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The Next Conversation: “Mass Action?”

Event Date: Tuesday, April 16, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

This time, we’ll be looking at mass action, that time-honored urge to get people into the streets, to get tremendous numbers of people engaged. Read on below for details. 

The Guests

You’re the guests for this one.

The Story

Mass Action. The topic may seem a little abstract, but it has a huge relevance to where we’re going and is also deeply entwined with Seattle’s history. Here’s the pitch:

Mass collective action has a long history as one of the most common tools for political and social change. It is one of the initial, go-to options in the face of war, environmental disaster, or political repression. Something really bad happens on a political level, and the first reaction is to get people into the streets as a show of collective force. Or collective action might entail a withdrawal of services, from the widespread teacher walkouts that spread across the United States in the past year, to any industrial labor action, to more absurdly, the sex strike to end a war in the ancient Greek comedy Lysistrata. More often than not, mass action serves to protest something, from the millions of people in the streets of London a few weeks ago protesting Brexit to Seattle’s landmark WTO protests in 1999.

But how effective is mass action, especially in its most common form, getting people into the streets? What use does it have toward building long-term social and political change? In Serbia, concerted mass action played a large role in the overthrow of the dictator Slobodan Milošević in 2000. But the Arab Spring demonstrations in 2010 were followed by a consolidation of repressive power, as were the huge Tiananmen Square protests in 1989.

If the WTO protests represent a relatively recent memory of mass action in Seattle, the ultimate Seattle mass action happened in February 1919, the Seattle General Strike. 25,000 Seattle workers from all fields walked off the job in support of 35,000 already striking shipyard workers, in a city of 315,000 people. It was huge.

This past February marked the century anniversary of that strike. The anniversary went pretty much unnoticed, except for a few lectures and panels for people who think about that sort of thing. But 100 years before, the strike shut down the whole city for about a week; it was unavoidable. And it engendered an ad hoc pop-up culture, with big neighborhood canteens feeding many thousands of people, the emergence of the city’s first food cooperatives, and emergency laundries, so that hospitals would have linens and babies would have clean diapers. There was maybe a bit of a Burning Man feel in the streets of Seattle in 1919.

Was the strike successful? That’s definitely arguable. It did not achieve its goals around helping the shipyard workers, and historians have suggested that it sparked an anti-worker backlash that lasted for decades. HistoryLink calls it a “glorious folly.” Some writers have suggested that if it didn’t achieve specific goals, it was still a success, because the strikers went back to work energized, confident that they, together, had done something amazing. In any case, by its very existence, the strike was a pivotal point in Seattle history and became a landmark in North American labor history. (See below for more background on the strike.)

Where does that leave us in the 21st century? Does mass action represent a viable option for engendering political and social change? Are there new ways to do mass action? When I was in college, the large shared house where I lived would have no-electricity Mondays, and the eight of us who lived there would forego electric lights, appliances, stereos, television, and radio for one day each week. A friend of mine wondered the other other day if something similar might be done on a city-wide scale, a massive voluntary one-day blackout. Or a one-day general strike, a shut-down of everything. What might these achieve? And what happens when mass action becomes political theater, art in the streets?

Come and talk about it.

More on the Seattle General Strike

If you want to learn more about the Seattle General Strike, there’s a guide to several resources, with an intro page from the Seattle General Strike Project at the University of Washington: http://depts.washington.edu/labhist/strike/

The history of the strike written by its participants, including one of Seattle’s greatest progressive voices, Anna Louise Strong, is at: https://web.archive.org/web/20000829074114/http://flag.blackened.net/revolt/hist_texts/seattle1919_p2.html

Source material on the strike, including photos, pamphlets, and newspaper clippings, is at: http://americainclass.org/sources/becomingmodern/prosperity/text6/seattlestrike.pdf

HistoryLink’s take on the strike is at: http://www.historylink.org/File/861

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The Next Conversation: “Art That Changes People’s Lives”

Event Date: Tuesday, March 19, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

 The Summary

This time, we’re looking at two questions: Can we make art that changes people’s lives, art that actually creates new ways of living, creates new cultural structures? And if so, how? 

The Guests (See below for bios)

Janeil Engelstad, artist; founder and director, Make Art with Purpose

John Perkins, activist, innovative meeting facilitator, organizational change consultant

Tonya Lockyer, artist and educator

And we’re working on getting a fourth.

The Story

This series has been on break for a couple of months. But we’re back. With this conversation, we’ll explore these questions: Can we make art that changes people’s lives, art that actually creates new ways of living, creates new cultural structures? And if so, how?

Here is a background idea: I may walk into a museum and see a set of beautiful drawings. They might be engaging, they might be breathtaking. Perhaps they might change my life, but most likely, beyond providing some moments of powerful imagery, they won’t change much. I will leave the museum and go on with my day, and eventually the drawings, as good as they are, will be forgotten or at least pushed to the back of my consciousness. 

I see a huge amount of art as being that way, and there’s nothing wrong with that. Most art does not set out to change the world. And it shouldn’t. I do think that all art should change the artist’s life in some way, but for the audience, I wouldn’t necessarily expect that.

I’m wondering, however, whether or not there is art that can change lives on a mass scale, can deeply change ways in which large numbers of people look at the world, and possibly build whole new cultural structures. I don’t know how much art there is that does those things, and I’m not even sure that these are proper requests to make of art. But it does seem that we desperately need to create shifts in how the world works that are both radical and humane. And my question is: do artists have a role to play in creating those shifts?

Come and talk about it.

The Guests in Detail

Janeil Engelstad is an affiliate artist at the Social Practice Art Research Center at the University of California Santa Cruz and the Founding Director of Make Art with Purpose (MAP), an organization that produces interdisciplinary projects addressing social and environmental concerns around the globe. These projects have addressed and led to changes in government policy and regulations and often create a place for individuals and groups who do not have social agency or access to creative opportunities to express their identity, experiences and points of view. Her process for this work, which can be as valuable as the outcome, involves embedding herself in communities, extensive research, collaboration, and building coalitions between universities, government agencies, NGOs and others. Engelstad’s projects and art work have been exhibited and produced in partnership with ArtMargins / MIT, Aurora, California Museum of Photography, City of Chicago Department of Cultural Affairs, Dallas Museum of Art, Hyde Park Art Center, New York City Department of Transportation’s Art Program, New York City Public Library, Museum of Arts and Design (MAD), International Center of Photography, Stanica Žilina-Záriečie, Whitebox and others. She has contributed essays to numerous publications including Urban Public Art: Community Involvement and Civic Engagment (Rowan & Littlefield), Transmission (Art Words Press), Dallas Morning News, Temporary Art Review and EUTOPIA. Her podcast, The MAP Radio Hour, conversations at the intersection of art, design and science is hosted by Creative Disturbances and ARTECA / MIT. A Fulbright Scholar (Slovakia 2006), Engelstad has taught at universities throughout North America and Europe.

