Category: Art

Flagscape: Data-visualizing Global Economic Exchange in Virtual Reality

Overview

Scott Kildall is conducting research into data-navigation techniques in virtual reality with a project called Flagscape, which constructs a surreal world of economic exchange between nations, based on United Nations data.

The work deploys “data bodies,” which represent exports such as metal ores and fossil fuels that move through space and impart complexities of economic relations. Viewers move through the procedurally-generated datascape rather than acting upon the data elements, inverting the common paradigm of legible and controlled data access.

Economic exchange in VR

Details

The code constructs data from several databases at runtime including population, carbon emissions per capita, military personnel per capita and a United Nations database on resource extraction. All of these get combined to construct the Flagscape data bodies. Each one represents a single datum, linked to a specific country.

The only stationary data body is a population model for each country, which scales to the relative value for each country and resembles a 3D person using a revolve around a central axis. The code positions these forms at their appropriate 3D world location, such that China and India — the largest two population bodies — act as waypoints as their forms dwarf all others.

Population bodies of India and China

A moshed flag skins every data body, acting as a glitched representation that subverts its own national identity. Underneath the flag is a complex set of relations of exchange that exceeds nationhood. For example, resource-extraction machines are made in one country that then get purchased by another to extract the very resources that make those machines.

Brazil flag, moshed

Flagscape reminds us that our borders are imaginary and in this idealized 3D space, there are no delineations of territory, only lines that guide trade between countries, forms magically gliding along an invisible path. What the database cannot tell us is how exactly the complex power relations move resources from one nation to another. Meanwhile, carbon emissions, the only untethered data body in Flagscape, which affects the entire planet spin out of control into the distance only to get endlessly respawned.

Carbon emissions by Canada and Australia

The primary acoustic element triggers when you navigate close to a population body. That country’s national anthem plays, filling your ears with a wash of drums, horns and militaristic melodies that flow into a state of sameness.

Initial Inspiration

The project is inspired by early notions of cyberspace described by writers such as William Gibson, where virtual reality is a space of infinity and abstraction. In Neuromancer, published in 1984, he describes cyberspace as:

“Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding…”

Neuromancer

While this text entices, most VR content recreates physical spaces, such as the British Museum with the same artwork, floor tiles and walls as the real, or it builds militarized spaces in which “you” are a set of hands that trigger weapons as you walk through combat mazes. At some level, this is a consequence of linear-thinking embedded in our fast-paced capitalist economy, arcing towards functionality but ignoring artistic possibilities. This research project acts as an antidote to these constrained environments.

OverkillVR, a virtual reality game

It was with these initial conversations around virtual datascapes with Ruth Gibson and Bruno Martelli that I was invited to be part of the Reality Remix project and was included in the AHRC Reality Remix grant which is part of their Next Generation Immersive Experiences call. My role is a “collaborator” (aka artist) who is creating their own project under these auspices.

Spatialization and Materializing Data

Unlike the 2D screen, which has a flatness and everyday familiarity, VR offers full spatialization and a new form of non-materiality, which Flagscapes fully plays with. One concept that I have been working with is that since data has physical consequences, it should exist as a “real” object. This project will expand this idea but will also blur sensorial experiences, tricking the visitor into a boundary zone of the non-material.

At the same time, Flasgscapes is its own form of landscape, creating an entire universe of possibility. It refers to traditions of depicting landscapes as art objects as well as iconic Earthworks pieces such as Spiral Jetty, where the Earth itself acts as a canvas. However, this type of datascape will be entirely infinite, like the boundaries of the imagination.

Spiral Jetty

Finally, Flagscape continues the steam of instruction-based work by artists such as Sol LeWitt, where an algorithm rather than the artist creates the work. Here, it accomplishes a few things such as taking the artists hand away from creating the form itself but also recognizing the power of artificial intelligence to assist in creating new forms of artwork.

Alternate Conception of Space in Virtual Reality

VR offers many unique forms of interaction, perception and immersion, but one aspect that defines it is the alternate sense of space. Similar to the religious spaces before the dominance of science, as described by Margaret Wertheim in the Pearly Gates of Cyberspace, this “other” space has the potential to create a set of rules that transport us to a unique imagination space.

