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.
> Q: why does there seem to be such a lack of
networked art that continues the strategy of
institutional critique when there's so much overtly
political work being done?
> A: because you can only raise consciousness about
the facticity of consciousness so much (as in 'it
While we don't want to limit or control the discussion (as if...), we have our own starting points/questions. These are of course, up for argument.
Refering back to methods of institutional critique, there are different tactics. One positions (or can be read that way) deliberate relationships between invested interests and the support of culture, and is a critique of conscious power, such as the popular reading of Haacke's work. Another looks for power in "unconcious," yet systematic, actions that don't necessarily add up to cultural conspiracies, yet still create environments of control, surveillance, and censorship, as in Andrea Fraser's work.
The DMCA issue, as exemplified by the Thing/Verio/Dow incident, brings up other questions regarding support.
What are the implications of the support structure for institutional level new media culture, whether overt or not, like Honeywell's major support for the Walker's program.
With the current US marching and defense build up, the support and connection between new media culture and the defense/IT industry presents something to consider.
And also with all the posturing of open source and gift economics in art, what can these practices/concepts mean in this context? What about the reciprocal relationships between initiatives like Rhizome and larger institutions?
Also, why does there seem to be such a lack of networked art that continues the strategy of institutional critique when there's so much overtly political work being done?
It's all "talk," but what do people think?
artofficial construction media
"a collaborative effort to screw in a light bulb"
in how US interests will play out. (toomey rocks as
This article can be found on the web at
Empire of the Air
by JENNY TOOMEY
[from the January 13, 2003 issue]
For too long, musicians have had too little voice in
the manufacture, distribution and promotion of their
music and too little means to extract fair support and
compensation for their work. The Future of Music
Coalition was formed in June 2000 as a not-for-profit
think tank to tackle this problem, advocating new
business models, technologies and policies that would
advance the cause of both musicians and citizens. Much
of the work the FMC has done in the past two years has
focused on documenting the structures of imbalance and
inequity that impede the development of an American
musicians' middle class, and translating
legislative-speak into language that musicians and
citizens can understand. Our most challenging work,
however, and the project of which we are most proud,
is our analysis of the effects of radio deregulation
on musicians and citizens since the passage of the
1996 Telecommunications Act.
Radio is a public resource managed on citizens' behalf
by the federal government. This was established in
1934 through the passage of the Communications Act,
which created a regulatory body, the Federal
Communications Commission, and laid the ground rules
for the regulation of radio. The act also determined
that the spectrum would be managed according to a
"trusteeship" model. Broadcasters received fixed-term,
renewable licenses that gave them exclusive use of a
slice of the spectrum for free. In exchange, they were
required to serve the "public interest, convenience
and necessity." Though they laid their trust in the
mechanics of the marketplace, legislators did not turn
the entire spectrum over to commercial broadcasters.
The 1934 act included some key provisions that were
designed to foster localism and encourage diversity in
Although changes were made to limits on ownership and
FCC regulatory control in years hence, the
Communications Act of 1934 remained essentially intact
until it was thoroughly overhauled in 1996 with the
passage of the Telecommunications Act. But even before
President Clinton signed the act into law in February
1996, numerous predictions were made regarding its
effect on the radio industry: