protein® journal #2

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Prote in Journal / Issue #02Journal / Feed / Ins ight / Gal lery / Forum / Channels / Data


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There’s nothing we love more than food and data. So to celebrate the launch of our Food and Insight Networks, we’ve whipped up a veritable blancmange of culinary inspiration for the 2nd issue of the Protein Journal.

For those who haven’t heard of Protein, we connect ideas with audiences – and the next 28 pages are just that: a physical manifestation of everything we love. To find out more about joining our Network or if you can’t wait for the next issue, you can always get your daily dose of Protein at http://prote.in

Thanks as ever to all our contributors and the fine people at Newspaper Club for their support with printing.

William RoweNovember 2010

William [email protected]

Addie [email protected]

Max SpencerArt [email protected]

Terence TehProduction [email protected]

Freddie JanssenContributing [email protected]

Shaun WeaverInsight Analyst

Jonathan FaganInsight Analyst

Kat ChanEditorial Assistant

Gigi BarkerEditorial Assistant

Ellie Taylor-DavisEditorial Assistant

Team

General: journal@prote. in

Editorial: editorial@prote. in

Advertising: sales@prote. in

Distribution: distr ibution@prote. in

Send us stuff:Protein UK, 18 Hewett Street, London, EC2A 3NNProtein US, 555 Graham Ave, Brooklyn, New York 11222Protein AU, 285 St. Kilda Road, Victoria, Melbourne 3182Protein DE, 116 Chausseestrasse, Berlin 10115

Contact

Welcome

Newspaper Club is a serv ice that he lps people and communit ies make the i r own newspapers.http://newspaperclub.co.uk

Who Drinks WhatSubmitted by Prote in Ins ight

Source: Prote in Audience Survey 2010/11. Read more at http://prote. in/insight


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Range RoveR evoque Launch

For the launch of the Range Rover Evoque, Protein creates four installations with JCDC, Andre, Surface to Air and Yorgo (Intersection) as well as a VIP launch party with Juliette Lewis and A-Trak.

http://prote. in/range-rover

nike (Red) x T ied TogeTheR

An epic 24-hour international race to raise awareness of what is a global health crisis. Protein head up production and pitch in our own all-girl roller derby team.

http://prote. in/nike-red

PLumen

“Plumen” is the creation of Nik Roope. As the world’s first designer light bulb it combines form and function through energy efficiency and creative flair.

http://prote. in/designer-l ight-bulb

SonaR x Luckyme

Another year’s attendance at Sonar in Barcelona for Protein. Whether it’s playing, performing or dancing many of our friends are here in full force.

http://prote. in/sonar

viSuaLizing.oRg LauncheS

Newly launched, Visualizing.org aims to explore the world’s issues by encouraging users to share and spread information via the medium of data and design.

http://prote. in/visual izingorg-launches

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ONE DAYCAUSE+ EFFECT

SUSTAINABLEBOUNDARY350 ppm CO2

SUSTAINABLEBOUNDARY16.44 tons of CO2

SUSTAINABLEBOUNDARY240.7 gallons water per day

A look at energy emission and water footprint use over the course of one day.

SAM67 gallons waterper day

CURRENT387 ppmCO2

CURRENT18.19 tons of C02

FEELING DROWSY, SAM FINALLY TURNS OFF HIS LAMP AND DOZES OFF. CLICK.

CHRISTINA BEARD, CHRISTOPHER CLARK, CHRIS MCCAMPBELL, SUPISA WATTANASANSANEE / SPONSORED BY VISUALIZING MARATHON 2010 AND GE / SOURCES: USGS.GOV, ENERGYSAVERS.GOV, ABASK.COM, EIA.DOE.GOV, CARBONFUND.ORG, IEA.ORG, OECD

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AFTER THE MEETING HE TAKES A

THIRTY MINUTE PHONE

CALL.

HE TOSSES A PIECE OF BREAD IN THE

TOASTER

AND TURNS IT ON. DING.

HE GOES TO THEBATHROOMAND FLIPS ON THE

LIGHT.

FRIDGE AND POURS A GLASS

OF MILK.

HE DRIVES FOR

FORTY MINUTESTO GET TO WORK.

HE PEES IN THE

TOILETAND THEN FLUSHES.

HE TAKES A

TWENTY MINUTE

SHOWER.SAM POURS FOUR

CUPS OF WATER

COFFEEMAKERHE OPENS THE

INTO THE

HIS OFFICE IS ON THE

UPSTAIRSFLOOR JOGS

THIRD AFTER EATING LUNCH

SAM GETS BACK TO THE

OFFICE,BUT TAKES THE

ELEVATOR

HE STOPS TORELIEVE HIMSELF AND

WASHESHIS HANDS

DIN

G

DIN

G.

SITTING DOWN AT HIS DESK, HE

TURNS ON

HIS COMPUTER

SAM HOPS ON THE

TO MEET A CLIENT

SUBWAYAFTERWARDS,

HE PACKS UP H IS STUFF AND

DRIVES HOME.

SOHE

IT'S HOT

THE A/C.

WHEN SAM

GETS HOME,SO HE TURNS ON

HE THEN PLOPSDOWN ON THE COUCH TO WATCH

SOME TV.FEELING RELAXED,

SAM GETS UP &

COOKSSOME SOUP.HE COULD USE A HOT

CUP OF TEA.HE PUTS THE DIRTY DISHESFROM THE

DAY DISHWASHER.INTO THE

SAM FLIPS ON HIS BEDSIDE

LAMPAND READS FOR TWENTY MINUTES

AT 7:30 SAM'S ALARMCLOCK GOES OFF.

heL yeS!

Hel Yes! is a Finnish pop-up restaurant that ran during London Design Festival which saw the art of food and design combine in unison.

http://prote. in/hel-yes

In celebration of Stella Artois’s special edition beer, the brewer launches a series of mysterious theatrical adventures called The Night Chauffeur.

