Marisa Olson
Since the beginning
Works in Brooklyn, New York United States of America

ARTBASE (7)
PORTFOLIO (3)
BIO
Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work has been exhibited at the Venice Biennale, Centre Pompidou, Tate(s) Modern + Liverpool, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, PERFORMA Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Liberation, Folha de Sao Paolo, the Village Voice, and elsewhere.

Olson has served as Editor & Curator at Rhizome, the inaugural curator at Zero1, and Associate Director at SF Camerawork. She's contributed to many major journals & books and this year Cocom Press published Arte Postinternet, a Spanish translation of her texts on Postinternet Art, a movement she framed in 2006. In 2015 LINK Editions will publish a retrospective anthology of over a decade of her writings on contemporary art which have helped establish a vocabulary for the criticism of new media. Meanwhile, she has also curated programs at the Guggenheim, New Museum, SFMOMA, White Columns, Artists Space, and Bitforms Gallery. She has served on Advisory Boards for Ars Electronica, Transmediale, ISEA, the International Academy of Digital Arts & Sciences, Creative Capital, the Getty Foundation, the Rockefeller Foundation, the Kennedy Center, and the Tribeca Film Festival.

Olson studied Fine Art at Goldsmiths, History of Consciousness at UC Santa Cruz, and Rhetoric & Film Studies at UC Berkeley. She has recently been a visiting artist at Yale, SAIC, Oberlin, and VCU; a Visiting Critic at Brown; and Visiting Faculty at Bard College's Milton Avery Graduate School of the Arts and Ox-Bow. She previously taught at NYU's Tisch School of the Arts' new media graduate program (ITP) and was Assistant Professor of New Media at SUNY-Purchase's School of Film & Media Studies. She was recently an Artist-in-Residence at Eyebeam & is currently Visiting Critic at RISD.

Collectible After All: Christiane Paul on net art at the Whitney Museum


The Whitney Museum artport has been an important institutional presence in net art and new media since its launch in 2002. Created and curated by Christiane Paul, artport features online commissions as well as documentation of new media artworks from the museum's exhibitions and collections. This year, artport as a whole was made an official part of the Whitney Museum collection; to mark this occasion, participating artist Marisa Olson interviewed Paul about the program's history and evolution over thirteen years.

 Douglas Davis, image from The World's First Collaborative Sentence (1994).

Collections like artport are a rare and valuable window onto a field of practice that, in some senses, was borne out of not being taken seriously. From mid-80s Eastern European game crackers to late-90s net artists, the first people working online were often isolated, by default or design, and were certainly marginalized by the art world, where few curators knew of their existence and fewer took them seriously, advocated for them, or worked to theorize and articulate the art historical precedents and currents flowing through the work. Help me fast-forward to the beginning of this century at one of the most important international art museums. Many of the US museums that funded new media projects did so with dot-com infusions that dried-up after 2000. Artport officially launched in 2001; the same year, you curated a section devoted to net art in the Whitney Biennial. What was the behind-the-scenes sequence of events that led to artport's founding?

I think artport's inception was emblematic of a wave of interest in net art in the US around the turn of the century and in the early 2000s. This more committed involvement with the art form interestingly coincided with or came shortly after the dot com bubble, which inflated from 1997–2000, had its climax on March 10, 2000 when NASDAQ peaked, and burst pretty much the next day. Net art, however, remained a very active practice and started appearing on the radar of more US art institutions. To some extent, their interest may have been sparked by European exhibitions that had begun to respond to the effects of the web on artistic practice earlier on. In 1997, Documenta X had already included web projects (that year the Documenta website was also famously "stolen"—that is, copied and archived—by Vuk Cosic in the project Documenta: done) and Net Condition, which took place at ZKM in 1999/2000, further acknowledged the importance of art on the web.

US museums increasingly began to take notice. Steve Dietz, who had started the Walker Art Center's New Media Initiatives early on, in 1996, was curating the online art Gallery 9 and digital art study collection. Jon Ippolito, in his role as Associate Curator of Media Arts at the Guggenheim, was commissioning net art in the early 2000s and in 2002, Benjamin Weil, with Joseph Rosa, unveiled a new version of SFMOMA's E-space, which had been created in 2000. This was the institutional netscape in which I created artport in 2001, since I felt that the Whitney, which had for the first time included net art in its 2000 Biennial, also needed a portal to online art. The original artport was much more of a satellite site and less integrated into whitney.org than it is now. Artist Yael Kanarek redesigned the site not too long after its initial launch and created version 1.1. Artport in its early days was sponsored by a backend storage company in New Jersey, which was then bought by HP, so HP appeared as the official sponsor. I think it is notable that sponsorship at that point did not come from a new tech company but a brand name that presumably wanted to appear more cutting edge.


booomerrranganggboobooomerranrang: Nancy Holt's networked video


Nancy Holt, Boomerang (1974), still from video.

