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]
Field Recording Equipment Discussion
concerns. i thought some people here might be interested in the info
that came up.
--------------------------------------
Date: Tue, 19 Jul 2005 15:03:21 -0400
Subject: Field Recording Equipment
Hello all,
This is not my area of expertise, so I thought I'd toss this question
out to the collective brain:
Are there models or brands that are better than others as far as
recording equipment for fieldwork / recording oral histories? The
recordings would eventually become part of our Special Collections Unit,
but the primary purpose for now is research. We may be making
suggestions to a student on what to purchase, so affordability is a
concern.
Thanks in advance,
------------------------------
Date: Tue, 19 Jul 2005 15:37:12 -0400
Subject: Re: Field Recording Equipment
There are a lot of good resources on line. Check out
Radio College at:
http://www.radiocollege.org/
You should also check out the tools page at Transom.org:
http://www.transom.org/tools/index.php
If you have some specific questions about what to buy given your needs,
I'll
be happy to try and answer them.
--------------------------------------
Date: Tue, 19 Jul 2005 17:32:14 -0500
Subject: Re: Field Recording Equipment
Meghann,
Our company uses the Marantz PMD-222 for Audio Cassette field
recording.
The PMD-222 has an XLR input, a line input and a telephone jack input.
It is very durable and can be run on batteries or A/C. You can go to
www.martelelectronics.com or call 1-800-553-5536 to look at one or
to ask questions. According to their website, the PMD-222 is retailing
for $395.00 which is not bad considering that we have had ours for 7
years now and other than cleaning the heads every now and then, it has
never had a problem. I also believe that NPR's "This American Life"
uses the Marantz for their field recordings.
--------------------------------------
Date: Tue, 19 Jul 2005 19:54:30 -0400
Subject: Re: Field Recording Equipment
Marantz, among others, make no-moving-parts recorders. I don't know
how much more expensive they are than a $400 cassette recorder, but I
would be tempted to get one of those and then load the compact flash
cards into an IT store and be done with it.
Remember as you create more cassettes, you're ensuring that people
like me will make a healthy living down the road...and, down that
same road, excellent playback machines (e.g. Dragons) won't be
maintainable.
I just bought a pair of 1GB CF cards for $120 CDN each - if you use
some mild compression, they will hold a lot of audio. I bought mine
for photos...
The CBC is using 4:1 compression in their massive archive project --
for voice work.
The workflow is one I can relate to, as I've been doing this for
almost three years now with a digital camera. I keep three copies of
the images on three different drives, one of which will shortly be at
my neighbour's.
If you don't want to properly archive files, then burn them into
audio CDs on gold disks, but I think it's a real bad idea to invest
more in the submerging technology of audio cassettes.
------------------------------
Date: Tue, 19 Jul 2005 19:06:06 -0500
Subject: Re: Field Recording Equipment
The Edirol R-1 is another portable solid state recorder along the
lines noted by Richard below. It's fairly new but there are already a
few lengthy user reviews. I think recall seeing one on
www.macintouch.com.
------------------------------
Date: Tue, 19 Jul 2005 17:03:51 -0700
Subject: Re: Field Recording Equipment
Someone already mentioned Transom as a resource, but I would second
Transom's claim that the minidisc is the radio producer's best friend.
Easy to use, and a passed over technology that is now quite affordable.
Their microphone suggestions are also top-notch as far as affordability
vs. performance.
------------------------------
Date: Tue, 19 Jul 2005 19:17:06 -0500
Subject: Re: Field Recording Equipment
On Jul 19, 2005, at 6:54 PM, Richard L. Hess wrote:
> If you don't want to properly archive files, then burn them into
> audio CDs on gold disks, but I think it's a real bad idea to invest
> more in the submerging technology of audio cassettes.
I agree. I've always hated analog audio cassettes. CF, hard drive,
or even MiniDisk, is cheap, small, and clonable.
