By Kathleen Gallagher
September 9, 2014
Milwaukee Journal Sentinel
That changed when a professor at the University of Wisconsin-Milwaukee challenged Pliner's class to come up with an idea for a product.
Pliner scribbled notes about a new type of swim goggle that would use wireless technology. Swimmers practicing in the water could receive feedback from their coaches.
"I just put down an idea and thought 'that's not possible,'" said Pliner, who is now an assistant coach for UWM's swim team. "Then I was looking at it and said 'maybe I can make this work.'"
Now, Pliner is working with a team of UWM students and advisers to make such swim goggles a reality.
She is one of the four winners in the school's Student Startup Challenge who are working on sports-related ideas. There were a total of 10 winners, and most got involved in the contest after professors encouraged them to brainstorm ideas during certain art, business, engineering and other classes.
Read the full article at the Milwaukee Journal Sentinel.
*Samantha Goodrich (Theatre alumna) and Nicole Green (Art and Design current student) are among the 10 winners this year. Theatre faculty Anne Basting and Art & Design faculty Nathaniel Stern are on the core Student Startup Challenge Team. Peck School faculty Kim Beckman, Amy Decker, Frankie Flood and Raoul Deal are involved in advising on direction and projects as well.
By Alison Gates
Surface Design Journal
Kyoung Ae Cho speaks of her process as a collaboration between herself and her materials, which are drawn mostly from nature. Following a classic set of parameters that define and distinguish textile processes from others (repetition, building a greater whole from small components, intentionality in mark-making, and exploitation of materials' inherent cultural baggage), she crafts surprising connections between formal elements. "Nature" in this case includes actual material from the outside environment but also fake flowers, burn marks, the passage of lunar and solar time, and her own hair.
Read the full review from the Surface Design Journal.
Art & Design alum Jay Fox (MFA '14) has been chosen as the new coordinator for the Print, Letterpress, Books and Paper studio at the Penland School of Crafts in Bakersville, North Carolina. Congratulations to Jay on this promising new position!
Milwaukee visual artists Nathaniel Stern and Bryan Cera explore how we move and are moved with the world around us
Two Third Ward exhibitions, MIAD and Tory Folliard, October – December 2014
Vital Technology, a duo exhibition at MIAD with Milwaukee-based artists Bryan Cera and Nathaniel Stern, uses digital media to invite an exploration of movement, and its relationships to thinking and feeling. The show includes eight large-scale interactive installations – incorporating cutting-edge technology, such as body- and motion-tracking, gaming sensors and graphics, 3d scanning and printing, gesture recognition, and more – as well as more traditional art objects and process documentation that come out of Cera and Stern’s interactive studio practices. The artists ask how our ongoing relationships to digital culture continuously change what we move and think and feel. Do our everyday technologies have a vitality, or force, that shifts our movements, and thus lives? Are these technologies vital and necessary, helpful or a time-suck, when we encounter them? What are the stakes in how we interact and relate with the world, and how might media art frame and amplify what matters? At Vital Technology, we the viewers experience and practice alternate ways to perform our bodies, media, concepts and materials.
For Stern’s related series of digital prints, he straps a desktop scanner, computing device and custom battery pack to his body, and performs images into existence. He might scan in straight, long lines across tables, tie the scanner around his neck and swing over flowers, do pogo-like gestures over bricks, or just follow the wind over water lilies in a pond. The dynamism between his body, technology, and the landscape is transformed into beautiful and quirky renderings, which are then produced as archival artworks. For Rippling Images at Tory Folliard, Stern worked with a team at UWM to produce several marine-rated scanner rigs, and perform prints while scuba diving on a live coral reef off the coast of Florida, among other sites. Everything leaked, everything broke, nothing did what he wanted or expected; and Stern says this is precisely what must have happened. “My movements in the sea, my relations to currents and gravity, what I see and cannot see, fish and plants, breathing and fluidity, scratches and reflections and bubbles and more, all affect and are affected in how these images are made.” At stake are the ways we move with and against water and land, life and non-life – as individuals, as a people, and as a part of our habitats.
Both Vital Technology and Rippling Images open as part of Gallery Night on October 17th, and the following weeks will see walkabouts, talks and panels with the artists and others, including a visit from interactive art pioneer and Stanford professor, Camille Utterback.
Congratulations to Logan Merry, Jewelry & Metalsmithing alum (BFA 2014) has accepted a three-month internship at the Smith Shop in Detroit! Smith Shop is a metalworking studio that produces quality metalwork, specializing in the custom fabrication of gold, silver, copper, brass and steel, as well as producing jewelry and architectual hardware. Rachel Kedinger (BFA 2012) was a previous intern and the Smith Shop and is now one of its employees! Learn more about the Smith Shop here.
Art & Design faculty Frankie Flood was featured on the Korean Broadcasting System's program KBS Panorama - Digital Future Economy Part 1: 3D Printing. The hour-long program (in Korean language) speaks with Flood from 20:45-23:00.
By Troy Rhoades
July 10, 2014
College Art Association's Art Journal
In Interactive Art and Embodiment: The Implicit Body as Performance, Nathaniel Stern would like us to remember the body's potential for moving, thinking, and feeling in relation to digital interactive artworks. He wants this triumvirate of bodily activities—what he defines as embodiment—to be placed in the foreground of thought when we discuss interactive art. It is his contention that technology and representational content have been the focal points of interactive art for too long, and it is time for a paradigm shift. “We must get away from concentrating only on the signs and images on the screen or the interface, away from privileging the technology and what it affords. We must engage with the quality and styles of movement that are rehearsed with interactive art” (15–16). Stern sees the need to stop explaining what interactive art is as a technological object or a generator of signs. He asserts instead that our attention should be placed on what interactive art does as it shapes our potential for embodiment, that is, our ability to move-think-feel with the work. It is important to note that Stern is not completely rejecting technological and representational approaches to interactive art and solely focusing on embodiment. Rather, he wants us to notice that there is a glaring absence of embodiment in many of the present methods used to analyze this type of work. This book is his attempt to address the long-overdue need to reevaluate this field of art. He reveals that we have always been moving-thinking-feeling with interactive art.
Read the full article at Taylor & Francis Online.