DP-1 playlist, version 1.1.0. 6 items: Amelia Winger-Bearskin, Ira Greenberg and Marina Zurkow, Alfredo Salazar-Caro, Stephanie Dinkins, Sara Ludy, Jennifer and Kevin McCoy.
Scan the code with a Feral File Toko, an FF1, the app or ff-cli to display this playlist, or copy the link and open it there.
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"text": "Amelia Winger-Bearskin is a Banks Family Preeminence Endowed Chair and Associate Professor of Artificial Intelligence and the Arts at the Digital Worlds Institute at the University of Florida. She is also the founder of the AI Climate Justice Lab, the Talk To Me About Water Collective, and the Stupid Hackathon. In 2022 she was awarded a MacArthur Foundation Award as part of the Sundance AOP Fellowship cohort for her project CLOUD WORLD / SKYWORLD, which was part of The Whitney’s Sunrise/Sunset series. In 2021 she was a fellow at Stanford University as their artist and technologist in residence, made possible by the Stanford Visiting Artist Fund in Honor of Roberta Bowman Denning (VAF). In 2020 she founded Wampum Codes, an award-winning podcast and an ethical framework for software development based on indigenous values of co-creation. In 2019 she was a delegate at the Summit on Fostering Universal Ethics and Compassion for His Holiness, The 14th Dalai Lama, at his World Headquarters in Dharmsala, India. In 2018 she was awarded the 100k Alternative Realities Prize for her Virtual Reality Project: Your Hands Are Feet from Engadget and Verizon Media. This was also the year that nonprofit IDEA New Rochelle won the $1 Million Bloomberg Mayor’s Challenge for their VR/AR Citizen toolkit to help the community co-design their city. Amelia is an enrolled member of the Seneca-Cayuga Nation of Oklahoma, Deer Clan on her mother’s side; her late father was Jewish/Baha'i."
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"description": "Amelia Winger-Bearskin’s “Seed Protocol - Dynamical Lunar Indigenous Time (DLITE) 43:28:22.0004124” involves collectors in her ongoing artwork inspired by seeds and their caretakers. The NFT edition consists of an image of an identical pile of corn seeds that have been colored by the artist in 100 variations, wrapping the seeds in hand-drawn patterns. As still life, the seed piles imagine what the future seven generations of corn seeds might look like, suggesting textile and beading patterns or more alien mutations. Corn is one of the “three sisters” (corn, beans, and squash) according to the knowledge of the Haudenausaunee people. (Winger-Bearskin is an enrolled member of the Seneca-Cayuga Nation of Oklahoma, which is part of the Haudenosaunee confederacy.) The three sisters are grown together, giving nutrients, shade, and support. The “seven generations” concept reminds us that our current knowledge is built on that of the seven generations before us, and that we must make good decisions for our descendants seven generations in the future.\nEach of the seed pile variations has a unique DLITE (Dynamical Lunar Indigenous Time) number, riffing on the Terrestrial Dynamical Time that NASA uses as a timestamp for celestial voyages. The future that Winger-Bearskin imagines for seeds is inspired in equal parts by several sources: the celestial storytelling of the Seneca-Cayuga; NASA’s Project Artemis; as well as the work of her colleagues’ Robert Ferl and Anna-Lisa Paul, plant molecular biologists who lead a team focused on growing plants in space at the University of Florida Space Plant Lab.\nAlong with the NFT, collectors receive a participation contract and access to the Seed Protocol website, asking them to contribute to the larger seed protocol project. They will receive regular updates on all online and in-person events related to Seed Protocol project 2023-2024. Collectors will also play an active role in shaping the project by agreeing to make contributions: engaging with a local seed bank or heirloom seed society in their area and uploading information about the organization to Amelia Winger-Bearskin’s Seed Bank Directory or engaging with one of the seed groups with whom the artist is working.\n[Please register your seed pile at https://seedprotocol.space]"
