SXSW Artist Meets Hacker with Notes

#ArtsHacker | @devonvsmith
Artist
meets
hacker
how technology
is changing
the arts

hello.
Devon Smith

Working now for digital agency Threespot

But also for arts orgs for the past 10 years

Often on how they can better use technology: on stage, in the back oﬃce, connecting with audiences.

Last year NEA asked me to highlight what bright spots & blank spots in the intersection of arts/tech
Excuse to research and speak with a bunch of artists & arts orgs about what they’re working on

the arts field must better leverage
technology to stay relevant.
artists are exploring technology
as an art form.
arts orgs are now in competition
with audiences & tech companies.
arts administrators should adopt
a maker approach.
1
2
3
4
After looking at several hundred different examples, I took away four big concepts, some obvious, others less so
1. Number of arts orgs is growing faster than audiences. In many cases, (in person) audiences are shrinking. Yet people interact w/ culture now more than ever. In a world of YouTube and MakerFairs, the traditional arts field needs to better integrate technology into our
work.
2. Experimentation among solo artists, especially installation artists. Technology is still a novelty. We’re less than a decade into any sort of new movement, it’s too early to tell how long lasting tech will change the art form itself, not just the administrative side.
3. Technology has also democratized the means of creation and distribution. It’s given more power to the audience to determine the experience they want, and the availability and use of data has put tech companies themselves in the driver seat of matching audience to
art. The art critics recommendation isn’t as important.
4. Professional administrators aren’t equipped to effectively use technology. They’re not exposed in MFA programs, on the job, or in arts conferences. But opportunities for learning abound, if they go just slightly out of their comfort zone.
That’s really what this presentation is about. Trying to show arts field where tech opportunities are, and showing tech world where collaboration opportunities exist in the arts.

least disruptive
most disruptive
social interactions
multi(tasking) media
devices
learning models
co-creation
data
interactive objects
7 areas where technology is fundamentally shifting the art world
most examples launched in the past year, or still under development
so many don’t have good “results” captured yet
broad overview bounces between artists, arts orgs, from marketing to making
included orgs twitter handle so you can connect with them directly

organizations struggle, artists innovate.
social interactions
devices
learning models
co-creation
data
interactive objects
social media is changing how we…
make and interpret art, empower audiences, distribute content, and who we consider partners

artists as innovators
@CIIDnews
SLIDE: artists as innovators (@CIIDnews)
ORG: Copenhagen Institute of Interaction Design:
PROJECT: Walk up to an iPad, tweet, sends message via morse code as a light signal across the bay to another device that reads the light, and prints to twitter
REASON: social media as the vehicle for artistic production more typical by installation artists where technology is embedded in the experience, often Twitter.
http://ciid.dk/education/portfolio/idp12/courses/systems-layers/projects/cphsignals/
Example:
Better Left Unsaid Livestreamed interactive theatre: http://betterleftunsaid.tv/2010/09/09/owen-panettieri-nyc-fringe-playwright-actor-blogger-and-unsaid-backer/
Foursquare recreation of Ferris Bueller’s Day Off: http://mashable.com/2010/06/02/chicago-foursquare-giveaway/

appeal to amateurs
@tribecafilmfest
SLIDE: appeal to amateurs (@tribecafilmfest)
ORG: Tribeca Film Festival
PROJECT: 2nd annual Vine Fest was an intentional appeal to amateurs, though many submissions came from experienced filmmakers.
REASON: Constraints of the social platforms (shorter = cheaper) force new experimentation.
http://tribecafilm.com/online/competitions/6second
Examples:
Twitter-enabled story telling: https://shkspr.mobi/blog/2015/01/writing-a-choose-your-own-adventure-story-on-twitter/
Bruno Ribeiro’s meta-critique on social media as an art form: http://reallifeinstagram.com/
http://www.walkerart.org/internet-cat-video-festival

