2>Case Studies PROJECT PROJECTS 190 UNDERCONSIDERATION 191 THE ART GUYS 192 THE QUESTA PROJECT 194 TYPE TOGETHER 195 Foreword HYBRID SPACE LAB 196 004 WITH ELLEN LUPTON+ YALE CEID 197 JENNIFER COLE PHILLIPS PLAYLAB 198 EYEBEAM 200 FLUX FACTORY 201 Preface AZIZ+CUCHER 202 005 BY RAS+ E MANDEL+ZAKARI 203 AARON GOTWALT 204 FREE RANGE STUDIOS 206 1>Collaboration+Culture DESIGN REPUBLIC 207 009 LONERISM DETROIT SOUP 208 027 ARTISTIC RESPONSIBILITY GRL&FAT 209 045 HUDDLE FOR WARMTH HISCHE+ MASCHMEYER 210 061 KILL GATEKEEPERS WOLF+PERRY 211 081 INDIES 0 TO 1 212 093 SANDBOXING Appendix TOORMIX ATELIER 213 107 RESPONSIVE THINKING BIBLIOGRAPHY 238 QUEST UNIVERSITY CANADA 214 129 REWIRED BLEU ACIER 216 147 DESIGNER COUPLES BALTIMORE PRINT STUDIOS 217 165 THE NEW SCHOOL POST TYPOGRAPHY 218 THE INFANTREE 219 OK GO 220 ANIMUS ARTS COLLECTIVE 222 BROTHERS DRESSLER 223 DESIGN-STUDENT GROUPS 224 NINTH LETTER 225 ODYSSEY WORKS 226 TEMPORARY SERVICES 227 KIEL+BARBER 228 TYPE SUPPLY 229 TOMATO 230 MK12 231 !ND!V!DUALS 232 MICA CSD 233 SKOLOS-WEDELL 234 RISD ADCOLAB 235 YELLOW BIRD PROJECT 236 THE COPYCAT 237 recognized and clarified in a follow-up article, “Fuck Content.” recognized andclarifiedinafollow-uparticle,“FuckContent.” based on truth. Branches of Realism formed in Russia, America, and based ontruth.BranchesofRealismformedinRussia,America,and originating in France directly following the 1848 Revolution as an open Revolution as anopen originating inFrancedirectlyfollowingthe1848 two main reasons: (1) geographical proximity, and (2) like-minded stylistic like-mindedstylistic geographicalproximity, and(2) two mainreasons:(1) circumstances, and the context of the paintings directly related to circumstances, andthecontextofpaintingsdirectlyrelatedto Before telecommunications media, Fine Artists usually came together for Before telecommunicationsmedia,FineArtistsusuallycametogetherfor reject the Designer as Artist model, eventually considering reject theDesignerasArtistmodel,eventuallyconsidering critique and dialogue. Salons and night cafés supported rising critique anddialogue.Salonsnight caféssupportedrising Later, itbecamefashionableforMadGeniusDesignersto elsewhere; however, thesechaptersformedunderverydifferent specific environments. Many movements in art began as loose specific environments.Manymovementsinartbeganasloose collaboration (such as Cubists Picasso and Braque), but for purposes collaboration (suchasCubistsPicassoandBraque),butforpurposes local Artist Collectives within a community through physical local ArtistCollectiveswithinacommunity throughphysical rejection ofRomanticism’s openemotion.Courbet,Daumier, Millet, Separate but equal. This perspective somewhat cracked the Separate butequal.Thisperspectivesomewhatcrackedthe qualifying Avant Gardeartmovements andgatherings. Designer as Mad Genius perspective, leaving design without Designer asMadGeniusperspective,leavingdesignwithout In the meantime, Fine Artists were outright ditching the isolationist In themeantime,FineArtistswereoutrightditchingisolationist and Manet aimed to present ordinary life as a transcribed reality and Manetaimedtopresentordinarylifeasatranscribedreality Mad Geniusmyth,climbingoffLonerismTower andengagingeach of ShowandTell orapprenticeship. ConsiderRealism,amovement The collaborative nature of contemporary Community Art, the heroic The collaborativenatureofcontemporaryCommunityArt,theheroic nature of contemporary Fine Artists. Design no longer needed nature ofcontemporaryFineArtists.Designnolongerneeded collectives, attractive simply as a platform for reciprocating collectives, attractivesimplyasaplatformforreciprocating undermined the requisite of geographical proximity in undermined therequisite ofgeographicalproximityin other as remixers, commenters, and generative Interactive Artists. other asremixers,commenters,andgenerativeInteractiveArtists. collectives as Makers themselves were enabled by communications collectives asMakersthemselveswereenabledbycommunications pursuit. Thereasonbehindthesegatheringswasn’t necessarilyfor Designers should not need to be anything but Designers. Designers shouldnotneedtobeanythingbutDesigners. the two fields equal but different, which Michael Rock the twofieldsequalbutdifferent,whichMichaelRock democracy of Street Art, and a mounting acceptance of practicing democracy ofStreetArt,andamountingacceptancepracticing as well,enabledbythepublicformatof thegathering. the clout of Architects or the exploratory interdisciplinary the cloutofArchitectsorexploratoryinterdisciplinary working and meeting spaces. Many guests interacted working andmeetingspaces.Manyguests interacted Starting in the ’50s, telecommunications media telecommunicationsmedia Starting inthe’50s, .DesignersasCollaborativeCowboys 3. .DesignersasNotArtists 2. technologies and supported by a global culture shift. technologies andsupportedbyaglobalcultureshift. anyone’s approval,orinfluence.