STeLLa aRToiS BLack

http://prote. in/stel la-black

WRangLeR chaLLengeS you To SToP Thinking

Denim brand Wrangler is encouraging members of the public to ‘Stop Thinking’ and join in with their series of top secret events and adventures.

http://prote. in/wrangler

anTique coLouR WheeLS

Here at Protein HQ we are all about colour. These amazing visuals of the antique colour wheel and cards are handmade from the 16th, 17th, 18th century… Amazing!

http://prote. in/colour-wheels

n.a.S.a.

Boing Boing premieres the new N.A.S.A video of the track Strange Enough, featuring the artwork of Stephan Doitschinoff and produced by Protein’s own Terence Teh.

http://prote. in/nasa

Launch of BigdiRTyengine

Nick Jaguar launches BIGDIRTYENGINE, a new label that focuses on records with ballsy, lofi appeal, hooking them up with artists from the Jaguar Shoes Collective to produce awesome limited edition releases.

http://prote. in/bigdirtyengine

Wide oPen WaLLS

We’ve been long time fans of Eelus and love the work he’s been doing in The Gambia where he’s just curated a project called Wide Open Walls. Check out the art they’ve left behind on the walls of the village of Kubuneh.

http://prote. in/wide-open-walls

BRoken BeLLS excLuSive

To celebrate the release of The Ghost Inside single and video from Broken Bells, Protein unveil a collection of video exclusives.

http://prote. in/broken-bells

henneSSy v.S. LauncheS BLending of aRT

The Hennessy V.S. Blending of Art project sees a fusion of artists with the brand’s iconic bottle to create individual visions of the label’s design.

http://prote. in/hennessy

aie

The launch of AïE magazine reveales fresh insights throughout fashion, art and music by our good friends Elle Azhdari, Alexandra Birchall-White and Isabella Kruta.

http://prote. in/aie-magazine

fRom RuSSia WiTh unkLe

Protein joins UNKLE in Russia for the start of their world tour celebrating the record, Where Did The Night Fall.

http://prote. in/russia-unkle

PRoTein neTWoRkS hiTS 200m imPReSSionS

In the last 6 months, our ‘boutique’ ad network has grown to over 200 million impressions and 22 million unique visitors. And that felt like a big milestone to us.

http://prote. in/200m-impressions

200m

The internet may well be a near infinite source of information – but there’s a hell of a lot of chaff amongst all that wheat. The Protein Feed is a personal filter that weeds out the more interesting and pertinent of these emerging trends. Here’s a selection that caught our eye recently.

http://prote. in/feed

Editor’sPicks

Feed

Submitted by Prote in


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Creating Sitopia: Food-Centred Thinking to Change the World

How to feed a city is the great conundrum of civilisation. And it’s one that, with cities expanding faster today than at any other time in history, has never been more urgent. With over half the global population already living in urban environments and an additional 1.3 million rural migrants joining them every week, we are seeing a fundamental shift in the core relationship of human society: that between city and country. Cities have always relied on the countryside for their sustenance, but in the past so few people lived in them (just three percent in 1800) that their ecological impact was limited. Today, the opposite is true. And if the future is

truly urban, we urgently need to redefine what that means.Of all the resources needed to sustain a city, none is more vital than food. Before industrialisation this was more obvious: the physical difficulty of producing and transporting food made its supply the dominant priority of every urban authority. No city was ever built without first considering where its food was to come from, and perishable foods, such as fruit and vegetables, were grown as locally as possible, most often in the city fringes. Fresh foods, including meat and fish, had to be consumed seasonally, with the excess preserved for winter by salting, drying or pickling. No food was ever wasted: leftover scraps were fed to pigs and chickens, and human and animal waste was collected and spread as fertiliser. The sights and smells of food – from unripe to ripe, raw to cooked, fresh to rotten – were omnipresent.

In the post-industrial era, however, things are very different. Today few of us witness the effort it takes to feed us, because industrialisation has hidden it from view. Railways in the 19th century emancipated cities from geography, making it possible to build them any size, any shape, any place. As cities sprawled, food systems industrialised in order to feed them, and, for the first time in history, the two grew apart. While architects and planners dreamed of building cities free from mess

and smell, nascent agribusinesses strove for ever-greater ‘efficiencies’ in the food chain in order to maximise the vast profits to be made from supplying them with food. As a result, food production was increasingly located, not in or close to cities, but thousands of miles away, in places where natural resources and cheap labour could be most readily exploited.

Our very concept of a city, inherited from a distant, predominantly rural past, assumes that the means of supporting urbanity can be endlessly extracted from the natural world. But can it? Food and agriculture today account for one third of global greenhouse gas emissions. 19 million hectares of rainforest are lost each year to agriculture, while a similar quantity of existing arable land is lost to salinisation and erosion. Seventy percent of the world’s freshwater is used for farming, yet rivers and aquifers worldwide are running dry. Each calorie of food we consume in the West takes an average of ten to produce, yet one half of the food produced in the USA is wasted. A billion people worldwide live in hunger, while a further billion are overweight, a third of those obese. Once you factor all the externalities, it becomes clear that ‘cheap food’ is no such thing. One study reckoned the true cost of a hamburger made with industrial beef raised on cleared forest at $200.(Raj Patel, The Value of Nothing: How to reshape market society and redefine democracy, Portobello 2009, p.44.)

Industrialisation created the illusion that cities were independent, immaculate and unstoppable. Now that the illusion is wearing off, we need a new dwelling model: one that recognises the dominant role that cities play in the global ecology. But how are we to arrive at such a model? Food is the key. Its influence is already everywhere around us: in our cities, landscapes, work patterns, social lives, domestic routines, politics, economics and ecological footprints. Indeed, food’s influence is so profound that it is virtually synonymous with life itself. This gives it unique potential as a conceptual and practical medium. If we can learn to see through food, we can harness it as a social and physical tool to shape the world better.