lower barriers to entry
@sfmoma
SLIDE: lowers barriers to entry (@sfmoma)
ORG: SF Moma
PROJECT: Shut down website temporarily & used Tumblr as their CMS
REASON: Social media enables anyone, org or individual artist to promote and distribute their work. This has increased the competition for attention in an already crowded ﬁeld.
http://sfmoma.tumblr.com/
Example:
https://www.kickstarter.com/projects/559914737/the-veronica-mars-movie-project

organizations are adapting
@LACMA
SLIDE: organizations are adapting (@LACMA)
ORG: LACMA
PROJECT: First museum on Snapchat
REASON: Successful social media demands a unique tone, adapted to a new social medium/audience, puts conservative institutions at a disadvantage because they can’t take themselves quite so seriously.
http://hyperallergic.com/144822/lacma-is-the-ﬁrst-museum-to-join-snapchat/
Example:
https://twitter.com/nmnh/status/568772601109213184

collaborate with networks
@twitteruk
SLIDE: collaborate with networks (@twitteruk)
ORG: Twitter UK
PROJECT: sponsored #LoveTheatre day to get UK arts organizations actively in conversation with their audience. 400k tweets w/ #LT
REASON: Twitter, Tumblr, and Kickstarter each have dedicated staff members supporting cultural organizations use of the platforms. We should take better advantage of them as resources to form collaborative partnerships.
https://blog.twitter.com/en-gb/2014/roll-up-for-lovetheatre-day-on-twitter
Examples:
Cultural Digital —> Reddit for the arts: http://culturaldigital.com/
#MuseumWeekUK

structure your data
@foursquare
SLIDE: structure your data (@foursquare)
ORG: Foursquare
PROJECT: Foursquare knows that I check into arts organizations more often than shopping malls, so it sent me this email the day before black friday, recommending 4 arts orgs I should visit in DC over the holidays.
REASON: Social media companies more indirectly promoting arts, by knowing data about your habits and afﬁnities. Coming from a third party source made this recommendation more compelling. Arts organizations need to structure their data to be more easily
consumable by these networks.
http://www.theverge.com/2013/8/29/4671936/foursquare-will-soon-push-personal-recommendations-to-your-phone
Example:
https://support.google.com/webmasters/answer/164506?hl=en

right here and now to anywhere anytime.
social interactions
devices
co-creation
data
interactive objects
learning models
multimedia is changing…
when, where, how, and who has the opportunity to experience an artistic production.
This often means adding a nontraditional media experience on top of a live performance.

experience portability
@forumtheatre
SLIDE: portability of the experience (@forumtheatre)
ORG: Forum Theatre
PROJECT: Podcast Play, best experienced in the location where the play takes place around DC
REASON: Theatre is no longer bound to a collective gathering space, or necessarily requires your full & undivided attention. Podcasting is the ultimate multi-tasking media.
http://forumtheatre.bandcamp.com/releases
http://wamu.org/programs/metro_connection/14/09/12/walking_podcast_play_introduces_listeners_to_other_sides_of_dc
Example
http://www.wired.com/2011/05/national-mall-location-aware-album/

movement in any direction
@marshmallowlf
SLIDE: movement in any direction (@marshmallowlf)
ORG: Marshmallow Laser Feast
PROJECT: Project Daedalus adds drones as an artistic vehicle for projection screens. Audience engages remotely, while the art moves around them.
REASON: Theatre effects have been bound by pulley systems and ﬁxed lighting arrangements. Drones allow for movement in any direction, and easily breaks the fourth wall between artist & audience.
https://medium.com/@andymiah/project-daedalus-66e2cb48f716
Examples:
http://www.theguardian.com/culture-professionals-network/2014/dec/19/2015-drones-art-creative-examples
http://www.psfk.com/2015/02/air-2015-amsterdam-drone-circus.html
http://www.cnet.com/au/news/behind-the-scenes-of-a-drone-orchestra/

inclusive devices
@TalkingStatueUK
SLIDE: inclusive devices (@TalkingStatueUK) 
ORG: Sing London 
PROJECT: Talking Statues exhibit in London. Swipe phone over tag posted at statue, and it will call you to give historical narrative of the person represented. 
REASON: Enlists a pedestrian piece of technology to turns static objects into interactive pieces of art.
http://news.artnet.com/art-world/london-public-statues-speak-out-79977
http://talkingstatues.co.uk/
Example:
Kennedy Center’s OK Go concert - http://artsedge.kennedy-center.org/multimedia/series/videostories/ok-go-at-kc