John E. Perkins, PhD in Organizational Change, began his personal studies of social change early as a reaction to growing up in the racist, segregated South. In the fourth grade, he independently studied the people and strategies of the leaders of the abolitionist movement using the resources in his high school library. Bookmarking this lifelong curiosity about effective change, he spent a week in 2013 at the Library of Congress researching how Branch Rickey and Jackie Robinson succeeded in integrating Major League Baseball. Along the way he studied for two years the strategies and tactics employed by Dr. Martin Luther King, Jr. and the Southern Christian Leadership Conference (SCLC).

His personal activism has focused on changing policy and practices at many levels of the systems of this society. At the federal and international level he worked with the American Friends Service Committee to design and deliver workshops to the public on how international negotiations and agreements worked. At the federal, state, and local government levels he served for seven years on the steering committee of the Tobacco Free Washington Coalition. This coalition had multiple successes including laying the groundwork for the statewide clean indoor air referendum.

His current activism focuses on bringing certainty and stability to tenants’ rents through Rent Certainty legislation. 

Through all of this activism, Perkins places the artist within and by choice and profession at the center. Sustained activism for him is never against anything, it’s for a way of common living that at times can be only sustained by our imagining it. We need our artist selves to imagine and hold on to that vision and skilled impassioned artists to bring the vision alive for everyone.

In his essay on Egalisharianism™, Perkins shows how the poet Rainier Maria Rilke consciously used his artist imagination to stay outside the German war mania during WW I. (https://kvisit.com/Un60D , pp 9-12)

Tonya Lockyer was until this year the Executive/Artistic Director of Velocity, Seattle’s premier arts center and essential incubator dedicated to contemporary dance and movement-based art. Lockyer oversaw the significant artistic expansion of Velocity including: the development of Velocity’s first humanities programs, initiating an Artist-in-Residence program; commissioning and developing more than forty new works of performance, installation and film; and the presentation of over a hundred contemporary performances by established and emerging artists including zoe | juniper, Keith Hennessy, Faye Driscoll, Jennifer Monson, Ralph Lemon, Miguel Gutierrez, Amy O’Neal, Danielle Agami.

As an educator Lockyer has taught internationally with a focus on her research at the intersections of performance, embodiment and social action. Lockyer has been an Affiliated Faculty Member of Cornish College of the Arts since 2001. She has taught Art & Social Justice, Interdisciplinary Collaboration, Movement Analysis, Somatics; as well as Dance Technique, Choreography, Improvisation, History, and Choreographic Culture since 1960. In 2010, Lockyer coordinated Cornish’s yearlong, citywide Merce Cunningham Project. Her course “Live Art and Choreographic Culture Since 1960″ was an inaugural course of the Center for Performance Studies at The University of Washington. She is published in international journals, exhibition catalogues and the book Vu du Corps: Lisa Nelson Movement et Perception. Her essay “Quiet Riot: Modern Dance as Embodied Feminism” is required reading in the curriculums of Texas Women’s University and Cornish College of the Arts.

Lockyer is an accomplished artist with more than twenty-years experience commissioned and presenting her work internationally. She has received awards and commissions from Arts International, The Canada Council, The Banff Center, Artist Trust and On the Boards among others, for projects including inter-cultural collaborations, 24-hour improvisations, and large-scale site-specific performances. She holds an MFA from The University of Washington, is a Certified Movement Analyst, and participated in the Institute for Curatorial Practice in Performance/Wesleyan.

The Next Conversation: “Innovation”

Event Date: Tuesday, December 11, from 7:30 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

This time, we’re talking about innovation, how we create and re-create the world around us. Read on below for details. And note the slight change in time, 7:30 rather than the regular 7:00.

The Guests (See below for bios)

Janet Galore, creative director, designer, artist

Demi Raven, oil painter, firmware developer, maker

Elizabeth Scallon, head of WeWork Labs, Seattle

Thomas Deuel, neuroscientist, neurologist, musician

The Story

We’re exploring innovation, the process of coming up with new tools, new products, new ways of doing and making, and often, new ways of thinking and creating. But what exactly is innovation? It’s one of those terms that cries out for definition. Is it the same thing as invention, or is it something completely different? How does the act of discovery factor in? We tend to identify innovation with positive change. Is it always so? How can innovation create a negative effect?

Jon Gertner has done a lot of thinking about innovation, especially in terms of the many products and technologies that Bell Labs developed through the 20th Century. Gertner writes: 

So how did the leadership at Bell Labs define innovation? It was not simply a discovery or an invention. On the contrary, innovation defined the lengthy and wholesale transformation of an idea into a technological product, or process, meant for widespread practical use. Almost by definition, a single person, or even a single group, could not alone create an innovation. The task was too variegated and involved. The innovation process usually involved frustration and failures. It required time, money and sometimes decades of painstaking work. But in the end, a true innovation had scale and impact. It replaced an existing technology with something that was demonstrably better, or cheaper or both.

This definition focuses on technology. But innovation also appears across a number of endeavors, from science and art to the nature of government and human social intercourse.

Seattle and King County, for example, are both widely known for being not just early adopters of public art programs, but for also pioneering new financing models and creating innovative procedures for selecting, siting, and making the art.

It’s a process that has, for better or worse, formed the city we live in. Over the past decades, Seattle has been arguably a city uniquely driven by innovation. Most of the major industries here got their boost from some level of innovation: Boeing and the development of the commercial jetliner, Microsoft and Amazon with a series of revolutions in what we do with computers, even down to such companies as REI and Nordstrom, as innovators in the ostensibly simple act of buying and selling clothing.

Then there’s the whole question of innovation in art; what does the introduction of new materials, technologies, and techniques do, or not do, for art? Are we a center for innovation in the arts? Or not?

Come and talk about it.

The Guests in Detail

Demi Raven is an oil painter, firmware developer, and maker. He has been an active part of the visual arts community in Seattle for over twenty years. Demi was an early member of the visionary SOIL Artist Cooperative, where he spent nearly six years developing, curating, exhibiting, and co-managing the gallery. In the late 1990s he was a founding editor and writer for RedHeaded StepChild (1999-2001), a local periodical devoted to the review and discussion of the emerging art community in Seattle. In 2006, Demi was a finalist in the Outwin Boochever Portrait Competition and exhibited for six months at the National Portrait Gallery of the Smithsonian Institution in Washington, D.C. Demi has been a firmware developer for over 15 years, designing and prototyping a number of new consumer hardware products. He currently is a manager and lead engineer at Amazon Prime Air. You can see more about Demi’s artwork at http://demiart.com.

