Our New Media Initiatives department documents its explorations of new ideas enabled by technology.
Looking back on last weekend’s Superscript, we’re pleased that so much of what we intended with the conference came to fruition. We hosted an incredible array of thinkers who are daily engaged in innovating within digital arts media. We represented cultural platforms, large and small, which aspire to national and international reach with their online […]
Looking back on last weekend’s Superscript, we’re pleased that so much of what we intended with the conference came to fruition. We hosted an incredible array of thinkers who are daily engaged in innovating within digital arts media. We represented cultural platforms, large and small, which aspire to national and international reach with their online projects. And we achieved a compelling mix on stage, bringing together voices from different disciplines, geographies, races, and perspectives to shed light on the conference’s central concerns. Superscript has been a rare and wonderful opportunity to bring an extraordinary group of people at the leading edge of online arts publishing to Minneapolis to speak, and we couldn’t be more grateful and pleased with how those conversations unfolded.
But we know that the mix on stage last week left out some key voices—a fact that we’ve heard online, in tweets, and in person at the conference itself. While we featured speakers of many backgrounds, there were no African American panelists on stage, and the only Twin Cities residents featured were Walker or Mn Artists staffers.
We take criticisms of the makeup of Superscript panels sincerely, as input for if and when we do this again (and we hope we do). And we’d like to underscore: the degree of racial diversity reflected on stage was not the result of a lack of awareness, personal investment, or effort, but due to far more mundane issues including, notably, scheduling conflicts with invited speakers. The choice to feature non-Minnesota panelists was just that, a choice. Our intention was to be a good host, to bring thinkers working far away—from LA to St. Louis, New York to the UK—to Minneapolis for our community to meet.
Did we make the right choices? Not sure. Is there room for improvement? Always. Given the enthusiastic response to this inaugural presentation of Superscript, we’re hopeful that we’ll have many more chances in the future to bring in topics and speakers less in evidence in this first iteration of the event. The thoughtful responses and critiques currently circulating in person and online around the conference sessions and its related essays and blog posts seem to us a very good place from which to launch these questions and conversations going forward.
In closing, we’d like to share a key part of our thinking about Superscript: it’s not just a conference for 300 people who could join us at the Walker for three days in May. We intend it to be an ongoing conversation sparked by a conference—and informing any future iterations of it. To this end, we strove for accessibility to the ideas presented and created a platform to expand the discussion and include more voices and vantage points. Our three-camera live webstream (made available online today) brought the conference, for free, to people all around the world. Our Superscript Blog Mentorship program—featuring a truly diverse group of emerging writers and arts editors—gave opportunity to new bloggers, while providing context to the conference for those not in attendance. And the Superscript Reader, the conference’s online editorial companion, is featuring an array of voices and topics not addressed on-stage, including, among others, An Xiao Mina writing on the ways artists can use the Internet within social movements, Art of the Rural’s Matthew Fluharty on how the Internet can help us draw a new map of the art world, and ARTS.BLACK’s Taylor Aldridge and Jessica Lynne’s consideration of privilege, race, and criticism, to name a few. We’re proud of those efforts, and we’re ever striving to do better.
We’re so grateful to all of you who have participated in Superscript, at the Walker, online, and in your own writing. And we’re eager to keep the conversation going to make Superscript—the conference and the discussion that surrounds it—even better.
Throughout its history, art criticism has developed in contexts of relative image scarcity—print publishing—and hence “description” has long been at its core. The Internet, on the other hand, offers a relative surplus of available images, but the way we think about what art writing does hasn’t yet caught up. For his Superscript keynote, Ben Davis […]
Throughout its history, art criticism has developed in contexts of relative image scarcity—print publishing—and hence “description” has long been at its core. The Internet, on the other hand, offers a relative surplus of available images, but the way we think about what art writing does hasn’t yet caught up. For his Superscript keynote, Ben Davis aims to name, define, and dig into the topic of “Post-Descriptive Criticism,” looking at the history of writing about art and the new opportunities opening up now.
