Archive for the ‘art’ Category

Meanderthal: The App That Takes You To Your Roots

Monday, June 7th, 2010

Finally, there’s an app that let’s you see what you might have looked like if you’d been alive 700,000 years ago. Meanderthal is the Smithsonian Institution’s first official app for iPhone and Android and was released in May.

This is a well-designed app with a one-two punch that invites users to have fun, while it stimulates your curiosity about paleoanthropology, and then makes it easy to find out more – as much as you want – about it.

Here’s how: the app lets you upload a photo of your face and then blends it to one of the faces of three different human ancestors: homo floresiensis, who lived between 95,000 and 17,000 years ago; homo neanderthalensis who lived between 200,000 and 28,000 years ago; and homo heidelbergensis who lived between 700,000 and 200,000 years ago.

As soon as you’ve watched yourself morph from homo sapiens into one of our ancestors you can replay the morph, or choose to learn something about your new / old self.

The Share option lets you show off your new self-portrait on Facebook or email it to someone. The More option lets you choose a new species, start over or go to the exhibition website What Does It Mean To Be Human. You arrive at a vivid display of headshots of many of our human ancestors and can continue to explore from there.

One of the things that makes Meanderthal so good is that users get to see themselves in faces created by one of the world’s great paleo-artists, John Gurche. The faces come from the early human models he created for the Hall of Human Origins at the National Museum of Natural History.

According to Briana Pobiner, a paleoanthropologist at the Smithsonian Human Origins Program who spoke to Live Science, the app provides an opportunity “for people to make emotional connections to our ancestors….It’s an important way to break down that barrier between things we think are so different or so ‘other.’”

It’s Gurche’s skill as an artist that helps us make this personal connection; the faces looking out at us are compelling, even at the size of a smart phone screen.

The app provides an engaging experience because it’s fun, focused and simple. It takes advantage of pop culture notions about Neanderthals to attract people, then provokes their curiosity and generously feeds it with information. Bravo!

By the way, the app’s release just happened to coincide with the announcement of a recent study showing that non-African modern humans carry between 1 percent and 4 percent of Neanderthal genes, and suggests early humans mated with Neanderthals.

A Fun Game, But a Missed Opportunity

Thursday, May 13th, 2010

In the iPhone app game Dali’s Soft Watches, players get the chance to explore several of Dali’s surreal landscape paintings. The paintings are intriguing and the game provides an engrossing experience even if you’re not a big Salvador Dali fan.

Players must search for the famous melting clocks that go missing from their painting, The Persistence of Memory, and turn up in other landscapes. To find them you must examine every inch of the paintings. So you play the game, becoming curiouser and curiouser as you spend time pouring over Dali’s trippy environments. The images are big and scale up very well to the iPad, so you can really see the details. Each painting has it’s own evocative musical score as well. There doesn’t appear to be a time limit for finding the clocks, so you can take your time and really look around.

Surprisingly when you click the Info button all that appears is the title (in English, French, Spanish and Dutch), the date and size of the painting, and which museum owns it. Nothing more – there’s no information about the artist, no back story about the individual paintings. This seems like such a missed opportunity to take advantage of players’ interest and provide more context! Dali was a flamboyant character. Even a casual player would get a kick out of knowing more about him and his work after being so immersed in it.

Interestingly the comments in the app store page didn’t mention this oversight, even though people loved the chance to really look at Dali’s paintings.

An original and compelling game about art is a way for you, the museum, to attract new audiences to your content.  Once someone has downloaded the app to their phone and enjoyed it, they’re half way to your front door. I wonder why the makers of this app didn’t go out to meet these players and invite them inside virtually by offering them more information about Dali, or other surrealists. Or if they had provided a Comment or Share Information link people could have provided their location and the producers could have recommended the closest museum with Dali paintings. A lot more could have been done.

If you’re thinking about a game, bear this in mind.

Meanderthal is a very different museum game experience that offers fun, and information at different levels and ways to share what you’ve created. It was just released by the Smithsonian this week (May 10, 2010). Haven’t you always wanted to see what you’d look like as a Neanderthal? You can download the iPhone app here. It’s also available for Android. I’m going to write about this and one or two other museum game apps soon, so please check back or subscribe.

“Surprise Me. (Fun Mode)”

Monday, April 19th, 2010

The New Museum hosted Seven on Seven this weekend (April 17/18, 2010) – where seven artists and seven technologists paired up to create social media based art and present their ideas to a paying crowd at the museum. Here’s the NYTimes review. Mark Mullenweg, a creator of Wordpress, and the artist Evan Roth, collaborated to produce Surprise Me. (Fun Mode) which offers Wordpress bloggers some positive reinforcement every time they hit the Publish button. “They described it as ‘an emotional plug-in’, a virtual artwork to celebrate the ’sacred act of publishing,’ which the web has transformed as fundamentally as Gutenberg did and which is in turn, transforming society.”

