The Accessibility, Disability and Care track investigates accessibility of software development and creative expression. How can we build software for implicit, nuanced and intricate form of care between people and within oneself? Accessibility is not only about explicit technical solutions. True accessibility begins by building on the understanding of normalcy, impairment, mental and physical health. In this track, we will criticize the mainstream narrative of technological solutions for accessibility, and propose an alternate method that begins with disability and community as the starting point for technology. We will investigate the latest initiatives for making Processing and other software more accessible for people who are Deaf, blind, disabled or impaired. We will discuss meaningful collaboration with various communities of social minorities and disabilities. We will imagine ways of making software accessible to those excluded in consumerist technology’s concept of personhood - those who can’t afford, those who aren’t visible and those who aren’t normatively abled. The track will be an open collaboration with the local community organizations and the disability community.
An introduction to the track will be provided by Taeyoon Choi and Johanna Hedva.
Taeyoon Choi is an artist, educator, and activist based in New York and Seoul. His art practice involves performance, electronics, drawings, and installations that form the basis for storytelling in public spaces. He co-founded the School for Poetic Computation where he continues to organize sessions and teach classes. He's currently a fellow at Data and Society Research Institute.
Johanna Hedva is the author of the novel On Hell (Sator Press, 2018). Their fiction, essays, and poems have appeared in Triple Canopy, Black Warrior Review, Entropy, Mask Magazine, 3:AM, The White Review, and elsewhere. Their work has been shown at Machine Project, Human Resources LA, the LA Architecture and Design Museum, and the Museum of Contemporary Art on the Moon. Their ongoing project on ableism, disability justice, and the politics of care, This Earth, Our Hospital, includes the essays "Sick Woman Theory" and "Letter to a Young Doctor."
In line with the Processing Foundation’s mission to make learning how to code a more equitable pursuit, the P5 Access Project is an attempt to support the accessibility of Processing’s web library (p5.js), and associated resources. This work is intended to open up participation to people who are blind and interested in learning how to code. In this lightning talk, we will provide a brief overview of the history of the project, its evolution, and plans for the future.
Claire Kearney-Volpe is an Art Therapist, Accessibility Specialist, Designer, and Developer. She holds a Master's Degree from New York University's (NYU) Interactive Telecommunications Program and is currently a PhD Candidate in NYU's Rehabilitation Sciences Program. Her work centers around Disability, Human Computer Interaction, as well as, the accessibility of education technologies. For the last 4 years, she has been researching, developing and teaching coding to blind and low vision youth and young adults. To complete this work, Claire has partnered with the Processing Foundation, New York Mayor's Office for People with Disabilities, Helen Keller Services for the Blind, The New York Public Library (Andrew Heiskell Braille and Talking Book Library) and most recently with Oysters and Pearls in Uganda.
We should come up with new ways of communicating about pain—new models, measurements, descriptions, illustrations, symbols, shapes, diagrams, dictionaries, charts, categories, images, sensations, situations!
This talk would look at the specifically problematic problem of how the experience of being in pain has been understood objectively—through brain imaging, biometric data, or questionnaires—and the general problem of how a deeply subjective, qualitative experience might be expressed with code.
Special attention will be paid to experimental models for modelling and discussing experiences that are immanently knowable, but very hard to describe to others, such as trauma, violence, poverty and illness.
In treatment for cancer, I was struck by insane variety of sensations that constitute ‘pain.’ I was also made aware of the role that interpretation plays in medical diagnosis—as an experiential, discursive process working alongside statistics and measurements. Taken together, what interpretive tools might we use to better understand varieties of unimaginable intensity? Imagine pain transposed to a slowly-changing sound, a binding light, a sequence of gestures, an ambiguous taste, a plurality of smells, made-up words, distortions of familiar images, changes in air pressure...
Giving thought to how we represent (diagnose, interpret, compare, discuss) pain—not even beginning to directly address comfort or relief—builds context for a shared understanding of something so completely individual and untranslatable that it breaks language. I think the Processing community would be interested, as a thought experiment, to dream up new images and ways of mapping the intensities of life, as uniquely different as they are for each of us.
Luke Fischbeck is an artist, composer, and organizer who designs and tests structures for access and dissent. He is a contributing member of the group lucky dragons (with Sarah Rara), co-founder and principal organizer of Sumi Ink Club (a platform for collaborative art) and KCHUNG Radio (a cooperative broadcast project), and director of the non-profit arts organization Human Resources. His work, solo and in collaboration, has been presented at the Whitney Museum of American Art, MoMA/PS1, the Centre Georges Pompidou, the Walker Art Center in Minneapolis, London's Institute for Contemporary Art, LACMA, MOCA, and the Hammer Museum in Los Angeles, the 54th Venice Biennale, Documenta 14, and The Smithsonian's Hirshhorn Museum and Sculpture Garden, among others.
