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.
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 JÃ¼rgen 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 ...
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
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 ...
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.
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.
live chat with Brett Stalbaum + Dr. Kathryn Yusoff: Jan 03, 2007 (Leonardo Electronic Almanac Discussion)
_Leonardo Electronic Almanac Discussion (LEAD): Vol 14 No 8_
Wild Nature and the Digital Life Special Issue, guest edited by Dene
Grigar and Sue Thomas
:: Live chat with Open University research fellow Dr. Kathryn Yusoff
and San Diego-based artist Brett Stalbaum, discussing their
respective works on visualizations of the earth, landscape and
:: Chat date: Wednesday, January 3.
:: 2 pm West Coast US / 5 pm East Coast USA / 10pm UK
:: LEAD is an open forum around the Wild Nature and the Digital Life
special issue of Leonardo Electronic Almanac http://leoalmanac.org/
Chat instructions are below. The LEA website includes instructions
and a complete list of upcoming chats: http://leoalmanac.org/journal/
Dr. Kathryn Yusoff is a Postdoctoral Research Fellow at the Open
University. Her research interests center on re-thinking visual
culture in relation to extreme environments and technologies of
vision (particularly in Antarctica, Iceland and other cold regions).
She has recently completed her Ph.D, Arresting Visions: A
Geographical Theory of Antarctic Light at Royal Holloway, University
of London (2004). Currently, she is curating the Interdependence Day
project, a research and communications project mapping the ethical
terrain of globalization and environmental change.
Brett Stalbaum is an artist specializing in information theory,
database, and software development. A serial collaborator, he was a
co-founder of the Electronic Disturbance Theater in 1998, for which
he co-developed software called FloodNet, which has been used on
behalf of the Zapatista movement against the websites of the
Presidents of Mexico and the United States, as well as the Pentagon.
Recent work includes Painters Flat, projects with the painter Paula
Poole in the Great Basin, and ongoing projects with C5 Corporation,
of which he is a founding member. Stalbaum holds a Masters of Fine
Arts (computers in fine art) from the CADRE digital media laboratory
at San Jose State University, and a B.A. in Film Studies from San
Francisco State University. He is a lecturer and the coordinator for
the Interdisciplinary Computing and the Arts Major (ICAM) at the
University of California, San Diego.
How to participate in the live chat?
Live chats will use Jabber (http://www.jabber.org/), an open, secure,
ad-free alternative to consumer IM services like AIM, ICQ, MSN, and
Yahoo. It is the most widely-used open source instant messaging and
chat protocol. The LEA Digital Wild chatroom is on the jabber.org
public server under the name/address <
email@example.com > and the password "leoalmanac."
Follow three easy steps and you are ready to join the chat:
1) Download and install a Jabber client. A list of recommended Jabber
clients is available at the following url: http://www.jabber.org/
software/clients.shtml . For Windows users, we recommend the Exodus
client. For Macintosh users, please use Psi (although iChat seems to
work as well), as the other recommended clients do not consistently
register on the Jabber server. For Linux, Psi is also available, but
the other recommended clients should work as well.
2) Register as a user on the jabber.org public server. When you first
open your Jabber client you will see a start screen. If you do not
see this screen, or if you are not starting the client for the first
time, the screen is also available in a pull down menu as Account
Details or Preferences (depending on your Jabber client). Enter a
username, password, and server. Use any username and password you
choose. Enter "jabber.org" as the server. When you register, if your
proposed username is taken, you need to choose another. Check the
button for "new account" or to automatically register the account
(depending on your client). Note: you may not be able to register if
you are not using one of the recommended clients listed above. Hit OK
or Login. Your Jabber client will then automatically register you and
connect you to the jabber.org server.
3) At this point, you are ready to chat, but there is one more step:
you must join the chatroom. Select "Join a Chat Room" from your
client's pull down menu. Enter the name/address of the chat room: <
firstname.lastname@example.org >. Enter the password: leoalmanac.
