Digital Craftsmanship

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Photo: Pulse by Markus Kison (DE)

According to the participants of Pixelache09 Digital Craftsmanship seminar, Digital Craftsmanship involves:

  • Thinking with your hands
  • Developing digital media cookbooks and recipes
  • Getting different people to share same focus, taking steps in the areas where they are not comfortable
  • Contributing back to the community of teachers
  • Being cross-over artists and designers, enough skills to 99% of things needed
  • Allowing non-specialists to enter, make technology itself culturally diverse
  • Building spaces for learning that reflect the culture that we have online

The discussion involved people from UdK Berlin, Culture Lab Newcastle, Taik Media Lab, Konstfack Stockholm, Kitchen Budapest and other schools/labs. It was evident that digital craftsmanship is difficult to compare with traditional master-apprentice relationship. It seems to be more about a specific approach (or one could even say attitude) to working with digital media. All the basic building blocks (physical parts, hardware, software) are kept open for modifying and one should have enough skills and confidence to work on all different aspects of the project. A key for successful learning and development is to be connected to a network of peers and knowledge / resources that can be shared.

(>> original posting on Pixelache09 site)

Climate Hack workshop

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During the three days that our brave Cotton Candy experimentation team spent enclosed in a small room in Collegium Hungaricum Berlin, we learned quite a few things:

– Cotton candy is a challenging material to work with. The temperature has just high enough for the sugar to melt but low enough for the plastic candy machine itself not to melt. If one wants to use color effects, these need to be applied beforehand – once sugar is reached its fluffy and flying cotton candy form, it’s very difficult to apply any extra effects to it. Refilling the machines on the fly (when they are hot and rotating sugar at high speed) was also not a very easy thing to figure out.

– Cotton candy is great material for art about environmental issues – it’s made of pure white sugar that gives us pure solid energy to burn. Very efficient and very unhealthy. The sugar we bought in Germany said ‘Made in Germany’ in the package while it’s obvious that it has been grown by some low-wage workers in Africa or South-America. Eating cotton candy is also a ritual, a ceremony associated with places such as circuses or fun fairs –  places that have been designed for the kids to have fun and for the parents to… pretend to have fun?

– Compared to the English words cotton candy and candy floss, the Finnish and French equivalents ‘hattara’ and ‘barpapapa’ are more interesting and versatile. The word hattara can be applied to all kinds of fluffy things (clouds, hairdos, etc) and it has a connotation of superficiality. In addition to Barpapapa comic book characters, barpapapa also means ‘daddy’s beard’.

Some of the concrete results (see photos above) we achieved were the Cotton Candy Tornado (Aleksi Pihkanen was the main chef), Cotton Candy Crystals (by Christopher Baker) and the ‘redemption ritual’ (design by Tuomo Tammenpää). These were the side effects of the main purpose of the workshop: to bring an interesting bunch of people together to hack, chat and have fun for a few days. Thanks a lot for crew of Kitchen Budapest and Tinker.it for the good times and for Transmediale 09 for hosting us!

>> More thoughts + photos in Tuomo Tammenpää’s blog
>> More photos by Miska Knapek
>> Climate Hack wiki

(>> original posting on Pixelache09 blog)

Self-organisation survey

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Boxwars @ Pixelache 2008 (photo by Antti Ahonen)

In connection with Pixelache 2008 festival, we made a survey about organisational strategies of some prominent grassroot initiatives. We received replies from these people / organisations:

– Ben Fry & Casey Reas / Processing
– David Cuartielles / Arduino
– Douglas Repetto / Dorkbot
– Damien Deadly / Boxwars UK

The questions were:

* What are the aims of the project you are involved in?
* How is the project organised?
* How do you support the work financially and what impact does this have on your project?
* What do you feel you have achieved, and what are the problems you face?
* Are there any past projects/models which have inspired you?
* What are your hopes for the future?

Some excerpts from the survey:

* How do you support the work financially and what impact does this have on your project?

Casey Reas & Ben Fry / Processing: We’ve made a conscious effort to keep money out of the project. We don’t take donations, sell anything, or put ads on the site. We don’t make money directly for working on it and we hope that sets the example for others to contribute. We both have other jobs to pay for our food and rent. We were fortunate to receive a grant early in the project that was used to pay for a few developers to write key components of the software. Last year, Ben received a personal grant that provided some concentrated time to focus on the project. Our web hosting is thankfully donated.

