time user data will enable arts orgs to better market and engage visitors http://www.theguardian.com/culture-professionals-network/2015/feb/06/artory-culture-plymouth-app-story http://www.artory.co.uk/ Example: https://theartstack.com/
  26. 26. distributed, temporary, and competitive. social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models how we learn is changing… digital enables new opportunities for professional development, but also puts arts organizations into more direct competition with technology companies
  27. 27. distributed network of colleagues @2amt SLIDE: distributed network of colleagues (@2amt)
 ORG: 2am theatre
 PROJECT: #2amt - the conversations you have at 2am about the theatre industry, 5-year anniversary
 REASON: ongoing twitter chat of people who work in the theatre in some capacity, breaks down walls between disciplines, geography, organizations. When networking and learning can be 24/7, industry conferences are questioning their purpose. Has inspired a blog, several events and collaborations. Has a strong community organizer. Examples: #drinkingaboutmuseums #museweb #artsed
  28. 28. rapid prototyping @culturehack SLIDE: rapid prototyping (@culturehack)
 ORG: Culture Hack
 PROJECT: organizes hack days around the world that put artists and technologists together to create something
 REASON: Arts organizations need more exposure to the tools and practices of technology, in order to make their own improvements in the future http://www.culturehack.co.uk Examples: http://www.theguardian.com/artanddesign/2014/jun/16/hack-the-space-tate-modern?CMP=twt_gu http://www.nypl.org/events/programs/2015/02/07/nypl-labs-civic-data-hack-day http://www.up.co/communities/uk/london/startup-weekend/3854 http://www.hackingarts.com/
  29. 29. art under pressure @theartincubator SLIDE: art under pressure (@theartincubator)
 ORG: The Art Incubator
 PROJECT: 8 week residency program in Singapore, structured like a Y-Combinator, concludes in a demo day/gallery show
 REASON: Proliferation of arts incubators in the past few years, but most are missing some crucial element of: dedicated/funded time & space, access to industry experts/mentors, or enforced urgency to have a final product http://www.theartincubator.org/the-art-incubator-6-residency-as-method/ Examples: http://stpaconference.org/wp-content/uploads/2014/02/C4c.pdf
  30. 30. embedding experimentors @synchq SLIDE: embedding experimentors (@synchq) ORG: Sync
 PROJECT: Geek in Residence - funds a technologist to be in residence with an arts org for 6 months, and experiment with them, document it
 REASON: knowledge about technology can be infused into the organization through a temporary expert, to kickstart the org onto a new path. http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/feb/28/geeks-residence-tech-arts-developer Example: http://www.datakind.org/howitworks/datachapters/datakind-uk/
  31. 31. outsource learning technology @googleart SLIDE: outsource learning technology (@googleart)
 ORG: Google Cultural Institute
 PROJECT: offer a digital gallery space to showcase exhibits/performances, street view cameras into cultural spaces, white label app for museum tours
 REASON: Google can provide a higher production capability for all of these things than most arts organizations will be able to learn/invest in, but some complaints from arts orgs that it’s hard to yield control over to Google without knowing exactly what they’re going to do with the data. Still lots of copyright issues for theatrical performances. https://www.google.com/culturalinstitute/home http://mashable.com/2014/07/04/google-cameras-museum-selfies/ Example: https://www.kickstarter.com/events/filmfest2014 http://www.washingtonpost.com/blogs/wonkblog/wp/2013/07/07/yes-kickstarter-raises-more-money-for-artists-than-the-nea-heres-why-thats-not-really-surprising/
  32. 32. audience as competitor @museumhack SLIDE: audience as competitor (@museumhack)
 ORG: Hack the Met
 PROJECT: tours of the Met Museum led by young people, for young people, unlike any other museum tour. Small groups, participatory, short, thematic.
 REASON: Users are marketing for arts organizations, but they can also compete with their offering. Arts professionals are learning how to do their job better by paying attention to how audiences do it for each other. http://hackthemet.com/ Example: AirBnB is a competitor (& an ally) to performance arts/events - http://techcrunch.com/2014/05/16/airbnb-experiences/
  33. 33. audience as maker, curator, and free labor. social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models technology is changing… the role, responsibility, and opportunities of the audience
  34. 34. audiences as artists @Tate SLIDE: audience as artist (@Tate)
 ORG: Tate Modern
 PROJECT: Drawing Bar - draw interpretations of the artwork you’ve just seen, and see it projected on the museum’s sacred walls
 REASON: Giving an audience agency into the creation process makes them more invested in the institution, necessary for field’s survival. http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar Examples: http://www.engadget.com/2014/02/06/tate-museum-robots/ http://www.newseum.org/exhibits/current/hp-new-media-gallery/ http://www.newseum.org/exhibits/current/nbc-news-interactive-newsroom/
  35. 35. model behavior you expect @Tate SLIDE: model behavior you expect (@Tate)
 ORG: Tate Modern
 PROJECT: hired Minecraft mapmakers to interpret works of art and build replicas in Minecraft. First exhibit was on cities. Asked audiences to contribute. 
