And why do I care?
Check out this link.
Tuesday, September 28, 2010
Pippolitti Rist at Luhring Augsutine gallery
Check out this exhibit - worth a trip to New York City.
Google Maps - How to
Go to Google – Maps.
You will see the options for Get Directions or MyMaps.
Click on MyMaps
Click on Create New Map
You will be able to give a title to your map and a description. You will also have a complete set of tools available in the Map area (see hand, balloon, line or shaded area). You can drop a balloon on any location and you can use the lines to connect the balloons or to create a route or radius. And you can move everything with the hand.
You can also select your privacy settings for public or private.
If you move a balloon icon to a location that you choose, a little menu will present itself. You can give the location a name and description. If you click on RICH TEXT on top of the text box, you will get a full blog toolbar. If you would like to add a photo, you can link it from Flickr by clicking on the Picture Icon and adding the url from the Flickr picture (Click on the image in Flcikr and then All Sizes, and url will be on the bottom of the page).
So, in other words, if this is going to be a photo story, you have to upload your images to Flickr..
You will see the options for Get Directions or MyMaps.
Click on MyMaps
Click on Create New Map
You will be able to give a title to your map and a description. You will also have a complete set of tools available in the Map area (see hand, balloon, line or shaded area). You can drop a balloon on any location and you can use the lines to connect the balloons or to create a route or radius. And you can move everything with the hand.
You can also select your privacy settings for public or private.
If you move a balloon icon to a location that you choose, a little menu will present itself. You can give the location a name and description. If you click on RICH TEXT on top of the text box, you will get a full blog toolbar. If you would like to add a photo, you can link it from Flickr by clicking on the Picture Icon and adding the url from the Flickr picture (Click on the image in Flcikr and then All Sizes, and url will be on the bottom of the page).
So, in other words, if this is going to be a photo story, you have to upload your images to Flickr..
Our One Block of Video Psychogeopgraphy
Guilden and Easton Ave bisected by Courtland, Bristol, and/or Prosper or Hamilton.
Here is the route.
Here is the route.
Tuesday, September 21, 2010
Yi Fu Tuan review
Some excerpts are from the paper "Neighborhood Narratives, New Dialogues With/in the Mediated City", by Hana Iverson and Rickie Sanders. 2008.
Place, according to Yi Fu Tuan (1977) combines a sense of position within society and a sense of identity with a spatial location. Places have historically been viewed as physical sites, with natural and emotional endowments that speak to the limits of human freedom. Not only are our human identities bound up with the hills and valleys in which we live but our very humanness and humanity is bound in this way. It is place that gives rise to humanness – in the form of feelings, attachments, longing, nostalgia, desire, melancholy, and fear.
... Space is perhaps best thought of as a three dimensional void where things are held to exist only if they occupy volume. Location based technologies negate the consideration of volume and view space along the lines of abstract Cartesianism.
...Similarly, beginning with the 16th century, the conception of space which relied on the Cartesian coordinate system set in motion a marginalization of place. Space with its numerical properties was regarded as absolute and infinite. Thus it was perceived as scientific and crucial to the goal of imperialism.
...Certain activities are accorded special spatial status, while others are not. Driving a truck is spatial (hence, work), talking on the phone is less spatial (hence, bureaucratic), and pondering an idea is simply ethereal (Sack, 1980, p. 17) hence, indolent.
Yi Fu Tuan refers to the kind of properties that create a sense of place. He also questions, what is space, and how does one have a sense of spaciousness? In what ways do people attach meaning to space and place? The answer goes beyond the cultural; there are certain "animal" relationships to space and place... one could say, embodied senses of how we orient ourselves to space and place. We are interested in how space and place are understood, so that we can question how technology disorients our sense of space and place, or amplifies our sense of space and place.
Three themes run through Yi Fu Tuans book:
1) The biological facts
2) The relations of space and place
3) The range of experience or knowledge.
He amplifies these themes on page 6 of the Introduction.
Chapter 2 focuses on the Experiential Perspective. Experience is made up of sensation, perception and conception. These influence on a continuum, emotion and thought.
Experience is directed to the external world. Seeing and thinking clearly reach out beyond the self. Feeling however, reflects the way in which the self is inwardly affected. (p. 9).