“For me,” he explained in a recent email, “this thought comes out of a very personal experience of working in an evolving online art media over the last 10 years, seeing its intensifying demands, and trying to solve a problem: Why is it that, pragmatically, reviews don’t work online? They simply do not get traffic relative to commentary or news. So, I want to propose that this is partly because we are working with a form that is embedded in a certain kind of expectations about communication, and that there is a need and an imperative to invent a new kind of writing.
“From a very simple pragmatic observation about media, you then expand out into the political dimension of the question. Since this thought is partly about trying to rethink how art criticism functions online, it is also partly about how you preserve critical thought online, with art criticism being just a particularly symptomatic case, because it deals with images. Can you think about forms of criticism that are more image-based, without collapsing into a pure uncritical fascination with the image?”
Ben Davis is the author of 9.5 Theses on Art and Class (Haymarket, 2013), as well as numerous essays on contemporary art that have appeared in venues include Art Papers, Frieze, New York, Slate.com, and The Village Voice. He is currently critic-in-residence at Montclair State University, and National Art Critic for artnet News. He delivers his keynote for Superscript: Arts Journalism and Criticism in a Digital Age on Friday, May 29 at 5 pm. To participate, register for the conference or tune in to the livestream.
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Update 05.22.15: Congratulations to Merray Gerges, Ryohei Ozaki, and Sam Wisneski, the bloggers selected to provide live response to Superscript. Learn about them at Hyperallergic, and follow their work on May 29 and 30 at Superscript Reader. To put ideas discussed at the Superscript online arts journalism conference into practice, we announce the Superscript Blog […]
Update 05.22.15: Congratulations to Merray Gerges, Ryohei Ozaki, and Sam Wisneski, the bloggers selected to provide live response to Superscript. Learn about them at Hyperallergic, and follow their work on May 29 and 30 at Superscript Reader.
To put ideas discussed at the Superscript online arts journalism conference into practice, we announce the Superscript Blog Mentorship, presented in partnership with Hyperallergic. This responsive blogging program will create a pop-up newsroom in the Walker Art Center Library and engage a trio of enterprising bloggers in covering the three-day convening.
We are seeking three bloggers to create live online responses to the conference—under the guidance of three world-class editorial mentors, led by Hyperallergic’s Jillian Steinhauer—through quick-hit blogging, Q&As, profiles, issues essays, and other formats. Each participant will produce a series of blog posts to be published on the Walker blogs and Mn Artists throughout Superscript, leading up to longer piece for publication on Hyperallergic. This program aims to create a dynamic documentation of Superscript 2015, for attendees and online audiences alike, while offering emerging writers invaluable instruction from seasoned arts journalists, publication experience with three digital platforms, and access to the speakers and attendees of Superscript.
Each mentorship participant will receive:
- Free admission to Superscript (a $200 value)
- Journalistic mentorship from three top arts editors
- A $100 publication fee paid by Hyperallergic
- Publication bylines on Hyperallergic, the Walker Art Center blogs, and Mn Artists
- Access to the speakers and attendees of Superscript
- A Superscript tote
- be available for a one-hour training session on Thursday evening, May 28 and throughout the duration of the conference,
- have a fluent command of English (spoken and written),
- have a working knowledge of key digital tools including WordPress, Skype, Twitter, Instagram, etc.,
- have knowledge of and interest in contemporary art in all its forms (visual, performing, moving-image art, and new media art; design; architecture; public practice) as well as online cultural publishing,
- have access to a laptop and camera for use during the conference,
- be self-motivated, energetic, and open to learning,
- be calm under pressure, communicative, resourceful, and efficient.
Open Call for Participation
Applicants must be within three years of graduation from college and cannot derive their main source of income from arts writing. They must have a demonstrable interest and commitment to the arts as well as enthusiasm and high energy.
To apply, please email the following to email@example.com, with “Superscript Blog Mentorship Application” in the subject line:
- Cover letter stating in 500 words or fewer why you’re interested in the program and what you hope to gain from it,
- 2–3 writing samples (published or personal writing accepted)
All application materials must be submitted as a single PDF.
Deadline for applications: Wednesday, May 6, 2015.
Superscript: Arts Journalism and Criticism in a Digital Age is a three-day international conference to be held at the Walker Art Center May 28–30, 2015. Copresented by the Walker and Mn Artists is convenes artists, critics, editors, and writers—including Pitchfork founder Ryan Schreiber, poet-critic Claudia La Rocca, the New Inquiry editor Ayesha Siddiqi, artnet News editor Ben Davis, and many others—for a discussion on digital cultural publishing’s present realities and its possible futures.