 REASON: as arts organizations ask more from their audiences, they’re going to need to model some of the behavior they want, especially for non-traditional audiences. Anyone who’s run a UGC campaign knows you can get tons of drek, and a few gems. This helps increase the gems. http://www.tate.org.uk/about/projects/tate-worlds-art-reimagined-minecraft
  36. 36. nonlinear storytelling @blasttheory SLIDE: nonlinear storytelling (@blasttheory)
 ORG: Sheffield Documentary Film Festival
 PROJECT: I’d Hide You - join actors IRL or by playing online, as seen through cameras mounted on them. Half theatre, half live action video game. 
 REASON: When audience participates, don’t just expect diversions from a linear storyline, build them into the narrative. Digital allows for multiple storylines to happen simultaneously. http://www.idhideyou.com/ http://artsdigitalrnd.org.uk/projects/sheffield-docfest/ Example: Coney’s Better Than Life - Online controls aspects of storyline & design; live audiences at their mercy http://www.theguardian.com/stage/theatreblog/2014/jul/01/coney-no-island-streamed-theatre-audiences http://www.betterthanlife.org.uk/
  37. 37. audience as curator @thehenryford SLIDE: audience as curator (@thehenryford)
 ORG: Henry Ford Museum
 PROJECT: Exhibit Builder - allows audiences to build their own exhibits based on artifacts in the museum’s collection
 REASON: educational opportunity for students to consider role of curator http://collections.thehenryford.org/ExhibitHome.aspx
  38. 38. audience as contributor @I_W_M SLIDE: audience as contributor (@I_W_M) ORG: Imperial War Museum PROJECT: Museum-goers contribute their family genealogy & ID photos at the end of the exhibit REASON: increases engagement with the work, and it lightens load on a museum’s research staff http://www.operationwardiary.org/
  39. 39. crowdsource for diversity @Wikiturgy SLIDE: crowdsource for diversity (#Wikiturgy) ORG: Sparked by a 2amt event in DC last year
 PROJECT: #Wikiturgy Wikipedia edit-a-thon for theatre historians (dramaturgs)
 REASON: Crowdsource knowledge into a distributed platform, adding to, editing, and creating entries for theatre artists, plays, companies, journalists/critics, and scholars from underrepresented groups. Enables arts orgs to expand voices. http://howlround.com/meet-you-in-the-wikiturgy-commons Example: Crowdsourcing transcription for Smithsonian digital collections: https://transcription.si.edu
  40. 40. who has access, what they do, and when it becomes art. social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models technology is changing…data who: internal, peers, audience, tech co’s, Rise of data scientist/analyst positions within arts organizations
  41. 41. trade dollars for data @DallasMuseumArt SLIDE: trade dollars for data (@DallasMuseumArt) ORG: Dallas Museum of Art PROJECT: Friends Program. Membership was 5% of budget; made free to all people if they log activity (kiosk/text/card, earn badges, rewards), use data to target marketing, appeal to donors, and adapt museum layout/offerings. 100k people in 2 years. 
 REASON: Major museums are now hiring data scientists. http://www.dma.org/visit/dma-friends http://www.bloomberg.com/bw/articles/2014-02-20/dallas-museum-of-art-trades-memberships-for-data Examples: http://www.wsj.com/articles/when-the-art-is-watching-you-1418338759 http://futureofmuseums.blogspot.com/2014/06/a-recap-of-big-data.html http://www.thestage.co.uk/news/2015/02/data-scientists-appointed-work-nt-barbican-eno/
  42. 42. public accountability @smithsonian SLIDE: public accountability (@smithsonian) ORG: Smithsonian PROJECT: public dashboard of limited activity
 REASON: Transparency is important to perception http://dashboard.si.edu/ Examples: Optimiser. Benchmarking New Zealand arts organizations google analytics data http://www.creativenz.govt.nz/assets/ckeditor/attachments/921/optimiser_pilot_presentation.pdf?1394400094 http://www.creativenz.govt.nz/assets/paperclip/publication_documents/documents/359/original/final_white_paper_1.pdf?1404355324 http://www.nten.org/research/the-2014-nonprofit-benchmarks-study
  43. 43. data democratizes @newplayx SLIDE: data democratizes (@newplayx) ORG: New Play Exchange PROJECT: meeting place for creators, selectors, funders; trying to get better data about what’s available & what’s being used in the theatre world.