My word for this approach is sitopia, or food-place (from the Greek sitos, food + topos, place). Unlike utopia, sitopia is achievable: indeed, we already live in one of sorts, albeit a very bad one, fashioned by the likes of Walmart and Tesco. The current sitopia was created in the pursuit of profit, not through any kind of social vision. Our task now is to reverse that: to create a good sitopia, based upon a vision of the sorts of communities we actually want to live in. We must use food as our guide to restore balance to our lives, to society, and to our relationship with nature. So how might that work?

Our first task must be to restore its true value to food. Look at any pre-industrial society, and you will see people thinking, not just about food, but through it. Food’s proper place is not at the periphery of society, but at its heart. The route to a better, fairer, ecologically viable society therefore requires that we democratise food – which, in turn, demands economic reform. If the true costs of industrial food were internalised, not only would the ‘right’ food choices become mainstream, but corporate control of food would be loosened: a vital shift towards a more equable, sustainable world.

Freeing up the food system would also allow us to rethink the core relationship in society between city and country. The relative merits of urban and rural life have long been debated, with the majority of opinion (most of it city-based) deeming rural life to be somehow inferior. But, as Ebenezer Howard pointed out in his 1902 Garden Cities of Tomorrow, both urban and rural lifestyles have their good and bad points. The trick is to find ways of combining them that maximise the benefits and minimise the disadvantages of both.

Today, we face unprecedented global challenges. Yet we also have tools at our disposal that open up new ways of reconciling the urban paradox. Already satellite communication has dispelled one of the greatest obstacles facing country-dwellers in the past: social opportunity. Mobile phones, for instance, have transformed the lives of Masai cattle-ranchers in Kenya, who use them to get the latest information on local markets. The internet has also become a vital tool for creating local food networks in the industrial north, bringing a wide range of social, environmental and health benefits.

Of course food is not the only thing in life. But it remains a hugely potent medium for understanding life’s complexity, and plotting a way through it. Whatever form human dwelling takes in the future, the urban-rural paradox will always be at its core, with food as its defining medium. How we choose to farm, shop, eat and cook in future is up to us. But our choices, multiplied many times over, will shape our shared destiny.

http://hungrycitybook.co.uk

Submitted by Carolyn Steel

Insight

Carolyn Steel is one of those individuals who can’t help but make us feel lazy. As an award-winning architect, writer and lecturer, she’s run design units at the LSE and Cambridge University, is a visiting lecturer at Wageningen University, and a consultant to the Dutch City of Groningen. A director of Kilburn Nightingale Architects, she has completed several major buildings for the Central School of Speech and Drama and also lectured at TEDGlobal in 2009 (which is where we first heard about her inspiring sitopia). And as if that wasn’t enough, her 2008 book Hungry City: How Food Shapes Our Lives won the Jerwood Award for Non-Fiction. Hit up http://hungrycitybook.co.uk for more details.

Photo credi t : Addie Chinn, ht tp://addiechinn.com

“One study reckoned the true cost of a hamburger made with industrial beef raised on cleared forest at $200.”

“My word for this approach is sitopia, or food-place (from the Greek sitos, food + topos, place). Unlike utopia, sitopia is achievable.”

“Food remains a potent medium for understanding life’s complexity, and plotting a way through it.”


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30 / Sculptor / Sydney 30 / Chef / London

ana-WiLi highfieLd Ben gReeno

Do you have any new projects on the go?

I don’t really work in series. I make pieces by commission and it works really well for me. I like knowing who it’s for and the exchange between people. At the moment I’m working on two pieces for Hermès, for the new store opening in Brisbane.

So how do you spread the word about your work?

Its been mainly word-of-mouth, my website, and through magazines and blogs.

Do you find yourself impacted by the internet?

The internet has been amazing for my work, as it’s so easily transported. I have my favourite blogs too which I dip into from time to time.

How do you make the work relevant to the commissioner?

I tend to stick to birds and horses, in particular Australian birds as I know them and it makes sense to me. But when someone emails me from another part of the world I get excited about making something specific to them.

Do any outside/exterior trends influence your aesthetic?

I’ve had years of experience and studying/researching art, the world influences me but it might not necessarily be through art – it might be a nice rug or even a tree.

How does food shape your life?

I always buy free-range food, I’m ethically against caged animals, and I try to buy locally grown food products.

Do you think we value food in our society?

Sydney is really good with food, and there are lots of great cafés. Since we don’t really have our own culturally traditional food, we take all different foods from all over the world and I think combine them quite well. Exciting things are happening!

http://annawil ihighfield.com

What are you currently working on?

I’m working on the Supper Club, Tudor Road, for the next two and a half months.

And how have you gone about promoting the project?

As stupid as it sounds, it’s pretty much done itself, through people’s blogs. Plus I started my own as well.

Are there any trends that have recently caught your eye?

A big trend at the moment is getting into eating vegetables as the main ingredient rather than a big piece of meat. I always do one vegetable course but I wish I could get away with more.

Supper clubs thrive via the internet. Has this resource influenced you creatively as well?

Definitely. I’m constantly look at food websites from all over the world, I look at a lot of supper club websites but most of them are a different style to what I do so I mainly look at restaurant sites.

Do we value food in our society?

We’re getting there, but it’s still not as much as we should. People still go to supermarkets to shop but depending on what part of town you’re in, people are more aware of farmers’ markets and locally sourced produce.

How do you see this dynamic between the urban and the natural developing?