adding an interpretative layer
@PhilaOrchestra
SLIDE: adding an interpretive layer (@PhilaOrchestra)
ORG: Philadelphia Orchestra
PROJECT: LiveNote app provides visual notes about the performance, Shazaam-like technology
REASON: For those audiences who need more than just an aural experience to stay engaged with the art
https://www.philorch.org/introducing-livenote%E2%84%A2-nights#/
http://www.drexel.edu/now/archive/2014/October/LiveNote/
Example:
http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/jul/25/live-revive-lament-opera-performance-app

interacting with artists
@carnegiehall
SLIDE: interacting with artists (@carnegiehall)
ORG: Carnegie Hall
PROJECT: Livestream concerts & classes 
REASON: Allows for international, interactive participation. Old joke “How do you get to carnegie hall” has a new answer.
http://www.vulture.com/2014/10/livestreamed-concerts-from-carnegie-hall.html
Example:
http://pica.org/event/mike-daisey-6/
http://qrius.si.edu/watch/bilingual-hangout-mammal-scientists-smithsonian-and-beyond

time-shifted and space-shifted
@The_Globe
SLIDE: time-shifted & space-shifted (@The_Globe)
ORG: Shakespeare’s Globe 
PROJECT: Globe Player - professional recordings of live performances you can subscribe to Netﬂix-style, or purchase one off.  
REASON: Live performance can be preserved, organizations can earn revenue from them, and audiences can choose whether to watch live or recorded. (Rent or own, 4-8 lbs)
https://www.globeplayer.tv/
Example:
On the Boards TV in Seattle offers many different performances & arts orgs: http://www.ontheboards.tv/

mediate artistic experience before, during, and after
social interactions
devices
co-creation
data
interactive objects
learning models
mobile apps are changing…
what is possible before, during & after a performance/visit
embedded in the artistic experience—in performing & visual arts,

personalized content
@pepysinc
SLIDE: personalized content (@pepysinc)
ORG: Threespot folks, at DC Fringe Festival
PROJECT: live performance built around the e-Geaux mobile app. Audiences downloaded app & connected their social accounts, performance would change based on user’s data, incorporating the names of their Facebook friends as characters, determine plot points
based on how many single people were in the audience, and asked audiences to participate with characters onstage using their social media handles.
REASON: Imagine tailoring the experience of the performance to the unique needs of every person in the audience.
http://pepysinc.com/
Example:
http://www.psfk.com/2014/11/artwork-uses-data-inﬂict-emotions.html
Mood App - Tour the Amsterdam Museum based on your mood: http://www.stedelijk.nl/mobile-apps/mood-app & https://www.youtube.com/watch?v=V36x13iCmtQ

artist as builder
@miranda_july
SLIDE: artist as builder (@miranda_july)
ORG: Miranda July
PROJECT: Somebody app (currently being rebuilt) Turns your friends & people around you into ‘performers’ by giving them tasks to complete and lines to say 
REASON: Takes participatory arts to an extreme. No way to create this experience if the artist doesn’t deeply understand what’s possible with technology.
http://somebodyapp.com/
http://www.wired.com/2014/09/miranda-july-creates-an-app-that-doubles-as-a-social-experiment/

technology as playwright
@blasttheory
SLIDE: technology as playwright (@blasttheory)
ORG: Blast Theory 
PROJECT: Karen - narrative experience, based on a voice over app that learns about you and adapts the storyline as you go. Think of ScarJo in Her.
REASON: Rise of artiﬁcial intelligence makes it possible for technology itself to theoretically become a playwright.
http://www.blasttheory.co.uk/projects/karen/