Janet Galore is a creative director, designer, and artist. She holds a BS degree in pure mathematics from the UW, where she continued with three years of graduate studies in mathematics. Her early career was spent in start-ups designing for emerging technologies at Zombie VR game studios and freelancing for new ventures. She animated dead fish for a few years as co-creator of the surrealistic FishBar series, producing and directing some of the first streaming media on the Internet at Honkworm International. She spent 10 years at Microsoft working in the Strategic Prototyping group at Microsoft Research, and is now a creative director at Amazon working on future user experiences. Janet has co-curated a number of art exhibitions and continues to create her own art in film, animation, and conceptual works that blend digital and physical experiences. You can see more about Janet’s work at http://janetgalore.com.

(Janet and Demi own a private art studio called The Grocery on North Beacon Hill in Seattle. The studio is used as a project-oriented creative space where they host occasional pop-up art exhibitions, film screenings, workshops, dance, music performances, and other creative activities. The building has deep roots in the community, born as a corner grocery store that served the neighborhood from 1929 through the late 1990s. They seek to support and incubate creative endeavors that give voice to and enrich the local community.)

Elizabeth Scallon is the Head of WeWork Labs, Northwest. WeWork Labs is a global entrepreneurship program connecting global innovation hubs, while providing fierce local support for startups and entrepreneurs.
Previously Elizabeth lead CoMotion Labs at the University of Washington, a multi-industry, multiple location incubator system hosting over 90 startups from both inside and outside the University of Washington community.
She holds a Global Executive MBA from Georgetown University’s McDonough School of Business, Walsh School of Foreign Service, and ESADE’s Business School, along with a BS degree in biochemistry and a BA degree in humanities from Seattle University.

Thomas Deuel, the director of the DeuelingThumbs StudioLab, is a neuroscientist, musician, sound artist, and neurologist.  The creation of the StudioLab reflects his desire to combine his interests and skills in understanding brain physiology with those of music composition and sound art, to re-enable patients with motor disability to create music again for healing.

He is a staff Neurologist and Clinical Neurophysiologist at Swedish Medical Center in Seattle, WA.  He is also Acting Assistant Professor at the School of Music and DXARTS at the University of Washington, where he is the Director of the Art & Brain Laboratory.  He holds both an M.D., as well as a Ph.D in Neurobiology, from Harvard Medical School and M.I.T., in addition to a certificate in Jazz Studies from New England Conservatory.

The Next Conversation: “Language”

Event Date: Tuesday, October 16, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

 

The Summary

This time, we’ll be going talking about the power of language. Read on below for details. 

The Guests 

You’re the guests for this one.

 

The Story

Every so often, we like to do a conversation without invited guests. The number of attendees is usually smaller, say 10 to 15 people rather than the 40 or so who might come of a regular conversation. 

In these smaller conversations we get a good chance for more intimate discussion, and more possibilities for drilling in on specific questions.

This time, we want to talk about language. We want to go into its power and potentials, into the ways in which a turn of phrase or a way of naming something can have huge ramifications for the ways in which we think, and conceive of who we are.

A number of people I know have been thinking a lot lately about political language, especially the propaganda potentials for naming and for repetition of lies. Trump’s arrival on the national scene, of course, has accelerated the conversation, as have the ways in which language played into the Kavanaugh hearings.

But the power of language transcends politics, becoming a foundational way in which we make culture and define ourselves. 

Lately I’ve been researching the history of thinking about the interactions between art, science, technology, and society. In looking at that, I came across historian Guy Ortolano writing about British literary critic F.R. Leavis. Leavis, who was prominent in the 1950s and 1960s, was key to discussions at the time about interactions and edges between science and literature. In Ortolano’s analysis, this stands out: For Leavis, Ortolano writes, “knowledge did not exist ‘out there’ in nature waiting to be discovered, but rather was a creative achievement realized through language.”

Come and talk about how we create knowledge, and a lot of other things, through language.

The Next Conversation: “Privilege, Power, and #MeToo”

Event Date: Tuesday, September 18, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

To link to this announcement, do so at https://boylanconversation.wordpress.com/

 

The Summary

This time, we’ll be going into some of the issues behind the #MeToo movement. Read on below for details. 

The Guests (see guest bios below)

Michelle de la Vega, Guest Moderator, artist, activist

Elliat Graney-Saucke, documentary filmmaker, organizer

Sarah Kavage, artist, urban planner, organizer

Tariqa Waters, artist, curator, mother, entrepreneur

Sydney Brownstone, reporter

 

The Story

We’re back after a summer hiatus. 

This time, we want to look at some of the issues around the #MeToo revelations: what they mean, where they come from, how people are dealing with them. This past summer, after months of revelations around the United States and beyond, these issues rose to the surface in Seattle, and especially in the art, music, and restaurant/bar worlds. They came with the story that Sydney Brownstone broke on KUOW about allegations of sexual misconduct and assault against Dave Meinart. That was followed by a second story a few weeks later, with a total of 11 women making accusations against Meinart, a prominent music producer and restauranteur in Seattle.

But that was only a small part of the story. A number of women have told me over the years about the abuse, assault, and harassment they’ve faced in Seattle, and it struck me that the subject would be a good topic for a broad conversation. I’ve asked artist and activist Michelle de la Vega to be the guest curator and moderator. I’ve been looking at whether or not this is conversation should specifically focus on the details of #MeToo, or should look at broader questions of power, privilege, and identity. We think that it needs to do both.

It’s hugely difficult and complex topic, with many facets, many gray areas, and many, many questions. Come and talk about it.

One note: at the beginning of each conversation, I usually lay out a few basic ground rules for the evening. But I almost never mention ethical action and good behavior, since the assumption is that the people in the room are mature, considerate, and engaged people. And for the most part, that has proven true. For this conversation, both Michelle and I want to ensure that the conversation be an opportunity for both women and men to ask questions, listen, make observations, and generally conduct a useful inquiry. At the same time, as the subject matter may be personally or politically triggering for those conversing and attending, we want to guarantee that the conversation be a place of safety, support, and consideration.

The Guests in Detail

Michelle de la Vega is a multidisciplinary, installation, and community engagement artist in Seattle. Her large-scale ventures endeavor to push social and aesthetic boundaries through instigating dialogue, practicing conceptually driven materiality and community investment on a wide scale. Michelle’s social engagement model deeply integrates community groups into the generative processes and exhibitions of her cross-disciplinary installations. Her work includes sculpture, immersive environmental design, video, collage, photography, choreography, text, and partnership building through project based community engagement. She was recently named one of the Artists of the Year by City Arts Magazine. She is a teaching artist at Path With Art, is creating a women’s art program at the King County Jail in collaboration with The Organization for Prostitution Survivors, serves on the King County 4Culture Public Art Advisory Committee, and is a beekeeper.