In her time on this planet, Nancy Holt came to be known as a great American Land Artist, and certainly her brilliant installations, like Utah's Sun Tunnels and collaborations with her partner Robert Smithson and their peers, are profoundly significant, but it was her work in film & video that has had the greatest personal impact on me.

I somehow didn't see Boomerang, her 1974 video performance usually credited to her collaborator Richard Serra, until I was a Ph.D. student in Linda Williams's Phenomenology of Film seminar at UC Berkeley's Rhetoric program, but the time delay was more than made up for by the work's formative resonance. In the video, made during Serra's residency at a Texas television station, a young Holt is seen sitting in an anchor's chair before a staid blue background. Despite brief station ID graphic overlays and one minute of silence in the midst of the ten-minute piece (announced as audio trouble and reminding viewers of the work's live TV origin), the work is in many ways sound-centric.


Sound and Image in Electronic Harmony


semiconductor_nanowebbers.jpg
Image: Semiconductor: Ruth Jarman and Joseph Gerhardt, 200 Nanowebbers, 2005

On Saturday, April 11th, New York's School of Visual Arts will co-present the 2009 Visual Music Marathon with the New York Digital Salon and Northeastern University. Promising genre-bending work from fifteen countries, the lineup crams 120 works by new media artists and digital composers into 12 hours. If it's true, as is often said, that MTV killed the attention spans of Generations X and Y, this six-minute-per-piece average ought to suit most festivalgoers' minds, and the resultant shuffling on and off stage will surely be a spectacle in its own rite. In all seriousness, this annual event is a highlight of New York's already thriving electronic music scene and promises many a treat for your eyes and ears. The illustrious organizers behind the marathon know their visual music history and want to remind readers that, "The roots of the genre date back more than two hundred years to the ocular harpsichords and color-music scales of the 18th century," and "the current art form came to fruition following the emergence of film and video in the 20th century." The remarkable ten dozen artists participating in this one-day event will bring us work incorporating such diverse materials as hand-processed film, algorithmically-generated video, visual interpretations of music, and some good old fashioned music-music. From luminaries like Oskar Fischinger, Hans Richter, and Steina Vasulka to emerging artists Joe Tekippe and Chiaki Watanabe, the program will be another star on the map that claims NYC as fertile territory for sonic exploration. - Marisa Olson

READ ON »


Tagalicious


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The National Museum of Contemporary Art (EMST) in Athens, Greece, has committed itself to curating a number of recent exhibitions of internet art. Their current show, "Tag Ties and Affective Spies," features contributions from both net vets and emerging surfers, including Christophe Bruno, Gregory Chatonsky, Paolo Cirio, JODI, Jonathan Harris and Sep Kamvar, Les Liens Invisibles, Personal Cinema and The Erasers, Ramsay Stirling, and Wayne Clements. The online exhibition takes an antagonistic approach to Web 2.0, citing a constant balance "between order and chaos, democracy and adhocracy." Curator Daphne Dragona raises the question of whether the social web is a preexisting platform on which people connect, or whether it is indeed constructed in the act of uploading, tagging, and disclosing previously private information about ourselves on sites like Flickr, YouTube, and Facebook. Dragona asks whether we are truly connecting and interacting, or merely broadcasting. While her curatorial statement doesn't address the issue directly, the show's title hints at the level of self-surveillance in play on these sites. Accordingly, many of the selected works take a critical, if not DIY, approach to the internet. The collective Les Liens Invisibles tends to create works that make an ironic mash-up of the often divergent mantras of tactical media, culture jamming, surrealism, and situationism. In their Subvertr, they encourage Flickr users to "subverTag" their posted images, creating an intentional disassociation between an image's content and its interpretion, with the aim of "breaking the strict rules of significance that characterize the mainstream collective imaginary..." JODI's work, Del.icio.us/ winning information (2008) exploits the limited stylistic parameters of the social bookmarking site. Using ASCII and Unicode page titles to form visual marks, a cryptic tag vocabulary, and a recursive taxonomy, their fun-to-follow site critiques the broader content of the web ...

