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]
CLUI Exhibit: Loop Feedback Loop
April 4, 2004
LOOP FEEDBACK LOOP:
The Big Picture of Traffic Control In Los Angeles
http://www.clui.org/clui\_4\_1/ondisplay/loop/index.html
-----------------
The CLUI Los Angeles Exhibit Hall is open noon to five
PM,
Fridays, Saturdays, and Sundays, or by appointment.
Admission is free.
-----------------
--
The Center for Land Use Interpretation
--
9331 Venice Blvd.
Culver City, CA 90232
310.839.5722 voice
310.839.6678 fax
support@clui.org
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Re: Distorted Molotov
http://www.yougenics.net/griffis/images/JOY_billboard.jpg
Re: Re: The Distorted Molotov
t.whid wrote:
> Liza wrote on her blog:
> > Joy Garnett Riot show are oil paintings of images sampled from
> > newswires and other public news media. Now she is not only being
> sued
> > by the photojournalist whose picture was sample in Molotov but she
> is
> > being asked to never show and never sell the artwork. This is
> > obviously not a case of an artist protecting his speech rights but
> of
> > one artist using his copyrights as a way to censor another artist.
> A
> > sad case of Stockholm Syndrome if there ever was.
>
> I would like to add to Liza's thoughts.
>
> I'm not sure it's censorship... Why would the photojournalist want to
> censor Joy? There really is no reason. Does the photoJ think that she
> will be financially harmed by Joy sampling her work? I doubt it. That
> would mean that someone would choose to use Joy's image instead of
> the
> original. Joy's not trying to sell repro rights of the image, Joy's
> trying to sell the painting.
>
> I think it comes down to simple pride and something similar to as the
> Stockholm Syndrome. She feels she owns this image (tho her subject
> would probably like to light her on fire with a pepsi molotov if he
> knew what she was doing with his image). It's not simply 'legal' with
> her, she probably really feels that Joy is stealing from her, it's
> become ethical with her. The twisted copyright laws of the USA have
> been internalized by her, she confuses legalities with ethics. It's
> the
> Disney Syndrome.
>
> +To crit Joy+
>
> I find it strange that there is a copyright on the original Molotov
> page which I mirrored here:
>
> http://www.twhid.com/misc/joy/molotov/
>
> If you are going to sample imagery for your own work you should at
> the
> very least release your work with a cc license which allows
> unattributed sampling, no? Or it should be released with no strings
> attached whatsoever. I mean, technically, all of our joywar pages are
> illegal.
>
> Seems a bit --let's say-- inconsistent?
>
> take care,
>
>
> On Mar 5, 2004, at 12:53 AM, liza sabater wrote:
>
> > http://www.culturekitchen.com/archives/000555.html
> >
> --
>
> www.mteww.com
>
>
Re: 'piracy' update
> that I'm actually suggesting it or anything (ahem). I may have to
> remove
> it from mine at some point, even if only temporarily, to avoid
> 'problems.'
start a "joywar" ;)
ryan