SPAN 2017 Pittsburgh - Livestream Day 1
Google Design2017-09-14
Google Design#Google#Design#Material Design#Technology#Design and Technology#Pittsburgh#SPAN#SPAN17
6K views|7 years ago
💫 Short Summary
The video segments cover various topics such as Google Design team initiatives, the future of automation, industrial robots, human-centered design, game development, and interactive art projects. It also delves into the intersection of art, technology, and AI, highlighting the history of artificial intelligence and the collaboration between designers and AI researchers. The importance of creativity, innovation, and accessibility in art and technology is emphasized through examples of interactive exhibits, public engagement projects, and unique artistic endeavors, showcasing a diverse range of creative and thought-provoking work.
✨ Highlights
📊 Transcript
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Google Design team supports and promotes designers with content, guidelines, and resources focusing on clear and beautiful UI.
02:41Material Components offer modular UI components for web and mobile platforms.
Material Design Awards showcase exemplary design work.
SPAN conference connects design and technology communities globally.
The event features talks, panels, and networking opportunities in various locations.
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Madeline Gannon's research studio in Pittsburgh focuses on reimagining the future of automation.
08:18Pittsburgh is known as the robotics capital of North America.
Automation brings benefits like efficiency and quality, but there is concern about job displacement.
The balance of power between humans and machines is shifting towards machines.
Gannon emphasizes the importance of finding ways for machines to enhance human capabilities rather than replace them.
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The future of automation and industrial robots is discussed, emphasizing enhancing human labor rather than replacing it.
10:00Industrial robots are adaptable and versatile, with potential uses outside of factories on construction sites and film sets.
Human-centered design is a focus, aiming to build a shared understanding between humans and machines.
The speaker mentions working with virtual squids to explore designing with intelligent autonomous creatures.
Technical knowledge is embedded into virtual creatures for a more intuitive design process, resulting in unique and anatomical artifacts tailored to the body through fabrication technology.
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Bringing digital geometry into the real world for direct interaction with Tactum system.
15:42Using sensors to create gestures for 3D modeling and transitioning towards robotics.
Integrating robotic arms with humans poses safety challenges, but efforts are being made to design safer hardware and software.
Experience exhibiting industrial robots at the Design Museum in London to challenge traditional views of automation and engage the public in interactive experiences.
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Interaction capabilities of robot Mimus at the Design Museum.
21:52Mimus uses sensors to observe body language and behavior, ranking individuals by interest.
Mimus showcases limited communication abilities through motion and sound.
Interpretations of Mimus's behavior range from friendly to creepy.
Importance of integrating large-scale autonomous machines into society with empathy and thoughtful interaction emphasized.
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Desi Gonzalez discusses her work at the intersection of art and technology at The Warhol Museum.
26:04She focuses on providing access to art in new ways, including tactile reproductions for visually impaired visitors.
Gonzalez challenges preconceptions and emphasizes the complexity of the relationship between art and technology.
Her background includes work at MoMA and MIT, as well as a residency in Lima, Peru, focusing on educational technology for the middle class.
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Accessibility and innovation at the museum.
30:30The audio guide at the museum is tailored for visitors with visual impairments, providing educational content.
Art crayons representing color data from famous paintings were showcased as a project at the intersection of art and technology.
Unique art crayons were created to circumvent limitations on showcasing copyrighted works.
Technology was used to transport viewers through art to different times and spaces, referencing Andy Warhol's screen tests from the 1960s.
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Paolo Pedercini creates political and satirical games under the name Molleindustria.
35:31His games challenge mainstream video game tropes and mechanics to promote critical thinking.
Examples include a McDonald's game highlighting supply chain issues and Home Story, an educational game about smartphone production.
Pedercini's games address complex systems and societal issues like gentrification and financial speculation.
He uses interactive storytelling and simulations to explore these themes.
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Various games and experiences discussed, including a house flipping simulation and a narrative game about a drone pilot.
38:59Mention of a VR game called A Short History of the Gaze, focusing on conveying abstract ideas.
Introduction to Casual Games for Protesters, analog games designed for playing during protests to combat boredom and enhance activism.
Emphasis on the importance of games and experience designers in activism.
Recommendation to play free games on the website Molleindustria.
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Development of Projects for Public Engagement
43:32The waffle shop evolved from a reality TV show to a live streaming talk show.
Over 10,000 people participated in the waffle shop project, with opportunities for various roles.
Conflict Kitchen, a spin-off of the waffle shop, used food to start conversations and promote understanding about countries in conflict with the United States.
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Disseminating uncomfortable information through live trivia shows and other activities.
48:41Live Skype meals and virtual dinner parties were organized between different countries.
The project received a grant to expand to other cities in the United States after seven years.
Another project called the Last Billboard used heavy wooden letters to display anti-advertising messages in public spaces.
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Interaction of people with art and technology in setting up interactive exhibits.
52:18Successful museum experience involving a woman's intimate moment during a screen test.
Challenges of game development, focusing on user experience and gameplay.
Importance of adjusting game difficulty based on player skill level.
Creating subversive games that allow unexpected player actions.
Project management of open-ended projects like the Waffle Shop, emphasizing decision-making processes.
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The Conflict Kitchen as a space for daily life interactions and creative inspiration.
57:00The process is a call-and-response leading to innovative ideas and projects.
The Conflict Kitchen unpacks geopolitical events in a local context, offering a unique perspective on global issues.
The intersection of art, technology, and public space is highlighted as a medium for experimentation and innovation.
Creativity, sensitivity to content, and interest in new technologies are emphasized for roles in museums and cultural institutions.
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Transforming a garage into an interactive art gallery.
01:01:31Challenges of repackaging live streamed content for diverse audiences.
Emphasis on storytelling in art and its importance.
Discussing the intersection of technology and art, and resistance to technology in non-art spaces.
Unique reactions and differences between tech and art audiences, stressing the need for flexibility in showcasing art.
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Importance of technology in museums and art for visually impaired individuals.
01:05:19Designing solutions that do not solely depend on technology is crucial for accessibility.
Challenges faced by game creators from marginalized communities in the video game industry.
Reframing video games as part of a long tradition of play rather than just digital media.
Impact of technology on real-life projects, such as a billboard with a mysterious following.
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Molly discusses the intersection of AI and design, emphasizing human-centered design in AI interactions.
01:10:31She critiques Google's AI images and references movies like Minority Report and Ex Machina to explore AI representations in media.
The importance of data for AI development is highlighted, comparing it to oil.
Examples of AI inventing colors and generating names based on color swatches are shared.
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History of artificial intelligence starting in 1955 with John McCarthy coining the term.
01:15:39Researchers gathered in 1956 at Dartmouth University to work on AI research, including neural networks and machine learning.
AI pioneers Ivan Sutherland and Marvin Minsky made significant contributions to the field.
Architects like Cedric Price and Nicholas Negroponte have a history of collaborating with AI, working on interfaces for technology.
Cedric Price, known for innovative ideas rather than physical constructions, had a unique approach to technology and design.
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Cedric Price's innovative architectural projects focused on addressing societal challenges and promoting user interaction.
01:19:51Price's Fun Palace project aimed to provide a mobile leisure center to counter the impact of automation on employment in the 1960s.
The cybernetic committee, led by Price, designed interactive spaces that could adapt to user preferences, challenging traditional design paradigms.
Price collaborated with Gordon Pasque to create unconventional design concepts that emphasized user control and adaptability.
The Generator project envisioned by Price featured modular cubes and interactive pathways, showcasing his commitment to flexible and user-centric design.
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Early advancements in technology in 1978 included equipment with sensors and microcontrollers.
01:23:31A modeling kit capable of plotting on a computer screen and a boredom program generating unsolicited plans were highlighted.
John Fraser and Cedric Price proposed the concept of an intelligent building that is now achievable with modern technology.
The architecture machine group, founded by Nicholas Negroponte, collaborated with the AI lab at MIT to design interfaces for AI projects.
They worked on defense-funded projects and developed a conversational user interface for architectural design in the 1960s and 1970s.
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Failure of gerbil project and financial strain on Jewish Museum.
01:28:33Gerbils did not interact well with computer-built environments, resulting in the project's failure.
Transition to Aspen movie map and digital mapping work, showcasing challenges for AI.
Emphasis on collaboration between designers and AI researchers for innovative solutions.
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Upcoming book release and conference events.
01:32:49The speaker shares details on the release date and provides Twitter links for more information, expressing gratitude to Molly and ensuring no animals were harmed in the book's creation.
Introduction of panelists from diverse design backgrounds.
Various panelists are introduced, showcasing their individual work and projects, leading to a discussion moderated by Javier Lopez from Google's material design team.
Insights on design systems and contemporary studio interactions.
Javier Lopez moderates the panel discussion, offering insights on design systems and how information is interacted with in modern studios.
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Transition from part-time work to starting a design studio.
01:38:26Importance of maintaining a small operation for personal projects like 'Gratuitous Type' magazine.
'Gratuitous Type' magazine was born out of creative frustration and features unconventional design concepts.
Addressing fears and criticisms about the magazine's reception.
Using the name 'Gratuitous Type' as a humorous and self-aware approach.
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Design projects include a redesigned magazine and a pop-up shop promoting gender wage parity.
01:42:52Gender wage gap-based dual pricing used in pop-up shop in different locations.
Worked as a designer in residence at Facebook analog research lab, creating scenes, posters, and installations.
Emphasis on pursuing personal projects alongside client work for diverse experiences and opportunities.
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Projects involving interactive landscapes and light installations.
01:47:11Collaborations with architects on projects such as the Radcliffe yard surreal landscape and the Knoxville branch of the Carnegie Library dynamic lighting.
Working on a project at the Butler Institute of American Art in Youngstown, exploring low-resolution video recreation.
Despite challenges, finding value in simplifying complex inputs for visually appealing outcomes.
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Linka Clayton discusses her recent projects involving typewriter drawings and the creative process behind them.
01:54:21Clayton explains how she creates intricate drawings using a portable typewriter by folding and feeding the paper repeatedly through the machine.
The drawings are made with punctuation and letters from the typewriter keys, showcasing the challenges and limitations of using this tool for art.
Clayton also talks about the theme of artist residency and motherhood, reflecting on her experience as a parent and artist seeking role models.
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Creating an artist residency focused on motherhood.
01:57:25Reframing parenting experience to inspire art projects, leading to 32 projects in two years.
Opening the residency to 400 artists and residents in 34 countries.
Emphasizing visibility for artist parents, especially women.
Collaboration with the Fabric Workshop and Museum in Philadelphia to create art inspired by a sculpture for the blind.
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Story of an unanswered letter in an art museum archive questioning the value of a great-grandfather's sculpture compared to Brancusi's.
02:02:42Letter sent to museum directors worldwide, receiving replies from 179 people.
Speaker's projects include designing books, organizing exhibitions, and creating unique experiences.
Mention of a restaurant serving food from countries in conflict with the US.
Emphasis on the importance of self-initiated projects in graphic design.
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Art project involving ripping off resolutions from a wall and creating a book of SHIVs and a collection of ships using real-size scanning.
02:06:30Interaction with individuals in Pittsburgh, including a poet featured in the local newspaper.
Organizing poetry readings for the poet that garnered significant attention and admiration from the community.
Experiment with 250 artists creating portraits of a mutual friend to reconnect him with the artist community despite personal struggles.
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Speaker's experience meeting talented and generous individuals during a project.
02:12:21Interactions in various locations such as parks, botanical gardens, and hospitals.
Art exhibition featuring drawings, paintings, sculptures, and interactive pieces created by children.
Friend John actively participated as a model and workshop leader in the exhibition.
Project documented in a 700-page book with essays and photographs.
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Challenges and advantages of living and designing in Pittsburgh.
02:18:26Sense of community and appreciation for coworkers is emphasized.
Design profession attracts individuals from diverse industries, leading to self-initiated projects.
Pittsburgh offers valuable resources and opportunities compared to larger cities like New York.
Ease of pursuing projects in Pittsburgh and support from organizations like the women and girls foundation is highlighted.
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Decreased tech work costs and increased awareness in Pittsburgh.
02:21:11The speaker from Pittsburgh feels nostalgia and appreciates the growing tech market in the region.
The speakers share experiences of criticism and threats related to their work, advocating for authenticity despite potential backlash.
Conflict Kitchen received death threats for featuring Palestine, highlighting challenges faced in staying true to beliefs.
Both speakers emphasize the importance of remaining committed to their work and beliefs despite obstacles.
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Heartwarming incident at a Pittsburgh restaurant receiving community support.
02:25:48Emphasis on diverse political beliefs in the city and the importance of interacting with different views.
Appreciation of Pittsburgh's grounded nature compared to Brooklyn's focus on profession.
Desire to move to Pittsburgh expressed by the speaker.
Event schedule and activities for the following day shared.
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Reminder for meeting tomorrow at Chico.
02:30:30Check schedule to confirm.
Food and drinks provided.
Looking forward to seeing everyone tomorrow.
00:02Hello and welcome to SPAN 2017. I'm Amber Bravo I'm a creative lead at
00:11Google Design. Google Design is a
cooperative team of designers, writers,
00:19and producers who work at Google. Our
focus is to support and promote
00:23designers work both at Google and beyond.
We do this in a number of ways: so we
00:29published content on design dot Google,
stories like what it means to develop
00:33brand systems in VR or how we might
approach voice user interface design.
00:41We also work closely with the Material
Design team who create design guidelines,
00:45tools, and resources. The Material Design
guidelines are a set of best-in-class
00:49principles for designing clear and
beautiful UI, exploring everything from
00:54color, motion, and typography. Our Material
Components are a set of modular and
01:00customizable UI components for web,
Android, and iOS. But we think of our work
01:07on Material as more than just a system.
It's also about creating and seeking a
01:12deeper understanding of the workflow
between design and engineering, and
01:16seeing what tools we can provide to make
to provide a foster a healthier
01:22dialogue. Of course, a design system is
only as good as the community it serves,
01:29so for the last three years we've given
out the Material Design Awards to
01:33showcase what we believe to be
best-in-class examples of Material
01:37Design out in the wild. This year's
winners — Blinkist, Eventbrite Organizer,
01:43NPR One and the mondo — were just
announced yesterday on design.google and
01:49are joining us here in Pittsburgh. So
please give them a round of applause
02:00and do go check out their excellent work.
They're really impressive. We were so
02:05inspired by the great work that these
teams and so many others are doing to
02:10bring Material Design to life. This is
just one way we connect meaningfully
02:14with the community.
Another large part of our agenda at
02:18Google Design is to support and promote
our peers through sponsorship efforts, so
02:23with professional design networks like
AIGA and AGI and editorial platforms
02:29like It's Nice That and the Design of
Business podcast among many others. And
02:33of course through our on-the-ground
outreach efforts like SPAN. SPAN is our
02:41annual conference exploring creative
connections and innovation and
02:45technology. As a word and a concept, SPAN
of course suggests the space
02:50between your big and little finger,
02:53your thumb and your little finger.
02:54It's a maker's measure and to us this
really focuses our attention on the
03:00makers and the design and technology
community.
03:03It also suggests spanning
03:04distances and bridging connections
between practitioners from diverse areas
03:09of focus and even geographical locations.
03:12This is our fourth year hosting span
03:16last year we were in Tokyo and LA, and
this year will be hosting events in
03:20Pittsburgh, obviously, Newcastle UK, and
Mexico City. So the idea is that we reach
03:26different speakers, we have different
attendees, but the mission is the same: to
03:31really connect the design community and
connect cultures.
03:35We're thrilled to be
03:37here in Pittsburgh. We were consistently
impressed with the talent, the level of
03:43talent and innovation coming out of this
city — work that is truly innovative on a
03:48global scale. And we're so pleased to
present the lineup for tonight. We'll
03:55have two talks and two panels scheduled.
