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.
> ARTIVISTIC 2007
> [ UN.OCCUPIED SPACES ]
> 25 to 27 October 2007 :: Montreal
> Artivistic is an international transdisciplinary three-day
> gathering on the interPlay between art, information and activism.
> Artivistic emerges out of the proposition that not only artists
> talk about art, academics about theory, and activists about
> activism. Founded in 2004, the event aims to promote
> transdisciplinary and intercultural dialogue on activist art beyond
> critique, to create and facilitate a human network of diverse
> peoples, and to inspire, proliferate, activate.
> For the third edition of Artivistic, the expression [ un.occupied
> spaces ] was chosen to stimulate new ideas in response to the
> hidden confusions caused by the infinite networks of 21C
> globalization and neo-liberalism. [ un.occupied spaces ] dares to
> link the charged issues of environmentalism, indigenous and migrant
> struggles, and urban practices together through the angle of
> occupation. In an interconnected world, critical thought and action
> cannot but become flexible and uncompromising at once. To think
> with occupation consequently becomes a strategy for approaching
> these issues in a way that will reveal their interdependence, and
> fuel creative and tactical collaborative actions between "co-
> artists" (artists and non-artists). Built around three interrelated
> questions, the event consists of roundtables, workshops,
> interventions, exhibitions, performances, and screenings at our
> temporary headquarters at 5455 av. de Gaspe, #701, and in different
> venues and spaces of Montreal.
> < what is indigenous? >
> The very use of the term "indigenous" presupposes a claim to the
> existence of certain rights. The right to traditional uses of
> territory. The right to live on the land from which one has been
> displaced. The right to status. The right to self-determination.
> The right to a life with dignity. In what context does indigenous
> mean something and how is it represented today? What is the
> relationship between identity based on place, the land and/or
> territories and the right to resources? What is indigenous in the
> context of globalisation, migrations and mobility?
> < what is natural (space) ? >
> The environment is in a pretty bad shape. Yet, does not typical
> environmentalism often propose "solutions" which alienate the very
> people that could make a difference by using a false dichotomy
> (natural/artificial, nature/culture) and by perpetuating the myth
> of a pristine nature? Current strategies often make use of fear and
> guilt to provoke action, yet will we not be helping our environment
> in a more efficient way once we let go of our arrogance as humans
> and start living with and in the world rather than of, and
> alienated from, the world?
> < what is (there) to occupy? >
> The term "occupation" often inspires images of invasion, enclosure
> and rape. How are spaces and bodies ruled over? What is public
> space, ultimately? Why do reserves exist? To ask what is occupation
> is in fact to ask what is left to occupy for occupation is more
> pervasive than it first appears. At the same time, occupation
> echoes resistance when it comes to certain forms of appropriation.
> How does one occupy appropriation or how can one appropriate
> The Autonomous Conference >> Artivistic also includes an open-
> source component. Participants will be able to sign up on the day-
> of to hold an ad-hoc session that is not in the official program
> but is fully part of the event. You can prepare in advance, but you
> don't need to submit anything.
> Our events are free admission, with a suggested donation of $10 for
> waged participants.
> Please register to secure a place: email@example.com
> For updates / more information: http://www.artivistic.org /
> Press Release
> Date: October 13, 2007
> What: Free Public Program
> When: Monday evening, October 22, 2007 at 7:30 PM
> About: The Future of Water in Our Foothill Communities
> Join Altadena Historical Society at the Altadena Community Center,
> 730 E. Altadena Drive, on Monday evening, October 22, 7:30 PM, for
> an enlightening and sobering look at water
> Please join us for two upcoming events at LACE - both related to the
> Just Space(s) exhibition.
> For a complete listing of related events see:
> Saturday, October 6, 2-4:30pm @ LACE
> Presentation: "Returning Power to Neighborhoods"
> Mark Lakeman of Portland's City Repair Project
> Sunday, October 7, 1:30-5:30pm @ LACE
> Symposia Session #1: (Im)mobility - Prisons and the Prison
> Industrial Complex
> Participants: Ashley Hunt, Ruth Wilson Gilmore, Kim McGill (Youth
> Justice Coalition), Melissa Burch (A New Way of Life)
> Just Space(s)
> September 26
journal (links to notes and sources can be found at the article
hosted on the journal's site)
There are also articles by Peter Lunenfeld, Eyal Weizman, Arlen
Dilsizian, and others that would be of interest.
Simply put, everyday life might be the name for the desire of
totality in postmodern times.
(Ben Highmore, Everyday Life and Cultural Theory)
We should now talk of people making not their own history but their
(John Urry, 'Social Relations, Space and Time
> CONNIE SAMARAS - V.A.L.I.S. (vast active living intelligence system)
> photographs and video of Antarctica
> October 6 - November 3, 2007
> Artist reception: Saturday, October 13, 6 - 9 pm
> De Soto Gallery is pleased to present Connie Samaras' V.A.L.I.S
> (vast active living intelligence system), an exhibition of
> photographs and videos shot while an artist-in-residence in the
> South Pole and Ross Ice Shelf, Antarctica. This will be Samaras'
> first solo show with de Soto.
> A recipient of the prestigious National Science Foundation, Office
> of Polar Services, Artists and Writers Grant (2004-2005), Los
> Angeles artist Connie Samaras traveled to the U.S. science stations
> at the South Pole and the Ross Ice Shelf, Antarctica to depict the
> liminal space between extreme climate and life support
> architecture. The title V.A.L.I.S. (vast active living intelligence
> system) is loosely borrowed from science fiction writer Philip K.
> Dick's ruminations on transcendence and technology and underscores
> Samaras' interest in the "fluctuating membrane between fiction and
> real world, between the creation of place and the imaginary,"
> especially political geographies and psychological dislocation in
> the everyday. The resulting photographs and videos reveal the
> simultaneous dystopic and utopic imaginings of the only landscape
> on earth where there are no indigenous peoples.
> Connie Samaras is a Professor in the Department of Studio Art UC
> Irvine. She has exhibited and lectured on her work extensively at
> numerous institutions nationally and internationally. In addition
> to the NSF Artist and Writer's grant, other recent awards include,
> California Community Foundation Mid Career Artists Fellowship
> (2006), Anonymous Was A Woman Fellowship (2003), Los Angeles
> Cultural Affairs Visual Arts Fellowship C.O.L.A (2002), and the
> Adaline Kent Award, San Francisco Art Institute (2002).
> See more
> 108 W 2nd St #104
> Los Angeles, Ca 90012
> gallery hours: wednesday thru saturday, noon to 6pm
> email: firstname.lastname@example.org tel: 213.617.0434
> image: Connie Samaras, Underneath the
> Amundsen-Scott Station, 2005, C-print (Lightjet)