Shared by reBlog @ Eyebeam

Audiovisual technology has returned to spectacle. Artists are armed with new technologies for fusing space and image, sound and sight. What they tend not to have is permanent spaces. And that lack of venues has made audiovisual artists nomadic and provisional, constrained to hastily-provisioned, rectangular, sometimes dim projections. In short, for revolutions to happen, you do need special venues, not just special artists.


Arash Nassiri is an artist and student from Paris, studying embedded/object oriented programming in the Visual Communication Department of Berlin University of the Arts. At Eyebeam he is working with the program staff in realizing presentations and documentation and with artists on production of projects.

Eyebeam CV

Museums are increasingly adopting open data policies, both for easy internal reuse of data sets and as a way of building community engagement online. While the opening up of data is a welcome development, too often key audiences see too little of this information through too small a keyhole. As linked and open data formats and Application Programming Interfaces become more common for cultural repositories, providing a sense of the scope and shape of museum collections is moving from a problem of data access to one of presentation.

This project includes a set of tools for collections dissemination and visualizations appropriate for aggregate museum collection metadata, built with an eye to answering different questions than most museums currently address online.

Project Created: 
March 2010

Piotr Adamczyk has been exploring the possibilities for exchange between practices in the sciences and evaluation techniques from the arts. With a background in Mathematics and Computer Science, Piotr holds graduate degrees in Human Factors and Library and Information Science from the University of Illinois at Urbana-Champaign. Piotr has authored papers and organized workshops for Association for Computing Machinery conferences centered on human-computer interaction, and served as a Program Committee member for ACM Creativity & Cognition in 2007 and 2009. His recent work is focused on the use of open/linked data in cultural heritage institutions. Based in New York City, Piotr currently holds an analyst position with The Metropolitan Museum of Art.

Eyebeam CV

Modern Art / OCLC Network in TouchGraph

Since putting together the New York Times identity network, I’ve wanted to look more closely at a larger network of art identities and subjects.


Parallel Sets is a tool and visualization method for exploring categorical data. Multidimensional data is going to be hard to present without significant design work and hard to interpret for most information seekers. There is a learning curve with these graphs, but once you get used to them they really are very rich and easy to query.


SunBurst, IORing

I’ve been surprised by how many hierarchies can be extracted from aggregated museum object data. I’ve always liked the look of John Stasko’s SunBursts. Like the treemaps, another space-filling hierarchical display, but radial and a bit mesmerizing when the interaction is done just right.


Some of these are crude, maybe come off a bit clumsy – but early days yet. I’m still getting a handle on what content I can really use, and still have a load of questions; how precise is the geography data? how reliable are the dates? are there any meaningful connections between object records already noted in the metadata?

Where were all of European Sculpture and Decorative Arts works made?

Where were all of the European Sculpture and Decorative Arts works made?

The Google motion charts were a breeze. Post the data to a spreadsheet, make sure the data is formatted correctly, and set the spreadsheet as the datasource using the Google visualization code – all there is to it.

Dashboards are all the rage. I’ve been able to get some museum library information to power new charts and start working out what kinds of questions we might be able to answer. What works are best represented in the libraries? What kinds of connections are there between special exhibitions and library research traffic? …

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