YouSaid · the spoken record

Michael Connor

lines on the record: 86
first: 2019-02-25
most recent: 2019-02-25
sittings or episodes: 1
sources: podcast

Every line below is reproduced as it was said and linked to the record it came from. Nothing here is summarised or generated. Directory · Search · Corrections

“Yeah, when we present new works on Netornithology, which continues through May, they can see those on our Instagram account, which is rhizome.org all spelled out, or Twitter.com slash rizor.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“They can find the online show at anthology.rizome. They can email me at michael.connor at rhizome.org, and they should buy the book. Okay.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Those kinds of like refiguring consciousness through technology, new ways of accessing the brain directly outside of the sensorium, those things will allow for different artistic experiences.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Which is something that some of the artists in meternithology think through is going to mean that we have work that can address us in very different ways than what we've seen so far.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Well, you know, galleries have surprisingly wasted a lot of shocks already as technology has changed. I think that at the moment there's still Something different that you get from standing in a space with people and moving your body around that you are not getting other places. I imagine that in the future, the real question will be. Not that those places won't continue to exist or won't continue to be important, but it sort of becomes a question of access. Is it easier in the future to visit spaces virtually or does the apparatus need to visit them virtually become hard to get?”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“It's all net out now. All right, I want to end on that. Do you imagine a day when there's just not everything will be in this sort of holographic, you know, you could see, you could see where it could go. It could bring more art to people because they get to see more, or it could create this sort of strange, like what happens to galleries going forward, the physical galleries?”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Absolutely. The idea that you can make work on Canvas for an online audience is such an interesting one. And artists have thought through that carefully. One of the works in Netart Anthology by Artie Virkant is called Image Objects. It's a series of works that there are two-dimensional pieces that look like sculptures when they're photographed and circulated online. So they're meant to look different for a web visitor and a gallery visitor. And this was already a way of thinking about how do I use the gallery space as a networked environment presenting work for people all over the world to look at. I would argue that the Avanka Trump performance of someone vacuuming is a performance that's staged for the internet. Absolutely 100%. And that results in a different kind of work being done.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Exactly. Well, people plus gun is different than just people, and artists plus computer is different than just artists. And I think that understanding that there is a kind of material difference that happens when work is made in this way and circulated in this way is important to thinking about how to sustain that work over time and preserve it.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“I mean, I see both continuity and change, and certainly in this project, thinking about how networks Have always been a part of art making our thinking, but the computer is really a transformative tool, and I think it's, you know, It's like that thing, there's a famous kind of NRA quote that people, guns don't kill people, people kill people. But of course the reality is as people?”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Sure, absolutely whether we're going to be able to access it. That is true. You could do it in a different way, you can present it in a different way. Because a lot of these, they must be dying like other people to use all the latest tools, like, right, to pick things and things like that. There's always going to be art created in analog, but how do you look at the, finish up telling you about the difference between analog art and digital art? How do you look at that? Is that a shift? Is that a break? Or not, or not at all? Because a lot of analog art is now all over the internet. Like I was thinking of this Avanka thing that's going on and, you know, with her vacuuming stuff. And they're using the internet to push out lots of art and lots of stuff is being preserved online. Everything from the Dead Sea Scrolls to, you know, there's all kinds of things. That's not art, but it's being preservation is happening on the internet in ways that we couldn't have imagined. Is there a break between the two of them or do you see that going?”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“It's kind of always existed, and I think it's maybe coming into view now in a new way as these kinds of resource pressures.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“One of the works in the show is called NetArt Latino Database, and we worked with the artists that created this back in the early 2000s. And when we were presenting one of the works that he chose as part of NetArt Anthology with us, he didn't like the idea of presenting it only in emulation because there's no cloud server located in Latin America that can run the kind of emulation that I showed you at the start of the show. So he made this like beautiful walkthrough video of the work that you can watch on a much slower connection and have a kind of good experience. And so that kind of thinking like that, you know.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, and I think that people look to those examples and think like we shouldn't make the assumption that we will always have this kind of freely accessible global cloud infrastructure that we can tap into at any moment. It's almost like we're coming to like the end of the moment where we had that Like cloud infrastructure golden age. And it always had edges too.