Interview: Junkspace

What is your name and where are you from? Tell us a little bit about yourself.

Lynn Cazabon and Neal McDonald are artists based in Baltimore, Maryland who collaboratively create works combining data mining, animation and photography that seek to raise awareness about pressing environmental issues. Lynn Cazabon is originally from Detroit, Michigan and Neal McDonald hails from Amarillo, Texas.

Are you a digital native or digital immigrant?

Digital Immigrant

What is the purpose behind your ISEA2012 piece and what inspired you?

The purpose of “Junkspace” is to produce a compelling aesthetic experience that draws attention to two forms of human-produced waste, electronic waste and orbital debris, by juxtaposing aspects of each in a novel and unexpected way. Orbital debris is any man-made object in orbit around the Earth that no longer serves a useful purpose, left behind by decades of satellites and space missions. E-waste are the remnants of the many devices that fill our lives, transformed from objects of desire to trash through a self-perpetuating cycle of obsolescence. The project animates images of electronic gadgets and parts (old cell phones, computers, cameras, etc.) on the screen, aligning their movement to the orbital path of actual pieces of debris that are in orbit overhead Albuquerque at this moment. Junkspace takes something we all know and have experience with (our electronic gadgets) and uses this as an entry point into knowing about wider issues of waste disposal of which we might not be aware. Lynn: I was inspired to create this project when I first learned about orbital debris – I immediately had a picture in my mind of all this junk floating out there in space. The project grew from that initial visualization in my head. I was also inspired to do something about issues I care about. Neal: My art seems to come out of the discovery of new things that I can do. For junkspace, the new thing was taking this huge cryptic list of satellites and turning it into something live and easy to understand.

What do you hope an audience takes away from this piece? 

We want to convey that the planet we all share is both huge and vulnerable. We also hope that audiences come away with a more thoughtful approach to the cycle of coveting, buying, using and discarding the electronic gadgets that increasingly fill our everyday lives, and to consider the connection between these gadgets and the satellites that orbit the earth that us to communicate with one another. Communication satellites are currently the main objects launched into space by many different countries and the launching process itself often causes debris. Sometimes, these satellites explode or fail and thus contribute to the already existing stream of debris left behind by decades of space missions. “Junkspace” also hopes to inspire better design practices: so that both the everyday technology we use and the advanced technologies used in outer space are designed to be recycled or reused, so that we capture our waste for repurposing instead of just throwing it away. As for the regular consumer, we hope that “Junkspace” will inspire action: to encourage the viewer to demand better design practices from the companies from which they buy electronics, as well as requesting that our elected officials works towards creating regulations for satellite design.

How is your medium or technique unique? How have you integrated, adapted or recombined STEM components to create something innovative?

The combination of media we employ in “Junkspace” is unique: it uses photography (the images of electronic gadgets were each photographed individually), animation (custom software using the computer programming languages Objective-C and OpenGL to create movement), and data mining (satellite tracking data published by NORAD, The North American Aerospace Defense Command, to dictate the movement of gadgets in Junkspace, and in the App we tap into an already existing database of information on these satellites and rockets).

What would you suggest as an activity or resource for a student that would like to explore the type of work that you do?

Students could research all the different aspects of the project: – Find out what happens to the household trash they throw away. – Find out where old cell phones, cameras, computers that are discarded in Albuquerque end up going. – Communicate with officials in space centers in New Mexico about the design of modern satellite technology, and the connection between satellites and the gadgets we use on earth

Can you share your methods for brainstorming and how you get your ideas?

Lynn: For brainstorming, I use different techniques. My best thinking about a project often happens when I’m doing something else, such as riding my bike. I find that when I stare too long at a blank page/screen trying to come up with ideas, the best solution is to walk away and do something else, particularly something that gets me out of my chair. The project I’m working on is always in the back of my head, so I’m not really leaving it behind. I also get things rolling by doing a lot of pre-research on a topic, by reading (online sources and books) to learn about what other people have discovered. Neal: I carry notebook with me everywhere. When I have an idea, I write it down. When I started doing that, I soon realized that I have pretty good ideas pretty often. That was 20 years ago.

