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.
> gee, and I thought he was some character from Daphne du Maurier...
> same thing I guess.
> On 8/29/06, Brett Stalbaum < firstname.lastname@example.org> wrote:St. Oswin is
> the patron saint of betrayal victims.
> We would love to have any and all of you foment something
> for this upcoming feel tank project-and please forward
> You can also send questions, hesitations, ideas, random
> thoughts to: email@example.com
> CALL FOR PROJECTS/CONTRIBUTIONS
> Pathogeographies (or, other people
> ULTRA-RED PRESENTS PERFORMANCES AND EXHIBITION OF SILENT|LISTEN AT
> THE ART GALLERY OF ONTARIO IN TORONTO TO COINCIDE WITH THE XVI
> INTERNATIONAL AIDS CONFERENCE.
> Following performances of SILENT|LISTEN at art institutions in
> Baltimore, Los Angeles, Pittsburgh, Banff (Canada), Carbondale
> (Illinois) and Montreal, Ultra-red arrived in Toronto in time for
> the XVI International AIDS Conference. For four weeks in July,
> Ultra-red members Janna Graham and Dont Rhine visited with numerous
> AIDS service organizations in Toronto, learning about the local
> AIDS crisis and inviting activists and organizers to a performance
> of SILENT|LISTEN on August 9 at the Art Gallery of Ontario (AGO).
> With the assistance of AGO educator and AIDS activist Syrus Ware,
> Ultra-red met with twenty different organizations. For the seventh
> performance of SILENT|LISTEN, the record was opened with statements
> from Winston Husbands of the African and Caribbean Council on HIV/
> AIDS in Ontario (ACCHO) as well as Zoe Dodd a harm reduction
> activist with Street Health. The event was attended by sixty-five
> people with additional statements entered into the record by a
> representative of the Alliance for South Asian AIDS Prevention
> (ASAAP), Syrus speaking on behalf of the Prisoner's Justice Action
> Committee played an audio taped statement from Pete Collins, an
> incarcerated man who does AIDS activism within the prison and as a
> member of Prisoners' HIV/AIDS Support Action Network (PASAN).
> The Toronto performance of SILENT|LISTEN took place in the same
> gallery space where Ultra-red would eventually install the SILENT|
> LISTEN exhibition on August 16.
> Then on Monday, August 14, Ultra-red presented a special expanded
> edition of the SILENT|LISTEN performance. The performance took
> place at the AGO on the second day of the International AIDS
> Conference. Whereas previous presentations featured one large table
> where people approach and enter statements into the record, for the
> August 14 event, we set up seven identical tables. To help
> facilitate the seven tables, Ultra-red enlisted participants from
> each of the previous SILENT|LISTEN performances. These individuals
> included: Syrus Ware (Toronto), Rick Wadlow and Rich Klinkerfus
> (Carbondale, Illinois), Cynthia (Montreal), Shennod Moore
> (Pittsburgh), Nicole Neve (Banff, Alberta), and Pedro Soto (Los
> Angeles). [We had hoped to be joined by Valerie Spenser from Los
> Angeles, but she was not able to make the trip due to travel
> complications. Since those who participated in the Baltimore
> performance had scheduling conflicts preventing them from joining
> us in Toronto, Ultra-red's Robert Sember facilitated the Baltimore
> table.] Each of these facilitators headed their own table and
> followed the exact same script that has determined the agenda for
> the majority of SILENT|LISTEN performances: inviting special guests
> and audience members to enter statements into the record of the
> AIDS crisis. Cynthia facilitated her table in French, while Pedro
> facilitated his in Spanish.
> Processing the record at the seven tables, Ultra-red's Dont Rhine
> and Eddie Peel were joined by five Toronto-based electronic
> musicians: Reena Katz, Scott Kerr, Isabelle Noel, Sandro Perri, and
> Andrew Zealley.
> For the August 14 event, the record received statements from nearly
> thirty individuals who joined us directly from the AIDS conference.
> Speaking in a myriad of languages, these special guests spoke of
> the AIDS crisis in South Africa, Brazil, Russia, Poland, Vietnam,
> India, Peru, Holland, Puerto Rico, Mexico, United States, and
> Canada. The event proved enormously powerful, and continues to
> provoke discussion and reflection for those who joined us that
> night. In many respects, this expanded version of SILENT|LISTEN
> marked a turning point in the formal conception of the project.
> While the project has been structured around the ideas of silence
> and repetition, the August 14 performance introduced the notion of
> simultaneity into the organization of the project.
> On Wednesday, August 16, Ultra-red opened the installation version
> of SILENT|LISTEN at the AGO. Conceived of as the second and
> analytical phase of the project, the installation features seven
> tables and a recreation of the seven-canvas "White Painting" by
> Robert Rauschenberg. Each table features excerpts from the record
> made during each of the performances [not including the
> International performance on August 14].