There are a lot of urban orchards and gardens in London and its only going to get bigger and bigger. I’ve just been reading about a project called Roberta’s in New York, which uses its roof top space as a garden: they grow a lot of their produce and even keep bees. They’re knocking out really good pizzas and modern food whilst being on their way to self-sustainability. Somewhere like that in London would be amazing.

http://bengreeno.wordpress.com

Q&AInsight

Submitted by Gig i Barker

Taking a lead from Carolyn Steel’s food-forward call-to-arms (see previous page), we asked a handpicked selection of the Protein Insight Network what they’ve been up to and for their thoughts on food, technology and what influences their cultural decisions.

http://prote. in/insight


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28 / Illustrator / Innsbruck

conSTanze moLL


I’m currently working on a few Christmas card designs.

What platforms do you use to promote your work?

Apart from my website and my blog I currently also use Twitter, Behance, Society6, and deviantArt.

How successfully do these avenues get your work out there?

I think both Behance and Society6 have been very helpful in getting my work seen. I don’t blog frequently enough for that to serve as a promotional tool in its own right.

What aspects of the internet influence your cultural decisions as a consumer?

It’s become easier to buy directly from artists – I can find little handmade items and art prints online and know that I can directly support the person who created them, which in turn makes me more likely to spend the money in the first place.


That really depends on your definition of ‘our society.’ Most of the people I know value food and try to let nothing go to waste. At the same time, uncountable tons of food go to waste every day in the food industry simply because there seems to be an expectation of abundance – shelves must never be found to be empty, there must be a huge range of similar products. I see a real need for change there.

How do you see the balance between urban life and nature progressing?

I think there’s a strong trend back towards appreciating nature, especially among urban dwellers. People are realising how removed we’ve become from our sources of food, clothing, etc. Trying to reclaim that is an important factor in the whole ‘handmade’ movement, and I believe that trend is only going to become stronger.

http://constanzemoll .com

31 / Sculptor / Los Angeles

dana PaRk WeiSeR


I am working on a couple of different projects at the moment. I am also finishing up a clay sculpture maquette for a larger scale piece that I would like to do. It focuses on the idea of ‘push-me-pull-me’ and the idea of what we are supposed to be or how we are supposed to act.

How do you conceptualise the work so that it is received by your audience?

I feel that sometimes my work is not conceptually accessible to all, sometimes my work has a loaded history to it that not many people know about. But I hope that it makes the viewer think in some way. I do try to make my work visually appealing and hopefully that can hold someone’s attention long enough for them to try and want to understand what it means.

What platforms will you use to promote this work?

I mostly rely on friends and word of mouth to promote my work, but I do have a website that allows me to promote my work on a grander scale. How do cross-cultural influences appear in your work?

I am affected by the environment that I live in – I am currently living in L.A. and I believe that the culture here has rubbed off on me, as well as the culture or society that I grew up in. The themes of race and identity are always prevalent in my work.


I believe on two extreme levels: on one level there’s this food that’s so expensive and out of reach for many and on the other hand there’s a bunch of crap that is readily accessible to almost all.

How do you see the balance between urban life and nature progressing?

It’s sad that nature is losing to the sprawl of urban living.

http://danaweiser.com

27 / Artist / Amsterdam

gijS kaST

What projects are you working on at the moment?

This week is Design Week and so we have a group exhibition going on where I have some drawings on display and I did a large mural of a dog.

How often do you update your website?

I try to post a drawing every week and most of the time I manage. I get more visitors if I post more often.

Are there any cross-cultural influences that appear prominently in your work?

People. Normal people. I like to make pictures of cool and interesting people and to remember strange instances that have happened to me in every day life. I favour the outcasts of society, the people who aren’t in the spotlight. I recently went to a strongest man competition and a dog show – these people are like a gold mine for me. They’re really going for it in their own world. I think they’re really cool and I think they’re really honest, so I try and portray them in a positive light.

Do you follow trends?

I am conscious of trends and beauty conventions. Everything is concerned with shiny and glamour – personally, however, I prefer people with bad haircuts and five chins.


I like to eat good food but its not a big role in my life, I like going out and eating nice food. I do make killer mashed potatoes!! I think its a pity people don’t take their time to cook themselves…

How has globalization affected this?

I think globalization is making it worse; McDonalds wasn’t here before globalization kicked in. It’s great to get different products from different cultures from all over the world but on the other hand corporations are taking over.

http://gi jskast.com

24 / Blogger / New York

jeSSica meany


I have an Etsy shop and just started a new project for it, which I hope is going to be really beautiful – I’m doing dye lots of fabric and forming them into scarves and jackets.

How does the website benefit you as a platform of promotion?

I think its really great: it brings together a lot of artists that normally would have their own website but would be separate from the rest of the craft world. This brings everyone together as a community.

How often do you update your blog?

It depends on my mood. I’ll update everyday or sometimes I’ll go a couple of weeks without updating it. The cool thing about the internet is that I could have a blog and no one might read it – but if I am conscious of giving credit to everyone for all of the images, I end up getting more traffic and people discovering my blog.

Do you find food coming through in your imagery?

I’m a huge foodie and even though I try to be more health conscious I love junk food too – there was this great photo that I found, that was a pizza with a bunch of mini pizzas on top of it.


Food is awesome! Its one of the few things my boyfriend and I have time for together every day and it’s a great way to bring our friends together, to cook for each other and try new food. Food is a great social outlet.

How do you see the natural and urban dynamic progressing?

We have really good food markets, farmers come from New Jersey and upstate to sell their food. I think that helps to encourage us to support small farmers.

http://anonymousagent.blogspot.com


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29 / Artist / Berlin 34 / Photographer / London

nicky BRoekhuySen Rick moRRiS PuShinSky

What is the concept behind your work?

The idea is to take a digital language and to turn it into something different. They are like abstract paintings and each is individually hand stamped. For me art is about communication so the most current and powerful means of communicating my ideas is through this digital language.