------------------------------
Date: Tue, 19 Jul 2005 17:15:27 -0700
Subject: Re: Field Recording Equipment
I like the R-1. It is like having a portable DAT, but it's cheaper and
offers .wav and .mp3 recording options at different bitrates. It's
been criticized by some pros because it has only mini phone plug
inputs, not XLR, and because it eats batteries. Otherwise it is very
easy to use and has a built-in mic for those situations when an
external mic isn't practical.
If you are recording in .mp3 at 192kbps (I know, that isn't good
archival practice), a 2GB card will give you about 35 hours of storage.
Great for traveling light.
Prelinger Archives http://www.prelinger.com
Prelinger Library: http://www.prelingerlibrary.org
Online film collection at Internet Archive:
http://www.archive.org/details/prelinger
------------------------------
Date: Tue, 19 Jul 2005 20:20:28 -0400
Subject: Re: Field Recording Equipment
Cameron and others,
PROMISE ME that you'll NOT archive the MDs and will transfer them to
an IT file system or gold audio CD-Rs.
Yes, the MD is a great field tool (I have two--do I have one of
anything--other than a wife?), but the transfer for all practical
applications today is real time (didn't have to be, but it is). Here
is where the CF card excels over the MD...and at the price of
individual CF cards, you won't be tempted to archive individual CF
cards <smile>.
The MD is an audio technology, the CF card is a computer technology.
I can get CF readers for $20 that plug into the USB port of any handy
PC. For "back at the ranch" with MD, you need a home component unit.
Many of the portables (at least the ones I have and I don't think
other models were different a few years ago) have optical inputs, but
no digital outputs. Interestingly, I have a pair of portable CD
players that have optical outputs. You need a "home" or pro unit to
get a digital output. And now that we're seeing fewer CD-writers of
the caliber of the CDR-W33 (gone away, sadly) the digital transfer
from MD to CD will be harder. Of course, you can plug the MD player
into the computer and ingest it, but wouldn't it be easier to drag
the files from the CF to the hard drive?
Oh, and if you're worried about CF files being compressed, don't
forget that MD is also compressed.
Since you already acknowledge that MD is a passed-over technology,
how long do you think it will be supported?
With my glowing negativity above, I also have to say that right now
when I need to record something I grab the MD recorder and the Audio
Technica AT-822 and immediately either ingest it to the PC or burn it
to a CD (or both).
------------------------------
Date: Tue, 19 Jul 2005 21:29:50 -0400
Subject: Re: Field Recording Equipment
I can't figure out why a few people have railed against analog
cassettes, I don't see you mentioning them below! But I would, of
course, agree. There are so many options in digital recording available
now, especially for voice-only work.
Then, of course, there's the Nagra SN, which my pals at the Secret
Service say is still being used and makes the best-sounding recordings
(while concealed in someone's pants)...
copyright and blogs
archive issues list).
Begin forwarded message:
> The Editorial by Lesley Ellen Harris in Volume 2005,
> Issue 1, The Copyright & New Media Law Newsletter,
> deals with copyright ownership in blogs - it is
> reproduced below. For further information on this
> print newsletter, see www.copyrightlaws.com <http://
> www.copyrightlaws.com/>.
>
> Sincerely,
>
> Amritha
> amritha@copyrightslaws.com
>
> Editorial - Copyright Ownership in Blogs
>
> The Internet continually forces us to test the
> application and flexibility of current copyright law
> to new modes of communications and media. The Internet
> has already spawned debate and lawsuits about
> hyper-linking, P2P file sharing, and the removal of
> copyright management information and technological
> protections. A newer Internet activity, blogging
> resulting in Weblogs, is now being discussed in the
> copyright arena. A blog is basically a stream of
> consciousness discussion available to the public at
> large. Individuals keep these blogs on every topic
> imaginable. Blogs are original material, and once they
> are fixed in some form, saved digitally or in a print
> out, they are protected by copyright in most countries
> around the world. In fact, they would be protected for
> 50 to 70 years after an author's death - much beyond
> the life of any blog itself.