As technology progresses and culture responds, the linearity of engineering-thinking often confines creativity rather than enhances it. Capitalist spaces get replicated and modified to adapt to the technology, validating McLuhan’s predictions of instantaneous, group-like thinking. The swipe gestures we use on our phones get encoded in muscle memory. We slyly refer to Wikipedia as the “wonder-killer”. The flying car is often cited as the most desirable future invention.

Flying car from Blade Runner

At stake with technological progress is imagination itself. Will the content of the spaces that get opened up with new technologies be ones that enhance our creativity or dull it? Who has access to technology-inspired culture? How can we use, enhance and subvert online distribution channels? These are just some of the questions and conversations that this project will ask — in the context of virtual space.

I see VR in a similar place as Video Art was in the 1970s, which thrived with access to affordable camcorders. However, VR and this specific project has the ability to easily disseminate into homes and public spaces through various app stores. Ultimately, with this project I hope to direct conversations around access and imagination with art and technology.

Marshall McLuhan with many telephones

Work-in-progress Presentation

Our Reality Remix group will be presenting its research, proof-of-concepts and prototypes at two venues in London on July 27th and July 28th, 2018 at Ravensbourne and Siobhan Davies Studios. Both free events are open to the public.

Bibliography
Gibson, W. (1993). Neuromancer. London: Harper Collins Science Fiction & Fantasy.
McLuhan, M. (1967). The medium is the massage : an inventory of effects. Bantam Books.
Wertheim, M. (2010). The pearly gates of cyberspace. New York [u.a.]: Norton.

Revamping Moon v Earth

My artwork occupies the space between the digital and analog as I generate physical expressions of the virtual. In the last several years, most of my work with transforming data into sculptures and installations.

But sometimes I return to narratives themselves. It’s not so much a lack of focus but rather a continual inquiry into technology and its social expression. Imaginary narratives seem particularly relevant these days with the subjectivity of truth magnifying an already polarized political discourse.

I recently finished revamping a project called Moon v Earth, originally presented in 2012 at the Adler Planetary Museum. This augmented reality artwork installation depicts a future narrative where a moon colony run by elites declares its independence from Earth. It is now on display at the Institute of Contemporary Art in San Jose.

Here are a few augments from the 2012 exhibition that made it in the 2018 show. My favorite was this pair of newspapers, which showed two different ‘truths’. At the time, “fake news” meant nothing and the idea of seeding false stories into online outlets wasn’t a remarkable.

The last augment — the ridiculous wooden catapult about to launch rocks at Earth — refers to the Robert Heinlein novel, The Moon is a Harsh Mistress. This inspired the my project many years ago. In his plot line, the moon was a penal colony much like Australia 200 years ago and features an AI as one of the three heads of the revolution. The independence-seekers achieved victory by hurled asteroids at Earth as their most effective weapon.

I created this absurd 3D model in the imaginary world of Second Life as an amateur 3D assemblage. It was quick and dirty, like much digital artwork and as we see nowadays, like the fragility of truth.

The turn of Moon v Earth, at least the 2018 version is that the augments aren’t virtual at all, but instead are constructed as physical augments hanging from fishing line or hot-glued against a cardboard backing. At first, I tried working with AR technology, but soon discovered its compromises: a device-dependence and a distance between the viewer and the experience. Instead, the physical objects shows the fragile and fragmentary nature of the work in cheap cardboard facades and flimsy hanging structures distributed throughout the venue.

NextNewGames is at the San Jose ICA until September 16th, 2018

Farewell, Dinacon

I just spent 20 days on a sparsely-inhabited island in Thailand with about 80 artists, scientists and other imaginative people. Everyone worked on their own projects ranging from jungle-foraged dinners to plant-piloted drones to creating batteries from microbial energy. We had no AC for much of the day, got bitten by weaver ants, were surrounded by jungle cats and ate off each other’s plates. And, I absolutely loved the experience.