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"text": "Marina Zurkow\nMarina Zurkow is a media and participatory practice artist who connects people to nature-culture tensions and environmental messes, offering new ways of knowing, connecting, and feeling. Using research and technologies including software, animation, food, and other biomaterials, she fosters intimate multispecies and geophysical connections. Zurkow works as a founding member of several collaborative initiatives, including Investing in Futures, Dear Climate, and Climoji. Her recent solo exhibitions include Bitforms gallery, New York; Google (Hudson River campus); ICA San Diego; New York City’s MTA Arts & Design; and Borusan Contemporary, Istanbul. Her work has been featured at Storm King Art Center, New York; the 7th Moscow Biennale; Smithsonian American Art Museum, Washington D.C.; Sundance Film Festival, Utah; and the Seoul Media City Biennial, Korea, among others. Her public art engagements include work with Creative Time, New York; The New Museum’s Ideas City, New York; Northern Lights.mn, Minneapolis; 01SJ Biennial, San Jose, California; and Rice University, Houston. Zurkow was a 2022 fellow at the Environmental Media Lab, Princeton University. She is a 2011 Guggenheim Fellow and received grants from Rice University, NYFA, NYSCA, the Rockefeller Foundation, and Creative Capital. She is represented by Bitforms gallery and resides in the Hudson Valley, New York.\nIra Greenberg\nIra Greenberg is director of the Center of Creative Computation and professor at SMU (Dallas, Texas) with a joint appointment in the Meadows School of the Arts and the Lyle School of Engineering. His research and teaching interests include generative NFTs, drawing and painting, aesthetics and computation, expressive programming, emergent forms, net-based art, artificial intelligence (and stupidity), physical computing and computer art pedagogy. Greenberg has been a painter, 2D and 3D animator, print designer, web and interactive designer/developer, programmer, art director, creative director, managing director, art and computer science professor, and author. He wrote the first major language reference on the Processing programming language, Processing: Creative Coding and Computational Art, (Berkeley, CA: friends of ED, 2007) and two subsequent creative coding texts. Greenberg holds a B.F.A. from Cornell University and a M.F.A. from the University of Pennsylvania. He has steadily exhibited his work, consulted within the industry, and lectured widely."
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"description": "Ira Greenberg and Marina Zurkow’s “The Dorises - Oystercraft from silicon to saltwater” allows collectors to purchase an oyster, a unique NFT in the digital ocean. While the outsides of the oyster shells are similar, there are categories and variations across the 100 oysters in the edition. The insides are structured through custom generative software according to four categories, each based on an aspect of oyster physiology, purpose, and lore: Oyster Engineer (plumbing, cleaning, sifting, filtering machinery); Oyster Artist (creating beauty, wonder, inspiration, well-being); Oyster Sex Symbol (aphrodisiacal and sex-changing); and Oyster Kin (with humans who “farm” and eat them). The artists used AI to generate the oyster elements and backgrounds; embedded across the four categories are fifteen unique surprises, with varying degrees of rarity.\nAlong with their oyster, collectors receive a unique password that gives them access to the OysterCraftReef website, where they see their NFT come together with the other collected oysters to form a visual reef. As a collective structure, the oyster reef supports real-world projects such as oyster reef cultivation, conservation, and awareness work. After no more than 90 days after the birth of the reef, collectors will vote on distributing the funds generated through their purchase to three different groups supporting oyster reef conservation, which has been identified by the National Oceanic and Atmospheric Administration (NOAA) as a priority. The project title, “The Dorises,” alludes to Doris, a sea goddess in Greek mythology. Doris was one of the 3000 Oceanids, daughters of the Titans Oceanus and Tethys, and represents the fertility of the ocean. Her name connects the two words Dôron, meaning “gift” or “abundance,” and Zôros, meaning the “pure” and “unmixed,” often used to describe fresh water.\n[Please read your contract. Your voting password is enclosed.]"
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"text": "Alfredo Salazar-Caro is a creator living and working between Mexico City, NYC, and Online. His works are an amalgamation of portraiture, installation, sculpture, documentary, video, and VR/AR. Salazar-Caro is co-creator and creative director of DiMoDA (Digital Museum of Digital Art), a groundbreaking project that functions as a VR institution and exhibition platform dedicated to the development of XR Art. His work has been exhibited internationally at festivals and venues including Tribeca Film Festival; Whitney Museum (Dreamlands: Immersive Cinema and Art 1905-2016); The Wrong Biennale, São Paulo, Brazil; New Normal, Beirut/Istanbul; HEK (The Unframed World), Basel, Switzerland; SIGGRAPH Asia, Bangkok, Thailand; and 1Mes1Artista, Mexico City, among others. His work has been featured in publications such as Leonardo, Cultured Magazine, Vice Magazine, and Creators Project."