019 LONERISM with others to effectively communicate messages that transcend with otherstoeffectivelycommunicatemessagesthattranscend question of whether product design, like architecture, question ofwhetherproductdesign,like architecture, seems somewhat more applicable to graphic design than, seems somewhatmoreapplicabletographicdesignthan, lack the financial or structural footing for the same commitment. lack thefinancialorstructuralfootingforsamecommitment. institutionalize pro bono work, or require designers to allocate institutionalize probonowork,orrequiredesignerstoallocate time and talent toward need-based causes, many practitioners time andtalenttowardneed-basedcauses,manypractitioners compared to graphic design; but Bierut argues that compared tographic design;butBierutarguesthat everything deserves quality design and equality in everything deserves qualitydesignandequalityin percentage of time to important projects and causes percentage oftimetoimportantprojectsandcauses The pro bono side of responsible design practice is trickier The probonosideofresponsibledesignpracticeistrickier to comment on since each designer and each agency often to commentonsinceeachdesignerandagencyoften is disturbingly common, vs. poster design awards that is disturbinglycommon,vs.posterdesign awardsthat design community and The Greater Good creates inequality design communityandTheGreaterGoodcreatesinequality A MichaelBierutessaycriticizingtherockstar-laden FirstThings in our Farm by bringing heaven closer to some than others, in ourFarmbybringingheavenclosertosomethanothers, acknowledgment. Inotherwords, responsibility A significant tenet of many design projects involves partnering A significanttenetofmanydesignprojectsinvolvespartnering that lack budgets, or refusing to design way-finding that lackbudgets,orrefusingtodesignway-finding dependent ontheLuxuryofTime, LuxuryofClient,and First say, productdesign,wherehighlightingtoilet brushes of this in terms of content decisions: specializing of thisintermscontentdecisions:specializing exists in radically different spheres. While some agencies exists inradicallydifferentspheres.Whilesomeagencies Regarding Bierut’s argumentandawards,theconcern trends toward a more content-agnostic industry trends towardamorecontent-agnostic industry involve Charminasaclient.Rather, graphicdesign the designers’ personal backgrounds. From a collaborative the designers’personalbackgrounds.Fromacollaborative rendering team concepts moot when the members are rendering teamconceptsmootwhenthemembersare pro bono work. Many designers have thought pro bonowork.Manydesignershavethought be well designed, and that creating an Industry Standard Ideal be welldesigned,andthatcreatinganIndustryStandardIdeal for museums cleans up at awards. This raises a for museumscleansupatawards.This raisesa stance, building a link between specific elements of the stance, buildingalinkbetweenspecificelementsofthe Content belittles the very nature of Design: The Profession. Content belittlestheverynatureofDesign:TheProfession. 2 in environmentally sound design, donating a in environmentallysounddesign,donatinga for the Girl Effect, like donating show posters for for theGirlEffect,likedonatingshowposters strewn across different tiers of the victory podium. strewn acrossdifferenttiersofthevictorypodium. systems for an authoritarian government. Like systems foranauthoritariangovernment.Like argues that anything and everything should 000 Manifestoarguesthatanythingandeverythingshould practicing kinetic typography in After Effects practicing kinetictypographyinAfterEffects Indie Baltimore theaters, and like North Korea. Indie Baltimoretheaters,andlikeNorthKorea. Next in Classical Design Responsibility: Next inClassicalDesignResponsibility: One payoff for loftily idealistic design work: awards. One payoffforloftilyidealisticdesignwork:awards. Respectively—for example.

031 ARTISTIC RESPONSIBILITY someone investsinme,whichallthedesignblogspromisewillhappen. Not thatIreadthem,butsometimesaccidentallyseethecaptionswhen in myparents’garage.Butthisprototypeconceptwilltotallyworkif I tryandlookatthepictures.”madeathing,well,demo-thing, to paybecauseI’mincollege,whichcoincidentallyiswhyworking but itwilltotallywork. much lessNetflixMoney,LabFeemoney,whichI’msupposed prototype becauseI’minschoolandbarelyhaveIncessantDrunkmoney, of stuffjustlayingaround.ThisisSlangAmericanafor,“It’sa I madeanapp-thingthatdeservesAbutdidn’tgetbecause I madeathinginmygarage,orratherparents’out my typographywassupposedlybad.Thegameisfunandbasedonold Nintendo games,andnobodycomplainsaboutthattypography,soI all withoutuppingmymodest$2,000honorarium. think myfacultyarejustoldandstupiddon’tappreciategamer to thelocalfaculty’srequestrunaworkshopforstudents, culture. Anyhow,thisapp-thingtookmeall summer,andonline I willvowtoneverforgetwherecomefrom,acquiesce tutorials taughtmehowtodoallthiscool stuff.NowthatI while Iassurethemthat“Yes,thehotelisjustfine.”Because have it,Iwantittobepopularbecause want myownstudioso letting thesemid-levelprogramsbuymeplaneticketsandmeals I canbemoreofagame-conceptperson. Ki lecturer posterseachyear.ThatwillbehowIgiveback:by l typeset bystudent-workersonadozenartschoolvisiting This otherapp-thingImade,calledPoopbrain, helpsdesigners l kind ofstratosphericcareerarcwheremynamewillbecarefully be creativebygivingthemapromptforideation thatcan G my thingtolaunchdesigncareer,youknow,preferablythe be processedwithinthetimeittakesforan averagebowel at During summerbreak,Imadeathingwithsomefriends.wanted movement. Anyhow,IguessI’llgotocollege—Poopbrain might e be perfectforcollegeapplications—orI’ll dosomethingelse. ke This isatruestory,probably. e I madethischair-thingthatwilllookawesome nestled pe I madeathing. amongst HermanMillers.Thechairisoffice appropriate, r

with somegiveinthe back oftheseatsousersdonot s accidentally crushtheir phoneiftheyforgetitina back pocketwhilesitting. Whatever.”—David Barringer, I madeathingandit’s awesome;welldesignedand beautiful, theprototype workslikeacharm,andthe production isworkedout, soit’scommerciallyviable, hopefully. They tellme,depending onthecontextof an oldTVifIwantto.canpaintmypenisblue. Photography, collage,sketches,type.Icansledgehammer “This iswhatIloveaboutdesign:anything’sfairgame. the designer andthedesigned,there areafewopen avenues for the-piece-as-launchpad. write ashortstorytofitthebookmarkI’mdesigning.

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04 061 CH an IggyPopsong.Infact,Bowie’srecordingsofsongshelpedthe latter outfinanciallywithroyaltiesduringsomeparticularlytight song, whichwascustombuiltforIggy.Bowie’s“ChinaGirl”actually times. TheSexPistols’SteveJonesworkedwithIggyonthecultfilm He sangon“Punkrocker,”theSwedishelectronicgroupTeddybears’best Repo Man. Repo “Candy,” fromIggy’salbum each inventorheworkswith. I of theB-52’sandhismostcommerciallysuccessfulsongtothatpoint. interdisciplinary work,seeminglybringingouttheverybestof n Green Day,TheTrolls,Peaches,andSum41allcollaboratedwitha stands aloneasaCollaboratorofNoteduetothebreadthhis di reunited Stoogeson moving seamlesslybetweenmanyteamsofCreatives.Evenso,Iggy e perform hersongsinplaceforRockandRollHallofFame genres, drugs,andtime,embracingtheirstatesmenstatus s induction concert.IggysangontheDanger Mouse/Sparklehorse track, the moralboundariesofrehabfacilities.Bothlegendstranscended : “Pain.” Slash’ssoloeffortfeaturedIggyon “We’reAllGonnaDie,” adopts youasanongoingpersonalMaker-buddy,supersedingeven Li and Ke$hatappedIggyfor“DirtyLove,”proving theicon’spenchant whiplash. Sure,ithelpsamusician’scollab-credwhenDavidBowie f for makingeveryonearoundhimbetter,regardless ofgenre.Some read willgiveyourinnercollaboratorabadstagedive’sworthof e additional collaborationsincludeseveralearly JohnnyDeppfilm The RockandRollHallofFamein2009—butevenacursorybio o projects, voiceworkincludingLil’Rummyon ComedyCentral’s Iggy ismostcommonlyassociatedwithTheStooges—canonizedby n Bush, t wove amantleandthenworeitpermanently. he Iggy Popinitiallygainedattentionthrough unexpected .Music’sgreatIndieInterdisciplinaryCollaborator musical innovations,nodoubthelpedalong by performances James Brown+Osterberg’sinventionofTheStageDive= F IggysangwithLouReedintheanimatedfilm r that includedrollingaroundinbrokenglass, buthisongoing one vibrantJimMorrisonperformancelater+MickJagger i footprint hasmuchmoretodowithfinding conceptually become adrummersomewhatpreordained.Butinterventioncame ng companionable projectswithcolleagueswho extend beyond somewhere inIndianName,Michigan,makinghisdecisionto e his prototypicaldominion withinAmericanPunk.Incases James NewellOsterbergwasraisedinatrailerpark s of projectswithSatrapi andBowie,allpartiestaketurns andagive-and-takerolewithMarjaneSatrapi initiating workandinviting theotherasacontributor, opposed toahierarchical ormedium-specificorganization of CreativeandLabor. GiventhatsomanyofIggy’s projects, musicaland otherwise, occurredoutsideofa major labelormainline poptrendsolidifieshisstatus as anIndie outsider,butitishis abilitytomake everything he toucheshiscollaborators’ bestwork that makes him anexemplarcollaborative Indielink. “We’re goingtolearnhowdothisbydoingit.” . Skull , by Brick MadonnarequestedTheStoogesto —ras+e, inCoverLettertoProofreader wasaduetwithKatePierson Rock & Rule. & Rock (Persepolis).

Lil’ Lil’ 05 081 CH A fewfactorscouldbeatplayhere:(1)Theactofwritinganemail Another studentyelledafterher,“Textmelaters!”