We'll also have beer breaks, very
03:59important, snacks scheduled between
sessions, as well as more food after the
04:04event. Tomorrow we have a full agenda
starting bright and early. As always you
04:10can find out all of this on our website
which is G.CO/SPAN17. We will also have
04:17printed schedules available at
registration.
04:20Ever-important Wi-Fi
04:22connectivity: you can find your Wi-Fi on
your badge. I'm not wearing my badge
04:26anymore but I used to be wearing it. As
well as a number of charging stations on
04:31the opposite side of the venue.
04:34Our official event hashtag, also very
04:35important, is #span17. Please use it.
04:38The bathrooms are on the fifth floor,
04:42but it's very clear how to get there: you
just follow the signs and should you get
04:48lost there will be a very friendly
person wearing a SPAN17 t-shirt to help
04:52you find your way. If you need to leave
an emergency, I'm gonna do my flight
04:56attendant move and direct you to the
lighted exit signs. For those watching at
05:03home via our livestream, welcome and
thanks for joining us from your
05:08respective locales. If you haven't
already please check out our handy
05:13viewing kit. It will give you tips for
how to watch SPAN, if you need tips on
05:18how to watch SPAN, and more importantly,
it has information about our giveaway. So
05:24that can be found at design.google/span-kit. And don't worry you guys are all
05:31gonna get swag bags too. They will be here
tomorrow, so you have to come tomorrow.
05:39Also, for all of you that are here today,
you will get a SPAN pin that's gonna
05:45actually get you free access to a
number of cultural venues that we've
05:50identified around Pittsburgh. So go enjoy,
go to museums, be cultural, and go for
05:59free. During the breaks the space is
yours to explore, so please do. We have a
06:06series of installations about set up
throughout both days, including an
06:11installation from the Andy Warhol Museum.
You can do your own Andy
06:17Warhol screen test. As well as an
installation from Deeplocal, who
06:21collaborated with our SPAN team to
create a Self-Painting
06:26Art Nebulizer — or the poster machine
that's at the back of the venue. You should
06:31have all had your badge stamped, so look,
check, see if your badges have been
06:36stamped. That number is gonna
correspond to a poster. So basically what
06:41will happen is, throughout the day, I'll
be announcing what posters are ready for
06:45pickup. We'll probably have some
announcements over the intercom telling
06:50you which posters are ready. You can go
get them and have your poster. Also just
06:55check out the installation, it's
really cool. So without further ado, let's
07:01get started. I'm thrilled to introduce
our first speaker, Madeline Gannon.
07:06Madeline's work focuses on inventing
better ways to communicate with machines
07:12and blends disciplinary knowledge from
design, robotics, and human-computer
07:18interaction to innovate at the edges of
digital creativity. So join me in
07:23welcoming Madeline.
07:33Hello hello. I am so delighted to be here
to kick-off SPAN and I just want to say
07:39thank you to Google Design for bringing
us all under this one roof, right? They've
07:46done an amazing job with the space, right?
You guys excited? For the whole weekend?
07:50Okay.
07:53My name is Madeleine Gannon. I'm a
designer, a researcher, and a robot
07:59whisperer.
And I lead a research studio here in
08:02Pittsburgh called ATONATON, and we are
passionate about creating better ways to
08:07communicate with machines that make
things. So today I want to take some time
08:12to share with you how me and my studio
are reimagining the future of automation.
08:18So automation is of particular interest
here in Pittsburgh. This is the robotics
08:25capital of North America, and it is the
exemplar post-industrial city for the US. And
08:32we've had an interesting relationship
over the past 50 years with these
08:35machines.
08:38Automation brings many benefits.
Now we have ways of creating things
08:42better, faster, cheaper, of higher quality
and to lower risk to human life. But we
08:51are now getting to a point where the
balance of power between humans and
08:57machines is starting to shift in the
machines' favor. Automation is rapidly
09:03outpacing job creation and we are now
facing a future where 5 million jobs by
09:102020 will be replaced due to rapid
adoption of robotic automation
09:16worldwide. But these machines are
incredible. They have superhuman speed,
09:21superhuman endurance, super human
reliability, precision, and I think we can
09:28all agree that it would be much better
if we are able to find a way for these
09:32machines to enhance, to augment and to
expand, our human capabilities — not
09:40replace them. And that's the future that
I'm working to build.
09:52We should have some audio in here.
10:01Thank you. I'm really passionate about
inventing better ways to communicate
10:07with machines that can make things.
For a long time industrial robots have
10:13been the culprit of automation and
replacing human labor. Basically all the
10:18easy tasks to automate have been
automated. Now what we're working on is
10:23using these tools to enhance or augment
human labor and that to me is very
10:30exciting. Industrial robots are really
fantastic. CNC machines, you put a
10:36different tool at the end of the arm and
all of a sudden, they can do a whole
10:39different thing. So in the morning you
can be doing spot welding in the evening
10:43you can be painting. It's just highly
adaptable. Another thing that I'm really
10:48working towards is finding ways to bring
these machines out of factories and into
10:54live environments, so onto construction
sites or onto film sets. There's a chance
10:59for unpredictable objects like people to
be moving into the environment, that's
11:05one of the reasons why I want to build
the system to give this robot eyes so
11:09that it could actually see me and we can
safely collaborate in a shared space.
11:12If I'm wearing or if I'm holding these
motion capture markers, it knows where I
11:17am in space. It knows how I'm moving in
space. Now all of a sudden we can give the
11:21machine a nuanced understanding of our
intention in that space. You can get
11:27someone who's never seen a robot before
and have them begin to do creative things
11:32with just a couple minutes of
interacting with the machine. So a key
11:40theme and how I explore our future with
robots is human-centered design, and when
11:46we think about our relationship to
technology, oftentimes the burden is on a
11:51person to understand how a black box
piece of software or hardware
11:57is supposed to be used and we have to
adapt to it. But human-centered design
12:03inverts this relationship it works to
build a shared understanding between a
12:08person, a machine, and the built
environment. But for me I did not start
12:14working towards human-centered
automation immediately with robots. I
12:19actually started working with these guys
— these virtual squids. Just how to design
12:27with intelligent autonomous creatures in
ways that can extend your own
12:31imagination. So if anyone has tried 3d
modeling before, it is the perfect use
12:37case for human-centered design. To do this accurately you need to have a
12:42lot of technical knowledge and a lot of
training in order to create something. So
12:46I wanted to try to see how intuitive I
could make that and I built a way to
12:51reach into the computer to create
something with this tentacled
12:55collaborator that stretched the
boundaries of my own imagination.
13:59So to make this a more human-centered
interface for design I embed the
14:04technical knowledge of an experienced
fabricator into the underlying anatomy
14:08of this virtual creature. And in effect
this lets us take the technology and
14:15push it out of the way so that we can
just get on with the business of
14:18crafting something really special with
our tentacled collaborator. So what you
14:24get is that this virtual anatomy becomes
these physical objects when they're
14:31taken out of the computer and brought
back into the physical world through 3d
14:35printing. So this software system, Reverb,
lets you a 3d scan your body to pull it
14:41into the computer. It tracks your hand so
you can drape intricate designs around
14:45your body and it's instantly able to be
exported and it's already designed to
14:50fit and wear immediately. And so through this human-centered interaction
14:57with the fabrication technology, we get
these strangely anatomical artifacts
15:02that are tailored to our bodies, that
also push the absolute tolerances of a
15:07fabrication technique, while creating
exquisite forms that conform and
15:11deviate around from the body.
15:19And by embedding this ergonomics and human
15:22factors logic into this interactive
playful creature that we can engage with,
15:26we have these things that both conform
to the body and expand on it.
15:32And this really got me thinking you know
it was amazing to reach into the
15:38computer to collaborate with this
creature but what if I could bring that
15:42geometry out and into the real world to
directly engage with me. And if we're
15:49going to design digital things for the
body, we might as well design them
15:53immediately on the body.
16:38So this system, Tactum, is able to
detect your skin and
16:43interactions with your body, and it
translates that to a CAD back-end that
16:47you don't see that's inside a computer.
And again just like Reverb, all the
16:52fabrication knowledge is embedded in this geometry so we can just print
16:56it and wear it right away.
So here's with some insights into how
17:00the system sees you. With an above mounted camera we see the skeleton of the body
17:05and segment the forearm from the hand.
17:08We then attach animate playful geometry
17:11onto the forearm so it sticks with you
and responds to you as you move through
17:14space, and then we can sense the other
hand and where those finger gestures are
17:18and its proximity to your body and space
to create these gestures for 3d modeling.
17:23So with just one above mounted sensor we
can get a series of nine distinct
17:29gestures that are quite useful for 3d
modeling. And here for me was when I
17:35began to shift more towards robotics so
if we see that Reverb
17:43really brought this idea of intelligent,
autonomous geometry that I can interact
17:47with, and Tactum gave me an avenue to
bring that geometry out of the computer
17:52and on to the physical world to interact
with me directly, I thought why can't I
17:58do this with a robot? You know a 3d
printer is a 3-axis robot. If I'm
18:03already feeding it to this machine I
could feed it to a robotic arm, a six
18:07axis robot. And evidently there is good
reason out there not to do this. These
18:15machines, when you scrape through the
user manual you are greeted
18:20with visions of your impending doom. And
this holds true for industry as well.
18:25When you go into a factory there is
strict separation between robots and
18:31people, and there's good reason for this.
You know these are made of hardened
18:35steel and we are made of soft squishy
flesh. And those things don't often go
18:40well together. But part of approaching
this problem as a designer outside
18:45the world of robotics is that you often
don't know
18:49the things you shouldn't do. So I've made a
back-massaging robot — here so you lean
18:57harder into it and it leans harder into
you. And you lean forward and it goes a
19:00little softer. And I've also done a lot
of work hacking industrial robots to
19:06make cheaper, better hardware that's more
open for people who may not have all the
19:12resources we need. And I've created
open-source software for doing creative
19:17things with robots — from character
animation to again responding in real
19:23time. You know I I'm really passionate
about doing anything to illustrate that
19:27there are alternative visions of how
these machines can engage with us that
19:33have been perhaps overlooked and
underutilized in industry in their
19:36pursuit of automation. And I was
fortunate enough last year to be given
19:42an opportunity to take these ideas and
bring them out of the lab and into a
19:46live environment at the Design Museum in
London. They invited me to contribute to
19:52this inaugural exhibit, "Fear and Love." And
they asked me to think about
19:56the complexities of our fear and love of
automation. And I thought about my work
20:02with ABBA here and how training her and
learning her idiosyncrasies while also
20:08programming her — it reminded me a lot of
Victorian zoos where people would do
20:15feats of daring between trainers and
giant beasts or where you bring these
20:20exotic creatures to unfamiliar places
for the general public. So in the Design
20:26Museum we decided to bring an industrial
robot to live there for the six months
20:31to provide an opportunity as a point of
first contact between the general public
20:37who may not know it but these robots impact the things that they use every day
20:42and Mimus here. So it was an
incredible opportunity to create a
20:50way for people to engage with this
and really connect the body language of
20:54people visiting a Mimus with her own
body language and her own
20:59characteristics.
21:00So here we see some interaction
21:03vignettes that we developed prior to
bringing here to life. And of course you
21:10have to watch out for the selfie
sticks.
21:13So this is how Mimus sees you.
21:15She doesn't see you through her face,
instead just like the previous work that
21:18I showed, we use above mounted sensors to
21:21see everyone walking around her so
21:23unlike you and me where we only have two
eyes, Mimus has eight eyes and sees
21:28depth. From there we can extract certain
things like your position, your time
21:34you've been there, your proximity to Mimus
— and we can extract and begin
21:39to interpolate certain characteristics
about you.
21:42If you're very very close and you've
been there for a long time, maybe you
21:45trust her. If you are short and you are
jumping around maybe you're a kid. And we
21:52built a ranking system for Mimus to
go see who is the most interesting
21:56person and then, if you stop into being
interesting, she gets bored and she goes
22:00to someone else — just like a tiger at the
zoo. So here's what it looks like.
22:05These these sensors hung in the
ceiling that we had developed. The
22:10program which we developed is really
just directly connected to this machine
22:13so now you don't have to program it —it's
understanding how your body is moving
22:17in space and reacting to it. And you
can internalize that information that
22:21she's broadcasting as well. And then in
the Design Museum the installers are
22:27having a little fun. The Design Museum
just opened here and these guys are
22:31installing the ceiling and messing
around with Mimus on their break. But
22:36it was great to see you know like one
person walking down low and then coming
22:39up high when the people mover just
drove past. So here she is in her
22:46enclosure in her glass cage and really
with this project you know mostly when
22:52we see robots interacting with people
they have eyes they have screens they
22:57have human features. For me Mimus, she
has a really restricted palette to
23:01communicate her internal state of mind —
she has the motion that she moves with
23:08the posture that she holds, and the sound
of her motors.
23:12Could we turn up the sound a little bit?
23:16So even with that really restrictive
material palette, we can elicit a range
23:22of emotions. So here we see
people who think that she's friendly and
23:28curious. Here we see people who are thinking she's a little more flirtatious. There are
23:36her motors. And even a little bit lewd
with her with her gestures. And also
23:48very important that people that thought
it was creepy, and a little bit
23:51distrusting that this overtly dangerous
machine is so cute. And these are all
23:57really important questions that we as a
collective need to begin to process
24:01because these large-scale autonomous
machines are joining us in our built
24:07environment in our cities. Pittsburgh is
a great example of that with the
24:12self-driving cars that roam our streets
now. So just how are we going to share
24:17our world with these machines? I don't
have an answer.
24:25But it's pretty incredible how you give
a machine a sense of movement and
24:30life-like reaction and people can't help
but project your emotions onto it and
24:36create a more empathic bond
24:39with this lump of motors and steel. So I
24:43hope that this way sometimes you see it
as a creature instead of a thing. But as
24:49we continue to march forward
into the future, I am really bolstered by
24:53the fact that these kids here are
growing up in a world where they are
24:58anticipating and expecting that their
technology is attentive and empathic to
25:04their needs. And if there's one thing
that I hope you take from this talk, I
25:09hope you feel emboldened that we are not
bystanders to technology and that we
25:14have an active say in just how the
future arrives. Thank you all.
25:41Thank You Madeline is it strange
that I want to bring an industrial robot
25:47home? To my house? I don't know. Our next
panel will explore the diverse ways that
25:54we experience art in contemporary
society through both practice, curation,
25:58and play. Desi Gonzalez is a researcher and maker exploring the
26:04intersection of art and technology. She
currently leads digital engagement at
26:08the Andy Warhol Museum. Paulo Pedercini is a game developer, artist, and
26:14educator. Since 2003, Pedercini has
worked under the project name Molleindustria
26:20producing provocative games
addressing issues of social and
26:24environmental justice, religion, labor, and
alienation.
26:28Jon Rubin is an
26:30interdisciplinary artist who creates
interventions that reimagine individual,
26:35group, and institutional behavior.
26:37He's
exhibited internationally and also here
26:40in Pittsburgh — I'm sure you guys have
seen the Last Billboard project which is
26:44right around here somewhere —
and you've probably eaten at Conflict
26:49Kitchen.
26:50Our moderator Aaron Lammer is
26:53responsible for producing podcasts like
Longform and Stoner. And he'll also be
26:58documenting and producing a series of
SPAN podcasts for us so please stay
27:03tuned for those.
27:06So without further ado,
welcome Aaron and our panelists.
27:29Hello Pittsburgh! I think we're gonna
hear a little bit from each of the
27:35panelists — about their work. They're gonna
show some slides. This is work that
27:40sometimes you can look at, sometimes you
can see,
27:42sometimes you have to climb on top of
27:44the building to see, but we'll get a
little overview of what everyone's up to and then we'll all talk.
28:02Are we in the way of the images?
28:08Kind of sitting in front
28:10of the images.
28:15Desi Gonzalez, ladies and gentlemen
28:17Hi, I'm Desi Gonzalez.
28:18I live here in Pittsburgh. I'm a writer,
28:21a researcher, designer, a media maker, and
I've gotten to write and research and
28:27media-make and design at a number of
wonderful places. I've been at the Museum
28:33of Modern Art working on interactive
exhibitions. I did a short stint at a
28:38residency at La Victoria Lab in Lima,
Peru, which is a human-centered design
28:43lab started in conjunction with IDEO, and
we worked on educational technology for
28:48the emerging middle class there. I did my
graduate studies at MIT, where I focused
28:54on kind of impacts of new media and
technology from a humanistic and social
28:59science lens, and I'm now the
Manager of Digital Engagement at The
29:04Warhol. So I'm leading visitor-facing
technology initiatives there and I
29:10like to say that I work at the
intersection of art and technology. When
29:16we think about art, we think about things
like imagination, expression, nuance,
29:19subjectivity, and on the other hand you
know logic, code, binary, objectivity. Now
29:27of course these are really gross
generalizations. We know that it's much
29:31more complicated than that. But what I
like about working at that intersection,
29:33even though I don't necessarily consider
myself an artist, is that I still get to
29:37blur these boundaries between the two.
And challenge
29:42preconceptions. So you know one way that
I get to blur boundaries in my museum
29:49work is that I'm providing access in
ways that were not previously possible.
29:54So if you were to go to The Warhol and
go to a permanent collection galleries
30:00on each floor, you'd see a number of
these tactile reproductions that you see
30:04on the left. The example I have here is
of Warhol's painting Coca-Cola 2 — and
30:10these raised lines, surface reliefs,
of iconic works in our
30:16collection allow a person to get an
understanding of his works through the sense of
30:20touch. You can use that at the museum in
conjunction with our audio guide, Out
30:25Loud, and this is an audio guide that is
available for all visitors but that we
30:30designed in conjunction in collaboration
with folks who are visually impaired — who
30:35are blind or have low vision. So on the
audio guide we're combining educational
30:41content with accessible content, we're
pushing out content based on where
30:45you're located in the galleries. And
it was a really fantastic process
30:49for me to work on this, to work with
community members who are blind and have
30:54low vision to build something that's crafted specifically
30:59to make a meaningful experience. And one
of our co-designers, she's been blind her
31:04entire adult life, and she told me when
you think about a visual art museum you
31:09don't necessarily think about a blind
person coming here. Right? A visual art
31:12museum. And and we're really excited to
flip this notion on on its head. So I'm
31:18going to share a few more projects that
are about the
31:22intersection of art and technology and
that I've worked on. This one's actually
31:24not. It's art-related but I did it while
I was a graduate student or at least
31:29started it. I've been thinking about... how can we... One thing I thought
31:34about a lot was how can you turn
aesthetics into data and vice versa. And
31:39a project I worked on were these
art crayons. On the left you'll see an
31:46early prototype. This is basically a
bar graph. Each band in the crayon
31:53represents the amount of the
top five colors. I took a painting and
31:58put it through a color analysis script. I
matched up those colors to Crayola
32:02colors box — a 120 pack of Crayola crayons.
32:05I melted them down and created these new ones.
32:10So the one on the left is of
Georgia O'Keeffe's "Music Pink and Blue
32:12No 2" painting, and it itself — the
image — is an abstract work in the first
32:18place. So you know there's a tension
going on with this work, where in the
32:22first place, I was interested in taking
messy, cold
32:25data and putting it into a neat kind of
database, and on the other hand it's
32:29absurd to be taking something that's abstract and abstracting it in
32:33another form. And I really enjoyed that.
The crayons on the on the right I made
32:39more recently. I made those actually once
I was already at the Andy Warhol Museum.
32:42And in my role working on digital
projects, I face a limitation which is
32:48that we we don't own the intellectual
property to the works in The Warhol
32:53collection — for most of them. It
makes my work a little bit difficult.
32:55I can't show you an image of a Warhol work
right now even though Warhol works are
33:02some of the most iconic artworks in the
world, right? But in this way I was able
33:07to circumvent that. I can now show
you these art crayons — the third crayon
33:12with a big band of white, that's a
Campbell Soup can. You guys might have an
33:16image of that in your brain. So it's the
white background that dominates the
33:20crayon with a little bit of red, a little
bit of blue or a rather gray, and black,
33:25and then it's tiniest bit of gold. And
that represents the soup can's
33:28label. So this is my way to
circumvent those limitations.
33:32And then a final project I want to share with you,
and then I'll be moving on,
33:37Is just how can we use technology to take us to
a different time and space through art
33:47as well. And right outside of this area
you may have seen that we have a Screen
33:53Test Machine set up. We also have one of
these — this is an image from from my
33:57museum the Andy Warhol Museum.
34:00Warhol, between 1964 and 1965, created almost
34:05500 of these screen tests where he would
have someone come to his Factory studio,
34:11sit in front of a little Bolex camera —
there's a hundred-foot reel of film — and
34:17he would let it run the entire time,
which was about three minutes, capture
34:20this image kind of a close-up very
intimate shot, and then he would play
34:24them back in the studio at at a slowed
down pace, slightly slower. And it would
34:30result in this very ethereal silent film,
almost a character study. And you know
34:38at the Museum, you are able to be in the
Factory studio yourself, sit for a screen
34:43test in the Screen Test Machine. You
yourself can can sit down and have
34:47your video recorded and then it'll get
sent to you at the slower pace. And what
34:51I love about this this interactive is
that it allows you to be the art, to be
34:56in the 1960s, to imagine what it would
have been like to be in Warhol's studio. So
35:02thank you.
35:05All right. What's up? Hi, I'm
Paolo Pedercini. I have a stupid slide here.
35:16So yeah I'm from Italy originally and
I've been living in Pittsburgh for about
35:22eight years, where I teach at Carnegie
Mellon University. But I mostly work
35:26under the project name Molleindustria. Can you lower the volume? Yeah, it's pretty loud.
35:31So I've been making essentially games —
35:34political, satirical, experimental games under the name
35:38Molleindustria for about 10, almost
15 years actually. And I like to use
35:44games as a form of communication, as a
form of satire, but also to mess with the
35:48language of video games or mainstream
video games. All of them so far are
35:53responding and questioning the tropes
and the mechanics that we take for
35:57granted and try to foster a kind of
critical thinking toward this language
36:04of video games, because I believe games have
their own language and not just embed
36:09that in the stories and the characters
but also in the mechanics and in the
36:13systems that they kind of like enact. So
what the designers decide to include and
36:19what they decide to exclude, for example.
So my games are kind of meant to
36:24actually encourage some kind of system
thinking around actual complex systems
36:30that we live in. For example this one was
an old one called the McDonald's video
36:34game, in which you're managing the
McDonald's company as this sort of CEO
36:40through this dislocated, globalized
production process. And it's meant to
36:46sort of illustrate all the questionable
aspects of the supply chain.
36:53Yeah this other one, it's
actually uses storytelling.
36:57It's called Home Story and it's a kind of an
educational game for smartphones — mostly
37:07iPhones and Android phones. And it also
talks about the production process of
37:12the device itself from the perspective
of the phone. The phone sort of like
37:17talks to you and kind of implicates
you in this process,
37:21in this problematic process. And you go
from the Coltan mines in Congo to the
37:28Foxconn Factory where that was a moment — it's funny but not — there was a
37:34moment in which there was a wave of
suicides you know, like literally people
37:38tossing themselves off the buildings of
this factory and so on.
37:43So there is a bit of dark humor, but it's
mostly educational. You hear this kind of
37:46boys talking about it and yeah Apple
didn't like it and they banned from the
37:51store. It's still on Android though, thank
you Google.
37:56So this one is called To Build a Better Mousetrap.
37:58And it's also
about a supply chain process —
38:01a management game, but it's a bit more
abstract and it's meant to kind of
38:07distill and dramatize the conflicts of
late capitalism — in particular the
38:12conflict between innovation and labor,
like automation and innovating products
38:18versus innovating processes and so on.
38:23Next, this one is
38:27called Nova Leia and it's... I like this to
combine this idea of storytelling and
38:32simulation so this is a first of a
series of city games that are meant to
38:36talk about... let's say that to be a kind
of an alternative to Sim City. Everybody
38:43knows Sim City and everybody knows this
kind of all-encompassing ambitious
38:47simulation of urban environments and
this one is meant to just focus on one
38:51very specific aspect of urbanism through
video game which is gentrification and a
38:56financial speculation through real
estate
38:59so you're basically it's basically kind
of like a house flipping simulation and
39:03at some point a click
and at some point you also encounter a
39:09kind of resistance from below and you
see you see the invisible citizens are
39:15essentially like rising up and adding
new rules and new systems that are kind
39:20of pointing to rent control measures or
anti-speculation measures to force you
39:26to rethink your strategy and so on.
Next. So this one is the next one
39:33that is coming up is it's called A Man.
And it's a narrative game in which
39:40you're playing as a drone pilot. It's a
game about a day in the life of a drone
39:45pilot. And it's all presented through
this split screen or double channel
39:50screen — kind of meant to almost
mirror the disconnection that I imagine
39:57these fighters and pilots have in living
their lives. So essentially in a suburban,
40:04you know, normal family in Las Vegas but
also being on the frontline. And this one —
40:13I'm gonna I'm gonna go fast —
click click. The next one is this is a
40:21more recent one for VR. It's called A
Short History of the Gaze.
40:28And I call it an experiential essay about
40:29the relationship between looking at things
40:34and VR — mostly because a lot of
what you do in VR is kind of like
40:39looking at things. But the gaze is never
really problematized in some kind of way.
40:44There's a lot of talk about VR as an
empathy machine or to promote
40:52empathy, but I kind of wanted to create a
little bit more critical distance and
40:56create a game or an experience that was
not really about you know feeling the
41:01world through seeing the world through
the eyes of a refugee or something — but
41:04actually more conveying a set of ideas
that are a bit more abstract. I really
41:11went a little bit more theoretical. So in
the game you're basically like going
41:16through a series of vignettes
from the development of vision in a
41:20Precambrian creature to a panopticon. And
so on.
41:24So some things happened in this
41:27country that made me write kind of like
question essentially "what what am I even
41:31doing with my life?" —
as a designer you know, like making like
41:35these very academic sort of games and so
on. And my I guess my first
41:41immediate response was a compilation of
games called Casual Games for Protesters,
41:46which is a series of games that are not
digital. They are analog, folk games. Street
41:52games that require very little
preparation and very little — almost no —
41:56technology. What it is is essentially is,
yeah, a collection of games to be played
42:01in the context of protests, marches, and
occupations that are meant to
42:07enrich these experiences and kind of
fight boredom.
42:10Because every time I go to a rally or
a march, I'm kind of like bored. And so
42:17these are kind of things that
you can do to pass time. But also in
42:21a sort of thematically related way. And
it is to to produce experiences that are
42:28transformative in themselves. I think
activism should be like immediately
42:32an inherently transformative for
the people who participate, regardless of
42:37the political effect that it can have.
And so yeah I think there is a role for
42:41games and for experience designers in
this particular field. And now you can
42:48play many other games at the website
Molleindustria, they are all free and
42:52yes. Thank you.
43:02Am I really loud? It seems loud. Okay.
Thanks.
43:09I'm Jon Rubin.
43:09I also live in
Pittsburgh
43:11and I'm the grad director at
43:13Carnegie Mellon School of Art and an
artist here.
43:15I don't know why I'm on this panel,
43:16but I'm gonna show the work.
43:18I'm gonna show three projects
43:20that I made within probably 500 feet from
43:24where we're sitting right now.
43:26The first one started eight years ago
and the last one's still going.
43:27And so this is the sort of three projects that developed:
43:32a billboard, the waffle shop, and conflict kitchen.
43:37But kind of walking you
through the process of that,
43:37I rented a space that had been empty
43:40for over three years
43:41right on the corner of Highland and Baum,
43:46and started having classes
there.
43:49And out of those classes we developed this project called the waffle
shop,
43:51and it's something that was
43:55developed as a reality TV show —
43:57which was a complete disaster,
43:58as every reality TV show is.
43:59And then morphed into this thing
which was a live streaming talk show
44:09that happened every time this faux — which
became real restaurant — was open.
44:10So essentially we opened a waffle shop and
people streamed in thinking, "hey this is
44:20a restaurant where I can get waffles."
44:21And then there was this kind of bait and
44:23switch in which, in the back of the
restaurant, there was also a talk show
44:26where our customers were coaxed to be
participants.
44:30We then livestreamed it
44:31over the internet — in a very low fly way — and
44:35you know what was kind of interesting to
44:38me was to try to create a space in the
public realm that seems both normative
44:43and absurd. That wouldn't normally happen
if, you know, perhaps an artist didn't
44:48intervene. And what you had was everyday
people who might not normally be
44:53engaging with each other are coming into
this waffle shop and being coaxed into
44:57conversations. And there's a kind of
stream of consciousness documentary of
45:03whoever happens to occupy this space at
that moment being broadcast out into the
45:07world. So I was really interested in a
very visceral person-to-person
45:12experience that is often
mediated by technology and television,
45:19being kind of available and very low-fi.
So over the six years that this project
45:26ended up running, we had over 10,000
people who sort of became the performers.
45:32And it was nice because anyone who
walked in and bought a waffle was a
45:35funder. If you sat down to eat you became
a viewer. And if you were coaxed on this
45:41stage, you became a presenter. That's any
individual walking in could perform
45:44every role the institution needed. And it
was a sort of non-hierarchical model
45:50that was constructed in the middle of
the city. Out of that project I worked
45:55with another artist, Dawn Weleski, and we
created Conflict Kitchen — which actually
45:59started right out of the side door of
the waffle shop. So initially we were
46:05running two restaurants out of one
kitchen. And the idea with Conflict
46:09Kitchen — which ended up lasting for seven
years and is about to translate into
46:14another iteration — was to think about not
only Pittsburgh, but something that could
46:20happen in the entire United States — you know what is missing from our
46:23discourse, you know, what is the byproduct
of our xenophobia and ignorance and how
46:28does that manifest not just in policy
but in discourse amongst each other on
46:34the street. So we took kind of the
mechanisms that were working in the
46:39waffle shop — which is we got food as a
way to coax people into conversation
46:44with each other — and we targeted that
much more specifically around countries
46:47that the United States was in conflict
with. So every four to five months we
46:51would switch and focus on a new country.
We would then travel oftentimes — this is
46:56sort of later in the project when we had
some income to do so — to Palestine, work
47:01with North Korean refugees, or Cubans. And
then bring all that — both the information
47:06and the food and the recipes and
relationships with local communities
47:11that are from those nations — and use this
kind of window kind of like we were
47:17using the talk show as a sort of
mechanism to engage conversation that
47:21wasn't ordinarily happening. Also, as a tool
47:24to disseminate information that is
either uncomfortable or unfamiliar to
47:27people. So again using, you know, this
material of your food
47:33the bypasses your intellect. So these are
kind of anti technology. These are old
47:38technologies of recipes being the
original open-source form that
47:43everyone shares and and transfigures in
many ways. So we moved to Schenley Plaza
47:50about five years ago. We focused on North
Korea. We focused on Palestine. We focused
47:57on Iran. We had a whole education and
outreach program, a live trivia show — when
48:03you're waiting in line, publications
about kids who are living in those
48:08countries, interviews with Cubans asking
them to write a speech they wish Barack
48:12Obama would deliver — then hiring a Barack Obama imitator to deliver it. Then
48:17hiring an even better one to produce it
for television.
48:20This is a live Skype meal
48:22between Pittsburgh and Tehran which we
did several times — where we ate the same
48:26foods together. We started to work with
local organizations. This is the Islamic
48:31Centre. School groups. Virtual dinner
parties. Cooking lessons
48:37where someone in Iran a chef would cook
for people all over the world in their
48:41home kitchens. So basically after about
seven years the project closed in its
48:46location, and we've
received a grant to check the
48:51feasibility of actually taking this
project into other cities across the
48:54United States. And we have another model
for how we're going to manifest it in
48:58Pittsburgh. And then finally the Last
Billboard, which I think was brought up
49:03briefly, is a project that started in in
the space that used to be occupied by
49:10conventional advertising that was pulled
out. And I asked the landlord if I could
49:14use that and re-modify the system to create a
kind of anti advertising system.
49:17So basically the way the Last Billboard
works is I...
49:26Yeah that's a good one. That actually was
right after the election.
49:30So the way that the Last Billboard works is we
literally get up there —
49:32and it takes about six hours by hand to take these
very heavy wooden letters and put them
49:42up and they end up lasting — even though
it sort of has the appearance perhaps of
49:46a tweet — it stays up there and
this incredibly material way.
49:53I guess it confounds your
expectation of how text should exist in
49:58the public realm and what it should be
saying, and becomes a really facile venue
50:03for me to work with artists all over the
world and bring them in. And you know
50:07bring
beautiful sentiments and perspectives.
50:14This is Marc Horowitz who just put
his phone number up there.
50:18Adam Freeland
50:22who did this piece it's called The Crier,
which has three different
50:26interpretations of crier. And this is Kim Beck, a piece that she recently did.
50:33So that's also been going on for
about six years. So I'm really interested
50:37in being a resident in Pittsburg — that my
work takes place here in a very physical
50:42way and that it's an
opportunity for me to engage with my
50:46community. That said, a project I'm
currently working on and I have been for
50:50three years is developing a sitcom
that's going to be jointly produced in
50:54an apartment in Tehran and a space here
in the United States. So I could talk
51:02more about that perhaps but that's it.
51:08Thanks to everyone. Wow.
51:13Jon said he didn't know why he was on
this panel, and so it made me think about
51:20what united all three of your work. And
the thing that occurred to me was that
51:25all of your work requires other
people.
51:28If no one goes and physically
51:30experiences it, it doesn't really happen.
51:33If no one comes into the waffle shop, if
51:35no one plays the game, if no one touches
the coca-cola bottle, the art doesn't
51:41really mean much at all.
51:43I'm curious when
you take these projects out of the
51:47theoretical academic stage and unleash
the forces of humanity on them,
51:55what have you learned from the way that people
51:57actually interact with art and technology that differs from your plans?
52:02What happens when the games get played
52:04and when the people show up?
52:06I guess I'll start with what Desi and your
experiences in the museum.
52:11What have been
some surprises about when you set up
52:13something like the screen test,
52:16and people actually screen test?
52:18Yeah so I think the screen test is maybe my favorite interactive
52:22that we have at the Andy Warhol Museum.
52:25Once I was in the — we
have it kind of it tucked away in a
52:29little gallery, not so dissimilar to
here — but it was in there a woman was
52:34wrapping up her screen test, her friend
was standing on the side, they were very
52:38silent. All of a sudden the lights go out
at the end of her time during the screen test.
52:45We have
these whirring sounds that were
52:48emulating the camera and then her
shoulders slumped, and as she goes like,
52:53"Wow, I didn't realize how tiring it would
be to be sitting for so long and
52:57concentrating" and having kind of this
intimate moment with the camera.
52:58And to me, that was a really successful moment. It was kind of a moment of friction for
53:06someone at a museum — it's a little
strange. You go there to see other
53:09things, you don't go there to be seen
yourself necessarily. That there's a
53:14moment of discomfort for her but it also
gave her a sense of what it's like to be
53:18a participant in — and to be with the
activity
53:22of being in art being a subject
of it. What's that take. So Paolo when
53:30you're developing these games you know
in art generally people kind of just put
53:35it out and you know interpret it
yourself in technology there's user
53:40experience and affordances how much do
you consider the actual gameplay like
53:45are you user testing the orgasm simulate
Ron I not want anything test yeah it is
53:57so it is a bit of a problem because we
are there are a lot of moving parts in
54:02the game that contribute to the type of
interpretation that you get especially
54:07if the game has an intent that it's
perhaps like you know conveying
54:11absolutely message or range of messages
let's say that I don't like to think
54:16that my games have a message or a moral
but there is definitely a field of
54:21meaning that I'm interesting in you
falling in and then sometimes sometimes
54:26it's a problem like one example is that
once I made a game that was considered
54:31too hard by some players and and was
like oh this game is too hard it means
54:36that there's no hope in the world
because like you always end up you know
54:40being kicked in the butt and the people
coming out of the windows like we're not
54:45making an interpretation for example
right and and so it was like kind of
54:49like overnight I tweaked some variables
in many easier but then like other
54:54players were like oh this game is so
easy that clearly means that it was a
54:58game about like WikiLeaks or so it
clearly means that the leaks they're
55:02gonna change the world and whatever I
was like that's in that case the
55:09solution was a design solution which is
the dynamic difficulty of adjustment
55:13that means that the game is responding
to your player and kind of like getting
55:17harder depending on the kind of like the
skill level of the other player for
55:22example but sometimes you don't have a
kind of like an easy design a problem
55:27and what I i've been thinking more about
is to create games or toys or tools that
55:34allow to play subversively like that to
allow them allow you to the player to
55:41kind of like break them and do different
possibly unexpected things with them
55:46John when you're taking on a project
like the project that started as the
55:52wash of waffle shop and I think became
all of the projects that came after it
55:57how do you think about a project that
has no finite beginning or end like that
56:03and what's the decision-making process
like like who decides to open the
56:08conflict kitchen next to the waffle shop
once that's going I mean it's I was
56:13thinking about what paula was talking
about and again maybe I'm translating it
56:18not into an online universe but into you
know a daily life you know because it is
56:23very much a call-and-response process
you know I mean being just hanging out
56:28in the waffle shop every day
shit happens life happens people come up
56:32to you they say things you thus respond
the Billboard becomes empty you drive up
56:38and say hmm what if the the guy who has
a business next few owned opens a hot
56:45dog shop right outside of your waffle
shop and you're like hmm
56:49maybe we should compete against him and
create a takeout restaurant and what if
56:52we did what kind of takeout restaurant
would that be and all the sudden like
56:56tumbles forth a line of thinking that
relates to other interests that I have
57:00and so you know that it's so completely
nonlinear and partially I'm responding
57:07to like extremely idiosyncratic personal
interests and I'm also responding
57:13simultaneously to what I'm seeing in a
kind of a local public sphere of
57:17interest and then I'm looking at this
kind of global zeitgeist of you know I
57:21mean the conflict catch and became a
place that could unpack things that were
57:25happening geopolitically they seem quite
distant you know as say the Iranian
57:30negotiating negotiations we're heating
up we could focus on Iran and kind of
57:34look at it in an incredibly different
perspective here in our own little
57:38footprint so it's it's a constant dance
of you know
57:43putting something out and watching you
know what happens you all work in a
57:51medium that didn't really exist
historically this space between art and
57:57technology and the public space well I
shouldn't say that it always existed but
58:01there aren't necessarily institutions to
support it all over the place there
58:06isn't a moment are starting to move into
museums and but these are works that
58:12don't fit neatly into any established
package you can't open it at a Soho
58:18gallery and have a big party with wine
well I guess I'll start with desi you
58:24run an institution where you actually
can do this kind of stuff so where do
58:29you find like where do you find people
to do this kind of stuff for people who
58:33would want to make work like this what
are the career paths like for what do
58:38you tell people you're looking for at
the end a Warhol Museum so so in a role
58:42similar to mine there I mean these are
jobs that I'm one of the first people in
58:48this role at my museum I think museums
aren't very good at knowing what
58:54technology needs they need like people
who are running museums are often
58:58curators or come from that kind of
background so it's actually a really
59:02fantastic opportunity to be a novice and
just start from the beginning and just
59:07test out an experiment and they didn't
know that I lacked a lot of the skills
59:11that I need for my job when I started
it's really cool I learned it on the job
59:16but I do think that so you're asking
like what are we looking for what do we
59:22need well looking skill you were most
lacking just like kind of boring like
59:29servers and stuff like that that you can
figure out right I mean sorry if you're
59:33into servers
but yeah I think what what museums are
59:39looking for is people who are creative
people who are also sensitive to the
59:42content we're working with right like
we're at my Museum where we have the
59:46legacy of this one artist and his heart
is like because work is really complex
59:50there are many ways you could tell this
story so we want someone who is really
59:54interested in new technologies really
aware that Warhol experimented with
59:58technologies but also keeping his spirit
in mind and in an authentic Warhol was
01:00:03kind of authentic kind of not but
keeping that in mind when we're creating
01:00:08these new experiences Paulo when you
have a new game out where do you show it
01:00:12where did where do you premiere it yeah
I know that's an interesting question
01:00:15and I'm actually quite into that kind of
question actually yeah so games have
01:00:20been in and out of galleries for like
like 20 years at least so it's not
01:00:24completely unseen that you have an
opening and so like with tipping you
01:00:29know sipping wine and playing a game my
problem is that and if there has been a
01:00:36push to where the institutionalization
oh let's recognize and you know this
01:00:39thing as a design and they are like
there is pac-man in the MoMA and so on
01:00:43they are like in the design and
furniture section but it is in the
01:00:49moment the problem with that is that
they don't sit very well in the MoMA
01:00:55like if they don't sit very well in
there's like white spaces and what I'm
01:01:00working on right now I never unknown sit
I don't well
01:01:04what I'm working right now is like
essentially like creating a different
01:01:07kind of space and kind of like try to
disrupt a bit the white cube in the same
01:01:12way if you think the essentially video
art in order to be enjoyed in a gallery
01:01:18had to sort of like transform and you
know that's why you you sometimes have
01:01:22like sort of like small cinemas or you
have more like a paradigm of like a
01:01:26complete darkness in a gallery so you
can have a projection and so on so I'm
01:01:31thinking of like what would that be for
interactive artworks that might not be
01:01:35you know hanging on a wall or might not
be enjoyable in you know in like in just
01:01:41like three seconds or like you know
without with a glance and maybe they
01:01:45require a little bit more time and yeah
the response is that I'm basically like
01:01:48turning my garage into a gallery for
video games so stay tuned I was I mean I
01:01:53was gonna ask if there was gonna you
people thought there would be dedicated
01:01:57institutions for this kind of
multidisciplinary work and it sounds
01:02:01like the first one is opening garage
there are different models in several
01:02:09cities it will be probably the first one
in Pittsburgh John when you've completed
01:02:15this project you've got God knows how
many hours of live streamed video you've
01:02:21got photographs you've got just like
tons of stuff how do you think about
01:02:28repackaging that not for the audience
who saw who experienced it in real time
01:02:33but someone like our audience here who
who are experiencing in retrospect yeah
01:02:40it's a challenge I mean there's sort of
like the indigenous audience that
01:02:43experiences these things and but as
artists we're really conscious and have
01:02:47always been about how stories are told
in different ways even the same story
01:02:51can be told in different contexts and
have different meanings so you know for
01:02:56some people just the title of things
like I mean just the title conflict
01:02:59kitchen has an e vocation for people in
you know portugal and without actually
01:03:06experiencing the project and that's fine
for me I mean linka clayton who's going
01:03:12to speak later and i just finished a
project in new york which is called a
01:03:16talking parrot a punjabi TV show high
school drama class a museum artwork a
01:03:22congregations call to action and the
oldest song in the world
01:03:25circled through new york done
so I mean you know there's something to
01:03:33me really evocative in the title but the
project was like massive six-month
01:03:37undertaking with millions of things
going on and so I think it's okay that
01:03:42you don't have to be there and it's okay
that there's definitely in the art world
01:03:47a kind of you know the aura of an object
that moves around and has this quality
01:03:53that can be traded on the market and I'm
frankly just not that compelled by it
01:04:00what what kind of reactions do you get
when you cross these boundaries between
01:04:06tech and art in the public space I'm
curious like what kind of reactions more
01:04:14technology-based like for instance like
your cran piece how does that how does
01:04:20that play to a tech audience versus a
art audience and is there any
01:04:26distinction I mean yeah of course
there's a distinction and can I answer
01:04:34your question a little bit differently
you can actually just go wherever you
01:04:37like I mean there's yeah I think I do
think that in art museums so I was I
01:04:41thought you were gonna go in this
direction or at least this is something
01:04:43I faced a lot is that there can be a
resistance to technology outside of art
01:04:48museums there's a resistance to art and
contemporary that's what I was really
01:04:51asking except I was trying to not make a
negative yeah the question it's
01:04:58interesting to see where that comes from
and to see why people feel that way and
01:05:02I I do agree you know there is sometimes
there is a we're using technology in
01:05:07places where we don't need it but there
are ways in which technology can has
01:05:12really I don't know I think about our
our audio guide and the tactile
01:05:15reproductions where we are able to make
the museum accessible to the visually
01:05:19impaired community here in Pittsburgh by
by offering these things I think there's
01:05:24a lot of writing in kind of like museum
reviews and art criticism about museums
01:05:30being overly enthusiastic about digital
and and I also you know I love my
01:05:37working with technology and working
digital engagement by just as much love
01:05:41designing solutions that don't require
technology
01:05:43I mean the same some of the same stuff
applies to something like games where
01:05:48you can have an academically dense
treatise about a game and then you open
01:05:55it up to you know the reddit forum of
the world and it's a different kind of
01:06:00response what's it like making work for
both of those audiences
01:06:05when it started it was weird I mean like
people thought it was weird and there
01:06:10was a little bit of pushback and I
better still like kind of like a lot of
01:06:14backlash or like keep your politics out
of my games you know like my hobby and
01:06:18especially when when the create game
creators are for example like women or
01:06:25people coming from marginalized
communities and role and there you have
01:06:29like the sort of like the gamer dude
being like very upset about that kind of
01:06:36like girls like feminists stealing like
toys and things like that I think things
01:06:40are getting a little bit better to be
honest but to me part of the necessary
01:06:48conversation is to recasts or remind
that games are not really technological
01:06:55objects bar but they are more related to
you know play and games that you know
01:07:00predates taking digital technology it's
pretty day it's even like language and
01:07:06culture because even like animals play
you know they so that's to me part of
01:07:11the kind of like reframing like
videogames are not just like digital
01:07:15media's but they are like part of this
like in long tradition so I think we're
01:07:21on our last question here so I'll put
out to John it's a similar question
01:07:25which is if maybe Paulo irritates some
gamers with his games I would imagine
01:07:33that you confuse a certain amount of the
population with these works when someone
01:07:39walks into the waffle shop and there's
not waffles there's a live stream and
01:07:45they say what is this
what are you doing how do you explain
01:07:50your work well there is waffles no I'm
sorry we're waffles it's not only work
01:07:54- no there are definitely waffles and
the live stream you explain there are
01:08:00waffles yeah I mean I'm yeah I mean the
language is I'm using or common they're