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"description": "Alfredo Salazar-Caro’s “Silva Ex Machina” is an animation centering on a scan of a sculpture of Xōchipilli, a Machika deity whose name translates into “flower prince” in the Nahuatl language. Xōchipilli is associated with flowers, hallucinogenic plants, medicinal herbs, music, and dance. Both the statue and its base are covered in carvings of morning glory and other flowers, as well as sacred and psychoactive organisms such as mushrooms, suggesting transformation and the transmuting of energy. Created with generative geometries and AI, Salazar-Caro’s animation shows blossoms and plants sprouting from the rotating statue, extending the abstracted engravings into a luscious, naturalistic representation. The sculpture from which the scan has been created is housed in Mexico City, its place of origin, in the National Museum of Anthropology. The proceeds from the NFT sales will go to Eden Reforestation Projects, devoted to restoring regional forests in the Amazon with the help of local communities. Together, the collectors of the edition could potentially support the planting of a small forest. “Silvia Ex Machina” transplants Xōchipilli’s statue into a distributed virtual simulation, invoking its medicinal powers through the process of reforestation."
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"text": "Stephanie Dinkins is a transmedia artist who creates experiences that spark dialog about race, gender, aging, and our future histories. Her work in AI and other mediums uses emerging technologies and social collaboration to work toward technological ecosystems based on care and social equity. Dinkins’ experiences with and explorations of artificial intelligence have led to a deep interest in how algorithmic systems impact communities of color, in particular, and all of our futures more generally. Dinkins is a 2022 Sundance Art of Practice Fellow, 2021 United States Artist Fellow and Knight Arts & Tech Fellow. Previous fellowships, residencies, and support include the Artist Fellow of the Berggruen Institute and Lucas Artists Fellow in Visual Arts at Montalvo Art Center, CA; Onassis Foundation; Stanford Institute for Human-Centered Artificial Intelligence; Creative Capital; The Laundromat Project; Santa Fe Art Institute, and Art/Omi. The New York Times featured Dinkins in its pages as an AI influencer. Wired, Art in America, Artsy, Art21, Hyperallergic, the BBC, Wilson Quarterly, and a host of popular podcasts have highlighted Dinkins’ art and ideas. Dinkins teaches at Stony Brook University where she holds the Kusama Endowed Chair in Art."
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"description": "Stephanie Dinkins' “Okra Continuum” is a series of 100 images depicting an okra pod's travels through space and time. The NFTs created for the project are offered sight unseen, and purchases unveil story nodes mixing past, present, and future that are shared online. Okra was brought to North America by enslaved people and settlers when they arrived centuries ago and has sustained itself and others in often hostile environments. Dinkins generated the backgrounds of the visual story with AI (Stable Diffusion) combined with hands-on editing to capture moments from this journey through time. She poetically uses okra as a plentiful time bender evoking the Africans with whom it traveled east and continuing its path in virtual space. The story of “Okra Continuum” gestures toward repair, underscoring the pod’s role as a carrier of nutrients that has continuously extended and reoriented collective stories.\n[Please check the okra-continuum.net website for seeing the story unfold.]"
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"text": "Sara Ludy is an American artist and composer working in a wide range of media including digital painting, animation, VR, websites, installation, and sound. Through an interdisciplinary practice, Ludy generates hybrid forms from the confluence of nature and simulation to explore notions of immateriality and being. Ludy’s work has been exhibited at institutions including the Museum of Contemporary Art Chicago, Vancouver Art Gallery, Whitney Museum of American Art, Berkeley Art Museum, and Künstlerhaus Bethanien. Her work has been featured in Modern Painters, The New York Times, Artforum, Art in America, and Cultured Magazine. Sara lives and works in Placitas, New Mexico."
