{"title":"Method","description":null,"products":[{"product_id":"talk-exploring-the-material-culture-of-video-games-through-jewelry-and-metalwork","title":"Exploring the Material Culture of Video Games Through Jewelry and Metalwork","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHey, everybody. I'm Jamin Warren. I'm the founder of KILLSCREEN. KILLSCREEN is an arts and culture organization committed to advancing the practice of interdisciplinary play. We founded it back in 2010. We seek to drive the intersection of design, culture, and impact through cross-disciplinary collaboration. We want to show the world why play matters. We're doing talks like this to help break down barriers traditionally segregating playing games from other creative disciplines. We're trying to foster a diverse community of creators with significant relationships with the world around us. Thank you so much for joining us.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis is our second webinar online event. Please bear with us if there are any technical issues. I always ask for forgiveness in advance—just a couple of housekeeping notes. Let's see here. For Zoom, please hide non-video participants. If you see Camille, for example, please hide them. Camille's working in the background. We'll be recording this and posting it later. If you missed something or want to go back and rewatch this, it'll be available. We'll send an email out to you along with a post-event survey. There's Q\u0026amp;A. Feel free to ask questions throughout the presentation.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWe'll do our best to field your questions as we go, so you don't have to necessarily wait until the end and say, \"I have a great question about something specific.\" Feel free. We may not be able to get to it. If it's a technical question, you could also use the Q\u0026amp;A function, which will be at the bottom if you have a question. You also follow us on Twitter @killscreen and Instagram @killscreendotcom. All right. Let's jump in. We'll give a brief introduction to Lauren. Thank you so much for joining us. Lauren is a New Jersey multimedia object maker, illustrator, and art conservator.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHer work has been exhibited in venues such as the Museum Arnhem in Amsterdam and Arrowmont School of Arts and Crafts in New York City. You should have heard of New York City Jewelry Week and Peters Valley School of Craft. Her work has also been featured in Hyperallergic. Lauren attended Tyler School of Art at Temple University in Philadelphia, which received a BFA in metals jewelry, CAD\/CAM in 2019.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eShe's currently studying part-time at Rowan College of South Jersey at Rowan University and Temple University as a pre-program art conservator. She was a studio assistant at Peters Valley School of Craft and an artist-in-residence at the Houston Center for Contemporary Craft. She is based in Philadelphia, which we both have in common, being both Philly people. I promise there will be no questions about gritty or Philly cheesesteaks. Do you have a favorite cheesesteak place in the Philadelphia Metropolitan area?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eNot really. I'm not a big cheesesteak fan. That's sacrilegious.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat is the correct answer. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI've never been to Geno's.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAgain, totally, totally fine. All right. Well, Lauren, let's get started. I'd love to hear a little about your background and how you came to the material culture of games as the medium. Tell us a little bit about your experience. What kinds of things were you into growing up? How did you decide to follow this particular creative passion?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI went to Tyler School of Art. We have a metals drawing CAD\/CAM program there. I liked that program. I was attracted to it because I wanted how technology-focused it was. What brought me in was they had a huge 3D printing lab with, I think, 15 3D printers. All that shiny technology was desirable to me because I had been really into the topic of science fiction in art for a long time. I had also been really into video games before I went to college. When I was little, my first video gaming console was the Little Game Boy Advance. I would play Pokemon a lot and Zelda.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI went to school and got into 3D printing and technology. Then I also learned how to work with metal and different types of plastics and stuff, and the art form and just these small sculptures were beautiful to me because I could use almost any material I wanted. Then from that, I went to Peters High School of Craft, where I learned more about the historical background of craft, and from there, I've just been interacting more with the contemporary craft field at large, which has led me to where I am today, becoming an art conservator.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI don't think we discussed this, but on the sci-fi side, so much gets created. So much is done digitally now but certainly for earlier sci-fi films. Were there any particularly resonant for you as a child or looking at the things created for particular movies or TV shows?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWell, I know that lots of them used to use a lot of tiny models, but in terms of special effects, I was really into horror movies. Well, I still I'm really into horror movies. I liked all those special effects that John Carpenter used in \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe Thing\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e. That was a lot of silicone and plastics and stuff. That's the kind of materials we were working on within the school. I found that interesting. Especially all the fake gore. I liked horror movies with the actual special effects with that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAs a child, you were not making anything prop elements scaring your parents.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eNo, I couldn't access that kind of stuff. I was still interested when I got to school and realized I could make that. Once I realized there was much less of a barrier to access with all these special effects, I started watching more of those movies.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat makes a lot of sense. You studied jewelry and CAD\/CAM at Tyler. Tell me a little about your first experiences with metal and jewelry. Was there a moment where it clicked for you where you felt like, \"Oh, wow, I can do some of the things I've seen in virtual spaces or cinematic spaces? I can start to make those things myself.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. Well, one professor\u003c\/span\u003e\u003cspan data-preserver-spaces=\"true\"\u003e inspired me in 3D printing because he would 3D print these forms for his jewelry that you could not make by hand. That was the appeal of the 3D printing in small sculptures and jewelry, art jewelry. You could complicate things because the computer would do all the work for you. You have to tell it what to do.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYou could still use digital tools and have the presence of your artistic style in hand with that, and that was attractive to me. Then what sold me was we were 3D printing wax and then casting it with traditional metal casting equipment. Although molten metal becoming something I saw in a computer was so cool. That sealed the deal for me to decide to focus on that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eNo, that makes a lot of sense. Well, along those lines, here it goes. Next slide here. We asked you to share some of the things you were working on in the past. What's happening here, and how it relates to your work for the uninitiated and those unfamiliar with your process?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIn my art, I use this metal process called anodizing with titanium. Anodizing is when you run an electrical current through titanium, and the chemical reaction creates an oxide layer on the metal which is a bright color depending on how much electricity you run through it. It's just a process you can use to make your materials colorful.