 REASON: Previously this exchange was a black box, and too often a “winner take all” https://newplayexchange.org/ Examples: http://www.culturaldata.org/ http://www.washingtonpost.com/blogs/style-blog/wp/2015/02/02/smithsonian-american-art-museum-launches-effort-to-create-national-art-database/ https://www.slated.com/ http://www.culturecraver.com/dashboard
  44. 44. scale requires data @opencultuurdata SLIDE: scale requires data (@opencultuurdata) ORG: Open Culture Data PROJECT: collection of cultural datasets for Dutch arts organizations
 REASON: allow anyone to create apps that leverage the combined data on objects http://www.opencultuurdata.nl/api-english/ Examples: Cooper Hewitt in NYC has re-opened/re-launched, and built their entire infrastructure on top of an API https://labs.cooperhewitt.org/2014/the-api-at-the-center-of-the-museum/ https://collection.cooperhewitt.org/developers http://api.powerhousemuseum.com/login/?next=/ http://www.sfmoma.org/about/research_projects/lab/why_build_an_api http://research.kraeutli.com/index.php/2013/11/the-tate-collection-on-github/ https://github.com/tategallery/collection
  45. 45. data as art @webwewantfest SLIDE: data as art (@webwewantfest)
 ORG: Web We Want Festival in London
 PROJECT: Open Data Playground- data artist took open source data sets and created analog games to help audiences explore the data.
 REASON: Use art to make data more approachable. http://www.stefanieposavec.co.uk/open-data-playground Example: Berlin musicians (onformative), to create a soundscape based on movements of dancers: http://www.onformative.com/work/unnamed-soundsculpture/
  46. 46. data empowers artists @LesiaTG SLIDE: data empowers artists (@LesiaTG)
 ORG: Lesia Trubat (Spanish artist)
 PROJECT: Lilypad Arduino enabled ballet shoes track a dancer’s movement
 REASON: For them to review later, for audiences to have a visual experience of performance http://blog.atmel.com/2014/10/29/these-ballet-shoes-digitally-track-and-visualize-a-dancers-movements/ http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance http://www.dailymail.co.uk/femail/article-2822099/Innovative-new-pointe-shoes-turn-ballerina-s-movements-unique-works-art-digitally-tracking-dancing.html
  47. 47. replace and augment human interactions. social interactions multi(tasking) media devices co-creation data interactive objects #ArtsHacker | @devonvsmith learning models technology is changing… humans aren’t the only ones acting as artist, curator, or audience. now screens & AI most of these are still a novelty
  48. 48. transparent interpretation @LavaDesignLab SLIDE: transparent interpretation (@LavaDesignLab)
 ORG: Lava Lab, in cola w/ Amsterdam Museum
 PROJECT: The Golden Age, explore the social connections between real people represented in paintings
 REASON: Google glass allows for a deeper dive into content, iBeacons allow you to target content indoors. http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/ Examples: http://www.kealyc.com/ibeacons-in-arts-heritage-and-culture/ http://labwerk.com/ http://www.theguardian.com/culture-professionals-network/2015/jan/20/rsc-digital-development-tech-shakespeare http://www.tnooz.com/article/antenna-international-google-glass-san-francisco/ http://www.mlive.com/news/grand-rapids/index.ssf/2013/05/google_glass_west_michigan_onl.html
  49. 49. touchable art @cooperhewitt SLIDE: touchable art (@cooperhewitt)
 ORG: Cooper Hewitt
 PROJECT: pen. allows visitors to capture their experience & sent via email, and interact w/ exhibits (wallpaper repeated patterns)
 REASON: smart devices gives new tools to audiences to engage with the museum’s collection http://www.theatlantic.com/technology/archive/2015/01/how-to-build-the-museum-of-the-future/384646/ http://www.theverge.com/2015/3/11/8182051/smithsonian-cooper-hewitt-design-museum-reopening-pen-4k Examples: Fitbit for artists, to coach them to spend more time on art: http://www.parttimeclock.com/ Performing Arts in the Wearable Age: http://static.squarespace.com/static/51d98be2e4b05a25fc200cbc/t/5392084de4b0037d4d325314/1402079309465/ThomasRhodesSamuelAllen_PerformingArtsInTheWearableAge_6.6.2014.pdf
  50. 50. replace the irreplaceable @V_and_A SLIDE: replace the irreplaceable (@V_and_A)
 ORG: Victoria & Albert Museum in London
 PROJECT: 3D scanning & printing replicas to repair objects
 REASON: low vision audiences - tactile manipulation, print objects at home, curators interact w/ fragile objects, digitization allows 24/7 display http://3dprint.com/45399/marie-antoinette-museum-chair/ Examples: http://mashable.com/2014/10/31/british-museum-3d-printing-sketchfab/ http://www.brooklynmuseum.org/community/blogosphere/2013/04/16/3d-printing-for-accessibility/ http://3dprint.com/9323/berlin-museum-3d-printing/ http://www.sculpteo.com/blog/2014/12/15/lets-3d-print-together-musee-du-louvre/ http://3d.si.edu/
  51. 51. enable all your senses @extantltd SLIDE: enable all your senses (@extantltd)
 ORG: Extant, theatre company dedicated to low vision/blind artists and audiences
 PROJECT: Flatland - by Alan Lightman novel about 1D, 2D, and 3D worlds. They built a haptic interface audiences hold in their hand, used to navigate around an entirely pitch black room.