01:08:06shared
they're not hard to interpret yeah so
01:08:10I'm rearranging them in ways that
they're not normally existing and and I
01:08:14might be speaking about subjects that
aren't usually presented in public life
01:08:19but I find it very easy I mean I find it
sometimes more difficult when I'm in a
01:08:24museum where people are sort of over
interpreting and and missing the kind of
01:08:29humanity that's the entry point of the
work and just sort of looking for
01:08:34criticality as its as its point I was
also just maybe just - back to this
01:08:39question of like how does technology
affect work that kind of happens in real
01:08:43life like the last billboard is a funny
project because it's completely
01:08:47unbranded there's no way you don't even
know most people have no idea I'm
01:08:51involved with it it's just up there and
it magically and but yet it has 50,000
01:08:58followers on a tumblr so it's like when
I post it on the website which is a
01:09:03Tumblr site it has this huge weird you
know fourteen-year-old following uh-huh
01:09:10and then then it has this kind of
strange mystery following in Pittsburgh
01:09:15where they don't really know what's
going on and I like those kind of
01:09:18universes can collide and the same thing
with something like conflict kitchen
01:09:22where it has a massive international
following to it but it's very much the
01:09:27you know kind of like when I throw the
rock into the pond
01:09:29the first ripple needs to happen here
but I'm conscious that all the
01:09:34subsequent ones are just as valuable and
and you know certain technologies kind
01:09:39of expand that you know the capacity of
the stone to resonate well thank you to
01:09:47all the panelists
01:10:06Thank You Aaron and our panelists our
next speaker I'm sure some of you might
01:10:16know Molly right cincin is a designer
writer and international speaker whose
01:10:22work focuses on the intersection of
architecture design and artificial
01:10:26intelligence she's an associate
professor at CMU School of Design
01:10:31welcome Molly to the stage hi
so I spend a lot of time thinking about
01:10:45AI and design and I'm struck by the fact
that maybe it isn't always so
01:10:51straightforward for how designers are
going to end up working with AI but I
01:10:55have to say one thing about this event
especially seeing how Madelyn kicked off
01:10:59everything we start seeing some really
great opportunities for how we think
01:11:04about the interactions between people
and machines and human centered design
01:11:08in AI but if we ask Google as in
google.com not Google span what does AI
01:11:15look like we get pictures like this and
I have to admit I've started collecting
01:11:18them
01:11:22you noticed there always this kind of
blue right and there's this vortex II
01:11:26head if anyone here has ever listened to
the Bancroft Varrick it looks like looks
01:11:31like they're old videos from the 80s
here's that blue again I'm not sure
01:11:35what's going on with this hand
01:11:39then there's cyborg lady
I like cyborg lady a lot this is
01:11:43apparently jQuery going on over her face
so I'm not sure what that says about the
01:11:47future and when they do a google image
search this comes up and like look at
01:11:54this they all you see that seem blue and
that black and the ghosty cyborg II
01:11:59faces and everything like that if we
look at movies I'm not sure that it's
01:12:04really all that much better you know the
place we all start is Minority Report
01:12:09and everybody probably saw her and so
here we see a drop cane Phoenix being
01:12:15bummed out if she's waiting for for his
his new assistant to download or you get
01:12:23the fembot the fembot cliche is a big
one so ex machina a very interesting
01:12:27movie beautiful location in Norway
creepy protagonist creepy bot and the
01:12:35mother or father of them all Hal 9000
I'm sorry Dave I can't do that if you
01:12:42think about it too how it came out in
1968 and so what if we look instead for
01:12:48AI is the new so we get AI is the new
black AI is the new UI McKenzie says
01:12:59that artificial intelligence is the new
the next digital frontier and ruing says
01:13:06AI is the new electricity but now he's
left Baidu and he is he's doing an
01:13:12online course called deep learning day I
to educate people to take part in an AI
01:13:17powered society you need data for AI to
be possible in any of its senses so data
01:13:24is the new oil then we get other kinds
of things like this one the future of
01:13:29computers is the mind of a toddler or
this really freaky disembodied head
01:13:35and when I type in AI invents I get a
couple of interesting responses it
01:13:41events language recipes it events its
own language Google I'm sorry you didn't
01:13:46actually invent AI but I'll get to that
in a second and some of the people
01:13:50around here who have seen me talking
classes since the beginning of the
01:13:54school year might know this AI can
invent colors so Janelle Shan a
01:14:00researcher fed a neural network a bunch
of color names and RGB values from paint
01:14:05swatches like from the paint store and
it came up with names like verbal simp
01:14:10and stu me brown stoner blue i'm not
sure if you've got a favorite there's
01:14:18one called dope another called testing
she's also come up with things like 80s
01:14:23band names action figure names death
metal band names and pokemons names and
01:14:30guinea pig names and sometimes she puts
them all together to invent even more
01:14:33new things we see things like the future
of robotic communication Facebook's AI
01:14:39bots invented a new language and started
talking to each other and that got shut
01:14:44down you might have heard about this in
the last couple of weeks and it even
01:14:48turns out that I am AI the grid AI has
Molly they're AI web designer and Golan
01:14:54Levin took umbrage at this this really
sexualized embarrassing AI bots that
01:15:02will never ghost you will always take
your calls so it's really kind of awful
01:15:06and embarrassing and the fact is at the
end of it all is people like Elon Musk
01:15:10are saying that this is a new era of
artificial intelligence and the fact is
01:15:15that AI isn't the new anything because
AI isn't new so if we look back to where
01:15:22AI comes from its 1955 when John
McCarthy coins the term artificial
01:15:27intelligence there were a couple of
other names in contention at that point
01:15:30in time Tom automata studies lost out
probably better for the rest of us and
01:15:35he referred to it as making machines do
things that would require intelligence
01:15:39if done by man
and in the summer of 1956 he gathered a
01:15:44group of researchers together at
Dartmouth University Dartmouth College
01:15:48to work on the kind of the platform of
research interest for AI and these
01:15:54included things like neural networks and
machine learning and game playing 1956
01:16:00and if you look closely in this picture
you'll see people like Ivan Sutherland
01:16:04Marvin Minsky's in there Frank
Rosenblatt a number of the AI pioneers
01:16:09got together then so that's how old this
stuff is about your parents age maybe
01:16:13grandparents and it's even older than
that Arthur Samuel came up with they
01:16:19came up with popularize the term machine
learning starting in 1952 and he studied
01:16:24how when he taught a machine how to play
checkers and so the machine would learn
01:16:28from itself
and grow and change and over time it
01:16:31would play a better game of checkers
than the person who wrote the program in
01:16:351958 we get neural nets and perceptrons
coming in the work of Frank Rosenblatt
01:16:41and in 1961 Marvin Minsky who's the
co-founder of the MIT AI lab and was at
01:16:49MIT until his death last year he said
that I believe that we were on the
01:16:54threshold of an era that will be
strongly influenced and quite possibly
01:16:57dominated by intelligent problem-solving
machines it's kind of funny it's like
01:17:01what Ellen musk said that we're at the
verge of a new era in artificial
01:17:07intelligence but this is what Marvin
Minsky had to say in 1961 so what does
01:17:13that mean for designers the fact is that
AI and design are not strangers in fact
01:17:18they're friends and also old friends and
I come in it from an angle of
01:17:24architecture where architecture and AI
collaborated with the number of
01:17:28different different crossovers that's
the subject of my upcoming book
01:17:32architectural intelligence it'll be out
in November but I wanted to tell you
01:17:36about two two people or two groups of
people the first one the guy with the
01:17:41windshield wipers on his on his glasses
the cedric price and the second one is
01:17:47Nicholas Negroponte a Nicholas
Negroponte II you might be familiar with
01:17:51because he founded the MIT Media Lab but
before that he
01:17:55a group called the architecture machine
group and the architecture machine group
01:17:59worked very closely in collaboration
with the AI lab at MIT starting in 1967
01:18:05to develop interfaces for artificial
intelligence so Cedric price this is the
01:18:13architect that you may not have heard of
but I think he's the secret patron saint
01:18:17of interaction designers he's not known
for what he built in fact he didn't
01:18:22build very much one of the things he did
build was the Snowden aviary at the
01:18:27London Zoo so you might see that there
if you go to the London Zoo and he had
01:18:31this idea with this structure that maybe
he could put it there and then maybe you
01:18:35could eventually remove it and maybe the
birds would stay or maybe they wouldn't
01:18:41and he kind of didn't care because he
would say things like technology is the
01:18:45answer but what was the question and
maybe he'd say you don't need a new
01:18:49house maybe you need a divorce maybe you
need a walk in the park he belonged to
01:18:55RIBA the the Royal Institute of British
Architects and also the British
01:19:00demolition Society and he was the only
architect to belong to both so you see
01:19:06he's so much fun this is an image from
the fun palace and it was it's what he's
01:19:11probably best known for and between 1963
and 1970 he and Joan Littlewood tried to
01:19:17get it built Joan Littlewood is the is a
or was a radical British director stage
01:19:24director and a protege of bertolt brecht
and the deal with the fun palaces all of
01:19:30these parts were mobile and you could
combine them to do whatever you wanted
01:19:34it was kind of a leisure center because
in the 60s they were addressing the fact
01:19:38that maybe automation was going to put
us all out of jobs
01:19:41sound familiar and we'd need to find
things to replace them and so maybe we'd
01:19:46want to come to a place like fun Palace
which was like a theatre or a school but
01:19:51not a school or something some really
kind of crazy interesting place and he
01:19:56convened a cybernetic committee to be a
part of the fun Palace one of the things
01:20:01the cybernetic committee did is built
this the schematic of how people would
01:20:06interact in moving through the
palace if you look here you might see
01:20:10that it says input of unmodified people
output of modified people you interact
01:20:20with the building it interacts with you
you change the building it learns what
01:20:26you want it changes in accordance to
your preferences and changes you - this
01:20:32is a pretty radical idea and part of
these ideas came because Cedric price
01:20:37worked closely with a guy named Gordon
Pasque and Gordon passed beyond being
01:20:42pretty out there with someone who had a
very interesting idea of how to turn on
01:20:47a head on its head our design paradigms
so he wrote on this article in 1969 let
01:20:54us turn the design paradigm in upon
itself let us apply it to the
01:20:57interaction between the designer and the
system she designs rather than the
01:21:01interaction between the system and the
people who inhabit it that's a different
01:21:05thing like think of when you're using
Photoshop you expect it to do your
01:21:08bidding what if it starts doing
something different what if the
01:21:13possibilities emerge are something that
you couldn't think of on your own and it
01:21:17couldn't do on its own maybe it's
something different altogether there's a
01:21:23project that Cedric price did later on
again it wasn't built in 1976 called
01:21:28generator and generator was to be in the
Florida Panhandle it was going to be a
01:21:34site with a bunch of cubes sort of 12
foot by 12 foot cubes walkways ramps
01:21:40barriers you see a rendering of what it
might have looked like there again
01:21:44therefore whatever you might like to do
in an arts retreat and in fact they
01:21:49solicited a lot of questions and
possibilities of what people could do
01:21:53with the space he had quizzes and games
to kind of figure it out
01:21:58these get put together in menus for
generator and I love these drawings
01:22:04because they tell stories if you look
down here it says this one particular
01:22:08intersection of pathways that maybe you
would be wandering in generator say
01:22:12excellent full of event and taught
action
01:22:16and this round one here very good walk
around to all the angles so you
01:22:23generator would have a number of layouts
from the get-go and you could then make
01:22:28changes to generator as per what you
wanted to do so he was very fascinated
01:22:34with mobile cranes and these mobile
cranes would come and move the parts of
01:22:39generator again on this grid so it would
come together something like this and
01:22:48then finally you've got the you've got
your front panels and some steps and you
01:22:53can hang out you realized along the way
even though he had kind of a cruise
01:22:57director who had a social role who would
have encouraged people to change
01:23:01generator the people tend not to ask
their architecture to move around for
01:23:05them so he started working with John and
Julia Fraser
01:23:08who were computer scientists on a set of
programs for generator and there were
01:23:14four programs that they proposed one is
a perpetual architect which were the
01:23:19rules for the components and structures
of generator when one was an inventory
01:23:22of all of the equipment so all of the
equipment would have sensors on it would
01:23:27have microcontrollers so they could
report whether they were in use and
01:23:31where and again I'll remind you that
this is 1978 at this point so this is
01:23:38this is decades ago
number three what you see right here is
01:23:42a modeling kit you could move around
these Plexiglas blocks and it would plot
01:23:47on the computer screen and it would
print out so that was also quite quite
01:23:52unusual but the fourth one and it's
something that you might have seen with
01:23:55Nemeth and Madeline Ganon's talk was the
boredom program in the event of the site
01:24:01not being reorganized or changed for
some time the computer starts generating
01:24:05unsolicited plans and improvements and
in a letter to Cedric price John Fraser
01:24:13wrote if you kick a system the very
least you would expect it to do is kick
01:24:17you back and then in the letter in
handwriting he said you seemed to imply
01:24:22that we were only useful if we produce
results that you did not expect I think
01:24:28this leads to some
condition of computer aids in general at
01:24:31least one thing that you would expect
from any half-decent program is that it
01:24:35should produce at least one plan you did
not expect so what does that tell us
01:24:41generator is considered to be hmm
excuse me one of the first examples of
01:24:46an intelligent building and there have
been a number of people over the years
01:24:50who suggested that it might have been
the first start of the first proposal
01:24:53for an artificially intelligent building
unfortunately the project was cancelled
01:24:58but John Fraser tried to work with
Cedric price until Cedric prices death
01:25:02in 2003 to get this built and today we
might actually have the possibility of
01:25:07being able to do it with the technology
that we have alright so Nicholas
01:25:14Negroponte a lots of pictures and lots
of gestures here of Nicholas and he
01:25:21founded the MIT architecture machine
group with his colleague Leon grocer in
01:25:271967 and the architecture machine group
I should mention was half engineers and
01:25:34half architects at MIT they worked very
closely as I mentioned with the AI lab
01:25:38at MIT and collaborated to design
interfaces for artificial intelligence
01:25:45project projects and they were also
defense funded in the same way that the
01:25:50AI lab mostly was so the things that the
architecture machine group built were
01:25:54things that the Office of Naval Research
or DARPA were interested in and one of
01:26:00the first things oh I I want to go back
one slide he wrote a book in nineteen
01:26:06nineteen seventy called the architecture
machine and he dedicated that book to
01:26:12the first machine that can appreciate
the gesture so when you see the images
01:26:16that I had before of him and all of his
pointing there's always a gesture in his
01:26:21images and this is this book is actually
a theory of artificial intelligence in
01:26:26architecture one of the first projects
that the architecture machine group did
01:26:31was a project called urban 5 and it was
a conversational user interface for
01:26:36architecture for architectural design
and what the user would do is
01:26:41is point with a light pen and us and
move blocks around and then assign
01:26:47certain modes to the block so you can
see right here that there's a set of
01:26:52buttons that you could push to assign
certain modes to these blocks and you'd
01:26:57have a conversation with the computer in
order to do this design work and you see
01:27:03other images here these are from the
architecture machine and then you'll
01:27:07also notice that there's one image that
says Ted many conflicts are occurring
01:27:13and I don't know how many of you have
tried to design a chatbot or a
01:27:18conversational user interface but you
know it's really hard and it turns out
01:27:22it was really hard in 1965 with Joseph
Weizenbaum and Eliza and it was really
01:27:27hard in 1972
Ted many conflicts are occurring
01:27:33I did mention again that Minsky Marvin
Minsky and Seymour Papert
01:27:38were very very close friends of
Negroponte II throughout their lives and
01:27:42negroponte II worked closely with Minsky
and the AI lab this is a robotic arm
01:27:47that's stacking stacking blocks and in
1970 at the software show at the Jewish
01:27:54Museum the architecture machine group
had a piece called seek and you'll
01:28:00notice here again that robotic arm
another version of that robotic arm that