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI was attracted to all the colors because I had been doing these illustrations and taking inspiration from all these saturated art with movies and video games. I jumped at the opportunity to use it in my 3D work, this whole body of work. One of my other professors at school, Mallory Weston, her entire body of work has a ton of titanium. I got to be taught by one of the people familiar with it. I ended up investing a lot of time in it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIs it difficult for that color side to work with metals? Is that a tricky part of the process, like working with strong colors like that in your particular work?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSometimes, it can be not easy with metals to be a lot of different colors. Sometimes you have to use patinas that are strong chemicals and stuff. From a studio perspective, it can be hazardous to do it a lot. You don't want to expose yourself to all these different chemicals all the time, but with the anodizing process, you don't need any crazy chemicals. When I had just graduated, it was really attractive to me in my studio because I didn't have to worry about inhaling noxious fumes. All you need is like-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSame here. Same with my everyday life.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, you don't want to put yourself at risk because you want to be doing it for a long time. The anodizing process was attractive because it was helpful from a studio safety perspective. Also, it's easy to replicate it repeatedly with the same consistency because it's a scientific process. You can standardize all the different elements to make the same thing frequently.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIs this something you're doing in this image right here? Is this something that you're doing at home? What is your setup for this particular piece?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, this is just in my studio. How you do it is you have a little, I don't know, like a power box. This is just an antidote thing machine that provides electricity. Then you put your piece in water so that the water will carry the electricity evenly over the entire surface. Then the part I'm touching, the piece that gets colored, is connected to the power source. When you touch the metal, it completes the circuit. Then when the circuit's complete, that's when the anodizing processes happening. When I removed my hand, it stopped because the circuit was no longer completed. I'm wearing a rubber glove because if I weren't, I would accidentally electrocute myself, which I did, but I no longer make that mistake.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eGot it. Yes, we have a question from Diana Karnes, who asks why the color keeps disappearing and reappearing, aside from the fact that it's a looping image. \u003claughs\u003e\u003c\/laughs\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe image is looping, but the anodizing process goes through a spectrum of colors because the oxide layer becomes thicker and thicker, refracting light differently. If you stop at any point in the process, that's the color you'll get. Sometimes I'll let it run longer on some components of the piece and other parts to get nice contrast in color.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eOh, fantastic. That's cool. Thank you, Diana, for your question. If anybody else has any questions, please do. I have an unusual pronunciation of my name. If you also have a unique or would like me to pronounce your name correctly, I will do my best, but you can also type it in phonetically. We can do that as well. All right. Well, we can keep going here. All right. This is a \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003ePlaines of Mystic and Material Memories\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e. It's a digital collage on matte paper. Tell me a little about the triptych structure you had put together. We talked about your background in illustration and how that intersects with metalwork.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI'd love to hear a little about how you're putting this piece together and how something like this gets interpreted into metalwork and jewelry.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI wanted to make a triptych because I was looking at a lot of medieval art and stained glass. I am a big fan of Hieronymus Bosch, and he's made a lot of crazy triptychs; I wanted to make a triptych, and I also tried to use it as an opportunity to do some world-building. Illustrators do a lot of world-building, and artists do a lot of world-building. I wanted there to be a lot of density of information. The middle panel is more of a gateway type of theme. It has all these keys, and then there's an actual arch. The three-pronged object refers to a dowsing rod, a divination tool people use to find water sources.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe middle panel is about searching and finding this gateway to this dimension where I'm doing all my world-building; I imagine all my objects and body of work coming from this strange, timeless dimension. That's the middle panel, and then the left and the right panels are the different facets of this world. The left panel has more natural imagery, creatures, animals, and stuff, so that would be the mystic plane. Then the right one is correct from my perspective; I don't know if it's everybody else's, but the right one has more material things, objects and gems and bottles of vessels and candles and stuff. That's the more tangible side of the--\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe mystic and the material are two sides of the same coin. They're opposites, but they go together, especially if you're thinking about something magical like alchemy. There are a lot of internal parts to it, but then it's based a lot on the material. I was trying to show all the different facets of this world; I was thinking about my work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. We typically think of your craft as different from a screen-based medium. When you were first working with jewelry and technology, did you get any pushback, and people were like, \"No, you're supposed to,\" When you're doing jewelry and metalwork, it needs to be, you don't start here? You don't start with something like this. You begin in another place.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI think just because the program I started out in never really saw it as a dichotomy, but that perspective does exist in the field where it's like, \"Okay, well, this is a traditional medium,\" the traditional medium is based in the tangible and all these technological things are taking away from the tradition of the press. The way my mentors taught me, nobody ever really saw it as a dichotomy. It doesn't have to be a dichotomy. There can be both to make something more significant than the sum of its parts.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eNo, that's such a great point. Let's talk about this \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSynthetic Relic\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e. Please tell me a little about the relationship between what we saw previously and then something like this. I know you also have some of your pieces with you, but can you tell me a little about that transition? You went from designing something on a screen to this much more physical process.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI'm still making these types of objects using the computer. I will lay out all my metal fabrication on a 2D plane so that when I cut and saw and filed it all out, it's easier for me to fabricate. The process starts visually but ends up being tangible in the end. In this piece, conceptually, I thought about how pendulums are a divination tool. I was thinking more about the magical side of it. I was thinking about something that you might arrive at amid some journey, and the illustrations on the piece are celestial. I was thinking about that otherworldly dimension all my art is inhabiting.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThen I wanted it to look a bit like a puzzle box because I was thinking about the box from the \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHellraiser\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e movies where you open it, and then it creates another dimension. Then the claw referenced the medieval and fantasy worlds I'm inspired by. That's how I made this whole piece. Then I used anodizing to make the different colors reference my illustration. I have it right here. I'll show you how big it is compared to an actual person. It's big.