Over the summer, Contemporary Gallery Calgary had a wonderful exhibition looking back 50 years to the futurism of late 60s designers who were commissioned to produce buildings for the Centennial of Canadian Confederation in 1967. Architecture and National Identity: The Centennial Projects 50 Years On, curated by Marco Polo & Colin Ripley for Confederation Centre Art Gallery of Charlottetown is currently at Paul H. Cocker Gallery, 325 Church Street, Toronto until Nov. 10 2017.
In Revisiting Social Factors, Georgia Lindsay and Lusi Morhayim take on an ambitious set of questions both reflective and forward-looking: What is the status of social and behavioral research in environmental design? How can the rich, fifty-year history of Social Factors continue to shape, for the better, the places we design and inhabit and inform scholarship at the intersection of culture, space, and place?
(Lindsay and Morhayim, 2015)
We begin in Berkeley, California, where the first Social Factors program in an Architecture department began in the 1960s and where, in 2011, a conference entitled “The Death and Life of ‘Social Factors’: A Conference Reexamining Behavioral and Cultural Research in Environmental Design” convened to investigate the state of “research regarding the relationship between culture, individuals, and the built environment.” As a young Social Factors scholar at Berkeley, the “d” word—death—haunted me: how could Social Factors be dead? Undoubtedly, the field has undergone substantial change since its 1960s heyday, and, in some ways, is marked by the patina of time: neither the behaviorist origins nor the language we use to talk about Social Factors is adequate for today’s research and practice agenda. Yet this book, born from the papers presented at the “Death and Life of ‘Social Factors’” conference, testifies to the long and still robust life of the field. Echoing Jane Jacobs, who both acknowledged the lifelessness of ‘renewed’ urban space to contrast (and attempt to preserve) the promise and joy inherent in historic, diverse city life, the chapters that follow do not chronicle or foretell the death of Social Factors, but rather celebrate its life, then and now.
In fact, as Galen Cranz argues in the Foreword to this book, a social perspective reaches farther into architectural education, scholarship, and practice today than ever before: the National Architectural Accrediting Board requires that all students engage in courses that expose them to social and cultural concerns, the rise of interest in architecture for the public good demonstrates a profound appreciation for contextually sensitive design, and, according to Cranz, “approximately half of the research in building science entails social variables” like comfort and use. Further, the eight essays that comprise this book show how the previous accomplishments of the field and the innovative, interdisciplinary work being done by researchers and practitioners regarding people and their spaces continue to reverberate—and make significant contributions to architectural theory and practice—today.
Though rooted in its Berkeley origins, Revisiting Social Factors boasts broad appeal in the breadth of subject matter it takes on. The book, divided into two sections, begins with a series of essays that orient the reader to the linguistic, historic, and methodological underpinnings of Social Factors and chart a course for future scholarship. In “The Words We Choose,” Karen Franck explores how the language we use to talk about Social Factors research can obscure the value, scope, and disciplinary edges of this field. For example, though “tremendously inclusive,” the terms environment and behavior tend to atomize and stagnate concepts and, in so doing, belie the complex co-influence of people and their places. Instead, we might say space and use—as in the social use of space—or choose other words that convey something multiple, relational, dynamic, and, yes, alive.
Next, Suzanne Cowan and Ayda Melika offer a critical reflection on the history of the Social Factors field—which they articulate as two separate yet parallel strands, one attempting to apply social science methods to social problems and the other aiming to integrate partnerships and participatory methods into design—from the pioneering work of Edward T. Hall and Berkeley’s Clare Cooper Marcus, to the more contemporary contributions of Rem Koolhaas and Teddy Cruz. In considering the origin, successes, and critiques of Social Factors, Cowan and Melika highlight the uneven legacy of this field: its institutionalization in design schools is both its enduring success and its great limitation. Still, the authors suggest a way forward: “This type of research can serve to ground and substantiate the fervor of good intentions and desire for social reform that seem to remain a fundamental part of contemporary architectural discourse.”
Similarly bridging past and present, Dominic Fisher investigates whether the findings of William H. Whyte’s seminal 1971 study of New York City’s small urban spaces remain true today. In a comparative study of two parks—Paley Park, the darling of Whyte’s study, and its predecessor, Harlem’s Collyer Brothers Park—Fisher demonstrates how contextual factors shape the success of a park (Paley) or its neglect (Collyer). Ultimately, he concludes that, in today’s changing urban fabric, Whyte’s praise of small urban spaces as “multipliers” of activity “is still invaluable, but cannot be applied verbatim to seemingly similar spaces in communities underserved by healthy streets and opportunities.” Fisher’s work demonstrates how a contemporary approach to Social Factors research can—and should—continue to inform urban design practices.