01:28:04we saw with Marvin Minsky is stacking
these mirrored blocks and if you look
01:28:08closely down in front you'll see that
there are some inhabitants in this
01:28:12mirrored block city there are gerbils do
you see the gerbils and the gerbils do
01:28:19what gerbils do which is to nuns around
blocks and make a mess and the blocks
01:28:22and seek did what they're meant to do
which is stack the blocks and if you
01:28:28it's difficult to see but here in the
lower corner it says gerbils match wits
01:28:33with computer with computer built
environment and this is a gatefold of
01:28:40the software show catalog life in a
computerized environment and the project
01:28:47wasn't successful for a number of
reasons and for that matter the entire
01:28:50software show was not successful it
almost bankrupted the Jewish Museum
01:28:55and I think that Ted Nelson's quote the
father of hypertext from one of the
01:29:00essays in the book says it pretty well
our bodies are hardware in our behavior
01:29:03software and that tended to be really
true because seek tended to kill the
01:29:07gerbils a little bit of a hard handed
lesson there I don't have time to go
01:29:14into detail about all of architecture
machine groups work they were an
01:29:19operation from sixty-seven to nineteen
eighty four when they rolled into the
01:29:22MIT Media Lab and became four of the
first eleven labs at the Media Lab when
01:29:28it when it first opened in the mid 80s
but I just wanted to show you quickly
01:29:33other things that we see projects like
Aspen movie map where they strapped a
01:29:39movie camera to a jeep recorded images
in Aspen saved them to video discs you
01:29:44know those big round record LP record
looking discs and then they made kind of
01:29:50a pro dos Google Streetview you could
sit in this Eames
01:29:53lounge chair and drive using touch pads
so joysticks in the armchair and zoom
01:30:00down the streets of Aspen while
following yourself on a map on either
01:30:03side in this media environment called
the media room they also did a lot of
01:30:09work with digital mapping and these were
intended to be Battlefield Maps the
01:30:13previous project of course is remote
sensing and remote surveillance
01:30:17possibilities and so this million dollar
project that was recognized a decade
01:30:23later is sure looks like an iPad it's a
Westinghouse window and it's a set of
01:30:29digital layered maps with different
kinds of haptic feedback so I have to I
01:30:41don't know if she's here but I got this
from jian-yang
01:30:45who is a PhD student in HCI I hear so
it's one of my favorite things
01:30:57so how do we get beyond the cliches and
how do we get back to some of these
01:31:02bigger questions that we see in the
basis of the work that architects and AI
01:31:07researchers were doing in the 60s 70s
and 80s I read this article a couple
01:31:13weeks ago in the New York Times the
writer said that AI is stuck and here's
01:31:18how to move it forward and he was saying
one problem is a lot of AI tends to be
01:31:23top-down well I think designers are
certainly good at understanding context
01:31:27and designing bottom-up he also shortens
things and and kind of has is fairly
01:31:33short-sighted in terms of how he thinks
about funding I think that this writer
01:31:37should be thinking about designers and
architects so it begs the question of
01:31:42what happens if AI and design combine
forces again there's that question of
01:31:46top-down and bottom-up there's a
question of what designers can teach
01:31:52about how to use constraints creatively
we use constraints to our benefit or how
01:32:00we might challenge the machine or the
user or the programmer or the designer
01:32:10and these problems are really hard to
solve not least because most designers
01:32:16are not algorithmically inclined and
it's there aren't a lot of tools at hand
01:32:21for us to get our hands on directly
today I think in the next couple of days
01:32:27you'll see different approaches that
people are taking but it's still
01:32:30challenging so I think we need to try
different approaches but I keep coming
01:32:34back to this question of the cliches and
I think that cliches only go so far but
01:32:41AI needs designers and for that matter
AI needs us if you're interested in
01:32:49these ideas my book comes out on
November 11th and there's a link here to
01:32:53it and it's on my Twitter feed as well I
go into a lot more detail about this and
01:32:58other AI and design architecture
connections and I'll say thank you very
01:33:02much
01:33:15Thank You Molly I promised that no
gerbils were hurt in the making of span
01:33:21but in all seriousness Molly's Molly has
our excerpt actually an hour span reader
01:33:27which will come in your swag bags
tomorrow when you pick them up it's
01:33:31excellent and I'm sure the entire book
will be excellent but you can get a
01:33:35taste of it we're gonna take a short 15
minute break but before we do I just
01:33:43want to remind you again the span
hashtag span 17 if you want to follow
01:33:48along in the conversation or share any
of your observations but it's up to hear
01:33:52from you and it's also a really great
time to pick up your poster if you are
01:33:58number if you have number one through 68
on your badge so go enjoy drinks welcome
01:34:10back welcome back to our live stream
viewers I hope you guys all enjoy your
01:34:18break and for people who are watching at
home I hope that you're paying attention
01:34:23to the slide behind me because it has a
very special message for you related to
01:34:28winning things from us so please pay
attention to the slide behind me our
01:34:39next panelists will shed a unique light
on what it means to run an independent
01:34:44design practice in Pittsburgh Ilana
Schlenker is an independent graphic
01:34:49designer working with clients and arts
publishing a nonprofit sector as well as
01:34:55self initiated projects like gratuitous
type as she calls it an occasional
01:34:59pamphlet for type type of what is the
type of graphic smut it's actually just
01:35:05a really cool magazine that she
publishes and edits and designs on her
01:35:09own Jacob Marcy Co is an interaction
designer and creative technologist
01:35:15he runs ultra low res studio an arts
engineering firm that designs and builds
01:35:20dynamic experience installation
integrated with the built environment
01:35:26linka Clayton is a conceptual artist an
educator who's interdisciplinary work
01:35:32considers exaggerates and alters
accepted rules of everyday life she is
01:35:37the founder of an artist residency and
motherhood a self-directed open source
01:35:42artist residency to empower and inspire
artists who are also mothers Brett Yasko
01:35:48is an independent graphic designer who
works with artists curators writers and
01:35:54educators from a one-person studio his
clients include Carnegie Museum of Arts
01:35:59Massimo Caprice an architectural press
and many others the panel will be
01:36:03moderated by Javier Lopez a visual
designer on the material design team
01:36:08based out of San Francisco
welcome Javier and the panelists
01:36:21all right so hey everybody um is this
working is everybody listening
01:36:27okay cool how's the break I'm hoping it
was good well nice nice so my name is
01:36:34Javier Lopez I'm a designer and the
material design team here at Google
01:36:38material design is an is a user
interface design system used by Google
01:36:45and external products I'm a systems
designer I'm fascinated with the ways in
01:36:51which we as designers get to interact
with and organize the world's
01:36:55information do they expand lists are a
very interesting bunch that is are very
01:37:01deeply familiar with the ways in which
we design for everyday life their
01:37:07practices both blend and define what is
it what does it mean to practice design
01:37:12in a contemporary studio from
installations to self-publish magazines
01:37:19to documentaries to projects that extend
the familiar into the poetic and the
01:37:25absurd it is my very fresh pleasure and
honor to welcome a Lancashire anchor
01:37:31Jacob marceca linka Clayton and Betty
ASCO so okay so without much further ado
01:37:39I'm just gonna let you take it okay hi
everyone I am Yelena Schlenker
01:37:47I want to for jump into it thank the
Google design team for having me
01:37:52especially for putting me on such an
amazing panel of people I've admired for
01:37:57a long time there's a delay
I run the studio I have to see what it
01:38:04says to know what I do I guess I read I
run a studio Ilana Schlenker which is a
01:38:10small intentionally unspecialized
practice based here in Pittsburgh and
01:38:14also very very part-time in Brooklyn
where I live before I moved to
01:38:19Pittsburgh three years ago my prior to
going on my own full-time I which was
01:38:26about four years ago now I worked at
Conde Nast and Princeton Architectural
01:38:30press an independent publisher now I do
a lot of print projects mostly with
01:38:35other independent publishers and I
published my own magazine so while the
01:38:42foundation of my practice is very much
rooted in editorial design and print
01:38:46I've always deliberately sought out a
wider range of projects so I'm engaged
01:38:51in a lot of branding I do a lot of
interactive work mostly web design and
01:38:57it's it's really important to me that I
kind of maintained this unspecialized
01:39:03practice because working across these
different mediums really helps me bring
01:39:07a fresh perspective to each one and then
in terms of the structure of my studio
01:39:12because I think that's what we're sort
of chatting about today I maintain a
01:39:15very small operation it's mostly me and
then you know occasionally a part-time
01:39:20person and a part-time studio manager
sometimes I collaborate with my studio
01:39:25mate in Brooklyn Mark Bernice's came out
hey Mark and I do this because it's
01:39:31really important to me to stay small so
that I have the freedom to pursue my own
01:39:36personal projects and other
opportunities to work outside of the
01:39:39studio so my longest running personal
project is gratuitous type which is a
01:39:44magazine I've been publishing since 2011
it features projects and interviews from
01:39:49creatives all over the world mostly
graphic designers and type designers but
01:39:55gratuitous type was sort of born out of
my malaise working in that conde nast
01:39:59where I was I did branding and some
collateral but I mostly did an
01:40:04advertorial design which was fairly
soul-sucking and it involved kind of
01:40:08finding
elaborate ways to make like bottles of
01:40:11shampoo look kind of interesting and so
just feeling very creatively frustrated
01:40:17and having a having loved magazines for
a very long time I started thinking
01:40:21about channeling some of that unused
creative energy into a magazine project
01:40:26at the same time I sort of had this
observation where there's this phenomena
01:40:32of just throwing a big letter on a page
and every designer who sees it is like
01:40:37that's beautiful and I and there's
nothing wrong with it I do it I'll do it
01:40:42tomorrow probably but you know I just
started to think about the idea of a
01:40:47letter being so titillating that it
needed to be censored and that's kind of
01:40:51how I found my way to this first cover
of who does type and also like sort of a
01:40:55more overarching concept for the
magazine that so this first issue has
01:41:00this paper wrap that obscures the letter
underneath as if it were hiding
01:41:03something really scandalous but of
course it's just like this totally
01:41:07innocuous letter a and I liked this
approach in part because it kind of made
01:41:12it clear that this magazine didn't take
itself too seriously which i think is
01:41:16also a broader theme in my practice just
having a sense of humor about myself and
01:41:20my work but also at the time I was
really an experienced and also you know
01:41:25of course there's already all of these
amazing magazines out there and so I had
01:41:30all these fears about people questioning
and I like I've imagined all these
01:41:35criticisms that they would have about
the magazine and so gratuitous type was
01:41:40the name was a way of kind of
acknowledging this criticism that didn't
01:41:44exist but in kind of doing so hopefully
disarming it disarming it so it's sort
01:41:50of like a joke and an apology
but beyond the name contextualizing the
01:41:55magazine in the world of the
pornographic lets me have a lot of fun
01:41:59with other conventions of the genre so
it gives me a language and a framework
01:42:04to kind of build the magazine around and
then it lets me do is it gonna play
01:42:09Eragon
it lets me do super highbrow stuff like
01:42:13this
Tim Lahan is an artist who was featured
01:42:15in issue four and he made this for me as
a loading graphic for the websites so
01:42:20I'm very mature so now I've done four
and a half issues ACC appear as a themed
01:42:28issue it was a color issue this is issue
for the last full issue that I've done I
01:42:34don't have a ton of time to show you all
the interiors but something worth noting
01:42:37is that they're all each issue I totally
redesign so the size stays the same but
01:42:43otherwise all of the production details
everything else is sort of up for grabs
01:42:47and I will be honest and say
there's no bigger conceptual thought
01:42:52around that then it's just a lot more
fun for me to change it every time so
01:42:56this is now the most recent issue it's
issue four point five I also like to
01:43:00make it really confusing I guess but
there's just been there's been so many
01:43:05interesting topics that come up along
the way and doing this magazine that
01:43:08often kind of go beyond the world of
graphic design and I just I wanted to
01:43:14make this kind of supplement that use
some of those topics as a jumping-off
01:43:18point for new new articles and this
little miniature publication so you can
01:43:23see it's it's much simpler it's one
color and this amber mentioned that I do
01:43:28everything myself for this supplement I
actually hired some writers so that's
01:43:33like sort of a fun change for me to UM
but yeah that's that's gratuitous type
01:43:39and then moving on to a project that's
kind of also jumping out of the world of
01:43:43graphic beyond the world of graphic
design is less than 100 which is the
01:43:47traveling pop-up shop I created to
promote gender wage parody the first
01:43:52shop was in Pittsburgh the second was in
New Orleans and everything sold in the
01:43:56shop is designed by women in Pittsburgh
that included Blanka an amazing link and
01:44:02the idea is that the shops pricing helps
to make the wage gap more tangible so
01:44:06there are two prices on every item when
for men and one for anyone identifying
01:44:11as a woman or non-binary individual the
second price reflects the wage gap in
01:44:16that location so in Pennsylvania where
women earn 76 percent of what men make
01:44:20they paid 76 percent of the price of any
item in the shop and in Louisiana they
01:44:25paid 66 percent which is like pretty
fucking crazy okay I don't know it's not
01:44:32the radio I don't know anyway
you can send the FCC you go to me no no
01:44:37anyway in in addition having items for
sale there is a free newspaper of that
01:44:42elaborated on the issue we had events
like a negotiation workshop artist
01:44:47visits and talks we even did things like
having an on-site manicurist in the New
01:44:52Orleans shop which was really fun and
then finally wrapping up because I am
01:44:56probably going long
most recently if it
01:45:00advanced I the most recent project I've
undertaken outside of the studio that's
01:45:05a little bit of a different thing is
working for three months last fall as a
01:45:09designer in residence at the Facebook
analog research lab in Menlo Park
01:45:13California and while I was there I sort
of pursued my own work and then also
01:45:17created scenes and posters and
installations for the campus in response
01:45:22to specific briefs from the analog lab
so these posters are just a few of many
01:45:27things that I mean I haven't had an
opportunity to really document anything
01:45:30yet but it was a really amazing and
informative experience and being able to
01:45:35close up shop now and then to pursue
these different interests and
01:45:39opportunities for me as as essential as
the work that I do for clients so that's
01:45:45kind of the overview of what I do and
I'm excited about it thank you
01:45:57hi I'm Jake MARSOC oh there we go
so actually I don't pull out my notes
01:46:05I'm sorry you had your you prepared your
notes I did in advance so I am floud I
01:46:11am the principal at ultra low res studio
which is a design build firm kind of
01:46:18parts and engineering consulting and
when I say we I usually a lot but it's
01:46:24really just me although I do bring in
people quite often kind of to
01:46:28collaborate and then to kind of help
build out things I'm also an adjunct at
01:46:32CMU where I teach media architecture and
I co run a new art space in polish Hill
01:46:39called three five seven seven studios
along with Steve Girish and Alena Malkin
01:46:44and that studio is kind of focused on
new media work let's see here so I'm
01:46:51going to talk about a couple of the
projects that I've worked on over the
01:46:54past few years as ultra low res studio
to kind of give you an idea of what
01:46:59we're up to and the first is this series
of scape projects they have different
01:47:05names all involved in scape and they're
all these interactive landscapes and the
01:47:11first iteration of this
was at Radcliffe yard in on Harvard's
01:47:17campus it's a collaboration with show
architects and and what we kind of
01:47:23developed in this in this world was this
kind of surreal landscape which people
01:47:29kind of approached from afar it looked
really spooky at night and as they
01:47:33walked through this kind of augmented
environment they started to figure out
01:47:38how they fit in with this with this with
this world I'm kind of how these escapes
01:47:46were reacting to them then with him
after that permanent installation or
01:47:50semi-permanent installation we did kind
of a traveling version of it which went
01:47:54to DC and Cincinnati kind of with the
same intentions the next project is a
01:48:03permanent installation also a light
installation at an architectural scale
01:48:09but it's interactive but in a bit of a
different way this is at the Knoxville
01:48:14branch of the Carnegie Library here in
Pittsburgh which is near Mount Oliver
01:48:18it's essentially right down the street
from mount Oliver and this was this was
01:48:25a really cool project this branch was
being redesigned by gbbn edge architects