* Are there any past projects/models which have inspired you?

David Cuartielles / Arduino: Before I was member of a design collective called Aeswad, based in Malmo, Sweden. There we had a pretty anarchic way of dealing with projects, deciding how to be paid, etc. The financial model we had was really thought through and helped me to understand that distributed organizations need of a completely different degree of freedom that corporations do. On the other hand I could learn how to make (a lot of) money making the things I like the most and letting the others do the same.

Distributed strategies for world-wide organizations can actually provide a way of living to their members. It is just that nobody will explain you how to make it happen. There is no business school focusing on that. Corporate is a cancer we gotta eliminate from society if we are about to make this new way of thinking/living/working possible.

* What are your hopes for the future?

Douglas Repetto / Dorkbot: I try to stay kind of neutral about the future of dorkbot. As organizations grow they often develop self-protection mechanisms, and sometimes maintaining the organization becomes more important than the actual activities of the organization. If dorkbot is no longer useful or interesting in a particular city, then we just let it die. Sometimes it comes back in another form, sometimes it doesn’t. I don’t try to revive meetings or put any pressure on people to continue meeting. I will keep doing dorkbot in New York as long as it’s interesting and people keep volunteering to give presentations. But there are lots of other organizations doing similar things to dorkbot, so I’m sure that if we go away other things that are just as useful/interesting will take its place.

I’m constantly working to understand how something can seem to be both the most important thing in the world and also completely inconsequential. That’s my primary organizational strategy!

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The self-organisation survey can be found here:
>> http://university.pixelache.ac/prog/selforgsurvey

 

Interferenze Festival

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DSCN3100The theme of Interferenze 2006 was ‘Naturalis Electronica’, the encounter of nature and electronic art. I was invited to curate the interactive/software art section which eventually featured following artists/projects: Casey Reas (Process 6, 7, 8), LeCielEstBleu, Ralf Schreiber, Marianne Decoster-Taivalkoski (Aquatic), An Earful of Italy (Jean-Philippe Renoult, Kate Sieper, Dinah Bird ) and IMPROVe (Zeenath Hasan, Richard Widerberg).

Alessandro Ludovico wrote a report of Interferenze 2006 in Neural and there are plenty of photos on Interferenze site,  below some of my own photos.

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Photos from the valley, from the city of San Martino Valle Caudina:
DSCN2948
DSCN2953
DSCN2973
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Interferenze – Naturalis Electronica

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INTERFERENZE 2006 · San Martino Valle Caudina, Italy, 3-5 August 2006

The theme of Interferenze 2006 was ‘Naturalis Electronica’, the encounter of nature and electronic art. I was invited to curate the interactive/software art section which eventually featured following artists/projects: Casey Reas (Process 6, 7, 8), LeCielEstBleu, Ralf Schreiber, Marianne Decoster-Taivalkoski (Aquatic), An Earful of Italy (Dinah Bird & Jean-Philippe Renoult with Kate Sieper) and IMPROVe (Zeenath Hasan & Richard Widerberg). The festival took place on the mountains next to San Martino Valle Caudina, a small village close to Naples.

The music programme featured many Pixelache alumni artists and other familiar faces: Keiko Uenishi, Emi Maeda, LIA, Sine Wave Orchestra, Sasu Ripatti, AGF, etc.

Nervous Networks / Simplest Electronic Organisms workshop by Ralf Schreiber. The workshop participants are invited to build their own solar sound module, a simple analogue circuit attached to a piezo speaker and a small solar panel. The module uses an ordinary integrated circuit chip which generates sound patterns which resemble sounds of birds or insects. The sounds can be adjusted with alligator clips and different resistance and condenser values. The weak energetic circuit concept permits this experimental work, which is generally forbidden in electronic circuits. The quality and intensity of the sound depends on the amount of light that touches the solar panel’s surface. Every created sound module is special and unique, it’s impossible to build two exactly similar solar modules. The solar sound module starts emitting sounds in the morning when the first beams of the sun appear and will stop at night. Prior know-how on electronics is not required for taking part in the workshop.