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"description": "Sara Ludy’s “Synchronicities” plays with the idea of a collective psychic and visual space, and explores the aesthetics and materials of ephemerality. Collectors are invited to pick from a list of 100 time codes to mint an NFT corresponding to a clip from a 24-hour video shot by the artist, without having seen the video clip itself. The act of collecting, usually tied to an aesthetic choice, is thereby linked to a moment that intuitively resonates with collectors from afar, becoming a “remote viewing” exercise. As the time codes are minted, the matching video clips are positioned chronologically on a 4x6 grid corresponding to the 24 hours of the video, forming a structure resembling a multi-dimensional cube and viewable on a website. Collecting and minting the video clips thereby becomes a process of collectively revealing the unseen. The full-length video recorded by the artist over the course of 24 hours is a still-life scene subtly changing over time and involving appearing and disappearing ephemera in a cube-like environment. In Ludy’s project, synchronicity emerges on various levels: as an alignment of ephemeral “objects” over the time frame of a day and of transient moments imagined by collectors, as well as a temporal and visual space collectively constructed by a group of collectors.\n[Please check the synchroniciti.es website for seeing the film evolve.]"
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"text": "Jennifer and Kevin McCoy are media artists whose works extends from film and video to installation and generative software. Their work often seeks to situate new technologies within our culture, using contemporary tools and questioning their impact both on the individual and on the collective culture. Recent work includes generative software that uses blockchain technology to create long-form ecosystems for images to change and evolve. The McCoys’ work has been widely exhibited at venues including the Pompidou Center, Paris; the Museum of Modern Art, New York; British Film Institute – Southbank, London; the Nevada Art Museum; The San Jose Museum of Art; The Addison Museum of American Art; The Sundance Film Festival, and many other venues in the US, Europe, and Asia. Their work is in the collections of the Museum of Modern Art; The Metropolitan Museum of Art; the Museum of Fine Arts, Houston; the Milwaukee Art Museum; the 21C Museum; and the Speed Museum. They received a Creative Capital award in 2003, the Wired Rave Award for Art in 2005, a Guggenheim Fellowship in 2011, and a Headlands Alumni Award in 2014. In 2022 Kevin received a Webby Lifetime Achievement Award from the International Academy of Digital Arts and Sciences for co-developing the technology that eventually became known as the NFT. Their work is represented by Postmasters Gallery in New York."
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"description": "Jennifer and Kevin McCoy’s “Public View / Private View” opens up the artistic process of creation — usually driven by artists’ concepts and aesthetic choices — to a community of donors and art supporters connected to the McCoys. Collectors receive an animated composite of a series of images that are based on pictures submitted to the McCoys by a group of donors of the artists’ work who thereby participated in the NFT’s creation process. “Public View / Private View” is based on the McCoys’ 2018 project “Public Key / Private Key” for which they produced a short 16mm film, donated it to the Whitney Museum’s Special Collection, then issued 50 Ethereum ERC-721 tokens to represent the right to be named as one of the “donors of record” for the film and selected 50 donors from an open call for applications. The tokens were allowed to freely circulate for a period of six months. For “Public View / Private View,” the McCoys asked these 50 donors of record to submit an image personally meaningful to them and created a coded interpretation of it. The interpretations of the donors’ 50 images were then combined into the animation that collectors can purchase as NFT. The 50 donors receive an ink-on-paper version of the image. While “Public Key / Private Key” made the donation process accessible to a wider public, “Public View / Private View” involves the donors in the creation process itself. Using the blockchain as authentication and distribution mechanism, the two projects form a creative chain that not only binds the artists as makers to an expanding community of interested supporters, but makes the nodes along the way a formal part of the work itself. In “Public View / Private View” the blockchain anchors the creation, distribution, and archiving process of the artwork."
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"summary": "The exhibition Chain Reaction strives to underscore the inherent connections between the blockchain as a list of data blocks facilitating the recording of transactions and tracking of assets, and the generative social, aesthetic, and environmental contexts and networks in which these assets are embedded. The works in this exhibition explore their existence as “tokens” beyond just being technological records of a transaction: they function as catalysts in precipitating events or actions, from environmental preservation and sustainability of a creative process to aesthetic choices. NFTs are functionally defined by their non-fungible status. They are capable of encapsulating and proving ownership of digital artworks that are often characterized by malleable, generative, untraceable, or imperceptible qualities. The artworks in Chain Reaction highlight the porous boundaries between NFTs as a mechanism for unique identification, on the one hand, and as a common “keepsake” of a social contract and commitment, or collective action, on the other.",
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