In its second iteration as a participatory art festival, No Soul for Sale: A Festival of Independents celebrated the 10th anniversary of the Tate Modern in London. No Soul for Sale’s first iteration was in June 2009, at the X Initiative in the old Dia building, in Manhattan. The show itself is a collaborative effort by curators Cecilia Alemani, Massimiliano Gioni and artist Maurizio Cattelan.
The festival is a collection of 70 different artist spaces, galleries, artist collectives and various art organizations that have distinctly independent ways of performing art around the globe. The participating groups vary in size and location, from Istanbul (PiST) to Australia (Y3K). As it was in the first iteration of the festival, all of the work was staged together creating a large patchwork of groups, filling the Tate Modern’s Turbine Hall with projects. Turbine Hall had taped outlines on the ground assigned to the individual spaces, so that viewers could read the names of the groups as they passed through. One of the participating groups, Kling & Bang (Iceland) had an installation called Tower of Now by Hekla Dögg Jónsdóttir and Sirra Sigrún Sigurðardóttir, consisting of hundreds of strands of heat-sensitive roller tape suspended from the top of Turbine Hall and weighted down by Icelandic coins.
Tower of Now by Kling & Bang and Hekla Dögg Jónsdóttir and Sirra Sigrún Sigurðardóttir
The organizations selected for this festival hold a couple things in common, the most important of which is that they are all using innovative social formats for moving information around. Some of the non-profit spaces like Rhizome are globally dedicated organizations. Rhizome’s particular interests are in spreading digital culture and providing formats for digital artists to present their work online. The project they produced was entitled “Mail Nothing to the Tate Modern” in collaboration with David Horvitz. The concept was that people were invited to take a predesigned mailing slip Rhizome provided and mail an empty package to the Tate Modern then give Rhizome the tracking number. The tracking numbers are posted online creating a portrait of international mail systems.
Mail Nothing to the Tate Modern by Rhizome and David Horvitz
The way groups self-represent in these types of settings, sheds a light on how they operate within the circles of aesthetic information distribution. Many of the participating entities sent in informative literature about themselves or projects they produced. Several projects were sponsored works by single artists produced by the participating groups in the show. There was a dedicated space in Turbine Hall for performance events and presentations, which a good portion of the groups utilized. Some of the groups curated a few works by separate artists, or asked a group of artists they usually work with to participate on a larger collaborative piece. However the participating groups worked it out, there is a reoccurring sense in No Soul for Sale, that the exhibited works of art themselves are seen more as a creative democratic process than a presentation of aesthetic goods, which many art fairs and festivals end up being.
It can, and has been said, that these newer interactive forms of artistic production are the future, especially in relation to how many non-profit or alternative art spaces are beginning to distribute art to the rest of the world. This may be a way of marginalizing what is so important about works like these. The works presented in No Soul for Sale are not the way art will look in the future; it is what art looks like right now, and in some cases a few years ago. It is vitally hard to keep up with what all of the different artists in all of the different venues around the world are doing. We have a chance of seeing many of these different ideas together when they are presented the way they are out at Turbine Hall.
The PopTech community is an extraordinary one—filled with people whose words are as strong as the actions they take toward creating a better world together.
It has been my great privilege to serve as your chief blogger here on the PopTech blog, as part of my role as the Director of Community for PopTech. In the past year, we have made great strides weaving online threads of interaction as ephemeral as continuing Twitter conversations, as serious as in-depth guest blog posts that examined new work in the social good sector.
The small staff of PopTech (we are a dozen, a generous baker’s dozen all in) is comprised of fascinating and talented people that I respect as colleagues and in many cases, as friends. Andrew, Leetha, Beth, Louis, Keryn, Fil, Jen, Ollie, Heidi, Cordelia, Sarah, Annie, Dan, Colleen, and Emily—happy to have worked beside you.
