https://instagram.com/InstagramCapture and Share the World's Moments. Instagram is a free and simple way to share your life and keep up with other people. Take a picture or video, then ...
If you are on instagram, connect with me, if you so wish Ulrich de Balbian
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https://instagram.com/InstagramCapture and Share the World's Moments. Instagram is a free and simple way to share your life and keep up with other people. Take a picture or video, then ...
If you are on instagram, connect with me, if you so wish and join my circle of friends, galleries, curators and art media
Ulrich de Balbian 16 August 2015, part3. www.newstylesgallery.info ; http://ulrichdb.blogspot.com/;https://ulrichdebalbian.wordpress.com/. 'Glimpses into my reality. A world that transcends all notions of a multi-verse. Please do not attempt to imprison me in your minute life world and mind set."
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What would you answer? That was the starting point for Blast Theory's app, Karen. Part game, drama and self-help quiz, this experiential app is inspired by our desire for self knowledge (think of those quizzes in glossy mags) and explores the idea of personal data and consent. Matt Adams, artist and co-founder of Blast Theory, takes us through the app's development in this week's App story, from drawing up the vital privacy policy to the "bonfire of the features" that occurred during the final few months of development.https://youtu.be/Aqa2gTj2uYI
http://www.blasttheory.co.uk/
Karen, at points, will appear to know things about you that she shouldn’t. Photograph: Blast Theory
Matt Adams
artist and co-founder of Blast Theory
SharesOur History & Approach
Blast Theory is renowned internationally as one of the most adventurous artists’ groups using interactive media, creating groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores the social and political aspects of technology. Drawing on popular culture and games, the work often blurs the boundaries between the real and the fictional.
Blast Theory is based in Brighton, UK.
Our history
Early works such as Gunmen Kill Three (1991), Chemical Wedding (1994) and Stampede (1994) drew on club culture to create multimedia performances – often in unusual spaces such as film studios and accompanied by bands and DJs – that invited participation. The crime reconstruction installation Invisible Bullets (1994) was first shown at the Fete Worse Than Death in Hoxton. Something American (1996) treated the USA as the Wild West, quoting freely from Hollywood films on a billboard sized projection screen.
1997 was a major step forward: a nine month residency at Künstlerhaus Bethanien in Berlin coincided with a proposed performance called Succumbing suddenly shifting to become Kidnap (1998), in which two members of the public were kidnapped as part of a lottery and the resulting event was streamed online. Desert Rain (1999), a large scale installation, performance and game using virtual reality marks the first output of our collaboration with the Mixed Reality Lab at the University of Nottingham. An Explicit Volume (2001) is an interactive installation using page-turners to control nine pornographic books and is part of a sequence of works that use found imagery and/or sexual material such as Choreographic Cops In A Complicated World (2000) and Viewfinder (2001).
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If a life coach in an app asks you:
Sex with a stranger is more exciting, right?
What would you answer? This was one of our starting points for new smartphone app, Karen. As with my fellow Blast Theory artists Ju Row Farr and Nick Tandavanitj, who helped create the app, I’m fascinated by the new kinds of intimacy, interaction and artistic experience created by mobile phones.
I’ve always been a sucker for those quizzes in glossy mags that promise something salacious with a side order of self knowledge (“Test your sex IQ”). While they rarely deliver on either front, these quizzes have endured for decades. Now websites such as BuzzFeed carry on the tradition of feeding our desire for personal know-how in bite-size chunks.
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When John McGrath, Blast Theory’s artistic director, first asked us to develop a project with National Theatre Wales in 2013, we were keen to create a personal and intimate experience for smartphones in which you interact directly with the lead character. We wanted you to be challenged about how honest and open you might be and to experience the thrill of having your personality appraised.
We became fascinated with big data, in particular how governments and large companies are collecting information about us secretly and using it without our consent.
First steps for us included meeting with Dr Kelly Page, an expert in this area, to learn about the techniques developed by psychologists to measure personalities, and research into the history of the subject. We then rifled through hundreds of personality tests from across the decades. We chose some of the most fascinating, unnerving or significant scales and wove them into the story of Karen, a divorcee with just enough knowledge to be dangerous.
You interact with Karen through the app. At the start, she asks you some questions about your outlook and views of the world, to get a better understanding of you. She, and the app’s software, profiles you. Karen will give you advice based on your answers and over the next week you will have calls with her once or twice a day. I won’t spoil the experience, but it soon becomes clear that Karen is somewhat chaotic, with little care for personal/professional boundaries. She will get more and more curious and at points, will seem to know things about you that she shouldn’t. Is she spying on you?
That last point is important. Privacy and our use of user data was, of course, a key concern. The app has to gather and make use of highly personal information and we required the trust of users to do that. We spent a lot of time creating a privacy policy that was clear and robust.
We also had grand plans for how geolocation might be used. We wanted to ask the user whether they were at home, at work or out and about. Then we planned to give them different sessions based on where they were, but it proved just too complex. We were already in unknown territory and the last three months of development were a “bonfire of the features” at times! We stripped it down further and further.
Perhaps the biggest challenge we’ve faced is that the app is a hybrid, sitting somewhere between a game, a drama and a self-help quiz. We developed a strong story for Karen’s world with a great deal happening, but then realised this excluded the participant/player from what was happening.
Tester feedback became more positive as we stripped the story back to make it a world that exists almost entirely between the user and Karen. Words such as “intimate” and “addictive” started to crop up in tester reports and we knew we were on the right track.