augment your reality
@insaland
SLIDE: augment your reality (@insaland)
ORG: Street artist INSA  
PROJECT: The Cycle of Futility - public mural I stumbled across in Shoreditch London that can be animated through an augmented reality app 
REASON: Screens we have in our pockets allows us to mediate static works of art, what will happen when we’re wearing devices and the whole world is mediated through a screen?
http://www.shoreditchstreetarttours.co.uk/news/insa-the-cycle-of-futility/
Example:
Re+Public: last year’s SXSW - http://www.republiclab.com/projects

inspire educational opportunities
@NMNH
SLIDE: inspire educational opportunities (@NMNH) 
ORG: Smithsonian’s Museum of Natural History 
PROJECT: Skin & Bones app - 13 different AR experiences based on the museum’s collections, many of them animated. Hold your hand out to a spider in front of the app, and it looks like the spider is crawling up your arm. 2 years to build, largest collection of 3D
modeling in any iPhone app. 
REASON: Audiences aren’t just looking at artifacts behind a glass, now they (digitally) interact with them. Game changer for educational opportunities.
http://naturalhistory.si.edu/exhibits/bone-hall/
Example:
Kennedy Center iPad app prepares kids on autism spectrum for what to expect during the performanceL https://www.gettoknowthekc.org/stories/welcome
http://showandtell.circus-starr.org.uk/
https://culturalpolicy.uchicago.edu/digest/testing-technology-how-augmented-reality-helps-museum-visitors-appreciate-paintings

real-time marketing
@idatorg
SLIDE: real time marketing (@idatorg) 
ORG: collaboration of several museums in Plymouth England, built by iDAT 
PROJECT: Artory - digital loyalty card, purpose began with how to collect data about culture goers 
REASON: real time user data will enable arts orgs to better market and engage visitors
http://www.theguardian.com/culture-professionals-network/2015/feb/06/artory-culture-plymouth-app-story
http://www.artory.co.uk/
Example:
https://theartstack.com/

distributed, temporary, and competitive.
social interactions
devices
co-creation
data
interactive objects
learning models
how we learn is changing…
digital enables new opportunities for professional development, but also puts arts organizations into more direct competition with technology companies

distributed network of colleagues
@2amt
SLIDE: distributed network of colleagues (@2amt) 
ORG: 2am theatre 
PROJECT: #2amt - the conversations you have at 2am about the theatre industry, 5-year anniversary 
REASON: ongoing twitter chat of people who work in the theatre in some capacity, breaks down walls between disciplines, geography, organizations. When networking and learning can be 24/7, industry conferences are questioning their purpose. Has inspired a blog,
several events and collaborations. Has a strong community organizer.
Examples:
#drinkingaboutmuseums
#museweb
#artsed

rapid prototyping
@culturehack
SLIDE: rapid prototyping (@culturehack) 
ORG: Culture Hack 
PROJECT: organizes hack days around the world that put artists and technologists together to create something 
REASON: Arts organizations need more exposure to the tools and practices of technology, in order to make their own improvements in the future
http://www.culturehack.co.uk
Examples:
http://www.theguardian.com/artanddesign/2014/jun/16/hack-the-space-tate-modern?CMP=twt_gu
http://www.nypl.org/events/programs/2015/02/07/nypl-labs-civic-data-hack-day
http://www.up.co/communities/uk/london/startup-weekend/3854
http://www.hackingarts.com/

art under pressure
@theartincubator
SLIDE: art under pressure (@theartincubator) 
ORG: The Art Incubator 
PROJECT: 8 week residency program in Singapore, structured like a Y-Combinator, concludes in a demo day/gallery show 
REASON: Proliferation of arts incubators in the past few years, but most are missing some crucial element of: dedicated/funded time & space, access to industry experts/mentors, or enforced urgency to have a ﬁnal product
http://www.theartincubator.org/the-art-incubator-6-residency-as-method/
Examples:
http://stpaconference.org/wp-content/uploads/2014/02/C4c.pdf

embedding experimentors
@synchq
SLIDE: embedding experimentors (@synchq)
ORG: Sync 
PROJECT: Geek in Residence - funds a technologist to be in residence with an arts org for 6 months, and experiment with them, document it 
REASON: knowledge about technology can be infused into the organization through a temporary expert, to kickstart the org onto a new path.
http://www.theguardian.com/culture-professionals-network/culture-professionals-blog/2014/feb/28/geeks-residence-tech-arts-developer
Example:
http://www.datakind.org/howitworks/datachapters/datakind-uk/