READ ON »


Reappearance of the Undead


agatha_appears_lialina.gif

In 1997, internet art hall-of-famer Olia Lialina made a "net drama" called Agatha Appears that was written for Netscape 3 and 4 in HTML 3.2. One of the main features of the interactive narrative was the travel of the eponymous avatar across the internet. Let's just say the girl got around. But the magical illusion of the piece was that she appeared to stay still, even when links in the narrative were clicked and the viewer's address bar indicated movement to another server. But in time, both the browser and code in which the story was written became defunct and the piece unraveled as the sites previously hosting the links and files upon which Agatha was dependent disappeared or cleaned house. Such a scenario is common to early internet art (and will no doubt continue to plague the field), as ours is an upgrade culture constantly driving towards new tools, platforms, and codes. Many have debated whether to let older works whither or how it might be possible to update these works, making them compatible with new systems. For those who are interested, some of the best research on the subject has been performed by the folks affiliated with the Variable Media Initiative. Meanwhile, luddites and neophiles alike are now in luck because Agatha Appears has just undergone rejuvenation. Ela Wysocka, a restorer working at Budapest's Center for Culture & Communication Foundation has worked to overcome the sound problems, code incompatibilities, and file corruption and disappearance issues, and she's written a fascinating report about the process, here. And new collaborating hosts have jumped in line to bring the piece back to life, so that like a black and white boyfriend coming home from war, Agatha now offers us a shiny new webring as a token of ...

READ ON »



Discussions (281) Opportunities (10) Events (4) Jobs (0)
DISCUSSION

Fwd: Invitation to an Art Project (Public Reception & Expert Calibration)


This new project by Jonathon Keats may be of interest to several Rhizome
readers...

Marisa

---------- Forwarded message ----------
From: Jonathon Keats <jonathon_keats@yahoo.com>
Date: Oct 23, 2005 1:55 AM
Subject: Invitation to an Art Project (Public Reception & Expert Calibration)
To: jonathon_keats@yahoo.com

You are Cordially Invited to

BUREAU OF STANDARDS

an Art Project by Jonathon Keats

Public Reception & Expert Calibration
Thursday, October 27th
5:30 to 8:00 pm

Modernism Gallery
685 Market Street
San Francisco
415 541 0461

Refreshments Will Be Served

* * *

Advance Press Release

METRIC SYSTEM TO BE CUSTOMIZED FOR U.S. MARKET

Conceptual Artist Offers Consumers Personalized
Kilogram, Watt, Calorie... First Revolutionary Change
to Weights and Measures Since 1793... Major Victory
for Democracy in the 21st Century...

SAN FRANCISCO - Following several years of
highly-secretive privately-funded research, conceptual
artist Jonathon Keats announces comprehensive
improvements to the metric system, anticipated finally
to make the meter a viable unit of measure in the
United States. The system will be introduced to the
public at Modernism Gallery, in San Francisco, on
October 27, 2005. Mr. Keats will be available to
provide expert calibration.

"The metric system was developed in the 18th Century
as an alternative to measurements based on the
dimensions of kings' fingers and feet," explains Mr.
Keats. "It was a decisive break from monarchy, but it
wasn't decisive enough." The trouble is that one
totalitarian system was replaced with another. "We did
away with Louis XVI and Henry VIII, only to chain all
measures, of everything in the universe, to the
circumference of the Earth."

More specifically, the standard meter is 1/10,000,000
of the quarter-meridian, redefined by the Conference
Generale des Poids et Mesures (CGPM) in 1983 as the
distance traveled by light in 1/299,792,458 of a
second. What Mr. Keats has proposed is an approach as
rigorously mathematical as the metric system, that
will prioritize the individual rather than the planet.
His modification is simple, yet the consequences are
profound: Instead of using the earth's spin as the
basis of time, he's elected to use people's heartbeat.
"Galileo timed his experiments with his pulse," Keats
notes. "If it was good enough for him, surely it's
good enough for us."

