Andrew Michael Baron

Boulder, Colorado, United States
Andrew Michael Baron
Boulder, Colorado, United States
EDUCATION
EDUCATION

Master of Fine Arts, Design and Technology, Parsons School of Design, NYC, 2003
Completed degree in accelerated time. Dean’s Scholarship. Academic Achievement Award for GPA.

B.A. Philosophy, Bates College, ME
Thesis: Beauty and Problems with Existentialism 

Arts Magnet HS, Booker T. Washington, Dallas, TX 

MAJOR WORKS
MAJOR WORKS
ROCKETBOOM

I founded Rocketboom in 2004. Rocketboom was at the forefront of the democratization of the moving image. Rocketboom set standards for short-form storytelling, digital video production, online distribution technology, online video promotion, and video commerce on the internet. 

ARTICLES
Globe & Mail
Rocketboom’ may be future of TV news: A Monday to Friday video weblog may prove to be a revolutionary form of news media
By Frazier Moore
May 6th, 2005
The New York Times
Weatherperson Wanted. Bring Own Map. And Jokes.
By John Freeman Gill
May 22, 2005
CBS Evening News
Eye On America: Vlogging – ‘Vlogger’ Cyber-Culls The News
Aug 19, 2005
By John Roberts and Jim Axelrod
Bloomberg
Rocketboom’s Powerful Lift-Off: The news spoof is a model for video blogs — and may transform the way TV is viewed
September 4, 2005
The New York Times
TV Stardom on $20 a Day
December 11, 2005
By Robert Mackey
Agence France-Presse (AFP)
Lights, Camera, Vlog: New Video Craze Hits Internet
December 18, 2005
Tivo
Rocketboom on Tivo: First Internet show distributed through mainstream TVs
By Tivo Community
December, 2005
Bloomberg
Rocketboom, CSI…and eBay Auction for Ads
By Heather Green
January 26, 2006
New York Times
A Blog Writes the Obituary of TV
By Dan Mitchell
March 11, 2006
You Are Standing In An Open Field
SXSW2006: Democratization of the Moving Image
By Sean Patrick Coon
March 14, 2006
Chicago Tribune
‘Rocketboom’: So what’s all the fuss about? It’s been heralded in a New York Times “critic’s notebook” as “amusing and ambitious.”
By Steve Johnson
March 24, 2006
Rolling Stone Magazine
The Rise of the Video Blog: Online video bloggers are redefining the worlds of news and entertainment
By Andrew M. Goldstein
April 21, 2006
Wired
A Guide to the Online Video Explosion
May 1, 2006
San Francisco Gate
Video bloggers claim spotlight / Online diaries looking a lot like television.
By Ellen Lee
May 1, 2006
NPR Morning Edition
Rocketboom Wins Viewers on the Web
May 11, 2006
Media Giraffe
AUDIO:Founder Andrew Baron discusses Rocketboom as journalism, its business future and mission in Media Giraffe interview
By Bill Densmore
May 14, 2006
American Journalism Review
Do Rocketboom and similar videoblogs pose a threat to the future of television news?
By Paul Farhi
June, 2006
Washington Post
Popular News Anchor Leaves Video Blog Site
By Sara Kehaulani Goo
July 6, 2006
New York Times – Technology
What’s going on with Rocketboom?
By David Pogue
July 7, 2006
New York Times – Arts
A Rift at the Video Blog Rocketboom Triggers a Cyberspace Soap Opera
By Felicia R. Lee

July 7, 2006

The Adventures of Accordion Guy in the 21st Century
Andrew “Rocketboom Guy” Baron’s Visit, Videos and Glamour Shots
By Joey Devilla
July 09, 2006
Brian Solis
Rocketboom Gets A Prescription For Fun – Thanks Dr. Tiki
By Brian Solis
July 15, 2006
CNN Money / Fortune Magazine
The Rocketboom ruckus: What big media can learn from a hubbub over the departure of a pioneering video blog host.
By David Kirkpatrick
July 17 2006
Bloomberg
This Week’s Podcast with Rocketboom’s Andrew Baron
By Heather Green
July 18, 2006
Pulver.TV