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mind; (2)Sheactuallydoesn’thaveanythingnewtoshareandisbuying e online classeswereajokeandleft,wavinghappilywitherrantflip- W time; (3)Emailingisamorecomfortableformofcommunicationthat physical edificationwasn’thelpfultoher.Shethentoldmethat ir removes thesenseofimmediateresponsibilityandtimeconstraints she probablyshouldhavebeentakingonlinecoursesinstead,since e of physicalinteraction;(4)Sheprefersheronlineidentityto it tome.Itoldherthatshecould,butifwasthecase,then d: physical one;(5)Discussionsviaemailaremorerealornormal,and that shedidn’tknow,butitwasjusteasierforhertoemail

I’m beingabnormalbytalkingtoherdirectly;or(6)She’slazyand to havethisdiscussionviaemailratherthaninperson,shesaid E just wantstoleavenow. working oninclassandwhenIaskedherwhyitwouldbebetter ff She explainedthatshewantedtosharesomethingshadbeen ic I wouldliketobelievesheisnotlazyand likeswriting,but i “Well, canwejusttalknow?What’sup?”Saidme. based onherin-classproclivitiesandvocabulary, shesimply en prefers interactingremotelyandseesin-person classand c communication asinconveniences.Thisscenario, wherepeople her wayout. y sign off with plans to continue a conversation online, regardless sign offwithplanstocontinueaconversation online,regardless “Can Iemailyouaboutmyprojectlater?”Sheasksthison & of actualfollow-through,hasbecomeourculture’s versionof N goodbye. comfortably withlaptopsinlaps. e still gonnabetherewhenIneedyou,right?” Acontinuous glare. Somestudentsscatteredintotheloungetoworkmore w conversation isknownasa fence ofblack-rimmedeyeglassesreflectedaneutralbacklit T noting itanymore.Theideaof the timetoworkwithoutinterruption—earbudswentin,anda oo separation butwithomnipresentconnection via technology. endeavors. Themajorityofthestudentswerehappytohave l As anewgenerationof designersgrowsupwithconstant spoken toahandfulofthem,reviewingresearchandproject s connectivity, andheavily reliesontechnologytomediate students slowlytrickledoutoftheclassroom.Ihad their interactions,what impactdoesthishaveonhow After threehoursofopenstudiotime,myseniorthesis humans relatetoeach other overall?Furthermore,howcan we maketechnologybetter facilitatedesigncollaboration? The truth is, our tools connect and our tools isolate. For The truthis,ourtools connectandourtoolsisolate.For designers craftingmessages, andreliantontechnology to doso,as wellasaimingtocollaborate witheach other, parsing these mediums for the line of diminishing other, parsing thesemediumsfor the lineofdiminishing Butit’snot returns is an ethicalandqualitative essential. sites couldsupportintelligentlife!”—StephenColbert We wereonthevergeoflearningifsocialnetworking “I can’tbelieveNASAisgettingridofSpaceBook. goodbye. perma-sation It’s co-presence I’m away I’m

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08 129 CH project of its era by the American Institute of Architects in project ofitserabytheAmericanInstituteArchitectsin Center, whichwasawardedthemostoutstandingarchitectural in the AccordingtotheAlineandEeroSaarinenPapersin 1986. Eero SaarinenaboutdesigningtheGeneralMotorsTechnical Archives of American Art (AAA) at the Smithsonian, on their Archives ofAmericanArt(AAA)attheSmithsonian,ontheir shetraveledtoBloomfieldHills,Michigan,interview 1953, made love in a dark coat room on the Cranbrook campus. made loveinadarkcoatroomontheCranbrookcampus. first daytogether, AlineandEerohaddinner, thenhurriedly critic forTheNewYork Times. OnabusinesstripinJanuary the associatearteditorandapopulararchitecture Their shared passion of architecture was an aphrodisiac Their sharedpassionofarchitecturewasanaphrodisiac Bernsteinwas to1953, Eero Saarinentogether. From1948 and perhaps a prerequisite of love at first sight. Each were and perhapsaprerequisiteofloveatfirstsight.Eachwere Design broughtcareer-driven superstarsAlineBernsteinand married withtwochildren.Eero’s spousewasawealthy husband was also an outsider to the shared world promised husband wasalsoanoutsidertothesharedworldpromised sculptor, butEerowantedapartnerinlifeandwork;Aline’s his modelsandaloveofcamera. seamless transition-mergerofaloveforworkingwith by Eero. They each divorced their spouses in 1951, married, married, by Eero.Theyeachdivorcedtheirspousesin1951, personal andprofessional.Nicholson’s careerwasa moved to Detroit, and became high-profile collaborators moved toDetroit,andbecamehigh-profilecollaborators For suchMakers,thereisnotoggleswitchbetween while alsomaintainingseparatepursuits. specific inspirationandmotivationfromeachrelationship. distilling andFelicitasVogler (1957–1977), (1938–1951), A similarsituationhappenedwithEero’s closestfriend, BarbaraHepworth career: WinifredRoberts(1920–1938), three influential female artists over the course of his three influentialfemaleartistsoverthecourseofhis architect Charles Eames. After twelve years of marriage, architect CharlesEames.Aftertwelve yearsofmarriage, Reflecting Weston, EnglishpainterBenNicholsonmarried Charles lefthiswife,CatherineWoermann, anddaughter, possess anunconsciousdesiretoimpresseachother. home. Likeotherformsofcollaboration,couplesoften in 1941. They moved to Los Angeles, where they lived TheymovedtoLosAngeles,where theylived in 1941. Lucia Jenkins,tomarryhisCranbrook colleague RayKaiser is an inescapable infringement that follows designers is aninescapableinfringementthatfollowsdesigners and worked together closely until Charles died in 1978. and workedtogether closelyuntilCharlesdiedin1978. as opposed to feeling like a Job, feel lesslikework,asopposedtofeelingaJob, That romanticinspirationcaninfluencetheworkto Their domestic and work lifestyles were so completely Their domesticand worklifestylesweresocompletely integrated that they regularly wore matching or integrated thattheyregularly worematchingor

