“The Most Boring Places in the World” is a Google Earth tour that pinpoints the location of bloggers, live journal-ers, and chat room commentators. These authors all claim that the city they live in or vacationed in is more boring than any other place they can imagine, at least during the time of their post. Most locations do not repeat (with the exception of North Carolina, Ohio, Zurich and Singapore). What these destinations share in common is their ability to inspire existential crises, home-from-college woes, and the suffering specific to beautiful scenery, suburban sprawl and shopping malls.
When Orpheus’ beloved Eurydice dies, he cajoles his way into the underworld with his musical charms and his lyre. Wanting her but not her shade, he cannot forbear looking back to physically see her and so loses her forever. In this modern day Orphean tale, an anonymous narrator also desperately searches for a lost love. Rather than the charms of the lyre, contemporary technological tools, Google Street View and Google Earth, beckon as the pathway for our narrator to regain memories and recapture traces of his lost love. In the film, they are as captivating and enthralling as charming as any lyre in retrieving the other: at first they might seem an open retort to critics of new technology who bemoan the lack of the tangible presence of the other in our interactions on the Internet.
Our narrator remembers that once, with her back turned while facing the Adriatic Sea, a Google Street View car drove by and took a picture of his beloved, who detested being photographed, without her realizing it. Our narrator cherishes this photograph and the entire relationship becomes encapsulated in the screen capture replacing all other experiences and memories. Soon it is not enough. Our narrator cannot imagine that, in a world where everything is recorded, that someone could completely disappear. In daily systematic searches for photographs of the nameless other, Google Street View and Google Earth allow him to move seamlessly through vast detailed three-dimensional space. This extraordinary geographical and social exploration is favored by Google satellite images, user-created 3D renderings of Stonehenge and Machu Picchu and Street View panoramas of favorite vacation spots. As an undifferentiated series of cultural, historical and contemporary symbols float together or follow one another in rapid succession, in a world where Dutch anthropologists discover pre-Socratic fragments on Turkish islands ...
Golden Shield Music is a generative composition for eight audio channels. [...] The work is inspired by the Golden Shield Project, sometimes referred to as the 'Great Firewall of China'. [...] Golden Shield Music collects the twelve website’s IP that are most screened by the Golden Shield. Therefore IP numbers are listed in a text file which feeds an automated MIDI polyphonic synthesizer. The latter translates each IP in a single note formed by 4 voices with a specific velocity. Resulting notes are ordered by the amount of pages the Golden Shield obscured for each IP address: the website’s IP obtaining the highest page result on Google.com becomes the first note of the score and the others follow in decreasing order. Data organizes the musical notation, establishing an abstract relationship between Internet information and musical algorithms which sounds harmonious and "handcrafted".
In an era of Google Maps, our first engagements with places are often anticipated by technology. That is, our experience with a place often comes with pre-emptive associations from aerial pictures -- our possible routes predetermined and mapped; personal narratives and exploration are displaced for utility. So, what happens to our individualized explorations in time and space when GPS technology intervenes? This is the inquiry of GPS artist Jeremy Wood’s body of work and his current show “Mowing the Lawn” at Tenderpixel in London.
Treating his body like a “geodesic” pencil, his daily routines are documented as lines in space via GPS technology. In turn, Wood’s performative rituals are data visualized as densely packed line drawings and animations. Having spent ten years developing a system for tracking and translating his everyday movements, the resulting pieces are one part drawing, one part diary and one part critique of the technological system’s accuracy/inaccuracy and how that intervention enables/limits our perception of the spatio-temporal.
While his work ranges from tracking large-scale transatlantic flights (Star Flights, 2008) to tracing and superimposing quotes from Melville onto two meridians in London (Meridians, 2005), in his latest show, Wood focuses on documenting the simple act of mowing the lawn in different intervals of time. Here, Wood emphasizes how banal repetition offers “individual narratives that express a freedom of movement generated from an act of garden maintenance”.
What may be more compelling, though, is how a digital trace can bring to the fore the problems of technology. Looking at Lawn 2005 Scale 1:300, we see multiple lines drawn where a house already exists. In Nine Years of Mowing ...
[Source: Arc Projects Flickr]
A beautifully crafted set of four tea towels sporting a series of authentic search engine results returned to a user when the criteria, 'Please Help Me', 'Is Anybody there?', 'Please listen to me' and, 'Can you hear me?' were entered into the search field, while using Google in Netscape 4.7 on Mac OS 9.2 or Netscape 6 on Windows 98.
A while back, I made a web page which paired Kurt Cobain's suicide letter with Google Ads (google ads are generated from the text of the page they appear on). It was up for a while but after getting digged google decided to remove the ads from the page. I took some screen shots while it was up and below are two examples of what it looked like. Also below are the checks that google sent me!
Juried Exhibition: Earth, at 440 Gallery, Brooklyn
Digital Arts and New Media (DANM) Technical Coordinator