Eager to try it, I was going to install it but it’s only available for blogs  hosted on Wordpress. If your blog is there, try it and please let me know what you saw.

Use BklynMuse!

Monday, March 29th, 2010

I think this is a very exciting time for museums who are willing to be experimental. Yesterday I whiled away an hour in the Brooklyn Museum’s galleries, trying out a new version of BklynMuse, to access their online collection, on their newly upgraded mobile website.

Here’s how it works: once you’ve joined their public wi-fi network, you stand in front of an object, type in its number on your phone and, presto! you can pull up the image, “like” it, a la Facebook, leave your own comment, see other visitors’ comments and learn more about it from experts.

You can also play Gallery Tag, where you collect points for every item you tag, and extra points for doing this on more than one floor.

I wanted to try out BklynMuse  because I was curious to see how disruptive the social media activity would be to my experience. Normally when I go to a museum it’s to see a specific show, or just wander with a friend through the galleries. I couldn’t really imagine wanting to interact on my phone.

There’s a piece that I’ve always loved in the Arts of the Pacific Islands gallery, so I went there first. Here he is, a little figure from the Nicobar Islands.

To me he looks like kind of a crazy, happy guy, and maybe he’s surfing.

I typed in his number and, to my surprise, this is where it got to be fun. Thanks to BklynMuse I saw right away that five other people have also “liked” the Nicobar Island man so I know I’m not the only one. I happily left a comment, and am eager to see what future visitors think of him,  and how that might give me fresh ways of looking at him.

I tried the tagging game too, and racked up 25 points, which put me in 3rd place! BklynMuse just launched this week so very few people are using it yet. Gallery Tag reminded me of a home made version of FourSquare.

What’s unique about BklynMuse is that it’s entirely visitor driven. It’s not a tour or guide to the collection designed by Brooklyn Museum. It’s a vehicle for visitors who are motivated to feed their curiosity about particular artworks; it encourages them to voice their reactions to the works, and validates what they have to say by publishing their comments.

Tagging too can have its serious purpose; even as a kid just playing a game, you have to look at the object you’ve chosen, look at the tags that are offered, think about which is most appropriate, and if there isn’t one, create a new one to use. It’s empowering in its way!

We’ve been members of the Brooklyn Museum since we moved here from Manhattan 20 years ago. I took my son to more Arty Facts sessions than I can recall. In 1997 I produced a big, beautiful 24 screen video wall program for the exhibition Monet and the Mediterranean, in their old, cavernous lobby. That was large cutting edge technology for its day, and the Museum used it to make the space more friendly for visitors waiting on line to see the show.

Today they’re carrying on that tradition of being out in front in using technology, with imaginative, experimental efforts in social media and mobile,  to make the Museum friendly to new audiences. As a visitor I really feel that they’re trying to give me a wonderful experience and I’m willing to try it. In the process, I learn from them and they learn from me.

#WhiBi: The Twitter Tour of the Whitney Biennial

Tuesday, March 23rd, 2010

Today I participated remotely in the Twitter Tour of the Whitney Biennial, organized by @Whitney, @WNYCculture and @cmosntah (Caroline Miranda), and led by Biennial curator Gary Carrion-Murayari. Eight winners of a contest were invited to go on the tour through the galleries and tweet about it. A bunch of us followed the tweeters, got to ask questions, add comments and participate in a strange but enjoyable experience.

What was it like? The fun part was performing an unscripted conversation about the Biennial in real time with smart people I didn’t necessarily know. We came together and formed an ad hoc little community for the event (an event community) to eagerly share and receive words from the curator, reactions to the art, and pictures. Even though there were two distinct groups – those who were at the Whitney, and those who were not, it didn’t feel hierarchical.

As remote participants we only received a small fraction of the story due to the limitations designed into Twitter. There were plenty of tweets that arrived out of chronological order, partly due to dead spots in the Museum, and partly to the differences in people’s phones, so the flow wasn’t smooth. But no one expected a typical museum tour. In fact, I’m not sure any of us knew what to expect. That was part of the excitement. I was on auto-pilot for a few minutes when I had my ear buds in, as if expecting there to be Twitter audio. I guess that’s next!

Would I do this again? Probably. Did I have fun and converse with some very interesting people? Yes!

You can follow all the comments and see all the pictures at #WhiBi. You’ll be surprised how much you find out!