If Part 1’s orientation to Social Factors suggests a modern approach to long-standing questions in the field, Part 2 makes good on this promise by showcasing people doing social factors research in both academic and professional settings. Comprised of five studies “that assume the user perspective, with human responses and needs as the unit of measurement,” Part 2 conveys how Social Factors is uniquely poised to address some of the most pressing concerns of our time.
Designing for people with disabilities has long been an interest of socially-minded architects. Yet Ann Heylighten challenges normative approaches to designing for disabled bodies by focusing not on positivist universal design standards, but rather on how people with a range of disabilities—lack of sightedness, hearing deficiencies, and autism—experience built settings in unique ways; such insights can inform new understandings about both definitions of disability (which she defines relationally in the context of person-environment fit, rather than as an inherent individual condition) and spatial experience more broadly.
Programmer Emily Golembewski similarly urges the reader away from a normative practice, this time of programming, a distinct discipline from design, though equally integral in ensuring person-environment fit. Informed by her work at Francis Duffy’s innovative office programming firm, DEGW (now AECOM), Golembiewski offers a toolkit for programming methods: she introduces readers to the strengths and limitations of “formulaic” and “messy” approaches to user research, with the ultimate goal to “identify needs and project drivers, which may be organizational, financial, functional, or cultural in nature.” Though Golembewski’s audience ostensibly is professional programmers and designers whom she hopes will integrate user research into architectural practice, she also makes a compelling plea for architectural educators to “explore the (sometimes tense) relationship between programming and design,” in order to achieve the best possible design outcome.
Marie-Alice L’Hereux also considers the role of education in Social Factors work, particularly regarding sustainability. L’Hereux sees sustainability through a decidedly social lens: “aesthetics, behavior, and technology,” she argues, “all need to be engaged for projects to be successful from both a community and a climate change perspective.” Translation: to be sustainable, buildings must be designed for human use and must perform socially as much as environmentally. Yet L’Hereux demonstrates how easy it can be to neglect social needs when residents are not consulted as part of the design process and social factors are not an explicit part of the curriculum or design criteria. For example, students in a Design-Build Studio focusing on sustainable affordable housing ignored “the fine-grained features of daily life and…maintenance and utility costs,” such that, in the end, according to one student builder, “we did not really design a house that people would live in…it had a neat effect, made good pictures” but did not meet the needs of clients. This chapter reinforces the importance and role of social factors as a primary tenet not just of sustainable design, but of design itself.
A chapter by Yael Perez and colleagues complements that of L’Hereux by offering digital and methodological tools to design sustainably with people; in other words, to engage in co-design to create sustainable housing. Reflecting on their work with the Pinoleville Pomo Nation (PPN), a Native American Nation near Berkeley, CA, Perez and colleagues demonstrate the power of co-design to support a sustainable design approach. Additionally, they show how social media technologies—including Facebook, email, blogs, Google Maps, YouTube videos, and Twitter— can facilitate dialogue among participants and designers in order to articulate how architecture is experienced and—ultimately—design buildings that celebrate community needs.
Such an understanding of people-place interactions—and their translation to meaningful policies and practices—is one of the important legacies of the Social Factors field. A contemporary example of this comes from Cecilia Bodelmann and a team of colleagues from the United States and Sweden. Recognizing two parallel shifts—the rise of sedentary behavior among children and the expansion of preschooling—Bodelmann and colleagues studied the health promotion potential of preschool outdoor environments. After scoring a range of environments based on factors such as size and integration of vegetation and play areas, the authors found that resource-rich environments correlated with increased levels of physical activity among preschool-aged children. This study has clear implications for policy and design practice, especially regarding the need to create healthy learning environments for young people as a means to combat deleterious impacts of sedentary behavior. It also is an inspiring model for how interdisciplinary collaboration can fruitfully address person-environment concerns.
This book began with a lofty promise: to show how questions and research regarding people and place are very much alive today. Though the case studies included are limited in breadth, as is the nature of case studies, they prove nevertheless that the basic priorities of Social Factors serve a vibrant and important role in education, research, and practice today. Indeed, though difficult to convey in just a few chapters the full depth—or potential—of the social factors field, the “cross-section” approach employed by Lindsay and Morhayim successfully uncovers the range of questions alive in person-environment studies as well as the many voices—emerging and seasoned scholars, different disciplines, local and international perspectives—they engage therein.