Taking time to examine the walls we’ve built between ourselves, the cracks we leave for others to peer through, and our deep hunger to be seen.
When it comes to war (figuratively speaking), Rachel Simanjuntak have learned that she is not built for the front-lines. she is more like the medic - dealing with the aftermath and seeing things from between. It’s not the most glorious position, but there’s power here. She can feel it.
The BFLG will host a hands-on workshop to envision the posthumanist future of bodily (im)possibilities. How will coming changes in technology, culture, and aesthetics, including our inevitable encounters with non-human life, affect the embodiment of non-normative humans? What can we do to imagine and enact those futures that embrace alterity and heal alienation while resisting those that erase difference from their worlds? Can we imagine our alien bodies outside beauty and body standards of ableist, white, cis-het supremacies? As with all BFLG Amateur Hours, the workshop is unguided and participants can decide for themselves how to approach the topic-provocation. Some possible activities include: futuristic prosthetic design and prototyping; a think tank for inventing speculative anti-normative bodies (using polymer clay, mold making, and photoshop); conceiving and creating alien bodybuilding magazines; doing transhumanist makeup tutorials; coming up with DIY anti-gravity movement activities; researching present and past futurist crip and queer histories; writing our own sci-fi. Through these playful interactions (and an adjunct reading room of relevant texts), we hope to stir up thought and discussion about the place of non-normative bodies and identities in technotopian visions of the future as well as the problematics and seductions of physically “enhancing” technologies. Will we invent an intimate criptopia or Peter Thiel’s voyeurist nightmare? That’s for the participants to decide!
As designers and developers, it is our responsibility to make our work more accessible to people with a range of abilities. Expressive and creative authoring tools are no different. This workshop will provide participants with an overview of and forum to discuss disability, digital accessibility best practices, creative tools/projects, as well as, the work of makers, artists and developers of exceptional ability.
ALIEN BODIES and Disability, Design and the Development of Accessible Creative Tools are facilitated by Johanna Hedva and The Best Friends Learning Gang. The Best Friend Learning Gang is a pedagogical experiment that approaches education as a collective, decentralized, and undisciplined activity. Started in 2013 by Dani Bustillo and Joey Cannizzaro, the BFLG hosts embodied workshops called "Amateur Hours," with no instructor, on topics they don't understand, emphasizing the process of learning over the delivery of a quantifiable result or skill.
This session asks attendees to consider speech technology as a critical design space. Attendees will examine the language politics that go into voice design for systems like Alexa. For example, why does Alexa speak in its particular dialect? What’s possible using tools like the p5.js speech library and Speech Synthesis Markup Language (SSML) to make more adaptive and linguistically diverse voice systems? What can we learn from alternate perspectives, such as how voice is used in the blind community with screen reader software? This topic interests me as a UX professional with a language focus: I’ve worked as a Linguistics research assistant, as a strategist at the speech recognition company Pop Up Archive, and as a research lead for a Carnegie Mellon Master’s project working with many screen reader users. The 45 minutes will include a 20 minute presentation about issues and misconceptions related to voice user interfaces. The last 25 minutes will be a guided discussion on critical topics in voice design. Attendees might be asked to think about alternate power dynamics with voice assistants, new parameters in the phonetics, pragmatics, or syntax of synthesized speech, and to think about creative new use cases for voice on the web.
Emily Saltz is a UX Professional and media geek. She went from studying Linguistics and Russian literature to wrangling design and content for Bay Area startups. In 2017 she earned a Master's in Human-Computer Interaction at CMU, with a focus on emerging technology like including conversational user interfaces and virtual reality. She's currently a UX designer for Bloomberg.
How might transparent teaching, modeling vulnerability, and positioning teachers as human beings create spaces for radical openness and productive dialogues? As teachers and students, what are some ways to model radical kindness within an institutional setting? How might integrating elements of uncertainty and unknown into the lesson plan open up possibilities for collective learning? How do we support each other to resist fear, injustice, and inflammatory rhetorics, on and off-campus?
The Radical Pedagogy track welcomes proposals that considers compassion, critical thought, and nuance as a core experience in teaching and learning. We are interested in applications that put an emphasis on:
Color Coded is a POC collective of artists, programmers, activists, and educators that formed out of a growing disillusion with “business as usual” in our chosen fields, as well as the realization that being dependent on the current economic system is dangerous and hazardous to our health and to our lives. Through the need to survive, we have started to navigate our own way choosing instead to collaborate with one another to advance sustainable, community-centric projects. Color Coded members will discuss their collaborative process at the intersection of art, technology, pedagogy, and sustainable communities. They will discuss the importance of clearly defining an ethical framework for collective organizing; their process for creating a non-extractive, non-exploitive collaborative workflow; and their model for engaging directly impacted community members in the design process, from ideation and prototyping to final production.
Color Coded is a tech learning space for people of color of all identities. We are a transformative space that centers historically-excluded people in the co-teaching, co-creation, and co-ownership of new technologies. Through our projects and programming, we aim to expand mainstream definitions of technology so that they represent multiple forms of cultural production & creative strategies. We build tech that strengthens, rather than obscures, our ancestral knowledge. Our work supports and amplifies groups and individuals who are uplifting and sustaining communities of color in Los Angeles and beyond. Together, we advance sustainable, community-centric projects to stay life long learners, protect our families, defend our hoods, decolonize and indigenize, liberate ourselves, grow collective wealth, and simply thrive!
The Art & Creative Technology Lab at Weber State University has become home to a cohort of students making self-directed, critical projects in art and technology. Built on a one-time grant, and opened without staffing or programming, the lab operates through reading groups, bartered work time, and collaborative independent study classes. These work-arounds for running the lab with limited time and money have created space outside of regular curriculum where students take the lead in defining the values and practices that the facility is growing to support. In this presentation, I will discuss some of the learning the lab has enabled, the things I’ve learned from my students, advantages and pitfalls of working without a map, and reflections on institutional ambitions to scale up and formalize these and similar practices.
Molly Morin is an artist working at the intersection of digital and analog practices. She makes material representations of information through generative drawing, soft sculpture, and digital fabrication. Her projects set out to challenge assumed hierarchies, question our faith in data, and discover new means of making across traditional technical and disciplinary boundaries. She is has had recent activities include a solo show at the Utah Museum of Contemporary Art, an exhibition and lecture hosted by the Transcriptions Center at UC Santa Barbara, and a talk at the National Academy of Sciences.
As Foundations Coordinator for the Department of Visual Art and Design at Weber State University, Molly is dedicated to rigorous, inclusive education and to creating meaningful experiences early in the curriculum. Prior to joining the faculty at Weber State University, she taught at Clemson University, Tri-county Technical College, The University of Notre Dame, and Millsaps College.
Most of us think of Instagram as a place for communication, self-expression, and self-promotion. But what about the properties that it has a teaching tool? Instagram has limitless potential as an arena for radical pedagogy, where ‘students’ can engage with ‘teachers’ one on one through direct messages around areas of thought, in addition to utilizing Instagram stories for slide presentations and their ‘swipe up for live links’ feature as a way of disseminating information- with topics introduced via posts on stories and then commented on and posted in direct messages to facilitate dialogue.
The use of direct messaging and Instagram stories allows for personalized engagement and the ability to *speak* to teachers without fear of public embarrassment or shame. It also allows information to be accessible to a wider range of people; up to several thousand people a day, an amount that could never be packed into a classroom. This methodology encourages dialogue when people observe the conversation happening firsthand through the posting of excerpts in stories. There is also a built in moderation system, as direct messages have to be approved individually before they can be viewed, and the sender does not know they were seen unless you choose to accept the message.
Millions of people are on Instagram, and there is infinite potential to create open concept ‘classrooms’ accessible to all utilizing the social media site. I’m hoping to bring a fresh perspective to the concept of using free Internet platforms as a way to encourage open dialogue and disseminate information in a way that is safe and encouraging, without fear of being attacked or overrun. I think this will be especially relevant to the youth of the Processing Community, who are increasingly plugged in and often overlooked in terms of teaching methodologies that don’t take into account their reliance on mobile devices and the Internet.
seren sensei (@sensei_aishitemasu) is a writer, cultural critic and new media maker. focusing on the bonds between race, politics and pop culture, she creates race-based video content and released her first book, entitled ‘So, About That… A Year of Contemporary Essays on Race and Pop Culture,’ in 2015. she was a 2016-2017 research fellow with at lands edge, an art and activism fellowship program and pedagogical platform in Los Angeles dedicated to decolonizing research methods and other models of higher education for cultural producers wishing to combine activism and art. her work has been exhibited in the art space ‘human resources la’ as well as the Vincent Price Art Museum, and it has been utilized by outlets like AJ+ as well as People Magazine. seren also facilitates an active community of almost 40,000 subscribers and almost six million views on her YouTube channel. she is a contributing writer at Nylon Magazine as well as Riot Material literary website. In June 2017, she was awarded the ‘Black Woman Being’ activism award from Safety Pin Box. seren is currently on a cross-country road trip filming the first season of her documentary web series, The [Black] Americans.
With hate groups and authoritarians wielding meme culture and media techniques from reality television to spread their messages, it's vital that marginalized communities learn to utilize new media environments to tell stories about their perspectives. This lightning talk will look at the tension of this moment, the history of propaganda and resistance, and outline possible ways forward.
An Xiao Mina is author of Memes to Movements: How the World’s Most Viral Media is Changing Social Protest and Power. She leads the product team at Meedan, where they are building Check, a platform for collaboratively verifying news in real time, and Bridge, a platform for translating social media and messaging app content. She is also a co-founder at the Credibility Coalition, an effort to develop a standard for assessing content credibility online, and co-chair of the W3C Credible Web Community Group. At Harvard University, Mina is an affiliate researcher at the Berkman Klein Center for Internet and Society and a recent 2016 Knight Visiting Fellow at the Nieman Foundation for Journalism, where she studied online language barriers and their impact on journalism. She has spoken at venues like Creative Mornings, Harvard Law School, the Personal Democracy Forum, and the International Journalism Festival, and she has contributed writing to publications like the the Atlantic, Quartz, Fast Company, and the Economist. With her collective The Civic Beat, she’s exhibited work in spaces such as the Victoria and Albert Museum and the Museum of the Moving Image. She is an advisory editor to Hyperallergic and serves on the board of China Residencies.
This lightning talk will introduce the core concepts of word embeddings and their influence on pre-existing androcentric and racial hegemonies in the English speaking world. It will briefly touch upon machine learning, sentiment analysis, and appraisal theory, but in an accessible and introductory way. Its focus is to open a discussion around the techniques which mechanically debias word embeddings, and reflect on their efficacy and social implications. We will also broach gender neutrality in non-english speaking languages, the warped underbelly of machine learning databases, and the “whig history” surrounding machine learning and its authors. The goal of this talk is to provide a comprehensive stance on natural language processing and its disparate elements, while underscoring the need for diversity in code.
Echo Theohar is an artist and researcher working between Los Angeles and Santa Barbara. She has served as a community technologist and lecturer at venues such as LACMA, The College Art Association, The Armory, The Mistake Room, Women’s Center for Creative Work, Coaxial, UCLA, Humboldt (Berlin), and AUP (Paris). She is currently completing an MFA under a Chancellor and Levitan Fellowship at UCSB.
This session takes the form of a hybrid workshop/and design challenge, to blend question and answer, with radical infusions of enthusiasm, care, energy, leading to a critical conversation about how to better support each other.
In rapid succession we will learn what is critically lacking in our togetherness, what is working, what we want more of, emerging a radical mission statement for critical change - we will share the floor and listen radically and swiftly, creating a broadside of our collective tenets, in real time. The manifestation of our aims will then be printed and taken away for distribution and sharing by all! Manifestos on the move for radical critical change!
What if people have different goals? Will all our questions be answered? Will we have a meaningful time checking ourselves and creating a wave? Who is it up to? Who has the answers? What the fuck is going on!? What do you mean this all takes place in 45 minutes!?
Linda Ravenswood is a poet and performance artist from Los Angeles, California. She is Founder and EIC of The Los Angeles Press, and a fellow at The Women’s Centre for Creative Work. An educator, lecturer, and dramaturge, Linda is writer in residence for the California Writers Project / Yefe Nof Award 2018 - 2019. She was shortlisted for poet laureate of Los Angeles in 2017.
What do the current culture of programming and visual arts tell us about monsters, synths, and future gods? What happens when we add decolonial and spiritual lenses to the examination of these monsters, synths, and future gods? And in light of these revelations, how does mutual reciprocity help us navigate building coalitions to counter neoliberal, capitalist, and colonial dominance within programming and visual arts?
Angela 'Mictlanxochitl' and Jason Wyman will develop narratives and work with Enrique Arriaga, an electronic sound artist, to create an audio-visual experience to open and stimulate a circle-based conversation with participants. As artists, cultural laborers, and neighbors, we hold visions for radical pedagogies that recreate our futures by challenging dominant narratives. The tools and means of living these pedagogies are rooted in how we embody spiritual, political, economic, and cultural environments. In particular with a sensitivity to the displacement of indigenous peoples and histories, the spectrum of gender and sexualities, multiple ways of knowing, and phenomenon. Our 45-minutes is an offering to reconstruct terminology, practices, and values as related to our monsters, synths, and future gods.
Angela ‘Mictlanxochitl’ Anderson Guerrero (Oakland and Mexico City) is a psychopomp of care for both spiritual and artistic ceremonies. She collaborates with space and artists who represent a process rupturing the illusions a tethered modernity. She grounds and explores the tensions of the role, purpose, and responsibilities of consent; and the contradictions and possibilities for art workers collaborating with not only artist, but also with the land, sacred objects, memories, subjugated histories, and knowledge holders. Her work in the community includes the offering of the “Indigenous Knowledge Gathering” on Ohlone territory in 2015 and on Tohono O'odham territory in 2016. Her panel participation in “White Privilege in Socially Engaged Art” at Open Engagement 2016 and the panel she led, “Reclaiming the Commons of Contemporary Art” at the Oakland Book Festival 2017 were both controversial and introspective discourses bending the mirrors between self and society. She serves as a council member of Danza de la Huitzlimetzli and Danza de Luna Chalchixiumeztli, a transterritorial Mexica ceremonial practice.
Jason Wyman (San Francisco) is many things. Today, they are an artist exploring temporal being on both the physical and virtual planes. Their most recent installation invited everyone to BE JASON and examined themes of consent/participation, connection/introspection, reciprocity/exchange, and preciousness/transformation using mapping, reading, making and becoming. Their work has been featured at the Asian Art Museum, SOMArts Cultural Center, Santa Cruz Museum of Art and History, and Greenlining Institute.
I have developed a non-competitive drawing game called Flower Eater to explore creative software design that can be effectively used to introduce computational media (both its benefits and shortcomings) to newcomers. In this workshop I will introduce the game and play it alongside the session's participants, who will also receive a published copy of the game's instructions to share with their own educational communities.
Jeffrey Alan Scudder travels and spends his time performing, programming and making pictures. Since 2016 he has given over 50 lecture performances on Radical Digital Painting and related topics in the US and in Europe, often with collaborators Goodiepal & Pals, Julia Yerger, Artur Erman, and Casey REAS. He has taught at UCLA and Parsons The New School for Design and worked previously at the design studio Linked by Air. Jeffrey received an MFA in Sculpture from Yale University School of Art in 2013.
How can creative practice undermine the present and produce an imagination for alternative futures?
As software becomes increasingly central to all aspects of human life, artists and designers working with code play an important role for imagining the world outside of the status quo. How do practices that use software and design for esoteric, discursive, political and aesthetic ends, help us break free from predominant narratives? We are looking to showcase the work of a diverse group of artists, designers and thinkers who use code to:
What happens when we consider the radical potential held within everyday materials? This talk is a meditation on various historic and diasporic technologies that black people have used to signify and encode sanctuary within hostile spaces. Through the semiotics of the Freedom Quilts, the network structures of the Negro Motorist Green Book, and the clandestine geographies of the Dorchester Greenlight project, we look at creative practices that suspend programmatic method, instead breaking open the materiality of familiar artifacts in favor of discordant moments for emerging possibilities.
Ron Morrison [Elegant Collisions] is an interdisciplinary designer, artist, and researcher working across the fields of human geography, digital technology, and urbanism. Their practice works to investigate the generative ways in which the unassimilable refigures, complicates, and dissolves our understandings of race + geographic space as fixed and knowable. Focusing on boundaries, subjectivity, and protection they look for the ways that fissures and inconsistencies can allow for emergent moments to practice new spatial relationships and epistemologies. From these seemingly dissonant spaces we learn to rework and retune systems towards an increased potential for collaboration and action, from the quotidian to the phenomenological. From building open source platforms to upend the continued practice of solitary confinement to crafting community based archives to combat gentrification, their work investigates cartographies of slow violence, cybernetics, unassimilable data, and blackness. They have had work featured in AIA New York, the UN World Urban Forum, and the Tribeca Film Festival. Ron holds degrees in Psychology and Gender Studies, as well as a graduate degree in Design and Urban Ecologies from Parsons School of Design. They are currently an Annenburg PhD Fellow in the School of Cinematic Arts at USC in Los Angeles.
The Voice in the Machine is an art and journalism that explore Asian identity in the high-tech sector. Silicon Valley is at parts 50% first-generation immigrants, but these minorities are often excluded from public platforms such as press coverage or leadership positions. The project consists of recorded, anonymous interviews with Asian immigrants who work at major tech companies, anonymously share their thoughts on the political and social impacts of the technology they work on, focusing on globally-relevant issues such as immigration policy or algorithms and censorship. Excerpts from the project will be presented as well as background information about the Asian labor force within technology.
Cynthia X. Hua is a researcher and artist, working to understand artificial intelligence and the processes behind algorithmic technologies that tie them to culture, identity and economy. Hua has shown works at the The Mint Museum, the Asian Arts Institute, the SF Arts Institute, the Yerba Buena Center and other institutions. She is currently an incubator member with New Inc. She has previously spoken about technology and culture at outlets such as Theorizing the Web, Ars Electronica and Creative Tech Week.
The aesthetic qualities of limitation are difficult to discern. Grand narratives around software typically predict an ever-expanding horizon of action space, towards an aesthetic of a fully-empowered user. How does this myth of unadulterated agency map onto similar narratives of sovereignty, citizenship, and merit in America? If our lives are increasingly mediated by a technology that presents as boundless, does it become more difficult to see the oppressive structural boundaries within our society? There are few areas where the boundaries of possibility are more explicit and unwavering than software. What happens when this quality is treated as central to the medium? How can an artist create interactive systems that generate meaning through limitations, through sharply drawn boundaries? And more importantly, how can an artist do so through something other than the representation of futility? This talk briefly covers an approach to thinking through software as a medium of negative space and how artists can work to orient code towards the indeterminate, vulnerable and outraged.
Stalgia Grigg is an artist, educator, and activist based in LA. He makes systems, interactive and non, to try to understand how revolutionary impulses move through culture. He has shown work at venues including the Walt Disney Concert Hall, Hammer Museum, and Coaxial Arts Foundation. Stalgia received a MFA at UCLA in Design Media Arts and a BSVA from Purchase College.
This talk explores the potential for virtual spell casting in Traumagotchi, a browser-based project in p5. On the Traumagotchi website, the user creates a virtualization of their trauma. A spin on virtual pets, these Traumagotchi can be fed, bathed, and rested. They circle endlessly in cyberspace, tending to the DeepInTheMachineWorldTraumaCompostShrine. While the website is active, the code casts virtual spells for healing. Because all the function and variable names are replaced with words of DeepMachineIncantation, the execution of code itself becomes a form of incantation. Conceptually, Traumagotchi is an inquiry into the limits of computation. It asks: Does the execution of code hold the same weight as spoken words? In the lightning talk, I will speak to the power of setting intention, queering functionality, and my desire to inject poetic, magical code into the fabric of the web.
Lark VCR aka. Virtually Conflicted Reality explores multiplicity of meaning and experience in an increasingly digitized world, nudging at the dissolving boundary between body and machine. Lark is a graduate of UC Berkeley’s MFA program and is currently teaching at the CADRE Digital Media Art Program at San Jose State University.
The LAPD's data analysis and crime prediction initiatives present us with algorithmic systems that attribute criminality to individuals and local communities without their immediate awareness. While we might denounce these systems for their opacity or scrutinize their statistical biases, it is equally important to address how these systems implicate certain consequences by design. Accordingly, we can analyze the public documentation, designs, and discourses of algorithmic surveillance systems to reveal their procedural tendencies, interactive capabilities, and regimes of visibility. In this lightning talk, I describe two visual simulations that I developed to interrogate these aspects of LAPD data analysis systems. As interactive renditions of algorithmic systems that are otherwise opaque to us, these simulations articulate system design principles in order to make their operations more legible. By doing so, they encourage us not just to identify how algorithmic systems are biased or opaque, but to ask how their design criteria and rationales enable particular biased practices and regimes of visibility.
Peter Polack is an interface developer and game designer that uses artistic practices to develop critical theories of computation. His research concerns the ways that approaches to theorizing or representing algorithms inform our capacity to critique and organize around their consequences. Peter is a PhD student in the Information Studies program at UCLA, where he is also a member of README, a student group that organizes around digital rights issues.
Jon-Kyle Mohr is an autodidact. Growing up in a musical family, he discovered design as a child through an interest in aviation, and began programming to contribute to the internet, the primary source of his informal education while unschooling. For several years he was a member of the team behind Cargo Collective, where he wore many hats. His work currently concerns the relation between networks, environment, and time.
The internet of today appears to us as a monolithic, totalizing force. In this workshop/alternate reality game we will do work to demystify it, imagine alternatives, and show how the internet doesn't have to be the only network around. To do so we will engage with and explore a simulated infrastructure of pocket local networks, on something like a digital scavenger hunt. Our goal is to be playful with our network technologies while still being critical of their uses and impacts on our lives.
Our primary tools are the command line, and Herbivore, an open-source packet sniffing and network visualization software. No previous experience with the command line or networks at all required, but participants will need to bring their own laptop.
Alden Rivendale Jones is a New York City based artist, researcher, and programmer working in performance and new media. Recent work themes include human to algorithm interactions, utopic infrastructures, and failure. Formerly they were a curator at hq Objective Gallery in Portland, OR. Currently they are a managing editor of Adjacent Journal and finishing a masters degree at New York University's Interactive Telecommunications Program.
Play is not work; let’s start there. Play is also ubiquitous, a relationship, a stance, that someone can take up at any time or place. Like humor, play helps us cope with the world; and like humor, play can be critical and transformative. What does play look like when it isn’t connected to a game or a sport? What is it that makes play, play? Are there constituent elements required for play to begin? What makes a thing into a toy? Can “serious” play be fun?
The Epic Play! track will work to develop ideas, strategies, toys, and games that critique, dissolve, and reconfigure politics, social relationships, solitude and everyday life. We are looking for applications from children and adults using the concept of play to:
Track Coordinator: Chandler McWilliams
At the start of 2015 I set myself the challenge to make a digital artwork every single day. The intention was to do this for a few months, instead it has continued for over 3,5 years now.
Making daily sketches allows me to explore and experiment with new tools and aesthetics. In the beginning it felt uncomfortable to make something with unfamiliar tools. But after a while, there is a relaxed playful state where I’m free to play around with what I have learned. This is a process that I constantly return to when exploring new areas of my work.
Making daily sketches has become a time to relax and meditate. During this talk I want to share my experience and inspire others to create more through play.
Saskia Freeke is an artist, creative coder, interaction designer, visual designer and educator based in Amsterdam. She has a BA in Interaction Design and a MA in Computational Arts. Her work focuses on structure, geometry and playfulness. Central to her artistic practice is her daily digital art project that she started January 2015, where she experiments and explores creating patterns and animations. These artworks are mostly created with code. From her digital work she creates often physical artworks and she is interested in creating tangible interactive and playful installations. She previously taught at the University of the Arts Utrecht School for Games and Interaction in Visual Design and has taught Physical Computing at Goldsmiths University of London. Saskia has been a fellow with the Processing Foundation in 2017, where she created in collaboration with the Code Liberation Foundation multiple workshops including at A Maze Festival Berlin and a summer series at the V&A in London. In the Netherlands she helps with organizing Creative Coding Amsterdam and is the head of education for Creative Coding Utrecht.
Play, whether it be in children or adults is a space where social contracts can be tested, manipulated, and formed. The objects that accompany our play, in the same spirit, often can be designed to provoke gestures and behaviors that challenge what is socially accepted. Noise makers scream and holler and spit, blindfolds alienate and humiliate, piñatas burst with spectacle as bats swing through crowds. How can the rituals and formalities of celebration (birthday, graduation, retirement etc.) reinterpret our social contracts within digital and virtual spaces? Building inspiration from consumer games and objects that choreograph behavior, such as party blowers, noise makers, pin the tail on the donkey, bobbing for apples etc. McWharter will discuss new works that explore how the manipulation of these forms could produce new models of social interaction. Referencing recent research on toxic disinhibition in online social exchanges, this new body of work examines how physical contact within virtual space and physical form can generate speculative behaviors.
Kristin McWharter is a multi- disciplinary artist whose work interrogates the relationship between competition and intimacy. Integrating innovative and novel technologies within immersive sculptural installations and viewer- inclusive performances. McWharter's work imagines new and alternative forms of social behaviors and relationships. Inspired by 20th century social/ psychology research concerning “the self”, collective decision making, and technology as a contemporary spiritual authority, her work blurs the boundaries of social intimacy and consumer culture in an effort to evoke viewer’s individual relationships to affection, antagonism, sincerity and discomfort within the larger social context.
In 2018, we brought a cloud machine to the desert. All day, a series of clouds were generated and gently held in place by a machine-like sculpture. At night, they were illuminated by an interactive network of LED lights, revealing their inner geometries. The installation formed a juxtaposition of a fabricated structure and a natural phenomenon. Much of the project was dependent on choreography and timing of events to create dramatic effect, which was programmed in Processing on a small Linux machine. I'm looking forward to sharing this project with the Processing community, discussing the tools, experiments, and collaborative process for a mostly remote working team.
Adelle Lin is a creator from Malaysia that has lived in Asia and Australia before settling in the USA. With a background in math and architectural design, she has just completed an MS at NYU, focusing on the multimodal interaction problem space. She enjoys integrating the digital and physical to create playful experiences that serve as a canvas for unusual interactions. Adelle currently develops applications at Intel for emerging technologies and builds software tools for artists in her spare time. Combined with her personal practice, she has worked on projects for Paris Fashion Week, ICC Championships, CES, Play NYC, Play Times Square, Burning Man, A.Maze and Maker Faire. A member of Code Liberation and NYC Resistor, she loves to use games, maker tech and unicorns to build communities.
The Interworveld self is a concept that emerged as a way of presenting my work in 9 minutes. It is specific to this talk, and seeks to actively weave the different selves developed in my performance work with a frenetic montage of projects and associations in the form of a story. Puppet characters, set pieces, and drawings from different narratives show up in woozy and vertiginous vignettes to weigh in on process, indeterminacy, absurdity, and the possibility of using an artist conduit (myself) to reach new planes of existence, metanarratives, or develop a self beyond the body. From escape rooms, to teenage social media avatars, to sketch comedy: each character included will bring with it an impression of how reperforming our many selves in different social contexts creates new frames within which the theme and variation of our own emotional choreography is the content of life's play. The talk itself is a structure in which a play will occur, and the Interworveld self is the attempt to compress something as gooey as a sprawling cosmology into the crystalline structure of purpose and meaning. At once, a train wreck of half baked ideas can also be a public shedding and deconstruction of social conventions and expectations. Regardless of the product, this experiment is in the process of its own happening, and must happen before an audience.
Patrick Michael Ballard is an artist that lives and works at a cabin on the edge of the Angeles National Forest just outside of Los Angeles, CA. His work ranges across media including immersive theater, sculpture, performance, installation, drawing, writing, and sound composition.
In this talk I will discuss my approach to making and thinking about games in my creative practice and the creative and cultural space we cultivate at the UCLA Game Lab in an attempt to approach games as an artistic medium; and resist the intrumentalizing forces of Mass Entertainment, Tech Fetishism, Neo Liberal ideas about games fixing the world and doing useful things, and the High-Art //slash// luddite suspicions of new media art.
Eddo Stern is an artist and game designer. He was born in Tel Aviv, Israel and lives in Los Angeles. He is a Professor at UCLA Design Media Arts where he directs the UCLA Game Lab teaches courses on game design and culture; and courses on media art. His work explores the uneasy and otherwise unconscious connections between physical existence and electronic simulation, surrounding the subject matters of violence, memory and identification. He works with various media including computer software & hardware, game design, live performance, digital video, and kinetic sculpture. He is a strong advocate for independent game development, and the inherent potential of game design as a medium for artistic expression and cultural impact.
Feminist Futures is a multidisciplinary collaborative project imagining a utopian intersectional feminist world, 200 years in the future. Come learn about the project, discover the basic tenets of world building, and work together to design an artifact from this future world. See more about the ongoing project at feministfutures.org.
Paisley Smith is a Canadian virtual reality creator and documentary filmmaker. She is the creator of “Homestay” with the NFB Digital Studio and Jam3. She uses the design thinking process of world building in her work. She studied World Building at the USC School of Cinematic Arts in the newly developed World Building Media Lab, founded by production designer and futurist Alex McDowell.
Caitlin Conlen is a designer and artist. She has used world building techniques to facilitate language and communication for kids with Autism in her previous career as a behavior therapist, and is interested in the power of creative practices as tool for communication. She is a graduate from ArtCenter College of Design.
In this loosely structured session, participants will creatively engage with questions of privacy, autonomy, and data collection through collective face-painting and mask-making. Though README members will guide participants through a suggested menu of face-paint and mask options, experimentation is highly encouraged! We hope to paint some faces, make some masks, and encourage participants to paint/mask each other! Our goal is to test these "new faces" against facial recognition software. Will our imaginations outsmart the system? All materials will be provided.
README is a collective of UCLA graduate students that advocates for digital rights including privacy, security, access, and intellectual freedom within libraries, archives, and information work. Initiated by MLIS students in 2016, README welcomes community members throughout UCLA to join our efforts. Through weekly lab hours, collaborative publications, interdisciplinary conversations, and practical workshops, we organize against oppressive uses of technology and open new possibilities for a more liberatory future.
We are proud members of the Electronic Frontier Alliance.
A flatgame is an inclusive approach to game-making allowing anyone to make an interactive story or game using a cut and paste zine approach. Many flatgames tell autobiographies, short stories on memories or places visited, or create a virtual museum space, complete with soundtrack. p5-flatgame comes from the lineage of open-source, democratic software tools for online creation such as Twine and Flickgame, and is built with p5.js, p5.play and hammer,js. Participants will have a tutorial and brainstorming session and then create their own stories and games using p5-flatgame and photos, paint, markers or drawing software. At the end, we’ll exhibit the works we’ve created in a pop-up arcade and participants can choose to publish them online. Flatgame is intended to be a cross-generational workshop. All artmaking backgrounds and approaches welcome. Let’s expand our notion of what a game can be.
Lee Tusman is an artist, programmer, and educator interested in the application of the radical ethos of collectives and DIY culture to the creation of, aesthetics, and open-source distribution methods of digital culture. He creates interactive media, artwork, software, bots, websites, virtual assistants, games, sound and radio stations alone and in collaboration. Areas of research and work include: decentralized networks, generative processes, sonification of data, alternative interface and performance tools, Linux and open source software, bots and digital assistants. He studied at Brandeis University and received his MFA at UCLA in Design Media Arts. He is Assistant Professor of New Media and Computer Science at Purchase College.