Mr. Keats's system makes everyone's clock personal.
Because his own heart beats 1.1 times faster than the
terrestrial second, for example, his day is a mere
21.816 terrestrial hours long, and his year is nearly
33 days shorter than you'd see on a calendar (except
in leap year). From that, it's a straightforward
calculation to derive the length of a personal meter,
the distance traveled by light in 1/299,792,458 of a
heartbeat. Mr. Keats's meter, for instance, is 0.909
meters international, or approximately 2.982 feet. The
length of others' meters may differ. (For example, Mr.
Keats recently determined that Craigslist founder
Craig Newmark's meter is a more compact 0.833 meters
international.)

A liter is the volume equivalent to a cubic meter, a
kilogram is the mass equivalent to a liter of water,
and units including the watt and calorie can likewise
be mathematically derived (as can conversions to
imperial system units such as horsepower). In
consultation with mathematics professor David
Steinsaltz of Queen's University, Ontario, Mr. Keats
has developed algorithms to facilitate the calculation
of personal standards such as these. At Modernism
Gallery, individuals will be invited to commission
customized conversion tables, as well as engraved
brass meter rods and clocks that beat at their heart
rate. A member of the National Conference on Weights
and Measures (NCWM), Mr. Keats will be on hand with
stethoscope and adding machine to ensure that all
measuring instruments and charts are accurate.

"In this day and age, everyone has an iPod, and most
people have TiVo," Mr. Keats argues.
"Mass-customization is the cutting edge of democracy.
By taking this personal approach to measurements -- to
standards of time and space and energy and power -- we
can each become completely autonomous."

Mr. Keats is widely known for his rigorous approach to
art. Most recently, he attempted to genetically
engineer God in a petri dish, in collaboration with
researchers at UC Berkeley and the University of San
Francisco. He has also previously copyrighted his
mind in the interest of attaining immortality
(offering futures contracts on his brain to fund the
operation), and petitioned Berkeley to pass a basic
law of logic -- A=A -- a work commissioned by the
city's annual Arts Festival. For more information,
please see sample media coverage at the following
URLs:

http://www.sfweekly.com/issues/2004-08-18/news/feature.html

http://www.kqed.org/spark/artists-orgs/jonathonke.jsp

http://www.sfgate.com/cgi-bin/article.cgi?file=/gate/archive/2004/10/20/god.DTL

http://www.wired.com/news/culture/0,1284,65066,00.html

http://news.bbc.co.uk/2/hi/uk_news/magazine/3217423.stm

http://www.wired.com/news/culture/0,1284,60757,00.html

http://www.legalaffairs.org/issues/March-April-2003/scene_marapr03_slater.html

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/08/13/BA200448.DTL

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/16/DD58324.DTL

http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2000/10/31/DD25908.DTL

. . .
Modernism is located at 685 Market Street in San
Francisco. The phone number is 415/541-0461. Gallery
hours are 10:00 am to 5:30 p.m., Tuesday through
Saturday. For more information, see
http://www.modernisminc.com/artists/Jonathon_KEATS/ or
contact Mr. Keats directly at
jonathon_keats@yahoo.com.
# # #

DISCUSSION

Fwd: Smack Mellon presents Multiplex 2


---------- Forwarded message ----------
From: Smack Mellon Gallery <smccorkle@smackmellon.org>
Date: Oct 7, 2005 1:02 PM
Subject: Smack Mellon presents Multiplex 2

MULTIPLEX 2

Curated by Rebecca Clemen and John Thomson
in conjunction with Electronic Arts Intermix (EAI)

Works by Michael Bell-Smith, Lynda Benglis, Robert Beck, VALIE EXPORT,
Sally Grizzell Larson, Shana Moulton, Takeshi Murata, Anthony Ramos,
Radical Software Group (RSG), Bruce and Norman Yonemoto, and Julie Zando

Exhibition Dates October 14th- November 27th, 2005
Members

DISCUSSION

Cory Arcangel Guggenheim NY workshop


FYI, I was asked to share info about this very interesting event with you.

You know, speaking of Cory Arcangel... If you become a member at the
"Shoot" level ($150, you can get a signed poster and hand-painted CD-ROM
(available only through Rhizome!) from Cory's latest work, "Japanese
Driving Game." Supplies are limited. Find more info here:
http://www.rhizome.org/support/

Marisa

------

Public & Artist Interaction

DISCUSSION

Fwd: [NEW-MEDIA-CURATING] LIVE STREAMING Refresh!


