[-empyre-] interpreting datasets ..data viz decode real time..stanza

stanza Stanza at sublime.net
Thu Feb 25 03:52:20 EST 2010

actually the real shame here is the way the work (Golan Levins piece) is 
/ isn't treated  ...........there is  now a sign where the work should 
be, "this piece has been removed as it isn't working"....

also ref Simon's "review" of Decode below........the show while 
decorative  was co-curated (I believe this hasn't helped) and probably 
led to the feeling Simon is reaching for below.....(I also have 
misgivings about a lot of the work). I am in this Decode show,  and its 
been very  difficult keeping the sensors running,  replacing batteries,  
and generally keeping the work maintained.....I send emails daily.....as 
I can monitor my  work remotey....but I  cannot change batteries.

Simon....in light of recent posts on data viz and animation, especially 
real time; my  Sensity piece might have sparked some reference ----> I  
dont see my work as "environmental design". The work is real time, 
online, open sourced data,  its crosses through data viz and 
animation......and although its  located on environmental monitoring 
.......its pushing at the boundaries of soundscapes, sonifications and 
questioning real time space. “Sensity V & A” uses environmental sensors 
scattered all over the museum and the city to make visualisation and 
sonifications. Literally painting with data these works open up a 
discourse about networks and surveillance technologies. The ownership 
and interrogation of public domain space is opened out where anyone can 
view all the data in these networks. I  use this data to make artworks 
but it is of equal interest to urban designers, city planners, and 
architects. The main point is to question the social political fabric of 
the landscape around us. This work aims to reclaim the city which is 
remade as a real time virtualised space belonging to all. The work is 
interactive, real time and responsive; it is also available online.

I have has an ongoing battle for V and A to  leverage this work  more, 
and indeed even in terms of display  they wanted  the globe  
but weren't prepared to pay....

Anyway.....these artworks aren't fixed interrogations of assets 
(databases) or re-arrangements of modernists collections, they are 
reflections on the wider real time world using my own hardware. So ...if 
any of you have any comments on the real time city, or what  real time 
means in relation to your recent posting that would be insightful.


stanza at sublime.net

> I'm hoping we can get  "Golan's piece" working shortly. I'll let you 
> know.  --  Helen
> On Feb 23, 2010, at 9:12 AM, Simon Biggs wrote:
>> I saw the Decode show. I think it is a good case in point here.
>> There were a small number of works that were conceptually and 
>> contextually intriguing enough to demand more than a few seconds 
>> contemplation. Sadly Golan Levin’s piece was broken so I don’t know 
>> if that was one of them. I liked a mirror piece where you gradually 
>> appeared the longer you were stationery – except I saw the same thing 
>> done far better, with real visceral and disturbing impact, by Romy 
>> Achituv in a show in Macau a decade ago. Lozzano-Hemmer’s kissing 
>> wallpaper piece was of some interest but far from his best. Casey 
>> Reas piece was a Reas piece - a well known one at that.
>> I know the show was at the V&A and its remit extends to design and 
>> the decorative arts as well as visual and other arts and crafts. 
>> However, much of the work in the show did not rise above the 
>> simplistically decorative. In the case of Lozzano-Hemmer he was happy 
>> to present his work as wallpaper, which was at least honest. What was 
>> disturbing was how many of the people presenting their work in the 
>> show sought to inflate it to the status of art when most of it was 
>> closer to ambient noodling, environmental design or, well, wallpaper. 
>> It might look appealing in a club or foyer where people will not 
>> pause to consider what the work might signify but to present it as 
>> art was hubris. In those cases where the work was clearly a design 
>> prototype, such as a text/data zoetrope piece, things worked far 
>> better and evoked interest within the intended framework.
>> I have only seen Ikeda’s work in documentation and heard his music. 
>> He would have fitted into the Decode show very well.
>> Best
>> Simon
>> Simon Biggs
>> s.biggs at eca.ac.uk  simon at littlepig.org.uk  Skype: simonbiggsuk 
>>  http://www.littlepig.org.uk/ <http://www.littlepig.org.uk/>
>> Research Professor  edinburgh college of art  http://www.eca.ac.uk/
>> *C*reative *I*nterdisciplinary *R*esearch into *C*o*L*laborative 
>> *E*nvironments  http://www.eca.ac.uk/circle/
>> *E*lectronic *L*iterature as a *M*odel of *C*reativity and 
>> *I*nnovation in *P*ractice  http://www.elmcip.net/
>> *From: *Corrado Morgana <corradomorgana at blueyonder.co.uk>
>> *Reply-To: *soft_skinned_space <empyre at lists.cofa.unsw.edu.au>
>> *Date: *Tue, 23 Feb 2010 08:27:32 -0000
>> *To: *'soft_skinned_space' <empyre at lists.cofa.unsw.edu.au>
>> *Subject: *Re: [-empyre-] interpreting datasets from science and 
>> natureinanimation (Richard)
>> Ikeda's work at the recent Decode exhibition..loved it (again), felt 
>> like I
>> was a the starship captain I've wanted to be since boyhood ;-)
>> I think the data was actually starcharts but visualised in 3 separate 
>> forms.
>> Not sure what the animation was actually for though (sequentially 
>> selecting
>> star proximity from a fixed point?)
>> Surely though most visualisation is tweaked towards some form of 
>> aesthetic
>> quality either for clarity of purpose/readability or 'wowing' an audience
>> Edinburgh College of Art (eca) is a charity registered in Scotland, number SC009201
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