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.
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courtesy andrea fraser
\_ Mr. Gates seemed as interested in the quality of the young peoples' lives as in the architecture of their software. He asked Mr. Murthy about how employees got to the campus (by bus and by car, with more cars all the time), where they lived and where they ate.
Usually one of the cafeterias, for about 40 cents a meal, he was told.
Subsidized?, he asked.
No, no subsidies.
Oh really?, a surprised Mr. Gates said, quickly calculating that employees could eat for about a dollar a day.\_ http://www.nytimes.com/2002/11/14/international/asia/14INDI.html
Despite the establishment and acceptance of the critique of e-utopianism (superhighways and such), the outcome of this acceptance is maybe not what the critics were looking for. It's starting to sound a lot like Madeleine Albright's acceptance of the gruesome death toll from US enforced sanctions on Iraqi civilians. And it's important to note that critiques of techno-utopianism are pretty much kept in close quarters and don't filter out to mainstream life much anyway. Even acknowledgment of the \_digital divide\_ rarely goes beyond marketing Microsoft to inner city schools.
Just take the above quoted conversation, from a NY Times article, between Bill Gates and Mr. Murphy, the chairman of Infosys Technologies, an Indian software company. Spoken, printed, and read with no cynicism, one can see what's going on without a special decoder ring. This conversation occurred during a (supposedly) dual purpose trip by Gates to: one, present India with 100 million from the Gates Foundation to fight the spread of Aids; two, invest 400 million dollars - on behalf of Microsoft - to fight the spread of Linux. Most (mainstream press) articles on Gates's visit represented it as \_mixing philanthropy and business\_, not as acting in one-and-the-same interests. ( http://www.nytimes.com/2002/11/13/technology/13SOFT.html http://hrw.org/press/2002/11/india111302.htm http://story.news.yahoo.com/news?tmpl=story&u=/ap/20021114/ap\_wo\_en\_po/india\_microsoft\_s\_largess\_1 http://www.csmonitor.com/2002/1114/p07s02-wosc.html ) One must look at the Gates's own words for that:
\_The humanitarian imperative for action is undeniable. But there are other reasons for the West to be concerned in India's future. With one of the largest scientific and technical work forces in the world, it is also an increasingly important business partner...\_( http://www.nytimes.com/2002/11/09/opinion/09GATE.html )
This turn of events caused me to consider the significance of the recent work of Prema Murthy (partly due to the coinciding name of the Infosys chairman), especially \_Mythic Hybrid\_. As an artist that has been involved in many activities influential for the networked niche of the art world, like Fakeshop, she has also begun a line of work that challenges the current, ongoing status of networked art from a position in desperate need of more attention. In previous works like \_rDNA\_, \_Mimic\_ and especially \_BindiGirl\_, Murthy generates reevaluations of the utopic/dystopic concept of the cyborg from a gendered, embodied perspective. She states this intention clearly in an interview with Josephine Bosma
\_When I first started on the internet I was really excited about ideas of democracy and how identity did not matter, gender was not an issue... but the more I saw the same kind of disfunctionalities in society being played out in this virgin territory...\_
\_Mythic Hybrid\_, supported by the Creative Capital and Greenwall Foundations and hosted by Turbulence .org, represents Murthy's personal investigations into the effects of the computer industry on the women who work in microelectronics manufacturing. Here, we are given access to Murthy's recombinant thoughts - combining Haraway's \_Cyborg Manifesto\_ with the material realities at the other end of high tech labor. Just as \_BindiGirl\_ ( http://www.thing.net/~bindigrl/ ) conflates the oppressive tendencies of both religion and high tech, fetishized porn, \_Mythic Hybrid\_ problematizes the liberating potential of the network and universalistic notions of emancipatory hybridity. Murthy represents the problem as one, not just of unequal labor/access between North and South, but as one of oppression based on a gendered and hierarchal concept of a North/South divide.
\_ The boss tells me not to bring our women's problems with us to work if we want to be treated equal. What does he mean by that? I am working here because of my women's
problems - because I am a woman. Working here creates my women's problems.\_
In \_Mythic Hybrid\_, we are presented with two small video clips of women at work sandwiching statements made by such women about their work environment. The women's' statements indicate a high level of awareness and consciousness regarding their positions as exploited labor, as well as how this situation is exacerbated by management because of their gender. Taken during Murthy's 2001 trip to India (I'm guessing), these statements confounded even her expectations, based on reports gathered before hand. As she states:
\_What I found along the way was contrary to expectations
at least then it would be open to criticism that actually involves some concept of a political economy. in this ficticious world, would W next make porno poster ads (with Saddam) in the Wall Street Journal as his next art move?