Hyperallergic is a forum for playful, serious, and radical perspectives on art and culture in the world today. Since 2009, Hyperallergic has published more than 500 writers and is read by close to 1 million people per month.
Jillian Steinhauer, the project’s lead editor, is senior editor of Hyperallergic and a writer living in Brooklyn. Her work has been published in Slate, the Los Angeles Review of Books, The Paris Review Daily, and other publications. A graduate of NYU’s Cultural Reporting & Criticism program, she was recently nominated for a 2014 Best Art Reporting award from the International Association of Art Critics. She’s served as juror/judge for art festivals, cat video festivals, and tote bag competitions.
Nicole J. Caruth is the former editorial manager at Art21 and founding editor of the Art21 Magazine (est. 2013). Her writing has appeared in a range of publications, including ARTnews, C Magazine, Gastronomica, Public Art Review, Walker Art Center Magazine, and the Phaidon Press books Vitamin Green and Vitamin D2. She has held positions at the Brooklyn Museum, School of Visual Arts, and Wangechi Mutu Studio. She is currently Artistic Director for Exhibitions and Public Engagement at the Bemis Center for Contemporary Arts.
Isla Leaver-Yap works with artists to produce texts, events, and shows. As the Walker’s Bentson Film Scholar, she researches and publishes on works in the Ruben/Bentson Film and Video Study Collection and examines its context and legacy within the field of artists’ moving image in contemporary art. She is currently working with artists Moyra Davey and James Richards on producing new works for the collection. She is based in Glasgow, where she is the Project Director of LUX Scotland, and commutes twice a year to the Walker.
Paul Schmelzer is editor of the Walker homepage and blogs. A past editor at Adbusters, he’s written for Artforum.com, Art 21, Cabinet, Medium.com’s re:form, Raw Vision, and Utne Reader, among others. Former editor of the Minnesota Independent and managing editor of its DC-based nonprofit parent, he’s the first digital journalist in Minnesota history to win a Society of Professional Journalists Page One Award or a University of Minnesota School of Journalism Frank Premack Award for Public Affairs Journalism. He blogs at Eyeteeth.org.
Susannah Schouweiler is a writer, arts critic, and editor-in-chief of Mn Artists, an artist-driven, online media platform based at the Walker Art Center covering the art and artists of the Midwest. Before her work with Mn Artists, she served as the editor of Ruminator, a nationally distributed art and literature magazine. She lives and works in St. Paul, Minnesota.
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As I do my job as editor of the Walker homepage and blogs, I find myself guided by the Walker’s mission. The entire thing is instructive and, frankly, liberating—the dedication to both artists and audiences; the focus on the collection, care, and contextualization of art works; and the “global, multidisciplinary, and diverse approach” we take […]
As I do my job as editor of the Walker homepage and blogs, I find myself guided by the Walker’s mission. The entire thing is instructive and, frankly, liberating—the dedication to both artists and audiences; the focus on the collection, care, and contextualization of art works; and the “global, multidisciplinary, and diverse approach” we take to contemporary art. But, in particular, I’ve been focusing on the last bit of late: “Walker programs examine the questions that shape and inspire us as individuals, cultures, and communities.” Looking back on the most popular stories and blog posts we’ve produced here at the Walker, I gauge our success or failure against that measure: are we engaging not just with what’s within our walls—which we must do well—but also with what’s out there, in the world we live in when we leave work, in the world(s) our artists and audiences live in? I hope so. To help with this mission, we’ve enlisted help, from our own staff and from an array of outside voices, the many guest artists, journalists, and writers who’ve been invited, and in many cases commissioned, to share their thinking here.
Together we produced more than 70 essays, slideshows, interviews, and news stories in 2014, with help from contributors including: Ta-coumba Aiken, Kate Bernheimer & Laird Hunt, James Bridle, Nicole J. Caruth, Jeff Chang, Catherine Damman, Chris Fischbach, Kristina Fong, Shannon Gibney, Saidiya Hartman, Jeff Huebner, Julie Lasky, Martin Friedman, Joan Frosch, James Norton, Okwui Okpokwasili, Ana Tijoux, Susan Rosenberg, Joan Rothfuss, Dread Scott, and Ben Valentine, as well as the many Walker staffers who’ve shared their research and insights.