Microbial Battery Workshop

The gathering was Dinacon, the first Digital Naturalism conference and was co-organized by Tasneem Khan and Andrew Quitmeyer. I was a “node leader” which meant that I spent a bit of time reviewing the applications, organizing workshops and spending longer at the event than most.

Dinacon registration area

The site was Koh Lon, a small island that is just off the coast of Phuket. We stayed at a “resort”, which was actually fairly minimal and had small cabins, common house or options for tent camping. From the main work area, you walk a few minutes in one direction and you’re on the beach. In the other direction is jungle. There were no cars on the island, a handful of scooters, two hundred or so local residents and not a single dog. The soundscape felt entirely tropical with cicadas, birds and frogs filling the airwaves with their chatter. Our dinner was boated in each day and at the small restaurant we could get the three essentials: wifi (when the power was on), breakfast + lunch, and beer.

Selfie with Koh Lon in the background

The participants came from all over the world and arrived and left at random times such that there was constant inflow of new friends and outflow of sad goodbyes. Each day, we had about 40 people on the island. I could nerd out on my project, kayak in the water, take a break on the ship that we had access to (Diva Andaman), find myself sitting in a chair sharing ideas, play with hermit crabs or get away from everyone and walk in the jungle. Helping one another was something that effortlessly emerged in our temporary community.

Saying hi to the Diva Andaman

Questions that I asked myself upon arrival was will happen when you assemble a group of project-creating strangers in a natural environment, where you can take a break by putting on a pair of swim trunks and walk into the ocean? What does building things in on the island with its outdoor space and natural light do to your creative practice? How can I prototype an artwork that collaborates with this specific place?

I quickly became a lot less efficient and much more connected to people and place. I ended up creating better work and my body was utterly relaxed. Any shoulder pain I might have in an office space dissipated quickly. There were no Google calendar invites, no afternoon soy lattes and certainly no eating at my desk.

I found myself in daily arrhythmic patterns of production, often sitting on my neighbor’s the porch with headphones on and composing audio synth code, then stopping suddenly and reveling in nature. I would get interrupted to see a tree snake or find myself lost in conversation with someone’s project. In the evenings, we usually had self-organized small workshops or informal talks. I drank beer sometimes but also often went to bed early, worn out from the humidity and brain swell each day.

Arduino coding by susnet

I did make a thing! This experiment — a potential new artwork has a working title of DinaSynth Quartet. It is a live audio-synth performance between a plant, the soil, the air and the water, which is an electronics installation that is designed exist only outside. I connected each of these four “players” to sensors: plant with electrodes, ground to soil sensor, water to EC sensor and air to humidity.

Each one used a variation on my Sonaqua boards — a kit which I am actively using for workshops — to make a dynamic audio synth track, modulating bleeps and clicks to their sensor readings, creating a concert performance of sorts.

I’m not sure exactly where the work will go next, but I’m happy with the results. It was my first audio synth project and I’m far from being an expert, calling my approach “beginner’s mind”. However, most of the participants liked the idea and the specific composition that the jungle played.

I already miss everyone there: Jen, Tina, David, Rana, Pom, Sebastian and so, so many other delightful friends. And this is one thing I love about the life I’ve created for myself as an new media artist: after events like this, I now have friends who are doing inspiring work all over the world.

Jungle-foraged dinner party

 

Kira’s birthday party
Putting on a heart rate sensor on one of the local cats
Sonaqua Workshop in the common space
Local lotus flower

 

Millipedes were everywhere

 

Soldering work in the main space
Dani doing a lizard dissection on the beach at susnet

 

Andrew holding a snake

 

Little Niko, my favorite of the Dinacon Cats

Dinacon: 2 more environmental synths

Dinacon — the Digital Naturalism Conference on island of Koh Lon in Thailand — has been amazing. It’s been an opportunity to meet and collaborate with other artists, scientists, hackers, writers and more. The caliber of the participants has been extraordinary.

My art experiments have been around creating audio synth compositions from the environment, using low-cost sensors and custom electronics to make site-specific results.

In the last two days, I’ve made two composition-circuits, this one (below) which uses a soil sensor and tracks moisture in the sand.

