Walker Art Center

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Translation Map (world) screenshot, February 7, 2003
Warren Sack and Sawad Brooks
Warren Sack and Sawad Brooks

Sawad Brooks  b.1964  (Colombia)
lives and works in Williamsburg, New York
Warren Sack  b.1962  (Minnesota)
lives and works in Santa Cruz, California


Before joining the faculty at UC Santa Cruz, Film & Digital Media Department, Warren Sack was an assistant professor at UC Berkeley, a research scientist at the MIT Media Laboratory, and a research collaborator in the Interrogative Design Group at the MIT Center for Advanced Visual Studies. He earned a B.A. from Yale College and an S.M. and Ph.D.from the MIT Media Laboratory. His work concerns theories and designs for online public space and public discussion.

Earlier work by Sack includes "Conversation Map: A Content-Based Usenet Newsgroup Browser."

Sawad Brooks is an internationally shown artist, critic, and award winning designer working with public and information spaces. DissemiNET (1998-2001), one of his collaborations with Beth Stryker, is a telematic installation commissioned in part by the Wexner Center for the Arts, The Ohio State University. DissemiNET has been shown internationally, including at the Whitney Museum of American Art, New York, and the Museum Boijmans Van Beuningen, Rotterdam, and is part of the Walker Art Center's Digital Arts Study Collection, as is Brooks' Bowling Alley (1995), a collaboration with Beth Stryker, Christa Erickson, and Shu Lea Cheang. Invertigo (1997), a telematic video installation created in collaboration with Beth Stryker and Christa Erickson, was shown at The Banff Centre for the Arts, Alberta, Canada. Sawad's work has also been shown at such places as the MIT List Visual Arts Center, Cambridge, Massachusetts; the Johannesburg Biennale; and Postmasters Gallery, New York. He has been invited to speak at numerous locations, including the Museum of Modern Art, New York, and the Banff Centre for the Arts. He is currently working with Warren Sack on "hELLO7734," a new network protocol art-research project that interrogates "translation," funded in part by the Arts Technology Center, University of New Mexico, with grants from the Rockefeller Foundation and the NEA. This project has also received support through a Jerome Grant from the Walker Art Center, and will be included in its show, How Latitudes Become Forms. With Goil Amornvivat and generous support from Creative Capital, he is also working on a a system of responsive architecture. Independently, he is working on a series of interactive videos addressing the themes of landscape, public space, and time, as well as preparing an article for publication, dealing with algorithms, representation, and new media. He teaches at Brown University's department of Modern Culture and Media.

To promote cultural difference and hybridity in contemporary art, one must first and foremost consider the need to create alternative contexts, namely institutions, for art activity.
The local is becoming the alternative, and it contributes to a redefinition of the nature of the audience through the involvement of communities.
The real challenge that we are facing as curators and museum workers is how to unfold an "alternative" within the social constructs of cultural institutions.