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: Dia article in NYTimes Mag
regarding "alternative" models of cultural production, esp new genre and media, critical art ensemble has done quite a bit of theorizing for working while we wait on a more inclusive sysytem (that may never be allowed to realize anyway).
interstingly it uses the theory of "cellular" production, an unfortunate connection to anti-terrorist terminology.
but their discussion of models is a pretty good reading of the situation as well as ways of working within it. they also talk about the institutional desire for "monumental" new media work.
best,
ryan
Re: 250 words
> Nor do husbands believe in wife
> beating
> as a necessity and as their due.
sarcasm not withstanding, i know of many women who are then suffering phantom wounds.
best,
ryan
FWD: Lost Film Festival 8.0
but i just got this from the carbon defense league.
ryan
Lost Film Festival 8.0 update 4-03-03
[click here for full lineup and schedule]
www.lostfilmfest.com/lff8
215.662.0397 info@lostfilmfest.com
-
LOST FILM FEST 8.0 IN WEST PHILLY! APRIL 10-13 @ The
Rotunda -- 4014 Walnut St (at 40th and Walnut next to
The Bridge Cinema)
--------------------------
If you are coming from out of town you may want to
take the Chinatown Bus..It's way cheap... $12 from
nyc... http://www.ivymedia.com/dragoncoach/
(Subway: Take the Market Frankford EL to 40th St, walk
3 blocks south and you're there. It's right next to
The Bridge Cinema)
--------------------------
Okay, I'm bursting. This is going to be the seriously
best lost film fest ever. Please spread this email
around, post it on messageboards, send it to your
friends. There's so much going on in Philly the same
weekend, Kid Dynamite Reunions, Philly Film Fest..but
nothing near as cool as this.
--------------------------
BEST OF ALL Admission to all screenings and events at
Lost Film Fest 8.0 are FREE..Yes!! (but donations are
welcome) - thank you to Gina Renzi and Andrew Zitcer
of Foundation Arts for providing a home for the fest &
making it accessible for everyone!!
www.foundationarts.org
--------------------------
Look all around Philly for the printed programs after
April 4.
--------------------------
I. [Lost Film Fest] Special Events @ Lost Film Fest
8.0
II. [Lost Film Fest] LFF 8.0 full film list
III. [Lost Film Fest] Lost Film Fest 8.0 schedule
IV. [Lost Film Fest] European Tour Update (April
28-Aug 4!)
V. [Lost Film Fest] Alternative News Links
VI. [Evil Twin] Hot And Bothered: Feminist Po r
nography in Philly April 6
VII. AIVF ADVOCACY ACTION ALERT
--------------------------
Lost Film Festival 8.0 is only a week away!!
sponsored by Foundation Arts, Philadelphia Weekly,
DUTV, Modulus DVD, Tofurky, Bloodlink, Peta2, and A to
Z Duplication.
--------------------------
*Some submissions received after the 8.0 cutoff date
will be held for Lost Film Fest 9.0 scheduled for
spring 2004. The decisions were very tough this time
around..so many submissions..oy vey!
--------------------------
++LostFilmFestCollectiveMediamakerzConvergenceBuildExploreEducateEnergize=
Agitate++
--------------------------
The Lost Film Festival provides much needed relief
from the mind numbing
and intellectually damaging drivel that CNN and
Hollywood vomit into our
collective consciousness. The screenings include short
selections
ranging from engaging documentaries to powerful
narratives and absurd
comedies. Lost Film Fest seeks to challenge and
empower the mediamaker
in everyone.
--------------------------
Modulus DVD is re-mastering the Lost Film FEst DVD's
vol 1 & 2. They specialize in DVD production for
independent filmmakers and use Hollywood-grade video
encoding tools and high-resolution audio workstations
to achieve the best possible audio and video quality.