And this one, which uses electrodes on plant leaves to simulate what the plants might be “saying”.

The GitHub repo for all my experiments is here.

Sonaqua at Currents 2018

I jokingly referred to my Sonaqua artwork as “the most annoying piece at the festival”. The exhibition was Currents New Media 2018, which was an incredible event.

It was a hit with the public and invited multi-user interaction. Kids went crazy for it. Adults seemed to enjoy the square-waves of audio glitch all night.

So yes, perhaps a tad abrasive, but it was also widely popular.

A number of people were intrigued by the water samples and electronics with what looked like a tangly mess of wires. It was actually a solid wiring job and nothing broke!

After working at the Exploratorium for a couple of years, I adjusted my approach to public engagement so that anyone can get something from this artwork.

How does it work?

The electrodes take a reading of the electrical current flow in various water samples that I collected throughout New Mexico. If more current flows through the water, then this means there are more minerals and salts, which is usually an indicator of less clean water.

The technical measurement is electrical conductivity, which correlates to total dissolved solids, which is one measure of water quality that scientists frequently use.

The installation plays lower tones for water that is more conductive (less pure) and higher tones for water that has less pollutants in it.

The results are unpredictable and fun, with 12 different water quality samples.

The light table is custom-built with etchings of New Mexico rivers and waterways, indicating where the original water sample was taken.

 

 

 

 

 

Gun Control (revisited)

My writing (below) was originally printed as part of the Disobedient Electronics project by Garnet Hertz. It is a limited edition publishing project that highlights confrontational work from industrial designers, electronic artists, hackers and makers that disobey conventions. 

 

Gun Control (revisited)

In 2004, I created Gun Control — a set of four electromechanical sculptures, which used stepper motors, servos and cheap cameras that were controlled by AVR code. The distinguishing feature of each unit is a police-issue semi-automatic replica handgun. You can purchase these authentic-looking firearms for less than $100.

The make-believe weapons arrived in the mail a week after I ordered them. That night, I closed the blinds, drank too much whisky and danced around my apartment in my underwear waving my new guns around. The next morning, I packed them in a duffel bag and took the “L” in Chicago to my studio. During the 45-minute commute I felt like a criminal.

Each gun is connected a stepper motor via a direct-drive shaft and flexible couplings. I used a lathe and a milling machine to make custom fittings. I hid unsightly electronics in a custom-sewn leather pouch, resembling some sort of body bag.

As people enter the Gun Control installation space, the cameras track their movement, and the guns follow their motion. Well, at least this is what I had hoped it would do. However, I had committed to using the first gen CMUCam and its blob-tracking software was spotty at best. I was under a deadline. It was too late to spec out new cameras. Plus, these were the right size for the artwork, which was using decentralized embedded hardware. I shifted my focus to building a chaotic system.

I re-coded the installation so the guns would point at different targets. They would  occasionally twirl about playfully and re-home themselves. I programmed the stepper motors to make the armatures shake and rattle when they got confusing target information. The software design embraced unpredictability, which made the whole artwork feel uncertain, embodying the primal emotion of fear.

Gun Control was my heavy-handed response to the post-911 landscape and the onset of the Iraq War. I exhibited it twice, then packed it up. It lacked subtlety and tension. At the time, there was not enough room for the viewer.

Just last month, I pulled the artwork out of deep storage. I brought the pieces to my studio and plugged in one of the units. It functioned perfectly. Upon revisiting this piece after 12 years, my combination of guns and surveillance seems eerily prescient.

Mass shootings have drastically increased in the last several years. Surveillance is everywhere, both with physical cameras and the invisible data-tracking from internet servers. Documentation of police shootings of unarmed African Americans is sadly, commonplace. I no longer recoil from the explicit violence of this old artwork.

I coded this using AVR microcontrollers, just before the Arduino was launched. It was tedious work just to get the various components working. I can no longer understand the lines of C code that I wrote many years ago. The younger me was technically smarter than the current me. My older self can put this historical piece into perspective. I plan to re-exhibit it in the coming years.