Importantly, this text is not simply for those of us already familiar with, drawn to, or invested in revisiting Social Factors: in fact, it can inform research and practice in other fields as well. First, it offers an agile framework for thinking about and designing for the intersections of people and place, a topic of interest to geographers, historians, and public health researchers, to name just a few. Second, its authors collectively call for reform in design education—a timely topic as we consider the challenges of designing in a world defined by increasing diversity and complexity—and offer case studies that would be at home in many (interdisciplinary) course syllabi. Finally, this book is edifying reading for designers of all types: a reminder of the value of the social perspective and a toolkit for how to think about and design for the social use of space.
Caitlin DeClercq (University of California, Berkeley)
Subdivided: City-Building in anAge of Hyper-Diversity (2016) is a collection of essays taken from a varied source of contributors writing about their experiences of diversity living in Toronto edited by Jay Pitter and John Lorinc. The book attempts to unpack the municipal and national mantra of “diversity is our strength” by exposing the reader to a myriad of unique experiences and world views and complicate the narrative of Toronto as the most multicultural city in the world. As Pitter writes, the reality of hyper-diversity demands a recognition of “diversities within diversities within diversities” and of the intersectionalities of the identities associated which make up that diversity.
Subdivided: City-Building in an Age of Hyper-Diversity (Lorinc and Pitter, 2016)
Neither of the editors belong to the discipline or the profession of urban planner or have been involved in municipal governance, they are better described as city-builders: writers and activists that have invested personally and professionally in advancing progressive action in Toronto. Pitter has worked (and grew up in housing) with the Toronto Community Housing Corporation and both have written for publications such as Spacing and Walrus, among others. The rest of the contributors make up a diverse group of writers, urban planners, journalists, and lawyers among others.
With a narrative form and personal stories, Subdivided is aimed at a broad audience. While the inclusion of more theoretical and ideological language might distance some readers, the personal tone of the contributions anchors their stories in a very real and relatable way.
Although the stories shared in the book are very different, what they and the editors share is a desire to critique the current conception of diversity in Toronto and to explore the socioeconomic realities of the divisions separating those diverse groups. An interesting thread that the book picks is the universality of the impact upon these disparate groups relating to the changing economic realities of Toronto as housing prices skyrocket and government programs have been curtailed or abandoned completely. While reaching few conclusions, this exploration of the meaning of diversity in a changing economic and social context does accomplish its intended purpose – to start conversations. Exposing the reader to experiences of the “diverse” living at the margins of the popular and institutionally supported conception of Toronto’s diversity as a fait accompli (an attitude the transnationally wealthy in Toronto like to pat themselves on the back for), this anthology raises the question of what that attitude really means for those living that diversity without the power to challenge the accepted rhetoric.
A shoutout to Sam Kinsley’s site Spatial Machinations. Its reach across contemporary theory and global issues more than fulfills it ambitious mandate to chronicle and catalogue how media produce temporalities and spatialities. Recent discussions of affect theory and geography, American military visions of cities as dystopic are typically engrossing and on point. However, taking the time to archive a missed event – I just picked up “Paramatta”, so inferred its not only past but was far away (suburban Sydney Australia), gives us not only an echo of an event but flags important insights such as the declining rate of innovation.
Thamesmead was the setting for Stanley Kubrick’s A Clockwork Orange. There is little online in photographs that capture the social life of the development. Thamesmead seems stuck in black and white 60s and 70s, including the outstanding photography of George Plemper.
The Digital City and Mediated Urban Ecologies (Scott, 2016)
Kristin Scott’sThe Digital City and Mediated Urban Ecologies explores the era of digitalized cities. This book made noteworthy claims concerning city’s relationship with technology in terms of social, economic, and political utopianism. Other themes explored in the book are neo-liberalism, security and surveillance, and political participation and democracy. Scott further investigates three American cities (New York City, San Antonio, and Seattle) in order to fully conceptualize her overall themes of utopianism, neo-liberalism, and security. Specifically, throughout the book, Scott initially describes how the surge of digital technology in cities is justified by the cities’ goal of digital utopia. However, as Scott reveals through investigation of the three American cities, many issues the cities attempt to solve through technological amenities are further complicated or serve other larger systemic intentions. For example, in the chapter discussing Seattle, Scott explains how the city has introduced numerous digital technological programs to address racial and class disparities; however, Scott reveals that with citizen’s access to technology such as public crime maps, social and economic disparities are further exacerbated. I thought this claim was an interesting perspective on the functionality of technology since my previous understanding of mass-digitalization in cities was to promote inclusion. However, as Scott demonstrates, there appears to be negative effects to the collection of data within cities.