Video on the Net: Video Interview with Andrew Baron of Rocketboom

By Jenn Shaw
May 14, 2006
Tech Crunch
Rocketboom: Almost 10X Ze Frank’s Downloads
October 27, 2006
Beet.TV
Rocketboom Finds Audiences Beyond the Digerati
By Andy Plesser
November 24, 2006
PBS Frontline
News War: What’s Happening in the News – Interview with Andrew Baron and Rocketboom
By Raney Aronson-Rath, Arun Rath, Lowell Bergman & Stephen Talbot
February, 2007
Fast Company
This Week’s Podcast with Rocketboom’s Andrew Baron
By Bill Cammack
February 28, 2007
MediaPost
Coming Into Focus
By Ross Fadner
March 29, 2007
Wall Street Journal
How to Be a Star in a YouTube World
By Michael Totty
May 14, 2007
Gigaom
YouTube Sponsors Rocketboom
By Liz Gannes
June 3, 2007
Mashable
This Week’s Podcast with Rocketboom’s Andrew Baron
By Kristen Nicole
June 3, 2007
Poynter
From Vidcast to TV, Thanks to TiVo
By Amy Gahran
July 2, 2007
The Wall Street Journal
Is Web Video a Threat to TV?
By Shekhar Kapur
August 7, 2007
ReadWrite
Blip Lands Deal with Rocketboom and Claims Revolution in Video Advertising
Marshall Kirkpatrick
September 24, 2007
Ad Age / TV Week
Rocketboom video show signs with CAA
By Greg Baumann
December 07, 2007
The Guardian
Stars in your Lap
By Bobbie Johnson
February 23, 2008
Techcrunch
Rocketboom Founder Puts His Twitter Account On Sale
April 12, 2008
Sony Pictures
Sony Pictures Television Acquires Exclusive Worldwide Cross Platform Distribution Rights to Rocketboom.com
By Sony PIctures
August 5, 2008
Techcrunch
Rocketboom Inks Seven-Figure Distribution Deal With Sony
By Erick Schonfeld
August 5, 2008
New York Times
Live Blogging: Covering the Coverage – Rocketboom first to proclaim Obama victory
By Brian Stelter
November 4, 2008
Art Fag City
RocketBoom’s Andrew Baron on Video Art
By Paddy Johnson
February 2, 2009
PBS
At SXSW: Andrew Baron Video Interview
By Zadi Diaz
March 16, 2009
Gigaom
Intel Sponsors Rocketboom
By Liz Gannes
April 16, 2009
Tube Filter
Is ‘Rocketboom’ Gig The Highest Paid Job In Web TV?
By Marc Hustvedt
June 4, 2009
CBS News
The Va Va Voom Behind RocketBoom
By Shira Lazar
November 10, 2009
Associated Press (AP)
LiveTube? YouTube Wades Into Live Streaming
September 13, 2010
Wired
The first program to appear YouTube’s new live video streaming platform was RocketBoom, at 11am ET on Monday. The test continues until Tuesday.
By Staff
September 13, 2010
Tube Filter
Coca-Cola Sponsored ‘Save The Date’ Leads New Rocketboom Filmmakers Program
By Drew Baldwin
November 22, 2010
Associated Press (AP)
LiveTube? YouTube Wades Into Live Streaming
By B. Baisley
September 13, 2010
CITINGS
ACOLADES
Vloggies: Favorite News Vlog, 2006
Webby Awards Honoree: Websites, Best Use of Video or Moving Image, 2006
Webby Awards Honoree: Websites, Best Use of Video or Moving Image, 2007
Webby Awards Honoree: Video, News/Documentary/Public Service, 2007
Webby Awards Honoree: Video, News & Politics: Series, 2009
Webby Awards Honoree: Video, Variety, 2009
Streamy Awards Nominee: Best News or Politics Web Series, 2009
Streamy Awards Nominee: Best News or Politics Web Series, 2010
ARCHIVES

Is Rocketboom still needed today? Not sure. Ideas continue to percolate.

