An artist statement I wrote about Mediations on Digital Labor at Grand Central Art Center in Santa Ana appeared in Leonardo on October 1, 2016.
THE OC WEEKLY favorably covered my exhibition in the Grand Central Arts Center Project Room in last week’s printed edition. In Jail Benches and Amazon.com at Santa Ana’s Grand Central Art Center Dave Barton understood the project as “a deceptively simple take on low-wage jobs.”
I captured the above video to showcase the hand-drawn aspect of the exhibition, which Barton described as “chalked out on the floor of the gallery, using the natural lines of the black utility tile to provide something akin to a giant piece of lined paper, with the worker’s feedback done in cursive or block letters.”
Seen and heard below: A time-lapse video created on the night of the opening showcases the fragile nature of the “unencrypted data” on the floor of the gallery while the Mturk workers chant in unison (my digital post-production mediation). Barton wrote, “The now ephemeral quality of work (and lack of security that comes with it) reveals itself on the installation itself. Patrons have to interact with the misery of the workers represented: If they want to read what has been written, they have to stand on other words to do so. Those words—and the work represented by those words—slowly becomes an indecipherable blur of white chalk dust after enough people have shuffled through it.”
On May 2nd from 7-10pm I hope you will join me at Grand Central Art Center (Santa Ana, CA) in the Project Room for my opening of Mediations on Digital Labor.
The exhibitions statement follows:
Mediations on Digital Labor began with a hijacking of the Amazon.com Mechanical Turk website (Murk.com) for a critical, poetic, and alternative practice: Artist xtine burrough hired the Turkers to pause from physical labor.
As a play on the Mturk model, for which an industrial-sized, global workforce is paid less than minimum wage to work in untraced conditions, earning “rewards” paid on Amazon.com gift cards, the artist offered her set of workers 25 cents to break from labor for up to five minutes. She instructed the rested workers to describe their experience in 10-100 words. Trebor Scholz uses the word “playbor” (as in play/labor) to identify the tension between digital work and play that takes place not just on sites like Mturk.com but in all facets of online pseudo-participation. Scholz writes that in digital culture, “It has become increasingly difficult to distinguish between play, consumption and production, life and work, labor and non-labor.”
When more than 50 Turkers took burrough up on her alternative job she imagined the international group sitting together, respecting each other in silence. Though it is impossible to target a single worker, or a group of workers, for employment on Mturk.com she posted another “HIT” (Amazon’s word for “job” is “human intelligence task” or HIT) requesting a 10-second video of the worker chanting the word “Om,” for which she paid 75 cents per video and received nearly 30 responses. These videos became the pool of digital data stored on the jump-drives hanging from the Grand Central Art Center Project Room’s walls. Each digital container has one file, a single disembodied “Om” chant from a virtual worker. The workforce extends from the USA to India, and these chants are in various mother tongues. One of them was made electronically, the computer itself speak/chanting “Om.” Some of the videos include an image. Many are black or some variation on pink or red, the color made when a video-maker’s finger is pressed against the camera lens to conceal her identity.
On the floor of the gallery burrough has spent time in silence drawing out the Turkers’ feedback in chalk. Presented here is a small selection of the data, on her hard drive there is more than she could fit on the floor. Burrough chose the texts that resonate with her own experiences with intentional resting, or meditation. As viewers step into the gallery her chalk letters are unencrypted, analog data for human participants that morphs and erodes. Viewers are encouraged to participate: Reach for the sky to select a (now recycled) recording of the Om chant, or sit on the ground and rest. Use the chalk provided to add your feedback. What was it like to rest, intentionally, for a couple of minutes? How did you feel before and after your rest?
Like Scholz’s gray space between play and labor, this collection of digital chants, compiled from a virtual job board, showcases the voices of disembodied strangers making a sound that can accompany one’s return to her body at a vibrational frequency found throughout the natural world.
Image tiling in Illustrator was the key to production in the making of this giant scroll of Jack holding his scroll. A happy accident: The pixelization in the halftone pattern sort of looks like a copyright symbol (appropriate seen as how the image this is based upon is appropriated from a photograph taken long ago by Gerry Nicosia) and/or a smiley face (an image that sometimes appeared on LSD stickers, I forget how I know this but it’s not by direct experience…anyhow, Jack would have probably liked that reference even though the publication of On The Road was a little ahead of the Timothy Leary era).
Come to the Aussi Gallery at the Art Institute of CA-OC on Friday, 11/7 from 5-7pm for the opening of Please Participate, an exhibit funded in part by a CSUF intramural grant.
AiCA-OC is located at 3601 W. Sunflower Blvd., Santa Ana, CA (near the Costa Mesa Ikea).
This Monday from 4-5pm stop by the Los Angeles Center for Digital Art to create your own Mechanical Olympics video. I’ll be there with a camera (probably just a flip or my iPhone camera, as it is a low-fi project) and some goofy props. All you have to do is show the camera your best Olympic-style performance. You can swim, play baseball, tennis, soccer, hockey, or make up a new sport. Anything goes.
For the duration of the exhibit I have put together a “best of” video reel featuring highlights from past Mechanical Olympics. It’s hard to believe this project has lasted as long as it has, but it’s fun to review some of the creative videos made for the 2008 and 2010 Games.
New Media Festival Los Angeles @ LACDA
102 W. Fifth Street
Los Angeles, CA 90013
Workshop: 4-5pm on Monday, 7/9/12
Opening: 6-10pm on Thursday 7/12/12
On Wednesday, November 11th, I will be talking about the Mechanical Olympics on a panel titled “Crowdsourced Labor: Digital Democracy or Centralized Sweatshop?” with Jeff Crouse and Beka Economopoulos at The Change You Want to See Gallery. This event is an installment of the monthly Upgrade NY! series on open source as it relates to activist and creative practice, co-produced by Eyebeam and Not An Alternative. It is presented as a prelude to “Digital Labor: The Internet as Playground and Factory,” a conference organized by Trebor Scholz to take place at The New School November 12–14.
Wednesday, November 11, 7:30pm, The Change You Want To See Gallery
84 Havemeyer St, Brooklyn NY 11211