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: Can company logos be used in artwork?
ISP that won't take it down with the first cease + desist letter...
rendering any legal argument beside the point.
ryan
Fwd: Good news!
> Dear Friends!
>
> It's been a while since we have been sending you news by email, but
> lot's has happend in the past months. We have been working a lot! As
> you might know Memefest, the international festival of radical
> communication opened a very succesfull exhibition in Ljubljana,
> Slovenia.
>
> In just three short years, the number of festival participants has
> grown enormously and submissions to the festival now come in from
> every continent on the globe and in 2004, Memefest welcomed close to
> 400 entries from 36 different countries and has become an important
> event and an internationally recognized reference in the world of
> communication.
>
> In honour of Memefest's succes and the most piercing authors, we
> decided to exhibite selected works from the first three Festival
> years.
>
> To accompany the exhibition in the Interart gallery in Ljubljana , we
> also printed a special booklet with selected static visual works and
> summaries of award-winning texts from the fields of sociology and
> communication science.
>
> You can see pictures from the exhibition and you can also download a
> pdf version of the booklet from our home page www.memefest.org/en
>
> The next big news is that Oliver Vodeb just came back from a new
> media/visual arts conference (http://www.festivaldelaimagen.com) in
> Colombia, south America, where he spoke about Memefest. The south
> American audience responded extremelly positive, showing that there is
> a huge need for radical communications knowledge in Latin America.
> Memefest is planning to open a South American Branch with headquarters
> in Manizales Colombia and Sao Paulo Brazil, with it's own web site in
> Spanish and Portuguese by the beggining of year 2005!
>
> We are already working a lot on the Memefest 2005 Concept and
> Festival. If anybody wants to colaborate with us on the next event,
> send us un email.
> Keep on checking our web site for news updates.
> http://www.memefest.org/en
>
>
> Best wishes, Memefest team!
Re: Computer Critics
http://www.nytimes.com/2004/11/22/books/22fict.html
somewhere Bill Gates is tapping his fingers together and saying in a
sinister, whispery voice, "Excellent."
On Nov 23, 2004, at 10:53 AM, andrew michael baron wrote:
> BEWARE: New computer program used to authenticate artworks
>
> http://www.cbc.ca/story/arts/national/2004/11/23/Arts/
> artcomputer041123.html
Homeland Security Cultural Bureau
"The Homeland Security Cultural Bureau is pleased to introduce a series
of educational initiatives that will further insure homeland safety and
guarantee that terrorist activities will be guarded against within
American Universities and Colleges. The group of initiatives entitled
GATA (Get After Terrorist Assets) targets all possible assets that
terrorists may be using: the help of Students, Faculty and
Administration, as well as other employees of Universities is crucial
in stopping and helping locate terrorist investment in the educational
sectors.
Re: why so little discussion?
> This therefore:
> < it's art - a contrived activity designed to be seen
> as art>
> does seem to me to be demonstrably an anachronism.
> And personally speaking, though I don't have a shred
> of religious belief, my life would be a much poorer
> experience without, say, Monteverdi's Vespers.
point taken Michael,
i actually am a religious person and believe in many of the tenets of
Marxism simultaneously (even the Althusserian depiction of religious
institutions as part of a superstructure). my statement was a bit hasty
and reactionary, but was meant merely to suggest that perhaps the
judgment of one's art and the judgment of one's life may not be the
same, and that to compare the practice of ascetics to contemporary
performance artists is absurd to me.
but i feel this may be getting into an argument with no resolution and
little at stake.
take care,
ryan