MAJOR WORKS
MAJOR WORKS
KNOW YOUR MEME

I began building the Know Your Meme show and meme databse in 2007 for people to learn about and document memes. Know Your Meme introduced the mainstream to the topic of memes and quickly became the authority on meme culture. With academic rigor and a unique set of tools at its foundation, Know Your Meme remains a cornerstone of the internet today. 

ARTICLES, ACCOLADES
Wired
ROFLCon: It’s Not Easy Being Memes
By Jenna Worthmann
April 25, 2008
The Library of Congress
Know Your Meme Inducted into The Library of Congress
The Frick Collection
The Frick Collection Photo Archive
Gigaom
Rocketboom on Memes: A Sisyphean Task?
By Liz Shannon Miller
December 29, 2008
Time Magazine
50 Best Websites 2009
By Adam Fisher
August 24, 2009
Tube Filter
‘Know Your Meme’ Schools Net Newbies, AAAAAAAAAAAAAA!!!!
By Tim Saccardo
September 25, 2009
Wired
Will Auto-Tune Die? Ask Know Your Meme and ‘Weird Al’
By Scott Thill
November 16, 2009
NPR
Do Youz Knowz What I Meme? With Richard Dawkins
By All Things Considered
August 30, 2010
Softpedia
Anonymous Declares Online War on Know Your Meme
By Lucian Constantin
December 3, 2010
Streamy Awards
Streamy Awards Nominee: Best Hosted Web Series
Streamy Awards Winner: Best Guest Star in a Web Series
December 13, 2010
NBC News
Can the Internet and popular culture be friends?
By Helen A.S. Popkin
March 12, 2011
Tube Filter
Know Your Meme Acquired By Cheezburger in Seven-Figure Deal
By Marc Hustvedt
March 28, 2011
CITINGS

Know Your Meme is cited in the media daily though there are not many stories about Know Your Meme itself. No stories have been written that explore how Know Your Meme itself came to be, how it came into popularity and the many interesting stories at the intersection of business and online culture.

MAJOR WORKS
MAJOR WORKS
HUMANWIRE

In 2015 I released Humanwire as a platform to connect families fleeing war with individuals from around the world who could help. The international effort brought personalized relief to thousands of refugees with operations in Syria, Lebanon, Turkey, Jordan, Greece, Iraq, and Malaysia. Many matched families transcended the platform to become one.

ARTICLES
Laughing Squid
Humanwire, A Free Platform to Help Donors Support Crowdfunding Campaigns for Middle East Refugees
By Lori Dorn
November 20, 2015
Times Call
Boulder web developer starts Humanwire to help refugees
By John Bear
November 25, 2015
NBC
Boulder man creates website to help refugees
By 9News Denver KUSA
November 26, 2015
Daily Camera
CU Boulder student, family, provide gift of music to young Syrian refugees
By Elizabeth Hernandez

April 22, 2017

Humanwire
The Butterfly Effect: 250 Humanwire Students Enter Public School

April 22, 2017

The Principal Post
In Fairness: Humanwire Founder Andrew Baron Reflects on The Charity’s Good Work, Challenges, and Unhappy Ending
By Andrew Baron, Bruce Taub and Deidre Richardson

October 19, 2020

The company stopped operations in 2017. I was glad to tell the story with The Principal Post.