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, of course.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYou can see my illustrations and stuff on it. That's another way my hand, the style, and the artistic hand are present. I'm connecting my tangible, fabricated metal pieces to my more virtual illustrations that are taking inspiration from this 8-bit style.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. You mentioned early horror films or SciFi films using a scale to make things look larger or smaller. That's definitely at play here too. Looking at the image, you might- this could be very large, or it'd be tiny, and as an earring, you can work on both different-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. I like that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. Along those lines, do you think of your work as being wearable? Do you have an idea? We often say that writers like you should write with an audience in mind; is there like a person or-- Yes. What do you think about the wearability of your objects as part of your process?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI think a lot of my objects are just more sculptural, like more wall objects, even some of my smaller pieces, my woven pixel series, which is these, they're like not-- You're not going to wear that to I don't know, Christmas party. You mentioned this comparison about how runway fashion is not necessarily- it's just like a concept. My work's based on the idea of wearable as a function, or it relates to the body in terms of concept, but it isn't more of a-- It's less of a production line and more of an exhibition function.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. Could you showcase what you just showed a second ago?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis one?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, exactly. There's been a more profound interest amongst game designers in using 8-bit, and some of that's nostalgia-driven; it's a function of games that people grew up with. What does the pixel represent for you, and how did that play for the piece you just showed?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis was the first one I did with this technique where I'm like weaving the metal. I was trying to bridge my illustration with my tangible work. I had already been using this 8-bit pixel style. I was attracted to that because of the nostalgia and the information density with concise pixels. It allowed me to make many of these little symbols that I like to use, like, how hieroglyphics would work, and communicate a lot of information.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI was attracted to it in that way. Then I also really liked the colorful style because I have a more maximalist approach to color. I wanted those two elements, which drew me to the 8-bit, so I tried to carry that over to my metal. The density of information works when you're trying to make something out of fabrication because then you don't have to try and do realism; you can do something more abstract.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAbsolutely. It's interesting because, like you as someone making something physical or looking to video games for inspiration, it's also working the other way. You see this with game makers, where they're often creating digital objects. They want those digital objects to have a tactility feel to them as well. Are folks making video games actively thinking about things in this anthropological way right now? This is something that, if it existed in the real world, would have resonance, meaning, and the process associated with it.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. When people are making these video games, they're building on this lore of this world and trying to incentivize you to interact with it. This incentive to interact with it makes everything have inherent meaning. I'm thinking about how to say this. These objects in the game have intrinsic meaning, and they're not necessarily constrained by the real. This meaning also exists in real-world objects; people have sentimental attachments to things and sometimes reference greater community sentimentalities. Video game objects also present that connection to different parts of the world.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThere's a generational gap there. I think we're seeing that now with digital goods, whether those are the ones that are happening through game environments or obviously through things like NFTs; I think for a generation that's grown up with digital goods, the idea of these things would have some value is not that unusual at the \u003ccrosstalk\u003e\u003c\/crosstalk\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI played \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHades\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e recently, and you can collect all these keepsakes in the game that are, like, you get them after achieving a special relationship with someone. People will give each other jewelry and stuff after being in a specific type of relationship, so that's similar.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI want to talk about this next piece, \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSynthetic Relic\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e. I scrolled back here. What is the relationship between this object and the previous, much larger one that you showed?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, okay. This was the first one I made in this series. I called the whole series \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSynthetic Relic\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e because I wanted it to be something from the past, the relic part, and then something a little bit from the future. I had been looking at these imagined futures from other science fiction in many of my works. Still, I realized that imagining these futures like that happening in the past, and then I was also thinking about, as an art conservator, how we carry the past into the future.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat became the title \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSynthetic Relic\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e. The next to my other pieces is different from this kind of piece. All come from this world that it's a little bit timeless; the world is atemporal, and it is the better word to describe it. This piece and the large pendulum piece I made are both something you would arrive at and be like an event in a story, you know what I mean, and a unique thing.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIn this piece, it would be interesting to imagine somebody taking it off a wall, which could cause something to happen, like in \u003c\/span\u003e\u003cem\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIndiana Jones\u003c\/span\u003e\u003c\/em\u003e\u003cspan data-preserver-spaces=\"true\"\u003e when he takes it off the pedestal. Then all of a sudden, the temple starts collapsing. That's what I imagined for this piece.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI presume that when these are displayed, you do not encourage people to take them off the wall.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI wish I could, but exhibitors always want something else.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI know, that makes sense. I want to explore the digital side of what you were creating here. Can you walk through your use of digital tools for fundamentally creating an object like this? We talked about what that looks like from your school days, but from a process standpoint, what are we looking at here, and how does this manifest itself in the actual creation of the final piece?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThere are two types of processes on this. The one on the left, the claws, that's how I made the wall mounts for my pieces. That workflow differs from how I make the layouts for metal fabrication, which is what you see on the right. They both happen in the same program, Rhino, and I like using Rhino because the license fee is accessible to independent artists.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe one on the left is I'm just 3D modeling it or 3D printing. This is just you're using different commands in the program to make something that's 3D, and then you send it to the 3D printer, and then they send it to you in the mail. Then the one on the right is-- There are two parts to this. There's the actual line drawing that I print out on just a regular laser inkjet printer. I print that out after I've done all my little pictures and stuff, and I make a paper model if I feel like putting in a lot of effort, or I go right to the metal.