Below is a selection from our most popular articles of the past 12 months. (Click here to see the best of our blogs.) To keep up with all that we publish at walkerart.org in 2015, follow us on Twitter at @walkermag or subscribe to Walker Reader, our monthly editorial newsletter.
“We’re all goldfish.” In this interview from April, Belgian artist Kris Martin discusses his favorite movie scene, the goldfish scene that opens Monty Python’s The Meaning of Life, as well as his works that explore—and ridicule—death, from a cast gold bee to a 2D work in which the word “SOMEBODY” is written in human ashes (“We’re all somebody on paper.”) to For Whom … (2012), the silent swinging bell in the Minneapolis Sculpture Garden that takes its name from John Donne’s famous for-whom-the-bell-tolls meditation.
“Hopper was a poet of the abyss, a chronicler of discontinuity and disruption, who seemed to need a static environment from which he could take inventory of what was emotionally solid and measure the distance to the nearest patch of null.” In a photoessay illustrated by Duane Michals, Julie Lasky shared her experience visiting 1 Washington Square North, Edward Hopper’s home and studio for some five decades (now home to New York University’s School of Social Work). Of the setting, she noted: “Hopper admitted the southern light from his studio windows but ignored the pleasant scene, instead consulting the anomie behind his eyelids.”
“In Mickey’s hands, a design show was never simply about a subject, but drew upon the principles and power of design itself to create a compelling experience. ” For Mildred “Mickey” Friedman, curating design was less about acquiring objects than letting such artifacts tell stories within the galleries, “not for veneration but explication,” wrote architecture and design curator Andrew Blauvelt of Friedman, who passed away Sept. 3. As Design Quarterly editor and design curator for nearly 23 years, she consistently “drew upon the power of design itself to create a compelling experience.” The wife of former Walker director Martin Friedman, she worked with Walker architect Edward Larrabee Barnes to create the building’s interiors, gave Frank Gehry a prescient solo show in 1986, and inspired a generation of designers.
“A machine, a high-powered Porsche, hip-hop technology. She consumes everything around her.” In Ralph Lemon’s Scaffold Room (commissioned by the Walker and premiered in October), Beyoncé is discussed as an overwhelming force of capital that takes over our senses. With Lemon’s work as a jumping-off point, performer Okwui Okpokwasili met with author and Columbia scholar Saidiya Hartman to discuss the iconography and cultural consumption of black women’s bodies.
“I’m interested in theatrical moments and choreographing experiences in space. I think as a drawer and make as a sculptor.” In an interview with Walker director Olga Viso (who curated Jim Hodges: Give More Than You Take), Jim Hodges discussed his art practice, life, and influences, touching on themes from love and loss to politics, spirituality, and mortality.
“Where are the videos showing a woman in her role as sister—or protector, or economic head of family, or devoted daughter, or grandmother dignified in her old age?” In her Walker Artist Op-Ed, our ongoing series of opinion pieces by global artists, Chilean hip-hop MC and activist Ana Tijoux looks at la violencia del cuerpo en la musica: the objectification of female pop stars, which she likens to “visual punches: it’s about snatching away the very beauty of women.”
“The cloud renders geography irrelevant—until you realize that everything that matters, everything that means you don’t die, is based not only on which passport you possess, but on a complex web of definitions of what constitutes that passport.” Launching our series of Artist Op-Eds, UK-based artist and writer James Bridle shared the case of Mohamed Sakr, a man deprived of his UK citizenship and later killed by a US drone, to show how such definitions are under attack.
“If you’re the head of an empire and see that an unarmed youth is gunned down by the police and your advice is for people to be calm, your rule is illegitimate.” In an urgent essay in August, artist Dread Scott used our Artist Op-Ed platform to address the killing of Michael Brown by Ferguson, Missouri police and the crackdown on dissent that followed. Mixing anger and disbelief, he saluted protesters in Ferguson while decrying those who aim to control them through force. “If a Black boy can’t walk down the streets of his town without fear of being executed by the police,” he wrote, “what rights do we have?”