MUSIC

MUSIC

Century Plant (Album)

Music written and performed by Andrew Baron with additional performances by:

Will Taylor, Violin & Viola
Skip, Flute
Ralo Vallejo, Trombone
Fennie Castillo, Trumpet
Susan Barnett, Clarinet
Graham Reynolds, Percussion
Peter Bysshe, Percussion
Christian Struck, Electric Bass

Recorded in Austin, Tx
Engineered by Shad
Mastered by Steve Brudniak

(c)(p) Andrew Baron 2000

“Drift Dance” by Andrew Baron | Century Plant Track 7 

“No Change” by Andrew Baron | Century Plant Track 9

Leaving the performance, the crowd wondered what they’d just witnessed. As they headed down the steps from Movements Gallery and into the raucous Sixth Street night, they talked among themselves. Was that real? Was it Memorex? Had the guy who’d just fled the stage really lost his mind?

Nobody was quite sure.

I, too, wondered what composer / electronic wiz Andrew Baron was up to. For certain, Baron’s “Century Plant,” a piece in which the songwriter conducts
a virtual orchestra while creating live “loops” with his acoustic guitar and a delay pedal, was among the most clever live shows I’d seen. Instinctively, I felt the mischief at hand, and I marveled at the guy’s ingenuity.

In a series of intriguing encounters with the self-taught maestro, I’d soon
discover just how talented, and impossibly abstract, the “real” Andrew
Baron is. He’s reluctant to discuss the why’s and what-for’s of his work
because he believes that work is his primary raison d’etre. If not for the
music, perhaps, he wouldn’t be in this world at all….

In any case, I came away from our conversations with the sense that I’d met
a man from another realm, who was perhaps from another time, even. His
vision fascinated me, and his abilities really did astound me. Therefore,
it didn’t seem far-fetched when a film editor from CBS News who’d seen
“Century Plant” during SXSW flew back to Austin the following week to see
it again. The editor likened Baron to a modern-day Mozart. Well, now, I
thought, having spoken with the LA fan: That’s a stretch.

But in the weeks following, I began to think that maybe Baron, a shy young
man who studied philosophy and learned programming as a kid on one of Texas Instrument’s first personal computers, was truly a musical genius.

With “Century Plant” and another score Baron played for me at his home
studio, it was clear that the Austinite hears entire “symphonies” in his
head. Hearing the composition, he then plucks the parts from his brain –
parts for flute, violin, cello, bass, etc. – and commits them to a
synthesizer/recorder, which automatically annotates the score. He later has musicians such as Will Taylor, Susan Barrett, Graham Reynolds and others perform the music for recording. For Century Plant, Steve Brudniak mastered the score.

But like the decidedly non-linear Baron, in telling his story my perceptions begin to lose their linear movement. So here, I must regress to March and explain the performance that tipped me off.

“Century Plant” consists of three visible elements: Baron, a projection screen and a technical assistant. On the screen behind him, a videotaped orchestra plays on “cue,” pausing during his banter, then resuming when the
maestro finishes. Pre-recorded by a different set of musicians, the score is woven into the video so that the whole performance depends on the
split-second coordination of real-time and pre-recorded actions and sounds.
Time blurs. Reality chuckles. It’s all happening at once. Moreover, one
small misstep and the whole thing is thrown off – like a bad dub job in a
Spaghetti western. And the magic is lost.

Live, Baron himself occupies a nebulous realm. He is simultaneously the
narrator/guitar-player/maestro, and the subject of the narrator’s tale. In
the tale, we hear and see the portrait of an artist — a young man who
concludes that his contributions to modern music are misunderstood, and who ultimately flees the performance, screaming down the stairs, never to be
heard from again. When the piece reaches its crescendo, Baron the narrator
and Baron the tragic composer merge. In the event that Movements does
“Century Plant” again, though, I’ll say no more. Better to say what one can
say about the real Andrew Baron….

He’s not really shy; he’s unintentionally elusive. He’s off somewhere
hearing music, and yet he’s quite present. He has great faith in his music,
but he’s very humble. I suspect that he channels.