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWhat I do is I cut it out, and I make a paper model, and then I cut it out. Then I attached it to the flat surface of the metal, and then I just saw it out with a little handsaw. I sawed out all the lines I do with my little woven structures. Then I can fabricate that as a traditional jeweler would. This is what you see here. These structures started as a drawing in the Rhino software.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis is what I'm talking about: the computer can do things that would take so long for you to do by hand. I can make all these little schematics and print five to six of them instead of redrawing them a million times, or I can draw all these little, perfectly parallel lines on the computer so quickly compared to doing it by hand, where it would be more time-consuming.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWhen making this kind of art, you're trying to use your time efficiently, so using the computer and the digital tools allows me to focus on different elements and not have to worry about the minutia.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAbsolutely. When you're working at this stage right here, are you thinking about materials, what materials you're going to be creating ostensibly, or is it more about the shape and the form, and then you'll figure out afterward here's what I'm going actually to construct this.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eA little bit of both. On the right, there's the sketch in front of the human model. At that point, I need to think about what specific metal I will use for this. I like to use titanium because it's colorful. I want to use steel because it's strong as a skeleton, but I need to figure out exactly where all those elements will go.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThis next to the person is when I'm sketching it to see what it might look like. Then when I'm going to the schematic, I think more literally about, like, \"Oh, this piece is going to be made of steel. This piece is going to be made of titanium. I'm going to put a screw here so that they attached at this point so that it can make this larger form.\" Then when I was doing the 3D printing, I had to be cognizant of the parameters the printer could print in because if I were not working with it, it would not look very good or work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat makes sense. All right. Have you ever had to make any significant changes? Like when you've moved into this stage, for example, have you ever had to make any substantial changes to what you thought, like, \"Oh, well, this worked on the computer, but honestly, I'm going to have to make some serious adjustments to what this looks like.\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. Sometimes the material wants to work with you differently than you've planned. I have spent hours and hours on a piece, just sawing out all these little tiny lines. Then all of a sudden, in the fabrication, which is almost one of the last steps, I realize that bending a certain point snaps something off every single time. Well, I \u003cem\u003ehave\u003c\/em\u003e to figure out a different way to do this. The more you do it, that's present in craft, whether you're using digital or analog methods.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe more you do it, the more you learn how to do something better, so that is just like how the craft works.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eAbsolutely. On the ZBrush side, can you tell us a bit about your workflow working in ZBrush and that experience of moving from? I suspect you may have worked with other design programs like that, but you must be literate in these two different spaces. What is your workflow for ZBrushis for anybody looking to explore that tool more deeply?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. ZBrush and Rhino are my favorite 3D modeling programs, and they're different. The program works in different ways. ZBrush is more vectors and similar to 2D with Illustrator compared to Photoshop. If I have a rough shape I want to make, I can make it in Rhino a little bit quicker, and then what I'll do is I'll take that file that I've made and into ZBrush, and then ZBrush is you're modeling a lump of digital clay. I can do some details that Rhino wants to avoid doing in ZBrush.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI can draw it and model it and maybe do like the fine-tuning and the surface detail work in ZBrush, and so that is my workflow is, I'll rough it out in Rhino, and then I'll take the ZBrush, and I'll do the surface and do maybe some things that I'm not sure. That would take way longer in Rhino.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat makes a lot of sense.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI sometimes use Blender because it is the light version of ZBrush but less expensive.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eGot it. For anyone looking to get started, maybe somebody who's working from a more traditional object-oriented, physical object, how would you recommend them like getting started or if they want to incorporate this into their existing practice and vice versa for someone maybe who's working with these tools, but now might want to make the jump over into physical fabrication. What would you recommend?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe ZBrush interface could be more straightforward if you go from hand fabrication to 3D fabrication. You might want to try Blender because it's free and low stakes if you're trying it out. You can use those skills in ZBrush if you decide that's the way you want to work, but then so try Blender or try Rhino because Rhino I like because it has a lower license fee compared to other programs, and there are lots of resources online probably that use Rhino.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eHow to make this thing? It'll show you how to make this ring or this kind of tool in Rhino. It's straightforward to do something step-by-step. That's how I would do it if you're going from analog to digital. Then if you're going from digital to analog, it depends on where you're trying to end up, but that's how I work. I'll use digital tools and end up with analog. You can use Rhino or ZBrush to sketch because you're already familiar with that.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eSometimes if I try sketching in a notebook, it doesn't look how people would think an artist's sketches look. It's like a lot of really ugly thumbnails that I've drawn. If you're comfortable in a digital workspace, use those tools to do your sketching and try and be loose with that, and then you can make something that would help guide you in a hand fabrication setting, which is how I work myself.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWell, can you tell us a little about some of the weaving practices you use in terms of what we're looking at here for this particular piece?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. This piece was the second piece I made with this woven titanium workflow. I was at a residency in Houston at the Houston Center for Contemporary Craft, and I started doing this. I was inspired by one of the other residents who just did weaving. Weaving, usually you think of it as making cloth or something, and the threads are fragile. You see less of it than you do in this way, but the person whose work inspired me was weaving cut-up vinyl billboards. That artist's name is Tim Gantraf.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI liked how they used billboard images to create woven images. I thought, well, I could weave my illustrations into the metal by cutting metal strips, so I hand-sawed every single one of those little lines you see on the right. It took a long time, but the point is that the craft can be meditative in how tedious it can be. When I do these pieces, I sit down and listen to a podcast or an audiobook, and then, six hours later, I'm done.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYou're time dilated.