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]
portland protest of 30,000
large protest (for a city of less than 1 million
people) on the 15th.
http://www.faculty.smsu.edu/r/rrg454f/pdx_protest/pdx_protest.html
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Re: About Rhizome...
i wasn't "here" for the "good ol' days" but i can make out some of the changes that eryk and marc mention, and can sympathize with the sentiments. but i think marc's position presents a healthy adaptation (not to say it's for everyone) to the development. this discussion is an old one for sure for non-profits, especially cultural institutions. the tendency towards bureaucratic ossification is strong for any organized effort. like marc, i would say one approach is to make use of the bureaucracy as much as possible to further the agenda you believe in. i don't meant subversion (i don't really believe the concept is viable, thanks to Mel Chin), but certainly reappropriation is possible. and revolutions are utopic fantasies (in my opinion) that usually lead to authoritarianism.
the banner reads, "Rhizome: The New Media Art Resource"
one doesn't have to say it's all or nothing here.
and if nothing else, this should at least provide a case study for those who want to do something different.
there's been alot of discussion on nettime as well regarding rhizome. so it's getting people thinking and acting...
somewhere i read an adapted Henri Lefebvre quote, "Seize the space! Space is not made by great men!"
best,
ryan
ABC No Rio news
ABC No Rio Announces
Benefit for Books Through Bars
COMA Benefit for ABC No Rio
Gulf Wars: Film & Discussion Series
--------------------
--------------------
Benefit for Books Through Bars
Friday March 14 at 8:00pm
Featuring slideshow and multi-media performances by
Seth Tobocman,
Kevin
Pyle and Mac McGill.
$5 (or $3 with a paperback dictionary)
For more information on Books Through Bars:
http://www.abcnorio.org/affiliated/btb.html
--------------------
--------------------
Third Annual COMA Winter Benefit for ABC No Rio
Sunday March 16 6:00pm--11:00pm
Featuring:
Hans Tammen, Henry Till/ Jamie McLaughlin / Chris
Kelsey, Bruce
Eisenbeil,
Matt Brewer / Matt Bua, Ladislav Czernek, Damian
Leibold & Toma Okano/
Karl
Lorenzen / Leanne Darling Helen Yee, Reuben Radding /
Jason Handelsman
/
Gregory J. Wildes Drew Gardner James Ilgenfritz, Lukas
Ligeti / Will
Redmond, Dave Treut, Steve Gauci /Matthew Paris, David
First, Jeff
Arnal,
Christobal Jacques, Blaise Siwula/ Merlin Coleman
(Berkley CA)/ Brian
Moran
duet / John McDonough/ Diana Wayburn, Gergana
Velinova, Ravi Padman/
Manuel
Motta & Margarida (Portugal)
and the New York Soundpainting Orchestra: Carol
Butterworth, Laura
Biagi,
Mary Workman, Eric Barnard, Nick Demopoulos, Amber
Johnson, Eyal Maoz,
Jordan Shapiro, Christopher Burchell, Carol Purdy,
James Ilgenfritz,
Stacy
Sklar, Ron Kravitz, Karin Bookbinder, Bethany
Goldpaugh Brown, Sarah
Weaver, Soundpainter.
-$10-
Proceeds to benefit the ABC No Rio Building Renovation
Fund
--------------------
--------------------
Gulf Wars: Film & Discussion Series
Tuesday March 18 at 6:30pm -$3-
'Paying the Price: Killing the Children of Iraq'
(John Pilger, 74 minutes, 2000)
Award-winning journalist and filmmaker John Pilger
investigates the
effects
of sanctions on the people of Iraq and finds that ten
years of
extraordinary isolation, imposed by the UN and
enforced by the US and
Britain, have killed more people than the two atomic
bombs dropped on
Japan.
Presented by May Day Books and the Films & Popcorn
Collective
--------------------
--------------------
--------------------
----------
ABC No Rio
156 Rivington Street
New York, NY 10002
(212) 254-3697
ABC No Rio: http://www.abcnorio.org
InterActivist Network: http://www.interactivist.net
InterActivist INFO EXCHANGE:
http://slash.interactivist.net
SUPPORT ABC No Rio:
http://www.abcnorio.org/support/support.html
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abcnorio_announces@lists.abcnorio.org
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All-star Fox piracy PSA
All-star Fox piracy PSA heads for movie screens
Thu Mar 6, 2:06 AM ET
By Gregg Kilday
LAS VEGAS (The Hollywood Reporter) --- Johnny Depp,
who stars in the Walt Disney Co.'s upcoming "Pirates
of the Caribbean," won't be the only one battling
piracy onscreen this summer.
Ben Affleck, James Cameron, Sean Astin, special
effects wizard Stan Winston, composer Michael Kamen,
the late cinematographer Conrad Hall and a legion of
behind-the-scenes film craftsmen have lent their
names, faces and voices to an attack on digital piracy
in the form of a 72-second public service announcement
produced by 20th Century Fox.