The Grateful Dead Shaking Up The New-York Historical Society

Saturday, March 20th, 2010

We recently went to the opening of a Grateful Dead exhibition at the New-York Historical Society – a very unusual show for them. As you would expect, the normally staid N-YHS crowd was rockin’ to live music and the vibe was good!

In the gallery everyone was animated, swapping stories, looking closely at the concert posters, tee shirts, album covers, memorabilia and at the amazing, lovingly designed envelopes and letters sent by fans requesting tickets to concerts or just expressing their love. It’s a small exhibition but you could spend a very happy hour there.

The New-York Historical Society is on to something with this exhibition. The Grateful Dead were a part of New York City’s history, having played the Fillmore East at least 12 times between 1967 and 1970, not to mention Sheep’s Meadow in Central Park and other venues many times during the 28 years before Gerry Garcia passed on.

Three things occurred to me as I was walking around.

One: why couldn’t N-YHS do a series of exhibitions on the history and impact of the music scenes in our fair city? New York has always been a place where reputations were made, and where music has deeply influenced the culture. Think about the East Village in the 1970s and ’80s; or Harlem and the jazz clubs in mid-town in the ’40s and ’50s. It’s probably been that way since there were enough people living here to be an audience, all the way back to the 17th century.

With a series of exhibitions about the history of music in NYC, new audiences of avid music fans would discover N-YHS. They’d be fascinated to see the music they loved and their own lives as part of a larger social history. This would probably change their perception of what History is, and make it feel personally relevant. They might even become members!

Two: this content really inspires visitors to share memories and comments. N-YHS could collect these stories to share with other visitors on their website, and on social media sites. It would be a wonderful way to help give N-YHS a fresh look.

Three: the Grateful Dead were really early adopters, probably pioneers, in the social media sphere in the way they embraced their fans’ entrepreneurial activity. Instead of outlawing fans who taped their concerts, they created special areas where tapers could stand and record the music. When fans began designing their own Dead t-shirts and other gear, instead of hauling them off the streets for illegally using the brand, they encouraged them to submit their designs and helped promote the best stuff.  The Grateful Dead were way ahead of the curve in so many ways!

Suggestions for iAfrica: Connecting with Sub – Saharan Art, an iPhone app

Thursday, February 18th, 2010

iAfrica: Connecting with Sub-Saharan Art is an iPhone app developed as part of an eponymous exhibition at the Minneapolis Institute of Arts (MIA), on view through April 4th, 2010.

The application contains images and related information for 28 objects from 14 African countries, as well as an interactive lamellophone. This feature is the most fun, since it turns your iPhone into an instrument you can actually play to make lamellophone sounding music!

The app’s main menu has icons for nine options, and a “Leave Feedback” link that takes users out to a visitor survey on MIA’s website. The obvious nav options are :

-       About

-       View All (objects)

-       Map

-       Lamellophone

Then there are five other choices:

-       Ethnographic

-       Sensorial

-       Aesthetic

-       History

-       Provenance

After reading the About section, I realized that these choices refer to the exhibition experience in the Museum, where visitors are encouraged to consider each object from five perspectives. The mobile content developers tried to carry the same experience over to the application.

Clicking on one of the five icons brings up an introductory statement that explains why it’s important to know about the objects from this perspective: “ethnographic” answers the question “How was it used? “Aesthetic” answers “What makes it beautiful? Etc.

Within each section there are two navigation options: View Objects and Main Menu. In View Objects mode, you see a full screen image of the object and can tap a little “i” for Info button that raises a transparent screen with label information. Unfortunately you can’t enlarge the images to see details.

The label lists location, object name, medium, size, acquisition details, and object number before getting to the description. The descriptions left me hungry for more information.

From the navigation I expected to learn about the objects in each section from a specific perspective. So I was a little disappointed to see the same label information presented about each object, whether I was in the Aesthetic section or the History section. It’s not clear why certain objects were chosen to appear in particular categories. Several of the objects appear in more than one category.

It seems like the label content came right off the gallery walls. While it’s always a good idea to repurpose content rather than create it for one platform, it’s also important to optimize the presentation of content to take advantage of a platform’s capabilities.

On the iPhone I would have appreciated larger images so I could zoom in to more easily appreciate the details of these unfamiliar objects – see the aesthetic qualities, imagine the tactile surfaces, locate the specific parts that define their use.

Also, the difference between the five perspectives would have been clearer if more detailed information related to the perspective in each section was provided, whether that was text, audio, video or just links to more info on the museum site or elsewhere on the web.