“I’m a proud crazy cat video lady… trapped in a man’s body.” What does it take to make a cat video that becomes a viral sensation? Kristina Fong interviewed Will Braden, whose video Henri 2: Paw de Deux was voted “best cat video on the Internet” at the first ever Internet Cat Video Festival. Now #catvidfest curator, Braden shares his thoughts on the cat video phenomenon, as well as tips on making a videos that’ll be like catnip online.
For nearly fifty years, the Walker’s Design Quarterly chronicled the changing terrains of architecture, landscape architecture, urban planning, and product and graphic design. Featuring provocative thinkers—including Muriel Cooper, Martin Filler, and Armin Hofmann-—DQ charted design’s history, from a form-follows-function modernism of the ’40s to the affectations of postmodernism in the ’80s and ’90s.
It might be an understatement to say it’s been a busy year for the Walker blogs: our nine main blogs published 317 posts, racking up more than 525,000 pageviews. Here’s a selection from our most popular posts. (See a selection of our most popular articles here.) 10. Valentine’s Message: “I’m Your Man! Love, Sufjan” […]
It might be an understatement to say it’s been a busy year for the Walker blogs: our nine main blogs published 317 posts, racking up more than 525,000 pageviews. Here’s a selection from our most popular posts. (See a selection of our most popular articles here.)
“You’re making a mistake with this boy Ryan.” Consider it a perfect storm: Walker book specialist Ryan Brink was picking out a Valentine’s Day card for his girlfriend Claire just as Sufjan Stevens, at the Walker to perform with his supergroup Sisyphus, stopped by the Walker Shop. Long story short: Brink scored big points for the card he bought, signed with a personalized message for Claire by Stevens himself.
“Does social practice belong in art museums?” Portland-based artist Ariana Jacob shares some of the arguments from a debate on social practice during last summer’s rousing Assembly: A Social Practice Get-together that took place at the Portland Art Museum. Published in early December, it’s already become one of the year’s most-read posts.
“Inevitably, upon explaining the idea of the Art Shanty Projects to someone unfamiliar with them, a comparison to Burning Man will be made.” Artist Eric William Carroll visited this distinctly Minnesota event, which brings artist-made icefishing-style shacks to a frozen Twin Cities–area lake every two years, finding comparisons to the Black Rock City extravaganza lacking. “If community is to be understood as the central focus of Burning Man, Art, I would argue, is the focus of the shanties.”
“MacKenzie challenged the idea that sophisticated art cannot be an everyday object.” Marking Warren MacKenzie’s 90th birthday in February, Alex Lauer dug into the Walker archives, finding photos, clippings, and an issue of Design Quarterly dedicated to the career—including a 1961 Walker solo exhibition—of the legendary Minnesota potter.
“There are many different vagenres in contemporary performance and dance. It is not just one big category of vaginas on stage.” Despite the punny neologism, performing arts curator Michèle Steinwald offers a serious consideration of nudity in feminist performance, suggesting five levels, from “Performance with ‘frontal’ nudity, completely naked or just bottomless” to “Orgasm as educational tool.”
“Nowadays, it might indeed be speculative projects that can give designers some sort of breathing space in an economic and political environment that is becoming increasingly tight and hostile.” While some graphic designers divide their work between “for fun” and “for profit” or “self-initiated” versus “client-driven,” Experimental Jetset avoids such compartmentalization. In this excerpt from Jon Sueda’s book All Possible Futures, members of the Amsterdam-based design studio state, discuss this idea, as well as the term “speculative design”: “We regard all our projects as self-initiated, whether they involve clients or not. The moment we make a choice to involve ourselves in a project, we are, in fact, initiating it. That makes everything that we do self-initiated.”
“Her enthusiasm for shaking things up was matched by her eagerness for working with emerging technologies, a precursor to our increasingly seamless relationship with information and tech. All while barefoot.” The keeper of MIT’s graphic identity for more than four decades and an innovator in computer interface design, Muriel Cooper (1925–1994) was the subject of the exhibition Messages and Means: Muriel Cooper at MIT in 2014. Here Walker designer Dante Carlos interviews its curators, Robert Wiesenberger and David Reinfurt.