Furthermore, Scott describes how the digitalization of cities can conceal the city’s overarching ability to construct productive citizens. As explained in the chapter concerning New York City, some cities will aim to improve democracy, transparency, and citizen’s engagement. However, Scott concludes that through New York City’s attempts to improve governance, digital technological programs are misused and represent a mechanism of biopower to fulfill neo-liberal interests. By using Michel Foucault’s concept of biopower, Scott explains how digital technological programs interpellate citizens to behave in a favourable sense. This concept is further supported in Scott’s chapter about San Antonio where she discusses how citizens can be interpellated to assist in the protection of democracy through cyber security. Essentially, San Antonio has initiated programs where citizens self-police one another in order to maintain security of the internet or other digital technological programs.
Despite the fact that I previously had limited knowledge of the digital technological programs present New York City, Seattle, and San Antonio, I found this book to be unexpectedly captivating. Therefore, I would argue that the appropriate audience for this book would those who are interested in globalization, technology, and how these topics interact and effect neo-liberalism, security, citizenship, and democracy. Also, this book incorporated theoretical concepts suggested by compelling philosopher such as Michel Foucault and Richard Grusin. For example, Scott explains the functionality of digital technology in terms of Foucault’s concepts of biopower and surveillance, while also using Grusin’s concept of mediality and premediation to discuss how technology is a governing apparatus of citizens, especially in regards to security.
Essentially, Scott intended to analyze the functionality of digital technology in regard to cities. Scott explained that cities utilize digital technology in order to interpellate their citizens to act in favour to the city’s larger goals, that is, their neo-liberal goals. For example, if the city releases a mobile application where citizens can report crime, this transfer responsibility, to some extent, from police services onto to citizens. Rather than police having to patrol the city or the city having to finance emergency dispatchers, the mobile application would be the communicative median between citizens and the police. Therefore, the city will save money while also instilling the responsibility of reporting crime or emergencies in the citizens. This means that through the production of digital technologies, citizens are taught to survey their environments for the protection of their city and follow citizens. I think this theme reveals the extension that technology unknowing coerces citizens into performing the will of the city, which in this example, would be to have citizens survey one another in order to protect the city. I found this concept to be convincing, and the example Scott explained in regards to New York City and San Antonio were further interesting.
In recent years, the dialectic relationship between tradition and globalization has become even more visible in the urban spaces of Beijing. In the majority of news reports highlighting economic and cultural attractiveness of Beijing, we may find seemingly disconnected expressions, such as ‘greatness of imperial history’ and ‘rising center of global economy.’ This implies that there is a significant temporal gap taking place, and thereby, and points to the drastic urban transformation of the nation. Yiran Zheng’s recent book, Writing Beijing: Urban Spaces and Cultural Imaginations in Contemporary Chinese Literature and Films (2016), also acknowledges this presentation of Beijing. The conceptualization of Beijing as “the fusion of “traditional” Chinese city and a modern international metropolis” is one of the central themes that is constantly brought up in the book.
Writing Beijing (Zheng, 2016)
By this point, it is also important to note where all those urban spaces are located in the spatial structure of Beijing. According to the author, the area showing a concentration of typical Beijing buildings or courtyard houses is geographically located near the center of the city. Then, the next layer of architecture that loops outside the center is dominated by three to four story military compounds constructed under the guidance of Soviet experts. Thereafter, in the outer layer loop, there is new architecture and urban spaces that were built in the global era. Based on the three types of urban spaces identified above, the book largely consists of three parts: the first part focusing on military compounds (chapter 1,2,3), the second part concentrating on the typical building or courtyard house (chapter 4,5,6), and the third part exploring some examples of Beijing’s new architecture and urban spaces (chapter 7,8,9).