Finally, the survey linked to Leave Feedback is intended for visitors to the gallery, which is a little confusing when you’re coming from your phone. IPhone users could have been offered a link to email their comments directly to the museum.

There is definitely lots of interesting information here, but if MIA had taken advantage of the capabilities of the iPhone, and understood more about users expectations, I think they could have made this a much more engaging experience.

You can download the app here. Please let me know about your experience with it.

Why Yours, Vincent is a Great iphone app from the Van Gogh Museum

Sunday, February 7th, 2010

Recently I’ve started evaluating museums iphone applications, based on my experience as a producer of interactive and web based media for museums, and as an avid iphone user.

All the ones I’ve downloaded offer something to engage me when I need it most – on morning subway commutes, standing on lines, and sitting in airports. In other words, I use them the way some people download games or listen to music, to enjoy myself and keep boredom at bay.

Yours, Vincent iPhone appSo far my absolute favorite is Yours, Vincent: The Letters of Vincent Van Gogh, developed by the Van Gogh Museum and the Huygens Institute – KNAW in 2009 to provide a portable experience of the Van Gogh Letters Project.

What I love is that it offers an immersive experience: you’re drawn into the intimate details of Van Gogh’s life and art. The narrative structure, the letters format, and the fact that his art was personal and small scale make this subject very well suited to viewing on your own device.

The story unfolds in chronological chapters through Van Gogh’s letters, mostly written to his brother Theo. The chapters tend to correspond to the different places where Vincent lived, and the time span he lived there.

Within each chapter there are multiple sections; most present letters themselves, filled with sketches, and read in English as Vincent describes his plans, dreams, troubles, pleasures and work. Others have short interpretive videos of curators filling out the backstory. You can enlarge the letters, to see details of the many sketches Vincent sent to Theo, or study his handwriting.

Most chapters conclude with a gallery of paintings, sketches or watercolors Vincent made during the period covered by the chapter. You can’t enlarge them to look at details- though you definitely want to do that. All you can do is take in the whole image. Yet there’s a surprising amount you can appreciate, even at this screen size. Each one is like a promise – that the real thing will be worth the effort to go and experience in person.

While it’s kind of frustrating not to be able to enlarge the paintings it’s entirely understandable. The app has many video and audio clips and is already a whopping 302MB. Adding higher resolution images might have meant cutting back on the number of images altogether, or on the insightful media clips.

From a user interface standpoint, the navigation clear. There are three main options: Items, the main menu of chapters; Insight, an option which allows you to filter the chapter sub-sections by topics such as “love,” “sex,” “nature” and several others; and Info, with production credits.

Within each chapter, the navigation is horizontal. One nice thing is that navigation slides away while you’re looking at artworks so your view of each image is unobstructed. You can make the video controls disappear too, by simply tapping on the screen.

One minor complaint is that galleries don’t present the paintings in chronological order. If they did, in the gallery devoted to the self-portraits Van Gogh painted while he lived in Paris, you’d be able to see how his image of himself changed over time rather than viewing them in a seemingly random order.

I’ve also begun to explore iphone apps from The National Gallery (Love Art), Minneapolis Institute of Arts (iAfrica), the Brooklyn Museum, and NARB (more of a crowd sourced guide to local museum exhibitions in cities around the world). I’ll be sharing the results of my research about them in the coming days and weeks. The ones from Portland Art Museum and AMNH are on the list next.

If you’ve used any of these applications please share your thoughts. If you have other ones to recommend, let us all know!

Posted via email from mediacombo’s posterous

Blogs About Art Finally Get Some Respect!

Sunday, January 31st, 2010

Blogs offer serious journalism, breaking news, diversity of views and opportunities to connect directly with readers. Not all blogs, of course, and it hasn’t always been this way. For years people have criticized bloggers, claiming that they’re just a bunch of opinionators, not trustworthy sources of information – no one vets their facts or holds them to standards of journalistic practice.

I recently moderated Blog This!, a panel discussion whose purpose was to review how the role of blogging in the art world, by institutions, individuals, and entrepreneurs, has evolved over the past few years and whether it’s finally time to give art bloggers some respect!

Moderator Robin White and Panelists: Kelly Shindler, Paddy Johnson, Barry Hoggard, William Powhida, Ed Winkleman. Video thanks to James Kalm.

Our panelists were chosen because their blogs are well known in the art world, and because they represent a cross section of types. As my museum readers know, even institutional blogs have had to work hard to develop a community of readers and commenters. On the internet it’s not easy to gain the trust of an audience. 