>
> Blogs are becoming more popular amongst professionals,
> and certain employees are even encouraged to create
> blogs based on their work. This raises interesting
> issues concerning copyright ownership in the blogs. If
> an organization requires blogging as part of the
> duties of an individual, it is likely that the
> employer owns the content in the blog, just like the
> employer owns other copyright-protected works created
> by that employee in the course of employment.
>
> However, if the blog is initiated by an individual
> though it may discuss work-related issues, outside the
> scope of his employment, who owns the content in the
> blog? This is comparable to the situation where a
> professor writes a book related to, but outside the
> duties, of his instruction. This is often a gray issue
> in the academic world. University policies that
> specifically deal with such issues can help clarify
> the situation. Also, a professor approaching his
> university prior to writing the book, may be able to
> clarify the situation, prior to a confrontation.
>
> Many companies have yet to develop Weblog Policies,
> similar to their other integral policies. Thus,
> employees who discuss work-related activities are
> generally held to the rule of "good taste" in their
> discussions, and of course, not spewing any
> confidential information. As is the case with many
> Internet-related activities, would a written Weblog
> Policy contradict the free flowing nature of
> information in a blog, and perhaps weaken the
> effectiveness of these blogs?
>
> With ownership comes the issue of who may authorize
> reproduction of the content in a blog. Generally, only
> the owner may authorize others to reproduce a work.
> Would this be an organization or an individual? Or
> should the whole notion of obtaining permission in
> relation to blog content be mute, since the whole
> point of the blog is for as many people as possible to
> access and read it? The blogs by Sun Microsystem
> employees at blogs.sun.com take what I call a
> compromise position. These blogs are subject to a
> Creative Commons License. Thus, the blogs are
> protected by copyright, however the rights are
> conveniently set out in a hyper-linked license and are
> broader than those rights attached to most
> copyright-protected works.
>
> To date, there are no lawsuits relating to ownership,
> reproduction or re-distribution of the content of
> blogs. This in itself may be helpful for organizations
> and individuals who are determining "policies" in this
> area. And for those bloggers who want their content
> read as widely as possible, they are free to put a
> statement on their blogs to the effect that the
> content may be freely used without permission.
Re: what exactly IS new media?
http://dieoff.com/synopsis.htm
On Jul 18, 2005, at 11:05 AM, mark cooley wrote:
> Sean Capone wrote:
>
>> Plasma Studii writes:
>>
>>>> we are now in silverism, which will be followed by shiny
>> silverism.
>>
>> Sorry mate, silverism peaked in the 80s already. New media is
>> 'post-Silver Age':
>>
>> http://www.moma.org/education/openends/guide/overview/12koons.html
>>
>>
>
> maybe we are in the "skins" age, but even that is quickly passing. we
> should be in the bronze age.
Fielding Questions: Notes on the Fieldworks Symposium
Ryan Griffis
In an April broadcast of the radio program "On the Media," ABC News
editorialist John Stossel was asked why he had invited well known
fiction writer Michael Crichton to appear on one of his programs to
discuss science and the global warming debate. The exchange ended like
this:
On the Media's Brooke Gladstone: "In December, you featured novelist
Michael Crichton on 20/20, and you praised him for contradicting
something most people believe and fear. You went on to say that
environmental organizations are fomenting false fears in order to
promote agendas and raise money. Why use a fiction writer to refute the
scientific community?".
John Stossel: "Because he's famous, and he's interesting, and he's
smart, and he writes books that lots of people read, and I could
interview the scientists for 20/20, but more people will pay attention
when this particular smart fiction writer says it."
( http://www.onthemedia.org/transcripts/transcripts_040805_skeptic.html
)
This particular exchange is interesting to consider in light of debates
around all manner of cultural and scientific developments, including
stem cell research, evolution, sex education and energy production just
to name a few. What makes this interesting to me is the visible and
unashamed collision of claims to truth with tactics of representation.
Stossel recognizes that the global warming debate is constructed as a
"he said, she said" debate, so truth claims are only as valid as the
prominence of the person making them, not the verifiability of the
claims themselves. Likewise, the "other side" often points to consensus
as verification.