Elliat Graney-Saucke is a documentary filmmaker, cultural researcher, networker, curator and innovative organizer. Her work is focused on cultural equity and intergenerational knowledge exchange. She is currently Owner and Creative Director of Elliat Creative LLC, where she is leading video research and production for the NEA funded Knowledge Building Initiative with the National Performance Network (New Orleans). For the past two years, Elliat has been been President of Seattle Documentary Association and in 2018 she was a nominated SIFF Fly Film Challenge Filmmaker and coach with Artists Up (Office of Arts and Culture / 4Culture). Elliat is from the PNW and returned to Seattle 3 years ago after living in Berlin, Germany for 7 years, where she gained an MA in World Heritage Studies and where she also made a lot of really gay performance art. www.elliat-creative.com

Sarah Kavage (www.kavage.com) is a Seattle-based visual artist, urban planner, and cultural organizer whose work explores place, ecology, and landscape. Her work in the public realm uses large scale gestures to create a platform for dialogue and interaction. In 2015, she co-created and produced Duwamish Revealed (www.duwamishrevealed.com), a summerlong site specific exhibition along Seattle’s Duwamish River. She is currently working as an artist in residence for the Sound Transit public art program. Kavage has a Masters’ Degree in Urban Planning from the University of Washington and was selected in 2015 by Seattle Magazine as one of Seattle’s Most Influential People.

Tariqa Waters is an artist, curator, mother, entrepreneur and the driving force behind the shapeshifting venue Martyr Sauce (http://www.martyrsauce.com/Martyr_Sauce/Martyr_Sauce.html).

Sydney Brownstone is an East Coast-raised, Seattle-based reporter. She was nominated for a Pulitzer Prize in 2016 for her coverage of an elaborate porn scam in Seattle, which eventually led to a police investigation, four formal rape charges, and a sexual assault conviction. Sydney’s current beat is criminal justice, but she regularly covers sexual assault and environmental issues, too. When she isn’t reporting, she enjoys playing music, hiking in the mountains, or isolating herself in her room to play several hours of Stardew Valley.

The Next Conversation: “Asking Questions for the 21st Century”

 

Event Date: Wednesday, June 13, from 6:00 to 8:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

This time we’re having a conversation with ten Chilean artists and scientists who are in Seattle for an inter-hemispheric and cross-disciplinary exchange. Read on below for details. (And note the different day and time from the norm for this series.)

The Guests (see guest bios below)

Marcelo Velasco, biologist, media artist and ecological economist

Marianela Camaño, architect, singer, and costume and set designer

José Manuel de la Parra, filmmaker and graphic artist

Javiera Constanzo, wildlife medical veterinary, illustrator

Thomas Kramer, agronomist, wildlife conservationist and photographer

Beatriz Buttazzoni, artist, visual communicator

Fernando Mejías, science journalist

Miguel Bolt, multidisciplinary visual artist

Nicole García, graphic designer, visual communicator

Pablo Savaria, biologist, science communicator

Faculty Team

Fernanda Oyarzún, biologist, science communicator, scientific illustrator and sculptor

Nelida Pohl,  biologist, ecologist, science communication educator

Belen Gallardo, biologist, artist, ecologist 

Fredy Diaz, biologist, educator and media artist

The Story

Usually we put the conversations to bed for the summer. But this opportunity was too good to pass up. 

Genevieve Tremblay came to me a couple of weeks ago and suggested that we do a conversation with the ten Chilean artists and scientists who are in Seattle for the pilot program of “ASKXXI: Arts + Science Knowledge-Building and Sharing in the XXI Century.” She’s the US Executive and Academic Program Director of ASKXXI, working with three Chilean organizing partners.

The project “is a pioneering exchange program fostering US-Chile cooperation and collaboration in arts, emerging digital/virtual technologies, and the ecological sciences. Our 2018 pilot program is offered as a Certificate Diploma by the UCSC, Concepción, Chile and is sponsored, in part, by the US Embassy, Chile.”

The fourteen participants from Chile are in the Pacific Northwest for three weeks. They’re spending a week at the University Washington’s Friday Harbor Laboratories, then they’ll have training in digital, virtual, and mixed reality technologies and data visualization in Seattle. They’ll be taking tours of science and data laboratories, tech and VR companies, and artists’ studios and cultural sites around Seattle, with ecology field trips and more.

And through these weeks, they’ll be asking a lot of questions: How do scientists and artists approach observation? How can we compare scientists’ and artists’ processes? What are the challenges of coastal environments in the Pacific Northwest…and how do they relate to these same environments of Chile? How do scientist and artists explore a changing world in the XXI century? How can we live creativity courageously in arts and science? And a lot more.

We’ll be talking with them about those questions. And we’ll be looking at other fundamental questions around art, creativity, rigorous inquiry, and the work needed to build the future.

Come. This will be fascinating.

The Guests in Detail

Marcelo Velasco: I am a biologist from the University of Chile with a master’s degree in Media Arts from the same University. I also obtained a master’s degree in Ecological Economics from the Autonomous University of Barcelona. As an experimental biologist, I worked in neurosciences, studying the visual system and magnetic perception in birds. In ecological economics I worked for 7 years in sustainability and mining. In recent years, and starting from my time in the Media Arts, I am interested in exploring critically the potential synergies between art and science. In 2015 I made a presentation with Ignacio Nieto in Montreal, Canada about the influence of second-order cybernetics in neuroscience, politics and art in Chile in the 70s. In 2016, together with Nieto, I published the book “Ciencia Abierta : “Open Science: Singularity and Irruption in the Frontiers of Artistic Practice” (Adrede editorial), a research that addresses the work done by artists who use scientific methodologies for their work. 

Marianela Camaño: I am an architect, faculty at Universidad de Concepción, Chile and singer, I have ventured into the illustration and creation of ceramic pieces, which some say, are the characters I draw but in three dimensions. The scenic is always present in my life; creation and characterization of characters, costumes, hats and masks, together with the scenic space and lighting, since I work as a set designer and costume designer for operas and musical theater, where architecture, music and design are connected. The integration of the arts and sciences is present in my work as art director of the biennial 0 – Art & Science to be held in Concepción at the end of 2018 and in other projects that I have developed by making available the architect’s ability to be an interpreter of a reality, make it visible and materialize it. Dreaming realities and building them is one of my greatest strengths, also building them in the Latin American reality, where scenarios are not always the most auspicious in terms of available economic resources. In this space, creativity emerges as a tributary and my appreciation for processes more than instantaneous ideas … I am interested in learning from science about organizations and processes that are more complex and sustained over time. 

José Manuel de la Parra: I am an audiovisual producer and graphic artist, I have worked in fiction and documentary projects and for some years I have approached the world of science, in individual projects and interdisciplinary collaborations. At a time when the image is an axis where culture orients, I study and work in different formats, between photography, illustration and video, looking for images that allow us to approach nature from different perspectives, where our heritage, our culture, find a space in common with the new ways of understanding the world that scientific research offers us. A long road that I am just beginning, one image at a time. 

