Upcoming exhibition at the Barbican, London, on the art of creative coding. Sponsored by Google, there is also a call for entries for any creative coders who wish to have a piece comissioned. Video embedded below:
DevArt is a new type of art. It is made with code, by developers that push the possibilities of creativity and technology. They use technology as the canvas and code as the raw materials to create innovative, engaging digital art installations.
DevArt is the opportunity to open their creative process, share their art with the world and be a part of a new movement in art.Google, with the Barbican in London, will commission a developer to create a new digital art installation alongside some of the world’s best interactive artists at the Digital Revolution exhibition: the biggest and most comprehensive exploration of digital creativity ever to be staged in the UK. From there, the exhibition will then go on tour to cities around the world.Can’t wait to visit the show, which opens in July … you can find out more at the DevArt website here
Nick Poole nails it: “Any industry that was built on the unequal distribution of access [is] suffering.” That is our issue right there.
This interview with Nick Poole, CEO Collections Trust, is so chock full of open authority goodness I just can’t even stand it.
Here are some snippets, but I strongly encourage watching the full video. It’s well worth it. (And okay maybe I went a little crazy with the snippets.)
People are walking in and they’re equal to the institution. And so it’s no longer enough to say, “well we have this amazing stuff, and we’re going to show it to you.” We have to say, “We have this amazing stuff with you. We’re going to find out more about it, we’re going to learn about it.” And so that means that the really stylized experience of a museum…just doesn’t work anymore for the way people expect to be able to engage with the services.
It’s entirely a model built around a one-directional model, and now we’re talking about a conversation, and a conversation that happens everywhere, in real time. And so part of the idea about being responsive is really doing our job as cultural heritage institutions by making ourselves open to that kind of dialogue, rather than saying you will come and you will benefit from coming to my museum.
…It doesn’t mean less culture, and it doesn’t mean less authority, but it means more value and more sharing...
…To me, what technology does is enables you to unlock the whole of the museum experience for the user. By pointing this window (tablet, etc.) in their hands…you empower them with the capability to interpret the knowledge and the intellectual content of that experience. And then more than that.you allow them to open up their own voice into that experience. You allow them to not just sense the history that came before them in the room, but you enable them to become a participant in their history, to leave footprints, essentially, on the experience.
…This is about permanent, irrevocable culture change in the museum sector. And it’s about saying if we start to be open to these experiences, if we start to become part of our community rather than offering things to the public, that means we will ultimately become more relevant, more loved, more useful, more interesting, more engaging for people.
Here’s some music I put together for your Tuesday morning.
When communities of color do not see equal representation of cultural heritage in our exhibition schedules and programming, we send the message that museums are founded upon a dominant culture’s values. We imply that visitors of color are invited to participate and reinforce the notion that they somehow exist outside the dominant system…True “diversity” means that the visitor of color would need to feel that their very presence did not constitute the diversity.
We grew up with the Internet and on the Internet. This is what makes us different; this is what makes the crucial, although surprising from your point of view, difference: we do not ‘surf’ and the internet to us is not a ‘place’ or ‘virtual space’. The Internet to us is not something external to reality but a part of it: an invisible yet constantly present layer intertwined with the physical environment. We do not use the Internet, we live on the Internet and along it. If we were to tell our bildungsroman to you, the analog, we could say there was a natural Internet aspect to every single experience that has shaped us. We made friends and enemies online, we prepared cribs for tests online, we planned parties and studying sessions online, we fell in love and broke up online. The Web to us is not a technology which we had to learn and which we managed to get a grip of. The Web is a process, happening continuously and continuously transforming before our eyes; with us and through us. Technologies appear and then dissolve in the peripheries, websites are built, they bloom and then pass away, but the Web continues, because we are the Web; we, communicating with one another in a way that comes naturally to us, more intense and more efficient than ever before in the history of mankind.