Washington Post review of “Grid, Sequence Me” show + documentation

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washingtonpost

The Washington Post recently published a review recently about my and Joelle’s exhibition at Flashpoint Gallery in D.C. Check it out: Joelle Dietrick & Owen Mundy: Grid, Sequence Me, by Maura Judkis, Jan 11, 2013.

A few elements will be recognizable, such as the brutalist outline of the J. Edgar Hoover FBI Building, but many are stripped down to their most generic shapes, making rows of windows look like charts and bar graphs. The projections of some of those shapes echo and interplay with the forms of the Flashpoint gallery interior.

Dietrick and Mundy also scraped The Post’s listings of recent home sales, with architectural elements from some of those homes appearing before a dense thicket of live-streamed code. It’s a visual reminder of just how complicated the housing industry has become.

…

There’s a sense in the animation that the structures are tumbling away from you — just as homeownership has slipped out of the grip of many Americans. But the piece will elicit a different reaction here than in Florida, where the effects of the housing market crash have been far more pronounced. In Washington, we’ve mostly been insulated from it: Foreclosures are few, short sales are sparse. In the jumble of buildings and code, “Grid, Sequence Me,” may serve as a warning for those who haven’t experienced that sense of loss — but who indirectly, though policy work, may have influenced the systems that led to the crash.

I also finished a short piece with video from the installation and screen captures of the Processing visualization.

Use Processing and FFmpeg to export HD video

Posted on by ow3n

p_000919

I’ve been trying to find a dependable method for exporting HD video from Processing sketches that contain dynamic data and movement as well as complex 3-dimensional shapes rendered using OpenGL. QuickTime’s screen recording option hogs memory and causes frames to skip, as does does ScreenFlow, my usual go-to for screen recording. The best way I have found so far is to export actual resolution PNG files using “save()” and create an HD video using FFmpeg.

FFmpeg is a very fast video and audio converter that can also grab from a live audio/video sources or create and compress video from multiple still images. It is used from the command line and gives one control of bitrates, codecs, formats, resolution, quality, metadata, and many more options for working with video.

To install FFmpeg with Macports
sudo port install ffmpeg

# view help
ffmpeg -h

# list encoders
ffmpeg -encoders

# list codecs
ffmpeg -codecs

# use format
ffmpeg [global_options] {[input_options] -i ‘input_file’} ... {[output_options] ‘output_file’} ...

# make a movie from matching .png files, write over original, codec = libx264 (H.264), framerate = 30, 1 pass, resolution = 1920×1080, video bitrate = 6Mbits, format = mp4
ffmpeg -y -pattern_type glob -i 'p_*.png' -vcodec libx264 -r 30 -q 100 -pass 1 -s 1920x1080 -vb 6M -threads 0 -f mp4 file.mp4

# convert the video file to Apple ProRes codec for use in Final Cut
ffmpeg -y -i file.mp4 -vcodec prores -vb 6M -r 30 -s 1920x1080 -f mov file.mov

# here’s another example conversion command. this one has a much higher bitrate
ffmpeg -y -i file_01.mp4 -b:v 40M -vcodec libx264 -pass 1 file_02.mp4

For example, using this Processing sketch, you generate the PNG files, and then run the code above on the command line to make this file:

Also see this video for a more detailed example

References

Grid, Sequence Me @ Flashpoint Gallery, Washington D.C.

Posted on by ow3n

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Surrounded by images of cross-sectioned buildings and source code excerpts, gallery visitors encounter fragments of Washington, DC architecture—a vaguely familiar roofline or grid of office windows—remixed with data and source code representing the latest housing sales in the area. Constantly changing, the live data streams into the gallery from both local sources (DC short sale listings) and national (federal policy sites), emphasizing the effects of related micro-macro shifts.

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Generated with custom software, these fragments echo financial systems and housing market fluctuations. They mirror mortgages repackaged and sold, titles lost in administrative tape, and dreams confused by legal jargon. Like the complex financial systems of the housing market heyday, the software generates an infinite number of arrangements. The complexity of unique and dynamically-created algorithmic outcomes contrasts with the comforting predictability referenced in the exhibition’s title, “Grid, Sequence Me.”

—Joelle Dietrick and Owen Mundy

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MutaMorphosis: Examining Networks of Power stream today

Posted on by ow3n

I am an “attractor” for a stream of interest at a conference that is happening this weekend in Prague. There are thought-provoking presentations lined-up. Check it out if you are nearby.

