Luke Johnson

Inspired during the first semester of Super Studio, developed and created in the second semester, the text wall serves a s family "message" board for mobile text (SMS). Displayed in a shared space, these text messages allow all family members to lend their voice in a unique way to the family dialogue

Click here to view the text wall in action.

Simply put, the Text Wall is sticky. During our study, family members continued to the text the wall even after it had been removed from the home.

Moving forward, I have identified two main areas of interest that I wish to pursue further: form and space.

Space: The "ah-ha" moment from our research was the identification of a space inside the home were alternative conversations can take place. In many ways, this space acts as a family consciousness.

If we know this space exists within the home, what are the implications for public space? How could technology be used to influence the dynamics of conversation in public space? And if you change the dynamics within a public space, does this in turn allow people to address those conversations that are unspoken?

Form: Using a projector and a Mac-Mini connected to the server's IP address, the sent texts were projected onto the wall inside the home.

However, is a projector the most efficient way of displaying the text messages? What other forms could be used instead? For example, could the text wall be displayed in a cabinet or magical box? Could the text wall be embedded in existing technologies such as a television, projector or computers? Finally, what type of strategic partnerships could be formed to move the text wall from from prototype to product?

Before coming to Art Center, I worked on three projects that gesture at a personal understanding of Interactive Portraiture. The subjects portrayed in these works included childhood friends, an interactive design company, and an inter-city charter school. The interactive mediums include a DVD Storybook, Kiosk and website.

Through my subjects, I am trying to express a collective consciousness between subject and artist. Using interactive mediums, I invite the viewer to become apart of an experience. Boarding on performance art, there is no greater joy as a designer than seeing people react and interact with my work. In this sense, interactive portraiture can also be seen as a study in human behavior and group dynamics.

Finally, I am currently taking a class in classical photographic portraiture to understand the historical and cultural context of this craft.

As a designer, each work is a direct reflection of the time and energy necessary in building a relationship of trust. These relationships not only foster my sense of community but also empower my sense of design.

As a professional, it has been a lifelong goal to start my own business. Knowing that the autobiography is central to our moment, I believe there is an opportunity space to create an independent vision of interactive portraiture. That is why developing a self-sustaing practice is essential.

However, I also know that starting a business directly from the MDP graduate program is unrealistic because of the financial debt accumulated during school. I also believe that I still have much to learn. Working within a company that does similar work, both as a designer and as business, may be a smart move.

My past work provides an excellent foundation for developing an independent vision of interactive portraiture. Knowing that the autobiography is central to our moment, how can I use the affordances of my tools to create an independent vision of portraiture? However, if I am going to make a significant contribution to the field, I need to understand how my work fits into the historical and cultural context of portraiture. This is an entry point into the discussion.

Secondly, my understanding of what is "interactive" has been turned upside down since arriving at Art Center. For example, how can I create work that allows people to upload, co-create or change the work as opposed to a more didactic vision of the subject(s). What are the affordances of my tools/technology that facilitate this vision. My current work with the text wall has inspired me to to take a closer look at alternative (and interactive) methods of collecting data.

Finally, how can I create equity stakes in what I produce or is the collateral in the creation of meaning?

The School for Arts in Learning (SAIL) is a charter school located two blocks from the White House. After its initial start seven years ago, its students had reached an age that required the organization to open a separate middle/high school. SAIL Upper opened its doors to 120 students from inner city Washington DC. Two years later it closed down.

At a cost of over a billion dollars a year, the DC Public School System is the most heavily funded school system in the world. It is also the most notoriously flawed. SAIL Charter, located two blocks from the White House, is a part of this system.

As the school's Arts Coordinator, it was my job to infuse the arts into the curriculum. Because of space constraints and a high rate of vandalism, I created the Seahawk Source, a middle and high school online newspaper, to highlight student work.

It was in the creation of this paper that I collected two years of photographs and video of the school. This footage documents the raise and fall of the charter school which include over 100 hours of film and thousands of pictures of both teachers and students.

According to Scott Nazarian, we become what we behold. Creating art is one way in coming to terms, expressing and eventually processing my time as a teacher at SAIL. This may manifest itself as a book, documentary, website or interactive documentary.

I also believe there is an important message to share regarding inner city students, the culture of charter schools and the teachers who bind the two together. Finally, I believe this is one possible entry point into testing my theories regarding interactive portraiture.

Finally, how can I create equity stakes in what I produce or is the collateral in the creation of meaning?

Semester One: Understanding the affordances of the medium. Developing a methodology. Empowering the user to change or add to what has been created. Taking time to let your work sink in and evolve.

Semester Two: Finding an entry point. Identifying your values. Developing a critical voice in a historic/cultral context. The importance of research. Seeing.