You can also specify a nickname or "handle" to use while in the
chatroom. Hit "Finish" or "OK" to join the chat. The chat room window
will open and you are ready to go! Note: the chat room may not be
available outside of scheduled chat times.
Additional information is available at the Jabber userguide: http://
> Rotunda Gallery is one of the first non-profits in Brooklyn founded
> in 1981, located in Brooklyn Heights
October 22 - December 31 , 2006
A revolutionary exhibition featuring artwork created with social
activism as its inspiration. Dubbed 'socialcraft
> From: email@example.com
> Date: October 10, 2006 4:10:02 PM CDT
> To: firstname.lastname@example.org
> Subject: ETC Group: COMPETITION ANNOUNCEMENT: Design a Nano-Hazard
> Reply-To: email@example.com, firstname.lastname@example.org
> COMPETITION ANNOUNCEMENT: Design a Nano-Hazard Symbol
> ETC Group announces International Graphic Design Competition
> CALL FOR ENTRIES
> Biotechnology, nuclear power, toxic chemicals, electromagnetic
> radiation -- each of these technological hazards has a universally
> recognized warning symbol associated with it. So why not
> nanotechnology -- the world's most powerful (and potentially
> dangerous) technology?
> Concerned citizens everywhere are invited to submit their designs
> for a universal Nanotechnology Hazard Symbol at: http://
> Entries will be judged by a panel of eminent judges convened by the
> ETC Group (Action Group on Erosion Technology and Concentration,
> www.etcgroup.org). These judges include Dr. Vyvyan Howard (Editor
> of the Journal of Nanotoxicity), Dr. Gregor Wolbring (The Canadian
> Advisory Commitee on Nanotech Standardisation), Chee Yoke Ling
> (Third World Network), Claire Pentecost (Associate Professor and
> Chair of the Photography Department at the School of the Art
> Institute of Chicago), Rory O'Neill (Editor of Hazards magazine)
> and Dr. Alexis Vlandas (Nanotechnology Spokesperson for
> International Network of Engineers and Scientists for Global
> Responsibility). Entries will also be judged by participants at the
> World Social Forum, Nairobi, Kenya, 20-25 January 2007.
> The winning entry will be submitted to international standard-
> setting bodies responsible for hazard characterisation, to
> international governmental organisations and to national
> governments as a proposed symbol for nanotechnology hazards.
> Closing date: 8 January 2007
> A gallery of entries submitted will be available at http://
> Why Do We Need a Nano-Hazard Symbol?
> Nanotechnology, the manipulation of matter at the tiny level of
> atoms and molecules, has created a new class of materials with
> unusual properties and new toxicities.
> It used to be that nanotechnology was the stuff of science fiction.
> Today, however, there are over one thousand nanotechnology
> companies worldwide. Nanoparticles, nanotubes and other engineered
> nanomaterials are already in use in hundreds of everyday consumer
> products, raising significant health, safety and environmental
> concerns. Nanoparticles are able to move around the body and the
> environment more readily than larger particles of pollution.
> Because of their extremely small size and large surface area
> nanoparticles may be more reactive and more toxic than larger
> particles of the same substance. They have been compared to
> asbestos by leading insurance companies who worry their health
> impact could lead to massive claims. At least one US-based
> insurance company has canceled coverage of small companies involved
> with nanotechnology. Unlike more familiar forms of pollution
> arising from new technologies, nano-hazards (potentially
> endangering consumers, workers and the environment) have yet to be
> fully characterized, regulated or even subject to safety testing.