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Well, in Cuba, they run a kind of a massive media sharing network through USB called Nel Paquette Seminal. And I think those are the kinds of things that people are thinking about now because the idea of like an always on your”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Interested in making work in response to now. And certainly, like, one of the things that I think has been emerging is just, you know, imagining that we're at this point where the internet does show signs of kind of fracturing. You know, we're starting to see things like Russia doing an experiment where they're trying to disconnect from the internet for a day. And so, you know, the DNS system and like the international consensus that's required to keep that going, we're seeing things like experiments with mesh networking or USB sticks and these kinds of things.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, I mean, I think that the question of screen time is a complicated one. You know, I was recently reading a statistic that 80% of white users say that social media is a distraction from the important things and then 80% of black users think that social media is a way that important issues reach audiences that wouldn't otherwise be hard. And the symmetry of that statistic is alarming. I think that we should be careful about thinking that social media is bad because we're experiencing negative news on it or contact. We already knew that. But all of these things surface in artist work, you know, and like we, every year we run a microgrant scheme in the summer so people can apply with like their random idea for a small grant from RISM. And I think through that we really surface what people are.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Right Yeah, and I'm not here to litigate what's hard and what's not, especially because I agree with you that what Internet users do is already beautiful, despite the best efforts at Jack or whoever else. And I think that those things should be sort of understood as artwork. And the kinds of work that I try and champion and that we work often with at Resum, it's not like an artist that steps back and paints a picture of what's already happening, like positioning the artist outside of it as the observer that has a privileged position. But artists that are in that mix themselves and that the work functions in that kind of culture in that digital culture that it's kind of deeply engaged with it, that it's of digital culture and not something distinct.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“So let's just talk about what's just a thing because there's a lot of things that are published on the internet that are quite creative. You know what I mean? And there's plenty you can do lots of art about the direct that's on the internet. The reactive and quickness of it, some of it is just Twitter can be very beautiful in a weird way. It can be funny. It can be moving. Lots of things you see on the net can be like even Tinder has a point in see to it, right? Doesn't it? It kind of does how people pick pictures.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“And she facilitates that and has done so successfully for a couple of years. So there's gestures like that which are really material and they're quite economically oriented in a way and they're a little bit like it can be difficult to differentiate in a sense between like what's art and what's just a thing in the world.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Klack time, yeah. Okay, yeah, and it's, it was, you know, she was like thinking about the election and how she was seeing like a lot of white guilt being circulated online. And she was like, let's turn this into a resource. So her project is that white internet users can buy meals for black artists and internet users.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“And one of my favorites as an artist, Rafia Santana, who's using the internet to kind of create a contemporary reparation scheme called Payblack Times. She started this after the election in 2016. And it was basically like...”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah. Well, VR is quite promising, but I was going to mention that one of the things that I think artists on the internet are really. Quite focused on now is there's almost like a blurring line between art and non art that I see happening. So, in nether anthology in the last few years, there are projects like artists who are making a stock photo agency as an artwork.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yes. And so for her, the work is really creating a world where people can experience this particular imaginary speculative way of working through trauma. The world building itself is the kind of artistic project.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“To do that because, well, I think because gaming allows for the creation of a kind of speculative reality, I think that she's interested in the world building aspect of games, that through games you can create a world.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and so she's creating this kind of game-like environment, which is very beautiful. The whole story is about working through trauma and the fragmented nature of the game relates to the way that people experience reality in a fragmented way after a trauma”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“You click on the text to move through it. So it's actually kind of like a throwback in a way to earlier forms of NetHart, but it's bringing it into a Unity 3D environment. Right.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“So we've had things like really interesting work on the gaming front. One of the works from Netart Anthology is by an artist that we love from the Bay Area named Porpentine. This is her... This is her project Psycho Nymph Exile, which is actually a hypertext kind of narrative that brings people through this computer generated landscape and tells this fragmented story.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and I think that there's been a proliferation of tools that allow for games to be made more easily over the past five years, let's say. Or maybe eight at the most. And that's really important because, you know, I don't know if there's like a famous quote where Francis Ford Coppola is talking about how filmmaking will only be an art form when the 13-year-old girl can make a movie with her camera. And something similar applies in the digital realm where when gaming feels too complicated and accessible, people can't express themselves through that platform as easily.