This discussion was in the back of my mind when I attended the
Fieldworks symposium just a month later. Organized through a
collaboration between Departments of Art, Art History, Geography and
Architecture at the University of California, Los Angeles, Fieldworks
was designed to discuss "the emerging relations between geographic
sciences and artistic production" found in the work of certain
contemporary practitioners. From the preliminary program, it was
apparent that the two-day event would attempt this exploration through
both creative works and traditional discussion.
The first event included a video screening and audio performance within
the space of UCLA's Hammer Museum. Heather Frazar, a recent graduate in
cultural geography from UCLA and one of the organizers of the
conference, presented "Core Matters," a video narrative of the
Greenland Ice Sheet Project Two core sample. This sample of ice, the
deepest ice core record of the Northern Hemisphere at more than 3000m (
http://arcss.colorado.edu/data/gisp_grip/document/gispinfo.html ), was
traced from the site of its recovery in remote Greenland to its
residency in an archive at the National Ice Core Laboratory in Denver,
Colorado, where it is parceled out for research. By focusing on the
language, images and instruments through which this object of inquiry
is understood as one containing "information," Frazar reveals how
scientific knowledge is produced, distributed and differentiated from
other kinds of knowledge. The difference, for example, between the way
the core sample is treated by the technicians collecting it as a
material artifact and those preserving and distributing it as a
container of knowledge illuminates the process of transformation that
occurs as material becomes information.
Following the screening, the LA-based sound artist/activist collective
Ultra-Red ( http://www.ultrared.org ) performed a site-specific audio
intervention. Called "Silent/Listen," the performance began with an
interpretation of John Cage's famous silent composition "4'33"," used
here to invoke ACT-UP's famous "SilenceTHath" slogan, redirecting
attention away from the phenomenological experience of the space and
toward experiences that may not be seen or heard in the moment, yet are
ever present as we move through any space as an HIV positive or
negative (or somewhere in between) identity. After the scripted
silence, pre-arranged participants were invited to a table to speak of
their ongoing battle with the personal and political ramifications of
HIV and AIDS. These speakers' stories, both deeply personal and
polemic, were recorded and mixed into an increasingly complex montage
by the members of Ultra-Red, highlighting key phrases within ambient
and discordant soundscapes. This technique has been used by the
collective before, especially in their collaborations with activists in
LA's fair housing struggles. While it may seem to stretch Fieldwork's
thematic to the point of breaking, Ultra-Red's practice has been well
defined by the group as site-specific and has consistently tackled
perceptual and political conditions as inseparable properties of space.
In this context, the performance, perhaps arguably, offers a challenge
to a science of geography that does not account for its role in the
distribution of housing and health care and especially people.
The next day, formal presentations set the stage for discussions about
the developing exchange occurring between the sciences and aesthetic
production. The presentations ranged from artist and architect Laura
Kurgen's analysis of declassified satellite images to examine the
political implications of imaging technologies and information networks
( http://www.princeton.edu/~kurgan/ ) to Canadian draftsman Juan
Geuer's anecdotal narrative of his experience as an artist and
researcher among geophysicists ( http://www3.sympatico.ca/fred.mrg/ )
and Trevor Paglen's summary of his performative research on the "black
world" of the US Military's classified defense programs (
http://www.paglen.com/pages/projects/nowhere/index.htm ). One common
thread to all of the presenters, aside from the whole geography thing,
was their deliberate transgression of recognized academic fields, while
still maintaining a rigorous relationship with them.
Cross-discipline research, especially between the humanities and
technology-based sciences has become something of a holy grail in
academia (in the US, at least), as both sides seek to capitalize on new
funding sources in an increasingly privatized funding environment. One
of the targets of Fieldworks is the accepted definition of the "field"
itself, i.e., the boundaries that compartmentalize knowledge into
discreet regions that must be defended. University departments now
routinely offer joint degrees, and many art programs have dissolved the
traditional walls between media. This may seem like an academic
problem, and perhaps it largely is, but when Business Journals assert
that "the MFA is the new MBA," the paths of commerce and academia don't
seem so divergent (
http://www.latimes.com/extras/careereducation/brush_wsuccess.html ).