other with hands touching or both touching the same object.” other withhandstouchingorboththesameobject.” O’Keeffe’s paintingsshiftedfrom abstractorganicformtothe photographed withCharles’s armaroundRay, smilingateach inspired their colleagues at the Eames Office, a direct offshoot inspired theircolleaguesattheEamesOffice,adirectoffshoot Their relationship has many contemporary parallels, including Their relationshiphasmanycontemporaryparallels,including Denise ScottBrownandRobertVenturi, DanWood andAmale to findnewinspirationbeyondNew York landedheronatrip The Georgia O’Keeffe/Alfred Stieglitz collaboration is a unique Stieglitz collaborationisaunique The GeorgiaO’Keeffe/Alfred geometry of New York skyscrapers. In 1929, Georgia’s need geometry ofNewYork skyscrapers.In1929, In 1916, Alfred exhibited drawings by Georgia O’Keeffe at his AlfredexhibiteddrawingsbyGeorgiaO’Keeffeathis In 1916, love story. LikeWeston, Stieglitzmarried forfinancialsecurity partner of his own. Alfred resented his wife, who was nothing partner ofhisown.Alfredresentedwife,whowasnothing to NewMexicowithherfriendRebecca Strand.Together, 291 Gallery. Thiskick-started acollaborativeaffair, in which 291 childhood, Alfred was jealous of his twin brothers, Julius and childhood, Alfredwasjealousofhistwinbrothers,Juliusand Leopold, who had a very close relationship, and wished for a Leopold, whohadaverycloserelationship,andwishedfor In 1918, GeorgiaacceptedAlfred’s invitationtomovefrom In1918, what you will—between Charles and Ray was extremely what youwill—betweenCharlesandRaywasextremely architecture couples Elizabeth Diller and Ricardo Scofidio, architecture couplesElizabethDillerandRicardoScofidio, Charles andRay’s relationshippossessedacharismathat Andraos, BillieTsien andTod Williams,MikeSimonianand “The sense of coupling, bonding, ‘togetherness’—call it “The senseofcoupling,bonding,‘togetherness’—callit complementary clothes. In the “Lifelong Collaboration” complementary clothes.Inthe“LifelongCollaboration” lover. O’KeeffeinspiredStieglitz’s work:hephotographed the twoartistscorrespondedlongdistanceforyears. Four yearslater, Alfreddivorcedhiswifeandmarried traveling the Southwest, and in 1949, a few years after afew yearsafter traveling theSouthwest, andin1949, Texas toNewYork, andtheytookanapartment together. strong and frequently remarked upon. They were often strong andfrequentlyremarkedupon.Theywereoften her handsandfullnudeportraitsregularly. Meanwhile, they started studios and backpacked the countryside. they startedstudiosandbackpackedthe countryside. Georgia spent a good portion of every year until 1946 Georgia spentagood portionofeveryyearuntil1946 of their mutual enthusiasm for design and architecture. of theirmutualenthusiasmfordesignandarchitecture. work fulltimeattheCameraClubpursuingphotography. in ordertopursuehisinterestsphotography. Butsince Charles and Ray Eames: Designers of the section ofCharlesandRayEames:Designersthe Alfred’s death,shemoved toAbiquiú,New Mexico. He abandoned his wife and daughter without regret to He abandonedhiswifeanddaughterwithoutregretto Twentieth Century, authorPatKirkhamwritesthat: like him, leaving him missing a sense of collaboration. like him,leavinghimmissingasenseofcollaboration. Maaike Evers,andJ.MeejinYoon andEricHöweler.