 REASON: Theatre has long relied on sight, sound. Occasionally smell. Almost never smell or touch. Adds a new depth to the experience. http://flatland.org.uk/
  52. 52. participatory experience @zhdkcast SLIDE: participatory experience (@zhdkcast)
 ORG: Zurich University of the Arts at Sundance 2015 PROJECT: Birdly allows you to fly above SF in a virtual reality experience, via Oculus Rift
 REASON: Virtual reality puts audience inside the artistic experience. why simply watch what’s happening on stage, when you could participate. http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality Examples: http://www.theguardian.com/technology/2015/jan/27/facebook-oculus-story-studio-virtual-reality-films http://whitney.org/Exhibitions/Artport/Commissions/Proxy http://www.inition.co.uk/
  53. 53. artificially intelligent artists @3ldnyc SLIDE: artificially intelligent artists (@3ldnyc)
 ORG: Huang Yi and Kuka, in residence at 3 Legged Dog performance space in NYC
 PROJECT: Robots that performs along with the dancer/choreographer
 REASON: Uncanny valley hasn’t seen anything until the performing arts world. Long way off to replace actors. http://3ldnyc.wix.com/huangyiandkuka Examples: http://www.huffingtonpost.com/2014/11/12/drawing-robot_n_6141372.html http://www.vice.com/en_uk/read/noworkflow-405
  54. 54. social interactions organizations struggle, artists innovate. replace and augment human interactions.interactive objects who has access, what they do, and when it becomes art.data audience as maker, curator, and free labor.co-creation mediate artistic experience before, during, and afterdevices right here and now to anywhere anytime.multi(tasking) media distributed, temporary, and competitive.learning models That was a ton of examples dozens more case studies in my notes But I want to hear more from others Part of putting this together was an excuse to reach out to artists & orgs - so tell me more examples Also interested in particular in putting together events that put technologists, artists, and orgs together to learn from each other Could mean: culture hack partner, incubators, conferences, collaborative working spaces
  55. 55. slideshare.com/ devonvsmith
  56. 56. @devonvsmith #ArtsHacker
  57. 57. Slide 1: Elia Scudiero, Vanish, https://flic.kr/p/ddmhza Slide 6: Wired UK, CHPsignals, http://cdni.wired.co.uk/1920x1280/a_c/Copenhagen_05.jpg Slide 14: Marshmallow Laser Feast, Project Daedalus, https://twitter.com/marshmallowlf/status/524845637498454016  Slide 23: Shoreditch Street Art Tours, INSA “The Cycle of Futility,” http://www.shoreditchstreetarttours.co.uk/news/insa-the-cycle-of-futility/ Slide 24: Smithsonian Museum of Natural History, Skin & Bones, http://naturalhistory.si.edu/exhibits/bone-hall/ Slide 32: Hack the Met, http://hackthemet.com Slide 34: Tate Modern, Drawing Bar, http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar Slide 45: Stefanie Posavec, Open Data Playground, http://www.stefanieposavec.co.uk/open-data-playground Slide 46: Lesia Trubat, http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance Slide 48: Lava Lab, Interactive Portrait Gallery, http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/ Slide 50: Zoe Allen, 3D Printing (Detail of Loss & Scanning Process), http://3dprint.com/45399/marie-antoinette-museum-chair/ Slide 52: The Verge, http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality Slide 53: Huang Yi, 3-Legged Dog http://3ldnyc.wix.com/huangyiandkuka Slide 62: Steve Rhodes, LACMA, https://flic.kr/p/dFewKR Presentation design by Jordan Fugate Photo Acknowledgments
  58. 58. Artstech

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