How do cross-cultural influences play a role in this?

The idea of science and maths are very important but the creative process is fluid and spontaneous. Accidents and small differences become so important.

What cross-cultural influences permeate your work?

I used to live in China, and the whole experience affected me – opening your door in the morning and the smells just hitting you; the idea of never knowing what you are going to see. Any sensory or intellectual shift is an artist’s influence.


I love food and my mother was a chef so I grew up around food. Food is a creative process and another means of directing your creativity. If you don’t want to work on an artwork make a dinner!

Do we value food in society?

It goes back to location – in China food is life there. All the food is placed on the table and everyone shares. It is about community. With lifestyles in the West we think more about keeping engines running – it’s not about the longevity of the engine or the goodness of the food…

How is the dynamic between the urban and the natural developing?

The thing I loved about Shanghai were the markets. Whoever was cooking that day would pop down and buy what they needed. It was all local people growing the food and it was an honest and natural interaction. The distance between food and consumer was reduced; it was obvious it was a product of nature with flaws.

http://nickybroekhuysen.com

What projects are you currently working on?

I’m currently mainly working on stuff for newspapers,but there’s also a book on the culture and politics of food. The idea is to commission essays on the subject and then to do a photo for each essay relevant to the topic.

Are there particular trends that you’re interested in?

One of the essays I want to get written is an imaginary shared food history of Britain. There’s an austerity that comes with the economic downturn – even if food doesn’t change, the way we think about it and talk about it does. I’m interested in whether anything does actually change or whether it is just the way people describe it.

Are you aiming to expose/follow/oppose them?

I think I’m pessimistic about what these things achieve, I think you just have to put your stuff out there and hopefully if there are other people out there that agree then it sort of creates a shift.


I think about it most of time. But it doesn’t shape my life the way it used to, as I’m in transit most of the time so don’t get to cook as often.

With busier schedules do you think we value food less?

I think we understand it less, which probably means that we’re engaging with it less. For some people it seems like an inconvenience to eat when I don’t think it would’ve been 100 years ago – or then again maybe it always has been a pain. And are we even busier than before?

How can we use globalisation to our advantage in this quest?

I know journalists that have been flown over to New York for a half hour interview. So there’s an enormous amount of money, fuel and carbon dioxide being pumped out for nothing. Doing this interview over Skype, for example, makes it pretty apparent that it is not really necessary.

http://pushinsky.com

30 / Sound Artist / Japan

Song-ming ang


I’m doing a residency in ARCUS in Japan right now. The building is a former elementary school so I’ve taken that as my starting point to get the former students to try and sing individually what they remember of the school song. The point is to use the school song as the means for people jog memories of their childhood.

Do you see any cross-cultural influences aside from music?

I’m interested in a large variety of things; I use music as a means to focus my work as it’s something I’ve loved for a very long time. But it’s true I do think about other things, like the notion of the amateur or community. I’m not trying to change the world, but it’s about trying to reframe the way we consider certain things.

Has the internet played a large role in this process?

I spend a lot of time online and a lot of the music I consume comes from the internet. People tend to be quite skeptical about the internet but it’s a very useful resource – it’s about knowing where to get information from reliable sources and being able to process that, whilst also being critical and analytical.


I think that food is the highest form of art. Everyone needs to eat. Everyone can appreciate good food. Art on the other hand is very subjective and divisive, as are politics and literature. Food is universal and people can agree on it more readily. It’s something you really need, you need it to subsist. It encompasses the fives senses: you taste it, see it, touch it, smell it and hear it (when you cook it). It’s the most democratic form of art. Once you eat it, it’s gone, all you have are the memories. So in that way it’s romantic, it never stays with you.

http://circadiansongs.com

23 / Graphic Designer / Paris

xavieR BaRRade

So what projects are you currently working on?

At the moment I work at an advertising agency as an art director. But I also have a side project called ‘Retrospective’ where I create pictures of artworks that don’t really exist.

How does the internet influence your creative decision?

It’s my culture. I’ve been designing websites since I was 8 or 9 and I never watch TV.

Who is your target audience?

I don’t know! There are things that I do just for fun and my love of it. “Retrospective” is something that I wanted to share and to give a life of its own.

How do you tailor the work’s suitability to the audience?

If it is good the work will speak for itself. I try to make the work easily understandable and aesthetic. At the moment I’m working on a piece where the subject is democracy and for that I do a search of the word and see what the average image for the concept is. I try to have simple concepts but with a quirky and witty execution.

Do any particular cross-cultural influences permeate your work?

I think why my work is different is because I studied science before art – I don’t visualize an end scenario, I see problems and ways of resolving them.

How does food inform your life?

I like to eat but I don’t have time or patience to cook so I just eat simple food.

How do we value food in our society?

There are so many blogs out there that explore many aspects of culinary culture. I like one in particular that uses bento cuisine to create pictures of Super Mario.

http://xavierbarrade.com


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Ellen Rogers is a London-based fashion photographer and filmmaker, originally hailing from Norfolk. Her images are at once dark, soft, evocative and deeply memorable – like something you’ve seen before but can’t place.

Something of a curiosity in our digital age, Ellen believes in working with purely analogue techniques and equipment, even creating her own dark room chemicals. And the beautiful photographs that come out of this – often images of ethereal temptresses set in a dream world from a different time – are layered with a powerful sense of history.

