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.
> An Atlas
> September 26
> Position Available - Digital Arts & Design Lab Coordinator - Aug.
> 21 deadline
> The Orange Coast College Department of Digital Media Arts and
> Design is looking for a full time staff person to manage our Mac
> based facilities and department. He/she will work closely with the
> chair to help our department run smoothly. Applicants should have
> college level knowledge of digital graphics, photography,
> interactive media (esp. web design), digital video and related
> imaging production and equipment on the Macintosh, able to manage 3
> labs with a total of 80 computers and related networked equipment,
> manage lab staff and department budget, be well organized, work
> well with people, use independent judgment and work with a minimum
> of supervision. The salary range is $50,232 - $61,133.
> Orange Coast College is a community college 40 miles south of Los
> For more information and to apply online, go to http://
> www.cccdjobs.com. Click Search Postings. Choose Job Category:
> Support Staff, Campus: Orange Coast College. View Digital Arts &
> Design Lab Coordinator position. Position closes Aug. 21, 2007.
> Time Travelers: Time Based Art Show and Panel Discussion
> Curated by [Amelia Winger-Bearskin]
> Saturdays Thru July 28, 2007
> Also this month:
> flatsceen DVD by Marina Zurkow
> See more info online: http://www.polvo.org/july07.htm
> polvo, http://www.polvo.org
> 1458 W. 18th St. 1R (entrance on Laflin)
> Chicago,IL 60608
> hours: saturdays from noon-5pm or by appointment
> **MARK YOUR CALENDAR - UPCOMING SHOW**
> echelon: who is watching you?
> Opening Friday August 3 from 6pm-10pm
> August 3 - September 1, 2007
> "One cannot use spies without sagacity and knowledge, one cannot use
> spies without humanity and justice" - Sun Tzu
> "It was terribly dangerous to let your thoughts wander when you were
> in any public place or within range of a telescreen. The smallest
> thing could give you away. A nervous tic, an unconscious look of
> anxiety, a habit of muttering to yourself-anything that carried with
> it the suggestion of abnormality, of having something to hide. In any
> case, to wear an improper expression on your face... was itself a
> punishable offense."
> - George Orwell, 1984, Book 1, Chapter 5
> US surveillance began centuries ago with the concept of slave passes,
> which allowed slave-owners to monitor and control the mobility of
> their "chattel." Yet the slave pass system was sometimes subverted by
> the rare slaves who could write, such as Frederick Douglass. These
> literate slaves could create their own passes and might thus gain
> freedom for themselves and other slaves. Trafficking in passes and
> "free papers" soon became a burgeoning business, one that the slave
> system grappled with for nearly two centuries.
>> From slaves, the history of surveillance next turns to the infamous
> Chinese Exclusion Act of 1882, which restricted Chinese immigration to
> the United States. All Chinese laborers were forced to register with
> the government and subject themselves to being photographed and
> fingerprinted. A whole apparatus of surveillance was created.
> In the 1920s, government surveillance spread to political radicals,
> especially workers trying to organize union activity. J. Edgar Hoover
> headed this government surveillance unit which would later become the
> FBI. As the 20th century advanced, computer technology proved a
> powerful enhancement to the regime of surveillance. This allowed most
> devices and databases to be monitored and evaluated, including
> automobiles, Your car can be tracked by GPS, and your spending habits
> can be gleaned from accessing your credit card records. Internet and
> email are monitored in the workplace and cameras are just about
> For this show artists will explore the history of surveillance and how
> this affects us at this present time. They will in turn create work
> dealing with this theme which will include 2D work, installation, and
> new media.
> ARTISTS PARTICIPATING:
> Anni Holm
> Drew Browning and Annette Barbier
> Dustin Klare
> Elvia Rodriguez-Ochoa
> Finishing School
> Gretel Garcia
> Ian Simmons
> Jesus Macarena-Avila
> Noelle Mason
> Patricht Lichty
> Tom Sibley
> T.W. Li
> Venia Bechrakis
> THE NEW YORK BIKE-SHARE PROJECT
> A summer charette produced by
> The Forum For Urban Design and Storefront For Art and Architecture
> Full details at www.nybikeshare.org
> July 7-11: Free bike hire at Storefront
> July 9, 10 and 11: Public presentations of European bike-share
> Imagine walking to a sidewalk corner and finding a public bicycle.
> With a cellphone call or swipe of a card, you
> unlock it from its bike rack and ride it across town. Once at your
> destination, you steer to the closest bike rack
> and, with one more call or card swipe, return the bike to the
> public network. You pay less than $.50 for the trip, and
> the bike is once again available for the taking.
> Bike-share programs already exists in cities across Europe, with
> Paris alone currently in the process of installing
> over 10,000 bikes at 750 stations. How could such a program work
> in New York?
> The New York Bike-Share Project consists of three parts:
> The Experiment. Twenty bicycles will be available for free 30-
> minute rentals between Storefront and a roving remote location.
> The Exhibition. A review of eight successful bike-share programs in
> European cities will be on view at Storefront
> The Charette. The Forum For Urban Design will facilitate a public
> charette on a future bike-share program in New York,
> with public presentations by design and transportation experts.
> PROGRAM OF EVENTS
> FREE BIKES
> July 7-11, 11am-6pm: Free bike hire at Storefront
> PUBLIC PRESENTATIONS BY THE ORGANIZERS OF EUROPEAN BIKE-SHARE PROGRAMS
> July 9, 6pm: Richard Grasso (Clear Channel Adshel) on Barcelona,
> Stockholm and Oslo
> July 10, 6pm: Josh Squire (JC Decaux) on Paris, Lyon and Vienna and
> Carlos Pujol (Cemusa) on Pamplona
> July 11, 6pm: Presentation of charette results and reception
> All events take place at Storefront For Art and Architecture, 97
> Kenmare Street, New York City.
> Charette results will be published on nybikeshare.org
> Storefront for Art and Architecture
> 97 Kenmare Street
> New York, NY 10012