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. You zone out, and then suddenly, your work is done. Craft has been like that for people forever, and so then after I saw these lines out, I have these little strips of titanium that I've prepped and anodized and colored, and then I can weave them, like someone would be weaving a basket or on a loom, and then I have the piece right here. I can show you the back of it. This is the piece. Then initially, I had been trying to do an image on here. I had drawn this image with all these symbols and stuff in my triptych, but the material didn't want to work with me.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI ended up just trying to do like this cloud, and that's another example of I get to the analog part, and it's the material is like, no, you can't do that. You have to roll with it. I created this, but then you can see on the back this is what the back looks like. It looks like the back of if you turn like a rug or a woven tapestry to the back, this is what the back looks like. You can see how it's connected to these other types of crafts work.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat's cool. Well, we got a couple more questions, and then we'll open it up for Q\u0026amp;A. We had a request. We sent out inquiries to everybody, or I requested folks. Do you have any things that you wanted to ask Lauren? Someone had asked w what pieces become iconic to fans, viewers, and players and why. This person, they're asking, both in a digital and a physical context for video games that you've played, they wanted some insight on why you think certain pieces get a hold of people.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWell, the first thing I can think of is in video games, the whole Pokemon franchise; the Pokeball is the object that you think of the most; it's part of every single game because it's what catches the Pokemon. Sometimes these objects also function as symbols and logos. As I said before, objects carry all this meaning so the objects can serve as a shorthand for many other things.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIt communicates much, even without words, so things become very popular for a franchise or a game. It means more than just the image of it, like the colors and the pixels.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThere's also something with games. Like games in particular, so much of what we do is active at some level, and so there are very few video games in which the character does not have something or wear something, or it's not just like in an amorphous, you look at something like Pong by contrast. I think it's maybe the pong ball or whatever it might be, but it's undoubtedly. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYou think of Pong, and you immediately think of the image of it, which is like the-\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe pongs. Is the ball the Pong, or are these the Pong?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI've never played Pong.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIs it the sound that the ball makes when it hits the paddles?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThat would probably be people who would hear that and immediately get flashbacks.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, in any case, the games, because they're so active, we work with objects in games in some shape or fashion. We have emotional experiences when we play games. I definitely can see what you're saying. Anyone who's played Pokemon, You have an iconic experience that you had.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIt just ends up meaning more than what it is.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. All right. Cool. I wanted to discuss it; you said you're studying to be an art conservator. How are you finding that balance between conservation, a past-based practice, and the work you currently deal with in terms of looking at speculative futures and thinking about what will be someday?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWell, in the actual day-to-day, my artwork, the processes are technical and scientific, like that anodizing process. I said it was scientific because you have to make sure your anodizing bath is the same every time, like the scientific method being the same every time. Then art conservators have to know a lot of chemistry, so the day-to-day is similar between my art practice and becoming an art conservator, learning all the science. Then I think conceptually and thematically, art conservators, a lot of their work involves researching the past, art history, and everything.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eThe purpose of all that is to make the object lost in the future. You're trying to make these objects last longer than you. You're participating in something that isn't so immediate in the past and the future. You're doing all this work for the future. Then that relates to me in my art practice, thinking about the end from the point of the past.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, that makes sense. Being acutely aware of these things by virtue that there are these things that will live on past whatever happens with ZBrush or Rhino or any of the digital programs. The fact that you have physical objects is a massive issue in digital conservation, where so much of it's tied to these commercially available tools. There is something beautiful about thinking, \"Hey, how can we create something digital or physical that will live on past when my time?\"\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. That's what I like about art conservation, and it's what I like about science fiction and thinking about the future. The current moment can seem immediate sometimes when you think about all these traditions, people like traditions because it connects them to the past. You're thinking about these traditions, and you're thinking about the past, and it just makes you a part of something greater than your current moment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes. Well, let's open it up for questions before we go. If you have any questions for Lauren, you can pop those into the Q\u0026amp;A. Let's see. All right, so one question we have is, what excites you about Zbrush and Rhino as opposed to other 3D modeling tools? I know you got into it a bit, but if you care to unpack that more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYes, well, ZBrush and Rhino, as I said, are different, but they work well for my workflow. Also, there's a lot of potential with them. Between the two of them, it's exciting because you can create so many different things. That is what drew me to the field of metals jewelry and CAD\/CAM and contemporary crafts, in the beginning, was that you weren't constrained. The potential with ZBrush and Rhino is inspiring to me because, between those two tools, you can model almost anything.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI have yet to explore a lot of other 3D modeling programs. I know that, like I mentioned, Blender. Blender is similar to ZBrush. They're from the same idea. You can make many things with those things, and people use them for many things. That draws me to them and makes me excited about using them. It keeps bringing me back to just sitting in front of my computer.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eYou also do work that references stained glass. You talked about that briefly with the triptychs you'd worked on. What interests you about religious, spiritual, and chemical research and motifs?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eLauren: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eWell, stained glass just is inherently beautiful. That, first off, draws me to it. Then like I said, I like colorful things. I like all the colors, and then the stained glass is used in many churches. In my one art history class, I remember we studied all the stained glass in Paris. I like all the religious scenes and stuff people use stained glass with. One of the ways that people use stained glass in churches is when the light comes through; it is heavenly.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan data-preserver-spaces=\"true\"\u003eIt makes people's connection with God visible because it uses light to make it more ethereal and illuminates these stories. I'm attracted to the rich storytelling people use stained glass with and all the imagery. Religious art appeals to me because people would make religious art and be patrons of it because they wanted to be a part of something greater than themselves, which is compelling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eJamin: \u003c\/span\u003e\u003c\/strong\u003e\u003cspan data-preserver-spaces=\"true\"\u003eI meant to draw the eye and add more to it. Hopefully, it will always radiate a magical and memorable experience. Great. Well, Lauren, thank you so much for your time. I appreciate it. Let's see. We can go back here for anyone interested; you can follow Lauren. Lauren's website is Lauren-eckert.com, or follow Lauren on Instagram. Do the same for us, killscreen.com. We publish interviews and wonderful stories every week with exciting and dynamic creators like Lauren.