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Intro



This project is a response to our current reality, and our attempts to get back to normal life through digital means. I’m interested in how this time will push digital gathering and the design of virtual experiences. How, out of necessity, we may find innovations that continue to change digital meetings even after this time. 

Devices have always been an escape, but what happens when they are the only one? Right now we are defaulting to existing technologies that weren’t structurally or emotionally made to handle the nuances of an entire life. Everything we used to do in our normal schedule is either gone or has been conformed into one of a few digital formats.

Now that we are clearly going to be living like this for a while, it seems inevitable that what virtual experiences look like and how we feel about them will change. 


The Appeal of the Live


Art and entertainment can be exciting--or not exciting-- because it happens in “real time.”

Sagmeister & Walsh give a sense of realism to their online presence by including live streams of their actual studio. This connects their portfolio work to another type of real world work, the kind they do every day in the office.

Most experiences are best in person, but the next best thing is a livestream. Watching something at the same time as it's actually happening somehow makes the recording feel like less of a representation.


Being stuck at home takes away the question of “Why would I ever watch this on a screen when I could experience it in person?”


Months of social distancing may give tech enough time to create meaningful solutions to in-person gatherings, and drive society to enough apathy that we don’t value the merits of human interaction over convenience anymore. The more digestible side of the spectrum--WFH and online education are likely to stay popular post-COVID. I’m not as sure about social gatherings and large events...

All the Streams takes online, non-live streaming services and plays them back in a TV channel format. This project recontextualizes what it means to stream, and adds some unpredictability back into watching TV.


Mimicking the Physical


Work that translates real worlds into digital spaces, borrowing organization, vocabulary, and aesthetics from their representations.


Is this disruption causing a sudden regression back to skeuomorphism, with our craving for the physical?

So good! Maybe. My guess is that not only will people crave something physical, they will need those similarities to make a digital experience more believable/immersive.

On the other hand--we might learn how to separate an experience’s value from how it makes us feel.


MFO (Made For Online)  do I need to include more well-known or historical work?

Unlike other works that translate digital gestures and imagery to a gallery context, the works featured in "Brushes" were created specifically for online circulation and display.



The Artport is the Whitney Museum's portal to Internet art and an online gallery space for commissions of net art and new media art.


This is the original website from 2001.

Another idea: net art as an example of how a solely digital movement can fade (even though so much work still revolves around the internet now--what would that be called? Viral art?



An Artport project that created a website that advertises a fictitious New York City apartment for sale that covers more than 300 million square feet and spans the five boroughs. A reminder that we are used to seeing physical spaces online, but aren’t always reminded of how much they are removed from their contexts.


Distant Feelings gathers strangers together on Zoom to feel each other's presence, seeing if and how energy flows between participants without anyone being physically present. Viewers silently watch.


Happening every Friday night until quarantine ends.