GitHub repo: https://github.com/scottkildall/GunControl

Collecting Sacred Fluids

I recently debuted a new art installation called Cybernetic Spirits at the L.A.S.T. Festival. This is an interactive electronic artwork, where participants generate sonic arrangements based on various sacred fluids. These include both historical liquids-of-workshop such as holy water, blood and breast milk and more contemporary ones such as gasoline and coconut water.

My proposal got accepted. Next, I had to actually collect these fluids.

My original list included: blood, holy water, coffee, gasoline, adrenaline, breast milk, corn syrup, wine, coca-cola, coconut water, vaccine (measles), sweat and kombucha

Some of these were easily procured at the local convenience store and a trip to the local gas pump. No problem.

But what about the others? I found holy water on Amazon, which didn’t surprise me, but then again this wasn’t anything I had ever thought about before.

I knew the medical ones would be the hardest: adrenaline and a measles vaccine. After hours scouring the internet and emailing with a doctor friend of mine, I realized I had to abandon these two. They were either prohibitively expensive or would require deceptive techniques that I wasn’t willing to try.

Art is a bag of failures and I expected not to be entirely successful. Corn syrup surprised me however. After my online shipment arrived, I discovered was sticky and too thick. It is syrup after all. Right. My electrical probes got gunky and more to the point, it didn’t conduct any electrical current. No current = no sound.

Meanwhile, I put out feelers for the human bodily fluids: blood, sweat and breast milk. Although it was easy to find animal blood, what I really wanted was human blood (mine). I connected with a friend of a friend, who is a licensed nurse and supporter of the arts. After many emails, we arranged an in-home blood draw. I thought I’d be squeamish about watching my blood go into several vials (I needed 50ml for the installation), but instead was fascinated by the process. We used anti-coagulant to make it less clotty, but it still separated into a viscous section at the bottom.

Since I am unable to produce breast milk, I cautiously inquired with some good friends who are recent moms and found someone willing to help. So grateful! She supplied me with one baby-serving size of breast milk just a couple of days before the exhibition, so that it would preserve better. At this point, along with the human blood in the fridge, I was thankful that I live alone and didn’t have to explain what was going on to skeptical housemates.

I saved the sweat for the last-minute, thinking that there was some easy way I could get sweaty in an exercise class and extract some. Once again a friend helped me, or at least tried, by going to a indoor cycling class and sweating into a cotton t-shirt. However, wringing it out produced maybe a drop or two of sweat, nowhere close to the required 50ml for the vials.

I was sweating over the sweat and really wanted it. I made more inquiries. One colleague suggested tears. Of course, blood, sweat and tears, though admittedly I felt like I was treading into Kik Smith territory at this point.

So, I did a calculation on the amount of tears you would need to collect 50ml and this would mean a crying a river everyday for about 8 months. Not enough time and not enough sadness.

Finally, just before shooting the documentation for the installation, the sweat came through. I friend’s father works for a company that produces artificial sweat and gave me 5 gallons of this mixture. It was a heavy thing to carry on BART, but I made it home without any spillage.

Artificial sweat? Seems gross and weird. The truth is a lot more sensible. A lot of companies need to test human sweat effects on products from wearable devices to steering wheels and it’s more efficient to make synthetic sweat than work with actual humans. Economics carves odd channels.

My artwork often takes me on odd paths of inquiry and this was no exception. Now, I just have to figure out what to do with all the sweat I have stored in my fridge. 

 

 

 

 

Sonaqua goes to Biocultura

Last month…yes, blogging can be slow, I traveled to Santa Fe with the support of Andrea Polli and taught a workshop on my Sonaqua project.

The basic idea of Sonaqua is to sonfiy — create sounds — based on water quality. As a module, these are Arudino-based and designed for a single-user to make a sound. I’m actively teaching workshops on these and have open-sourced the software and made the hardware plans available.

interested in a Sonaqua workshop? then contact me

My Sonaqua installation creates orchestral arrangements of water samples based on electrical conductivity. Here’s a link to the video that explains the installation, which I did in Bangkok this June.