I’m a filmmaker and graphic artist, I’ve worked in fiction and documentary projects and since a few years ago I’ve got closer to the world of scientific research, in my personal work and in interdisciplinary collaborations. In a time where the image is an axis in which the culture spins in, I study and work in various formats, between photography, illustration and video, searching for images that allow us to get closer to nature from different perspectives, where our heritage, our culture, could get the chance to find common ground with the new ways of understanding the world that science provides. A long way ahead, indeed. 

Javiera Constanzo: I am a professional medical veterinary dedicated to work with wildlife as an independent consultant. I am vice president of the NGO “Vida Nativa” and member of the emergency committee of AMEVEFAS. I am also an illustrator by trade, and I have dedicated the last years to the scientific illustration of fauna for various publishing projects. My objectives in this area are to support the generation of scientific work with descriptive images of fauna and, through platforms such as social networks, books, exhibitions and teaching materials disseminate scientific knowledge. I want to use illustrations as a tool to improve the communication of science towards to the general public. I have written scientific articles for magazines, collaborated in research mainly related to native herpetofauna and supported the rescue of animals as a wildlife coordinator during the massive fires that took place in Chile in 2017. Finally, I have also worked as an illustrator for video games, comics, drawings for NGOs, popular science books and for social networks. 

Thomas Kramer: I am an agronomist, from the Catholic University of Chile and a master’s degree in biodiversity, conservation and management from the University of Oxford. My PhD thesis was dedicated to determine the role of nature photographers in the protection of biodiversity, through interviews with some of the best Chilean exponents of the “Conservation Photography”, scientific – artistic discipline formally established only 13 years ago. As a disseminator of science, I have authored the photo book “Fauna Chilena” (2015) and co-author of the children’s work “Superanimals of Chile” (2015). I am currently writing 2 other books, which will focus on bringing wildlife closer to new generations, based on attractive artistic – technological proposals and rigorous scientific precision. During 2018, I will be implementing an innovative model of biological monitoring through trap cameras, supported and financed by actors linked to tourism of special interests, specifically those that offer programs of sighting of wild fauna. The project will be developed in the regions of Los Lagos and Magallanes, and so far has the support of 3 private owners willing to cooperate in its realization. 

Beatriz Buttazzoni: I am an artist and candidate for a Master’s in Communication (UDP / UPF). My ideal is to learn every day what did not come in the manual. I am director of the company “El Viento”, a company dedicated to animation and communication consultancy, with special interest in science. I have participated in research dissemination projects, aimed at the general public in the fields of astronomy, ecology and biochemistry. I have also created, directed and produced animation projects for open television and web. I am also a university professor in animation and film careers. I am interested in continuing to train in scientific communication and work in multidisciplinary groups, developing projects that contribute to the taste for science, preservation and environmental awareness and in time, hopefully, add and positively effect on public policies in these matters. 

Fernando Mejías: I am a journalist from the Universidad Austral de Chile, I have a Diploma in Political Studies and a postgraduate in Scientific Culture from the OEI and I am currently in charge of Communications at the University of Concepcion Biotechnology Center CBUdeC. I have more than 11 years of experience in Science Communication in universities, research centers and technology transfer and innovation projects. I am a member and was part of the national board of the Association of Journalists and Professionals for Science Communication ACHIPEC, who has organized scientific outreach activities in streets and squares of Concepción and surroundings, together with local organizations and young researchers from the Biobío and the country. In the educational field, the CBUdeC has generated workshops, talks and collaboration agreements with public and private educational establishments in the Biobío, which have culminated in practical activities and classroom interventions with a focus on science education and interdisciplinary intersections between art and science. Since 2009, I have coordinated the cycles of Scientific Cafes in Concepción and the Biobío Region, in conjunction with PAR Explora Biobío and the Extension Directorate of the University of Concepción. I also constantly participate in regional media, as a panelist in the “Science” section of the TVU TV Community Content program (www.tvu.cl/ciencia) and also in the “Dialogue with Science” radio program of the University of Concepción; in addition to managing presence in local and national media for various research projects associated with the CBUdeC. 

Miguel Bolt: I am a multidisciplinary visual artist with training in Graphic Arts and Ceramics, environmental thematic work and observation of nature. I am a co-founder of Magma Lab, an art and design laboratory. I participate in the 7M2 collective, a multidisciplinary group of art, music and architecture, as a collective we have a contemporary art gallery that also serves as a platform for various forms of art and culture. My interests are very diverse: I have always sought to establish links with disciplines and spaces different from those of the art world, I have been part of various indigenous and peasant encounters, I participated in several versions of the indigenous art biennial in Ecuador, I have worked on projects of music, design, architecture, bio-construction, appropriate technologies and agriculture. As an artist, I am interested in communicating a holistic vision of the planet and of knowledge, raising awareness about conservation issues, biodiversity, territory and culture through an attractive and binding visual language. 

Nicole García: I’m a graphic designer, but I feel more comfortable as a “visual communicator.” Throughout my career I have developed a special interest in the visualization of data and in how to show those things that are not so quantifiable, that we would apparently say are subjective or sensitive. In this way, mapping information is rather an experience of gathering information, which makes sense with the nature of the data. I usually take analogous paths to develop visuals, and this has made my path move away from design and be closer to the arts. At the same time I have worked on museography and exhibition design and publishing, serving in some institutions and museographic agencies. 

Pablo Savaria: I’m a biologist, but often I like to see myself more as a scientific “public-information officer.” Currently I work as Head of Communications at the Millennium Nucleus of Invasive Salmonids (INVASAL). On the right hand, my job involves meeting and coordinating research and science communication activities with governmental and non-governmental agencies, municipal local authorities, community leaders, national press and other research institutions. On the other hand, I’ve worked designing, producing and executing science exhibitions and conference-like events both in rural areas and big cities of Southern Chile. I haven’t quit research and still enjoy coming along to scientific expeditions, especially those involving fishing and sampling in great lakes and rivers. In science my main experience is on freshwater fish ecology, with particular fascination on anatomy. My motivation is to facilitate the public understanding of science to empower people towards decision making in the social sphere. To do that, I’m exploring traditional and emergent technologies to allow people connect with each other and the natural world. 

ASKXXI Faculty Team (Chile)

Fernanda Oyarzún is a PhD in Biology, University of Washington (USA), Fulbright Scholar,  Fellow of the Program for Interdisciplinary Biology (UW Bothell), has a Certificate in Editorial Design from Universidad de Chile and is trained in Scientific Illustration (UW). She is a biologist, science communicator, scientific illustrator and sculptor, who works in both worlds —science and art— exploring the life, forms and evolution of marine biodiversity. Her scientific research, from which she also draws artistic inspiration, focuses on the evolution of life history strategies, larval ecology, reproduction and plasticity of marine invertebrates. She is interests on the design, development and implementation of interdisciplinary educational programs, pedagogical tools and learning environments that will increase the interaction among scientists, artists, legislators, educators and the general public. 