Once you had your idea how did you approach the phase of designing and planning for its realization?

Lynn: It’s difficult for me to separate the design process from the actual making of the piece; for me they are linked. In the case of “Junkspace,” I began by making a prototype (explained below) of what I was picturing in my head: an image of electronic gadgets floating in space. Once I had the prototype done, I showed it to Neal and we began our work together to make the version of “Junkspace” we have now. I conceived of “Junkspace” on a white background (instead of black) for several reasons: to signify that Junkspace is a metaphorical space, simultaneously referencing outer space, virtual space, real space, and mental space. I also view the white as a limbo in between these spaces where things are forgotten, a state of “out of sight, out of mind.”

Neal: I always start software projects by modifying something that already works, and gradually modify it to be what I want.

Did you build a model or prototype for this piece? if so, how did you decide what to make it out of and can you describe the process?

Lynn: I did make a prototype for “Junkspace”. It was actually a work unto itself, an animation of the gadgets moving in a manner that I thought they would look like in outer space, using an imaginary point of view suspended in space. I used hundreds of still images I had shot of obsolete gadgets and the program AfterEffects to create the animation. Eventually I showed this prototype to Neal and asked him if he would work with me on making the movement of the objects align with actual pieces of debris orbiting the earth, and that’s how our collaboration started. For the installation at 516Arts, I used Photoshop to create mock-ups of the project installed in it. We also had to consider cost, what was affordable to make given our budget.

Did this piece require doing research and if so can you share why it is important and how you go about it? Is there any advice you can offer about this phase?

Yes there was a lot of research, for both of us. Frist there was general reading on the topics or electronic waste and orbital debris. Next, we had to do research on how to interpret the tracking data, which looks like this in its raw state coming from NORAD: ECHO 1 DEB (METAL OBJ) 1 00051U 60009C 12217.17437920 -.00000074 00000-0 10000-3 0 3188 2 00051 047.2199 239.3582 0105728 256.6955 102.2024 12.18215257313690 Next, we had to figure out what all those numbers referenced, so Neal could take this info and use it to dictate the movement of a single image of an electronic gadget I had given him. Neal also had research information about the position of the sun, orbital mechanics, and trigonometry to animate the positions.

How did you test and evaluate your design? For example, did it work the first time or were there many versions before the final one? Do you have standard ways of testing your work?

Lynn: Yes there were different versions along the way. We discussed what was working, what was problematic, then we would make a list of changes to make. With the installation, there was a lot of discussions, making illustrations. We also ran tests using the equipment we will use at 516Arts.

Neal: It took months to get it to work right. The math was pretty complicated. In the App version of the project, I put the sun and stars in so I could be sure that everything was oriented the right way. It was such a relief the first time I saw the big dipper in the right place.

What can you share about the process of success and failure inherent in the test and evaluation phase?

Lynn: After working for as many years as I have, I accept that no matter how much you plan ahead, when you get on site to install an artwork, there will be unexpected elements. You have to be flexible enough to roll with those surprises while also grounded enough to maintain your vision of the project. “Junkspace” is a site-specific installation so the particulars of the installation at 516Arts are unique, so we really don’t know how it will work until it’s up. After that, we’ll talk about what worked and what didn’t work and will learn from the process for the next time. This is part of the art-making process. You can’t anticipate every little thing until you are in the space where the work will be installed.

Neal: After you make software, you have been as annoyed as it is possible to get: babies, neurotic girlfriends, irrational parents are just not annoying when compared to debugging a large project.

What criteria did you use to evaluate your piece, or your work in general?

The criteria we will use to evaluate the piece: – Did all the equipment and software work as expected? – How did the project look in the context of the entire space and exhibition? – How did viewers interact and react to the piece? – Are viewers talking to each other and to us about the piece, are they curious about it?