And yet, my attempts to have him explain “Century Plant,” or a score he
recently wrote for dancer Ellen Bartel, led to fuzzy retreats and diversions.

To wit, Baron emailed me one day and said, “…In a nut shell, I would prefer
to be perceived though my art rather than through my daily, popular human
qualities; I would rather someone think that I am as beautiful as my music
or that I speak like my poetry, all of which I can sculpt through
performance, but (can) hardly live up to in reality, due to all of the
trivial, normal details that I must attend to, like washing the dishes,
going to the post office, moping the floor…etc. And while all of this may
sound kinda egocentric, actually, I notice that one’s lofty opinion of an
art work can become lesser when the art is defined…. So, some mystery
behind the artist is needed to preserve the value of the art, so that the
observer can infer what ever is desired. Maybe. Sometimes? For me….”

Instead of reading pomposity into it, I felt sure that Baron was simply
being frank. I believe he feels that preference is a matter of perception.
And as such, how can one explain or define or quantify one’s own art. Its
value remains in the mind of the beholder… Besides, what does the artist’s
“real” life have to do with anything?

Of life in general, we also spoke. The meaning of life, to Baron, seems
inextricably bound to one’s work or art. That alone gives us purpose. He
became further convinced of this while studying philosophy at Bates
College. “Either there are no answers, or they’re there but we can never
know them,” he told me one afternoon as he played achingly lovely melodies
on his piano. “If we don’t know them now, then we can’t have any real
purpose other than what we create. Everybody designs their own existence….”

I pushed for the “real” meaning behind Century Plant. Did it reflect how he
feels as a musician, a person? Was the Andrew Baron in the piece parallel
with AB in reality?

He smiled, and evaded. Then I realized that he’d already answered my
question: Everybody designs his or her own existence — thus, the
triflings with time and perception and truth in “Century Plant.”

After many earnest emails and conversations, I’m left to surmise that
Andrew Baron, the real-time AB, is all about the moment. And despite my
questions to him, I now think the answers (my perception only, mind you)
are simple: Nothing is what it seems. Ask. Seek. And you’ll still wonder.

-Shermakaye Bass, special to The Austin Statesman, XL’nt.

I’m listening to a CD as I write these words. It’s a CD of the music for Andrew Baron’s Century Plant, and I got it at a performance of Century Plant, which was even performed by Andrew Baron in the second-floor, glorified hole-in-the-wall called Movements Gallery. Well, it was performed by Andrew Baron live, to be precise, and accompanied by a group of other, pre-recorded performers: the Austin Digital Philharmonic Orchestra. If you could watch me as I write this, you’d see me shaking my head slowly, remembering the show, my lips slightly parted, smiling, rememberling the music even as it plays, now, on the stereo. And you’d think: This boy seems to be experiencing some sort of, um, what’s the word? Bliss? Oh yeah. The word is definitely bliss. You like Donovan at all? At least the best of his tripped-out Hurdy-Gurdy stuff from the Sixties? Well, imagine Donovan using a few of the high-tech tools that Laurie Anderson controls to such fine effect — not to create the sounds, that’s still traditionally handled, but to reproduce and overdub them. Then imagine that the music’s level of complexity is brought way beyond the horizon of pop repetition. Think trancer’s paradise, and you’re halfway there. But to better capture the actual performance of Century Plant, you have to mentally subtract all the hippie-dippy overtones from the altered Donovan model and replace them with … charm. Pure charm. I don’t know this Baron guy at all, but if he’s half as basically charming as he comes across in his introductory monologue and bits of interstitial banter onstage, then he could probably sell me hearing aids for ears I don’t even have. What he has sold me is a CD — audience members get one with each program — and he’s wrapped a clever, well-crafted, metafictive, thoroughly enjoyable show around that sale. And listen: You need to own this CD. It’s as simple as that. To hell with a reviewer trying to describe music through pop-artist algebra. To hell with genre-based pigeonholes. Unless all the music you listen to needs to be able to chew through concrete at even half-volume; unless you’d rather break a clavicle than hear something that, say, Ravi Shankar might like grooving to; believe me: You need to own this CD. And one of the biggest favors you can do for yourself is to get it at the show. So climb up the flight of stairs to Movements Gallery on Sixth Street. Check out the tangential visual exhibit: It’s good stuff by Michael G. Laster and Morgan Knicely, works worth a look-see regardless of your visit’s context. Then move on toward the stage in the back, get a program at the cafe counter, and sit carefully in one of the creakity joined chairs that seem ripped from whatever former theatre they were bolted to. Andrew Baron’s going to appear, soon, and place himself in front of the orchestra tuning up on the giant vidscreen; he’s going to take up slightly less than an hour of your time by talking (charmingly), playing guitar (very well), singing (beautifully), and engaging in illusionary bits of business with a group of musicians who aren’t even there, really, are they? Bliss is just one of the words, actually. The other word is: Wow. The Austin Chronicle By Wayne Allen Brenner

