Culture Shock announces the launch of datavized, a Data-driven Virtual Reality production studio in New York City. datavized operates from a strong position of leadership in immersive media innovation; datavized is a New York City-based immersive design studio, focused on the intersection of Virtual Reality (VR) and Data Visualization. Our team combines producers of interactive storytelling with experts in software engineering, advised and mentored by seasoned entrepreneurs and industry thought leaders. We are already recognized as innovators in virtual reality production and have built prototypes that demonstrate the disruptive power of virtual reality data visualization.
Leadership Team: Hugh McGrory (Chief Executive Officer, Founder); Debra Anderson (Chief Strategy Officer, Founder); Brian Chirls (Chief Technology Officer, Co-founder)
To learn more and connect with us, please visit datavized at datavized.com.
Two combatants from opposite sides observe each other. We are in the middle. At the crossroad between neurosciences, artificial intelligence and storytelling, The Enemy takes us on an extraordinary odyssey through some of the most contested conflicts of the world to acknowledge people’s humanity.
Project Creator: Karim Ben Khelifa
Executive Producers: François Bertrand, Chloé Jarry
Production: Helene Adamo, Vincent Decis, Sylvia Alba, Celine Delaunay
Technical Director: Fabien Barati
Technical Project Manager: Fabien Barati, Charles Taieb, Didier Mayda
France Televisions Nouvelles Ecritures: Boris Razon, Antonin Lhote, Catherine Mugler, Sandrine Miguirian
Co-Producers: Camera Lucida Productions, France Televisions Nouvelles Écritures, Emissive
US Production Consultancy: Culture Shock
Consulting Producer: Debra Anderson
Creative Impact Producer: Hugh McGrory
THE ENEMY IS SUPPORTED BY: THE TFI NEW MEDIA FUND AND THE FORD FOUNDATION, THE CNC – CENTRE NATIONAL DU CINÉMA ET DE L’IMAGE ANIMÉE, THE SUNDANCE INSTITUTE NEW FRONTIER PROGRAM, THE DORIS DUKE FOUNDATION FOR ISLAMIC ARTS’ DORIS DUKE NEW FRONTIER FELLOWSHIP, THE MIT OPEN DOCUMENTARY LAB, THE OPEN SOCIETY FOUNDATIONS
US PARTNERS: CULTURE SHOCK
Culture Shock’s pivotal role in the digital preservation of over 500 films by Andy Warhol – “MoMA’s largest effort to digitize the work of a single artist in its collection.”
Warhol’s contribution to contemporary culture is immense. He is remembered for his iconic pop art images but he also made films, foundedInterview Magazine, managed The Velvet Underground, directed the Exploding Plastic Inevitable events, had two series in the early days of MTV, painted Debbie Harry on an Amiga computer in 1985, ‘wrote’ a novel with a tape recorder and was in an episode of The Love Boat. His combined output across multiple media is monumental but has not been appropriately recognized.
When Hugh McGrory, Chief Innovation Officer at Culture Shock, New York, a strategy and innovation consultancy, first contacted The Andy Warhol Museum in 2011 to discuss the possibility of helping to realize the museum’s long-time goal of digitizing Warhol’s film work, he discovered the epic scale of the collection. “I knew there were many films that remained unseen by the public, films I had read about,” commented McGrory, “But I had no idea at the time that there were hundreds of films and thousands of videotapes.” Patrick Moore, The Andy Warhol Museum’s Deputy Director stated in a recent New York Times article that “the films are every bit as significant as Warhol’s paintings.”
McGrory understood that a project accessing over 1 million feet of decades-old 16mm film created by one of the most important artists of the 20th Century would require a partner with the necessary technical know-how, infrastructure and insurances, and that this meant approaching an industry leader beyond the art world. Culture Shock had curated Projection, a series of moving image digital artworks from the website Vimeo at Volta NY Art Fair in 2011 and had come to the attention of Justin Brukman, Managing Director of MPC NY, an Oscar-winning family of VFX studios and a Technicolor company.
“We’ve always believed that VFX can be presented in a fine art setting and I liked Culture Shock’s passion for work at the intersection of art and technology,” said Brukman, “After several years of joint project development we’re now on course to digitize one of the largest bodies of film work by a single artist.”
McGrory sees this as a first step in the right direction. “I’m obviously feeling a sense of accomplishment for initially helping to facilitate a project of such historic importance. But there’s still a lot of work to be done. Warhol influenced art, film, music, fashion, photography, illustration, design, advertising, publishing, technology, and television. He was the first artist to exhibit video. By looking at each of these elements as an instance of transmedia storytelling we can begin to understand how the story being told shaped the culture it represented.”
Debra Anderson, Chief Executive Officer and Founder at Culture Shock, adds that “Warhol moved from idolizing celebrity to creating it. We now live in the world of the cultural producer where famous people don’t just endorse products but have enormous business empires across multiple markets built around their personal brand. Andy made this happen.”
McGrory sees this as much more than an exercise in art history. “It is very important to understand the past in order to examine the present. Warhol was a mirror to the culture of his time. By using that mirror to reflect our world fifty years later we see that we now live in Warhol’s imagined future. It can be argued that Warhol’s lasting legacy is a society painted in his own image, where everyone can be famous for fifteen minutes.”
Image: “Nico/Antoine” (1966), one of hundreds of Andy Warhol films.Credit: Andy Warhol Museum
Debra Anderson, Culture Shock CEO & Founder and Big Data Instructor at The New School for Public Engagement has been invited to participate in Datalore Hacks at MIT Center for Civic Media, January 23-25, 2015 to explore creative data-driven storytelling. Teams of filmmakers, artists, designers, developers, engineers, scientists, scholars, researchers, journalists, and storytellers join interdisciplinary teams of 4-5 people, curated by the Datalore organizers. Each team will start with a primary dataset that drives their story-making. Final presentations will take place Sunday evening and are open to the public. Each team will give a brief presentation of their project, including a live demo. Final presentations will take place 6:30 – 8 pm Sunday on the 3rd floor atrium of the Media Lab.
CRAFTING STORIES FROM DATA
We live in a world that is increasingly shaped by our interaction with data, which is increasingly complex, large and accessible to few. We want to create a space for investigating the narratives that emerge from quantitative spaces so they are accessible and engaging.
Over the course of 48 hours, teams will brainstorm and prototype an interactive narrative experience that tells a story with data, around data, or about data. It could be a data visualization on the web, a physical installation using hardware and human bodies, or an interactive documentary experience.
Can we rewrite the code of life? Scientists have discovered a breakthrough tool called CRISPR that will allow us to edit our DNA, but what are the promises and consequences of editing DNA sequences? We’re launching the inaugural genomeHack to bring together innovative thinkers — self-hackers, geneticists, Big Data researchers, and data visualization experts — to give this new technology a test drive.