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]
Re: hardcore conceptual digital art
morris's "Box with the sounds of its own making" (1961) in some weird
way...
speaking of which - do they replace batteries in that thing?
i thought this morris quote was pretty funny:
FWD: Call for chapters: Queer Intersections: Revisiting online media and queer sexualities
Queer Intersections: Revisiting online media and queer sexualities
Edited by Kate O'Riordan and David J Philips
Introduction
This edited collection will bring together crucial examinations of the
intersecting fields of sexuality and the internet, and will provide an
overarching contextualisation and consolidation of cyber/queer
practices and theories.
In the early to mid-1990s, the repercussions of queer theory were being
engaged across academic feminism and lesbian and gay studies. At the
same time, the internet was emerging as a key structuring device for
academic networks, and as an important area of study. With the advent
of the commercial web in 1994 the internet intersected with popular
culture, and key questions of modernity - identity, community,
governance, time and space - intersected with the web as it unfolded
across multiple social domains. Whilst the mid-1990s wasn't the
beginning of internet research, cybercultural studies, or queer, it was
a period of sustained attention and excitement in relation to identity
and the web. Since then, there has been intense collision and
collaboration between queer theory and cyberculture, as the imagined
ideal queer subject and the imagined ideal cybersubject came to occupy
the same ground.
Moving on from and challenging this formulation, the book aims both to
document queer internet practices and to limn their theoretical
implications at the intersection of the fields of queer, technology,
and communication studies. Drawing on interviews with central actors,
analyses of internet activity, syntheses of critical debates, and both
new and historical research, the collection will provide both an
overview and an in depth analysis of these engagements.
We invite papers for consideration that complement either of the
proposed sections of the book:
Section 1 will provide theoretical contextualisations, histories and
political economies of queer/communication technology intersections.
Section 2 will showcase new and innovative work on queer sexuality and
the internet that offers new insight, whilst also showing evidence of a
rigorous connection to historical and theoretical context.
Suggested topics and themes include (but are not limited to):
Re: Net Art Market
most "experimental" art forms, but i just don't find it that
interesting of a problem. think of people working in "old new media"
like diana thater who sells limited edition videos, films - and mostly
drawings of plans (not unlike christo). people buy and sell art.
in terms of payment schemes, didn't rhizome implement one way of doing
this - a membership program? it seems somewhat successful, depending on
who you ask and how you define success. non-profit arts spaces have
used this tactic for a long time. the barnsdall art space in LA (a
non-profit space on the site of a FL Wright house) charges $5 just to
see the shows, except for their selected free days. not unlike
rhizome's free fridays. of course, these fees are to support
institutions, who then exhibit (make visible) the work of artists (it
doesn't financially support producers in the same way a private gallery
system does - but then non-profit directors don't usually make buko
bucks either).
if you're looking for more entrepreneurial discussions of object
selling, maybe contact the folks that started this site that t.whid
sent in recently.
http://www.softwareartspace.com/
Secret Service visits art show at Columbia
file:home2
Chicago Sun Times April 12, 2005
BY NATASHA KORECKI Federal Courts Reporter
Organizers of a politically charged art exhibit at Columbia College's
Glass Curtain Gallery thought their show might draw controversy.
But they didn't expect two U.S. Secret Service agents would be among
the show's first visitors.
The agents turned up Thursday evening, just before the public opening
of "Axis of Evil, the Secret History of Sin," and took pictures of some
of the art pieces -- including "Patriot Act," showing President Bush on
a mock 37-cent stamp with a revolver pointed at his head.
The agents asked what the artists meant by their work and wanted
museum director CarolAnn Brown to turn over the names and phone numbers
of all the artists. They wanted to hear from the exhibit's curator,
Michael Hernandez deLuna, within 24 hours, she said.
Fwd: [Vers04_invisiNet] Version>05
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> Version>05 Invincible Desire bgins April 22.
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> http://www.versionfest.org
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> Check it out.