Since coming to Art Center, I have identified that my work relies on the iterative and collaborative process. If I am going to sustain an additive practice, I believe that I must find partners that are willing to work within my own constraints.

During the critique in week 7, there was a big push from our class to establish “a voice” in our work. As our instructor quickly pointed out, is first and foremost about discovering a methodology.

With meaningful ambiguities, there needs to be a handle for the viewer.

Claim stock images for yourself.

I began to see my own role as designing not for a media structure but for a social structure.

Technology can be used to change the rules of conversation. By changing the rules, does this in turn begin to change the dynamic within homes? And when you begin to change the dynamics within homes, does it allow you then to address those conversations that are unspoken?

Uncomfortable family memories tend to be "sticky."

The identification of a space inside the home were alternative conversations can take place. In many ways, this space acts as a family consciousness.

Making things with my hands is an invaluable lesson.

It is essential to consider the tone you want to convey when presenting your work.

There is something beautiful in making a single, swift and direct move with your work.

Even cliches have their place.

Moving my perspective from the expert to the curious was difficult but important move for me as a designer because it made me let go of my preconceived notion of what being a designer is all about.

There is something refreshing in saying "I don't know" or "This is an idea that is interesting enough to pursue further" and pursuing an answer artistically.

Critiques are not after you, after your work.

Work in extremes - until you can push back and move forward. If you feel stuck, set up arbitrary rules.

You need to engage people emotionally because this is how they think.

Information is the invisible string in a narrative.

You can wallow (in your design), but you learn a lot from prototyping

I have a very strong grasp of cultural references. My challenge, however, is to push more direct and abstract forms of expression in work.

Editing film comes naturally to me.

My work tends to appropriate larger, kitschy themes. Instead of a literal translation, I need to pick and choose elements from these works and make them my own. Bold gestures!

As my yoga practice has taught me, it is important to embrace those edges of discomfort. It would benefit me greatly as a media designer to develop those weaker areas of my craft and understand the affordances of those other mediums. Build more shit with your hand!

The delegation of authority is essential to enlisting others in a personal vision. Unfortunately, I also know that I am very bad at letting go.

In the spirit of letting go, I will end with this note to myself. Luke, you are very busy with school work. Please take the time to build your network outside of the studio. Go to workshops, attend conferences and for god sake go have a beer with a co-worker from time to time.

Ping Tsung, LI Pinger's family boxes serve as an excellent example of alternative portraiture.

Christiane Holzheid If really admired Christiane's ability to take risks and her determination to stick with a project.

Adam Guzman There is something beautiful in making a single, swift and direct move with your work.

Yuseung Kim This guy toally understands color.

You Tube - Charlie Bit My Finger Equally worthy of your time is the reenactments by apparently high teenagers.

The Drudge Report Right-wing gossip page. Notice the preponderance of articles on the pope, natural disasters and California and tell me this guy doesn't have an agenda.

Stuff White People Like Credit to Julie Phanstiel for this one. Sometimes its hard to look in the mirror.

JT the Brick Sport radio's most interactive show.

I plan on pursuing an internship after my M4 term. This section is a working list of those people/companies whom I would want to collaborate with or work for.

Second Story Click to check out there work

Terra Incognita Productions Click to check out there work

ThingM Click to check out there work

Small Design Firm Click to check out there work

Or what mediums do you not feel comfortable with (and how is this holding back your artistic vision). For me, these mediums include typography, power tools and flash. The very act of taking Type 2 has allowed me to overcome my fear type. In fact, I am terribly excited about its potential my Charter School project.

In projects like the grocery cart and symbol signs, the physical act of making that each media revealed certain affordances as a tool for communication. For example, it was only through building an interactive grocery cart that I truly grasped the ergonomic advantages and disadvantages of placing a touch screen on the handle bar.

I am still very scared of flash.

As a designer, I am also aware that an interest in personal histories drives much of my art. Before arriving at Art Center, I completed what I would consider three major projects: an interactive DVD Storybook modeled after the Choose Your Own Book Series, a Kiosk design displaying the “human side” of a design firm, and a multimedia tribute to my father and his facial hair. In all three of projects I have decided to work with groups of people.

Whether they are childhood friends, coworkers or family, each film is a direct reflection of the time and energy necessary in building a relationship of trust. In retrospect, these understanding “clients” complement an artist who works best through iteration.

Moreover, from these intimate relationships stems a philosophy that upholds sincerity in the face of cynicism and ironic kitsch- two forms of expression prevalent in today’s cultural landscape. Rather than embracing irrelevance, it is my intention to present my subjects with universal appeal.

Finally, I believe that I have a firm grasp on effectively expressing cultural references. Suited to perception and discovery, my work rewards those willing to explore the unexpected relationships that form among seemingly unexpected lines. Again, this requires a conscious understanding of the power of reference.