153 DESIGNER COUPLES SECTION In Q+A form, a broad selection of practitioners across a range of disciplines describe their collaborative process. Consensus Case and discrepancies emerge as designers, musicians, educators, Studies architects, and artists tell us why they choose their mediums 02 and studio peers. Eyebeam Art+TechnologyCenter we provide,givespeopleachanceforgrowththatIdon’t see and havingaccesstothekindsofapplicationstoolsthat replicated intraditionalresidencyprograms. the wayotherpeoplework,regularlychattinginkitchen, physically together in the same space, at the same time, seeing physically togetherinthesamespace,attime,seeing How doesEyebeamfacilitateasenseofplay? a joint residency program in London. He had previously been a jointresidencyprograminLondon.Hehadpreviouslybeen experience, suchasonlinethroughSkype.Buthavingpeople through residencies where he worked mostly in isolation and through residencieswhereheworkedmostlyinisolationand did a lot of writing. He started collaborating with resident Ingrid did alotofwriting.HestartedcollaboratingwithresidentIngrid realizing somethingabouttheirwork. Burrington, andtheydevelopedaperformativetalk,one-on- in theirwork.Everyoneofthosemeetingsleadstosomebody one conversationthatwaspresentedpublicly. Isawchanges their computersandlistentofellowartiststalkaboutproblems in the way they were thinking about their work, just based on in thewaytheywerethinkingabouttheirwork,justbasedon have monthlyshoptalks,wherewerequireeverybodytoclose and interdisciplinaryworkatEyebeam? having thecollaborativeopportunity. Thetalk wasaculmination Why isphysicalspaceimportanttocollaboration track progressonworkandhelpsolveroadblocks.We also of joint thinking through similar artistic problems and issues of jointthinkingthroughsimilarartisticproblemsandissues groupmeetings witheveryresidentandfellow,45-minute to over thecourseof14weeks. works inasharedstudiospace.We haveformalweekly develop a space that encourages conversations. Everyone develop aspacethatencouragesconversations.Everyone One good example is James Bridle, who joined us through One goodexampleisJamesBridle,whojoinedusthrough Eyebeam has always been a place where people can challenge Eyebeam hasalwaysbeenaplacewherepeoplecanchallenge thinking aboutthekindofcohortthatwearebuilding,and one anotheranddothingsthatdon’t makesense.Itisaspace What makesEyebeamuniqueisthatwespendsomuchtime that allows people to try ideas and fail. The crazy warehouse that allowspeopletotryideasandfail. Thecrazywarehouse in aroom,andclaimthatitisanarttechnologyresidency. It is easy to think about collaboration as a virtual It iseasytothinkaboutcollaborationasavirtual space thatwehaveinChelseaallows forthat.You don’t haveto It is easy to put artists into a technical environment, lock them It iseasytoputartistsintoatechnicalenvironment,lockthem worry aboutmessingthingsup.You don’t havetoworryabout whether the space will survive whatever project that you’re whether thespacewillsurvivewhatever projectthatyou’re doing. We are workingwiththearchitectstokeep thatsense of playinournewBrooklyn location.We wantaspace thatstill allows for experimentation, but you don’t find that a lot anymore. What istheEyebeamtakeontechandculture? We’ve beenaroundlongenoughthatwecanpointto kind of space leading to real successes. For instance, Graffiti kind ofspaceleadingtorealsuccesses.Forinstance,Graffiti Research LabmetheretodeveloptheEyeWriter. We know that these kinds of projects have been quite successful, and that thesekindsofprojectshavebeenquitesuccessful,and it isbecauseofthekindspacethatweoffer. More thanever, technologyisbeingintegratedintopeople’s personal lives. Eyebeam has been focusing on issues of digital personal lives.Eyebeamhasbeenfocusingonissuesofdigital intimacy and information ownership. Our culture lacks an intimacy andinformationownership.Ourculturelacksan understanding ofthetechnologythatweuse.It’s amajorissue that’s notgoingaway. Themorethatwecanbringartistsinto explore some of these problems, the better we can prompt explore someoftheseproblems,thebetterwecanprompt the general discourse around these issues. I think art can be the generaldiscoursearoundtheseissues.Ithinkartcanbe a way of helping people digest what it is that they are facing. a wayofhelpingpeopledigestwhatit isthattheyarefacing. Artists willalwaysbetheoneswhoare leadingcreativeinquiry. There hasneverbeenatimewhenthat isn’t thecase. institutions. Artists are great producers, and often work at a institutions. Artistsaregreatproducers, andoftenworkata level of efficiency and production that is higher than expected. level ofefficiency and productionthatishigherthanexpected. It is hard for companies to understand that, and especially It ishardforcompanies tounderstandthat,andespecially hard foreducational institutions tounderstandthat. Learning to trust artists is the hardest hurdle for Learning totrustartistsisthehardest hurdle for Roddy Schrock,Director Brooklyn, NY

photo: Ann Liu Alcasabas Liu Ann photo: Earth on footprint humanity’s of impact workshop, weekend 2010 Marathon Viz Data

