This two-day workshop will introduce you to the basic philosophy behind transparency activism and how to accomplish it through the use of smart hacks over web platforms. Ownership, privacy and geopolitical use of data will be introduced through case histories of ethical and legal issues as well as an introduction of the main organizations and resources about Open Data.
You will learn the methodologies and mechanisms for exploring creative and unconventional uses of political data over the web. In addition, the workshop will introduce some practical tools, including simple software, coding, and other techniques and tricks to extract data from web servers.
Software that will be explored during the workshop: iMacro, Fake, Scraperwiki, Beautiful Soup, Scrapy, etc.
Baroque.me visualizes the first Prelude from Bach’s Cello Suites. Using the mathematics behind string length and pitch, it came from a simple idea: what if all the notes were drawn as strings? Instead of a stream of classical notation on a page, this interactive project highlights the music’s underlying structure and subtle shifts.
S*OIL is a human-powered interactive installation focusing on the industrialization of agriculture, biofuels and topsoil erosion. Mechanical and electronic systems are combined with living systems using experimental perennial food crops, video, and an electronically controlled irrigation system. A mechanism in the likeness of a railway handcar that uses bicycle parts as a chain drive was built as the central object of interaction in the installation. These mechanisms were chosen for their historical and nostalgic references, linking industrial and natural processes while contrasting them with human consumption and expenditure. Participants operate the handcar to activate the installation by generating the electricity needed to power the pump and irrigation system, and videos.
Cynthia and Paul conversed about the joys and pains of collaboration between a visual artist and a composer in a work that required a complex meshing of skills and concepts.
Cynthia Beth Rubin and Bob Gluck discussed their conception and construction of Layered Histories. They also described their respective previous works incorporating themes of Jewish cultural heritage, and explored how their ideas about the underpinnings of culture informed this collaboration, as well as the 1998 animation Inherited Memories, by Rubin, with music by Gluck (to be shown at the upcoming LA Jewish Film Festival).
ARTISTS FROM AROUND THE WORLD CONVERGED IN DOWNTOWN OKLAHOMA CITY
Traveling across the globe from cities such as Berlin, Jerusalem, Istanbul, Seoul and Salvador, artists came together in Oklahoma City to present art and ideas to each other and the community in the second annual meeting of Upgrade! International. The Upgrade! International: DIY Oklahoma City symposium, was held November 30 – December 3, 2006, was an opportunity for local and international artists to exchange ideas about the developing field of new-media arts.
The eteam (Franziska Lamprecht and Hajoe Moderegger) for Upgrade! New York’s August 2007 event.
eteam discussed the construction of alternate realities via audience participation (intentional or unintentional) within their various projects. In addition, a special guest and a performance/game set the scene for vibrant dialogue.
The goal of Videoplace was not to create an art work that happened to be interactive, but to raise interactivity itself to the level of an art medium. This required redefining the human interface so that the system perceived the movements of participants' bodies rather than receiving commands from them via traditional input devices. Upon enter the "Videoplace" installation, visitors are confronted with their own images projected into a simple graphic scene in which everthing that occurs is a response to their actions.
Visitors can interact with 25 different programs or interaction patterns. A switch from one program to another usually takes place when a new person steps in front of the camera. The end goal is to develop a program capable of learning independently.
America’s Finest (1993-5) utilizes an M-16 rifle and manipulated optics to question the identity of agressor and victim and the role played by images of war in the psyche of the observer. The work enacted the idea of Étienne Jules Marey's camera-gun, already implicit in Room of One's Own, her third interactive work created in 1990. America's Finest was shown as part of the Prix Selection exhibition at Eyebeam Atelier.
Hershman Leeson is an Emeritus Professor of Digital Art in the Techno Cultural Studies Program at the University of California, Davis, and an A.D. White Professor at Large at Cornell University, the highest honor bestowed by that institution.