outsource learning technology
@googleart
SLIDE: outsource learning technology (@googleart) 
ORG: Google Cultural Institute 
PROJECT: offer a digital gallery space to showcase exhibits/performances, street view cameras into cultural spaces, white label app for museum tours 
REASON: Google can provide a higher production capability for all of these things than most arts organizations will be able to learn/invest in, but some complaints from arts orgs that it’s hard to yield control over to Google without knowing exactly what they’re going to
do with the data. Still lots of copyright issues for theatrical performances.
https://www.google.com/culturalinstitute/home
http://mashable.com/2014/07/04/google-cameras-museum-selﬁes/
Example:
https://www.kickstarter.com/events/ﬁlmfest2014
http://www.washingtonpost.com/blogs/wonkblog/wp/2013/07/07/yes-kickstarter-raises-more-money-for-artists-than-the-nea-heres-why-thats-not-really-surprising/

audience as competitor
@museumhack
SLIDE: audience as competitor (@museumhack) 
ORG: Hack the Met 
PROJECT: tours of the Met Museum led by young people, for young people, unlike any other museum tour. Small groups, participatory, short, thematic. 
REASON: Users are marketing for arts organizations, but they can also compete with their offering. Arts professionals are learning how to do their job better by paying attention to how audiences do it for each other.
http://hackthemet.com/
Example:
AirBnB is a competitor (& an ally) to performance arts/events - http://techcrunch.com/2014/05/16/airbnb-experiences/

audience as maker, curator, and free labor.
social interactions
devices
co-creation
data
interactive objects
learning models
technology is changing…
the role, responsibility, and opportunities of the audience

audiences as artists
@Tate
SLIDE: audience as artist (@Tate) 
ORG: Tate Modern 
PROJECT: Drawing Bar - draw interpretations of the artwork you’ve just seen, and see it projected on the museum’s sacred walls 
REASON: Giving an audience agency into the creation process makes them more invested in the institution, necessary for ﬁeld’s survival.
http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar
Examples:
http://www.engadget.com/2014/02/06/tate-museum-robots/
http://www.newseum.org/exhibits/current/hp-new-media-gallery/
http://www.newseum.org/exhibits/current/nbc-news-interactive-newsroom/

model behavior you expect
@Tate
SLIDE: model behavior you expect (@Tate) 
ORG: Tate Modern 
PROJECT: hired Minecraft mapmakers to interpret works of art and build replicas in Minecraft. First exhibit was on cities. Asked audiences to contribute.  
REASON: as arts organizations ask more from their audiences, they’re going to need to model some of the behavior they want, especially for non-traditional audiences. Anyone who’s run a UGC campaign knows you can get tons of drek, and a few gems. This helps
increase the gems.
http://www.tate.org.uk/about/projects/tate-worlds-art-reimagined-minecraft

nonlinear storytelling
@blasttheory
SLIDE: nonlinear storytelling (@blasttheory) 
ORG: Shefﬁeld Documentary Film Festival 
PROJECT: I’d Hide You - join actors IRL or by playing online, as seen through cameras mounted on them. Half theatre, half live action video game.  
REASON: When audience participates, don’t just expect diversions from a linear storyline, build them into the narrative. Digital allows for multiple storylines to happen simultaneously.
http://www.idhideyou.com/
http://artsdigitalrnd.org.uk/projects/shefﬁeld-docfest/
Example:
Coney’s Better Than Life - Online controls aspects of storyline & design; live audiences at their mercy
http://www.theguardian.com/stage/theatreblog/2014/jul/01/coney-no-island-streamed-theatre-audiences
http://www.betterthanlife.org.uk/

audience as curator
@thehenryford
SLIDE: audience as curator (@thehenryford) 
ORG: Henry Ford Museum 
PROJECT: Exhibit Builder - allows audiences to build their own exhibits based on artifacts in the museum’s collection 
REASON: educational opportunity for students to consider role of curator
http://collections.thehenryford.org/ExhibitHome.aspx