Panelists 

Barry Hoggard, who runs the Culture Pundit network and the calendar ArtCat,

Paddy Johnson, publisher, editor and writer of Artfagcity,

William Powhida/williampowhida.com, artist

Kelly Shindler/ founder of the art21 blog (part of the PBS series on twentyfirst century art, Art21;

Edward Winkleman/edwinkleman.blogspot.com, art dealer

This line up had 130 people glued to their seats at X Initiative in Chelsea on January 15th, listening to their favorite bloggers answer questions about their blogging goals, roles, ethics, and efforts to keep things cordial when comments get out of hand.

The panel was sponsored by ArtTable, organized by Heather Darcy Bandhari of Mixed Greens, Lauren Pearson of Art Cycle, and myself.

We asked panelists these questions:

When so many newspapers and magazines are going out of business, or at least cutting back on reviews and criticism, can blogs honorably take up the slack in publishing art journalism and criticism and spread the word about new artists?

Are they trustworthy sources of information? What kind of ethical standards do they have? 

How do they fit with other social media services like Facebook and Twitter?

I’ll try to summarize the panelists’ most salient comments.

In response to questions about the trustworthiness of personal blogs vs branded print journalism:

-       Ed said – while the purpose of his blog is basically to promote his gallery, if he disrespects his readers (and those are the ones that matter because they are the only people paying attention to you) they’re stop reading.  Essentially, your readers keep you honest.

-       Barry pointed out that the role of the press should be to question people in power as well as to report on events; when a lot of print and TV journalists in this country don’t ask hard questions you could say they call into question their own ethics; some bloggers have taken up the role of asking hard questions – in the art world and about the news in general

-       Since serious writers and critics are migrating to the web, all the panelists agreed that galleries should include blog reviews on artists’ biographies

-       Kelly said that on the art21 blog, which focuses on presenting the artist’s voice, they had some issues with whether artists should write about their own work.

 

In response to questions about commenters and developing community:

-       Ed said “if you hit too hard at somebody they never come back so if you’re interested in changing someone’s opinion do it over a series of comments;

-       Paddy and Kelly agreed that there’s a lot of self-policing among community of commenters – they start to take care of themselves;

-       Kelly pointed out that a little debate strengthens the community

-       Still, all of the panelists moderate their comments now, to keep the conversations relatively focused and civil.

 

In response to the question of how blogs, facebook and twitter work together:

-       Paddy said different audiences prefer different tools so a blogger who posts to all three places will be talking to a wider group of people than simply those who read and comment on the blog itself

-       Paddy also said these are great ways “to break up the echo chamber of the blogosphere”

-       Kelly and William Powhida concurred saying that Twitter and Facebook are a useful interface for promoting the blog and developing other conversations

In response to a question about how to develop a successful blog:

-       Ed pointed out that Blogs are measured by traffic – one way to get more readers is to link to other blogs;

-       Ed said  – find your voice – it’s what makes your blog unique

-       I said – write about what you’re passionate about = strong content

-       Paddy added – update frequently

-       “The central currency on a blog is generosity,” in Ed’s words, “the more generous you are the more comes back to you.” He blogged about the panel, expanding on these topics before and after the panel.

 

After the panel Jerry Saltz, art critic for New York Magazine, wrote  “Excellent panel at ‘X’ last nite on Facebook. His comment that “younger critics should just say what they like/don’t like about works of art,” generated 138 comments and developed into a lively conversation about blogs, journalism, the state of art criticism, whether it’s a conflict of interest or not to accept gallery advertising on a blog about art, and who people’s favorite art writers.

And artist and videographer Jim Kalm wrote “I’ve always loved the whimsical freewheeling give and take of the blogosphere … creating a virtual Exquisite Corpse.”   He also posted two videos of the panel discussion for you to check out.

So I would say that blogs, for all their flaws, make a significant contribution to the cultural, intellectual and political conversations that inform our choices and actions every day.  Bloggers, keep on bloggin’!

Posted via email from mediacombo’s posterous

Who Shot Rock ‘n’ Roll

Thursday, December 31st, 2009

What a great show at the Brooklyn Museum! We went yesterday before it got crowded. While the photographer’s backstories are interesting, it’s really all about the pictures, the performers, the music, and your own memories. As well as people you knew.

Just a few of the pictures that stand out: a beautiful shot by William “PoPsie” Randolph of Jimi Hendrix in a suit playing back up for Wilson Pickett; a mesmerizing photo of Radiohead; Keith Richards as a proud papa; David Bowie’s 1973 music video “Life on Mars.” Only one thing – there should have been more women in the show.

It’s up until January 31st and it’s an energizing antidote to winter.

 

Posted via email from mediacombo’s posterous