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]
Netbase (1995-2006)
Begin forwarded message:
> Date: Sat, 18 Feb 2006 18:37:08 -0500
> From: Felix Stalder <felix@openflows.org>
> Subject: <nettime> Netbase (1995-2006)
>
> Yesterday, there was a party in Vienna. It was a small, at times
> sombre, at times
> exuberant affair, fitting for the occasion. The final call for
> netbase, the
> institute for cultural technologies. Today, the doors remained closed
> and the
> website turned static.
>
> After more than a decade sailing hard against the currents, suffering
> countless
> near-death experiences, it's hard to believe that the fall of the
> curtain is now
> final. No more publicity stunts.
>
> With the netbase, one of the last 'free radicals' of the early
> internet culture
> disappears, an institution which understood art as necessarily
> critical, both of
> the commercial hype and the old and new centers of power.
>
> Insisting on the freedom of art, defining its value as cultural
> intelligence,
> probing alternative futures, netbase refused play along with the
> neo-liberal
> redefinition of culture into 'services' to be measured by tourism
> boards, economic
> development agencies, or ministries of education.
>
> Rather, what characterized netbase was an insistence on acting in
> public, engaging
> the public directly and on its own terms. That such an approach is
> ultimately
> doomed, particularly in a country like Austria, is hardly a surprise.
> Like a crash
> in a formula one race, it's easy to say "i saw it coming."
>
> Even if the real surprise is probably that netbase lasted that long,
> witnessing
> its closure is a sad affair nevertheless. Particularly for many
> nettimers, who
> enjoyed, at one time or another, its particular kind of hospitality in
> here
> Vienna.
>
>
> Felix
>
>
> - ----+-------+---------+---
> http://felix.openflows.org
Re: the artist's spirit
> Greatness and hubris often go hand in hand, except in small exceptions.
> Is the goal of human enterprise to create sustainability, and thus try
> to create a new paradigm to prevent these aspects of human nature.
http://www.artnet.com/magazine/news/ntm3/ntm10-1-15.asp
http://www.artfacts.net/index.php/pageType/exhibitionInfo/exhibition/
14599
Re: Paper: Flash artwork
http://www.ctheory.net/articles.aspx?id"6
http://www.fdcw.unimaas.nl/is/generationflash.htm
there was also a bit of a thread here for a while:
http://rhizome.org/thread.rhiz?thread884&page=1
good luck,
ryan
On Feb 19, 2006, at 7:04 PM, trin7021@saintmarys.edu wrote:
> If you have any thoughts or advice on the role that Flash plays in
> creating artwork, or an opinion on the most important artists that
> have utilized Flash, let me know.
>
> Also, if you know of any articles that you think should be included in
> my bibliography, send them my way.
>
> Thanks!
>
Call for indirect action from the Journal of Aesthetics & Protest
The Journal of Aesthetics and Protest will be doing a presentation at
PS1 on March 9th, as a part of their Fine Print series. We will be
doing a Powerpoint presentation, something like 1946-2006, '60 years
for things other than the military industrial complex
Re: Griffis is genius
to pretend that you're really trying to be critical here.
OK, launch into slightly aggravated tone:
"Come on, MANIK... you've got to be kidding me.
You're equating someone disagreeing with you on a list serve to a KKK
attack is just plain irresponsible and insulting. You want to get all
upset about me not knowing a certain political context? Try being a
little more savvy about your own extra-cultural references. While all
the things you mention are certainly important, who here is claiming
absolute knowledge about something (other than you that is). Pulling
your archive of an old email thread and showing me receiving a link
someone sent in is supposed to be some kind of indictment? Really? And
you feel justified and even adequate to throw around various contexts
(xenophobia in Europe, institutional racism in the US, etc) to make
your point (whatever that may be)? And what argument did I ever have
with your use of "Shiptar" - i confess to know nothing about this
matter, and don't recall ever saying anything about it before.
And, i don't know... i'm not always happy with my life, but i wouldn't
call it miserable. though i think most of us are in for some rough
times ahead.
Anyway, if you're point is to keep your earlier posts about
Serbia/Kosovo in the mix of our discussions, that's great. i'm sure i
can learn more about what you're saying. But can't you do so without
flailing about so much? Why is everyone assumed to be your enemy?
And by the way, i'm not in NYC, and don't use heroin."
the ASCII hyperlinked dogs are great.
take care,
ryan
On Feb 9, 2006, at 5:12 PM, manik wrote:
> Ryan Griffis wrote:
> >...i'm an idiot.
>