01:48:33here in Pittsburgh and they did a really
great job if you ever in the area kind
01:48:36of pop your head and it's a really funky
building from the 60s I think that
01:48:40they've done a great job of
reinterpreting but Julian Sandoval
01:48:46designed this really beautiful
parametrically designed perforated
01:48:53screen that kind of goes over the front
of of the windows of the facade and they
01:48:58wanted to add some dynamic lighting so
they reached out to me and threw him in
01:49:02a series of design meetings and
exercises with Toby Greenwald from the
01:49:08Carnegie Library who's the head of
digital strategy there and the
01:49:12architects we figured out that we didn't
really want this to be interactive in
01:49:16any sort of traditional sense but we did
want it to be future-proof we didn't
01:49:22have the resources to do everything we
wanted but we knew that at some
01:49:25we wanted to add to it so this this
installation has we developed the kind
01:49:30of an API for it and and this allowed
people to kind of build appendages to
01:49:37extend the functionality of the wall and
actually some of the students this
01:49:42student who made this project is sitting
right here in the front
01:49:45some CMU students kind of through
projects they built these physical
01:49:50interactions that then interacted with
that wall so along with these kind of
01:49:59light installations I also like kind of
doing more exploratory or what's what's
01:50:06a good word I had here might not be that
I like doing these other exercises where
01:50:15I kind of try to just learn more about
how I can use this type of media that
01:50:20I'm interested in and this is a piece
that is at the butler Institute of
01:50:26American Art in Youngstown and the
question that I'm kind of asking with
01:50:31this project is kind of how low can you
go in terms of resolution when
01:50:36recreating video so with this project
they're in this stairwell there's big
01:50:43beautiful windows that look out to this
massive tree and if you ever watch trees
01:50:48big trees in the wind
it's his incredibly complex highly
01:50:52detailed motion and kind of the question
was could I translate that motion into
01:50:59nine binary pixels so we have smart
glasses switches on or off so there's
01:51:05like zero color depth and it's nine nine
of them the answer is no it doesn't
01:51:11translate at all it's like totally
illegible but you know you get you it's
01:51:16cool that we can do this right we can
take these kind of complex inputs and
01:51:20trim them down and filter them down into
something that's still beautiful it
01:51:25might not be as evocative of the input
as we had hoped but we're still kind of
01:51:30doing this motion translation and that's
a big part of what I'm interested in
01:51:35oh I didn't even play the video I'm
sorry yeah
01:51:42so this smart glass isn't really cool
material and I can show you these things
01:51:50later where you can check it out on the
website okay moving on I also do stage
01:51:57art or event stuff you know events are a
really big market and you know I like
01:52:05doing things that scale and and I like
working with I guess you could say the
01:52:11private sector I think it's it's always
interesting when when Commission's come
01:52:17through from non-institutional people
it's just kind of a different way of
01:52:23working and it's a different back and
forth and it's a different payment
01:52:26structure all this so this is the
abstractions conference that happened
01:52:31last year this was commissioned by
Justin Reese from code and supply who
01:52:35was a great person to work with and
Justin wanted something that was that
01:52:41could act as kind of a slow-moving
backdrop to these keynote speakers this
01:52:46was a tech conference in Pittsburgh but
it could also be physically interactive
01:52:50that people could play with during the
during downtime and was social media
01:52:58connected so we kind of matched all of
these things this project was fun it's a
01:53:02big projection mapping project you know
20 screens one projector a Kinect and
01:53:06Twitter and kind of mashed all of this
stuff into some a piece of eye candy and
01:53:11we got this
and then this I'm going to quickly play
01:53:18this video it's a really busy fall it's
I'm super excited about what's coming up
01:53:23there's a light installation going into
wien Hall at Carnegie Mellon there is a
01:53:31data visualization project going into a
Financial Advisors office in the South
01:53:38Hills suburbs of Pittsburgh which I'm
super excited about mainly because it's
01:53:43a small office and it's amazing that an
office of that size in the suburbs of
01:53:47Pittsburgh is interested in
commissioning this type of work and then
01:53:52there's a big big I'm collaborating with
Chris Carlson in a performance and
01:53:57audio-visual performance this in
November for the what's on festival so
01:54:03that's it hello I'm linka Clayton I'm an
interdisciplinary artist I moved to
01:54:21Pittsburgh from London on the ninth of
the 9th 2009 so I just celebrated my
01:54:27eighth anniversary in Pittsburgh and I
think you just met John Ruben in the
01:54:33last panel so he's a collaborator of
mine I have an individual studio
01:54:37practice and I also work with different
people and John's one of those people so
01:54:41he just finished up a six-month project
for the Guggenheim
01:54:44but I'm based here and then I'd kind of
work all over the place I'm just going
01:54:48to share three recent projects with you
this is really cool when you press this
01:54:55button it lights up something in the
back and someone moves the slide forward
01:54:59so it's not actually and okay so I'm
giving away all the secret so this is
01:55:08from a series called typewriter drawings
for the last five years I've made
01:55:12drawings just using a portable
typewriter um every single mark in the
01:55:19drawing comes from the regular keys like
the punctuation and the letters I have
01:55:24to fold the paper and like put it
through the Machine hundreds of times in
01:55:29order to get the max that I'm looking
for
01:55:33this one's called my son's eyelashes so
maybe with the parentheses this is
01:55:42drinking straw in water
01:55:47this is Picasso signature that's made
with the period it's fake it's like
01:55:56totally fake
so the typewriter is an incredible tool
01:56:01at what it does but it's really really
shit at drawing it's really hard to draw
01:56:07it and in that sort of creative battle I
found I find this amazing space to
01:56:14explore um this one's called big flowery
part and it's um it's made with every
01:56:22single key on a typewriter and if I
don't know if you have this fan reader
01:56:26but but there's a few more in there if
you want to see them and there's I've
01:56:29made three hundred drawings so there's a
lot on my website so limitation is also
01:56:36a major subject of this project which is
called an artist residency and
01:56:41motherhood which is so six years ago I
had my first child I have two kids and I
01:56:48would look at that period when I was
about to have kids I was looking for
01:56:52like I was typing in like artists
parents you know looking for role models
01:56:56like how the hell do you do those two
things at the same time and I didn't
01:57:00find anything or hardly anything there
was like one project from the 70s that
01:57:04people kept referencing to me and I was
like that's older than me like where of
01:57:07all where are all the other artists
parents and so when I had kids I
01:57:13realized that a lot of the professional
things that I kind of leant on like
01:57:17residences were suddenly closed off you
know like people didn't want artists to
01:57:21come and bring their families with them
to residency's so my response was to
01:57:25create my own residency which happened
instead of here where a normal residency
01:57:31might be this is like rural Switzerland
we'd go and live in a cabin and like
01:57:36have this beautiful creative time and my
residency happens here this is my son
01:57:41also it happens in my life and home as a
parent so I stay where I am and I
01:57:48reframe my experience as a parent as
material to make make work out of rather
01:57:54than something to stop me working
so I wrote a manifesto and I got funding
01:58:00and I made business cards because that's
how you start everything and this in May
01:58:06the one on the left's main and these are
my kids so have two kids kids business
01:58:10cards um and I made 32 projects so over
two years I was an artist in residence
01:58:18in motherhood and I made 32 projects so
this is an example of one of them is a
01:58:22sculpture called 63 objects taken from
my son's mouth they say anything else
01:58:30about so then two years ago no on
Mother's Day sorry
01:58:362016 I opened the residency up to
anybody who wanted to take part so it's
01:58:41a website and a framework that you can
run through and adapt for yourself and
01:58:46there are currently 400 artists and
residents in motherhood's which is like
01:58:50my proudest thing in 34 countries all
over the world so if you're interested
01:58:57artist residency and motherhood calm and
you can look on each one of these red
01:59:02markers is somebody who's doing the
residency and they if you click on it
01:59:06they have the dates they're doing the
residency in their website so it's this
01:59:09sort of big networking tool and also a
tool to give visibility because what I
01:59:14found like when I was looking when I was
pregnant is it's it's invisible you know
01:59:19artists who have kids especially women
as an invisible situation so the last
01:59:25thing I want to show you is two new
pieces that I made this year in
01:59:29collaboration with the fabric workshop
and Museum which is a incredible
01:59:33institution in Philadelphia I was an
artist in residence there and both
01:59:38pieces relate to this sculpture which is
not mine unfortunately this is Bay I'm
01:59:42Constantin Brancusi and it's a piece
called the sculpture for the blind and
01:59:46this was a starting point for me I was
really drawn to it in particular because
01:59:51of its title and so I went to see it at
the Philadelphia Museum of Art here it
01:59:56is and I found this wonderful situation
where the sculpture for the blind is
02:00:00shown inside a glass box so it's only
available to the sighted so all of my
02:00:07work starts
an existing situation in the real world
02:00:10that I then respond to so that was my
starting point and I decided that I was
02:00:15going to misinterpret Brent koozies
title as an instruction so how is I
02:00:19going to get this sculpture into the
hands of the blind and we exhausted
02:00:24every avenue you can think of like
borrowing the sculpture copying the
02:00:29sculpture having limited access it was
all like not possible so I used the
02:00:33tools that I had as a sighted person and
I went to see the sculpture and I wrote
02:00:37a really detailed description of it and
then I invited 17 people from
02:00:42Philadelphia who identify as blind to
make to listen to my description and
02:00:48then to carve what they heard or
understood from my words out of plaster
02:00:53blocks so this is one of the artists and
he was using yeah as you can see like
02:00:59traditional sculpting tools this woman
told me that no one had ever described
02:01:05anything to her in as much detail before
02:01:09so each person made their own the the
object that they understood from my
02:01:15description and then they were shown on
smaller versions of the original
02:01:26pedestal that the original stone on but
without the glass top so that the
02:01:31artists and visitors could experience
the project both you know with their
02:01:35eyes but also by touch the last piece
I'm going to show is a piece called
02:01:42unanswered letter so while I was
researching for the piece that I just
02:01:46showed you I found this incredible
letter in the archives of the
02:01:49Philadelphia Museum of Art it was
written in 1974 and it was sent to the
02:01:55curator at the time and essentially I
just paraphrase it quickly a member of
02:02:01the public called Brian Morgan tells
this beautiful story about his romanian
02:02:05great-grandfather who happened to come
from a village very close to where
02:02:09Brancusi came from and he also made a
white marble egg several years before
02:02:14francuzzi
and he was sort of wondering like what
02:02:19his question was what is it about
Brancusi
02:02:21that puts his sculpture in this museum
and seen by 2,000 people a day and my
02:02:26great-grandfather's identical sculpture
is on my desk and no one cares about it
02:02:30at all like what's the difference who
creates that value system and it was
02:02:34such a beautiful letter we found we
actually found him he's still alive and
02:02:39I spoke to him on the telephone I found
out that his letter was never answered
02:02:42so he sent it off and no one ever wrote
back so I am copied the letter a
02:02:47thousand times and sent it to museum
directors and curators all around the
02:02:52world and I invited them to reply 40
years late to Brian Morgan and to share
02:02:59their own particular perspective and
point of view 179 people replied we
02:03:07don't have time to read them all it's
going to be a book coming out in a few
02:03:10months but I actually copied the
original letter and a whole bunch of the
02:03:16replies and some of you have got them
under your seats to read later so thank
02:03:22you very much
02:03:32I apologize in advance for the any
delays and this I I did this wrong I
02:03:38have like a thousand images and very
little words and and I found out that
02:03:43there's this lag so will bear with me
alright we're good
02:03:50so um I've got to be one of the luckiest
guys in the world I get to work with
02:03:56artists curators writers photographers
each and every day
02:04:03I get to design books like this one a
bunch of artists and writers centered
02:04:11around the theme of wonder I get to do a
book like this for the artist Agnes bolt
02:04:22she set up this gift exchange between
Braddock North Dakota and Braddock
02:04:29Pennsylvania
these people were exchanging these gifts
02:04:32back and forth I get to do exhibitions
design exhibitions this one celebrated
02:04:39the photo book so it was part reading
room book shop library all in the former
02:04:46coat check room of the Carnegie Museum
02:04:54this exhibition was for the prolific
Charles teenie Harris photographed
02:04:59african-american life from the 1930s to
the 1970s a brilliant photographer but
02:05:05he didn't document his work at all he
didn't record the names of the people
02:05:10that were in his photographs so we
designed this exhibition so that people
02:05:14could come in and try to identify the
people that were in the photographs over
02:05:19a thousand photographs so people found
themselves they found their grandparents
02:05:24their uncles aunts and it really helped
the museum out and then I get to do
02:05:30crazy things like this this is let me
see this is a restaurant that only
02:05:35serves food for the countries that the
United States is in conflict with
02:05:41John showed this earlier conflict
kitchen different countries that had to
02:05:47change them out every few months but I'm
also really interested in
02:05:55self-initiating work so this is giving
myself a project it could be anything it
02:06:02could be telling a story or having
giving someone an experience or well
02:06:10lost my train of thought but the the the
the idea is that I still use the tools
02:06:16of graphic design to do this stuff but
there's no client and if there is a
02:06:20client I guess the client would be me
so some examples of this through the
02:06:24years I built this giant wall like
Donald Trump and I covered it with over
02:06:307,000 unique New Year's resolutions this
was set up on New Year's Eve
02:06:36so we had all these different
resolutions each one was different and
02:06:41people could scan the wall find a
resolution that resonated with them
02:06:45personally and then rip it off the wall
put it in their pocket and keep it
02:06:52throughout the year and then look back
and see if if they if they are actually
02:06:58actually kept it all right I did this
book of SHIVs that our prisoner made
02:07:07weapons I got this collection of ships
from a friend who I don't think came
02:07:12about it quite legally but we did this
book and put them down on a flatbed
02:07:20scanner and scanned about a hundred
percent real size so you could just have
02:07:25this idea of reaching out and putting
your hand around each one I love this
02:07:29one on the left it's a glove inside
another glove and there are these
02:07:32upholstery tacks on the knuckle so a guy
could make a fist scrape down through
02:07:39somebody's face and then straighten his
hand back out and there's no evidence of
02:07:42what just did the damage this one's on
the rights for lenka it's a carriage
02:07:46ripped out of a typewriter and sharpened
sharp Market Square is this place in
02:07:58downtown Pittsburgh that some some
people spend a great deal of their time
02:08:04down there days and nights and the city
had this idea to sort of clean it up to
02:08:08make it family-friendly so I went down
there and I spent about a week and a
02:08:12half with these people and I talked to
them and a lot of them were really upset
02:08:16about these plans and how it might
affect their lives because they spent so
02:08:20much time down there and so over the
course of two weeks with these lettered
02:08:25tiles I spelled out excerpts of the
conversations that we had that talked
02:08:29about how they felt about this place and
I sort of Christopher walled it so that
02:08:33it wasn't so easy to read he sort of had
to spend time with it to read it and
02:08:39over two weeks put each of these
excerpts in different corners of a
02:08:43square for hopefully other people to
read it didn't it didn't work they came
02:08:51in and bulldoze the place and there's no
there's no place to sit now I made this
02:09:04book for Billy Nardo's II he's
Pittsburgh's poet each Monday he goes
02:09:08down and plunks $100 down to have his
poetry published in the celebration
02:09:14section of the Pittsburgh post-gazette
he also includes a photo of himself and
02:09:18a phone number to call this is in the
book though it's hard to see but this
02:09:22part here is where I clip him out every
Monday I clip his poem out and I put a
02:09:27gold star where his photo should be in
the thing and I honestly didn't I loved
02:09:33him but I didn't realize what I called
following he had until I set up a series
02:09:36of poetry readings for him and so many
people showed up to hear him to hear him
02:09:41read and get their book signed and just