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Artist \/ Student","offer_id":45242481901732,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45242481934500,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45242481967268,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Lauren-Eckert-Instagram.png?v=1709840051"},{"product_id":"building-an-informed-virtual-reality-with-team-rolfes","title":"Building an Informed Virtual Reality with Team Rolfes","description":"\u003cp data-mce-fragment=\"1\"\u003eVirtual reality is becoming more accessible to larger audiences. Often, however, thrown to the wayside is artistic merit and the medium's philosophical implications. Brothers Sam and Andy Rolfes use VR along with other emerging technologies to highlight the absurdity of life, dream up ironic characters, and make anti-capitalist statements. In their hands, VR becomes an envoy for a greater purpose.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThis lecture went not just into the how but the why of the Team Rolfes approach to VR. Here, they demonstrated their tools, performance, and practice—and the mindset they approach them with. Sam and Andy gave a real-time demonstration of the techniques they are discussing; merging the philosophical with the physical.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Team Rolfes\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTeam Rolfes is a pioneering virtual performance studio based in NYC, founded by directors Sam Rolfes and Andy Rolfes which pioneered real-time animation with VR puppets, motion-captured abstract avatars, and viscerally intense imagery derived directly from the nuances of human motion.\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eTeam Rolfes' practice has expressed itself across a spectrum of formats, from livestream improvisational comedy, to live animation on stage, print design for fashion collections, album covers, and music videos for collaborators including Lady Gaga, Danny Elfman, Holly Herndon, Danny L Harle, Metallica, Amnesia Scanner, Lunice, Denzel Curry, Arca, Nike, Adult Swim, and music festivals across the world.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Artist \/ Student","offer_id":45243927396516,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45243927429284,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can","offer_id":45243927462052,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Rolfes_Homepage_621.png?v=1709840074"},{"product_id":"the-concentric-fictions-of-a-generous-history","title":"Using Interactive Fiction as a Political Tool","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGame research and art studio Studio Oleomingus’ Dhruv Jani lead a kaleidoscopic narrative design workshop, centered on the question: can interactive fiction operate as a powerful political tool? This workshop interrogated language, protest, bodies, and empathy in the games space. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe workshop was structured into four exploratory parts:\u003c\/span\u003e\u003c\/p\u003e\n\u003col data-mce-fragment=\"1\"\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIntroduction: Beliefs and practice\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003ePlaces, sites, and boundaries\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eBodies and identity\u003c\/span\u003e\u003c\/li\u003e\n\u003cli style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRituals and labor\u003c\/span\u003e\u003c\/li\u003e\n\u003c\/ol\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eParticipants will leave with a storytelling prototype to develop into an analog or digital game.\u003c\/span\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Student \/ Artist","offer_id":45232635871396,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45232635904164,"sku":"","price":99.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45239109877924,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/DSC3394.jpg?v=1709840081"},{"product_id":"how-to-translate-a-person-into-pixels-and-the-art-of-digital-dance","title":"How to Translate a Person into Pixels and the Art of Digital Dance","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eFrom rotoscoping to video game engines, real-world motion has long been used as a template for fictional recreation. While used widely, it’s rare to find creative uses of these tools that push beyond the body as a software activator. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eArtist, programmer, and dancer Maya Man explores the concept of the body as a medium for artistic expression through motion and volumetric capture. She sees herself as not just the activator of the software but an integral part of its process and the source of a project’s meaning. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eIn this post-mortem, Maya explores three past projects, two versions of \u003c\/span\u003e\u003ca href=\"https:\/\/feralfile.com\/\" data-mce-href=\"https:\/\/feralfile.com\/\" data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003eFeral File\u003c\/span\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\" data-mce-style=\"font-weight: 400;\" data-mce-fragment=\"1\"\u003e project “Can I Go Where You Go” and musician Joji’s  “777” music video. Foran audience that is at beginner to intermediate level familiarity with mocap and volumetric capture, this post-mortem will examine not only the functionality of these softwares but the higher utility of them as obsearvers of self and conveyors of practice.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong\u003eAbout Maya\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMaya Man is an artist focused on contemporary identity culture on the internet. Her websites, generative series, and installations examine dominant narratives around femininity, authenticity, and the performance of self online. She is the creator of the browser extension\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/glanceback.info\/\"\u003eGlance Back\u003c\/a\u003e\u003cspan\u003e \u003c\/span\u003eand the Art Blocks curated collection\u003cspan\u003e \u003c\/span\u003e\u003ca href=\"https:\/\/fakeittillyoumakeit.lol\/\"\u003eFAKE IT TILL YOU MAKE IT\u003c\/a\u003e. She has exhibited internationally at bitforms, NYC; SOOT, Tokyo; Vellum, Los Angeles; Power Station of Art, Shanghai; and Feral File, online. Her work has been featured in Art in America, Forbes, Zora Zine, Dirt, Various Artists, and more. Maya holds Bachelor of Arts degrees in Computer Science and Media Studies from Pomona College and an MFA in Media Art from UCLA.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Artist \/ Student","offer_id":45240137154724,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45240137220260,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45240137253028,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/777_still_4.jpg?v=1710894949"},{"product_id":"subverting-expectations-in-art-and-immersive-gaming","title":"Subverting Expectations in Art and Immersive Gaming with Leo Castañeda","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eThe space between game-making and art practices shrinks every year as more artists integrate game software and mechanics into their practices. The result: a boom of new exhibitions that showcase artists using these tools and a growing public interested in seeing the integration of games and art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eColombian-American artist Leo Casteñada is one such practitioner. In recent years, he has worked to create a set of work that reflects the language and rules of gaming in art. In this post-mortem review, the Miami-based creator goes over the development of his piece in \u003c\/span\u003e\u003ca href=\"https:\/\/www.hek.ch\/en\/program\/events\/eroeffnung-radical-gaming\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.hek.ch\/en\/program\/events\/eroeffnung-radical-gaming\"\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eRadical Gaming-Immersion Simulation Subversion\u003c\/span\u003e\u003c\/i\u003e\u003c\/a\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e, an exhibition at Basel’s HeK Museum Leo will also glance back at the process of developing games for the art world.