Last week I attended a high-caliber symposium co-sponsored by the National Endowment for the Arts (NEA) and the UK’s Cultural Value Project. They brought together a dizzying array of researchers (demographers, cognitive scientists, arts policy wonks, “recovering” academics, etc.) to discuss how we ought to measure participation in arts and culture on the local, regional, national and global scale.
“Participation” and “engagement” are key metrics for arts institutions and their funders. But the inquiry often ends right there. I think the vast majority of people in the arts – including artists and administrators – take it as a given that art has a beneficial effect on society. I happen to agree with them. Wholeheartedly. But many powerful people in this world – including those who hold the purse strings – are not necessarily convinced. Funding for the arts is paltry compared to expenditures on science, where, lo and behold, we have a lot of convincing evidence about the importance it holds for humanity. Read the rest of this entry »
Ever since I started doing research on fashion design and copyright, I’ve been tracking the progress of 3D printing technology. The disruptive possibilities of this technology are abundantly clear in the fashion sector, and so I was thrilled to receive an invitation to attend fractal, a very unique conference in Medellin Colombia, where a diverse group of experts was asked to facilitate conversations about 3D printing, synthetic biology and other bleeding edge topics.
Hoping to shake-up the typical conference format, the instigators behind fractal – the intrepid Viviana Trujillo and Hernan Ortiz – decided to invite the audience to use “design fiction” to spin stories of the future that would reveal the key social, cultural, political and ethical quandaries that accompany the adoption of new technologies. The facilitators were a fascinating group: Reshma Shetty , an MIT-trained synthetic biologist; acclaimed artist and director Keiichi Matsuda, whose augmented reality installations have been featured at MOMA and the V&A, and Paul Graham Raven, a speculative fiction practitioner who uses narrative to solve engineering problems in the UK.
In addition to telling stories about how homes might be made out of living things and how augmented reality applications will fundamentally change the contours of our self-presentation to the world, we tackled the topic of 3D printing. Read the rest of this entry »
I was honored to give the Industry Keynote at Hot Docs, a giant documentary film festival in Toronto. I don’t know what they put in that water (which was delicious, by the way) but Torontonians love, love LOVE documentaries. They have a 700 seat theater that, year round, shows docs only, and I was completely charmed by its tagline: ESCAPE TO REALITY.
Of all conventional TV and film genres, you could easily argue that documentary is the one that is most self-conscious about its artful manipulation of reality. Since much of my research focuses on the impact of entertainment and media on individuals, communities and society at large, documentaries have proven an especially exciting object of study. (I have a TEDx talk about some of this research.)
In order to prep myself for the fest – which included a whopping 197 documentaries – I thought I’d revisit some survey research that we conducted at the Lear Center on the relationship between political beliefs and entertainment preferences. We discovered in those studies that predictable patterns emerged suggesting that even our escapes from reality – to ballets, tractor pulls, and blockbuster films – were tethered quite tightly to our deeply held beliefs about the world and how it ought to be.
For a nerd like me, this is absolutely fascinating stuff.
Our archive of data – from two large American representative sample surveys, and from a smaller version we conducted in Tunisia after the Arab Spring – includes detailed demographic, ideological and taste information about documentary film fans. Hot Docs gave me an excellent excuse to mine that data. Read the rest of this entry »
Z Holly, the former vice provost for innovation at USC and host of the first TEDx ever, sure knows me well. A newcomer to the prestigious TTI/Vanguard Board, Z thought I would be good fit for their next conference on Embracing Blur.
Um, she couldn’t have been more correct. I have long been fascinated by the interplay between representations and reality (my last TEDx talk dealt with this pretty directly). And I’d venture to say that the majority of my work at the Lear Center explores the cultural and commercial ramifications of this blur.
What Z didn’t know was that my dissertation was actually about “betweenness” – something I saw as a key formal and thematic characteristic of avant-garde modernism. Many of my friends and colleagues wondered how a high-theory English PhD ended up in a think tank studying the impact of media, but it all seems quite rational to me: isn’t the key formal and thematic characteristic of 21st century media the blur between representation and reality? What we considered avant-garde in literary Paris at the turn of the 20th century is the (often unacknowledged) cultural dominant of contemporary global pop culture.
And so the description of the TTI/Vanguard program couldn’t have been more appealing to me:
A flood of technologies is washing away traditional boundaries between work and play, companies and governments, war and peace, near and far, virtual and physical, society and the individual. In its wake, a global nervous system is emerging as we connect billions of people with each other and with billions of newly smart objects. This unbounded organism is developing an unsurpassable intelligence, resistant to human control. Where is it taking us? Can we hope to understand it, control it, contain it?
Z had to warn me though – there’s one thing about this conference that is very atypical: every attendee (and there’s over a 100 of them) has a mic and can interrupt you at any point during your presentation.
This wouldn’t be quite so nerve-wracking if you didn’t know that the crowd would be composed of carefully vetted C-level folks from Fortune 100 companies and an engaged board that includes Alan Kay, Eric Haseltine, Gordon Bell, Nicholas Negroponte, and John Perry Barlow (never a guy to sit back and listen to anything he thinks is bullshit). Read the rest of this entry »
For several years now, I have been on the board of an experimental literary press where we have spent a great deal of time trying to figure out how to keep the printed book vibrant and alive. At Les Figues Press, we decided to publish books in unique dimensions and we coupled each author’s work with the visual work of another artist, hoping against hope that the resulting physical object would convince even the most cyber-savvy readers to purchase our special little hunks of pulverized tree.
So I contantly keep my eyes peeled for efforts to revitalize interest in the printed book. My most recent encounter with an inspiring innovation was in Medellin, Colombia, where the intrepid forces behind Proyecto Liquido – a group that explores the overlapping territory in fiction, art, science and technology – had transformed an online short story published 18 years ago into a surprisingly layered tactile experience.
With a black rubberized cover (not unlike the one on my iPad), Kij Johnson’s Chicas Miticas (Myth Girls) feels more like a machine than a book. Everything inside is dual: from the bilingual translation (Spanish and English) to the double-sided format (the book is basically composed of two pamphlets facing one another). While one side is devoted to a disturbing tale about the terrible cost of freedom, the opposite renders the story into sleek, hyper-polished illustrations by Oscar Gonzalez, one of the five collaborators who transformed Johnson’s story into this unique material object.
If the book were simply illustrated, and bound in this surprising way, it would have been arresting enough. But three pages into the lushly animated version of this stark tale, you finally see a depiction of the main character, but only from behind, and rendered on vellum, so that you can see her ghost-like presence in two inhuman vistas, extended by a trifold. A few pages further in, you reach the material heart of the work, where lush illustrations bleed into layered vellum inserts and – I kid you not – a ripped quilted jacket is sewn directly onto the page. Read the rest of this entry »