audience as contributor
@I_W_M
SLIDE: audience as contributor (@I_W_M)
ORG: Imperial War Museum
PROJECT: Museum-goers contribute their family genealogy & ID photos at the end of the exhibit
REASON: increases engagement with the work, and it lightens load on a museum’s research staff
http://www.operationwardiary.org/

crowdsource for diversity
@Wikiturgy
SLIDE: crowdsource for diversity (#Wikiturgy)
ORG: Sparked by a 2amt event in DC last year 
PROJECT: #Wikiturgy Wikipedia edit-a-thon for theatre historians (dramaturgs) 
REASON: Crowdsource knowledge into a distributed platform, adding to, editing, and creating entries for theatre artists, plays, companies, journalists/critics, and scholars from underrepresented groups. Enables arts orgs to expand voices.
http://howlround.com/meet-you-in-the-wikiturgy-commons
Example:
Crowdsourcing transcription for Smithsonian digital collections: https://transcription.si.edu

who has access, what they do, and when it becomes art.
social interactions
devices
co-creation
data
interactive objects
learning models
technology is changing…data
who: internal, peers, audience, tech co’s,
Rise of data scientist/analyst positions within arts organizations

trade dollars for data
@DallasMuseumArt
SLIDE: trade dollars for data (@DallasMuseumArt)
ORG: Dallas Museum of Art
PROJECT: Friends Program. Membership was 5% of budget; made free to all people if they log activity (kiosk/text/card, earn badges, rewards), use data to target marketing, appeal to donors, and adapt museum layout/offerings. 100k people in 2 years.  
REASON: Major museums are now hiring data scientists.
http://www.dma.org/visit/dma-friends
http://www.bloomberg.com/bw/articles/2014-02-20/dallas-museum-of-art-trades-memberships-for-data
Examples:
http://www.wsj.com/articles/when-the-art-is-watching-you-1418338759
http://futureofmuseums.blogspot.com/2014/06/a-recap-of-big-data.html
http://www.thestage.co.uk/news/2015/02/data-scientists-appointed-work-nt-barbican-eno/

public accountability
@smithsonian
SLIDE: public accountability (@smithsonian)
ORG: Smithsonian
PROJECT: public dashboard of limited activity 
REASON: Transparency is important to perception
http://dashboard.si.edu/
Examples:
Optimiser. Benchmarking New Zealand arts organizations google analytics data
http://www.creativenz.govt.nz/assets/ckeditor/attachments/921/optimiser_pilot_presentation.pdf?1394400094
http://www.creativenz.govt.nz/assets/paperclip/publication_documents/documents/359/original/ﬁnal_white_paper_1.pdf?1404355324
http://www.nten.org/research/the-2014-nonproﬁt-benchmarks-study

data democratizes
@newplayx
SLIDE: data democratizes (@newplayx)
ORG: New Play Exchange
PROJECT: meeting place for creators, selectors, funders; trying to get better data about what’s available & what’s being used in the theatre world. 
REASON: Previously this exchange was a black box, and too often a “winner take all”
https://newplayexchange.org/
Examples:
http://www.culturaldata.org/
http://www.washingtonpost.com/blogs/style-blog/wp/2015/02/02/smithsonian-american-art-museum-launches-effort-to-create-national-art-database/
https://www.slated.com/
http://www.culturecraver.com/dashboard

scale requires data
@opencultuurdata
SLIDE: scale requires data (@opencultuurdata)
ORG: Open Culture Data
PROJECT: collection of cultural datasets for Dutch arts organizations 
REASON: allow anyone to create apps that leverage the combined data on objects
http://www.opencultuurdata.nl/api-english/
Examples:
Cooper Hewitt in NYC has re-opened/re-launched, and built their entire infrastructure on top of an API
https://labs.cooperhewitt.org/2014/the-api-at-the-center-of-the-museum/
https://collection.cooperhewitt.org/developers
http://api.powerhousemuseum.com/login/?next=/
http://www.sfmoma.org/about/research_projects/lab/why_build_an_api
http://research.kraeutli.com/index.php/2013/11/the-tate-collection-on-github/
https://github.com/tategallery/collection

