Simons Center Auditorium, February 19th at 5:30PM
5:30 PM – Reception
6:00 PM – Introduction, by Melissa F. Clarke
6:05 PM – First Presentation, by Melissa F. Clarke and Genevieve Hoffman
6:30 PM – Second Presentation, by Frank O. Nitsche
6:50 PM – Third Presentation, Adam Harvey
7:10 PM – Fourth Presentation, Shimpei Takeda
A special closing talk for the ‘Controlled Evidence’ exhibit, to address the intersection of art, technology, fashion and science. We will be joined by artists Melissa F. Clarke (recent Simons Center Artist in Residence), Adam Harvey, Genevieve Hoffman, Shimpei Takeda, and geophysicist Frank O. Nitsche.
They will present work that engages information, research and data either in the process of revealing the unseen, by creating physical form from data sets, or by creating things that shield and provide cover from information retrieval.
In today’s world, digital data, information and ideas are becoming increasingly material. For instance, in Melissa F. Clarke’s work, the unseen hidden depths of the Antarctic seas are realized as abstract video sculptures, and Shimpei Takeda uses traditional film to produce serialized physical traces of the catastrophic nuclear meltdown in Fukushima, Japan. Genevieve Hoffman’s work visualizes, sculpts, and carves out tangible topographies based on economic and political structures and formalized ideas about places of importance in a world undergoing climate change. From another perspective, contemporary artist Adam Harvey synthesizes fears of surveillance and data mining by designing conceptual fashions that hide and protect individuals from paparazzi.
Join us to see and hear four very different presentations that bridge science, research and art to describe an era for which storage and exchange becoming realized in form and materialized as cultural objects.
Materializing Information will be hosted by Recent Simons Center Artist in Resident Melissa F. Clarke. With special Thanks to Stony Brook Professor Margaret Schedel, curator of the Controlled Evidence Exhibit and organizer of the opening event.
About the speakers:
Melissa F. Clarke
Having just returned from the Arctic, I am an artist obsessed with ice and information related to the terrain shaped by it. Using data, I extrapolate research and observation into systematic points that unfold in generative video and sound sculptures, performances, and printed still images. I often work across mediums as a series unfolds, while looking at hybridizations of wilderness and technological spaces—towards considerations of nature at the nexus of human experience, myth, science, and information collection.
My work aims to illustrate the various dimensions that structure the encounters between humans and their environments, whether temporal, physical, cultural or virtual.
Technology is an underpinning in all of my work, as both a medium and subject of inquiry. I am especially concerned with the technological obsolescence built into the disposable culture of our digital era, as well as the relationship between technology and the natural resources that make it possible. I’m also fascinated by the ability of new technologies to capture and make visible what is often unnoticed or ignored by human perception. Recently, I have been exploring the forces and interrelated systems of the global economy, as well as the infrastructure that makes it run. I’m interested in visualizing the ways that the financial system shapes and is shaped by the environment.
My work focuses on understanding the evolution of present and past morphology of the seafloor and what causes and controls deposition and erosion of sediments that shape the seafloor. For this, I am using geophysical techniques to image the morphology, extent, and internal structure of complex sedimentary features and Geographic Information Systems (GIS) to integrate, analyze and visualize different data sets.
My main study areas have been the Hudson River Estuary and the Antarctic continental margin. As part of the Hudson River Benthic Mapping Project I determined details of the distribution of sediment type, processes and deposition along the Hudson River Estuary.
My second area of interest is glacial sediment transport and morphology. Understanding the pattern of previous ice flow and sediment deposits is essential for reconstructing Antarctic climate change, modeling ice sheets, and thus predicting future sea-level rise. During several research expeditions into the Amundsen Sea, West Antarctica, I acquired multibeam bathymetry data, which I combined with previously collected soundings to create the first bathymetric map of the region and I am currently involved in projects to integrate these bathymetric data into the production of the first International Bathymetric Chart of the Southern Ocean (IBCSO) and the visualization of polar data in GeoMapApp.
We live in a world under observation. This is a world where multiple versions of ourself will persist in storage for decades.
In my projects, I study this environment and look for ways to adapt to living with mass surveillance. I see fashion as a vehicle for transforming and elasticizing our identities to exert control over privacy. Fashion is never conforming, but conformity is what machines and algorithms want. By visualizing the vulnerabilities of surveillance as fashion statements, I hope to aestheticize privacy and establish countersurveillance as visual civil right.
“Trace – cameraless records of radioactive contamination”
As an artist working with analog photographic techniques that are rapidly in decline, a native of Japan, and moreover being born in Fukushima prefecture, I took on a mission to create a physical record of the worst man-made nuclear accident in history. A photograph can be created by electromagnetic radiation other than light.