\u003c\/span\u003e\u003cspan data-key=\"104\" data-mce-fragment=\"1\"\u003e\u003cem data-slate-leaf=\"true\" data-mce-fragment=\"1\"\u003e\u003c\/em\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cstrong data-mce-fragment=\"1\"\u003eAbout Your Speaker\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eLeo Castañeda (b. Cali, Colombia 1988) is an artist and game designer living in Miami, FL. Fusing gaming, painting, virtual reality, drawing, and sculpture, Castañeda's work reimagines the racial, socio-economic, and posthuman anatomies that govern mythologies and societal systems across our globalized world. For ten years Leo has been developing the “Levels and Bosses” series using the structures of gaming to create artworks and narrative through feedback loops of analog and digital. Interrogating modes of interaction and power structures, the work now culminates in an interactive video game and transmedia sci-fi experience.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eCastañeda received his BFA from Cooper Union in 2010 and MFA from Hunter College in 2014. Residencies include SOMA Mexico City attended through the Cisneros Foundation (2014); \"Of Games III\" at Khoj International Artists Association in New Delhi India (2015); Bronx Museum AIM Program (2017), and Oolite Arts Studio Residency (2018–2019). He is a recipient of South Florida Cultural Consortium Visual\/Media Artists Fellowship, Locust Project Wavemaker Grant, and Oolite Arts Ellies Creator Award.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eExhibitions and screenings span HeK Basel (2021), Bass Museum (2020), Bronx Museum of the Arts (2017), Espacio Art Nexus (2017), Frost Art Museum (2012), Wolfsonian Museum (2019), Children’s Museum of Manhattan (2019), IndieGrits Festival (2017)  and more. Castañeda’s work has been featured in Killscreen, Rhizome, El Nuevo Herald, El Pais, and Vice.\u003c\/span\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Student \/ Artist","offer_id":45239011016868,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45239011049636,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45239026024612,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Leo_event_website_InstagramPost.png?v=1710868714"},{"product_id":"making-more-artful-games-with-playmaker","title":"Making More Artful Games with Playmaker","description":"\u003cp\u003e\u003cb\u003e\u003cu\u003e\u003c\/u\u003e\u003c\/b\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003eScripting can be among the most difficult tasks when building a game. Playmaker, the visual sculpting software for Unity, helps with that. It removes the need to know how to code and instead emphasizes what the game maker wants to happen.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"786\"\u003e\u003cspan data-key=\"787\"\u003eIn this one-hour beginners workshop, filmmaker, game developer, and musician Stephen Scott Day gives participants an introduction to Playmaker. As a practitioner, Day sees the software as more than just a simple game builder. He sees it as a tool to create immersive art and expansive stories. 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data-slate-fragment=\"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data-mce-fragment=\"1\"\u003e\u003c!--more--\u003e\u003c\/p\u003e\n\u003cp data-key=\"741\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"742\" data-mce-fragment=\"1\"\u003e\u003cstrong data-slate-leaf=\"true\" data-mce-fragment=\"1\"\u003eAbout Your Speakers\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"743\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"744\" data-mce-fragment=\"1\"\u003eTobias is a German senior copywriter located in Berlin and is currently employed at DDB Germany. Although he studied communication design, he quickly discovered his love for ideation and concepting and kept searching for better ideas. So he did the “BBDO Masterclass” traineeship. 18 month, 4 different cities and one challenge: becoming a copywriter. Since then, Tobias has been working for some renowned agencies and clients, including Audi, Volkswagen and Reporters Without Borders. The search for bigger and better ideas has become somewhat of a passion and his work is being recognized and awarded by multiple international creativity festivals such as the Cannes Lions and the D\u0026amp;AD.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJames is the founder and Managing Director of \u003ca href=\"https:\/\/www.blockworks.uk\/\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.blockworks.uk\/\u0026amp;source=gmail\u0026amp;ust=1631026840068000\u0026amp;usg=AFQjCNGD_O1mOIvw3JGEgw0VTMHbqgzcBA\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/www.blockworks.uk\/\"\u003eBlockWorks\u003c\/a\u003e, a collective of designers, artists, and developers from around the world with a shared passion for Minecraft. BlockWorks has grown from an informal group to a global design studio that has pioneered the use of Minecraft as a design tool with film studios, marketing firms, and educational institutions. In 2016, James published \u003ca href=\"https:\/\/nostarch.com\/beautifulminecraft\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/nostarch.com\/beautifulminecraft\u0026amp;source=gmail\u0026amp;ust=1631026840068000\u0026amp;usg=AFQjCNHo310J3j6jEEPSOuWzHMIE7o9XTA\" data-mce-fragment=\"1\" data-mce-href=\"https:\/\/nostarch.com\/beautifulminecraft\"\u003eBeautiful Minecraft\u003c\/a\u003e, a compendium of stunning artworks built in the game by the BlockWorks team.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJames is also the Chairman of the Block by Block Foundation, a non-profit partnership between UNHabitat, Mojang and Microsoft which uses Minecraft as a community participation tool in urban design, engaging and enabling young people in developing countries to participate in the urban planning process.\u003c\/p\u003e\n\u003cp style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eJames graduated with a degree in Architecture from Cambridge University and pursues a particular interest in the correlation between architecture and video games. He is an elected fellow of the Royal Society of Arts, and has given talks at the International Spatial Development Forum, The Bartlett School of Architecture, and the British Library, among others.\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Artist \/ Student","offer_id":45240123130020,"sku":"","price":10.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45240123162788,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45240123195556,"sku":"","price":10.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Uncensored_Library_event_Instagram.png?v=1709840133"},{"product_id":"using-green-screen-to-make-believe-new-worlds","title":"Using Green Screen to Make-Believe New Worlds","description":"\u003cdiv class=\"style-scope qowt-page\" id=\"pageBorders\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"style-scope qowt-page\" id=\"contentsContainer\"\u003e\n\u003cdiv class=\"style-scope qowt-page\" id=\"contents\"\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eImagining a new story or world is one thing, but it can be difficult to make that world come to life on a digital screen. While there are many different methods to bring these worlds into existence, a fair number of systems are difficult to use, expensive, and don’t quite tap into the creative, hands-in-the-mud, feeling of playing make-believe as a kid.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eArtist Natalie Paneng hopes to change that with her workshop on accessible world-building. This workshop is focused on using models against a greenscreen to make exciting, playful, and digital stories. It requires just a few arts and crafts materials, all of which can be found easily and affordably, to help workshop attendees gain perspective on realizing their world to scale. These models can then be digitally translated and accessed through virtual means. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"font-weight: 400;\"\u003eThe workshop started with basic world-building instructions and an introduction to world-building from Natalie’s perspective as a digital artist. Then it dove into the basics of greenscreen principles and how to put together a simple project. The main structure then focused on how to build models, and how to prepare and execute a vision in miniature. Finally, the workshop was ended by bringing these elements together.