Jim Gianopulos, chairman of Fox Filmed Entertainment,
unveiled the antipiracy trailer Wednesday at ShoWest.
He said that Fox, working with the MPAA, is making it
available to theater owners nationwide.
Fox has reached agreements with a number of major
motion picture exhibitors to play the PSA in domestic
theaters, including the Regal Entertainment Group,
Loews Cineplex Entertainment, CineMark USA, Inc.,
Century Cinemas, Cinemas Guzzo, Consolidated Theatres
and Rave Review Cinemas.
"A big part of what we believe is important to deal
with this challenge -- apart from the technological
means, which we are pursuing daily -- is education,"
Gianopulos explained. "We need to teach this
generation that stealing is stealing, in whatever
form. People must be taught that the so-called
victimless crime of downloading movies has the power
to cost real people real jobs -- not just executives
like me or others in this room, but hundreds of
thousands of people who are involved in this process
(of making and distributing movies)."
To that end, the theme of the trailer is that bootleg
videos or illegal Internet downloads of movies will
put filmmakers -- above and below the line -- out of
work, and could ultimately lead to fewer movies being
produced.
After the trailer was played at a seminar titled
"Piracy: The World's Concern," National Association of
Theatre Owners president John Fithian, who emceed the
panel, said to the audience of exhibitors, "I
encourage all of you to contact Fox and the MPAA, and
play it as many times as you possibly can."
At the beginning of the morning's proceedings,
Fithian, noting that the campaign against piracy had
become the dominant theme of the convention, said that
"for all you theater owners in the audience, this
issue is as important to us as it is to the studios."
MPAA president and CEO Jack Valenti and Warner Bros.
International Theatres president Millard Ochs detailed
the economic costs that piracy has on both the
distribution and exhibition industries, reiterating
many of the numbers they detailed when speaking to
international exhibitors at the convention Monday (HR
4/3).
Wang Ziqiang, deputy director general of copyright at
the National Copyright Administration of China, said:
"Even though piracy still exists in China, the Chinese
government is determined to protect the rights of all
copyright owners, and the Chinese government is
determined to fight piracy."
He presented a short film of his own, produced by
Chinema, which featured Chinese filmmakers --
including "Hero" director Yimou Zhang -- speaking out
against piracy.
One other issue that was addressed in the
question-and-answer session that followed the formal
presentations was the number of awards screeners the
studios distribute to voters in such groups as the
Academy of Motion Picture Arts and Sciences (news -
web sites) and the Hollywood Foreign Press Assn.
"Studios have got to rethink how they advertise
Academy Award movies because screeners are also a part
of how pirates get hold of our material," Valenti
said.
Gianopulos observed that his studio has successfully
had screeners removed from eBay and that the issue of
screeners was one that the studio was wrestling with.
He suggested that an industrywide approach like
registering each individual screener would be
necessary because studios were not likely to take
individual action lest they find themselves at a
competitive disadvantage.
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Re: PDPal and the continual nature of digital art
"It don't mean a thing, if it ain't got that swing" --
Duke Ellington
well, i certainly can't argue with the Duke!
and marc's right, i'm all talk, but i try.
i definitely didn't mean those questions to seem
rhetorical, well, not completely anyway. i don't have
any "answers," and give Dyske credit for putting her
attempts at answers up.
but i do value keeping things more arbitrary - in
other words whether you're going to adorno, ellington
or l. anderson as authority, it's still using the
rhetoric of authority and authority as rhetoric. i
could say it's more useful to try to talk about things
without the shield of example and precedence, but i
don't know that i believe it possible. ellington
usually trumps adorno in coolness though.
>>What ideology would you say an Ansel Adams
photograph of Yosemite
represents?
but this is an easy one:). Yosemite and other national
parks benefited from adams and others like watkins.
adams was commissioned after all by preservationists
in Congress, after all, for many of those works. his
compositional choices, high depth of field/focus,
incorporation of monumental geography and man made
structures, lack of figures in the landscape (outside
of pueblo indians who were considered part of the
landscape anyway, just not in the parks), all
represented a certain version of preservationist
ideology/politics and created a legacy of aesthetics
based on the "sublime" as developed in earlier
landscape art, but with a documentary slant. not to
say that the aesthetics communicate that indefinitely,
it is in a context. smithson's version of landscape
obviously carries different implications no less
ideological than aesthetic in his development of the
sublime. anyway, i'm sure i'm showing my ignorance
along with my education (i guess they're not mutually
exclusive). i don't come from a dogmatic critical
theory program, this is just what i'm interested in.
bowling for columbine was great, and the animated
sequences were a nice addition! i still think i liked
roger + me more though.
take care,
ryan
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