What do you get from sharing your work with others? This question addresses the greater question of why we create art in the first place? What is its role in society? Why is it important for us to create and share art?

Lynn: For me, an artwork is not complete until it is shown to a public audience. I like the definition of art I once read by critic Dave Hickey: it’s not art until someone talks about it. A measure of success is whether I get feedback from viewers and/or hear about things people have said about their experiences.

Neal: The best art is done by people who are part of a community. Even if you’re “doing it all yourself”, you still need feedback. Really, anyone who works alone is a crazy hobo.

Did you have to collaborate to realize this piece? If so why? Is there anything you would like to share about the collaboration process?

Lynn: Yes, Junkspace is the result of collaboration. I sought Neal’s help when I realized I alone could not accomplish what I wanted for the project. I think my strengths and Neal’s strengths complemented each other in the realization of this project, and in the end, the collaboration changed the piece I had envisioned initially. I have collaborated with others recently and in each case, I sought the particular person out because they had a skill or expertise I lacked to complete the project as I envisioned it. Working in collaboration is not without risks: you must be willing to be flexible and to compromise. But ultimately it can allow you to go beyond your own limitations. The other person also provides a kind of sanity check – so you can ask them – is this working, is this good, etc.? and can expect an informed answer.

Do you come from a STEM background or an Arts background? What is the STEM skill or concept that inspired or formed this piece, or your work in general?

Lynn: I did not come from a science background but I am a kind of science-groupie: I am drawn to science, particularly in relation to environmental issues, and have read many authors who write about science for a general audience. I have in the past few years become interested in using my artwork to communicate scientific research about climate change to a general audience and have sought to forge connections with scientists.

Neal: I have a MA in computer science and an MFA in Art, so I have both in my background.

Has working with science and technology improved your professional career or life and if so how?

Lynn: Yes, it has been enriching for me to work with scientific topics and with scientists. It feels purposeful to me, where my artwork can serve a purpose in a concrete way. Neal: Sure. Math and physics are just basic capabilities that I have. Not many artists have them. There is a fear that many “artistic” people have of math/science. It’s limiting. Freedom is better.

How has your creative work influenced your use of technology and/or how has technology changed how you work or the pieces you make?

In terms of the technology we used to create “Junkspace,” the project is self-reflexive: the technologies and tools we used are in fact included within the project itself as examples of obsolete gadgets (computer, IPad, IPhone are among the gadgets included). We were compelled to make “Junkspace” not because we feel we are immune of the problems it raises but instead because we recognize we too are caught in the web of buying, using and discarding electronic gadgets just like everyone else is. “Junkspace” seeks to open a dialogue about why we covet, use, and eventually discard particular technologies over time.

Can you share any differences and/or similarities between artistic and scientific creativity that you may have personally explored by uniquely merging the two in your work? Or you may choose to share the more general question of what the arts and sciences have in common, or differ?

Lynn: I think artists and scientists share a lot in common in terms of creativity, although the vocabulary differs. In terms of approaching a problem, scientists start with a hypothesis, while artists begin with an idea, or vision. In terms of process, for both scientists and artists there is experimentation and testing, and a knowledge of materials is important for both artists and scientists. A couple differences come to mind; scientists often end up specializing in one tiny area, often due to professional pressures whereas artists tend to be more generalists, borrowing from many different disciplines when creating their work. That’s a big generalization but for me it’s definitely the case.

How do you think artists can benefit from science / scientists? and/or visa versa, how do you think scientists/science can benefit from artistic creativity?

Science and art should be seen as complementary approaches to engaging with the world.

Do you think the arts are as important as science? If so why, if not why not? What are your thoughts on this that you would like to share with students who are now beginning to explore their life paths?

Yes! Artists have a specific range of skills that are valuable to a society and can be useful to scientists (see above). We (artists) are used to pondering and reflecting, skills that are easily lost in our contemporary culture. Artists sit at the edge of a culture, one foot in, one foot out, and provide a measure of objective reflection that I believe is essential for the overall health of a society.