As a staff, we often point to the Social Innovation Fellows as inspiration on a daily basis for our work, and one of the greatest parts of my PopTech role has been to interact with them as they rocket skyward. I hope they know I am their biggest fan and ally in the challenging work they have chosen.
I am now moving on to new projects and adventures, but know that I remain part of the PopTech extended family—I will see all of you at the PopTech 2010 conference in person or on Twitter—and I continue to watch this field that you are shaping into a force for good.
And now, let me introduce Emily Qualey, who knows the PopTech community well and lives in Camden, Maine. She has been part of the PopTech conference team for years, and more recently, has made the PopTech Tumblr blog a very exciting online reflection of what we are watching and find exciting and interesting.
Please welcome her as your guide to PopTech online; she will be a wonderful one as we move through an exciting summer of new videos, content, and events on our way to the October conference.
Most especially, thank you for all your smart comments, thoughtful suggestions, and excellent, quiet work building this community of ours into a strong network we are all proud to be part of.
Yesterday, PopTech convened a salon and workshop in Chicago on social mapping and social change.
During the day, workshop participants—including leading thinkers in mobile, geolocative services, social good, and philanthropy—discussed how their respective systems of organizing information and intervening in their local communities might fit together.
The day began at Google Chicago, where PopTech’s Executive Director Andrew Zolli and Executive Director of Ceasefire Gary Slutkin welcomed participants.
Filming took place for video that we will share with you in coming weeks.
The conversation spilled into breaks, lunch, and the late afternoon to talk strategies and behavioral modifications.
Peter Durand, who is a favorite part of every PopTech conference—he illustrates ideas from speakers on the stage—recorded all of the workshop presentations and salon talks graphically. He tells us why he wanted to be part of these discussions since last fall, and what he learned during the day:
PopTech Social Innovation Fellow Josh Nesbit, another workshop participant and the founder of Frontline SMS: Medic, told us what he thinks is important to remember in these conversations, and what he wants to learn more about:
In the evening, a salon convened at the beautiful Graham Foundation for Advanced Studies in the Fine Arts with speakers Ceasefire Executive Director Gary Slutkin, information designer Laura Kurgan, and Director of Crisis Mapping at Ushahidi Patrick Meier.
The audience asked smart questions (this is Justin Massa of Movesmart.org), and the panel talked about what they learned during the day from each other,
and the conversation continued afterwards,
with PopTech speaker alums and Social Innovation Fellows in attendance (here, PopTech Social Innovation Fellow Hayat Sindi speaking with PopTech’s Director of Fellows Leetha Filderman),
and we look forward to the next gathering of thinkers and leaders active in their communities, causing social change.
Look for the speaker videos and more from this week in Chicago soon, and thank you to everyone who participated in yesterday’s vibrant discussions.
This week we are releasing Rinku Sen’s PopTech 2009 talk. Sen, who is the president and executive director of the Applied Research Center and a leading thinker on racial justice, speaks about what a “post-racial America” really means.
The good news, says Sen, is that most people don’t intend to be exclusionary. More often, Sen suggests, racism is structural – embedded in society’s institutions and norms.
Sen draws on an example from her recent book, The Accidental American, Sen tells the moving story of a Moroccan immigrant who started an organization that fights for justice for all New York City restaurant workers. As Sen puts it, such a willingness to address the structural aspects of racism “is at the core of a compassionate, inclusive, effective society.”
The Applied Research Center has created a toolkit for advancing equality for all in the Green Economy.
You can also check out Van Jones, who appeared at PopTech 2007 to talk about the need for an inclusive environmental movement that makes connections between urban poverty and environmental problems.
What does it mean to you to live in an inclusive society?
Tonight, we are hosting a salon (a first for PopTech) on the theme of “Social Mapping and Social Change” at the Graham Foundation for Advanced Studies in the Fine Arts in Chicago.