MUSIC

MUSIC
Ten Concertos For The Wind (Album)

The heart of Ten Concertos for the Wind is the story that is told through wind instruments: a tale of an artist and a muse. When listening, one can associate the clarinet with the artist and the flute with the muse.

All music written by Andrew Baron

(c)(p) Andrew Baron 2001

Freely determined and with thoughts of beauty, we find the young artist hard at work on a painting that very few would see.

clarinet – emily zizza
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
double bass – tom benton
percussion – graham reynolds

Later, before the artist’s door, the muse appears and they embrace the familiar dance as sure pleasure transcends the day.

clarinet – emily zizza
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
trombone – raulo vallejo
double bass – tom benton
percussion – graham reynolds

To away the muse exits while the artist continues to paint. In only hours, the world grows smaller and the artist grows softer, the canvas grows larger and the paint grows thicker.

clarinet – emily zizza
oboe – llana neal
bassoon – sean crapo
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
double bass – tom benton

Out in another day, the muse comes again though this time tells of terrible trouble and must leave forever. . .the artist is left desolate.

clarinet & bass clarinet – emily zizza
bassoon – sean crapo
saxophone – david labell
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
double bass – tom benton
percussion – andrew baron

Around angling moon cycles, seven nights pass with no sleep since the muse of every artist’s dream and all science’s end has gone; the artist gives forth a last pouring into the painting.

bass clarinet – emily zizza
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
electric bass – tom benton

Against for months which pose for years, seasons elapse and the artist is unable to paint, moving about dreary and aimless while awake and dreaming of nothing to sleep.

acoustic guitar – andrew baron

Not one year’s evening belated, there came a ring to the door where the artist beheld the muse! But it was not the muse, it was someone else. The artist took time in making smiles and directing the muse to the correct address next door, watching every move there through the window.

clarinet – emily zizza
oboe – llana neal
bassoon – sean crapo
piccolo – melissa santa cruz
violin – june rhee
cello – valerie klatt
electric bass – tom benton
percussion – graham reynolds
piano – andrew baron

Artists muse sleep and search for them in dreams.

oboe – llana neal
bassoon – sean crapo
flute – melissa santa cruz
piano – andrew baron

Mourning glory is for the wake while everything endures. The artist’s thoughts bring apparitions and new inspiration in which to finish the painting.

vocals – abra moore

We hear the artist hard at work once again on a piece which verily few would see. The artist never again heard from the muse though continues to live with the muse through the painting.

clarinet – emily zizza
oboe – llana neal
flute – melissa santa cruz
violin – june rhee
cello – valerie klatt
trumpet – fernie castillo
trombone – raulo vallejo
double bass – tom benton
percussion – graham reynolds
additional percussion & piano – andrew baron

Installation
Principal Investigator(s):
Baron, Andrew Michael

Co-Investigator(s):
None.