With personal interests spanning from vintage cameras right through to comic books, it’s as hard to define the person as it is her art. But one look at her work and it’s nevertheless clear that there’s also a deep fascination with beauty, religion and the occult. And it’s a fascination that yields something simply stunning.

http://el lenrogers.co.uk

Ellen Rogers

Gallery



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With its almost contradictory qualities – simplicity yet intricacy, delicacy yet longevity – Alice Waese’s organic-inspired debut collection of limited edition unisex silver and leather accessories and paper illustrations is enticingly elegant yet utterly lust-worthy.

http://curiouserandcuriouser.ca

Alice Waese

Gallery



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Protein Journal: So let’s kick-off with this idea of commissioning. At Protein, we create a lot of branded content. But a question that often appears as a result is one of ownership: if you look at traditional worlds of film-making it’s the guys who pay the money who ultimately own it. But in the world of IP generation software systems used in generative art – installations or projections – what is that border in ‘brand world’ that defines a product and how do you guys work with that? Joel Gethin Lewis: We’re standing on the shoulders of giants, as Newton said. And he was right on the money with that one as well as inventing gravity, the bastard. Everyone’s recycling from each other the whole time so there is no such thing as ‘ownership’ anyway. I think that’s an illusion that people fool themselves with – especially brands – and the sooner people tell themselves the truth, the sooner they can actually do something amazing instead of trying to protect it and take it away into this place that doesn’t exist.

EG: One thing I want to add to the open source point is that I think we’ve all got no choice. It is a cultural shift. The best way to look at where we’re going is to look at China and India and how they perceive copyright and IP and how it is within their society. They’re growing so massively that it’s got to permeate into our society. So embrace it now and stay ahead.

JGL: Just give everything away. It makes it easier. I think that’s the reason why I do open source: it’s because I’m lazy and I don’t want to waste my time having discussions about who owns what. It’s just an experience like any other. I think we’re blessed to be able to give them to other people… but it’s naive to think it’s any more special than someone hanging out with their friends on top of a mountain lighting a bonfire.

PJ: Maybe that’s where Shane comes in, as not quite the ‘middle man’ but...

SW: Someone called me “the provocateur” and I think it is about trying to push those buttons, but it’s quite difficult because of the way marketing is so stump-driven. In a lot of advertising they want the latest trend – brands as well – they don’t want to develop a proper relationship, to get to know each other.

SW: I’d really like to have met Leonardo Da Vinci – he was 100% a commercial artist. The reason he did great work was to get patronage, and I think that’s the way to think about brands nowadays. They are patrons to great work to win the hearts of people and to really develop and progress. Surely you’re going to feel much better about a brand if they do that than if they go “you’ve just done a really cool thing, can I put my logo on it.”

PJ: So let’s turn to measurement and whether it’s not so much about patronage, then, but these ongoing relationships with more experiential projects and really conveying their value. Because if we’re to help brand world perceive the value of these – which is certainly what we try to interpret as the conduit between the artists and the brands – it really comes down to measurement. It’s not: how many new TVs have been sold? But actually: how has that changed my brand?

Ben Kreukniet: I think it was interesting that with the Virgin media project we just did, for the first time we got a definitive feedback for that. They did an analysis on how many people turned up and how much press there was, and the agency we did it through really set a lot of targets like how many people they expect per day.

PJ: And that was their measurement? The PR response?

BK: Yeah. What was also interesting was they handed out questionnaires to people with simple stuff like “How did you hear about this?” 85% of people said they heard from their mates – and that’s kind of it. I think in a way it was almost too easy because Virgin Media and this idea of light as information, the purity of that, it was really strong and everyone from the brand got it. I don’t know that every time it’s that easy.

EG: The flipside though is that it feels to me like we’re playing catch up in our industries, having to show metrics to become credible in this old school brand world. Personally, I measure things by looking at how much people are smiling at an installation and if someone’s throwing their kid around and they’re going nuts then for me we’ve done our job. But the

client wants to know how many babies smiled.SW: There are some things you can’t measure like depth and resonance and that’s where the metrics start to fall down. You can’t measure an emotional response to something because I might see it and hate it but they count it as a positive because I’ve seen it at all. I think there’s always a danger when you start to just do it by numbers. Resonance and longevity and emotional attachment... that’s what you’re trying to do. Brands are trying to do numbers, artists are trying to get a little bit further.

PJ: And here we are in the middle.

SW: Exactly. If you did something which changed someone’s life and they remembered it and told a group of people ten years later that’s pretty damn powerful. That rarely happens when you get commissioned with a brief… Y’know: “Give something that people are gonna remember, something that’s gonna change their life in a small way...for the rest of their life.”

PJ: Now that’s a good brief…

EG: It’s all about legacy and memory; whether you can affect someone. But measuring happiness, measuring if they remember it in a happy way ten years on or, I don’t know, how do you measure that?

BK: I think you’ve just opened a massive can of worms here. Since I joined UVA I’ve spent the last 18 months working on two permanent sculptures in Canada and that question has come up everyday, like: “How is this going to be interesting in 20 years?” And that was the brief – this thing has got to last 50 years… And the only way you can create a reactive digital installation that’s going to be relevant in 50 years is if it can change over time with what goes on around it.

SW: One way to do it is to give it away and it lives on, it evolves. The V&A Decode show that I co-curated, they expected 40,000 people and it had 100,000. Yeah, great. It’s fantastic. I think that’s kind of interesting: this impermeability of the work and unstable media.

JGL: I just like the fact that we’re giving it away, I like that we don’t get to keep it. And also, if you try to make something that goes 20 years into the future you inevitably say much more about the time it was made anyway. Like, if I try to predict the future now, what’s going to happen in 20 years, I’m actually just saying much more about society now than any realistic prediction of the future.

PJ: And speaking of the future, what is next?

JGL: Singularity.BK: If we’re going with one word answers: infinity.SW: Disintegration.EW: Now.

Evan Grant: I totally agree. But something we found really interesting with ad agencies is they don’t have the same mentality. They approach it from the TV, radio and print mentality. I’m always happy for them to take ownership of something if they want as long as they don’t manipulate it. It’s like giving copyright to a painting and saying you can draw a silly face on it. It’s ridiculous. It stifles innovation.