In this competitive climate, where notions of a science free from
commercial influence have all but disappeared, the distinction between
making something of value and merely illustrating or understanding
reality has become all-important. The production of illustrations --
representations of different phenomena designed to reveal something
about them -- is now merely one step in the development of commercially
viable goods. For the physical sciences, it is a matter of not just
reading and interpreting the world, but of making something from
interpretations, whether it's a new pharmaceutical product, a faster
computer processor, or hydrogen powered cars. While art may not feel
the same pressure toward utilitarianism, the historic struggle of the
aesthetic avant-garde to move beyond illustration, whether one looks at
modernist abstraction or tactical media, is a provocative parallel
development.
One of the comments made during the open discussion pointed out that as
social science moves more towards cultural studies (developing a
critical language of its own histories and languages), art seems to be
moving toward invention-oriented and empirical methodologies typical of
the physical and social sciences. In the work of Paglen, Kurgen, and
many of the speakers at Fieldworks, observational instruments that are
considered to be within the domain of science - statistics, geology,
astronomy, physics - are used toward creative ends not exactly familiar
to their origins, but not completely alien to them either. The tools of
observation and recording, considered illustrative in the hands of
science, become generative in the realm of art, where the "performance"
of the instruments is itself a final "product." The comment mentioned
above about social sciences moving towards cultural studies, made by a
geographer, may be true within high academia, where science is indeed
becoming more self-conscious and critical, but perhaps it also has some
resonance with the further commercialization of research within
universities, where the "scientific method" is applied to test the
marketability of a particular research venture. While the geographer
most likely intended to reference the growing numbers of science
scholars, like Bruno Latour, who are creating a critical theory of
science, it could be argued that science and art are becoming
complimentary methods of production, both situated in terms of
"markets."
How does all of this impact upon daily life and cultural contexts
broader than museums, classrooms and conferences? Well, Michael
Crichton appearing as an "expert" on climate change may be one
instance. The example of John Stossel citing Crichton as both an expert
and a popular figure, is what Bruno Latour might call iconoclastic. For
Latour, iconoclasm - the renunciation of religious iconography - is
used to describe the process (in Western society) of destroying and
creating images in a cyclical search for truth. In this sense, images
can be understood as instruments that point to what is not immediately
visible - and understanding that encompasses satellite photography as
much as religious icons, despite major differences in how such images
relate to notions of information (see:
http://www.ensmp.fr/~latour/expositions/001_iconoclash.html ) Crichton
can be seen as an iconoclast (or Stossel for using him), as he keeps
the distinctions between knowledge production and social conventions
intact while destroying images that seem to represent that distinction
- namely that of specialized experts. Images that are assumed "empty"
vessels of information for scientists, such as photographs of fetuses
or of the planet Earth, can become weaponized icons in fierce
ideological battles. And representatives of the scientific community,
in attempts to keep the distinction between truth and social invention
in tact, are finding themselves on the front lines of battles over such
images and their constructed meanings.
This concern for iconoclasm lay just below the surface of my experience
of the discussions framed by Fieldworks. While there was certainly much
to celebrate in terms of the diversity of practices and the ability of
artists and scientists to blend and stitch together innovative methods
for observing and imagining reality, I wondered if this collision could
escape the confines of professionalism. In many ways, it appears that
these collaborations between disciplines were taking up the role of
producing illustrations and questions about our surroundings that was
once expected to be played by an "autonomous" science. But, what is to
prevent any interdisciplinary effort from become just another, and
potentially more obscure, guarded dialogue? The question for me is how
to replace the "fielded" expert with interdisciplinary and amateur
knowledges--without following an iconoclastic program that seeks to
destroy established fields only to replace them with new,
interdisciplinary ones, in a search for more accurate and descriptive
methodologies. In other words, how can the field be expanded without
leaving the position of expert open to Michael Crichton?
The Fieldworks Art-Geography Symposium was held at the UCLA Hammer
Museum in Los Angeles, May 5-6, 2005
http://www.fieldworks.org/index.html