Examining Networks of Power
Attractor: Owen Mundy (US)

Addressing the Future: The Tactics of Uncertainty
Attractor: Claudia Westermann (AT)

MutaMorphosis: Tribute To Uncertainty
Saturday, December 8, 2012
13:30-15:30 | Academy 2

Marc Garrett (UK) | Revisiting the Curious World of Art & Hacktivism
Diane Derr (QA) | Morphological Mapping of the Arab Spring through an Ecological Lens
Daphne Dragona (GR) The power of counterpower
Katerina Karoussos (UK) | LUMEN HILARE – The (bio)photonic emission of a church and its metabolism in human consciousness

Owen Mundy: This thread intends to examine representations of contemporary control structures and discuss whether or not an image, particularly network graphs depicting power relationships, information flows, economic activity, etc. have the ability to reverse trends of concentrated power. Does depicting power lead to greater democratization of said power or are we merely creating beautiful images that detract from their original intent—to reveal, examine, and act. To what effect does mapping complex data depicting influential actors, institutions, moments in time, finance systems, mapped onto a two-dimensional surface unravel the power they represent by distributing that power? Methodology: We’ll begin the discussion by looking at historical examples of communication that intend to affect power structures. We’ll examine works by artists and cultural practitioners such as Hans Haacke, Mark Lombardi, Josh On (theyrule.net), Bureau d’études, and more. We’ll consider Manual Castells‘ “Network Theory of Power” within these context(s). Then we’ll discuss visual components of network graphs, asking in particular; what data and
representational forms help make a graph speak to as many people as possible. Finally we’ll work in groups to extend the discussion into possible solutions and various statements and recommendations for such representations.

Claudia Westermann: More than 30 years ago, Michel de Certeau suggested that a shift in methodologies was necessary from strategies that operate on the basis of planning and prediction to tactics that operate on the basis of appropriation. Within this context, competition for the best prediction is substituted for a search for authorities that create the places that give space. This stream of interest with the title ‘Addressing the Future – The Tactics of Uncertainty’ suggests that even though Utopia has not been valued recently, it is nevertheless the actual turn towards the future – this radical uncertainty – that allows for a profound re- questioning of our methodologies. How do the sciences and the arts address the future? Can we speak to it, and in doing so, can we create openings in the present? Methodology: The main intention of this suggested stream of interest is to provide for a ‘good’ start question from which the theme of uncertainty could be addressed in a rather radical way. I am interested in viewpoints from all areas of the sciences and arts. In addition to presentations, there could be conversational panels and workshops. The latter could also be contextualized within the city of Prague. Which inclination this theme takes also depends on the other streams of interest and should be discussed.

PRAGUE | CZECH REPUBLIC | DECEMBER 6-8, 2012 | WWW.MUTAMORPHOSIS.ORG | ORGANIZED BY CIANT | WWW.CIANT.ORG

CulturalDC Presents: Joelle Dietrick & Owen Mundy: Grid, Sequence Me

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CulturalDC Presents
Joelle Dietrick & Owen Mundy: Grid, Sequence Me

Flashpoint Gallery
916 G Street, NW, Washington, DC 20001
01.05.13 – 02.02.13
Opening: 01.05.13, SAT, 6 – 8pm

WASHINGTON, DC – Florida-based art team Joelle Dietrick and Owen Mundy will transform Flashpoint Gallery with an installation of projected animations called Grid, Sequence Me, opening on January 5. Surrounded by images of cross-sectioned buildings and source code excerpts, gallery visitors will encounter fragments of Washington, DC architecture—a vaguely familiar roofline or grid of office windows—remixed with phrases spidered from housing-related websites. Constantly changing, the data will be streamed live into the gallery from both local sources (DC short sale listings) and national (federal policy sites). The inclusion of both local and national data will emphasize the effects of related micro-macro shifts.

Generated by custom software designed by the artists, these fragments will echo the financial systems that led to recent housing market declines. They mirror mortgages repackaged and sold, titles lost in administrative tape, and dreams confused by legal jargon. Like the complex financial systems of the housing market heyday, the software is specifically written to generate an infinite number of arrangements. The complexity of constantly changing outcomes, never repeated, stands in stark contrast to the exhibition’s title, Grid, Sequence Me. We implement grids hoping for comforting, predictable results, even in areas of life—like living arrangements and job creation—that are filled with human folly.

