![]() ![]() Q: Your work is so ambitious, and requires you to deal with so many practical considerations and logistical challenges. ![]() I need someone I trust who can say, “That’s not your best,” and I can respond, “You’re right, I’ll scrap it.” I also lift weights three mornings a week, which keeps me sane. I love having a partner with a long, shared set of experiences, whose professional life is unrelated to art. I make the kids breakfast, we get them off to school and my husband and I enjoy a quiet coffee. She says, “I might sketch 25 versions of an idea until it stops being an object to look at and becomes someplace I want to get lost in.” (Bruce Petschek/Charles River Media Group)Ī: When I first wake up is when I have my best ideas. She uses digital, 3-D models on the computer to refine how her works act in space and interact with the site. This interview has been edited for length and clarity.Įchelman conceptualizes her sculptures on paper, using pens and watercolors. More than a dozen gorgeous woven experiments are suspended above head height, beneath a skylight.Įchelman, 53, spoke with us recently as she was making the final adjustments on a work commissioned by the Peninsula Hotel for the opening of Art Basel Hong Kong, on view there until June 21. A rudimentary model of a streetscape in Bonn, Germany - the setting for a major new work marking the 250th anniversary of Beethoven’s birth - covers one table. Assistants sit at computers lining the walls, which are covered with images, diagrams and quotations. In a TED talk that has been translated into 35 languages, she explained how, having been rejected by seven art schools, she went from collaborating with Indian fishermen and Lithuanian lace-makers to suspending intricately engineered sculptures above some of the world’s most famous public spaces, where they billow with the wind and change color at night.Įchelman, who works with engineers and architects, has a small but intensely busy studio beside her home in Brookline, Mass. It all started during a spell in India on a Fulbright scholarship, when Echelman was inspired by fishing nets on the beach. (Bruce Petschek/Charles River Media Group) Illah Nourbakhsh, a Carnegie Mellon professor who developed EarthTime, has said he sees it as “ a means to tell stories.Janet Echelman paints in her studio at her home in Brookline, Mass. Users can see changes in birth rates, death rates and mortality rates population density and growth migration and literacy rates. “You can tell a time story, and you can tell a geographic story,” Sargent said. In addition to analyzing the trends, users can download the data into visualizations. After layering on country borders, for example, users can see the impact on ocean levels if the planet warms 1 degree Celsius, or 1.5 degrees, or 2 or 4. ![]() With EarthTime, it’s possible to see how the environment has changed – and how it might continue to do so how land uses have changed how demographics and trade patterns have changed. And then there are forward-looking, predictive data, which can go out 50 or 100 years. Much of it is satellite image data from 1984 onward, allowing journalists to see how the word has physically changed as glaciers melted, cities developed, lakes retreated.Įconomic data in the platform go back more than 100 years – to 1900. The amount of data is impressive – a total of 800 different data layers that journalists can select to document and illustrate their stories. Understanding that is a core function of journalism, and a new tool from Carnegie Mellon University allows journalists to do so.ĮarthTime was developed by researchers at the university’s CREATE Lab and is, in the words of designer Randy Sargent, “a time-series map of the planet.” In a National Press Foundation video and a session with Paul Miller fellows, Sargent and colleague Ryan Hoffman described the development of EarthTime and how journalists can use it. Where has the Earth and its citizens been, and where is it going? ![]()
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