The Temporary Travel Office produces a variety of services relating to tourism and technology aimed at exploring the non-rational connections existing between public and private spaces. The Travel Office has operated in a variety of locations, including Missouri, Chicago, Southern California and Norway.
Is MySpace a Place?
Networked Performance pointed me toward an interview (download in PDF)with Networked Publics speaker Henry Jenkins and Networked Publics friend danah boyd about Myspace. The site, popular with teenagers, has become increasingly controversial as parents and the press raise concerns about the openness of information on the site and the vulnerability this supposedly poses to predators (Henry points out that only .1% of abductions are by strangers) and the behavior of teens towards each other (certainly nothing new, only now in persistent form). In another essay on Identity Production in Networked Culture, danah suggests that Myspace is popular not only because the technology makes new forms of interaction possible, but because older hang-outs such as the mall and the convenience store are prohibiting teens from congregating and roller rinks and burger joints are disappearing.
This begs the question, is Myspace media or is it space? Architecture theorists have long had this thorn in their side. "This will kill that," wrote Victor Hugo with respect to the book and the building. In the early 1990s, concern about a dwindling public culture and the character of late twentieth century urban space led us to investigate Jürgen Habermas's idea of the public sphere. But the public sphere, for Habermas is a forum, something that, for the most part, emerges in media and in the institutions of the state:
The bourgeois public sphere may be conceived above all as the sphere of private people come together as a public; they soon claimed the public sphere regulated from above against the public authorities themselves, to engage them in a debate over the general rules governing relations in the basically privatized but publicly relevant sphere of commodity exchange and social labor. The medium of this political confrontation was peculiar and without historical precedent: people's ...
SWITCH: Issue 22
HI everyone. Just wanted to announce the new issue of SWITCH:
SWITCH : The online New Media Art Journal of the CADRE Laboratory for
New Media at San Jose State University
http://switch.sjsu.edu switch@cadre.sjsu.edu
SWITCH Journal is proud to announce the launch of Issue 22: A Special
Preview Edition to ISEA 2006/ ZeroOne San Jose.
As San Jose State University and the CADRE Laboratory are serving as
the academic host for the ZeroOne San Jose /ISEA 2006 Symposium,
SWITCH has dedicated itself to serving as an official media
correspondent of the Festival and Symposium. SWITCH has focused the
past three issues of publication prior to ZeroOne San Jose/ISEA2006
on publishing content reflecting on the themes of the symposium. Our
editorial staff has interviewed and reported on artists, theorists,
and practitioners interested in the intersections of Art & Technology
as related to the themes of ZeroOne San Jose/ ISEA 2006. While some
of those featured in SWITCH are part of the festival and symposium,
others provide a complimentary perspective.
Issue 22 focuses on the intersections of CADRE and ZeroOne San Jose/
ISEA 2006. Over the past year, students at the CADRE Laboratory for
New Media have been working intensely with artists on two different
residency projects for the festival – “Social Networking” with Antoni
Muntadas and the City as Interface Residency, “Karaoke Ice” with
Nancy Nowacek, Marina Zurkow & Katie Salen. Carlos Castellanos,
James Morgan, Aaron Siegel, all give us a sneak preview of their
projects which will be featured at the ISEA 2006 exhibition. Alumni
Sheila Malone introduces ex_XX:: post position, an exhibition
celebrating the 20th anniversary of the CADRE Institute that will run
as a parallel exhibition to ZeroOne San Jose/ ISEA 2006. LeE
Montgomery provides a preview of NPR (Neighborhood Public Radio)
presence at ...
Art & Mapping
The North American Cartographic Information Society (NACIS) has released a special issue of their journal, Cartographic Perspectives:
Art and Mapping
Issue 53, Winter 2006
Edited by Denis Wood and and John Krygier
Price: $25
The issue includes articles by kanarinka, Denis Wood, Dalia Varanka and John Krygier, and an extensive catalogue of map artists compiled by Denis Wood.
[-empyre-] Liquid Narrative for June 2006
Christina McPhee:
hi all, I am not sure we got this message out to Rhizome!
Please join our guests this month, Dene Grigar (US), Jim Barrett
(AU/SE), Lucio Santaella (BR), and Sergio Basbaum (BR) , with
moderator Marcus Bastos (BR), for a spirited discussion of "Liquid
Narratives" ----- digital media story telling with a dash, perhaps,
of 'aura' .