---------- Forwarded message ----------From: Oliver Grau <oliver.grau@culture.hu-berlin.de>Date: Sep 16, 2005 9:54 AMSubject: [NEW-MEDIA-CURATING] LIVE STREAMING Refresh!To: NEW-MEDIA-CURATING@jiscmail.ac.uk

LIVE STREAMINGRefresh! 1st International Conference on theHistories of Media Art, Science and Technology
" Recognizing the increasing significance ofmedia art for our culture, this Conference on theHistories of Media Art will discuss for the firsttime the history of media art within theinterdisciplinary and intercultural contexts ofthe histories of art. Banff New Media Institute,the Database for Virtual Art and Leonardo/ISASTare collaborating to produce the firstinternational art history conference covering artand new media, art and technology, art-scienceinteraction, and the history of media aspertinent to contemporary art. "
<http://www.banffcentre.ca/bnmi/>www.banffcentre.ca/bnmi/<http://virtualart.hu-berlin.de>http://virtualart.hu-berlin.de<http://mitpress2.mit.edu/e-journals/Leonardo/>http://mitpress2.mit.edu/e-journals/Leonardo/

Venue:September 29 - October 1, Banff New Media Institute, CanadaCONFERENCE PROGRAM with streaming times<http://www.MediaArtHistory.org>www.MediaArtHistory.org
Viewing:Since we have only a few places left to attendthe conference in Banff we are web streaming liveall keynotes, sessions and discussions from thesite. Viewing the sessions in groups atUniversities, Libraries, and Art Centers isencouraged, in order to facilitate localdialogue. Web streaming is available in Quicktime and Windows Media. For optimal viewing onlarger screens and for in-screen viewing of powerpoint presentations, prior download of WindowsMedia is recommended.

Program:29. September 05
GMT 15:30 h / CANADA 8:30 amkeynote Edmond Couchot: Towards the Autonomous Image
16:30h / 9:30 am - opening plenary - MediaArtHistories: Times & Landscapes 1(Chairs: Oliver Grau and Gunalan Nadarajan )After photography, film, video, and the littleknown media art history of the 1960s-80s, todaymedia artists are active in a wide range ofdigitalareas (including interactive, genetic, telematicand nanoart). Media Art History offers a basisfor attempting an evolutionary history of theaudiovisual media, from the Laterna Magica to thePanorama, Phantasmagoria, Film, and the VirtualArt of recent decades. This panel tries toclarify, if and how varieties of Media Art havebeen splitting up during the last decades. Itexamines also how far back Media Art reaches as ahistorical category within the history of Art,Science and Technology. This session will offer afirst overview about the visible influence ofmedia art on all fields of art.Speakers: Gunalan Nadarajan, Luise Poissant, Oliver Grau, Mario Carpo
17:30h / 11:30 am - plenary Methodologies(Chair: Mark Hansen and Erkki Huhtamo)Critical overview of which methods art historyhas been using during the past to approach mediaart.Speakers: Mark Hansen, Erkki Huhtamo, Irina Aristarkhova, Andreas Broeckmann
21:10h / 2:10 pm - plenary - Image Science andRepresentation: From a Cognitive Point of View(Chair: Barbara Stafford)Although much recent scholarship in theHumanities and Social Sciences has been"body-minded" this research has yet to grapplewith a major problem familiar to contemporarycognitive scientists and neuro scientists. How dowe reconcile a top-down, functional view ofcognition with a view of human beings as elementsof a culturally shaped biological world?Historical as well as elusive electronic mediafrom the vantage of an embodied and distributedbrain.Speakers: Barbara Stafford, Kristin Veel, Christine Ross, Phillip Thurtle &Claudia X. Valdes, Christopher Salter, Tim Clark
12:25 h / 4:25 pm - concurrent session 1 - Art asResearch / Artists as Inventors(Chair: Dieter Daniels)Do "innovations" and "inventions" in the field ofart differ from those in the field of technologyand science? Have artists contributed anything"new" to those fields of research?Speakers: Dieter Daniels, Chris Meigh-Andrews, Fred Turner, Simon Penny,Cornelius Borck
concurrent session 2 - MediaArtHistories: Times and Landscapes 2(Chairs: Edward Shanken and Charlie Gere)Although there has been important scholarship onintersections between art and technology, thereis no comprehensive technological history of art(as there are feminist and Marxist histories ofart, for example.) Canonical histories of artfail to sufficiently address theinter-relatedness of developments in science,technology, and art.Speakers: Edward Shanken, Charlie Gere, Grant Taylor, Darko Fritz & MargitRosen, Sylvie Lacerte, Anne Collins Goodyear, Caroline Langill, MariaFernandez
30. September 05
GMT 15:45 h / 8:45 am - plenary Collecting,Preserving and Archiving the Media Arts(Chair: Jean Gagnon)Collections grow because of different influencessuch as art dealers, the art market, curators andcurrents in the international contemporary artscene. What are the conditions necessary for awider consideration of media art works and of newmedia in these collections?Speakers: Jean Gagnon, Christiane Paul, Peter Weibel, Jon Ippolito
18:00 h / 11:00 am - concurrent session 1 - Database/New Scientific Tools(Chairs: Rudolf Frieling and Oliver Grau)Accessing and browsing the immense amount of dataproduced by individuals, institutions, andarchives has become a key question to ourinformation society. In which way can newscientific tools of structuring and visualizingdata provide new contexts and enhance ourunderstanding of semantics?Speakers: Oliver Grau, Rudolf Frieling, Sandra Fauconnier, Christian Berndt,Alain Depocas, Anne-Marie Duguet
concurrent session 2 - Pop/Mass/Society(Chairs: Machiko Kusahara and Andreas Lange)The dividing lines between art products andconsumer products have been disappearing more andmore since the Pop Art of the 1960s. Thedistinction between artist and recipient has alsobecome blurred. Most recently, the digitalizationof our society has sped up this processenormously. In principle, more and more artworksare no longer bound to a specific place and canbe further developed relatively freely. The panelexamines concrete forms, e.g. computer games,determining the cultural context and whatconsequences they could have for theunderstanding of art in the 21st century.Speakers: Machiko Kusahara, Andreas Lange, Karen Keifer-Boyd, TobeyCrockett, Mark Tribe
3:00 h / 8:00 pmRudolf Arnheim Lecture:Sarat Maharaj: Xeno-Epistemics: Global Migrations and other Ways' of Knowing