The exhibition offers a space where a visitor can consider how automated, often unseen technological communications and economic systems affect our daily lives and basic human needs.

There will be an artist talk and preview on Saturday, January 5 at 5pm as a part of our membership program. Others are invited to join us. RSVP to gallery@culturaldc.org to attend the artist talk. The public reception will follow immediately after the talk from 6-8pm.

ABOUT THE ARTISTS

Joelle Dietrick’s paintings, drawings and animations explore contemporary nesting instincts and their manipulation by global economic systems. Her recent artworks and research consider housing trends that complicate relationships to place. Her work has been shown at Transitio_MX in Mexico City, TINA B Festival in Prague and Venice, Museum of Contemporary Art (MCA) Chicago, MCA San Diego, Long March Space Beijing, ARC Gallery Chicago, Soho20 New York and MPG Contemporary Boston. She has attended residencies at the Künstlerhaus Salzburg, Anderson Ranch, the Virginia Center for the Creative Arts, Banff Centre for the Arts and the School of the Visual Arts and received fellowships from the University of California, Florida State University and the Deutscher Akademischer Austausch Dienst (DAAD).

Owen Mundy is an artist, designer, and programmer who investigates public space and its relationship to data. His artwork highlights inconspicuous trends and offers tools to make hackers out of everyday users. His work has been shown at Transitio_MX in Mexico City, the California Center for the Arts in Escondido, CA, Compactspace in Los Angeles, Golden Thread Gallery in Belfast, the Sarai Media Lab in New Dehli, Bauer&Ewald Gallery in Berlin and APEXART, Flux Factory and Art Currents Gallery, in New York. He is the recipient of an Individual Artist Fellowship from the State of Indiana, a Planning Grant from Florida State University, a Center for Humanities Fellowship and San Diego Fellowship from University of California, San Diego and a DAAD Arts Study Fellowship. He has an MFA in Visual Art from the University of California, San Diego and is an Assistant Professor of Art at Florida State University.

ABOUT CULTURALDC’S VISUAL ARTS PROGRAM

CulturalDC operates Flashpoint Gallery and produces public art interventions throughout DC. We nurture talented emerging and mid-career artists by providing opportunities for peer learning and mentorship. At Flashpoint Gallery we showcase bold, new work from artists working in a variety of media including site-specific installations, performance pieces, new media and other experimental forms. As a nonprofit gallery free from the constraints of commercial expectations, Flashpoint provides artists and curators a unique opportunity to take creative risks. An advisory panel of noted artists and arts professionals makes programming recommendations for the gallery and provides mentorship and support to exhibiting artists.

Flashpoint Gallery is generously supported by Natalie and Paul Abrams and by DESHO Productions and The Washington Post Company. Hotel Helix is Flashpoint’s 2012-13 Hotel Partner. Marvin is CulturalDC’s 2012-13 Wine Partner.

Funding for CulturalDC is generously provided by The Morris & Gwendolyn Cafritz Foundation, DC Commission on the Arts & Humanities, The Community Foundation for the National Capital Region, The Kresge Foundation, the MARPAT Foundation, the Eugene & Agnes E. Meyer Foundation, the National Endowment for the Arts, Prince Charitable Trusts, The Share Fund of the Community Foundation for the National Capital Region and many other generous partners.

ABOUT FLASHPOINT

Flashpoint is a multi-disciplinary arts space. Flashpoint includes a contemporary art gallery, the 75-seat Mead Theatre Lab, the Coors Dance Studio and shared office space for arts organizations.

Joelle Dietrick & Owen Mundy: Grid, Sequence Me
Opening Reception: Saturday, January 5, 6-8pm
Exhibition: January 5 – February 2, 2013
Gallery Hours: Tuesday – Saturday, 12-6 pm or by appointment
For more information: Call 202.315.1310 or visit culturaldc.org

CulturalDC • 916 G Street, NW • Washington, DC 20001
General: 202.315.1305 Press: 202.315.1310 Fax: 202.315.1303
Email: karyn@culturaldc.org

Packet Switching, College of Journalism and Communications at the University of Florida

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Joelle and have completed our Packet Switching (Weimer Hall) commission in the College of Journalism and Communications at the University of Florida. Read about the process for this project here.

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications

Packet Switching (Weimer Hall), (detail) College of Journalism and Communications, University of Florida, inkjet on polyester on panel, 177.5 ft. x 20.21 ft., 2012; Photograph by Steve Johnson / UF College of Journalism and Communications
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