This is important to think about because as you come to define your own experiences, it helps you think about how to design experiences for other people. The final project will be the result of a complex experience design.
tactile perception is at the extreme opposite of visual perception. The skin is able to convey certain spatial ideas and can do so without the support of other senses, depending on the structure of the body and the ability to move. (p. 14)
Sounds, though vaguely located, can convey a strong sense of size (volume) and of distance. For example, in an empty cathedral the sound of footsteps tapping sharply on the stone floor creates an impression of cavernous vastness. (p15)
(which makes me think of the creative possibilities of sound to create, record or alter space.)
Three principal types of space (p. 17), with large areas of overlap, exist - the mythical, the pragmatic, and the abstract or theoretical. Mythical space is a conceptual schema, but it is also pragmatic space in the sense that within that schema a large number of practical activities, such as planting and harvesting of crops, are ordered. A difference between mythical and pragmatic space is that the latter is defined by a more limited set of economic activities.... When an ingenious person tries to describe the soil pattern cartographically, by means of symbols, a further move toward the conceptual mode occurs. In the Western world systems of geometry - that is highly abstract spaces - have been created out of primal experiences. Thus sensorimotor and tactile experiences would seem to lie at the root of Euclid's theorems concerning shape congruence and the parallelism of distant lines; and visual perception is the basis for projective geometry. (p.17)
(so how would you design an experience that would separate the senses, and give a single sense experience of space. )
An object or place achieves concrete reality when our experience of it is total, that is, through all the senses as well as with the active and reflective mind. (p. 18)
(How can you deconstruct a place to recreate it as a new, whole, concrete experience?)
Spatial Ability, Knowledge and Place
P. 68 - Walking is a skill, but if I can "see" myself walking and if I hold that picture in mind sp that I can analyze how I move and what path I am following, then I also have knowledge. That knowledge is transferable to another person through EXPLICIT INSTRUCTION IN WORDS, WITH DIAGRAMS, AND IN GENERAL BY SHOWING HOW COMPLEX MOTION consists of parts that can be analyzed or imitated.
P. 73 - When space feels thoroughly familiar to us, it has become place. Kinesthetic and perceptual experience as well as the ability to form concepts are required for the change if the space is large.
How well do you relate to small or large spaces? Do you become disoriented in large spaces? How would you design an experience that relates small and large spaces so that the viewer/user has to orient through some kind of maze like experience to orient themselves.
What are the spaces that have become places for you?
Place, according to Yi Fu Tuan (1977) combines a sense of position within society and a sense of identity with a spatial location. Places have historically been viewed as physical sites, with natural and emotional endowments that speak to the limits of human freedom. Not only are our human identities bound up with the hills and valleys in which we live but our very humanness and humanity is bound in this way. It is place that gives rise to humanness – in the form of feelings, attachments, longing, nostalgia, desire, melancholy, and fear.
... Space is perhaps best thought of as a three dimensional void where things are held to exist only if they occupy volume. Location based technologies negate the consideration of volume and view space along the lines of abstract Cartesianism.
...Similarly, beginning with the 16th century, the conception of space which relied on the Cartesian coordinate system set in motion a marginalization of place. Space with its numerical properties was regarded as absolute and infinite. Thus it was perceived as scientific and crucial to the goal of imperialism.
...Certain activities are accorded special spatial status, while others are not. Driving a truck is spatial (hence, work), talking on the phone is less spatial (hence, bureaucratic), and pondering an idea is simply ethereal (Sack, 1980, p. 17) hence, indolent.
Yi Fu Tuan refers to the kind of properties that create a sense of place. He also questions, what is space, and how does one have a sense of spaciousness? In what ways do people attach meaning to space and place? The answer goes beyond the cultural; there are certain "animal" relationships to space and place... one could say, embodied senses of how we orient ourselves to space and place. We are interested in how space and place are understood, so that we can question how technology disorients our sense of space and place, or amplifies our sense of space and place.
Three themes run through Yi Fu Tuans book:
1) The biological facts
2) The relations of space and place
3) The range of experience or knowledge.
He amplifies these themes on page 6 of the Introduction.
Chapter 2 focuses on the Experiential Perspective. Experience is made up of sensation, perception and conception. These influence on a continuum, emotion and thought.