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, that's a good question. It's also a difficult question. I've been doing this internet art business for a good while. I have luckily a co-curator who's more in touch with the newer scenes, Ariadine. She couldn't be here today. But one of the things that we kind of noticed in doing this project was that there are sort of distinct shifts that happen on the internet. And one of the recent ones that kind of relates to what you're talking about is, you know, the way that artists have retaken a position within gaming. And I think...”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and it was developed, I guess the database was developed using the punch card machines that IBM was supplying to the Nazi government at that point in time. So in the project they show in the gallery, they use this database and they kind of give a breathing sound to each entry in the database, which represents an enslaved worker. So as a way of kind of rehumanizing the people that were suffering under this regime through the data set that was created to oppress them. It's the idea of a kind of software memorial to them using sound. And I was interested in this project as a way of thinking about the whole concept of The database as being something that kind of controls us, but looking further back into its history. And in a way of like,”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, there's, I mean, of course, this is a big conversation among artists, and it has been for a while. One of the projects that's in our gallery show is called Lungs by a duo called from the UK called Yoha, made up of Graham Harwood and Matsuko Yoku Koji. And that project is using a database from the 1930s that was actually collected Around the workers at a munitions factory in Carlsrew, Germany, by this sort of Nazi officials that ran that factory.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“And she did that for a while. And the idea was that the kind of posts themselves would disappear. But it was very difficult, of course, to make entire social media platform as an artist that had an explicitly sort of anti-commercial vibe to it. No user profiles, no ability to capture any data from people. There was no profit element to this project at all. So in the end of the project, she kind of staged a funeral for the app itself as the kind of closure of it. So none of the content is available. The app itself is gone and the project is now at a close.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Snapchat where you could make posts that were attached to a map and the posts would be Visible for a certain amount of time, they'd go away, and they were always anonymous. And so people were using it as a kind of like a shouting into the void project to kind of release something they had to get off their chest.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“I think maybe another work that's sort of along those lines is Amalia Ullman's Ethera, which is an app that she developed that was intended as a kind of anonymous social media project in response to the way that people were feeling so much pressure to brand themselves online, especially around mental health. Brand themselves house. Well, online, if you begin tweeting, for example, about your issues with depression, soon you attract followers that want to see content about depression and you understand that when you tweet about depression in a certain way, you might get more likes. So there's a kind of incentive to talk about mental health in a certain way that becomes part of like a public persona and that isn't necessarily productive for someone who's using those tools as a way of actually dealing with mental health. Like maybe speaking to your followers isn't what you need. Maybe what you need is release and catharsis, a sense of human connection. So Amalia created Etherea as an app that was a little bit similar to something like”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yes, something is very awful on the internet. So he performed as he did his own kind of Traybonding experience at this gallery space, and it kind of was in Mexico City, so it was in a different context where people might have had their own associations, but he was interested in embodying this very horrible position that people were taking. And then just it really kind of existed as a sort of moment in time”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, and that is definitely a kind of aspect of net art practice too, with a conscious decision not to hold on to something is really something that has its own artistic possibilities. Some of the works in Netart Anthology are only presented as kind of documentation. There's a piece that is kind of an interesting one. That respect by Devin Kenney called Untitled Klifa, and it's a performance that he did in, I think, 2013 in Mexico City. And he was interested in the new meme of Trayvonning, which is like kind of like plinking but done by what he describes as like really horrible people Because trade funding was like lying down with skittles and pretending that you were in the pose of Trayvon Martin.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“It's somewhat ironic the losing of the work because there's a group, just Lorraine Jobs, just bought it, actually pop-up magazine, which creates shows, artistic shows, a lot of them about a lot of them essays, photography, discussions and stuff, music. And they don't tape them at all. They don't preserve them in any way. And that is it. When you see it, the audience sees it and then it is gone. And it's purposefully that way. Although they're very active on social media, they're very active. They have California Sunday magazine, other things. The premise is that the art is done and moves along.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“I think that it varies. Some artists were thinking historically from the very start. For many artists, it never crossed their mind. And there's a lot of examples of people who I think didn't realize how attached they would be to the work that they made until it was inaccessible to them. And then in some cases experienced it as kind of like almost like a personal, like a real personal loss. So it does vary. I mean, someone like Mark Tribe, the founder of Rhizome, was thinking about these questions early on, but it was partly because So many artists had already begun to lose their work and find that things were not able to be sustained.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“I was just looking Certainly feel like we've Well, it's interesting because did you imagine the people who are making this art at the time thought it would survive, or was it not, was it made not to survive? I mean, did you think people then, when you choose to do an internet or a net piece of art, you're making a choice of possibly of, and I want to again use the word obsolescence, but gone, like gone.