1. October 05
GMT 15:30 pm / Canada 8:30 am - plenary - Cross-Culture - Global Art(Chair: Sara Diamond)This panel provides an opportunity to put aspecial focus on cross-cultural influences, theglobal and the local. For example, how what arethe impacts of narrative structures fromAboriginal and other oral cultures on theanalysis and practice of new media? How donotions of identity shift across cultureshistorically, how are these embedded andtransformed by new media practice? How doesglobalization and the construction of globalcontexts such as festivals and biennials effectlocal new media practices?Speakers: Sara Diamond, Sheila Petty, Mary Leigh Morbey, ThomasRiccio, Aparna Sharma, Laura Marks
17:45 h / 10:45 am - concurrent session 1Cross Diciplinary Research Methods(Chairs: Ron Burnett and Frieder Nake)The pressure to become interdisciplinary is veryintense

OPPORTUNITY

Fwd: whereyouare, an invitation


Deadline:
Wed Sep 14, 2005 16:07

---------- Forwarded message ----------
From: Sal Randolph
Date: Sep 14, 2005 3:01 PM
Subject: whereyouare, an invitation

Dear friends,

I'd like to invite you to participate in a new project of mine.

Whereyouare ( http://whereyouare.org ) is an experiment in the
collective documentation of neighborhoods. It harnesses the power of
folksonomy tags from a range of sites that host and organize content
of different kinds (flickr for photos, vimeo for video, delicious for
links, etc.). To contribute, you simply tag your content with a tag
that is unique to your neighborhood and the project, and everyone's
material is brought together on whereyouare.org.

I began this project with the idea of documenting my own neighborhood
of Williamsburg, Brooklyn, whose quirky and ephemeral beauties are
currently endangered by a wave of new development. Walking my
familiar streets I realized that I couldn't possibly be the only
person who had this idea - many others must be simultaneously
working to capture the flavor of this place, this moment in time.
Why not invite collaboration and share our perceptions of place with
each other?

As with most people, recent events have radically altered my idea of
what an endangered or lost neighborhood is, and it seemed right to
open the project up for wider use. Everyone is invited to participate
by documenting any neighborhood they love. Those with material from
neighborhoods which have now been damaged or destroyed by Katrina are
especially warmly encouraged to contribute.

http://whereyouare.org

all the best,

Sal
http://salrandolph.com

:: Whereyoure was created for the new issue of glowlab ( http://
glowlab.com ) ::