The salon is full (you can sign up for the waitlist on the invite), and we will have video and images after the event. Follow the @PopTech Twitter account and the hashtag #socmap for more during the salon (6:30-9:00p CST) tonight.
PopTech Executive Director, and host of tonight’s salon, Andrew Zolli spoke with Chicago Public Radio yesterday (audio) about the topics being discussed today at a private workshop and tonight at the salon—mapping technologies and timeliness, how social information can create change.
Tonight’s speakers include:
Katrin Verclas of MobileActive (this is a video of her from December 2009 talking about her work with Nokia):
Gary Slutkin of CeaseFire (this is a 2008 video from a Volvo For Life documentary series):
And the evening will conclude with an audience Q&A session.
Yesterday, PopTech staff spent the afternoon filming members of the Ceasefire community at work in their communities—we’ll share that footage with you in coming weeks.
We look forward to seeing everyone tonight and continuing the discussions started this week with you in this space soon.
Questions you would like asked at tonight’s salon? Please leave them in the comments below.
Jorge Just of RapidFTR spoke with us briefly at yesterday’s ITP Spring Show 2010 at New York University (show continues this evening) about RapidFTR, a project that “helps aid workers collect, sort, and share photographs and information about children in emergency situations so they can be registered for care services and reunited with their families.”
Find out how the project began, why UNICEF asked the team to realize the concept, and how you can help.
As we continue to think about social mapping for the PopTech “Social Mapping and Social Change” salon this Wednesday in Chicago, RapidFTR is an excellent example of a project mapping people in crisis situations—in this case, displaced children, that benefits from a shared technological resource.
Thoughts on this project? Let us know in the comments.
As we prepare for the PopTech salon “Social Mapping and Social Change” in Chicago next Wednesday (there is currently a waitlist, and the event will not be streamed, but look for a blog post afterwards and tweets with the #socmap hashtag on Twitter), we are thinking about how social mapping might be defined.
One of the salon speakers, Patrick Meier, is the Director of Crisis Mapping at Ushahidi (PopTech Social Innovation Fellows Erik Hersman and Ory Okolloh are part of the Ushahidi leadership team).
Patrick has blogged extensively on the topic of social mapping; here are a few relevant excerpts:
“From Social Mapping to Crisis Mapping,” December 15, 2008
Social maps are not drawn to scale and are not meant to be complete. The relative size of the symbols representing available resources and infrastructure may denote their importance to a community. Likewise, the relative distance on the map of these assets may also denote how accessible or inaccessible they are to the local community.
Social mapping excercises may capture tacit knowledge of conflict triggers that would simply not surface clearly using a computer-designed map. These maps provide “The View From Below” as opposed to the top-down myopic perspective of “Seeing Like A State.”
“Towards a ‘Theory’ (or analogy) of Crisis Mapping” August 25, 2009
Crises are patterns; by this I mean that crises are not random. Military or militia tactics are not random either. There is a method to the madnes—the fog of war not withstanding. Peace is also a pattern. Crisis mapping gives us the opportunity to detect peace and conflict patterns at a finer temporal and spatial resolution than previously possible; a resolution that more closely reflects reality at the human scale.
“Ushahidi: From Crowdsourcing to Crowdfeeding” March 27, 2009
…Second, local communities are rarely dependent on a single source of information. They have their own trusted social and kinship networks, which they can draw on to validate information. There are local community radios and some of these allow listeners to call in or text in with information and/or questions. Ushahidi doesn’t exist in an information vacuum. We need to understand information communication as an ecosystem.
For more, we look forward to next Wednesday’s conversation and Patrick’s talk at the salon.
Editor’s note: Sarah Rich is a co-author of the book Worldchanging: A User’s Guide for the 21st Century and an advisory board member of PopTech Social Innovation Fellow Emily Pilloton’s organization, Project H Design. For more coverage of 48 Hour Magazine, see the team interview on Gizmodo and post on Big Think. The theme for the inaugural issue will be announced Friday, May 7th at 12p PST.