They also offer regular DVD duplication and disc
manufacturing specials. details: eric@modulusDVD.com
617-491-0883 www.modulusDVD.com
+++++++++++++++++++++++++++++++++++++++++
I. [Lost Film Fest] Special Events @ Lost Film Fest
8.0
All events will take place at The Rotunda located at
4014 Walnut St in West Philly (at the corner of 40th
st and Walnut)
check it out!!
END OF THE CENTURY : (Jim Fields) A special sneak
preview for RAMONES fans!! This documentary film about
the seminal punk group, THE RAMONES examines the
groups rocky relationship and portrays them in an
intimate way never before seen. With special guest
presenters>> Thursday April 10 9pm
TIMOTHY SPEED LEVITCH (The Cruise, Waking Life) will
treat Philadelphia with a special spoken word
performance after the Philadelphia Premiere of Richard
Linklater and Richard Holbrooke's "Live From Shiva's
Dancefloor" and Gael Firth's trailer for "Burning
Man".>> Friday April 11 9pm
THE YES MEN This program is presented by some of the
Yes Men who give accounts of their recent activities
by (male and female) Yes Men worldwide. They will give
accounts of some of their latest pranks against the
institutions that seek to vex and control us. They
will also present sneak peeks into the feature film
[currently in production] documenting their
shenanigins as well as the novel. . www.theyesmen.org
>> Sun April 13 8pm
THE WEATHER UNDERGROUND: (Sam Green / Bill Siegel):
This feature-length documentary film follows the rise
and fall of the Weather Underground - a group of
several hundred young women and men who tried to
violently overthrow the American government during the
late 1960s and 70s. Outraged by the Vietnam War and
racism in America, the Weathermen battled police in
the streets, bombed the US Capital and two dozen other
buildings, and broke Timothy Leary out of prison. For
almost a decade, they lived underground and evaded one
of the largest FBI manhunts in US history. Using miles
of fascinating and vibrantly colorful archival footage
- some of it sickeningly graphic - and an eerie music
score by members of FUGAZI, among others, Green and
Siegel have crafted a breathtaking portrait of one
chapter of the
FWD: Engineering Gender, call for papers
Engineering Gender.
Configurations of Cybernetic, Virtual, and
Biopolitical Existence
Westfaelische Wilhelms-Universitaet,
Muenster, Germany,
November 6
Re: Mesopotamia. Babylon. The Tigris and Euphrates
> (eryk) We had a green primary in Maine. It doesn't matter what got discussed
> at the
> debates, the Democrat won and the original agenda he had is now in
> place.
> Again, you are mistaking "ideas getting talked about" with "actions to
> put
> those ideas into place."
i didn't mean to imply that all was talk with the green party there (OR). many local gov officials represented the views of the green party line, and followed through with policy. NGOs and "grassroots" orgs also had a large impact on policy, esp in terms of resource management, urban planning, and police brutality issues. (for whatever this info is worth...). But also, through talk orgs like state PIRGs raise money to affect policy.
> It has nothing whatsoever to do with what I said, in fact I brought up
> the
> exact opposite argument, which is that education has nothing to do
> with
> "right" or "wrong" opinions.
> and I have no problem with people talking, I have no problem with
> solidarity, I have a problem with the idea that talk and protests end
> wars.
> They do not.
i didn't mean to make a case for "right" or "wrong", just that the views i mentioned were used to facilitate a specific kind of "democracy" while rhetorically saying it was something else.
>
> I find this argument is a great way to rationalize against the idea of
> direct democracy
> democracy becomes mediated through the "power hungry" as opposed to
> the
> "truly concerned."
i'm not sure what argued against direct democracy exactly, but i get your reference to "service sector democracy" and i would agree that it seems an appropriate psuedonym for how the system works. but how are the "power hungry" different from the "truly concerned?" how does the individual/personal mesh with the systemic? how does ideology fit into what you've been saying? what specific political histories might be useful here? i don't mean these to be rhetorical questions.
take care.
ryan