Back to New Mexico..In the early part of the week, I taught a workshop on the Sonaqua circuit at one of Andrea’s classes at UNM, creating single-player modules for each student. We collected water samples and played each one separately. The students were fun and set up this small example of water samples with progressive frequencies, almost like a scale.

The lower the pitch, the more polluted* the water sample and so higher-pitched samples might correspond to filtered drinking water.

Later in the week, I traveled to Biocultura in Santa Fe, which is a space that Andrea co-runs. Here, I installed the orchestral arrangement of the work, based on 12 water samples in New Mexico. She had a whole set of beakers and scientific-looking vessels, so I used what we had on hand and installed it on a shelf behind the presentation.

A physical map (hard to find!) of the sites where I took water samples.

And a close-up shot of one of the water samples + speakers. If you look closely, you can see an LED inside the water sample.

My face is obscured by the backlit screen. I presented my research with Sonaqua, as well as several other projects around water that evening to the Biocultura audience.

And afterwards, the attendees checked out the installation while I answered questions.

Data Crystals at EVA

I just finished attending the EVA London conference this week and did a demonstration of my Data Crystals project. This is the formal abstract for the demonstration and writing it helped clear up some of my ideas about the Data Crystals project and digital fabrication of physical sculptures and installations.

 

Embodied Data and Digital Fabrication: Demonstration with Code and Materials
by Scott Kildall

1. INTRODUCTION

Data has tangible consequences in the real world. Accordingly, physical data-visualizations have the potential to engage with the actual effects of the data itself. A data-generated sculpture or art installation is something that people can move around, though or inside of. They experience the dimensionality of data with their own natural perceptual mechanisms. However, creating physical data visualizations presents unique material challenges since these objects exist in stasis, rather than in a virtual space with a guided UX design. In this demonstration, I will present my recent research into producing sculptures from data using my custom software code that creates files for digital fabrication machines.

2. WHAT DOES DATA LOOK LIKE?

The overarching question that guides my work is: what does data look like? Referencing architecture, my artwork such as Data Crystals (figure 2) executes codes that maps, stacks and assembles data “bricks” to form unique digital artifacts. The form of these objects are impossible to predict from the original data-mapping, and the clustering code will produce different variations each time it runs.

Other sculptures remove material through intense kinetic energy. Bad Data (figure 3) and Strewn Fields (figure 1) both use the waterjet machine to gouge data into physical material using a high- pressure stream of water. The material in this case — aluminum honeycomb panels and stone slabs — reacts in adverse ways as it splinters and deforms due to the violence of the machine.

2.1 Material Expression

Physical data-visualizations act on materials instead of pixels and so there is a dialogue between the data and its material expression. Data Crystals depict municipal data of San Francisco and have a otherworldly ghostly quality of stacked and intersecting cubes. The data gets served from a web portal and is situated in the urban architecture and so the 3D-printed bricks are an appropriate form of expression.

Bad Data captures data that is “bad” in the shallow sense of the word, rendering datasets such as Internet Data Breaches, Worldwide UFO Sightings or Mass Shootings in the United States. The water from the machine gouges and ruptures aluminum honeycomb material in unpredictable ways, similar to the way data tears apart our social fabric. This material is emblematic of the modern era, as aluminum began to be mass-refined at the end of the 19th century. These datasets exemplify conflicts of our times such as science/heresy and digital security/infiltration.

2.2 Frozen in Time

Once created, these sculptures cannot be endlessly altered like screen-based data visualizations. This challenges the artwork to work with fixed data or to consider the effect of capturing a specific moment.

For example, Strewn Fields is a data-visualization of meteorite impact data. When a large asteroid enters the earths atmosphere, it does so at high velocity of approximately 30,000km/hour. Before impact, it breaks up into thousands of small fragments, which are meteorites. Usually they hit our planet in the ocean or at remote locations. The intense energy of the waterjet machine gouges the surface of each stone, mirroring the raw kinetic energy of a planetoid colliding with the surface of the Earth. The static etching captures the act of impact, and survives as an antithetical gesture to the event itself. The actual remnants and debris (the meteorites) have been collected, sold and scattered and what remains is just a dataset, which I have translated into a physical form.