“To hear my lyrics delivered in a man’s voice was brain-scrambling. ” For a woman in the male-dominated world of hip hop, poet, Doomtree MC, and rapper Dessa says it was “brain-scrambling” yet gratifying to hear herself as a man—or, rather, to hear her voice slowed to sound like that of a male rapper. That’s what The Hood Internet—one of eight producers asked to remix vocals from her album Parts of Speech—did with “Fighting Fish.” In September, Dessa gave the Walker an exclusive first look at the track’s new video.
“Sometimes sparking a dialogue can be a good thing, as long as the end of it is obedience to God.” Walker design director Emmet Byrne’s research into unexpected self-publishing three years ago put him in touch with Steve Drain, a member of the notoriously anti-gay Westboro Baptist Church. With news of the church founder’s death, he dug out the interview, which sprang from one question: “Is there anything to be learned about design from someone whose values are so radically different from my own?”
“It’s fascinating the way a piece of design can accrete meaning over time, as new contexts are revealed, personal stories come to light, and history slowly reifies our perceptions of an era.” Interviewing the designer of the iconic identity for the 1968 Mexico City Summer Games (and 2014 Insights lecture series participant) design director Emmet Byrne looks at the ideas behind Wyman’s Olympic design and the ways the events on the streets affected its meaning: ten days before the games began the government violently suppressed a student protest in Plaza de las Tres Culturas in what is now known as the Tlatelolco Massacre.
During the June 3–5 Eyeo Festival, we opened up the Media Lab blog to the many coders, artists, and web developers speaking at the conference, which took place at the Walker. To give presenters a chance to introduce themselves, we sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly […]
During the June 3–5 Eyeo Festival, we opened up the Media Lab blog to the many coders, artists, and web developers speaking at the conference, which took place at the Walker. To give presenters a chance to introduce themselves, we sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly least–pressing questions. Three, Hong Kong-based coder/designer Cédric Sam; Giorgia Lupi, founder of the Milan–based information design company Accurat; and–today–Kim Rees, took us up on the offer. The head of Information Visualization at Periscopic, a Portland-based data visualization firm, Rees says she’s particularly excited about a current project, a landmark because it’s the first time she’s used textiles to visualize data: “I’m working on a series of textile pieces that are based on custom and personal data from about 20 people I’ve met recently.”
Here’s our favorite eight responses of the many Rees answered for us:
What technological innovation is going to most dramatically alter our near future?
3D printing and nanotech. (Nanotech is so old, but has so much potential. Someday there will be a renewed interest in nanotech, and I will get self-cleaning clothes and nanobots that will keep my nails perfectly trimmed).
What global issue most excites or angers you?
Human trafficking and modern day slavery. It’s so difficult to combat and goes undetected or unaddressed. It’s very distressing to me and outrages me that it’s not causing a global, public outcry.
Which living person do you most admire?
Somaly Mam. She escaped life as a child sex slave and now works to rescue other girls. She’s an incredibly strong, inspiring, and humbling person.
What’s your most vivid memory from childhood?
A field fire we drove by in rural Minnesota. I was very young. It seemed like the world was on fire.
What do you consider the most overrated virtue?
Politeness. Kindness is mandatory, but pleases and thank-yous are affectation.
What artists would you like to collaborate with?
I would love to work with Maya Lin on something. I have this dream of obtaining an aircraft carrier and turning it into a floating anachic society. I would love to have her design the landscape.
Is there anybody you’d refuse to shake hands with?
There are lots of people. We’re working on some things about gun violence. In the course of this project I’ve read a lot of stories about child murderers and sexual predators. There are many sickening stories that I will never forget. Those people — I could never shake hands with them or possibly even be in the same room with them.
If you were to die and come back as a person or thing, what would it be?
A dollar bill. I’d love to be a fly on the wall, so to speak, to see how people live, see what they value, see their exchanges.