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"323\"\u003e\u003cspan data-key=\"324\"\u003e\u003cstrong data-slate-leaf=\"true\"\u003eAbout Your Instructor\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"509\"\u003e\u003cspan data-key=\"508\"\u003eShe is awkward, complex, and has a quirk to her expression. She lives in Johannesburg and the cyber village called the Internet. Natalie Paneng (b. 1996, South Africa) is a digital artist who completed a BADA(Hons)from the University of Witwatersrand in 2018. She majors in Production Design (Set and Costume Design) and Art Management. Natalie uses both her self-taught digital skills and her theatre background to create multidisciplinary digital art.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"527\"\u003e\u003cspan data-key=\"526\"\u003ePaneng’s work has been exhibited at the TMRW Gallery, The National Arts Festival, Blank Projects, Michaelis School of Fine Art, BKHz Gallery, Le Lieu Unique, and Galerie Eigen Art Leipzig. Along with this, she has participated in local artist residencies such as Bubblegumclub Future 76 Residency(2018), Floating Reverie(2019), and Fak'ugesi Digital Innovation Artist Residency (2019). Natalie also published creative research through Ellipses Journal and Artist Research Africa and was a 2020 Fellow with the Institute of Creative Arts and UCT.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"547\"\u003e\u003cspan data-key=\"546\"\u003eThrough her work, she explores what it means to have an online presence, the personas we develop online, and how the Internet and its algorithms control and influence us and our perceived reality. Her video work and art become a way for her to interrogate and share how she manifests and navigates the world she lives in and creates for herself. The internet is MTV, and she welcomes you to her crib.\u003c\/span\u003e\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Gameplayarts","offers":[{"title":"Student \/ Artist","offer_id":45232153690276,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45232153723044,"sku":"","price":99.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45239076552868,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/natalie_paneng_event_website_InstagramPost.png?v=1710796961"},{"product_id":"colorful-game-building-with-film-noir-and-the-universe","title":"Colorful Game-Building with Film Noir and the Universe","description":"\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eWith the growth of accessible game-building software comes an expansive game market. So it's no surprise that \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGenesis Noir,\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e a smokey, film noir-style game in gray tones and gold, would be ushered onto Steam with gorgeous and jazzy fanfare. But why stop there when you could set gameplay against the backdrop of the Big Bang?\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eIn this talk, \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGenesis Noir\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e creators, Evan Anthony and Jeremy Abel from Feral Cat Den, will discuss how they used their non-traditional backgrounds to build games before diving into the history and inspirations of \u003c\/span\u003e\u003ci data-mce-fragment=\"1\"\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003eGenesis Noir\u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-weight: 400;\" data-mce-fragment=\"1\" data-mce-style=\"font-weight: 400;\"\u003e. They’ll also explore the larger story, theme, and gameplay. After the initial post-mortem talk, there will be a separate 1 hour-long Q\u0026amp;A session where attendees can ask questions about the game, how to get into game making, and more.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003e\u003c!--more--\u003e\u003c\/p\u003e\n\u003cp data-key=\"210\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"211\" data-mce-fragment=\"1\"\u003e\u003cstrong data-slate-leaf=\"true\" data-mce-fragment=\"1\"\u003eAbout Your Speakers\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"252\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"251\" data-mce-fragment=\"1\"\u003eJeremy Abel is a generalist engineer and artist who is fascinated by interesting uses of technology, new science, the future, forgotten old technology, all types of fun, and the intersection of any and all of these things. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"254\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"253\" data-mce-fragment=\"1\"\u003e Jeremy graduated from RIT in 2010 and has worked at studios in NYC including B-Reel, Google Creative Lab, Hobbes, and Bossa. In 2017 he founded Feral Cat Den with Evan Anthony.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"262\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"261\" data-mce-fragment=\"1\"\u003e Currently he is teaching as an adjunct professor at NYU's Game Center, and is also experimenting with old television broadcast animation equipment.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"283\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"282\" data-mce-fragment=\"1\"\u003eEvan Anthony is a generalist passionate about design, animation, code, and craft be it for interactive, broadcast, installation, or print. After creating his first animation and code on a TI-83+graphing calculator, he hasn't stopped experimenting with media.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"287\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"286\" data-mce-fragment=\"1\"\u003eAfter graduating from RIT in 2010, Evan worked at NYC studios including B-Reel, Hush, Dress Code, and Google Creative Lab before founding Feral Cat Den in 2017 with Jeremy Abel to create their first indie game, Genesis Noir.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"293\" data-mce-fragment=\"1\"\u003e\u003cspan data-key=\"292\" data-mce-fragment=\"1\"\u003eEvan is creating more Genesis Noir and developing new worlds that blend art, history, and science into idiosyncratic extravagance.\u003c\/span\u003e\u003c\/p\u003e","brand":"Gameplayarts","offers":[{"title":"Artist \/ Student","offer_id":45243653554340,"sku":"","price":15.0,"currency_code":"USD","in_stock":true},{"title":"Professional","offer_id":45243653587108,"sku":"","price":25.0,"currency_code":"USD","in_stock":true},{"title":"Pay What You Can - Click Green Button","offer_id":45243653619876,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0647\/3125\/0852\/files\/Genesis-Noir-Header.png?v=1709840159"},{"product_id":"reflecting-on-19-years-of-playful-studio-practice","title":"Reflecting on 19 Years of Playful Studio Practice","description":"\u003cp data-key=\"121\"\u003e\u003cspan data-key=\"120\"\u003eEmerging artists highly seek knowledge from a long-standing art practice. 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They discuss the trajectory of their practice and how they explore new innovative avenues to show society real-time issues by using a multi\/ interdisciplinary approach, which includes paintings and communication design.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-slate-fragment=\"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\" data-key=\"82\"\u003e\u003c!--more--\u003e\u003c\/p\u003e\n\u003cp data-key=\"237\"\u003e\u003cspan data-key=\"238\"\u003e\u003cstrong data-slate-leaf=\"true\"\u003eAbout Your Speakers\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"275\"\u003e\u003cspan data-key=\"274\"\u003eJiten Thukral and Sumir Tagra work collaboratively with a wide range of media including painting, sculpture, installations, interactive games, video, performance, and design. Thukral \u0026amp; Tagra work on new formats of public engagement and attempt to expand the scope of what art can do, further emphasizing what the practice can do in a virtual context through their archives and publications. They break out of the mediated-disciplinary world, create multi-modal sensory, and storytelling in immersive environments.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-key=\"279\"\u003e\u003cspan data-key=\"278\"\u003eTheir earlier work dealt with tropes of migration, mythological narratives, symbols of Indian identity, and motifs of a globally manifested consumer culture that enliven a largely pedantic and static area of cultural material. From a pop visual character to a predominantly abstract visual approach and compositional philosophy, Thukral \u0026amp; Tagra constantly shift in terms of their grammar and vocabulary. 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