to meet him they also brought him
02:09:48presents like this wrist band
what would Billy nor does he do and then
02:09:57finally an experiment I did where I
invited 250 to Pittsburgh artists to
02:10:01each create a
portrait of one person my friend John
02:10:05rygart John is an artist himself but
he's bipolar
02:10:11and this really disconnected him from a
community of artists that he really was
02:10:16a big part of back in the day some of
the artists worked off of this photo
02:10:21that I sent them but a lot of artists
just wanted to meet him in person so we
02:10:25set up a bunch of group sittings where
John would come for the day and he'd be
02:10:30accommodating to anything that was asked
of him he was great we also the couple
02:10:40more of these the the artist also wanted
to meet Ella this is my one of my
02:10:44favorite people right there do you
recognize her there was also people that
02:10:48wanted to meet him at his house so we
brought people the artists out to his
02:10:52house and first in Millvale where he
lived with his girlfriend and then
02:10:58halfway through the project they broke
up there's my friend Lincoln they broke
02:11:04up and he moved to he moved to an
apartment in Lawrenceville so we
02:11:10continued the artist visits there in
Lawrenceville this guy this next one
02:11:16this guy's set up a green screen in his
kitchen but we also went to the artist
02:11:22house and studios they invited us into
their homes and studios and we just had
02:11:28so many really amazing interactions with
all these completely talented and
02:11:34generous people that that did this this
thing for us oh yeah this this is a kid
02:11:40going for about an hour on that story
made made a bunch of new friends and
02:11:48also saw some some old friends a couple
02:11:56floors sorry and we met in coffee shops
we met in parks
02:12:06we met in Botanical Gardens we met in
cemeteries we met on riverbanks
02:12:15we met in hospitals so many things
happened in the year and a half of his
02:12:21project but two that I'll share with you
we happened on this live drawing class
02:12:26and John decided right then and there
that he wanted to be the model and so
02:12:30for four exhausting hours exhausting for
me not for him he's that on this live
02:12:36drawing session he also was asked to
give a workshop on self portraiture
02:12:44so he told bunch of kids so this is him
showing Vincent van Gogh's self-portrait
02:12:48to this little boy on an iPad and then
of course he had asked all the kids to
02:12:53draw his portrait the portrait just
started coming in I wish I could show
02:13:00you all of them there were two hundred
and some but we didn't just have
02:13:04drawings and paintings and photographs
we had interactive pieces we had
02:13:10sculptures we had sound pieces we had
films and movies just some really really
02:13:18amazing stuff and then and then we had
an exhibition so this is John going into
02:13:23the opening of the exhibition so many of
his friends were there people that he
02:13:29hadn't seen in years were there we owe
his parents came down from Cincinnati to
02:13:38be there and then throughout the run of
the exhibition exhibition ran for about
02:13:43two months John was there every day he
came down on the bus and opened up the
02:13:48place and was the docent so I can
imagine somebody coming in seeing all
02:13:53these portraits of one person and then
turning around and there's John himself
02:13:57in the flesh and it blew people's minds
some people's minds but um but he was
02:14:04there and he answered questions and he
told stories of the project and of his
02:14:09life and yeah we also produced a monster
700 page book that documented the entire
02:14:19process Eric Lee gee who's in this photo
and in a bunch of photos that you
02:14:24probably saw that I showed he followed
the entire thing
02:14:27the entire thing and wrote this massive
massive essay that we combined with the
02:14:32photos that I took and also photos of
each portrait thanks right so I figured
02:14:52I you know we have a little bit of time
so I'm gonna just sneak in one question
02:14:57but I'm gonna start by by expressing my
condolences for a little violet for Lana
02:15:03I know I don't know if you guys know
about this but Lana has a pet squirrel
02:15:08and I'll let you take it from there
do you want me to talk about the
02:15:12squirrel sure why not um I first would
say I think I must cried like three
02:15:17times there's like such beautiful
projects and then yeah yeah I had a
02:15:22squirrel we found in her yard something
I love about Pittsburgh is it's a really
02:15:27wild city and so yeah I had a squirrel
but she passed away but we had really
02:15:31some really nice time so so now they are
all brought down yeah I can bring it up
02:15:38again no but it would the other thing
that I really wanted to cover with you
02:15:43guys is we are in Pittsburgh I know
lenka you you decided one day to move
02:15:48from the UK to the US mm-hmm and not
often do we hear somebody moving from
02:15:53London to Pittsburgh
02:15:58yeah so I came to Pittsburgh um
basically I had a vision so I was like
02:16:03living in London at the time and then I
was on the phone to my partner he lives
02:16:08from the states we were having that
conversation like where should we live
02:16:12what should we do you know that kind of
conversation and while we were having
02:16:14that conversation I saw the word
Pittsburgh written in my mind's eye so
02:16:20it was really in like three dimensional
letters I don't know if you know
02:16:23Kennywood but it looked like a Kennywood
carpenter had built them and I was like
02:16:28let's move to Pittsburgh and he was like
okay and so we like it took me nine
02:16:33months to get visa to move here
and then we basically turned up with
02:16:38like two suitcases
from the airport and yeah now it's eight
02:16:42years later so if you don't live here
you should it's really good but I know
02:16:48that you have been you're pretty much an
institution here in Pittsburgh whether
02:16:53you want to admit it or not long but I
would love you know we would love to
02:16:59hear about like the advantages and the
challenges of designing in Pittsburgh
02:17:02advantages the challenges of living in
Pittsburgh yeah-oh living and designing
02:17:06in Pittsburgh um well I'm sure it's the
same in any city but I on the advantages
02:17:16of I'll tell this story the story answer
your question I you guys know about
02:17:21making websites responsive is this a
thing so I was I was making my 12 year
02:17:31old web site responsive and um and so I
had a like look at this body of work
02:17:37that 15 years of work and not to sit
that I'd say this completely at the risk
02:17:44of sounding corny but I looked at that I
looked at all the work that I've done
02:17:47and I and I immediately I saw the
relationships I didn't see the work I
02:17:52just saw the people that were part of
those projects and that really that
02:17:58really struck me and I don't I don't
know if that's a Pittsburgh thing I mean
02:18:02there might be designers in other cities
that can say the same thing there might
02:18:06be Pittsburgh designers here they're
saying this guy is insane but um I don't
02:18:11lose fact I I just don't lose them I'm
just so appreciative that I get to work
02:18:18with people that that I respect and
admire and learn from but also enjoy
02:18:23keeping company with and I and I don't
know if that like I said I don't know if
02:18:26that speaks to Pittsburgh or not but
it's it's good for me I think there's a
02:18:32big sense of community and all the work
that you guys have shown that's
02:18:36definitely appealing and jumps out
straight up um with the last two minutes
02:18:41that I have for a question I'd really
want to touch on on the idea of like you
02:18:44guys have a lot of self started projects
and you
02:18:48blurring the line of what is it that a
designer does for a client versus what
02:18:53is it that a designer does for himself
or herself what why be and designer an
02:18:59author entrepreneur at this moment in
time and why in Pittsburgh sure well I
02:19:06guess I I guess I think the profession
of design attracts people who are
02:19:12interested in putting their hands into
all kinds of different things and being
02:19:17designer I get to kind of jump in and
learn about whatever it is that sort of
02:19:21comes along to me that in whatever
industry it happens to be in and I think
02:19:26being interested in authorship and
entrepreneurship and doing these
02:19:30self-initiated projects is just an
extension of that so it's less that I'm
02:19:34trying to be an entrepreneur make money
and it's more that so many things are
02:19:38interesting and interesting to me and I
have the strive to make things that
02:19:44doing it myself is just a way to
accomplish that so it's really that
02:19:49simple and in terms of why Pittsburgh I
mean I it's it's really easy to do
02:19:54things here and there's a lot of
resources and it also feels like it
02:19:59matters if you do it here whereas you
know coming from New York I would have
02:20:03never done less than 100 in New York to
start because there's just the barriers
02:20:08of affordable space and there's so many
other things going on and what have you
02:20:12but in Pittsburgh it was like I found
space but I was meeting with people to
02:20:17try to get just connected to other
people in one of those organizations the
02:20:22women and girls foundation was like do
you want some money for this and so it's
02:20:26just like yes and then so that's like
the kind of stuff that I feel like is
02:20:30the unique to Pittsburgh that things
like really great to pursue these sorts
02:20:33of projects saying Jake I know that
you're running your own studio and
02:20:37you're kind of leaving every young
designers dream by going on your own
02:20:41yeah I mean as far as entrepreneurship
you know I I don't like working for
02:20:47people it's probably true for most
people but you know I kind of made that
02:20:53decision before I went to grad school
and then you know
02:20:59the type of work that I do I think works
really well in Pittsburgh in general you
02:21:05know ten years ago this type of kind of
big tech architectural scale tech type
02:21:11stuff probably was not affordable for
second-tier sized cities like Pittsburgh
02:21:15or Cincinnati or Cleveland and I think
two things have happened since then is
02:21:20like the cost of doing that work has
come down quite a bit and the awareness
02:21:24of the existence of that type of work
has risen in places like Pittsburgh so
02:21:30it's not just like the creative director
of Google or you know people at that
02:21:36with that mindset are aware of this type
of work I think you know the the owner
02:21:41of a 30-person financial advisor
financial advisory in the South Hills is
02:21:47aware of it so for me Pittsburgh and the
this region is a kind of a it seems like
02:21:53a fairly fresh market and also on you
know I'm from here and my family's here
02:22:00it's nice to be here I have some
nostalgia I'm gonna in and I'm gonna
02:22:09close one one more question we live in a
in a world that is increasingly
02:22:13politicized in hyper politicized um do
you guys find yourself and this is
02:22:19something that I would like to hear from
all of you guys if do you find yourself
02:22:22self censoring or changing your opinions
before you put out any work in public I
02:22:31I don't but I I mean I've I've thought
about this and I had an experience in
02:22:36Pittsburgh with a printer who all of a
sudden said I can't work with you
02:22:41anymore because you you support Bernie
Sanders and LA it was really weird but I
02:22:46mean there is there it's a much less
liberal place than New York and so you
02:22:52do have to you know when you talk about
Donald Trump it's like ah you know like
02:22:58cuz you don't know who's on who like you
know so I mean there's that but I don't
02:23:03personally censor myself and I think I
guess I embrace that on social media my
02:23:08presence is me as much as it
is my studio and I'm fine with that
02:23:15lying blurring so I I don't maybe and
that's maybe why should I should because
02:23:21there's a lot of pictures of squirrels
up there right now and everyone's like
02:23:24if I were into graphic design and so I
don't know
02:23:35I don't censored myself I had a funny
experience that with that though the
02:23:42sculpture that I showed you the 63
objects taken from my son's mouth that
02:23:47had a set of weird life so it kind of
created the title and the collection of
02:23:52things in the next sort of which is the
point I really love in being an artist
02:23:56you kind of let go of it and it goes off
on some weird travel so it ended up
02:24:00being like acquired by a museum which
was funny so I have to go to a museum to
02:24:04see this like weird collection and then
ended up in different newspapers around
02:24:09the world and one of them was the Daily
Mail then if you're familiar and it was
02:24:14in the Daily Mail basically about like
an example of bad parenting and then it
02:24:21was crazy
I shouldn't have done this but I read
02:24:23the comments under the article and it
was just like I mean British people
02:24:28their favorite the national sport is
like criticizing other people's
02:24:31parenting and this was like an absolute
field day so that was a moment where I
02:24:36was like why did I do that
but otherwise no when I did when I did
02:24:42my Papa shop I read the comments and I
couldn't really upset about it for a
02:24:46while so I made the same yeah I'm not
gonna do it again I wonder where the
02:24:51comments after this panel if you have
anything to happen
02:24:57no but interesting story that I think of
when I hear that I've never censored
02:25:01myself but maybe I should but an
interesting story is conflict kitchen
02:25:06when they did Palestine when John and
Dawn decided to do Palestine they they
02:25:12had these death threats like they
literally had to shut it down because
02:25:16these they were getting these letters
that we're gonna blow up the restaurant
02:25:19and I was immediately frightened for
them but then I thought you know it
02:25:24names on that those my days uppers right
first like a four point type Brett yes
02:25:31go so I was afraid for about a day but
just seeing how John and Dawn handled
02:25:38that was just so amazing to me and and I
don't know if anybody followed it or
02:25:43Facebooks it or whatever you call it but
there was just like this they shut the
02:25:48restaurant down but there was this
outpouring of people coming down to the
02:25:51restaurant and pinning up notes of
support and rallying around even though
02:25:55they weren't selling food or rallying
around it and it just just made you feel
02:25:59really good about the city this country
and and where we are for a minute at
02:26:06least you know the work that I do isn't
really you know horrible you know it's
02:26:11like lights moving politically-motivated
but I will say that working in
02:26:18Pittsburgh is interesting because you
work with I work with a lot of kind of
02:26:25perhaps people or you know machine shops
or you know I think that companies like
02:26:32Richard rolls you know a steel rolling
company and you go into a lot of these
02:26:37shops and you know I don't know if
there's a Pittsburgh thing here but you
02:26:42go to a lot of these shops and there's
like clear decor that is very different
02:26:52that kind of shows their different
political beliefs and so I don't know if
02:26:58this is particularly a Pittsburgh thing
but you know it's sometimes you have to
02:27:04work with people that have very
different belief systems as you and I
02:27:11think it's actually an important I think
it's important sometimes to do that
02:27:15because you know we're in this position
now where we are so polarized that at
02:27:21least in my work that's one of my
favorite parts of my job is like meeting
02:27:25people who are not at Google span right
and people who have very different
02:27:30political beliefs and it kind of forces
me into these positions so yeah that's I
02:27:35guess might kind of pull it
cool if I can just add to that yeah
02:27:42that's something I really like about
Pittsburgh you know in in Brooklyn
02:27:45you're like go to a party and it's like
Oh what do you do I'm a graphic designer
02:27:49oh yeah me too and oh yeah you too and
here here it's like what what what do
02:27:55you do like I like my neighbors our
physical therapist and like they do
02:27:59other things and I feel like I am in a
real world not that like New York is not
02:28:05a real place it's like an amazing place
but I like I like the grounding of being
02:28:10somewhere where people don't give a shit
about what I do
02:28:12I really like that I'm gonna thank you
guys for today and this has been awesome
02:28:24and thank you very much thank you guys
thank you
02:28:37I'm really sad to say that Billy and our
dozy and mr. John are not speaking but
02:28:44I'm really excited like I want to move
to Pittsburgh now so yeah I live in
02:28:49Brooklyn okay so thank you to our
panelists it says my name but I'm
02:28:58talking about other people thank you to
our panelists I just wanted to talk
02:29:03about what's happening tomorrow a little
bit before we break tomorrow will open
02:29:08at 9:00 a.m. and there will be a light
breakfast of pastries and coffee for
02:29:13those of you who signed up for workshops
you should have received an email
02:29:17confirming that you got into a workshop
or not and for those of you not
02:29:24attending a workshop
do not fear we have lots of programming
02:29:28available for you to enjoy including
incredible demos from Disney research
02:29:33and Alamo meny as well as material
design reviews and code labs so if you
02:29:39would like to sign up for those we do
have an a registration a sign up at the
02:29:43registration desk that's I'm going to
open up about half of the slots so you
02:29:47can do that now we'll also have slots of
tomorrow so don't worry and these
02:29:51reviews and code labs happen in 15
minute durations and if none of that
02:29:57interests you you can just work from
span we will have Internet death space
02:30:03coffee I mean you really don't actually
need anything else to work so seriously
02:30:08come enjoy the space you can totally
hang out and of course I mean you know
02:30:15I'd like to talk about the swag bag but
we do have the swag tomorrow it will
02:30:20have the span meter in it a number of
the panelists and the last panel have
02:30:25work in there and others that you'll be
meeting tomorrow again you can always
02:30:30check the schedule at Chico /span 17 so
enjoy the food and drinks and we'll see
02:30:37you tomorrow
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