During last week’s Eyeo Festival, we opened up the Media Lab blog to the many coders, artists, and web developers speaking at the conference, which took place at the Walker. To give presenters a chance to introduce themselves, we sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly least–pressing […]
During last week’s Eyeo Festival, we opened up the Media Lab blog to the many coders, artists, and web developers speaking at the conference, which took place at the Walker. To give presenters a chance to introduce themselves, we sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly least–pressing questions. Two, Hong Kong-based coder and designer Cédric Sam and Giorgia Lupi, founder of the Milan–based information design company Accurat, took us up on the offer. Lupi says her company is her most exciting project at the moment. Founded two years ago, Accurat is opening a New York office, where it’ll expand its work in “imagining new ways to tell stories through data.” Our favorite eight replies to our questions:
What is your favourite inanimate object?
My pencil case (even I don’t feel it being inanimate).
If you could pose one question to every person on earth, what would it be?
What (why) do you live for?
What’s your favourite place to people-watch.
The Underground (and Twitter).
What artist turned your world upside-down?
If you own a pet, what characteristics do you share with it?
Getting bored of everything after a little while.
What’s your favourite recording of all time?
What have you been listening to lately?
Battles’ “Wall Street” (Gui Boratto remix)
What is your advice for young people today?
Do a lot and stop complaining about meaningless stuff. Draw, and fight for beauty.
With the Eyeo Festival bringing an international array of coders, designers, and artists to the Walker this week, we decided to open the Media Lab blog to conference speakers. To give all presenters a chance to introduce themselves, we’ve sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly least–pressing […]
With the Eyeo Festival bringing an international array of coders, designers, and artists to the Walker this week, we decided to open the Media Lab blog to conference speakers. To give all presenters a chance to introduce themselves, we’ve sent out our 8-Ball artist questionnaire, in which we pose some of life’s most–and possibly least–pressing issues. The first to take us up on our offer is Cédric Sam, a designer and coder who hails from Montréal but has lived in Hong Kong since 2009. Tomorrow morning he presents on what he’s learned about social media in China and how his experiences there might inform the work of designers, programmers, and journalists into the future.
Describe a recent dream in 15 words or less.
I was lost in an endless indoor shopping mall in Hong Kong…
What technological innovation is going to most dramatically alter our near future?
I think it‘s going to be affordable mobile broadband Internet. I lived in Hong Kong for three years and fast Internet on the go is relatively affordable and created many new use cases that we don’t yet see in North America.
What’s your most embarrassing moment?
When I was in high school, we participated in an overnight quiz competition. I was so tired by 1 am that I entered and used the girl’s bathroom. And they printed it on the event’s newsletter. So here it is again. :)
Fill in the blank: What the world needs now is _________________.
More delightful data experiences. Or more experiences with delightful data.
If you could have any career, what would you choose?
What’s your most vivid memory from childhood?
Playing in cornfields in suburban Montreal. They’re now occupied with houses and a Canadian Tire.
What’s your favorite comfort food?
Shepherd’s pie (aka Pâté chinois, in Quebec). And my Chinese comfort food is congee.
What is your advice for young people today?
Avoid bandwagons. Talk to people (not just at your school or in your own country) to figure out what those bandwagons are!
The new Walker Art Center website “heralds a paradigmatic shift for innovative museum websites in creating an online platform with an emphasis on publishing,” write Max Andrews and Mariana Cánepa Luna of the Barcelona-based curatorial office Latitudes, who add that the site places the Walker “at the centre of generating conversations around content from both inside […]
The new Walker Art Center website “heralds a paradigmatic shift for innovative museum websites in creating an online platform with an emphasis on publishing,” write Max Andrews and Mariana Cánepa Luna of the Barcelona-based curatorial office Latitudes, who add that the site places the Walker “at the centre of generating conversations around content from both inside and outside the Walker’s activities.” The pair discusses ideas behind the site with Robin Dowden, the Walker’s director of new media initiatives, web editor Paul Schmelzer, and Nate Solas, senior new media designer, as part of #OpenCurating, Latitudes’ new research effort investigating the ways contemporary art projects “can function beyond the traditional format of exhibition-and-catalogue in ways which might be more fully knitted into the web of information which exists in the world today.” Consisting of a moderated Twitter discussion, an event in Barcelona, and a series of 10 online interviews, #OpenCurating launches with the conversation below. As #OpenCurating content partner, the Walker will host conversations from this developing series on its homepage.