Here's the intro from Marcus:
The topic of June at the - empyre - mailing list will be Liquid Narratives. The concept of 'liquid narrative' is interesting in that it allows to think about the unfoldings of contemporary languages beyond tech achievements, by relating user controlled applications with formats such as the essay (as described by Adorno in "Der Essay als Form", The essay as a form) and procedures related to the figure of the narrator (as described by Benjamin in his writings about Nikolai Leskov). Both authors are accute critics of modern culture, but a lot of his ideas can be expanded towards contemporary culture. As a matter of fact, one of the main concerns in Benjamin's essay is a description of how the rise of modernism happens on account of an increasing nprivilege of information over knowledge, which is even more intense nowadays. To understand this proposal, it is important to remember how Benjamin distinguishes between an oral oriented knowledge, that results from 'an experience that goes from person to person' and is sometimes anonymous, from the information and authoritative oriented print culture. One of the aspects of this discussion is how contemporary networked culture rescues this 'person to person' dimension, given the distributed and non-authoritative procedures that technologies such as the GPS, mobile phones and others stimulate.state of the planet infographics
a small collection of beautiful information graphics documenting the current state of the planet.
see also gapminder & 3d data globe.
[seedmagazine.com]
constructing a death, part 1
flash player+warning: uses pop-up windows
ryan
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Re: let's repeat:
> do sometimes feel being an 'new
> media' artist today is a little like
> millennium mother. In the same way as mothers are now expected to
> raise balanced, healthy children, whist wearing immaculate makeup,
> finishing a phd, running a small but prosperous business sideline and
> remembering to have the lacy underwear underneath (all of which
> which of course I do:-)
hi Jess,
i know that cultural/professional multi-tasking has become absurd (i applied for a job at a school that wanted someone to teach critical theory , digital imaging, design foundations and run a ceramics facility), but it seems being a woman still trumps any other occupation. at least based on the ones i know :)
parenting became an issue raised by a few women at the N5M4 recently.
http://lists.indymedia.org/pipermail/imc-europe/2003-September/001498.html
for the record, i'm now picturing everyone on the list in lacy underwear...thanks
ryan
new text from F.Schneider/G.Lovink
of the proprietary libraries of freedom. Such a
project has to be approached in a collaborative and
organised fashion. We need a critical and empirical
hybrid research project in the form of manifolded
militant inquiries
that are simultaneously globally distributed,
exploring everyday forms of refusal and resistance
beyond the monoculture of breaking protest news and
the all-to-easy spectacle of semi-professional media
activism."
from:
http://www.makeworlds.org/?q=node/view/20
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Re: let's repeat:
i just wanted to clarify my "so what?" remark - which wasn't meant to be flip, but to question what was at stake. which you mostly answered.
i think one reason why M is so accepted and used (i would say "used") is because it's easy to make his work about formal concerns - database structures, montage VS composite, etc... as Greenberg's work was, divorced from it's social meaning. even the inverse of the database aesthetic - "narrative" (Mark Stephen Meadows' "Pause and Effect" comes to mind)- becomes a kind of formalist one as celebrated.
but i think there are other narratives that can be read against this work too. some are institutionalized on their own (albeit smaller cliques) like Lunenfeld, Lovink, the Krokers, Lynn Hershman. some really critiquing "the institution" (or at least changing it) like the subRosa crew, Ricardo Dominguez, others. Of course, my examples show my biases, but i think there are others (a few on this list) creating smaller institutions (or infiltrating dominant ones) that are more able/willing to exist without stifling everything else. the difference may be in institutions that need openness to survive versus those that are more "agoraphobic."
this probably adds little to the discussion, but what the hell.
Re: let's repeat:
>
> > I wasn't posting that as a dig at Manovich.
>
> well - can I then...? [friday morning rant]
>
> As far as I am concerned, Manovich will always be 'the bad guy'....
isn't it sort of the job of criticism to be "critical" as much as celebratory? i understand the complaints with Manovich - being prescriptive, etc... but so what? if his work is creating a cartel of new media practice, that's something to be concerned about - but it wouldn't be just his work that's doing that - other people (in positions of some kind of institutional power) would have to support it for reasons other than liking Manovich i think. we could be asking: why is Manovich (as a text) useful for someone/thing?
and i think t.whid makes a good point that if there is a Manovich cartel it's not all that dominant (not that that's a bad thing).
not really a rant... but i try.
ryan