data as art
@webwewantfest
SLIDE: data as art (@webwewantfest) 
ORG: Web We Want Festival in London 
PROJECT: Open Data Playground- data artist took open source data sets and created analog games to help audiences explore the data. 
REASON: Use art to make data more approachable.
http://www.stefanieposavec.co.uk/open-data-playground
Example:
Berlin musicians (onformative), to create a soundscape based on movements of dancers: http://www.onformative.com/work/unnamed-soundsculpture/

data empowers artists
@LesiaTG
SLIDE: data empowers artists (@LesiaTG) 
ORG: Lesia Trubat (Spanish artist) 
PROJECT: Lilypad Arduino enabled ballet shoes track a dancer’s movement 
REASON: For them to review later, for audiences to have a visual experience of performance
http://blog.atmel.com/2014/10/29/these-ballet-shoes-digitally-track-and-visualize-a-dancers-movements/
http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance
http://www.dailymail.co.uk/femail/article-2822099/Innovative-new-pointe-shoes-turn-ballerina-s-movements-unique-works-art-digitally-tracking-dancing.html

replace and augment human interactions.
social interactions
devices
co-creation
data
interactive objects
learning models
technology is changing…
humans aren’t the only ones acting as artist, curator, or audience.
now screens & AI
most of these are still a novelty

transparent interpretation
@LavaDesignLab
SLIDE: transparent interpretation (@LavaDesignLab) 
ORG: Lava Lab, in cola w/ Amsterdam Museum 
PROJECT: The Golden Age, explore the social connections between real people represented in paintings 
REASON: Google glass allows for a deeper dive into content, iBeacons allow you to target content indoors.
http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/
Examples:
http://www.kealyc.com/ibeacons-in-arts-heritage-and-culture/
http://labwerk.com/
http://www.theguardian.com/culture-professionals-network/2015/jan/20/rsc-digital-development-tech-shakespeare
http://www.tnooz.com/article/antenna-international-google-glass-san-francisco/
http://www.mlive.com/news/grand-rapids/index.ssf/2013/05/google_glass_west_michigan_onl.html

touchable art
@cooperhewitt
SLIDE: touchable art (@cooperhewitt) 
ORG: Cooper Hewitt 
PROJECT: pen. allows visitors to capture their experience & sent via email, and interact w/ exhibits (wallpaper repeated patterns) 
REASON: smart devices gives new tools to audiences to engage with the museum’s collection
http://www.theatlantic.com/technology/archive/2015/01/how-to-build-the-museum-of-the-future/384646/
http://www.theverge.com/2015/3/11/8182051/smithsonian-cooper-hewitt-design-museum-reopening-pen-4k
Examples:
Fitbit for artists, to coach them to spend more time on art: http://www.parttimeclock.com/
Performing Arts in the Wearable Age: http://static.squarespace.com/static/51d98be2e4b05a25fc200cbc/t/5392084de4b0037d4d325314/1402079309465/ThomasRhodesSamuelAllen_PerformingArtsInTheWearableAge_6.6.2014.pdf

replace the irreplaceable
@V_and_A
SLIDE: replace the irreplaceable (@V_and_A) 
ORG: Victoria & Albert Museum in London 
PROJECT: 3D scanning & printing replicas to repair objects 
REASON: low vision audiences - tactile manipulation, print objects at home, curators interact w/ fragile objects, digitization allows 24/7 display
http://3dprint.com/45399/marie-antoinette-museum-chair/
Examples:
http://mashable.com/2014/10/31/british-museum-3d-printing-sketchfab/
http://www.brooklynmuseum.org/community/blogosphere/2013/04/16/3d-printing-for-accessibility/
http://3dprint.com/9323/berlin-museum-3d-printing/
http://www.sculpteo.com/blog/2014/12/15/lets-3d-print-together-musee-du-louvre/
http://3d.si.edu/