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“We speak to public, which is made up of many emerging and young artists. And so by recirculating the works, we found that it was sparking these kinds of conversations where people were encountering the works and kind of being inspired by them in ways that in some cases we might have predicted and in some cases kind of not. Like this morning I was just looking at, well, this morning I was looking at a show at the Megros Museum in Switzerland and there's a couple of recent works that are shown in the foreground, one by a Chinese artist named Guangzhou. In the background is a poster from 1991 or 1992 by VNS Matrix called a cyber feminist manifesto for the 21st century. And that was the first work that we presented in Netart Anthology. And I can't claim that we are, the reason that it's there, but I certainly feel like we've put something forward into the world and it's starting to circulate on its own in a new way as a result.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“One of the principles in net art anthology was that we wanted to show the works one at a time so they could recirculate on social media and sort of spark their own conversation. And so, you know, just in terms of rhizome function as an organization, we're always kind of connecting with younger artists by doing interviews and projects. We have a grant program where we give out small amounts of money on the internet with a very easy application. So we have like this kind of”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Absolutely. I mean, I think that the understanding of what we think of as human is shifting as a result of technology. And, you know, this is a project I'm describing from the 90s that was obviously taking up these questions at an earlier moment in that discussion, which is, I think, one of the reasons why a project like this is important to me, because these conversations have a history that we can draw on and I think help to contextualize where we are now in relation to things like facial recognition. Right.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Just so you know No, I'm teasing. I can't endorse this. So the dolls were little sculptures that sat in display cases in a gallery. They each had a webcam in place of one of their eyes, and they each had a website where you could go to their website and see what they were seeing. So they would be displayed in a gallery, and then people on the web could go and look at what the dolls are seeing in the gallery space. And they would upload, like, it was early webcam, so they would upload every three seconds a still image of the gallery space. So it was interesting as a way of thinking about what like a networked vision might be now that we have cameras that we can call up all around the world. How does that change our understanding of human vision? And it was thinking about the internet user as a person who could see through the doll's eyes. Right. So as you click through, you could actually control the doll's heads telematically from the web browser and then you would click through and see these different provocations about what it meant to be a person that could see through the network in this way.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“And so in the 90s, when Dolly, the kind of clone sheep, was developed, Lynn was sort of inspired by that. She is not like a person that is overly, I would say, paranoid about new technologies that might change the definition of what it means to be a human or a living thing. She's more enthusiastic, but also kind of questioning. So her dolly clones were a clone of herself and a clone of her alternate persona, Roberta Brightmore, which is a Kind of identity she's developed as a sort of artwork. And she used to have projects where you could go to a hotel room and open drawers and see Roberta Brightmore's stuff and understand her story from looking at her stuff. She got a driver's license as this altar ego. I mean, all these things that...”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, this is a work by Lynn Hurstman Leeson. We included in the online exhibition. It's not in the gallery project, actually, because we, you know, it doesn't really speak to archiving questions in the same way. Well, I mean, Dolly's been exhibited recently a couple of times, so we felt also. Where do you put Dolly? Explain Dolly. Dolly's greatest. All right, Dolly. Well, Lynn has been working on the questions of like cyborgs and how technology would change the human for a long time, really since the late 60s.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“That's the only, yeah. There's a great effront essay on this way a hundred years ago she wrote about moving from excitement to email to non-excitement. So other tools, one of them was the dolly clones. I remember that. Talk about that because that's an object. You're using an object to talk about surveillance, really, and other issues around that.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Yeah, you never wake up now. Oh, yeah. So don't send me one. I will It's probably a good idea. I mean, it's really a horrifying”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Absolutely, of internet aesthetics. And I also think email is something that's so momentary. To go back to it is actually really hard as we all. It is in our I just forget about it. It's just hard, yeah. And sometimes maybe you wake up in the middle of the night. This is a different way of going back”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“And you could navigate to all the other emails attached to that keyword. It's wonderful. So it's a really interesting classic work of”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT
“Curated into a special selected archive of the best emails that announced events or offered art criticism. And the text base was this incredible archive. And Mark and other people at RISEM were interested in offering new and artistic ways to access it. So Starry Knight was an artistic interface to the text space that took the form of a starry kind of image. When you clicked on each star represented an email, when you clicked on that star, it would bring up a set of keywords. So if you clicked on the keyword nutart, you could see all of the other emails in the text base were connected by a kind of constellation. Right.”
2019-02-25 · Decoder with Nilay Patel · Recode Decode: Rhizome artistic director Michael Connor · IDENTIFIED FROM THE TRANSCRIPT