Affiliations:
(1,2) Sea and Aye Productions, Austin, TX

Experiment Origin:
United States of America

Mission:
TT3 Launch #24, TTS-026 (SA 61-C)

Experiment Summary:
The specific objective of the TTS-026 experiment is to determine the effects of human vibration, temperature change, reduced gravity, and excessive market stresses on fine arts materials. Primed environments (canisters) are manufactured test materials that create a depiction of life with a purpose. After (a) the two month actualization of the canisters, (b) the preliminary days of isolation for the canisters and, (c) the fifty days of the exhibit’s intended life cycle in a city, the canisters will be evaluated by several techniques to determine if they are valuable and where they should go or remain. The results will be reported.

Physical Interpretational Summary:
The experiment consists of ten red boxes (canisters) labeled one through ten which each contain one part of the story of the artist and the muse. The boxes will be placed in ten locations throughout the US City of Austin, Texas. One may learn the entire story by visiting each of the ten locations or by returning to one location every five days (see enclosed CD package to hear all ten movements and read the full story of the artist and the muse).

Experiment Launch Date:
May 30th, 2001(private)

Launched From:
S.E.A. and A.Y.E. production facility, Austin, TX

Payload Type:
US Special (BOX) Canister G-111; Volume of Canister: 1.5 cubic feet; Primary Developer/Sponsor of G-111: S.E.A. and A.Y.E. production facility, Austin, TX; Builder of Processing Facility: Not applicable.

Number of Samples:
10

Container Materials:
Wood (shell), Electronics (heart), pigments (reason and aesthetics). The canister is designed to maintain a typically fluxuating atmosphere similar to a human’s public and private environments. Each of the red boxes will contain one of ten separate movements expressed in text and music.

Press Related Time Structure:
Opening Reception: Tuesday, June 5th, 2001 5-8pm
Day one of installation: Wednesday, June 6th, 2001 @10am
Last day of installation: Wednesday, July 25th, 2001 @3pm
Closing reception: Thursday, July 26th, 2001 5-8pm

Synopsis of Specific Itinerary:
May 30th, 2001 at 3:45pm: boxes travel in consecutive order to ten isolated locations.
June 5th, 2001 at 3:45pm: boxes begin pickup and travel to opening reception.
June 5th, 2001 at 9:40pm: boxes return to studio for final training procedures.
June 6th, 2001 at 10:15am: boxes begin travel to their ten predestined locations.
June 6th-July 25th: boxes rotate with specific schedules every five days.
July 25th, 2001 at Midnight: boxes become finished with Phase I of their existence.
July 26th, 2001 at 10:15am: boxes begin return to the production facility for final assessment.
July 26th, 2001 at 3:45pm: boxes begin travel to closing reception.

Locations of Private Isolation:
For security purposes, this information will not be available to the public until June 5th, 2001.

Location of Opening and Closing Receptions:
Wally Workman Gallery

Locations hosting the public life cycle:
Bank One (W. 6th Street Lobby)
The Blue Theater
Mozart’s
Cipollina
Flatbed Press
Gallery Lombardi
GuadalupeArts (formally the Artplex)
Magnolia Cafe (Lake Austin Blvd.)
Spider House
University of Texas, Austin (Actlab/RTF Lobby)

Documentation:
Maps: Pre-planned and actual maps of locations, travel routes and travel times; Diagrams: Extensive diagrams and charts will be included with predictions for the earth’s weather, the weather of related and nearby celestial bodies (primarily astronomical and navigational data), schedules of events, unforeseen outside influences and actual data as conditions are met. Also extensive charts, diagrams and plans for the construction and placement of various related elements are being created. Essays: A variety of essays will document the purpose, the expectations and the actual findings of the project. Some important titles will include explanations for how the project came to be, future related projects, exploration of the security involved with the boxes, perceived value versus actual value (including potential, market, inconsequential and life-determining values), the need for the boxes to reunite versus their intended and actual destinies, the private sphere versus the public sphere and rejection versus approval.