Shane Walter: I think there’s a misunderstanding of ownership. Because you’re talking about protection, control and value, and sometimes those things get mixed up. One thing at the moment is that people don’t understand the value, but they want control and protection. I think that’s really unbalanced. And the sharing is really, really key to this cultural shift. Nokia’s latest phone for many reasons is an open source platform. But cynically they think it’s actually open source because open source software is so much better than us doing it… But at least they’re starting to get it in a commercial world.

Are Brands the New Commissioners?

Submitted by Addie Chinn

Forum #6

Shane Walter founded onedotzero, a moving image and digital arts organization in 1996. The company also runs an annual festival named Adventures in Motion, which is held at the BFI and showcases the very best in moving image through screenings, installations, talks and workshops.http://onedotzero.com

Evan Grant is the founder of Seeper, and interactive arts and technology collective. His exploration of natural user interaction and computing has created multisensory memo-ries and experiences for brands including Sony Playstation, Glastonbury Festival and Unilever.http://evangrant.com

Ben Kreukniet holds the position of Architectural Lighting Designer at United Visual Artists. The British-based collec-tive’s current practice spans live performances and fully re-sponsive installations alike, including their award-winning V&A/Sony PlayStation commissioned piece, ‘Volume’.http://uva.org.uk

Joel Gethin Lewis is one half of Hellicar & Lewis, which holds open source at the centre of their business strategy. Blending analogue and digital to create unforgettable in-stallations for the likes of NZ Telecom and Diesel:U:Music, Hellicar & Lewis are pioneers in their field.http://hellicarandlewis.com


22 23


It’s Berlin. 2.30am. You’re visiting from wherever for two days, and you’re full of food and drink but you’re up for more. Ideally something new, something a bit different. Who are you going to call? No one at home will pick up their phone at this time to guide you to their favorite weird and wonderful late-night hang-outs. Five years ago, before the iPhone era, that would’ve been it. Back to the hotel or a late night touristy pizza spot with €1 Bitburgers. But now Berlin’s city is literally at your fingertips.

Hell, you might even end up at JFK’s old local with milk-fried chicken and cinnamon liqueur shots (http://prote.in/henne), some post-dinner exercise at Dr. Pong (http://prote.in/dr-pong), or Madame Claude, a brothel turned bar with upside-down furniture (http://prote.in/madame-claude).

Taking the printed and so quickly out-of-date Lonely Planet and Wallpaper books to a next level, unlike.net reinvented the city guide for the new century. With brutally honest reviews, hipster event listings and super clean design, it established itself as the leading international city guide with concise city-by-city newsletters, an intuitive mobile application and a VIP concierge service. Cities covered include Amsterdam, Barcelona, Berlin, Cape Town, Copenhagen, Ibiza, London, Miami, Milan, Paris, Sao Paolo, Shanghai and Vienna, with New York, LA, Tokyo and Mumbai following soon. Currently hitting 945,000 impressions and 490,000 unique visitors a month, it’s the ultimate sub-radar destination for opinion makers and taste-traders.

The brain behind it all is Cape Town/Berlin/London-based entrepreneur Marley Fabisiewicz. Having started his career as a music mag editor and DJ, he rolled in to being the editor-in-chief at Lodown magazine along with his partner Marok. Seven years of good times later, he moved into becoming the European Marketing Director for Vans. “But I figured being a marketing and PR guy wasn’t really my thing. Too much shoulder-tapping, you know?” Soon after that, Marley entered the world of IT to build software, interactive flash sites and all sorts of cool tech. Then, on his travels, the idea for unlike.net developed.

“I was in Miami and wanted to visit some cool stores and galleries so I picked up a copy of those little Wallpaper City Guides. I grabbed the Berlin one and when I was sitting in my hotel room reading it, I thought, ‘Wow! Berlin is a really cool

city!’ So I instantly went online to wallpaper.com because I figured they would have all that information there. But there was nothing... So with that in mind, I met up with my developers and said: ‘Listen guys, how about we do something cool and make a city guide about Berlin?’ It was 2007: Berlin’s unlike.net launched. And when the iPhone came out almost simultaneously, the whole thing just came together.”

Things happened fast when Apple chose Berlin’s unlike.net as the app of the month. Website traffic went nuts. unlike.net got financing sorted, an editorial team together, and more cities opened up. “Everything went so fast. It was all very exciting.”

Fast-forward to Winter 2010 and the unlike.net brand is strong and still really well respected for its high quality content, offering a unique travel experience. After slowing down a little, unlike.net is now about to be completely restructured with a new team and strategy. “We’re working on an idea to make everything more dynamic and interactive. One of the biggest overheads is generating editorial content, whilst most content is actually out there… Your Facebook Places updates, your Foursquare check-ins, your friends’ favorite hotels Tweeted. So what we’re working on right now is a sort of AI which enables us to create a personalized city guide, just for you.” Does that mean unlike.net is going down the slightly dangerous path of user generated content? “The discussion goes back and forth. We haven’t done it so far, but it’s definitely heading that way. So far it’s been good, we’ve sold about 50,000 iPhone apps but it’s time to take it to the next level. But it won’t ever be like a Yelp, where Jimmy and Johnny post some bullshit. We need a mechanism that somehow controls that.”

When Marley isn’t working on artificial intelligence strategies, he’s opening bars, galleries, and Factory-like buildings. Two weeks ago he opened up a bar in Cape Town called Fat Back Soul. Then, three weeks ago, the unlike.net gallery opened its doors – with a solo show by London artist Steff Plaetz. The gallery is part of a four storey building in Mitte, Berlin. He calls it his Factory: a recording studio in the basement, ground floor gallery, and the top two floors are workspace.

What’s next?

