Someone on imgur has uploaded a whole lot of fantastic images depicting the filming of Stanley Kubrick’s 2001: A Space Odyssey. There are 100 of them, and boy, do they provide a lot of fascinating detail about one of the most ambitious movie sets ever constructed—especially in terms of the available technology. It’s great to see how much of this is analog—I mean we know it had to be analog, but the contrast with today’s CGI way is stark. I especially love the stills where you can see the grandeur of the massive stage sets, how they solved the problem of filming, for example, a set in which the inside of a massive wheel is a continuous flat surface in a zero-gravity space vessel.
I’ve read that Kubrick burned all the unused footage from ‘2001,’ which makes pictures of obviously cut scenes (check out that ‘futuristic’ Pontiac!) all that much more tantalizing.
Brooklyn Museum’s social media moves and the technology skeptic
Perhaps the most interesting thing I found out about here at MW2014 was Brooklyn Museum’s decision to pull out of a big chunk of their social media efforts (Flickr Commons, Foursquare, Historypin, iTunes U, and others). This is a really fascinating move, and as usual, Brooklyn Museum is out in front of the rest of us on this. That Brooklyn Museum was so well-known (at least in my community) for these efforts makes this decision to abandon many of them that much more interesting.
I had a great conversation with Tim Svenonious (SFMOMA) a few months ago about whether or not there is finally room for the technology skeptic in the digitial media/technology structure inside the museum. For the longest time, digital efforts were always fighting for survival inside museums, and there wasn’t a lot of room for the skeptic. By necessity, we all had to be cheerleaders. I think that situation is changing, but in many ways we (as in “museum technologists” or whatever) haven’t. We’re still always cheerleaders when we should (at least occasionally) be skeptics. It’s how we’ll make the best work.
As usual, Brooklyn Museum has figured this out before the rest of us. It’s so great to see them assess their online presence(s) with a critical, unsentimental eye, and cull the weak ones from the herd. We need more of this.
Enough with the “failure” thing, okay?
It’s official. I’ve had it with the word “failure.” As a word, it has officially ceased to have any actual meaning. Please just know that if you use the word “failure” as part of your thesis statement, I’m going to start giving everything else you say the stink-eye, and if you actually utter the words “fail early, and fail often,” I will be walking out of the room on you, metaphorically speaking.
Art & Video Games: A Look at how Video Games are Breaking Free
Monday, April 7, 2014
Anyone who’s spent a few frustrated hours playing Flappy Bird knows that video games have been rapidly evolving and diversifying over the past two decades, aided in part by the diminishing costs of development and distribution. These falling costs have helped usher in a new wave of creativity in video games, allowing artists and developers to experiment more with video games as a diverse artistic medium. Full-body motion tracking and control, immersive virtual reality headsets, touch screens, open-source software libraries and inexpensive, hackable hardware have given artists and developers a broader canvas than ever before.
This meetup will explore the unique ways that artists, developers, universities, museums, and galleries have been: creating new forms of physical input and feedback, interrogating the traditional paradigms of play mechanics, locating universities as sites of study and creation of games as emergent, multi-disciplinary art forms, defining criteria for the exhibition and inclusion in gallery and museum space, and even pushing the boundaries of what type of electronic games qualify as “video” games.
7:00pm – Doors
7:30-8:30pm – Presentations and question-and-answer session
8:30-10:00pm – Conversation continues over wine & snacks
Jamin Warren is the founder of the arts and culture company Kill Screen. Formerly a culture reporter for the Wall Street Journal, Jamin has been a vocal advocate for games as culture and serves as an advisor to MoMA’s department of Architecture and Design. Jamin hosts also PBS’s Game/Show and his thoughts on games and digital culture have been featured in the New Yorker, New York Times, Paris Review and others. Jamin is also a frequent contributor to NPR, and has spoken at SXSW, Tribeca Interactive, XOXO, and more.
Phoenix Perry focuses on embodied games and user experiences. As an adjunct Professor at NYU she teaches game development and design, visual design and web development. From digital arts practitioner to Creative Director, she has extensive experience in new media, design, and user interfaces. A consummate advocate for women in game development, her speaking engagements include GDC, The Open Hardware Summit at MIT, Indiecade, Comic Con, Internet Week, Create Tech and NYU Game Center among others. Perry’s creative work spans a large range of disciplines including drawing, generative art, video, games, interfaces and sound. Her projects have been seen worldwide at venues and festivals including the GDC, E3, Come out and Play, Maker Faire at the New York Hall of Science, Lincoln Center, Transmediale, Yerba Buena Center for the Arts, LAMCA, Harvest Works, Babycastles, European Media Arts Festival, GenArt, Seoul Film Festival and Harvestworks. In 2011 she co-authored the book, Meet the Kinect with Sean Kean and Johnathan Hall. Finally, she has curated since 1996 in a range of cultural venues, the most recent of which is her own gallery, Devotion Gallery until 2014. Devotion was a Williamsburg gallery focused on the intersection of art, science, new media, and design.