References/Applicable Publications:
None.

Key Words:
*Concerto *Wind Instruments *Music *Box *Austin *Artist *Muse *Art

Contact(s):
Baron, Andrew – S.E.A. and A.Y.E.

See photos and more information from original exhibit documentation.

LECTURES / TALKS
LECTURES, TALKS
Lectures, Talks, Keynotes

American Forum, American U, Washington DC
Analyze Boulder, Boulder, CO
Apple Computers Educational Campus, Austin, TX
Art and Commerce- Retreat, NYC, NY
Bar Camp, New York, New York
Bar Camp Block, Palo Alto, CA
Best of the Blogs (BOBs), Berlin, Germany
Beyond Broadcast, Boston, MA
Blogference, Tel Aviv, Israel
Boulder Start Up Week, Boulder, CO
Case Camp, Toronto, CA
CBI – Early Access, Philadelphia, PA
Columbia University, NYC, NY
Congressional Internet Caucus: State of the Net Conference, Washington, DC
Communications in PR, NYC, NY, Keynote
Computers, Finance, and Privacy, “Life Liberty & Digital Rights”, Washington, DC
CRV CEO Summit, Phoenix, Arizona
Democracy Project, Media Giraffe, Boston, MA
Digimart, Montreal, CA
Digital Hollywood, Los Angeles, CA
Digital TV Outlook, Munich
DIY Media Festival, NYC, NY
DTV Symposium, De Moines, IA
Edelman New Media Summit, NYC
France 24, Paris, France
Friar’s Club Comedy Film Festival, NYC, NY
HBO, NYC, NY
House of Genius, Boulder, CO
IAC Village Ventures – NYC
IFP Filmmaker Conference, NYC, NY
Ignite, NYC, NY
Intel “Luz Camera Enter”, Mexico City, Mexico
Internet Week, NYC
IPTV Outlook 20, Germany, Keynote
iSummit Conference, Toronto, CA
MacWorld Expo, San Francisco, CA
Mesh, Toronto, CA
Museum of Moving Image, Brooklyn, NY
Nation Association of Broadcasters, Dallas, TX
New York Video 2.0 Group, NYC, NY
NewCo, Boulder, CO
NXNEi, Toronto, CA
NYC Web Video Round Table, NYC, NY
NYU Class, NYC, NY
NYU Journalism, NYC, NY
NY Tech Meetup, NYC, NY
NY Video 2.0, NYC, NY
One Web Day, NYC, NY
Parsons School of Design, NYC, NY
Pixelodeon, Los Angeles, CA
Picnic, Amsterdam, Holland, Keynote
Podcamp, Boston, MA and Pittsburg, PA
Podcamp Halifax, CA
Podcamp, Pittsburg, PA
Podcast Hotel, San Francisco, CA, Keynote
Podcast and New Media Expo, Long Beach, CA, Keynote
Podcamp, NYC, NY
Portable Film Festival, Sydney, Melbourne.& Perth, AU
Producers Guild of America, NYC, NY
Professional Futures Discussion, Washington DC
Real-Time Stream Conference San Francisco, CA
ROFL!, NYC, NY
SIFT, Ottawa, Canada
Streaming Media East, NYC, NY
Streaming Media West, San Jose, CA
Startup Week, Toronto, CA
SXSW (South by Southwest), Austin, TX
TEDx, Sacramento, CA
University of Colorado: Media Studies, Boulder, CO
Videoblogging Workshop, DGC Members, NYC, NY
Video On the Net Conference, Boston, MA  Video Journalism: Non-stop News, NYC, NY
Vloggercon, SanFrancisco, CA
Wall Street Journal Digital Network Partner Day, NYC, NY
Web Video 2.0, NYC, NY
Web 2.0 Summit, San Francisco, CA
Web 2.0, NYC, NY
Women’s Animators Group, NYC, NY

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