> The US Food and Drug Administration will have its first public
> meeting about regulating nanomaterials on October 10, 2006. Most
> governments worldwide have yet to even begin thinking about nano-
> regulation. Nonetheless, nanoparticles invisible to the naked eye
> are already in foods, cosmetics, pesticides and clothing without
> even being labelled. Every day laboratory and factory workers could
> be inhaling and ingesting nanoparticles while the rest of us may be
> unwittingly putting them on our skin, in our body or in the
> It's not just a safety question. Nanotechnology also raises new
> societal hazards: The granting of patents on nano-scale materials
> and processes, and even elements of the periodic table, allows for
> increased corporate power and monopoly over the smallest parts of
> nature. Some designer nanomaterials may come to replace natural
> products such as cotton, rubber and metals -- displacing the
> livelihoods of some of the poorest and most vulnerable people in
> the world. In the near future the merger of nanotechnology with
> biotechnology (in nano-biotechnology applications such as synthetic
> biology) will lead to new designer organisms, modified at the
> molecular level, posing new biosafety threats. Nano-enabled
> technologies also aim to 'enhance' human beings and 'fix' the
> disabled, a goal that raises troubling ethical issues and the
> specter of a new divide between the technologically "improved" and
> ETC Group has called for a moratorium on nanoparticle production
> and release to allow for a full societal debate and until such time
> as precautionary regulations are in place to protect workers,
> consumers and the environment. Standard setting bodies around the
> world are now scrambling to agree on nomenclature that can describe
> nanoparticles and nanomaterials. A common, internationally-
> recognized symbol warning of the presence of engineered
> nanomaterials is equally overdue.
> For a short and simple introduction to Nanotechnology see "A Tiny
> Primer on Nano-scale Technologies," available online: http://
> Details Of The Competition:
> We are asking concerned people everywhere (including artists,
> designers, scientists, students, regulators and members of the
> public) to submit possible designs for an international Nano-Hazard
> warning symbol that could be used to identify the presence of
> nanmoaterials. This symbol could, for example, be placed on
> products containing nanomaterials, in laboratories or factories
> where workers handle nanoparticles, or on containers transporting
> nanomaterials. The symbol should be simple, easy to recognize and
> communicate clearly the new, potential hazards that result when
> matter is manipulated at the nanoscale (1 billionth of a metre --
> the size of atoms and molecules).
> We encourage participants to be as creative as possible in
> inventing a new nano-hazard symbol. Images can be designed on
> computer or by hand, scanned, photographed or otherwise rendered in
> 2 dimensions -- either using colour or in black and white. Entries
> will be judged on their conceptual as well as artistic merit.
> Descriptions and explanations accompanying the entries will be very
> For examples of existing hazard warning symbols for comparison see
> Participants can submit as many different entries as they wish.
> Each entry should be submitted seperately. Entries can be submitted
> in one of 3 ways:
> 1) Upload electronically using the upload form at http://
> 2) Email as a jpeg or gif file to email@example.com
> 3) Send by post to Nano-Hazard Competition, ETC Group, 431 Gilmour
> Street, Ottawa, Ontario, K2P 0R5. Canada
> Please include your name, country and a contact email or postal
> All submitted entries will be treated as non-copyright and in the
> public domain unless the submitter wishes to place them under a
> creative commons license allowing free non-commercial use (see
> details here http://www.creativecommons.org). Entries submitted
> with copyright conditions (other than creative commons) will not be
> considered. Entries sent by post will not be returned.
> The closing date for entries is 8th January 2007.
> Judging will be in two parts:
> Judging Panel: A selection of entries will first be made by a panel
> of eminent judges chosen by the ETC Group.
> This panel includes:
> Dr. Vyvyan Howard, Founding editor of the Journal of Nanotoxicology.
> Dr. Gregor Wolbring, The Canadian Advisory Commitee on Nanotech
> Chee Yoke Ling, Legal Advisor, Third World Network.
> Claire Pentecost, Artist, Writer, Associate Professor and Chair of
> the Photography Department at the School of the Art Institute of
> Rory O Neill, Editor of Hazards (trade union workplace safety
> Dr. Alexis Vlandas, Nanotechnology spokesperson for International
> Network of Engineers and Scientists for Global Responsibility.
