Really looking forward to the Computational Literature panel at CalTech on Monday night, 4/24 with Eran Hadas, Nick Montfort, and Brian Kim Stefans.
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 Women of El Toro is a #CalHumanities funded project that Dan Sutko and I are working on in collaboration with the Center for Oral and Public History (COPH) at Cal State Fullerton this year. For the project we are developing a site-specific iOS app that augments The Great Park in Irvine, CA with oral histories told by female marines and wives of Marines who were stationed at El Toro in the 1940s (which happens to be on the very same ground as The Great Park). The interviews with these amazing women were created by COPH during the transition between the military base and the new park circa 2007 and have since been stored in an archive on campus at CSUF. Our app brings the important cultural history and community stories that COPH archived to the public while they might be experiencing a balloon ride, farmer’s market, children’s play area, soccer game, or even more banal infrastructure (the bathroom, the parking lot, or even just looking at the sky) in the Great Park.
The app should be available from the Apple Store this summer. For now, you can read more about the project in our interview with Cal Humanities.
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.”
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).
Forget the ice bucket, pour nothing over your head, especially on Saturdays. Join me in a promise not to shower each Saturday as we conserve water during the draught. #showerlessSaturdays
Chapman University published its first design journal to accompany their 2013 Design Symposium. Though I wasn’t able to attend the symposium, my article, On Brands and Branding was included in the journal—a beautiful, hard-cover issue that also includes contributions from Brittany Rosenblatt, selections from the 2013 Orange County Design Awards, Iridium Group, and Armin Vit.
My article, “On
Death Brands and Dying Branding” is a selective remix of Elisabeth Kübler-Ross’ 1969 book, On Death and Dying. The words “brand” and “branding” are substituted in salient quotes from Kübler-Ross’ text for the words “death” and “dying.” The Swiss-born psychiatrist developed her “5 Stages of Grief” hypothesis to help the medical industry understand the emotional processes undergone by patients suffering from terminal illnesses. By substituting “brand/branding” for Kübler-Ross’ primary target (death/dying), I suggest a culture in which brands and branding are the norm will enact a process of grieving akin to that of the terminally ill.
Death Brands and Dying Branding” appears on pages 39-47, but the bulk of the investigation is within the footnotes, pages 44-7.