However, when considering the geographical map of Beijing and the structure of the chapters in the book together, Zheng does not fully explain why she organizes the three parts in such an order; namely, starting from military compounds to typical traditional Beijing housing, and ending with contemporary buildings. In the introduction, Zheng notes, “Beijing has been transformed from a traditional imperial capital city to a political center of communist China, then into a cosmopolitan metropolis (p. x).” The structure of the book does not seem to illuminate this transitional and changing character or flow of the city, but captures the configurations of the city in specific moments framed within the specific literary works. In that sense, to meet the author’s aim of this book, it is more persuasive to organize the parts and chapters in a geo-temporal order, moving from the central area of traditional housing to the outer area of contemporary buildings developed in present day China.
Each part of this book has three sections (chapters). In every first section, Zheng explores the architectural and spatial qualities of specific urban spaces. Then, Zheng discusses some representative writers and filmmakers in every second section, and finally in the third section, the author analyzes the configuration of the city in the literary works. Throughout the parts and chapters, Zheng uses different sources from different disciplines, such as urban studies, architecture, literature, cultural studies, history studies, and sociology. And Zheng also makes a balanced use of sources between foreign and Chinese authors. Zheng’s cross-disciplinary and cross-national use of sources is what makes this book interdisciplinary and allows it to retain a more balanced point of view.
In this study, the methodological framework is inspired by Lefebvre’s theorization of space. Lefebvre (1991), in his book The Production of Space (1991), proposed the spatial triad to understand the production of space and its embedded power relations. The triad divides space as: spatial practice (producing physical space), representations of space (conceived space), and representational space (lived space). According to Lefebvre, our spatial experience in space consists of these three interrelated elements (Lefebvre, 1991). Zheng specifically points to two of the spaces in this triad, representations of space and representational space, to formulate her methodology.
Within this framework, she emphasizes the intermediary role of artists (writers and filmmakers) between these two spaces. To be more specific, writers are influenced by urban spaces and architectures that are the “representations of space”, reflecting the ideology and expectations of designers. At the same time, writers and filmmakers respond to and reflect on those “representations of spaces” through their use of symbols, signs, and images in their literary productions. Thus, they create literary and filmic texts that refer to the space lived in by artists, “representational spaces”. However, except for brief explanations about the framework in the introduction and conclusion, the author actually does not conduct an extensive engagement with spatial theory, which she bases her work upon. It would have been more helpful if Zheng had continued to connect her discussion to her framework while discussing different type of urban spaces. By doing so, it would have been more apparent how the dialectic relationship between the three moments shown in Lefebvre’s spatial triad can be manifested and applied in this study as well.
Most interestingly, as noted in the beginning of the book, the concept of the coexistence of local and global in Beijing is an important issue for Zheng. This is clearly addressed when the author says that “the “ideal building” should be both modern and Chinese.” (p. 99). Zheng’s personal voice and position towards the relationship between the local and global in cityscape becomes especially prominent in Chapter 7, where Zheng discusses modern and postmodern architecture in the global era. These include the “three new symbolic architecture” in Beijing—National Centre for the Performing Arts (the Giant Egg), National Stadium (the Bird’s Nest), and CCTV New Main Building (the Gate).
In Chapter 7, Zheng is concerned about Beijing becoming “a common metropolis with no distinct cultures” (p. 91). According to Lefebvre, the urban spaces of Beijing produced within the context of global capital are Abstract Spaces, which are homogeneous and transparent, showing the orders and power hierarchies of capitalism (Lefebvre, 1991, pp. 50-51). The Abstract Spaces of these new contemporary buildings of Beijing are shown in their symbolic architecture marked with the dominant activities of the cities (Castells, 2005). The three new buildings mentioned above are examples of the symbolic architecture that Zheng criticizes for its disconnection from the surrounding local context and environment. In that sense, Zheng also demonstrates that these designs are not “Chinese” because they were built by “non-Chinese” designers, which I thought was a bit difficult to understand (p. 102). Although this may be partially true, the concern should not lie in the nationality of designers, but with the strategies used in incorporating this symbolic architecture within the local city at large.
The book is, in general, interdisciplinary in its approach and provides a broad socio-cultural and political context on urban issues of Beijing. In addition, the book is approachable because it does not use discipline-specific academic jargons and is written in an illustrative and descriptive manner. It is clear that Zheng wishes this book to be read by broad range of students and scholars who are interested in the city of Beijing. Zheng also achieves this by consistently and systematically reiterating the important points throughout the introduction, the beginning and at the end of each chapter, and the conclusion; the structure of the writing is easy to comprehend. Finally, the book is very narrative and poetic in that it smoothly introduces us to the artists’ world of imagination. Thus this book creates another “representational space” that is lived by its readers, who have or have not been to Beijing, and encourages them to engage with the mode of imagination of the urban spaces of Beijing.