Nélida Pohl, Communications Advisor at 6 Senses, is a Biologist with a MSc in Ecology from Universidad de Chile, a PhD in Biology from University of California, Irvine, and a MSc in Science Communication from Imperial College, London. She is a full time science communication educator and practitioner since 2011. As an educator, she leads a Certificate Diploma in Science Communication at Universidad de Chile, teaches undergraduate courses and workshops, and seminars in Chile and abroad. She’s interested in raising awareness regarding environmental issues, the training of new science communicators, widening the appeal of science to reach new audiences, and the many interactions between science and art.

Belén Gallardo is a collaborator of the IEB, biologist with an MSc in biological sciences and PhD candidate studying at the Department of Ecology of Pontificia Universidad Catolica de Chile, graduating in 2019. Her areas of expertise include mediterranean and temperate forest ecosystems, especially plant-soil interactions, and graduate and extension curriculum development. She has extensive experience coordinating courses on ecology, the environment and its global changes, such as Principles of Ecology, Community and Ecosystems Ecology, and Biological Invasions. She organized the Forest Ecology course at the IEB’s Estacion Biologica Senda Darwin (Chiloe Island) for three consecutive years, and the Botanical Illustration course at the same venue since 2015. She’s also part of the team that is putting together the first Marine Illustration course that will take place in October 2017.

Fredy Díaz is a biologist with an MSc in Biochemistry, Assistant Professor at the Faculty of Medicine, Universidad Catolica de la Santísima Concepción, in Concepción, Chile. He is the director of the Interactive Biology (BiLab) Lab at the same institution. BiLab is a creative space where students make original cartoons, digital animations and interactive objects as tools for the teaching and learning of biological subjects.

The Next Conversation: “Artists as Activists”

Event Date: Tuesday, April 17, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

 

The Summary

We’re coming into the 2018 campaign season, and it’s going to be an all hands on deck scenario. It’s pretty apparent that artists may have a unique role to play in politics. And in the face of the recent King County Council power grab with 4Culture and other issues, the need to better organize locally becomes increasingly apparent.

Read on below for details.

The Guests (see guest bios below)

Julie Chang Schulman, Hip Hop artist, community organizer

Laura Dean, artist, designer, organizer

And we’re working on getting one or two more.

 

The Story

This time we’re revisiting the topic of art and politics (March 2016: “Art and Politics”) with a deeper focus to the actual work that artists can do in the political sphere. 

It’s key that many of us must learn the everyday skills of effective political engagement: canvassing, telephoning, fundraising, motivating. But artists, by the very nature of their training and their work in worlds of imagination, also have special powers to do things that can have outsized effects in politics. Whether by creating effective graphics, making powerful video, or doing good street theater, artists can have the ability to reach people. One of the clearest examples is Shepard Fairey’s “Obama Hope” image. It became the unofficial visual of the Obama campaign and has spawned countless spin-offs. Or Eminem’s Mosh video from 2004 comes to mind. Locally, so do ACED’s hip hop events in support of equitable development. There are countless other examples. 

While we are focused on the make-or-break nature of the 2018 national elections, it’s worth noting that any political power, even on the national scale, comes from effective local organizing. The intransigence of our county government, in issues ranging from the new youth jail to the power grab at 4Culture, makes good local organizing critically important. 

Finally, a bit of soapbox. One of the truisms about democracy, or even a state that makes any substantial claim toward being a democracy, is that the people get the government they deserve. That’s not just a matter of who gets voted into office. Instead, it’s more about how the citizens of that democracy live their lives.

I’ve heard too many people say “I need to take a break from politics,” or “I’m burned out on politics,” as if politics is something that we can leave behind, or turn off and on. There’s the old phrase, “eternal vigilance is the price of liberty” (first use credited to many people, including Irish politician John Philpott Curran in 1790 and American abolitionist Wendell Phillips in 1852). But I’m afraid that the phrase is incorrect, or at least only partly accurate. Vigilance is easy, especially in a day of information overload. In fact, excessive vigilance may be what’s driving some of us to burnout. What’s more important is engagement. It’s simple: the responsibility of living in a democracy is engagement, locally and nationally, staying involved as a way of life, and maybe a way of art.

Come and talk about it.

 

The Guests in Detail

Laura Dean studied psychology in Ann Arbor, Michigan, where she worked and volunteered with at-risk youth. In 2001, she moved to Seattle to explore how her creative interests could be used to cultivate positive social change. While a security guard at SAM and the Frye, she taught herself animation and web design and then moved to San Francisco to pursue a MA in interaction design. In 2008, she organized a rural county in Wisconsin for Obama before returning to Seattle. Since then she’s worked as an animator, illustrator, hack coder and most predominantly a User Experience Designer, on multiple projects with creative agencies and start-ups, while volunteering for progressive causes on the side. Currently she’s a Director of User Experience with MyGrove, a small start-up based out of Brooklyn. She was a volunteer organizer with the Bernie campaign. For her, it’s not about winning one election; it‘s about changing the trajectory of US politics.

Julie C, also known as Julie Chang Schulman, is an explosive lyricist, educator, and Hip Hop community organizer. Emceeing since her early teens, Julie C hails from the legendary Alpha Platoon crew of Seattle, a dynamic underground collective that has produced some of the most influential and stylistically advanced artists and groups in the Northwest. She is an organizer with the Artist Coalition for Equitable Development.

The Next Conversation: “Music and Mixed Reality”

 

Event Date: Tuesday, March 20, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

In conjunction with the ongoing 9e2 project, we’re continuing our conversation about art and new technologies. In the last conversation, we looked at fundamental questions of synthetic realities. This month we’re going deeper into music as an important element of any immersive realities. Read on below for details.

The Guests (see guest bios below)

Evie Powell, game designer; president, Verge of Brilliance

Arami walker, artist, musician

Aliysha Kaija, artist, musician

Andrew Luck, multimedia producer, sound designer, and researcher

The Story

This time we’re focusing on the sound elements and more specifically, the music, in mixed reality, in immersive technologies. At first glance, it seems that visual elements are at the core of any immersion, whether in virtual reality, 360 degree video, or in augmented reality. But it may be that sound and music hold the key to a powerful experience in an immersion.

I remember back in the very first days of video teleconferencing participating in a transcontinental conference, and thinking how the sound, which was crystal clear, made the person on the screen feel as though they were right there in front of us. The video, not so much. Of course video has gone through revolutionary shifts since then, but there is still something about a well-made, and well-placed, sound in creating another reality, in producing a sense of immersion.