A message from Karen
The Android version of the app will launch on 21 August, then in September, for one night only, we’ll invite everyone who completed the app to meet Karen in person at a secret UK location.
Our goal for the app was 3,000 downloads and this week we passed 10,000 for iOS. Most encouragingly, 35% of those who download the app go on to complete the nine-day long experience. Of those who finish, 37% have bought the personalised data report that we offer for £2.99. It shows that there’s an appetite for artistic experiences on mobile and that users are willing to commit time to and spend money on them.
App facts
Length of the project: three years; final shoot and build, six months
Companies involved: Blast Theory, National Theatre Wales, The Space, University of Nottingham
Size of the team: three artists, one lead researcher, one assistant, one lead developer, one producer, two actors, one director of photography, one sound person, one editor, an army of volunteers and 539 Kickstarter backers
Matt Adams is an artist and co-founder of Blast Theory
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Galleries are overwhelmingly visual. But people are not – the brain understands the world by combining what it receives from all five senses. Can taste, touch, smell and sound change the way we ‘see’ art?
Tate Sensorium is an immersive display featuring four paintings from the Tate collection. You can experience sounds, smells, tastes and physical forms inspired by the artworks, and record and review your physiological responses through sophisticated measurement devices.
The experience encourages a new approach to interpreting artworks, using technology to stimulate the senses, triggering both memory and imagination. On leaving, you will be invited to explore the rest of the gallery using the theme of the senses as a guide.
About Flying Object
Winner of the IK Prize 2015, Tate Sensorium is the creation of creative agency Flying Object, working with a team of collaborators: audio specialist Nick Ryan, master chocolatier Paul A Young, scent expert Odette Toilette, interactive theatre maker Annette Mees, lighting designer Cis O’Boyle, digital agency Make Us Proud, and the Sussex Computer Human Interaction Lab team lead by Dr Marianna Obrist at the Department of Informatics, University of Sussex.
The IK Prize is awarded annually for an idea that uses innovative technology to enable the public to discover, explore and enjoy British art from the Tate collection in new ways.
Artworks from the Tate collection
Tate Sensorium features four twentieth century British paintings from Tate’s collection of art. Flying Object and their team of collaborators have selected artworks that play with abstraction in different ways, all of which can be appreciated sensually in terms of their subject matter, use of shape, form, colour, style and your own imagination. Here are the four paintings that feature in Tate Sensorium.
David Bomberg, 'In the Hold' circa 1913-4
View the main page for this artwork
Technology and the senses
Touch
Touchless haptics work by using focused ultrasound from an array of speakers that vibrate on the visitor’s hand. This will create a sensation of touch, and no gloves or special equipment is needed. Touchless haptics use technology developed by the company Ultrahaptics.
Hear
Directional audio uses ultrasound waves to direct very precise sound waves across distances in a very precise manner. Listeners outside of the audio area will not be able to hear it, while for those inside the channel, the effect is similar to listening to headphones. Directional audio systems will be provided by Hypersound.
Smell
Flying Object collaborated with IFF’s olfactory design lab and perfumery team to produce bespoke scents, many created using ‘living naturals’ materials - captured through a Tenax™ trap or through liquefied gas extraction.
Taste
Master chocolatier and food inventor Paul A Young has developed an edible product that stimulates a haptic taste experience in response to the textural, painterly qualities and potential meanings of a specific artwork.
Respond
Visitors will be given the option to measure their body’s response to the experience using wearable devices. These wristbands measure electrodermal activity, a measure of perspiration, which indicates how calm or excited wearers are. Tate Sensorium will be using E4 wristbands, provided by Empatica, who offer medical quality sensing.
Lighting equipment is kindly provided by Rosco.
Information for visitors
Tate Sensorium is a free 15-minute experience. Free tickets are available on a first-come first-served basis from the Information Desk at Tate Britain’s Millbank Entrance on the day of your visit.
Tate Sensorium is recommended for adults and children aged 8 and above. Tate asks that parents do not take small children into the display with them.
Please note that visitors will be given a food product to consume as part of the experience. This product contains soya.
As part of the experience, visitors will be asked to wear wristbands that measure their physiological responses to sensory stimuli (skin conductivity and heart rate). This poses no risk to health. All data collected from visitors is anonymous. The data is used to give individualised feedback to visitors at the end of the experience and will be made available to scientists researching sensory interaction at The University of Sussex. By participating in this voluntary experience and completing a digital questionnaire at the end, visitors over the age of 18 give consent for their anonymous data to be used in this way. Data from wristbands worn by visitors under the age of 18 will be deleted immediately after they leave the experience.
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THE DIGITAL CULTIVISTWith the nonstop circuit of art events keeping collectors constantly on the move, even the most seasoned among them can start to feel worse for the wear. Not only are there actual travel logistics to deal with, but to access the best, influential and new can be like ferreting out diamonds in the rough—exhaustive work that requires currying favors and mounds of research.
That’s what Marlies Verhoeven and Daisy Peat discovered during their years running Sotheby’s VIP program in New York and London, respectively. About six years ago, the two founded the program as a way for the auction house to build relationships with its top collectors. “The art market is a little like the property market,” says Verhoeven. “You don’t sell a painting every day, just as you wouldn’t sell a house every day. During those in-between times, we were interacting and trying to build a relationship—beyond selling.”
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