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]
Fwd: For Immediate Release: The Bush Poll
> Date: October 18, 2004 9:54:52 PM PDT
> To: bushpoll@bushpoll.com
> Subject: For Immediate Release: The Bush Poll
>
> October 18, 2004
> FOR IMMEDIATE RELEASE
>
> The Bush Poll
> Speaking to the George Bushes of the United States
> http://Bushpoll.com
>
> There are 153 persons named George Bush in the United States phone
> directory. 2 persons named George Bush are current and former
> presidents of the United States. The Bush Poll surveyed them in order
> to determine their political cohesiveness, their polarization over
> political issues, and their potential reflection of an American people
> divided over their Presidential representation.
>
> Are the George Bushes Dying?
>
> One of the interesting results of the poll was the findings about the
> age of the George Bushes of the United States. Of the 47 George Bushes
> we spoke to, 12, or 26% were too ill to speak, bedridden, or deceased.
> This trend is mirrored in the age statistics of the healthy George
> Bush population, where 83% of all George Bushes are over the age of
> 55. Reflecting their age demographics, the George Bushes have an
> extremely high turnout ratio, with nearly 90% having voted in 2000,
> and the same number planning on voting in 2004.
>
> "My ethnicity is I am a Christian," George L. Bush, Lexington, KY
>
> Equally interesting is the uniformity of ethnicity, with 89% of all
> George Bushes identifying as White. The remaining 11% either
> identified as "American" or "Christian." There were no George Bushes
> who identified as Black or African American, Latino, Asian, American
> Indian, Pacific Islander.
>
> Low Approval, but High Support
>
> The George Bushes generally reflect the greater population in their
> political party, approval of the President's job performance (55%),
> the war in Iraq (50%), and his ability to relate to the average
> American (38%). Yet they support him in much higher numbers at the
> poll: 69% of the George Bushes of the United States voted for George
> W. Bush in 2000, and 66% are projected to vote for him in 2004. So
> why would this group break their party affiliations, and break with
> their own views, to vote for George W. Bush? Do they identify with
> him? Do they admire him? Does it make them happier to see a man with
> their name on the TV daily?
>
> "No, he's not like me," George W. Bush, Jasper, TX
>
> Despite this apparent identification of the George Bushes of the
> United States with the President, they are polarized over the idea
> that they are similar. When asked if they hold George W. Bush's
> values, 67% Agree, 0% are neutral, and 33% disagree. Yet when asked
> if they are like George W. Bush, the George Bushes of the United
> States flip the other direction: only 22% agree, 17% are neutral, and
> 61% disagree. They identify with his values, but if they identify
> with him, they might loose their individuality.
>
> "I've been picked on about it, but not judged. It is fun being George
> Bush."
> George D. Bush, Bonham TX
>
> Nearly half of all of the George Bushes of the United States said they
> were pre-judged by others because of their name. Two out of three
> said that the other person had viewed them negatively. Despite this
> apparent loss of control over their own representation, 83% said that
> this did not undermine their sense of individuality. It is as if they
> are saying that to be one of the George Bushes of the United States
> you have to be resolute, ignore what others say, and be prepared to
> protect and defend your identity as your own, regardless of namesake.
>
> SEE THE FULL RESULTS: http://bushpoll.com
>
> FOR FURTHER INQUIRIES: mailto:bushpoll@bushpoll.com
>
>
> ***
>
>
> "My name's George Bush, of course I voted for him!"
> George T. Bush, Cape Coral FL
>
Fwd: [events/screenings] 20X20X20 and must see political docs.
>
> 20X20X20
> October 20, 2004 8pm
> High School 1542 N Milwaukee Ave 3rd Floor
>
> 20X20X20 is show and tell for grown ups. Think of it as an experimental
> forum to share ideas, projects, unusual information and personal
> obsessions.
> We invite fantastic people to share their passions, You get to meet
> them.
> The format is simple. 20 people are chosen to present. They each get a
> chance to share 20 slides or digital files for 20 seconds a piece.
> That's
> approximately 7 minutes of action per person!
>
> 20X20X20 is part of the SMF3 and will feature around 12 people instead
> of
> 20. This month learn about: kick ass architecture, 20 kick ass guitar
> riffs,
> 20 men Erika wants to boink, the Codex Serafinianus, a new photo essay
> by
> ray pride, the MST social movement in Brasil, Patrick's favorite air
> planes,
> and a few other peculiar subjects.
>
> Admission: free or make a $5 suggested donation and get the new
> select # 8
> dvd. PBR will be in the house.
>
> //
> Film / video programs on Wednesday!
>
> UNCONSTITUTIONAL / WATCH THIS! double feature
>
> UNCONSTITUTIONAL
> 2004, Nonny De La Pena, US, 60 min.
> Wednesday, October 20, 8:00 pm (Gene Siskel Film Center)
>
> Unconstitutional is an hour-long documentary detailing the shocking
> way that
> the civil liberties of American citizens have been infringed upon,
> curtailed, and rolled back since 9/11 -- all in the name of national
> security. In the rush to pass the USA PATRIOT Act, intelligence
> agencies
> have been empowered to "protect freedom and democracy" by destroying
> freedom
> and democracy. Real stories depict the personal loss of American civil
> liberties and present citizens who are resisting those efforts. (from
> the
> maker of Outfoxed)
>
> PLUS!!
>
> WATCH THIS! before you go vote.
> A one-hour documentary, Watch This! is a multi-perspective meditation
> on
> the nature of political and creative dissent and the government's
> response
> in a post 9-11 world.
>
> Shot almost exclusively during the Republican National Convention in
> New
> York, this film will surprise you about what really went on in the
> streets
> of NYC. A series of personal stories are intertwined to form a
> disjointedly
> coherent vision of reality. This complex reality breaks through the
> superficial nature of current political and social discourse.
>
> Shot, edited, and produced in 40 days, Watch This! is being
> distributed for
> FREE as a high-quality download using traditional web sites as well as
> file-sharing technologies, such as bit-torrent.
>
> Watch This! is produced by Glass Bead Collective (GBC) ? a
> multi-disciplinary non-profit art collective.
>
> Glass Bead Collective (GBC) is a multi-disciplinary non-profit art
> collective. GBC produces projects from theatrical productions to
> films to
> real-time video art.
>
> http://glassbeadcollective.org/watchthis
>
> ///
>
> Check out the program:
>
> http://www.lumpen.com/events/smf3/
>
> ///
> You or someone you knew put you on the lumpen buddy list.
> If you want to stop the deluge just email ed@lumpen.com and please type
> "take me off your list" in the subject line.
>
> http://www.lumpen.com
>
> Visit the conversation. Lumpen's official message board
> http://www.lumpen.com/conversation/index.php
>
>