That sound placement can be key; it’s the world of spatial audio, where stereo recording gives way to binaural audio such that sounds appear to be coming from specific directions, and then, more recently, to 3D audio, or ambisonics, where sound changes to reflect the user’s movement through a virtual space.

But this is just sound. How does music, as a structured and emotive set of sounds, play into the creation of immersive realities? If immersive technologies are to be a way of telling stories, and possibly critical stories, how is music part of that storytelling? Do the new technologies, especially 3D audio, allow for the creation of what may effectively be a new form of music production? Can the interactive potentials of mixed reality allow for a music that is fluid, that will never be heard more than once in the same way?

Come talk about it.

The Guests in Detail

Evie Powell graduated from University of North Carolina at Charlotte with her Ph.D in Computer Science. Her research interests varied to include socially pervasive game experiences and context aware gaming using mobile technologies. In school, her primary research project was a social networking game called “Snag’em,” which is designed to teach valuable networking skills and increase the sense of community among game players. Dr. Powell uses pervasive game design principles and popular social game design strategies to create an experience that increases sense of community, specifically within the computing community, with the end goal of positively impacting student retention and increase student success within computing.

Arami walker is a multidimensional artist who intends to use the power of media, performance arts, and technology to catalyze a shift in consciousness throughout the world. Inspired by language learning, poetry, music and immersive reality building, she hopes to use traditional and non- traditional media to promote a healthier way to share stories.

From her statement: “Arami walker is tired of making her life path sound more academic and digestible.

I sing truth, to heal the masses, and to learn how to love myself.

My Life started when I told my Dad, I want to be an artist.”

Aliysha Kaija centers herself in her life purpose of “Be the Light.” She has toured the world making music and touches the soul of everyone she meets. As a creator, teacher and healer, she uses touch and sound healing to help people reach deeper levels of self, empathy and human experience.

Andrew Luck is a computer musician, hacker, instructor, and community organizer living in Seattle, Washington. He was born in the rural Appalachian mountains of North Carolina, and music, videos games, and television fueled a burning curiosity for other cultures. Sharing media’s potential for learning and expression is a driving force to his community building and expression. At Appalachian State University, Andrew studied media literacy and explored the balance of simulacra in non-fiction video. It was at this time Andrew began creating computer music and DJing acousmatic dance music. Multimedia production has enabled him to promote and produce music and community events since 2000.

Between 2009 and 2014 Andrew joined forces with Adam Houghton to form the musical duo SPLATINUM. In 2014 Andrew ventured back into education and research. After a decade of work in industry on products and events for music and entertainment, research presented a unique and exciting growth opportunity. Simultaneously, Andrew discovered the second wave of virtual reality, and in his work, observed young students creating music with technology at an invigorating pace. Expressing musical ideas and building songs was expedited with technology and new musical interfaces. This inspired a pivot into creating musical worlds and interfaces in VR, a promising new computing platform, that will be highly accessible.

Andrew found a way into hackathons, as a sound designer and musician. Currently, he is an avid participant in the Seattle VR community, attending and competing in hackathons regularly. He has won four awards in Seattle VR Hackathons since 2016. Actively building and creating tools that empower people to improvise musical interactions in immersive environments is Andrew’s current mission.

 

The Next Conversation: “Mixed Realities, Immersive Realities”

Event Date: Wednesday, January 17, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

We’re seeing amazing, and sometimes stunning, developments in new technologies that give us new views into the world around us. What are the options for these technologies in terms of art, creativity, storytelling? What’s amazing about VR, AR, 360º? Read on below for more details. (And note the Wednesday date for this conversation, instead of the regular Tuesday evening.)

The Guests (see guest bios below)

Gretchen Burger, artist, co-founder of fearless360º

Benjamin Van Citters, artist, software developer

Ivan Evdokimov, CEO, Zengalt

Bernard Yee, executive producer, program manager, Oculus

The Story

In this series, we have on occasion looked at specific media for creativity: sculpture, drawing, video, and so forth. This time we’re exploring a new set of media: virtual reality, augmented reality, 360º immersion; all of which we can see under a broader category: mixed reality.

We’re employing this series to continue the discussions of art, science, and technology begun with 9e2 in 2016.

No other technology has had such potential to transport viewers, to immerse them so directly in other realities, and to give them the potentials to create their own worlds. The question: what can we do with these realities that hasn’t been done before? What is exciting about creating new worlds, or twisting this one? What is the potential for telling our stories, for creating art?

Where do the new media stand today as tools for making art? And where are we going? Where should we be going?

Example: One of the hits on virtual reality is that it is limited by the headset, so that only one person at a time can view a virtual reality installation. But at a Town Hall lecture a few weeks ago, virtual reality pioneer and new tech philosopher Jaron Lanier suggested that he wouldn’t want the clunky VR headset to go away in favor of something more streamlined, that can be worn all the time. For him, donning the clunky headset is a ritual of passage, a concrete signifier that one has entered a completely new experience.

What are the astounding things that one can do with these technologies? Come and talk about it.

Meanwhile, we’re guest curating one episode in Davida Ingram’s public programs series at the Seattle Public Library, on January 29. Entitled “A 9e2 Conversation: Seattle as a Place for Art, Science, and Technology,” the discussion will look at how Seattle, as a noted science and tech center, fosters—or perhaps doesn’t foster—interplay between art, science, and technology. Guests include Susie Lee, Sandy Cioffi, Christopher Shaw, and others. Find details at https://www.facebook.com/events/1971920699735828/

The Guests in Detail

Gretchen Burger is an artist, educator, media-maker, and co-founder of fearless360º, a start-up working at the intersection of art, culture, education, storytelling and technology to develop content, programming, and curriculum for immersive / VR / AR / 360º media. Gretchen has an MFA in Video Art & Installation from the Massachusetts College of Art and Design and has taught video production and editing at the Art Institute of Seattle, Seattle University, Cornish College of the Arts, and the Northwest Film Forum. A long time activist and documentary filmmaker, Gretchen serves on the board of the Hazel Wolf Environmental Film Network and is a co-founder of the Seattle Documentary Association.

By day Benjamin Van Citters is a software developer, but by night he is a procedural and software artist. Based in Seattle, Washington, Ben’s work plays with iterative mathematical algorithms, digital imaging, data, video and audio. He has performed live visuals with musicians at Seattle festivals Bumbershoot, Sasquatch, Decibel Festival and Capitol Hill Block Party. His “Mind at Large,” a site-specific virtual reality installation co-created with Brandon Aleson and Reilly Donovan, is currently on exhibit at Interstitial, a gallery in Georgetown.

Ivan Evdokimov is the CEO of Zengalt, which creates mixed reality experiences for museums, architects, and other industries. Their Vyzn technology allows for creating HoloLens experiences without writing code, while “Land of Dinosaurs” is a HoloLens application that creates an expanded museum experience.