“A Polish restaurant in Berlin. Polish is my heritage. There’s this great place in London called Gessler, it really inspires me.” Marley’s on the hunt for a venue now…

unlike.netSubmitted by Freddie Janssen

Channels

“Taking the printed and so quickly out-of-date Lonely Planet and Wallpaper books to a next level, unlike.net reinvented the city guide for the new century.”

http://unl ike.net


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Up in the hills of Los Feliz, in east Los Angeles, Jeffrey Deitch’s new home overlooks the sprawling City of Angels, with Hol-lywood to the west, Silver Lake, Echo Park and Downtown LA to the east. After being appointed the new director of the Los Angeles Museum of Contemporary Art (MOCA), the former New York art impresario recently delighted viewers of LVMH’s Nowness with a filmed tour around his sprawling Spanish revival house, once owned by Cary Grant in the 1930s.

Interviewed by director Alison Chernick and food artist Jennifer Rubell, Deitch shows us the massive Jesus painting above his (unusually small) bed and explains the current maxim of contem-porary art with an enthused view. It’s a new model for the 21st century he says. It’s a platform that includes all medium; from street culture to film and fashion to literature. However, Mr. De-itch does fail to mention one essential ingredient, an element that has never been so prominent in art and culture. And with Jennifer Rubell present no less. Tut. In 2010, this model loves food.

Chef Dante Lorenzo Gonzales lives just over a mile away from Jeffrey, where Los Feliz borders on Silver Lake. Although residing in a slightly less salubrious abode, like Deitch, this fellow New York to Los Angeles transplant is also an innovative curator, party promoter, filmmaker and a unique voice of today’s food culture. As a professional chef in Seattle and San Francisco, Dante moved to New York a decade ago where, overburdened by kitchen egos and culinary boundaries, he went off on his own to create a more universal food philosophy: a mantra that food (and music) are “the two aspects of our lives that transcend most human prejudices.”

Under the Dante Fried Chicken (DFC) moniker, his signature Transatlantic African Cuisine is influenced by migrating African and European foods combined with indigenous American tradi-tions and elements of Asian cuisine. Much like how he views life in general - DFC is about educating and uniting a universal

culture through food. His trademark spin on the humble Southern Fried Chicken is an evolved recipe that started with his Grand-mother Jean, a chef for jazz legends Duke Ellington and Count Basie, and now boasts 30 ingredients, an inspired mix of global Slow Food ideals and the centre point to the DFC concept. This is not just fried chicken, it’s cultural anthropology.

The now-legendary underground supper clubs / rooftop ware-house parties that Dante hosted in New York at the beginning of the 2000s introduced the DFC culture to the open minded masses. Showcasing Dante’s culinary and musical curation skills, the jams featured the likes of M.I.A., Santigold, Mos Def, Theophilus London and TV on the Radio alongside a pioneering menu of over 100 recipes that included Coconut Rosemary Mac Up, Black Bean and Collard Greens Egg Rolls and Mofongo Gumbo Tamales. “The food of New York is probably the most diverse of any on this planet,” he explains. “I eat a lot in Queens where there are over 300 different types of cuisines.”

The DFC philosophy soon spread to Europe via the online (and soon to be broadcast) series, The Dante Fried Chicken Show. “I’m glad food is finally becoming a recognised art form of cultural communication,” explains Dante. “Those of us who were doing these types of experimentation with food were doing so without any notion of what we were doing otherwise. Now it’s 2010 and all you have to mention is food and lifestyle... they have both finally collaborated in one of the biggest ways since the roaring 20’s supper and social clubs.”

“It’s about building a community from the ground up,” continues DFC. “Then you can nurture your core foundation and make sure you grow with them, so that even if you dramatically change your process or aspects you still maintain the core morals of the foundation you’ve created around community.”

The base for DFC’s worldwide hub is now LA, where his Ride or Fry gourmet food truck was recently crowned the Thrillist Best of Best Los Angeles Food Truck. Jump on http://twitter.com/KFCRIP to ghostride the DFC phenomena where you’ll be able to eat, drink and immerse yourself in his creative, conscious, mobile kitchen environment that also broadcasts a radio show. “Slow Food is heirloom cooking or old school cooking,” Dante explains of his unique culinary art movement. “Using traditional ways of cooking and natural ingredients, this is the opposite and antidote to what we know as fast food.”

Dante Fried Chicken: Ride or Fry

Submitted by Terence Teh

Channels

“I’m glad food is finally becoming a recognised art form of cultural communication. It’s 2010 and food and lifestyle have both finally collaborated in one of the biggest ways since the roaring 20’s supper and social clubs.”

http://r ideorfry.com

Photo credi t : Jasper Clarke


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20.5 4.3

20.5 4.3

15.5 5.9

15.5 5.9

Drinking vs UnemploymentSubmitted by Prote in Ins ight

L i t res of a lcohol per capi ta per annum with in the EU Percent of work ing populat ion unemployed with in the EU

Source: Prote in Audience Survey 2010/11. Read more at http://prote. in/insight

VILLAGE EAST 14 NOV THE PEASANT 15 NOV THE OLD BLUE LAST 16 NOV THE WESTBOURNE 17 NOV THE CHAMBERLAYNE 18 NOV

THE DOVE FREEHOUSE 21 NOV THE BLACK DOG 22 NOV GRAND UNION 23 NOV THE TEN BELLS 24 NOV THE OLD GOAT 25 NOV

Account: STELLACampaign: 11246_BLACK_POSTERJobTitle: 11246_POSTER_A2Publication: A2Insertion:

Size: 594x420mmDate: 15October20104:44PMProof: 2Operator: tod

ERIC:STELLA_ARTOIS:ES:POSTER:11246_BLACK_POSTER:11246_POSTER_A2

©2010 InBev UK Limited, all rights reserved. Please drink responsibly. stellaartoisblack.com

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