enable all your senses
@extantltd
SLIDE: enable all your senses (@extantltd) 
ORG: Extant, theatre company dedicated to low vision/blind artists and audiences 
PROJECT: Flatland - by Alan Lightman novel about 1D, 2D, and 3D worlds. They built a haptic interface audiences hold in their hand, used to navigate around an entirely pitch black room. 
REASON: Theatre has long relied on sight, sound. Occasionally smell. Almost never smell or touch. Adds a new depth to the experience.
http://ﬂatland.org.uk/

participatory experience
@zhdkcast
SLIDE: participatory experience (@zhdkcast) 
ORG: Zurich University of the Arts at Sundance 2015
PROJECT: Birdly allows you to fly above SF in a virtual reality experience, via Oculus Rift 
REASON: Virtual reality puts audience inside the artistic experience. why simply watch what’s happening on stage, when you could participate.
http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality
Examples:
http://www.theguardian.com/technology/2015/jan/27/facebook-oculus-story-studio-virtual-reality-films
http://whitney.org/Exhibitions/Artport/Commissions/Proxy
http://www.inition.co.uk/

artificially intelligent artists
@3ldnyc
SLIDE: artificially intelligent artists (@3ldnyc) 
ORG: Huang Yi and Kuka, in residence at 3 Legged Dog performance space in NYC 
PROJECT: Robots that performs along with the dancer/choreographer 
REASON: Uncanny valley hasn’t seen anything until the performing arts world. Long way off to replace actors.
http://3ldnyc.wix.com/huangyiandkuka
Examples:
http://www.huffingtonpost.com/2014/11/12/drawing-robot_n_6141372.html
http://www.vice.com/en_uk/read/noworkflow-405

social interactions organizations struggle, artists innovate.
replace and augment human interactions.interactive objects
who has access, what they do, and when it becomes art.data
audience as maker, curator, and free labor.co-creation
mediate artistic experience before, during, and afterdevices
right here and now to anywhere anytime.multi(tasking) media
distributed, temporary, and competitive.learning models
That was a ton of examples

dozens more case studies in my notes

But I want to hear more from others

Part of putting this together was an excuse to reach out to artists & orgs - so tell me more examples

Also interested in particular in putting together events that put technologists, artists, and orgs together to learn from each other

Could mean: culture hack partner, incubators, conferences, collaborative working spaces

Elia Scudiero, Vanish, https://flic.kr/p/ddmhza
Slide 6: Wired UK, CHPsignals, http://cdni.wired.co.uk/1920x1280/a_c/Copenhagen_05.jpg
Slide 14: Marshmallow Laser Feast, Project Daedalus, https://twitter.com/marshmallowlf/status/524845637498454016
Slide 23: Shoreditch Street Art Tours, INSA “The Cycle of Futility,” http://www.shoreditchstreetarttours.co.uk/news/insa-the-cycle-of-futility/
Slide 24: Smithsonian Museum of Natural History, Skin & Bones, http://naturalhistory.si.edu/exhibits/bone-hall/
Slide 32: Hack the Met, http://hackthemet.com
Slide 34: Tate Modern, Drawing Bar, http://www.tate.org.uk/visit/tate-modern/things-to-do/interactive-activities/drawing-bar
Slide 45: Stefanie Posavec, Open Data Playground, http://www.stefanieposavec.co.uk/open-data-playground
Slide 46: Lesia Trubat, http://cargocollective.com/lesiatrubat/E-TRACES-memories-of-dance
Slide 48: Lava Lab, Interactive Portrait Gallery, http://www.lavalab.nl/interactive-portrait-gallery-of-the-golden-age/
Slide 50: Zoe Allen, 3D Printing (Detail of Loss & Scanning Process), http://3dprint.com/45399/marie-antoinette-museum-chair/
Slide 52: The Verge, http://www.theverge.com/2015/1/24/7882339/sundance-film-festival-2015-virtual-reality
Slide 53: Huang Yi, 3-Legged Dog http://3ldnyc.wix.com/huangyiandkuka
Slide 62: Steve Rhodes, LACMA, https://flic.kr/p/dFewKR
Presentation design by Jordan Fugate
Photo Acknowledgments

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