courtesy of Flux Factory Flux of courtesy DK Aarhus, in canal the on rafting Flux Factory On theother hand,youhave to livewithalotof imperfections. exhibitions, outputs, and artwork that are rich and diverse. exhibitions, outputs, andartworkthatarerichdiverse. you giveupyourown tastesinacollective.You end upwith with onecurator, thereisacohesionofvision.To acertainlevel, what you would see otherwise. If you were to look at a gallery what youwouldseeotherwise.If were tolookatagallery the spacefornighttoputonaconcert orashowfilm. ownership overthecuratorialdirection ofthespace.You get and if you are committed to the collective, then you have equal and ifyouarecommittedtothecollective,thenhaveequal sharing, including meals. If you put work into the collective, sharing, includingmeals.Ifyouputworkintothecollective, Flux Factory functions because there is a lot of resource Flux Factoryfunctionsbecausethereisalotofresource How isFluxFactorystructuredforcollaboration? the artwork in the exhibition primarily comes from residents. the artworkinexhibitionprimarilycomesfromresidents. The exhibitions are usually curated by the residents, and The exhibitionsareusuallycuratedbytheresidents,and collaborative exhibitions beyond that, and special events. collaborative exhibitionsbeyondthat,andspecialevents. exhibitions ayear. Ourresidentsputonmanysoloand workshops. The Exhibitions Program includes four major workshops. TheExhibitionsProgramincludesfourmajor Collectives result in different kinds of curatorial output than Collectives resultindifferentkindsofcuratorial outputthan who sharethebuilding.We alsodomanyclassesand what we do. The residency program gives studios to artists what wedo.Theresidencyprogramgivesstudiostoartists group here at Flux Factory is the heart of who we are and group hereatFluxFactoryistheheartofwhoweareand Flux Factoryishighlymultidisciplinary. Theresident

courtesy of Flux Factory Flux of courtesy dinner potluck monthly Thursday Flux artist-run collectives. of a risk. I like to think of Flux Factory as leading that shift for of arisk.Iliketothink ofFluxFactoryasleadingthatshift for stability. Inthepast,alotofpeople didn’t feel likeitwasthatbig How doesFluxFactoryplaywithinthecommunity? learning the lexicon of real estate and aiming for long-term learning thelexiconofrealestateand aimingforlong-term is agenuine,newparadigminNewYork ofartistcollectives that people in the Lower East Side did all of the time. But, there that peopleintheLowerEastSidedid all ofthetime.But,there able to get away with living in a warehouse; it was something able togetawaywithlivinginawarehouse; itwassomething York Cityusedtobemoreofan outlawcity. You usedtobe a tradition of artists living and working in warehouses. New a traditionofartistslivingandworkinginwarehouses.New But the true collaborative aspect of what we do comes from But thetruecollaborativeaspectofwhatwedocomesfrom warehouse vibe. Our peers are also galleries and museums. warehouse vibe.Ourpeersarealsogalleriesandmuseums. Flux Factory definitely does have in its DNA the punk Flux FactorydefinitelydoeshaveinitsDNAthepunk along. Artisticcollectivesareamicrocosmofsocietyatlarge. Goldberg sometimesdidn’t work,sowesecretlyhadtohelpit of linked works. The ironic symbolism was that parts of the Rube of linkedworks.TheironicsymbolismwasthatpartstheRube each other, andtheyareinherentlydependentonthecohesion because different artists make work that feeds directly into because differentartistsmakeworkthatfeedsdirectlyinto set inFluxFactory. It’s agreatanalogyforcollectives ingeneral , which was a Rube Goldberg machine The ExquisiteContraption,whichwasaRubeGoldbergmachine One of our recent, collectively produced, exhibitions was One ofourrecent,collectivelyproduced,exhibitionswas Nat Roe,ExecutiveDirector Long IslandCity,NY

201 What is the Indie philanthropy/collaboration link? What istheIndiephilanthropy/collaboration How does YBP benefit artists/musicians/charities? How doesYBPbenefitartists/musicians/charities? Yellow BirdProject Matt: CollaborationiswhatmadeYBPpossible.We’ve worked with designers who could be million dollar enterprises if they with designerswhocouldbemilliondollarenterprisesifthey had the network, but because of their small scale, they were had thenetwork,butbecauseoftheirsmallscale,theywere willing toworkwithus.Combiningresourcesexpandsoptions. How doyoucollaboratewith musicians? Matt: Theyarealldependentoneachother. Ourcollaboration and with AndyJ.MilleronTheIndieRockColoringBookand The IndieRockPosterBookaregreatexamplesofeveryone’s skills layeringontopofoneanother. Andyhadalltheseamazing ideas, we had the fans and reach and marketing skills, and ideas, wehadthefansandreachmarketingskills, Chronicle Bookshadthedistribution.We wereabletotake this passionandturnitintoanimpactfulcommercialsuccess. The selection process is fairly arbitrary—we go after Casey: Theselectionprocessisfairlyarbitrary—we goafter our favorite bands. Not everyone gets to choose who they our favoritebands.Noteveryonegets to choosewhothey work with,butwedo.That’s one oftheperks.Oncewe’ve chosen a band, our first job is to marry them with a designer chosen aband,ourfirstjobistomarry themwithadesigner or illustratorwhose stylefitswiththeband’s overall aesthetic; that is,ifthereisn’t abandmember whocandesignthet-shirt t-shirt was by themselves. Forexample, the DryRivert-shirtwas

all images courtesy of YBP of courtesy images all Dynamo design: designed collaboratively between lead singer/guitarist Peter Peter designed collaborativelybetweenleadsinger/guitarist logo Project Bird Yellow Liddle, andJonathanLindley, ourArtDirectoratthetime.Inan

