Sam Answers Your Questions!

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Rose asked: I just think that he has a great outlook on things and we should appricate that kind of additude more often.

Thanks Rose. I appreciate your comment.

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melissa asked: how many things did you put camras on? I loved your movie.

Thanks Melissa, I'm glad that you liked my movie(s). Since 1998, I’ve outfitted over 70 animals and plants with 'helmet-mounted' video cameras. “Nature Holds My Camera” features footage from approximately 20 different animals and plants.

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hannah asked: sam, how did you get the camera on the scorpion?

In the case of the scorpion, I took a micro video camera and stripped it of all its’ weight. I then attached the remaining lens and microchip on the back of the scorpion. I used protective gloves and tongs to actually place the camera and microchip on the scorpion’s back.

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joseph asked: yes. are you sared of any kind of bugs.

Not really. I’m more in awe of them. They can do so many things that I cannot.

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DINAH BROYLES asked: ARE YOU MARRIED???

Yes, happily married.

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BRITTANY DRIVER asked: yes what made u think of this idea for making this part if the museum

The museum actually invited me to participate in this exhibit. I can’t take credit for exhibit idea.

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renyse gee asked: when did the exhibit open? and why?

The exhibit opened June 24, 2007. I agreed to participate in the exhibit because I wanted to share my work with others.

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williamhoward asked: is it hard to tke the pictures

Yes, this can be very challenging work. Sometimes I can work all day and capture less than 10 seconds of footage. There are even some days when I capture no footage at all. That happened at least twice during my recent mole-cam shoot.

david howard asked: do you take pictures every week?

No, I only capture footage about once a month - at the very most.

Bob asked: My concern is for the safety and comfort of the group of living creatures you are using for your experiment. How do u guarantee the safety and comfort, beyond just removing the cameras. What happens during the experiment to the animals if they cannot be found? If they render the equiment unusable or damaged, what caused that to happen..ie: did the animal try to scrape it off and hurt itself in the process? Since you have been exprimenting since 1998, where is a written document/book with scientific or observationsl analysis/summary findings? Have you been working with the scientific and animal rights communities to design the project you have undertaken? And finally, why are the the animals, insects, etc within the various videos seem to be in so much stress? Could it be that they are in great fear, harm, confused and or uncomfortable? I think that may be the case!!! You mention in your statement that in one case you strap the camera and backpack to the animal's head..(sheep). I do not believe that could be, in my wildest imagination, a considerate and comfortable condition for the animal. I am surprised that PETA has not contacted you and complained... If they have..good for them.

Bob, thank you for your thoughtful comments. I sincerely appreciate your questions and concerns. I, too, am very concerned about the safety and comfort of the animals and plants that I work with. In response to your questions: Regarding guarantees, I will not go through with a shoot if I think the animals/plants are in danger of being harmed. Such an outcome is unacceptable on any level. At any given time during a project, I am prepared to walk away – no matter what is at stake for me professionally or financially. Regarding loosing animals, yes, animals do run off with cameras all the time. On each and every shoot, however, I eventually verify that the camera does not remain on the animal. Usually this is pretty easy because the camera falls off so quickly. Regarding the equipment being rendered unusable: technically speaking, the equipment is actually destroyed most often by the physical environment (water, soil, etc) - not by the animals themselves. Yes, some animals have indeed tried to grab the equipment. Most animals that grab at the equipment, however, succeed quite easily in shedding it. Since the camera is most often attached quite loosely, it usually takes little or no effort for an animal to remove it. Regarding stress, I have to respectfully disagree with your assertion that all the animals in the exhibit seem to be under stress. Quite often, while on the shoots, I have observed that the animals do not appear to even notice that they are wearing a camera. Also, prior to each shoot, I study stock video footage that documents how each animal moves. The cameras are specifically designed not to impede the animal’s gait. Furthermore, I do not seek to place the animals in any situations that they would not otherwise encounter if I were not there. Regarding the sheep project(s), I absolutely agree that my first sheep project employed a camera system that was very cumbersome. What the video you watched also illustrated, however, was that I no longer use such cumbersome designs. I now employ cameras that weigh only a few ounces, rather than a few pounds. Regarding a book: no, as a video artist, I have not written a book with scientific observations about my findings. I consider any ‘data’ that I collect to be more qualitative than quantitative. The videos are my ‘book’. I consider my animal-cam videos to be more of an artistic endeavor. Regarding interaction with outside parties: yes, occasionally I do interact with scientists - mostly researchers from museums and universities. I also have a Master of Science (M.S.) degree myself - from the University of Minnesota. Finally, yes, I have indeed been in contact with a prominent animal rights group. I actually contacted them myself, in 2003, to ask for assistance with one of my exhibitions. I told them about my work and they agreed to help me. Three of my video shoots were completed under the direct supervision of this group. They even helped with the outfitting process itself. The animal rights group was granted full access to my standard working methods and voiced no concerns whatsoever. Perhaps worth mentioning as well, in 2005, I participated in a large group exhibition that was actually co-sponsored by PETA. PETA donated money to the show and also participated in a related colloquium about the exhibit.

xavier asked: what are some of the animals

Armadillo, Wolf, Buffalo, Lamb, Tortoise, Falcon, Duck, Cricket, Pheasant, Turkey, Pitcher Plant, Alligator, Frog, Cow, Scorpion, Tarantula, Mole.

caroline asked: how did you come up with the idea of filming animals in there own habitat?

