Behind BIOMODD [LBA2]: Notes from a cross-cultural new media art collaboration (2010)
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![Behind BIOMODD [LBA 2 ]: Notes from a cross-cultural new media art collaboration (2010) RESEARCH COLLOQUIUM SCHOOL OF INTERACTIVE ARTS AND TECHNOLOGY SIMON FRASER UNIVERSITY 24 MARCH 2010 DIEGO MARANAN [email_address] With slides from Angelo Vermeulen This presentation is available online at http://is.gd/aX5ai](https://image.slidesharecdn.com/colloquiumpresentationv4-100324054423-phpapp01/85/behind-biomodd-lba2-notes-from-a-crosscultural-new-media-art-collaboration-2010-1-320.jpg)
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Behind BIOMODD [LBA2]: Notes from a cross-cultural new media art collaboration (2010)
- 1. Behind BIOMODD [LBA 2 ]: Notes from a cross-cultural new media art collaboration (2010) RESEARCH COLLOQUIUM SCHOOL OF INTERACTIVE ARTS AND TECHNOLOGY SIMON FRASER UNIVERSITY 24 MARCH 2010 DIEGO MARANAN [email_address] With slides from Angelo Vermeulen This presentation is available online at http://is.gd/aX5ai
- 4. CORE MEMBERS: 2 – 12 TEAM MEMBERS 38+ MAILING LIST ONLY 70+ The team
- 5. Vanessa Liwanag Traditional Arts Liaison {NGO+, art+, new media art-, euro-american artists-} Diego Maranan Project Co-Lead, Producer {north/south east/west relations+, facilitation+, production-, visual art-} Angelo Vermeulen Project Co-Lead, Artistic Director {new media art++, facilitation-, developing south-} Lai del Rosario Project Manager, Fundraiser/Agent {social events+, putting together exhibits+, new media artists-, new media funding-} Biomodd [LBA 2 ]: A sampling of the team
- 6. Al-Francis "King" Librero Biomodd [LBA2] Continuator
- 7. BIOMODD Version 1: Athens, Ohio (2007-2008)
- 8. Biomodd [ATH 1 ]: Themes
- 9. Biomodd [ATH 1 ]: Themes
- 10. Biomodd [ATH 1 ]: Process
- 12. Biomodd [ATH 1 ], 2007-2008 BIOMODD [ATH 1 ]: Details
- 13. BIOMODD [ATH 1 ]: Details
- 14. BIOMODD [ATH 1 ]: Details HYBRID ART NOMINEE
- 15. BIOMODD [LBA 2 ]: Introduction
- 16. How it started The Open University Pitching the idea Faculty mulling over Our new laboratory. Thanks, Open U!
- 17. Laguna: Los Banos and Paete
- 18. How we assembled a team Radio interview Talks Schmoozing and partying
- 19. Our website Our mailing list How we assembled a team Book your seat in the Manila-Los Banos shuttle now! Please?
- 20. How we assembled a team
- 22. How we funded ourselves Cash is hard to come by. Don't expect it. Biomodd [LBA 2 ], 2009
- 23. Creative liquidation of in-kind donations Flirting with corporations
- 24. NIDO™ Fortified Milk is a product of Nestlé © Flirtation with corporate sponsorship. It failed, and I'm glad it did.
- 25. Biomodd [LBA 2 ], 2009
- 28. In the new culture you're working in, what is already automated? How does this impact workflow/budgeting/logistics? (Unavailability of automated systems = increased reliance on human labour.) The wooden case
- 29. What is local, what is imported/appropriated, and why those choices? (Why not use local algae?) Ubiquity Reuse "Infect" the algae strain Universal mix The algae RMX 2 (2004) Belgium Biomodd [ATH 1 ] (2007-2008) USA
- 30. We need Pentium IVs. What counts as disposable in another culture? (Pentium IVs are not secondhand.) What are the minimum requirements for the process? For the product? What are your collaborators' assumptions? (Try to uncover as many of them. Be persistent!) Uh-oh. The networked computer system (1/3)
- 31. Hybridity in the Philippines (and other colonized cultures): Appropriating, mocking, enriching colonizers' cultures and technologies The networked computer system (2/3)
- 32. Is everyone using words in the same way? What are the higher-level themes so that concepts can be ported across contexts? (Greenhouses are not usually practical in tropical climates.) How can digital technology be fused with biological systems? fusion = symbiosis What can we do with excess heat? Vermeulen (2009) Corrupted C#n#m# FLUXspace, Philadelphia In NGO-speak, community refers to indigent groups. The networked computer system (3/3) `
- 33. Should all ideas/symbols/beliefs be remixable? What about sacred symbols? What about symbols that are sacred not to you, but to someone else? Do you need permission to remix? From whom? Mount Makiling Mariang Makiling Mount Banahaw (in another province) Putting Banahaw as a character would be like placing a Marvel character into a DC comic. If this were all a parody, why not? But it's not. Is remixing parody? The game
- 34. What aspects of the project should be bottom-up? What can be top-down? What is the "basis of unity"? What's the conflict resolution strategy? Is there a clear structure of power? What if the tradition needs changing? (But who am I to know and to say?) A hybrid sci-fi/traditional Filipino carving would be cool! Is what we're doing respectful of tradition? We made a different design. We took ownership! That's a good thing, right? But… but… Uh-oh. Mediation time. The wood carvings
- 35. Systems I won't talk about
- 36. Now what, so what?
- 38. Now what, so what? Thank you for more info: WWW.BIOMODD.NET
Notas do Editor
- Diego's "Checklist for cross-cultural/transnational collaboration, derived from his SIAT talk ? Doesn't have to be a full discussion What aspects of the project should be bottom-up? What can be top-down? Are these choices clear for all participants? What is the "basis of unity"? What's the conflict resolution strategy? Is there a clear structure of power? What are the local components, what are imported/appropriated, and why those choices? (Why privilege the intent to create a universal mix of algae over the use of local algae? Is it an aesthetic choice? Poetic? Technical?) What counts as disposable in the various culture implicated in the collaboration? (Pentium IVs are not secondhand in the developing South, but could be in the more developed North.) What are your collaborators' assumptions? What are their minimum requirements for the process? For the product? (e.g., Diego assumed at the beginning that we would get the best scrap computer hardware we could that could still be networkable and then build a non-graphics intensive game; this was not Angelo's assumption, and had (perhaps without him being able to articulate so clearly) particular aesthetic, gameplay, and technical minimum requirements in mind) Do participants share a clear understanding of crucial keywords and concepts? (e.g., Community, Technology, Collaboration, Contribution, Significant contribution) What are the higher-level themes so that concepts can be ported across contexts? (Greenhouses are not usually practical in tropical climates. MLDDG or whatever her acronym was... didn't she suggest using heat for drying clothes in apartments?) Should all ideas/symbols/beliefs be remixable? What about sacred symbols? What about symbols that are sacred not to you, but to someone else? Do you need permission to remix? From whom? In the new culture you're working in, what is already automated? How does this impact workflow/budgeting/logistics? (Unavailability of automated systems = increased reliance on human labour. e.g., unavailability of forklifts meant that we had to hire a lot of people/get and feed many volunteers to do heavy lifting)