Jeongwon Gim (University of Alberta)
Additional References
Lefebvre, H. (1991). The Production of Space. Oxford, Basil Blackwell.
Castells, M. (2005). Space of Flows, Space of Places: Materials for a Theory of Urbanism in the Information Age. In B. Sanyal (Ed.), Comparative Planning Cultures (pp. 45–63). New York: Routledge.
Tim Do, 2008: Spiral Jetty http://archinect.com/blog/article/21452265/fogbank-day-1-nasa-spiral-jetty
The Spiral Jetty, Utah – at low water. Considered to be the central work of American sculptor Robert Smithson, is an earthwork sculpture constructed in 1970. Built of mud, salt crystals, basalt rocks, earth, and water on the northeastern shore of the Great Salt Lake near Rozel Point in Utah, it forms a 1500-foot long and 15-foot wide counterclockwise coil jutting from the shore of the lake.
At the time of its construction, the water level of the lake was unusually low because of a drought. Within a few years, the water level returned to normal and submerged the jetty for the next three decades. Due to a recent drought, the jetty re-emerged in 1999 and is now completely exposed. The lake level rose again during the spring of 2005 due to a near record-setting snowpack in the mountains and partially submerged the Jetty again (Wikipedia.org). We found this wonderful, rare photo in Tim Do’s blog and have taken the liberty of linking to it.
As an aesthetic response to land and place, late 20th century Environmental Art is due for a reappraisal in light of Indigenous ecophilosophies that provide a sacred and social framework for visceral relations between humans, land and the non-human. Spiral Jetty has been invisible for much of its life in more ways that one. These works are always a bit orphaned in Art Historical, Landscape Architecture and Environmental theory. Environmental Art absolutely cries out to be put into a dialogue with Indigenous cultural frameworks that offer critical and contextual responses to land and place.
From a Brazilian perspective, Du Bois work is of particular interest. It’s interesting to find out that Du Bois was so attentive to science as a way to fight racism. Black movements (and many other minorities) sometimes are too attached to emotional sides of the process, such as pride and identity, but less attached to studies that would possibly promote dialogue and systemic changes.
Capitalism is a system based not only on inequalities but segregation.
Morris, Aldon. 2015. The Scholar Denied: W. E. B. Du Bois and the Birth of Modern Sociology. University of California Press. ISBN: 9780520960480
Aldon Morris’ book The Scholar Denied: W.E.B. Du Bois and the birth of Modern Sociology demonstrates how Du Bois 1890s empirical and statistical research on black communities and classes in the United States was suppressed by a version of sociology developed by Robert Park and others of the Chicago School. Du Bois was the first black PhD graduate of Harvard University and went on to study history at Humboldt University, Berlin (1892-4) and followed the lectures of Max Weber and Gustav von Schmoller. He some of the conducted the first empirical and statistical social studies, notably his pioneering urban sociology, The Philadelphia Negro (1899). As Chair of the Department of Sociology (1897-1910) and organizer of the Atlanta University Conference for the Study of the Negro Problems, he edited annual volumes from 1902. Du Bois hypothesized that sociological and economic factors were the main causes of racial inequality in the United States, anchored in white racial oppression not black inferiority. Du Bois argued that social analysis would reveal the truth of race dynamics and education of talented blacks would allow them to succeed and to articulate this truth across many fields as leaders in business, the media and politics. Du Bois’ sociology was a weapon of liberation.
Midi Sprout & Plants Interactive Performance with Ipek Oskay, May 7, 11.45 am – 12.30 pm (Sunday Lunch Break) Venue: Tory Building 1-105, Tory Building, University of Alberta Saskatchewan Drive NW Edmonton AB
Joe Patitucci (Data Garden), Panel Presentation in the session Recording, May 6, 9 am – 10:15 Venue: Tory Building Ground Floor Room #TBD, University of Alberta.
Data Garden creates immersive experiences through music and technology. They connect people to wonder through interactive works that encourage exploration and discovery. Begun as a record label releasing downloadable album codes printed on plantable seed paper, Data Garden has become a worldwide public art project building community and connection to living plants through art.
Midi Sprout is a product of Data Garden which allows sound media artists to use plants and other living things to control audio and video synthesizers in real time.
Listen to plants’ music and interact with the plants and listen to the music of interaction.
You can listen to one of Joe Patitucci’s works with MIDI Sprout here
