Library of
Design, Art and Idea

Nerdworking

19.02.2015
Vol. 7

We questioned Erdem Dilbaz on what we were curious and what you might be wondering about recently popular Nerdworking.

How and with whom did Nerdworking come about, who named it? We started in September 2009. We thought it would be logical to communicate through our own email group. Everyone was involved in their own thing and some were living abroad. While thinking of a name for the Group I called it Nerdworking in the sense of a ‘nerd network’ and it stuck. Initially it was me, Olgu Demir, Candaş Şişman, Deniz Kader, Selin Özçelik and Nagehan Kuralı. Later the team expanded with the participation of our talented friends. It seems you have a large team, is everyone together most of the time? Or, do you gather when there is work? One of the motivations of the team is according to our desired style the fast and joint completion of a project which otherwise will take months. While everyone is engaged in their own work they also participate on the side in Nerdworking projects. Generally we come together when possible to blast brains on the project, then everyone takes responsibility in their own skill area and withdraws to private work space. Occasionally we get together and finally complete the process. For those who are unfamiliar with Nerdworking, can you mention the types of projects you develop? Is the entire team always involved in projects? Firstly, not everyone is involved in every project. Teams form according to the projects. Our intention is to establish a warmer dialogue between human and machine, experiential sharing of problems including contribution by others observing. We do work which combines art, science and technology. We exhibit the results of art and technology in public space. We try to get art of the galleries and technology out of R&D laboratories. In this respect we prepare visual mapping shows on buildings, games which could be controlled by thought, and develop fun installations such as Laser Room. In reality, we use technology as a tool in gaming approach and communize the practice of artistic thinking. Your works reach more people than a work of art exhibited in museums or galleries, does this strengthen your work’s artistic character? The process is at the forefront at all times and the artistic approach is not ignored. This perspective strengthens the work and protects the artistic value. Perhaps what is happening is that the more people it reaches the sharing of experience and problem conveyed is being increased. Consequently, the works become long-lasting. We also emphasize very much the documentation and the PR aspects. This enables us to reach wider masses and potential clients.
We see light effects in many of your projects, it seems you want everyone to discover the power of light. Why is light so important for you? Not only for us... Light is the oldest sorcerer ever befallen the Earth. Touching human emotions is a great blessing by controlling the light creating its own ambiance, whose spoken words are a mystery in nature and that which never could be fully described. It is a perfect tool to convey feelings where words do not suffice. Game appears to mean a lot to you... Can it be said that the project preparation is a game and the product is a toy for you? What do you think about the game and the toy? Isn’t game playing the basis of being human? Mimicking what is seen? What can we say, to us the game seems the easiest way to express something or sharing. If you try to explain how EEG device measures brain waves, or what the differences of C++ with other programming languages they will look at you in a daze and be bored. That part is the project ‘kitchen’, what we do is the presentation of the cuisine. When the game approach is combined with technology, explaining and sharing becomes more effective, easier and faster. Let us not by pass your incredible work called “Yekpare” at Haydarpaşa. This appears to have become one of your most popular projects and is still viewed over the Internet. Why is this? Capabilities of projection was discovered and nice mapping performances emerged in 2010. But most emphasized 3D illusions, they altered the form of structures and surprised people by playing with perceptions. The reason for Yekpare’s continued frequent viewing is the story of that project team’s inclination for conceptual thinking. Artistic directors Candaş Şişman and Deniz Kader are artists experienced in mental flight. Similarly sound designer Görkem Şen is the same way, we could say he sees with sounds. The work was finalized with me drawing the framework of possible story. Most importantly, we entrusted the performance of an Istanbul story to each spectator’s mind with abstract themes without pointing out specifically. I think this was the reason for obsession, like a book, everyone watching saw it with different individualized feelings. Do you have opportunities to share your experiences with other young people, or do you make an effort? Yes, naturally because around the World there aren’t too many companies like Nerdworking. We attend nearly all invitations from universities and institutions to explain what others do, how we do what we do, the mistakes we made along the way and to teach innovative thinking styles. We hold work and discussion groups. What will you do in future and what are the projects you wish to do? There are so many ideas waiting in line, at the moment it may not be wise to disclose them. However, it will not be an exaggeration if I say we will be creating experiences previously unseen as usual.
Vol. 7
Maquis Projects Coşkun Aral Söyleşisi