email, Liddle said, “I really like the idea of using old books to say email, Liddlesaid,“Ireallyliketheideaofusingoldbookstosay How didyougetstarted? something about the weight of history and how we all labour something abouttheweightofhistoryandhowwealllabour underneath that.”SotheyorganizedaphotoshootatTurton Tower, whichisanhistoricbuildinghalfwaybetweenBolton and Darwen. The design includes a photo by Lindley that shows and Darwen.ThedesignincludesaphotobyLindleythatshows the silhouette of a boy facing forward, balancing history books the silhouetteofaboyfacingforward,balancinghistorybooks on his head. The image is based on their song “History Book” on hishead.Theimageisbasedtheirsong“HistoryBook” and depictsaVictorian techniqueusedinschoolstocorrect children’s posture.Theboysittingonthechairisactually band’s guitarplayer, Matt Taylor. Matt: We metinhighschool,Montreal. Aftergraduation, we spent a summer together in London where we got into we spentasummertogetherinLondon wherewegotinto all sortsofmusicandstartedgoingto concerts together. The Montreal music scene was really blowing up and getting The Montrealmusicscenewasreally blowing upandgetting international recognitionatthetime.We thoughtofcombining all of our concert and band t-shirt passions into one, and YBP all ofourconcertand bandt-shirtpassionsintoone,and YBP is what came of that: giving back, working with our favorite givingback,workingwithourfavorite is whatcameofthat: musicians, andproducingaproduct thatwewould buy. Matt Stotland&CaseyCohen,Co-Founders Montreal, QC

donations to the Syrian Refugee Crisis Refugee Syrian the to donations collection YBP the to contribution Palmer’s Amanda Doll Dresden

courtesy of Rob Brulinski + Alex Wein Alex + Brulinski Rob of courtesy compound residential to converted warehouse Copycat The The Copycat Why doyoukeepreturningto it? but I knew she sold sex toys out of her apartment, online. That but Iknew shesoldsextoys out ofherapartment, online.That neighbors weremagicians. AndIneversawmyotherneighbor, I lived in The Copycat, there was never a dull moment. My I livedinTheCopycat, therewasneveradullmoment.My I am.You neverknowwhatyou’regoingtowindupwith.When their life just as seriously as I am, or just as not-seriously as their lifejustasseriouslyIam,or asnot-seriously As an artist, I can go there and meet people who are taking As anartist,Icangothereandmeetpeople whoaretaking It’s thesenseofdutyand offreedomthatyouget. just because.Theweirdest,wastheguywhosoldrealestate. tearing a hole in his wall! There was a doctor that lived there tearing aholeinhiswall!Therewasdoctorthatlivedthere was makingjewelry, theywerebuildingadesign schooland How doyoucharacterizeTheCopycatresidence? makes jewelry and has six employees in his space. While he makes jewelryandhassixemployeesinhisspace.Whilehe with aplethoraofinstruments.It’s beautiful.Anotherolderguy Copycat, smoking joints, and playing all the music that he wants Copycat, smokingjoints,andplayingallthemusicthathewants whole room was full of instruments. This dude is retired, in The whole roomwasfullofinstruments.Thisdudeisretired,inThe people. Like, there was a retired social studies teacher and his people. Like,therewasaretiredsocialstudiesteacherandhis vary greatly. Therearesomestudents,butusually it’s older or a theater performance. The people who live there actually or atheaterperformance.Thepeoplewholivethereactually are theretoseesomething,likeashow, oragalleryspace, The people who visit are generally art students, or people who The peoplewhovisitaregenerallyartstudents,or

courtesy of Rob Brulinski + Alex Wein Alex + Brulinski Rob of courtesy commune artist on essay photo Copycat The How doestheenvironmentimpactwork? art, acouple dollars,andagood time. It forces you to open your doors to strangers for the sake of It forcesyoutoopen yourdoorstostrangersforthesake of There is a lot of connectivity going on in a space like that. There isalotofconnectivity goingoninaspacelikethat. talking to some other people about doing stuff in that building. talking tosomeotherpeopleaboutdoing stuffinthatbuilding. you better find some fucking shows. And you’re going to start you betterfindsomefuckingshows. And you’regoingtostart to feedandalotofrentpay. Andifyoudon’t havearealjob, bring fourotherpeopleinillegally, nowyouhavealotofmouths and you have eight roommates, and two of those roommates and youhaveeightroommates,two ofthoseroommates You areallottedyourspace.Ifyoulivinginahugespace, but didn’t dosomethingthere,becauseit’s beenaroundsolong. any prejudice.” It would be weird if you wanted to be an artist any prejudice.”Itwouldbeweirdifyouwantedtoanartist going to be artists and share ideas without any objections or going tobeartistsandshareideaswithoutanyobjectionsor as fuck.Andthentheytookthatideafurther, andsaid,“We are moved to Baltimore to live in The Copycat because it was cheap moved toBaltimoreliveinTheCopycatbecauseitwascheap in NewYork isdoing,becauseyouarenotthere.WhamCity don’t needtoreplicatewhatisonInstagramorsomeone to continuebeinganartist,andmyself.You going there because it reminds me to be creative, to research, going therebecauseitremindsmetobecreative,research, dildo factoryandamagician,that’s suchasmallpart.Ilike was like, her thing. I thought it was hilarious. I’m sitting next to a was like,herthing.Ithoughtithilarious.I’msittingnexttoa Rob Brulinski,Co-Author&FormerResident Baltimore, MD

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