> The installation provides Ultra-red the basis for the next step of
> the SILENT|LISTEN project which is to imagine what direct action
> might sound like based on what we've heard in the record. This
> third phase will take the form of performance that we've titled an
> "operaction." We hope the various acts of the "operaction" will
> give Ultra-red the opportunity to collaborate again with our local
> partners in Baltimore, Los Angeles, Banff, Pittsburgh, Montreal,
> Southern Illinios, and Toronto.
> Finally, we want to thank our Toronto allies for making our time
> there such a remarkable experience. Janna Graham, Eddie Peel, Dont
> Rhine and Robert Sember would like to thank Michele Jacques,
> Assistant Contemporary Curator at the Art Gallery of Ontario for
> being such a wonderful partner and for her deep commitment to this
> project. There were so many folks at the AGO that gave extra of
> themselves in seeing this project happen. Thanks to each and every
> one of you. Also thanks to our various community partners in
> Toronto for opening your doors and telling us about the remarkable
> work being done to bring an end to the AIDS crisis. Special thanks
> to PASAN, ACCHO, Voices of Positive Women, ASAAP, Street Health,
> HIV/AIDS Legal Clinic of Ontario, Fife House, Casey House, Support
> Our Youth, PWA Foundation, AIDS Action Now, and 2-Spirited People
> of the First Nations. Thanks to our dear friends Michael, Jessica,
> Paulette and Michael for opening your spare bedrooms and for giving
> Eddie and Dont a home away from home. Thanks to our allies at Art
> Metropole and to Will Munroe for organizing a special night of
> performances at the Beaver Cafe during our time in Toronto.
> Sometimes the best form of therapy is disco music all night long.
> We also want to thank Andrew Zealley for introducing us to an
> excellent group of musicians who really brought the International
> record to life. Finally, thanks to our friends who came to Toronto
> to help us facilitate the August 14 performance, and to our
> musician comrades for processing the record. We were inspired by
> your enthusiasm for the project and your commitment to the profound
> listening that arises from silence.
> Best regards,
> Dont Rhine
> Information Secretary, Ultra-red
> PO Box 291578
> Los Angeles, CA 90029 USA
thought as materialized in the mundane and pragmatic spaces of
parking lots. Parking lots, one of the most visible, yet overlooked,
artifacts of American mobility reveal the concrete space required to
store the supposed tools of utopian ideals. Parking Public is a
mapping of these literally concrete spaces in an attempt to locate
the utopia they serve. Underneath both the empty spaces of parking
and the empty promises of utopia are real economies and structures of
For Conflux 2006, The TTO will offer a guided tour of parking in the
Brooklyn area that will also serve as a participatory mapping of
personal utopias upon the topography of property development. These
tours will add to the Parking Public database of research on parking
This tour will be conducted by van (leaving from/returning to) the
Conflux HQ at the McCaig-Welles Gallery in Williamsburg/Brooklyn, and
can accommodate 11 people.
If you would like to RSVP for the tour, to ensure a seat, please visit:
Cell phones will allow people to participate in the phone survey, but
are not necessary.
When: Friday, September 15, 2006 - 4pm
Where: McCaig-Welles Gallery - 129 Roebling Street, Brooklyn 11211
Cost: Free + 1-2 hours of your time
For more information on Parking Public:
Your Friendly Travel Office Agent
Visit the Temporary Travel Office online
peer" is jargon, while shows can be titled things like, say,
Maybe if it was B2B, rather than P2P, it would generate more
interest :) Geez, it's not as if the art world is still using the
telegraph. Is it really possible that people buying thousands of
dollars + of art really don't know what "peer-to-peer" means? Seems
unlikely. Do they care or like it? i guess that's another issue.
But i honestly can't imagine it being any more difficult to explain
what "peer-to-peer" means than something like "cultural hybridity" or
many of the vaguely theoretical signifiers widely used in art.
i think if the significance of Dada (not to mention the non-concept
of "dereconstruction") can be explained to a general audience, "file
sharing" shouldn't be too difficult. Obviously, it's not a matter of
simple semantics and vocabulary at issue here, and museums have a
somewhat different mandate than galleries. i agree with the need to
make clear the significance/interest of work without relying on the
capital of catch phrases, but i'm also skeptical that the ideas MTAA
is talking could be read as exclusionary in the context of the art
world. Then again, if it's just a pragmatic issue of gaining
acceptance in their terrain, i guess all of this is really irrelevant
-- it's just easier to do what is expected.
Aside from the obvious problem of value appreciation/depreciation
(art object vs. software), could it also be an issue of High Art's
historic problem with the kitsch factor of popular media and language
(i.e. commercially vulgar rather than transcendent)? just a thought,
maybe not on target.