When the most common statement made about your industry is that it’s dead, there are two options: get out or make change. Of course many people in the magazine business choose a third option: stay in and complain about how bad things have gotten. It’s much easier to commiserate than to try to create something new; fortunately, sometimes one leads to the other.
48 Hour Magazine was born out of a kvetching session a few months back among a small group of San Francisco writers. The three of us—Mat Honan, Alexis Madrigal and myself—all have one foot in the print world and the other on the Web, and we share a fervent interest in the future of media.
Our original idea was simple: Create a magazine from start to finish in two days. In the vein of rapidly produced and one-off publications, we were inspired by Strange Light, Pop Up Magazine, Ash Cloud Tales, and The Whole Earth Catalog. The implications are more complex. By its very nature, this is a project that would not have been possible even five years ago. While the final product—a printed magazine—is centuries-old, the process behind it uses none of the traditional tools of print. 48 Hour Magazine is a product of online tools, social networks, crowdsourcing, remote collaboration systems, and DIY creative services. We are operating with complete financial transparency and even physical transparency, by posting a live streaming video feed of our headquarters during the 48 hours of production.
So how does it actually work? On Friday, May 7, we will announce the magazine’s theme. Submissions will open and for 24 hours, anyone can submit writing, photos, illustrations or graphics through 48hrmag.com. At the end of 24 hours, on May 8, submissions close and our team of editors and designers will spend the next 24 hours selecting, designing and laying out the best content for publication in the magazine. At the end of the full 48, on Sunday, May 9, digital files get sent to MagCloud, where they become a print-on-demand magazine that travels to readers in the plain old mail.
It’s worth breaking down some of the key moving parts of the virtual machine that will crank out 48 Hour Magazine:
Website and Content Management System: We were lucky enough to get Dylan Fareed, a very talented web designer and developer, to build a custom CMS for this project. The robustness of his system will become clear as the project moves forward.
Twitter: Twitter was absolutely vital for getting the word out to our followers. It was the only publicity vehicle we used, to overwhelming effect. All six team members are pretty dedicated users and have strong networks.
Heroku: From what our web developer tells us, this hosting service allows us to keep our website humming with all the fancy submission bits without buying any servers or even a monthly account.
Magcloud: We’ll be using the print-on-demand service Magcloud. You upload a PDF and out pops a magazine on the other end. They handle printing, shipping, and sales.
Spot.us: Spot.us is a revolutionary new media project that began as a vehicle for crowdsourcing investigative journalism stories in the Bay Area. They have been expanding both geographically and functionally, and as a partner to 48 Hour Magazine they serve as a financial engine that allows us to take in all funds transparently and publicly.
UStream: To keep things lively, this online video service will stream all the action at the 48HR HQ, which will be housed at the offices of the stalwart magazine, Mother Jones.
Whether this collaboration will catalyze any kind of massive change remains to be seen, of course, but the concept has undoubtedly struck a chord. One week after publicly announcing the project, we have over 6,000 people signed up to be notified when submissions open. Our team—now totaling 6 members, with the addition of Heather Champ, Dylan Fareed and Derek Powazek—has our work cut out for us. We envisioned a manic production process, and that’s exactly what we will get.
We’d love to see some contributions from the PopTech community! You can add your name and email address to our list at 48hrmag.com to be notified when the theme is revealed and submissions open.
At PopTech 2009, architect and Rhode Island School of Design (RISD) professor Kyna Leski spoke about the craft of architecture as an art form:
Leski encourages her students to pull away from assumptions about the creative process and instead learn to develop their own artistic sensibility by “knowing the world.” This occurs, Leski suggests, through the acts of gathering, seeing, and grasping.
During her talk, Leski spoke about an exercise she had her students do: taking a painting by Paul Klee and had them build the third dimension of the image using only white glue and white museum board. One student assigned height to the gradations of color so that his project, when held up to the light, closely resembled the work of Paul Klee.