I came up with this idea in graduate school, while studying landscape architecture. I found that the best landscape architects trained themselves to see the terrain as a spatial experience. I think that concept influenced my thinking. It occurred to me that people are not the only ones who utilize the landscape. I wanted to think of habitats from a non-human perspective.

Melanie A. asked: Hi, Sam, My family and I are wondering how in the world you got the cameras onto the backs of the cricket and the scorpion??? You must be very patient! Thanks for an eye-opening show.

Thanks, Melanie, I’m glad that you found the show eye-opening.
In the case of the scorpion, tarantula and cricket, I took micro video cameras and stripped them of all their weight. I then attached the remaining lenses and microchips on the backs of the insects. I used protective gloves and tongs to actually place the equipment on the scorpion and tarantula. Yes, for sure, I needed a lot of patience on both of these shoots.

Jacob Henry asked: Sam, Do you enjoy sports? If so which ones? My Second question is How did you actually get the cameras onto these animals? Third and last is How long did this filming take and what was the hardest part?

I love sports. Lacrosse, badminton and tennis are my favorites. I don’t get on the lacrosse field very much anymore, but badminton and tennis are still in my mix.

Allie Henry asked: Dear Sam, I was watching the scorpion, tarantula, and other bug movies and I was wondering did you have any trouble getting the camera on them. I was surprised that a person could do that!

Yes, the insects were quite difficult. In the case of the scorpion, tarantula and cricket, I took micro video cameras and stripped them of all their weight. I then attached the remaining lenses and microchips on the backs of the insects. I used protective gloves and tongs to actually place the equipment on the scorpion and tarantula.

Dave Fluharty asked: Mr. Easterson, I find your breakdown of the boundry between art and science quite interesting--and a lot of fun. I would like to communicate with you on the possibility of bridging the false gap between art (appreciation) and mathematics (or more precisely statistics) with interactive statistical graphics. Please e-mail me to discuss this if you like.

Thanks Dave. I’m glad the work interests you. I’ve googled you and think I’ve found your email address. Expect me to contact you soon, probably sometime later next week.

Amy asked: What animal was the most difficult to attach a camera to?

Without a doubt, the Eastern Mole is the hardest animal that I’ve ever worked with. I will never, ever forget the Eastern Mole project.

Meg asked: Sam - How has working on this exhibition changed your point of view? What have you learned that you didn't alreday know before coming to the IMA?

Hi Meg! "Nature Holds My Camera" has changed the way I view the entire exhibit process. A lot of times, even for high profile shows, I just drop a DVD in the mail and read about the show later – either in a magazine review or a catalogue. Often times, I don’t really get to see how the exhibit process works. "Nature Holds My Camera" was great for me because I got to see a lot of what went into making it happen. The process was extremely transparent. I know that may not seem very important but as an artist it was intensely meaningful. I know I only got to see a fraction of what probably went on but it really went a long way. In short, what I realized is that exhibits are really a reflection of all the personalities involved. As for what I learned but didn’t already know: the show has definitely affected the way I view museums. To be blunt, I learned that I am not the only one who is willing to take risks. I haven’t come across that before - to the degree that I did here. That was something that took me by complete surprise.

lynda asked: What ever made you think to do this? What has been the hardest animal to wire? How small is the smallest camera you have used? What creature has been your favorite subject? What animal cam footage is your favorite and why?

Lynda, I came up with this idea in graduate school, while studying landscape architecture. I found that the best landscape architects trained themselves to see the terrain as a spatial experience. I think that concept influenced my thinking. The hardest project that I have ever worked on was my mole-cam project. That one really pushed me. The smallest camera that I ever used was just a couple ounces. I don’t really have a favorite subject or video but I will say that the armadillo-cam always makes me smile.

alex asked: have you ever tried putting a camera on a snake?

No, but the snake is on my list of animals that I would like to work with.

richard driscol asked: all you see is a ducks head cant see the actual view

Yes, sometimes the animal’s head does get in the way of the camera. This is actually intentional. I am partial to referencing the animal in the frame of my videos. Sometimes, it’s much more noticeable on certain animals, like the duck.

dakota asked: why didnt you put a camera on a squirrel

That’s a good idea, Dakota. Maybe I’ll work on a squirrel project in the future.

Samuel asked: Could you get some photos or shots of animals eating or caching food

Samuel, if you look closely in the exhibit, you will actually find a few shots of animals and plants eating – ‘wolf eating shells’, ‘deer eating grass’, ‘pitcher plant devouring insect’. I do have other shots of animals eating but generally speaking it is somewhat rare for me to capture that behavior on tape. Broadcast TV makes it seem quite commonplace.