Bernard Yee is currently Executive Producer/TPM at Oculus on the Oculus Rex team in Seattle. Oculus Rex has created the seminal VR experiences for Oculus current generation of hardware: Dreamdeck (showcasing final shipping optics and tracking), Toybox (exploring the idea of social presence in a shared VR space), Farlands (a launch game for the Rift), Prologue (an introduction to VR experience for the GearVR) and First Contact (an introduction to hand presence via the Oculus Touch controllers).

Bernie has worked in the game industry on a wide variety of games and genres in both development and publishing roles, most recently at PopCap (lead producer on Plants vs Zombies 2 and Peggle 2), and Bungie (Destiny). Prior to moving to Seattle, Bernie worked at smaller game startups in New York City, and also Harmonix (Rock Band), Atari, Disney Interactive and Sony Online Entertainment (EverQuest). He also taught game design and production at the Columbia University School of Engineering and Applied Sciences.

The Next Conversation: “New Skins: Apparel, Shelter, and Identity”

Event Date: Tuesday, November 28, from 7:00 to 9:00 pm. Admission is free. Tell your friends.

Location: Vermillion, an art gallery, bar, and neighborhood gathering place at 1508 11th Ave, Seattle

The Summary

As part of our thinking about change, this time we’re looking at new skins, the ways in which we skin ourselves, and how that relates to fashion, architecture, art, and especially technological change. Read on for more detail.

The Guests (see guest bios below)

Afroditi Psarra, artist, Assistant Professor, DXARTS,  University of Washington

Heidi Parker, media and marketing consultant

Vikram Prakash, Professor of Architecture, University of Washington

Gabriel-Bello Diaz, fashion designer and engineer; Engineering and Design Instructor, TAF Academy

The Story

This topic may, at first glance, feel diffuse, extending through fashion, architecture, art, and technology. But I can see a number of interconnecting themes, running through design and making, and effectively culminating in the way we skin ourselves. And how that skinning is one way that say who we are, and who we are to become.

There’s a huge amount to say on this; I’ll be brief here. Clothing is of course a core part of the statement we make everyday about who we are and how we live our lives. But it has always been at the core of who we were to become. It’s no accident that some of the most enduring images of Surrealism are of costumes and clothing. The making of clothing has also been at the forefront of developments in manufacturing and making, and commerce. The shifts that are happening now, in materials, design, and selling, have broad repercussions across society.

Meanwhile, as the world of wearables expands and grows more complex, how does the idea of wearable technologies affect our lives? And what roles do art and performance play in those shifts?

Finally, there’s a fascinating interplay between fashion and architecture, with a creation of lived design, lived environments. I’d guess that Alexander McQueen will come up in the conversation, as will the artist and architect Friedensreich Hundertwasser. and his concept of five skins.

Come and talk about it.

This will be the last conversation on 2017. Next year, we’ll be focusing on some of edges and intersections around art and performance and some of the new technologies in virtual and augmented reality, biotech, 3D audio, computational photography, and more. Stay tuned.

The Guests in Detail

Afroditi Psarra is a multidisciplinary artist working with e-textiles, diy electronics and sound. Her artistic interest focuses on concepts such as the body as an interface, contemporary handicrafts and folk tradition, pop iconography, retrofuturistic aesthetics and the role of women in contemporary culture. Her artworks include a wide variety of media and techniques that extend from embroidery, soft circuits, hacking and creative coding, to interactive installations and sound performances.

She holds a PhD in Image, Technology and Design from the Complutense University of Madrid. Her academic research Cyberpunk and New Media Art focuses on the merge of science fiction ideas and concepts with performative and digital practices, and offers a philosophical, sociological and aesthetic analysis of the influence of new technologies in the contemporary artistic process.

Her work has been presented at numerous platforms such as Siggraph in Vancouver, Ars Electronica in Linz, Transmediale and CTM in Berlin, Amber in Istanbul, Piksel in Bergen, Electropixel in Nantes and MakerFaire in Rome between others. She has worked as an intern on Wireless Communications and Mobile Computing at Disney Research Zurich. She is currently appointed as assistant professor in the Center for Digital Arts and Experimental Media (DXARTS) at the University of Washington in Seattle, USA. http://afroditipsarra.com

Heidi Parker has been working behind the scenes for over 20 years to produce and craft the stories that brands and artists tell. A recent transplant to Seattle, she previously worked in New York on campaigns from Eternity and cK One to Bon Jovi and Revlon. Technology, pop culture, politics, and art all inform her best work with the new wave of communications through the disruptive tactics of the new shift toward tech informing her most recent work.

Dr. Vikramāditya “Vikram” Prakāsh is an architect, an architectural historian and theorist. He works on issues of modernism, postcoloniality, global history, urban theory, and fashion & architecture.

His books include Chandigarh’s Le Corbusier: The Struggle for Modernity in Postcolonial India,  A Global History of Architecture (with Francis DK Ching & Mark Jarzombek), Colonial Modernities: Building, Dwelling and Architecture in British India and Ceylon (with Peter Scriver, co-eds), The Architecture of Shivdatt Sharma and Chandigarh: An Architectural Guide. A Global History is widely used as a textbook and being translated into five languages. He is currently working on Deruralization: The Modernist City in the Age of Globalization (Routledge: 2017).

Vikram has served as Associate Dean and Chair at the University of Washington. His administrative experience includes capital campaigning, strategic planning, institutional networking, and mentoring. His public service includes terms on the Boards of the Seattle Center and the Seattle AIA.

Currently, Vikram is the Director of the Chandigarh Urban Lab, and founding board member of GAHTC – the Global Architectural History Teaching Collaborative. He is co-PI (with Mark M. Jarzombek, MIT) of a 2.5 million dollar Mellon Foundation grants to develop the teaching of global history in the academy. He also hosts ArchitectureTalk – a bi-weekly podcast dedicated to conversations on architecture and design thinking.

Vikram grew up in Chandigarh, India. He lives in Seattle with his wife and three children. He loves poetry, and is a modern dance and theater enthusiast. Fashion and architecture, or Body-Architecture, is his newest passion, an experiment in trying to cross-pollinate diverse disciplinary design intelligences.

Gabriel-Bello Diaz works in Seattle as a writer, architectural researcher, and instructor. His writings and reach focus on robotics and neuroscience in architecture and the emergence of the “digital artisan” in relation to the history of fabrication. As an instructor, he focuses on 3-D modeling and printing through the studies of complex geometries generated from both nature and mathematics. He has presented work in several conferences and exhibitions, including Robots in Architecture (2012), Venice Architecture Biennale 2012, and Future Traditions 2013. Diaz is director of the Future Architecture Coalition, a global nonprofit organization that advocates for new standard in public school education and initiates interventions in different countries with the international design team.