2.3 Formal Challenges to Sculpture

This sort of “data art” challenges the formal aspects of sculpture. Firstly, machine-generated artwork removes the artist’s hand from the work, building upon the legacy of algorithmic artwork by Sol Lewitt and others. Execution of this work is conducted by the stepper motor rather than by gestures of the artist.

Secondly, the input source of data are unknowable forms until they are actually rendered. The patterns are neither mathematic nor random, giving a certain quality of perceptual coherence to the work. Data Crystals: Crime Incidents has 30,000 data points. Using code-based clustering algorithms, it creates forms only recently possible with the combination of digital fabrication and large amounts of data.

3. CODE

My sculpture-generation tools are custom- developed in C++ using Open Frameworks, an open source toolkit. My code repositories are on GitHub: https://github.com/scottkildall. My own software bypasses any conventional modeling package. It can handle very complex geometry, and more importantly doesn’t have the “look” that a program such as Rhino/Grasshopper generates.

3.1 Direct-to-Machine

My process of data-translation is optimized for specific machines. Data Crystals generate STL files which most 3D printers can read. My code generates PostScript (.ps) files for the waterjet machine. The conversation with the machine itself is direct. During the production and iteration process, once I define the workflow, the refinements proceed quickly. It is optimized, like the machine that creates the artwork.

3.2 London Layering

In my demonstration, I will use various open data from London. I focus not on data that I want to to acquire, but rather, data that I can acquire. I will demonstrate a custom build of Data Crystals which shows multiple layers of municipal data, and I will run clustering algorithms to create several Data Crystals for the City of London.

 

Figure 1: Strewn Fields (2016)
by Scott Kildall
Waterjet-etched stone

Figure 2:
Data Crystals: Crime Incidents (2014)
by Scott Kildall
3D-print mounted on wood

Figure 3:
Bad Data: U.S. Mass Shootings (2015)
by Scott Kildall
Waterjet-etched aluminum honeycomb panel

Playing with the e-mail scammers

When someone sends you an email scam, think of it as an opportunity for fun. They stopped replying to my emails after several responses.

Here is the exchange:

—–

Goodday,
Good Day,
How is everything with you? I picked interest in your artwork and decided to write you. I will like to know if your artwork can be purchased and shipped internationally?. I can email the artwork of interest and payment will be completed in full once you confirm my purchase order with a quotation.
Kindly let me know when you are in office and ready to take my artwork order also let me know if you accept either Visa Card or Master Card for payment furthermore you can email me your recently updated website or art price list in your response.
Best Regards
Yoshida

Hi Yoshida,

Thank you for contacting me.

I’m curious which artwork you are interested in, I have available:

(1) Shoe-gazing — a 96-hour performance art video of me looking at my shoes. Audio track is optional.

(2) MDMA Buttplug — I think the title says it all. Leave it to your imagination.

(3) The Salmonella Experience — A crowdsourced experiment on Mechanical Turk, where I send people salmonella-infested eggs, which they ingest and document over a 4-day period.

Sincerely,
Scott Kildall

Hi Scott,
Good to hear from you please can you email me the cost of three available pieces

Thanks
Yoshida

Hi Yoshida,

Which one do you like best from my list?

That is the most important question. Price is secondary.

Best,
Scott

(3) The Salmonella Experience — A crowdsourced experiment on Mechanical Turk, where I send people salmonella-infested eggs, which they ingest and document over a 4-day period.

Thanks,
Yoshida

Hi Yoshida,

Thank you for choosing The Salmonella Experience.

I had thought that MDMA Buttplug would be more to your liking, for some reason. I do want to give you one last chance to reconsider. For, once we go down a financial path, then we cannot turn back and choose another artwork.

So, are you sure about The Salmonella Experience?

Question: What attracted you to this project over the other ones that were available?

Thank you,
Scott Kildall

<no response after this one…>

A friend of mine pointed me to this TED talk by James Veitch. So, obviously I’m not the first: