Waves on Land and Sea is a real-time artwork which uses live wind data from the Harbor Islands and techniques from computational physics to recreate two essential wind-driven motions of the islands.
Every 10 minutes, a computer inside this pavilion submits an Internet request to a weather station at Hull, Massachusetts, for the wind speed and direction in the Harbor. That data is then used to drive the two computer simulations seen on the screens. For one minute, computational blades of grass bend and flutter in a virtual wind; the next minute numerical water waves travel across the screen. The actual wind on the harbor, from calm to strong, is reflected in the activity and motion of the two simulations.
The Harbor Islands are always in flux; wind and tides scour and deposit sand and sediment, shorelines move, while grasses and wildlife adapt to their dynamic environment. Waves on Sea and Land reflects these timeless yet ephemeral forces with a never-ending, never- repeating simulation of two patterns of motion etched into the memories of the islands’ visitors.
for the Boston Harbor Islands Welcome Center
Chunky Frog Time is a new generative art installation by Brian Knep, created for the Boston Harbor Islands Welcome Center located on Boston’s Rose Fitzgerald Kennedy Greenway. The Welcome Center is the visitor information center for the Boston Harbor Islands national park area. Starting Friday, June 27th and running only after sunset, the animation is of a frog swimming against the tide of time, cycling from tadpole to juvenile and back with each kick. Moving across an ever changing made-made landscape, the frog’s struggles represent the ebb and flow on the islands, as well as the relationship between nature and our idea of nature.
ABOUT THE ARTIST
Brian Knep is a media artist whose works range from large-scale interactive installations to microscopic sculptures for nematodes. He was the first artist-in-residence at Harvard Medical School, working side-by-side with scientists, using their tools and techniques to explore alternative meanings and ways of connecting to the world. Knep’s Deep Wounds, commissioned by the Office for the Arts at Harvard University, has won awards from Ars Electronica, the International Association of Art Critics, and Americans for the Arts, who selected it as one of the best public-art projects of 2007. NY.
His work has also been shown at the Denver Art Museum, the Milwaukee Art Museum, the RISD Museum, the Aldrich Center for Contemporary Art, and others; and he has grants and awards from Creative Capital, the Massachusetts Cultural Council, and the LEF Foundation, among others.
Knep holds a Bachelor’s degree in Mathematics and Computer Science and a Master’s degree in Computer Science, both from Brown University. He also studied ceramics at the Radcliffe Ceramics Studio and glass blowing at Avon and Diablo Glass. Early in his career he worked as a Senior Software Engineer at Industrial Light & Magic, working on films such as Jurassic Park, Mission Impossible, and Star Trek: Generations. While there, he developed tools including two for which he and three others were awarded technical Academy Awards. Knep also helped found Nearlife, a high-end design and technology company, creating interactive experiences for science and children’s museums. His publications have appeared in computer graphics and computer-human interaction journals.
Knep lives and works in Boston and is represented by Ronald Feldman Fine Arts, NY,
ABOUT THE ART AT THE BOSTON HARBOR ISLANDS WELCOME CENTER
Boston Cyberarts, the National Park Service, and Boston Harbor Islands Alliance have collaborated on an ongoing project to commission public algorithmic art for display on the LED screens at the park Welcome Center on the Greenway between Fanueil Hall and the Ferry Ticket Center on Long Wharf. Boston Cyberarts commissions algorithmic artists, asking them to write computer programs that will create real time generative art that will be constantly changing. This program ties into the innovative strengths of the Boston area, using digital art algorithms to heighten the interest in Boston Harbor’s history and natural complex ecosystems.
Boston, MA – Phases is a new generative art installation by Sophia Brueckner and Catherine D’Ignazio, created for the Boston Harbor Islands Pavilion located in Boston’s Rose Kennedy Greenway. The Pavilion is the Welcome Center for the Boston Harbor Islands national park area. Starting Monday, July 8th and running only after sunset, the animation renders moonlight sparkling on ocean waves receding into the nighttime darkness. It is purposefully reminiscent of the condensed landscapes in early computer games where the complexity of nature is distilled into such a small number of pixels, analogous to modern difficulties in reducing complex real-world environments and situations into simple metrics computers can understand.
The animation is alive, and the computer program pulls information in real-time regarding the conditions of the Boston Harbor Islands to influence the constantly evolving animation. The tides affect the shape and speed of the overlapping and receding patterns. The middle column of light changes with the phases of the moon. Weather conditions affect the beams of light moving across the scene, and, on clear nights, flickering pixels emulate the glitter of light on water. While bringing awareness to the challenge of capturing real-world complexities using limited representations within the computer, Phases uses technology to link two places together in real-time, bringing a little bit of the Boston Harbor Islands to the city.
Programming for the low-resolution LED screens at the Pavilion is sponsored by the National Park Service and Boston Harbor Island Alliance. The programming content, curated by Boston Cyberarts, is designed to enliven a focal point of the Greenway after dark with themes that connect the viewer to the islands-based park 15 minutes from downtown Boston.
ABOUT THE ARTISTS AND THEIR WORK
Sophia Brueckner, born in Detroit, MI, is an artist and engineer. Inseparable from computers since the age of two, she believes she is a cyborg. She received her Sc.B. in Computer Science and Applied Mathematics from Brown University. As a software engineer at Google, she worked on the front-end development and interface design of products used by tens of millions and later on experimental projects within Google Research. Brueckner earned her MFA in Digital + Media at the Rhode Island School of Design and was also an instructor there teaching a course on science fiction and art. Her artwork has been exhibited internationally, and, in particular, she is interested in interaction design, generative art, algorithmic writing, and, as a technology antidote, painting. She feels an urgency to understand and bring awareness to technology’s controlling effects, and to encourage the ethical and thoughtful design of new technologies. She recently joined the MIT Media Lab as a graduate student in the Fluid Interfaces research group.
kanarinka, a.k.a. Catherine D’Ignazio, is an artist, software developer and educator. She is the Director of the Institute for Infinitely Small Things, and formerly led the Experimental Geography Research Cluster at RISD’s Digital+Media program. She is currently a graduate student at MIT’s Center for Civic Media. Her artwork has been exhibited at the ICA Boston, Eyebeam, and MASSMoCA, and has won awards from the Tanne Foundation and Turbulence.org. kanarinka has a BA in International Relations from Tufts University (Summa Cum Laude, Phi Beta Kappa) and an MFA in Studio Art from Maine College of Art. She has lived and worked in Paris, Buenos Aires, and Michigan, and currently resides in Waltham, MA.
ABOUT THE ART AT THE BOSTON HARBOR ISLAND PAVILION
Boston Cyberarts, the National Park Service and Boston Harbor Island Alliance have collaborated on an ongoing project to commission public algorithmic art for display on the LED screens at the Boston Harbor Island Pavilion on Boston’s Rose Kennedy Greenway. Boston Cyberarts commissions algorithmic artists, asking them to write computer programs that will create real time generative art that will be constantly changing. In an effort to directly relate to the Harbor Islands themselves, they draw from the National Park’s geographic information system (GIS) databases or streaming data from the islands themselves as a source, but the work remains somewhat abstract in nature. This program ties into the innovative strengths of the Boston area, using digital art algorithms to heighten the interest in Boston Harbor’s history and natural complex ecosystems.
Reben’s work takes real-time water turbidity information from buoy 44013 in Boston Harbor. In this case, turbidity is determined by plankton count and it is matched with water temperature to see how quickly the marine environment will encourage life. The data “seeds” the community you see on the screen. The community can grow if the conditions are right. Colors change from green to blue to red. When the new community reaches equilibrium, the program calculates a score to determine successful growth. Then the sequence resets and starts again.
For more information about the artist, visit http://areben.com/.
The National Park Service and the Boston Harbor Island Alliance have teamed up with Boston Cyberarts to create a two year art program calling for artists to make work for the two low-resolution screens at the Harbor Island Pavilion on the Greenway Conservancy. This exciting new endeavor will enliven the Greenway in the evening, while promoting the creative innovation of the region. While the Harbor Island Pavilion displays are approximately 6 x 8 feet, they have a resolution of only 48 x 64 pixels, which is not suitable for recognizable video imagery. Therefore, Boston Cyberarts has decided to commission various algorithmic artists to write programs that will create real time generative art that constantly changes.
In an effort to directly relate to the Harbor Islands themselves, the commissioned artists will draw from the National Park’s geographic information system (GIS) databases as a source, but the work will be abstract in nature. This program ties into the innovative strengths of the Boston area, using digital art algorithms to heighten the interest in Boston Harbor’s history and natural complex ecosystems.
The first work commissioned for the program is Cycles, Tides, and Seasons, by Cambridge-based artist Ben Houge. Houge is a algorithmic artist, composer and sound artist. His areas of activity range from computer game design and soundtracks to sacred choral music. Recently, he was artist in residence at the MIT Media Lab and teaches video game music in the Film Scoring Department at Berklee College of Music.
Houge’s Cycles, Tides, and Seasons reconnects Boston city dwellers with the natural environment in Boston Harbor, recalling a time when sustenance and society depended on the rhythms of nature. The piece superimposes data on three different time scales, reflecting the short term rhythms of Boston Harbor’s three lighthouses, the semi-diurnal rhythms of tides and waves (responding to real-time oceanographic information over the internet), and the slow, phenological change of the seasons, as reflected in bee populations on various Boston Harbor Islands.
In April we said a fond farewell to Atlantic Wharf, after a successful year of cyberart, electronic music and new media public art on Boston’s waterfront.
Here’s the Cyberarts wrap-up: We organized seven exhibitions of new media art, including art from such new media celebs as Daniel Rozin, David Rokeby, Golan Levin and Martin Wattenberg. We also presented five electronic music performances ranging from drone to voice to alttered and artist-built instruments. During the Boston Cyberarts Festival we hosted an art and technology dance performance by local company Kinodance, an augmented reality installation by Mark Skwarek, a virtual reality presentation by Public VR and a presentation and performance of the DemoScene.
Thanks to the people at Boston Properties for a great year of cyberart!
Imagine a weekend-long party where you make stuff, learn from other coders and artists, watch nifty demos, hang out with your friends, maybe meet some of your heroes, and hear some kickass music. That’s a demo party. A bunch of artists, musicians, and coders sitting in a room with their computers (sometimes escaping outside) being silly, and getting to know each other. Don’t worry, you’re allowed to sleep. This isn’t a 48-hour LARP. No one will assassinate you. It is important to get enough rest and calories or you won’t enjoy the party, and the rest of us will be very thankful if you shower at least twice during the event.
North America’s only current freestanding demoparty took place from June 13 to June 15, 2014 at MIT Stata Center (Building 32). Registration for that party opened in April 2014. Watch for the next party, coming June 2015!
The Ghana Thinktank is developing the First World!
Using new media and an interactive process it re-defines the world order, flips the usual roles of international development and builds important cross- cultural relationships. Ghana Thinktank is a decade-long project now in its fifth year. They were finalists last year for the Cartier Award and have been commissioned to exhibit the work at many museums and galleries internationally including ZKM in Germany, F.A.C.T. in Liverpool, Eyebeam and Queens Museum in NYC and The Bat Yam Museum for Contemporary Art in Israel. “Third World” think tanks analyze “First World” problems and propose solutions, which we enact in the community where the problems originated – whether those solutions seem impractical or brilliant. The success or failure of the solutions is documented and sent back to the think tanks, initiating another round of dialogue and action. For exhibitions we build elaborate site specific installations that document the entire process and involve audience participants in each step.
Ghana Thinktank was founded in 2006 by John Ewing, Matey Odonkor and Christopher Robbins. Carmen Montoya joined the group in 2009.
D.I.E.T is a project of Heidi Kayser, funded by New England Foundation for the Arts and sponsored by Boston Cyberarts. D.I.E.T explores the various ways that we as people situate ourselves in society. We follow cultural norms of consumerism, materialism, social boundaries, and all together take life too seriously. A series of public performances / interventions and sculptures take a look at the mechanisms that create our every day lives.
Using the web as a tool for massive collaboration, and both sound and video juxtaposed with sculpture and performance, D.I.E.T is an ongoing project that takes place in public and private space throughout the Greater Boston area.