Leski used this example to introduce her understanding of the creative process, suggesting that it relies on the process of discovery. For more on Leski’s teaching, you can check out her recent book, called The Making of Design Principles, which explores the first semester design studio at RISD.
As part of her teaching, Leski has expressed her “Ground Rules for Navigating the Creative Process.” These include:
- The creative process hold internal guides for a project’s development and guides an individual’s growth as well.
- Only by committing yourself to the authority of the work can you develop as artists.
- There is a power to limits.
- The whole cannot be seen from a single point of view.
- Words are essential to developing a consciousness of the creative process … an intimate felt experience of a “material language.”
- Everything is connected, somehow, from the astronomical to the metabolic.
These principles suggest an avenue for thinking about the impact of design throughout our lives.
What design principles do you think guide your view of the world?
Editor’s note: Kristina Loring manages content and community at frogdesign. Below, she responds to Kyna Leski’s 2009 PopTech talk about design and creativity, which will be released later today. For more background, see the liveblog post on Kyna’s talk, and read Kyna’s own response with notes on her talk.
cc image of Kyna Leski at PopTech 2009 by Kris Krug.
“Dwelling in uncertainty is key to growth and moving beyond the known through the imagination,” Kyna Leski told us at PopTech last fall. Leski, a principal at 3SIXØ Architecture and a professor at the Rhode Island School of Design, is less concerned with what her students know than she is with their “journey towards knowing.” Leski advises her students to “reach for the ground to find that the ground isn’t there.” In that way they’ll be able to let go of their preconceptions about ways of working (or ‘knowing’).
For me, this talk was a call to action, a challenge to break out of the box in order to discover visions and solutions that exist but that are usually hidden by our own applied filters. Stepping outside of our learned systems — departing from our routines in order to enliven our perception — is the perfect prescription for activist fatigue, writer’s block, or, indeed, any kind of innovation inertia.
Leski shares her experience sketching a design for a chapel that would expand the size of an existing church and give it more light, room, and space (or as Leski says, “allow the space to breathe”). When she created the 3D model of the church she kept forgetting to add the spire because it wouldn’t work with her design. Leski began to wonder why the spire was needed at all, so she turned to a dictionary to find the original meaning of “spire” in order to gain some insight into its architectural significance. She found that it comes from the Latin word for “spirit,” and is the root of words like “inspire,” “respire,” and “spiral.” So, instead of creating the traditional spire on the church’s façade they incorporated it inside the space by interpreting the meaning of the word in the church’s walls. Leski literally shaped the interior walls into a spiral that was integral in helping the space “breathe.”
When Leski moved away from her medium of understanding (modeling and sketching) and focused on linguistics in order to understand how the notion of spire could be understood in a different context, she solved the design problem with an aesthetic solution that actually embodied the word’s original intention. It is only when our mediums are in flux that we can disrupt our routine and gain a new perspective.
Leski’s emphasis on “arriving somewhere other than where you expected” is the ultimate motivation to completely break routine in order to gain an understanding, not only of your design problem, but to engage with larger social and political challenges. Applying Leski’s mode of Material Reasoning — the process of working with material to find, form, and develop ideas — helps us prototype a new set of systems, norms, and structures instead of defaulting to old ways of thinking. Leski wants us to embrace the unknown and create a space for both receiving information and using that information to “form a concept of the world and our place in it.” In other words, just having information (which is made ever more accessible by Google and new forms of search engines like Twitter) will not be helpful in finding creative and socially impactful solutions if you aren’t able to transform that information into an action with personal resonance.
Leski’s idea has implications beyond just design. It is, in fact, related to creating social change and fostering communal and personal empowerment. It is a matter of stepping outside of the system we are working to change in order to gain an understanding of what is lacking or needed in that system. If you do that, you are able to dive back into the challenge, and contribute fresh new insights into whatever change you are trying to create in the community.