Jason Eppink creates interactive experiences, curates events and exhibitions, and throws raging art parties as the Associate Curator of Digital Media at the Museum of the Moving Image in New York City. When he’s not doing that, Jason Eppink engages in public space magic, open source scheming, moving image mischief, photon reappropriation, and linguistic subterfuge. Good Magazine proclaimed him one of the top 100 most important, exciting, and innovative people making our world better and changing the way we live. Jason also corrupts young minds as an
adjunct professor at New York University, where he teaches students how to make animated GIFs and video games under the auspices of art.
Kaho Abe is a NYC-based game designer and media artist interested in improving social and personal experiences through the use of technology, fashion, and games. Kaho is currently the Artist-in-Residence at the NYU Game Innovation Lab where she develops games with custom controllers with the goal of fostering more face-to-face interaction during play. An important part of her practice is sharing her work, methodologies, and techniques with youth and adults through teaching classes, workshops, and afterschool programs on designing and building alternative physical-game controllers. She is an Educational Fellow at Eyebeam where she co-hosts a monthly play-testing event with Come Out and Play.
Kunal Gupta is one of several founders and a co-director of the Silent Barn, an all-ages studio, residency, and event space in Brooklyn. He is also founder and director of Babycastles since 2009, an art games movement in New York City with exhibitions at the Museum of Natural History, La Gaite Lyrique, Museum of Art & Design, Telfair Museums, Science Gallery, Museum of Modern Art, Museum of the Moving Image, Brooklyn Academy of Music, Clocktower Gallery, and SFMOMA.
Chicago Public Library Increases Broadband Access Through its Innovative "Hotspot at Home" Program; lending service will also include laptops and digital skills training.
CPL will create a Wi-Fi hotspot lending program pilot at select library branches, encouraging residents in these communities to borrow Wi-Fi hotspots for up to three weeks at a time. To help patrons build their digital skills, CPL will also provide one-on-one digital literacy and skills coaching along with access to effective online tutorials. This training will be provided by the library’s current digital training corps, called CyberNavigators, and with the assistance of outside organizations as training partners.
For patrons who lack both broadband access and a computer at home, CPL will launch a pilot computer-lending program, in which specially-tagged and outfitted laptops would be loaned in combination with the Hotspots.
This is a very cool initiative. I’m curious about bandwidth limitations, content waivers, etc. Surely the type of things people download in private at their homes isn’t stuff you want anyone knowing about, even the library. (And yes, I know the realities of privacy these days … )
Wow. This strikes me as a very good idea.
Happy 25th Anniversary, World Wide Web! Some of these early museum webpages really cracked me me up.
See British Museum, The Metropolitan Museum, the Louvre, the Prado, and more classics in a new Museum Nerd (>140) blog post, 10 Vintage Museum Web Pages from the 90s.
These. Are. AWESOME.
So many drop shadows!
The best. Just the best.
This is how an exhibition Tumblr should look. Collateral material you can’t show during the exhibition, presented with completeness and humor. <3
To accompany Converging Lines: Eva Hesse and Sol LeWitt, this exhibition-specific tumblr will publish many of the postcards sent between LeWitt, Hesse, and their contemporaries, as well as featuring written perspectives from the exhibition curator’s Veronica Roberts and others. To introduce the project, Veronica ruminates on the personal correspondence between these two artists.
Just as LeWitt’s wall drawings have been keeping art students around the world busy for nearly fifty years, the copious number of postcards and letters he wrote kept the United States Postal Service in business; (no wonder the post office is not doing so well these days.) Thirty-nine particularly special postcards that LeWitt wrote Hesse are reproduced in the exhibition and its catalogue. They are thoughtful, funny, and charming—classic Sol. And being the artist he was, he thought carefully about all of its ingredients: the image on the postcard, the message inside—even the stamp he used.
LeWitt’s dry sense of humor really come through in the postcards he dispatched Hesse from around the globe. He sent her an image of Moroccan sand dunes, lobster traps in Maine, and a roaring hippopotamus in the Netherlands. One of my personal favorites is a Smithsonian Museum postcard of an Egyptian mummy bull. (Well, according to the postcard, it’s a bull; it looks a more like a bunny to me.) Wrapped in bandages with just its eyes revealed, it looks like a cross between a rabbit possessed by the devil and an early Christo sculpture. On the back, he wrote a succinct, tongue-in-cheek message: “Dear Eva, I hope this doesn’t scare you.”
As a curator, I love reading the personal correspondence of artists but I know my attachment to them goes deeper than that. I know part of the reason I’m drawn to them is to see how clearly devoted Sol and Eva were to each other as friends, always making the time to remind each other of this in ways small and big. And I know I personally respond to them because I too have always enjoyed writing letters and receiving them. People seem to appreciate receiving handwritten letters now more than ever, in part, I’m convinced, because we are drowning in the irritating efficiency of emails, which pile up like car wrecks. Unlike emails, which insist upon a response, letters are gifts with no expectations attached—a chance to say something kind without causing someone to blush or requiring anything in return.
All postcard images courtesy of Allen Memorial Art Museum, Oberlin College, Ohio. Eva Hesse Archive, Gift of Helen Hesse Charash. © The Eva Hesse Estate. Courtsey Hauser & Wirth © Estate of Sol LeWitt/ Artist Rights Society (ARS)