Experience is directed to the external world. Seeing and thinking clearly reach out beyond the self. Feeling however, reflects the way in which the self is inwardly affected. (p. 9).
This is important to think about because as you come to define your own experiences, it helps you think about how to design experiences for other people. The final project will be the result of a complex experience design.
tactile perception is at the extreme opposite of visual perception. The skin is able to convey certain spatial ideas and can do so without the support of other senses, depending on the structure of the body and the ability to move. (p. 14)
Sounds, though vaguely located, can convey a strong sense of size (volume) and of distance. For example, in an empty cathedral the sound of footsteps tapping sharply on the stone floor creates an impression of cavernous vastness. (p15)
(which makes me think of the creative possibilities of sound to create, record or alter space.)
Three principal types of space (p. 17), with large areas of overlap, exist - the mythical, the pragmatic, and the abstract or theoretical. Mythical space is a conceptual schema, but it is also pragmatic space in the sense that within that schema a large number of practical activities, such as planting and harvesting of crops, are ordered. A difference between mythical and pragmatic space is that the latter is defined by a more limited set of economic activities.... When an ingenious person tries to describe the soil pattern cartographically, by means of symbols, a further move toward the conceptual mode occurs. In the Western world systems of geometry - that is highly abstract spaces - have been created out of primal experiences. Thus sensorimotor and tactile experiences would seem to lie at the root of Euclid's theorems concerning shape congruence and the parallelism of distant lines; and visual perception is the basis for projective geometry. (p.17)
(so how would you design an experience that would separate the senses, and give a single sense experience of space. )
An object or place achieves concrete reality when our experience of it is total, that is, through all the senses as well as with the active and reflective mind. (p. 18)
(How can you deconstruct a place to recreate it as a new, whole, concrete experience?)
Spatial Ability, Knowledge and Place
P. 68 - Walking is a skill, but if I can "see" myself walking and if I hold that picture in mind sp that I can analyze how I move and what path I am following, then I also have knowledge. That knowledge is transferable to another person through EXPLICIT INSTRUCTION IN WORDS, WITH DIAGRAMS, AND IN GENERAL BY SHOWING HOW COMPLEX MOTION consists of parts that can be analyzed or imitated.
P. 73 - When space feels thoroughly familiar to us, it has become place. Kinesthetic and perceptual experience as well as the ability to form concepts are required for the change if the space is large.
How well do you relate to small or large spaces? Do you become disoriented in large spaces? How would you design an experience that relates small and large spaces so that the viewer/user has to orient through some kind of maze like experience to orient themselves.
What are the spaces that have become places for you?
Call for submissions - Vimeo Festival
CALL FOR SUBMISSIONS
The first annual Vimeo Festival + Awards is right around the corner. We're putting in a TON of work to make it the greatest experience in the history of mankind (or at least close to that), and we want to make sure that the Vimeo community is represented fully. That's why we need your help.
The Vimeo Festival will showcase the greatest minds and the most innovative work that we see on the web. In that vein, we are creating a special gallery space to showcase the coolest work that the Vimeo community has to offer. If you make mind-blowing installations, futuristic video technology pieces, or anything else that is fun and interactive that you think would shine in the Vimeo Gallery, we want to showcase it at the Vimeo Festival (NOTE: We are only looking for actual physical installations, not just videos). This is a phenomenal opportunity to come to the festival and have your work shown to thousands of people in the heart of New York City's gallery area in Chelsea, not to mention displaying your stuff to the Vimeo community in real life!
To submit your work for either the Vimeo Gallery, please email us at awards@vimeo.com with a detailed description or video of your work.
The Vimeo atmosphere of unbounded creativity and technological innovation creates such a rich artistic environment on the site, and we hope you will help us to properly represent this segment of the community at the Festival. We can't wait to see your stuff!
The first annual Vimeo Festival + Awards is right around the corner. We're putting in a TON of work to make it the greatest experience in the history of mankind (or at least close to that), and we want to make sure that the Vimeo community is represented fully. That's why we need your help.
The Vimeo Festival will showcase the greatest minds and the most innovative work that we see on the web. In that vein, we are creating a special gallery space to showcase the coolest work that the Vimeo community has to offer. If you make mind-blowing installations, futuristic video technology pieces, or anything else that is fun and interactive that you think would shine in the Vimeo Gallery, we want to showcase it at the Vimeo Festival (NOTE: We are only looking for actual physical installations, not just videos). This is a phenomenal opportunity to come to the festival and have your work shown to thousands of people in the heart of New York City's gallery area in Chelsea, not to mention displaying your stuff to the Vimeo community in real life!