IMPROVe by Zeenath Hasan & Richard Widerberg explores the role of the mobile phone user as a creator or her/his own content. It attempts to define the mobile device as a tool for awareness of one’s environment by making the user conscious of their immediate sonic surroundings. By exploring the role of the mobile phone as a medium of sonic content creation and exchange, we propose the understanding or the music making mobile device as a medium of empowerment.

An Earful of Italy: an Acoustic Ecology Project for Valle Caudina by Dinah Bird & Jean-Philippe Renault and Kate Sieper takes a global look at the ideas behind acoustic ecology through a presentation of radio works by a variety of different authors. The artists would like to record local inhabitants talking about their favourite sound, or sonic memory, and what this means to them. They plan to accompany the participants and record existing San Martino Valle Caudina sounds and encourage people to listen and develop a deeper appreciation of sound in our everyday lives with a view to creating a permanent sonic archive in the area.

Aquatic by Marianne Decoster-Taivalkoski invites the audience to participate in a multisensorial experience. It is a three-dimensional interactive water soundscape that can be explored through bodily movements. The soundscape can fluctuate between various emotional states: soft and quiet waters, refreshing streaming waters and tempest waters.

Process 6, 7, 8 by Casey Reas – three algorithmic artworks from the Process series. These constantly changing artworks appear to be very complex, but are in fact are based on very simple mathematical rules. The same dynamic can be found in nature – intricate patterns and behaviours can emerge from the interaction of myriads of very simple organisms.

MISC PHOTOS

Solar sound modules meet the Sine Wave Orchestra
Keiko Uenishi
LIA

More photos in Flickr

Software and generative strategies in art and design (lectures by Casey Reas + Marius Watz)

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A short summary of the lectures Casey Reas and Marius Watz at Lume Media Centre, an event which was organised by PixelACHE & friends (see earlier posting).

Marius Watz (on the left) and Casey Reas (Photos: Jokko Korhonen)

Casey and Marius arrived to Helsinki straight from the Generator.x conference / exhibition in Oslo, an ambitious project initiated by Marius Watz. Generator.x brought together an international group of artists / designers / researchers to explore ‘the current role of software and generative strategies in art and design’.

Marius quoted the definition of generative art from Philip Galanter:

Generative art refers to any art practice where the artist uses a system, such as a set of natural language rules, a computer program, a machine, or other procedural invention, which is set into motion with some degree of autonomy contributing to or resulting in a completed work of art.

(here is the academic paper where the quote is from)

Another relevant quote from Generator.x:

True literacy means being able to both read and write. If to use pre-existing software is to “read” digital media, then programming is the equivalent to writing. The Generator.x project focuses on artists and designers who embrace this new literacy not as a technical obstacle, but as a way to redefine the tools and the media they work in.

This is a slightly modified version of an original statement from Alan Kay:

The ability to ‘read’ a medium means you can access materials and tools created by others. The ability to ‘write’ in a medium means you can generate materials and tools for others. You must have both to be literate. In print writing, the tools you generate are rhetorical; they demonstrate and convince. In computer writing, the tools you generate are processes; they simulate and decide.

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VJ workshop for the Kogi tribe

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I was invited to Colombia by Vanessa Gocksch / Intermundos to give a VJ workshop in connection with the Salón Internacional del Autor Audiovisual film festival in Barranquilla in August 2005. Afterwards me and Vanessa were contacted by the Kogi tribe, with a request to teach them VJing.

Kogis are one of the more than 100 native peoples of Colombia. The core Kogi community lives high up in the Sierra Nevada mountains and has been able to preserve their language, customs and beliefs. The National Geographic magazine had donated them a video camera and a computer, with the idea that they could use these to make documentaries about their life themselves. However, since the Kogis don’t have a written language, they did not feel comfortable with the concept of a documentary – a fixed, static document. They rather wanted to learn the skills to present the video material in form of a live video performance.

The Kogis believe that their task is to ’sustain the equilibrium of the Universe’. They have several sacred locations on their lands where their spiritual leaders can connect to the Earth and channel wisdom to the tribe. The Kogis wish that they could use the video material to send out a warning to the ‘Little brothers’, to inform us that the way we are currently treating the environment is dangerous for the future of this planet. They also hope that educating people about their way of life will help them to maintain the control over their lands. Video is also seen as an efficient tool for reporting any potential misuse of their lands.

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