Did you know that 2013 New School graduate Amy Kurzweil (daughter of AI pioneer & tech futurist Ray Kurzweil) is a New Yorker cartoonist? She recently published a memoir:
Flying Couch is the story of three generations of women:
me (the artist),
my mother (the psychologist),
and my grandmother (the survivor).
Source: Flying Couch | Amy Kurzweil
Designer, artist, and educator Kiersten Nash likes asking questions. Asking the right questions has changed a lot for her, and getting the people who engage with her work to ask questions, too, is a big part of why she does the work she does. The question she’s been asking lately is “How can we raise awareness about groundwater?” She and her colleagues in the design collective Public Works Collaborative have been attempting to answer that through their recently completed project Livestream.
Livestream, an interactive sound sculpture installed in Lexington, KY’s Jacobson Park, is a project designed to get people asking questions about water—where it’s coming from, what’s in it, how is it being monitored. It isn’t just an artwork, though, Livestream is designed to actively monitor the state’s groundwater using a custom designed toolkit. This first iteration of the project, featuring sounds composed by musician Ben Sollee, “translates data measuring each spring’s conductivity, temperature and flow into sound.” I spoke to Kiersten recently about Livestream, her design process, and how “[un]learning” can be the key to asking the right question.
This interview has been condensed and edited for clarity.
Continue reading “Data Matters Interview Series: Kiersten Nash”
Ted Alcorn at Wired brings us this great piece on how data-driven programs are being used in several US cities as a way to reduce gun violence:
At their core, data tell stories. They reveal patterns, show changes over time, and confirm or challenge our theories. And in cities across the country, mayors, police chiefs, and other local leaders are turning to data to help them understand and address gun violence, one of the most persistent crises they face.
Innovative, data-driven programs are showing encouraging results. To keep high school students on the right track, the city of Chicago scaled up a school-based program called Becoming a Man for seventh through tenth graders living in neighborhoods with high rates of violence. The students reflect on their life goals, observe how their automatic responses inside school and outside school differ, and learn to slow down and react more thoughtfully to these sometimes divergent social environments. An adaptive behavior on the street, like fighting back to develop a reputation of toughness that could deter future victimization, will be maladaptive in other social situations. To test the impact of the program, the University of Chicago Crime Lab built a rigorous evaluation into its rollout. After two years, they were able to show that participants were 50 percent less likely to be arrested for a violent crime than students in a control group, and those students graduated at a rate 19 percent higher than those who did not participate. This close analysis of the program affords new insight into what makes the program work, and how to enhance it and apply it in other settings.
Read the whole article at Wired: One Great Way to Reduce Gun Violence? A Whole Lot of Data
Let’s say you’ve just been convicted of a crime, and a judge is now deciding what your sentence should be. 10 years? 2 years ? Parole? Would this process be less susceptible to bias if an software could review various factors and produce an algorithmically generated recommendation for the judge? Cathy O’Neil’s new book, Weapons of Math Destruction, examines the risks of trusting proprietary software with life-altering decisions. (BR)
If you asked me, at least if you asked me
today this very second, I would say that my favorite album cover is, without a doubt Marvin Gaye’s I Want You. It may just be the gold standard in album art. This cover has movement, it has life. I can hear the music before I even press play. There’s something ecstatic about it. Each body curving into the next. Arms, legs, backs twisted into expressions of joy, of freedom. It tells you something about this album, about its creator in ways that even reviews might not. Album covers do so much to elevate the work they surround. But as DJ Pangburn points out in his blog post at The Creators Project: “some truly great albums have absolute crap covers.”
The online contemporary art store Hen’s Teeth Prints, along with This Greedy Pig and Choice Cuts, wondered what sort of album designs labels and artists would create if there were no boundaries in releasing an album from past or present.
The resultant project, Fantasy 12″, invited artists, designer, and record labels to re-imagine iconic artists’ album covers.