Heart of a City: BioMapping

Why skin is the new heart and how your neighbors can change the way your feel about your street.

On the trails of yesterday’s fascinating exploration of cities as living organisms, today we look at another piece of high-concept urban portraiture that harnesses the power of art, sociology and technology to a brilliant end.

Since 2004, Christian Nold has been orchestrating Bio Mapping — a crowdsourced community mapping project, which wires people up to Galvanic Skin Response (GSR) devices, detecting their emotional arousal, and sends them on their merry way around the neighborhood. These states are then mapped onto people’s geographic location, creating a visualization of communal emotion.

Participants — over 1,500 of them to date — also annotate the data with personal observations, memories and thoughts they associate with each location, painting a rich emotional portrait of the social space of a community.

Perhaps most fascinating about the project isn’t the mere documentation of collective emotion, but how that awareness would change our perception of our community and environment.

Those who have been with Brain Pickings for some time may find Bio Mapping reminiscent of Swedish artist Erik Krikortz’s Emotional Cities project. But, as researchers, we love the idea of measuring emotional states via biofeedback rather than self-reporting.

After all, there’s often a gaping disconnect between how we publicly broadcast emotion and how we privately experience it.

via Very Short List

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Chris Jordan’s Photographic Visualizations of Excess

What Van Gogh has to do with Big Tobacco and how piles of folded laundry put the prison system in perspective.

The best of art is about something bigger than aestheticism, something that reflects on culture and makes a social statement that moves people. The work of artist Chris Jordan does just that. It grabs culture by its most unsettling truths, then displays them in gripping visuals that are part data, part philosophy, part brilliant photographic art.

Running the Numbers: An American Self-Portrait, Jordan’s latest project, exposes those hidden layers of consumerism, the big truths we give little thought to, by putting the devastating scale of our cultural excess into perspective. A visualization of statistical data, the project attempts to bring a human perspective to the alienating world of numbers.

Each statistically accurate image is a collage of miniature photographs portraying a specific excess:  The 15 million sheets of office paper we use every 5 minutes, the 106,000 aluminum cans we chug every 30 seconds, the 3.6 million SUV’s we buy every year, the 2.3 million Americans in prison, and so forth.

Plastic Cups depicts the one million plastic cups U.S. airlines use every 6 hours. Looking at the image from far away, it resembles a neo-industrial landscape where factories are spewing filth into the sky. Closer up, it transforms into a series of interwoven pipes. And really close up, you realize these are all stacks of actual plastic cups.

Barbie Dolls exposes the 32,000 breast augmentation surgeries performed in the U.S. in 2006 through an equal number of Barbie dolls. The soft natural curves of a woman’s body seen in the full-scale image stand in stark contrast to the plasticky unrealness of the dolls in the close-up.

Denali Denial paints a portrait of the parts of nature we’re losing thanks to our reckless unsustainable habits. The image is composed of 24,000 logos from the GMC Yukon Denali, equal to six weeks of sales of that model SUV in 2004.

Watch Chris Jordan’s eye-opening TED talk where he talks about his art, probes uncomfortable truths, and compares public reaction to the 3,000 deaths in 9/11 with the lack thereof to the 11,000 deaths from smoking that day and every other day.

What we admire most is that his art doesn’t aim to point the finger but, rather, to put our individual role as change agents into perspective.

In a world where large numbers have become practically meaningless, it’s easy to glide over the piles of zeroes, but it gets a little harder when we’re looking straight at the building blocks of our apocalypse.

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Banksy’s Pet Project

Street art, sausage and social commentary.

DO YOU WANT FRIES WITH THAT?

We’re known here for our love/hate relationship with Banksy. (That, and our sometimes-excessive-always-obsessive hyphenation.) We’ve followed the legendary guerrilla artist through his greatest feats, his most questionable street-cred-dampening moves, and his alleged outing.

But today, we find him in the limbo between all these things, on his first official show in NYC — a part-pet-shop, part-meat-store Frankenstein.

The Village Petstore and Charcoal Grill offers anything from pet supplies to packaged meats to animatronic foodstuffs to monkeys watching primate porn on the Discovery Channel.

We suspect the intentionally paradoxical project is intended as critical commentary on humanity’s extreme egocentricity and our toxic tendency to use the rest of the natural world as props in the grand production of our vanity-driven civilization.

Or, you know, it’s just for shits and giggles.

The most compelling piece in the show has to be the stunningly convincing jaguar napping lazily in the storefront window, swinging its tail oh-so-drowsily. But when the camera turns the corner, it reveals the “jaguar” is actually a fur coat lined with blood-red silk, its “tail” nothing more than a coat belt.

If you find yourself in the Village sometime between now and October 31, stop by 89 Seventh Avenue for an existential reality check or, you know, some monkey porn.

>>> via Creativity