> Public Judging: The selected entries will then be displayed at the
> World Social Forum in Nairobi, Kenya (20- 25 January 2007) for
> civil society attendees to judge. We also encourage everyone to
> view the gallery of submitted artwork online and submit comments
> More Information:
> For a short introduction to nanotechnology see: "A Tiny Primer on
> Nano-scale Technologies" available online: http://www.etcgroup.org/
> For an introduction to the toxicity of nanoscale materials see the
> following resources:
> "Size Matters" (2003), an ETC Occasional Paper which includes an
> appendix by Dr Vyvyan Howard, Founding Editor of the Journal of
> Nanotoxicology: http://www.etcgroup.org/upload/publication/165/01/
> ETC Group's 2004 Communique, 'Nano's Troubled Waters' http://
> A May 2006 report on nanotechnology in sunscreens and cosmetics by
> Friends of the Earth: http://www.foe.org/camps/comm/nanotech/
> A recent scientific evaluation of nanoscale hazards by the European
> Commission's highest level scientific committee on toxicity, The
> Scientific Committee on Emerging and Newly Identified Health Risks:
> A comprehensive overview (2004) of nanoparticle toxicity, "Small
> Matter, Many Unknowns" by Swiss Re, the world's second largest re-
> insurance company: http://www.swissre.com/INTERNET/pwsfilpr.nsf/
> Take Action:
> The US Food and Drug Administration is holding its first-ever
> public hearing to discuss regulatory issues related to
> nanotechnology on October 10, 2006. Despite the fact that the US
> government spends approximately $1 billion per year on nanotech R&D
> and hundreds of consumer products are already on the market, the US
> government spends a paltry $11 million per year on nanotechnology
> related risk research (1.1% of the total budget). Go here for
> details: http://www.nanotechproject.org/80/nanotechnology-
> In May 2006 ETC Group joined the International Center for
> Technology Assessment, Friends of the Earth and other consumer
> health and environmental groups in a legal petition challenging
> FDA's failure to regulate health and environmental threats from
> nanomaterials currently used in consumer products. The full
> petition and an executive summary are available here: http://
> You can send electronic comments to the FDA asking them to properly
> control, regulate and label nanomaterials. An online form is
> available to help you do this via The Center for Food Safety. Go
> to: http://ga3.org/campaign/Nano
> ETC Group mailing list
> Outpost for Contemporary Art & g727
> Fire in the Taco Bell
> Joaquin Segura / Ricardo Cuevas/ Renato Garza
> October 14, 2006 (One Night Only)
> Exhibition: 12:00 - 6:00 pm
> Lecture: 2:00 pm
> Screening: 7:00 pm
> for more info visit http://www.outpost-art.org
> "Fire in the Taco Bell" is a one-day event with art components that
> explore the idea of the autonomous zone and its possible
> repercussions on
> trade practices with friendly nations. The event will include a
> lecture on
> the politics of misunderstandings, the nature of evil, the spirit of
> creative dissent and the subtleties of fair commerce along with the
> presentation of video and objectual works pertinent to the conceptual
> structure of the event.
> Further outreach will develop through site-specific projects that
> public space and social interaction with local groups during the
> 3-week residency in Los Angeles.
> "Fire in the Taco Bell" will also feature the Los Angeles premiere
> of Renato
> Ornelas' feature film, "Cabecitas," produced by Revolcadero Films.
> Located at: Gallery 727
> 727 S Spring St. LA,CA 90014 213 627 9563
> se habla poquito espanol
> g727 also recommends....
> http://www.Mexicalibiennial.org (Reception is on October 7th)
> http://www.outpost-art.org (Art talk on Wednesday, October 4 at
> 7:00 p.m. at
> the Luckman Gallery Free and open to the public. Also at the same
> Minerva Cuevas "The Economy of the Imaginary: Pirates and Heroes")
> http://www.saltinthewound.org/ (Look out for this Mobile Piece
> called "The
> Nafta Effect)
> http://www.laxart.org (Ruben Ochoa and Marcos Rios Exhibition)
> http://web.cerritos.edu/cm/browse/template.asp?WebsiteID 040046
> "Pato" Herbert opens until November 2)