To submit your work for either the Vimeo Gallery, please email us at awards@vimeo.com with a detailed description or video of your work.
The Vimeo atmosphere of unbounded creativity and technological innovation creates such a rich artistic environment on the site, and we hope you will help us to properly represent this segment of the community at the Festival. We can't wait to see your stuff!
[murmur] Toronto
[murmur] is a documentary oral history project that records stories and memories told about specific geographic locations. The stories that are recorded range from personal recollections to more "historic" stories, or sometimes both — but always are told from a personal point of view, as if the storyteller is just out for a stroll and was casually talking about their neighbourhood to a friend. All our stories are available on the [murmur] website, but their details truly come alive as the listener walks through, around, and into the narrative. By engaging with [murmur], people develop a new intimacy with places, and "history" acquires a multitude of new voices. The physical experience of hearing a story in its actual setting — of hearing the walls talk — brings uncommon knowledge to common space, and brings people closer to the real histories that make up their world.
OneBlockRadius screenshot
One Block Radius, produced for The New Museum in 2004 by Christina Ray and David Mandl created a web based "psychogeographic portrait of a single Bowery block" with the help of media contributions from artists and the public.
Documentary Video embedded into a web site
This web site won the 2010 Webby award for best documentary, single episode. Produced by the National Film Board of Canada, it is called Waterlife
http://waterlife.nfb.ca/
http://waterlife.nfb.ca/
The blog addresses
One blog missing....
Aymann Ismail http://aymannvid3.blogspot.com/
Costa Boutsikaris http://costaboutsikaris.blogspot.com/
Danielle DiTaranto http://daniellevid.blogspot.com/
John Casale http://johncasale.blogspot.com/
Morgan Sun http://morgansun.wordpress.com/
Ryan Hrnciar http://rhrnciarvideo3.blogspot.com/
Tiffany Dodson http://tiffanydanielle.tumblr.com/
Tika Prospere
Aymann Ismail http://aymannvid3.blogspot.com/
Costa Boutsikaris http://costaboutsikaris.blogspot.com/
Danielle DiTaranto http://daniellevid.blogspot.com/
John Casale http://johncasale.blogspot.com/
Morgan Sun http://morgansun.wordpress.com/
Ryan Hrnciar http://rhrnciarvideo3.blogspot.com/
Tiffany Dodson http://tiffanydanielle.tumblr.com/
Tika Prospere
Friday, September 17, 2010
GlowLab and One Block Radius
Glowlab is over as an artist collective. Wow! That is why the site for One Block Radius is down. But here is an archive of some of the work they did.
Christina Ray, the original founder of Glowlab is still working and running the Conflux festival, which is Oct. 8 - 10 at NYU. I recommend dropping by. I'll be there....
Christina Ray, the original founder of Glowlab is still working and running the Conflux festival, which is Oct. 8 - 10 at NYU. I recommend dropping by. I'll be there....
Fluxus, Situationists, Psychogeography
Daniel Spoerri and The Anecdoted Topography of Chance are a prime example of Fluxus aesthetic - chance, happening, do-it-yourself.
The 20th century avante-garde art movements such as Fluxus influenced the Situationists, who are the precursors and spiritual inspiration for Locative Media.
The Situationist International and Guy Debord experimented in the 1950s by wandering around urban cities, recording the emotional pulse emitting from the metropolis. Known as drifting, these artists would chart human experience to a geographic map to create psychogeography.
The 20th century avante-garde art movements such as Fluxus influenced the Situationists, who are the precursors and spiritual inspiration for Locative Media.
The Situationist International and Guy Debord experimented in the 1950s by wandering around urban cities, recording the emotional pulse emitting from the metropolis. Known as drifting, these artists would chart human experience to a geographic map to create psychogeography.
Syllabus
Video 3/Advanced Video:
Neighborhood Narratives
Fall 2010, Rutgers University
081: 441: 01; 081: 446: 01
CSB – 326 Downtown
Wednesdays, 10:00 – 1:00
Instructor: Hana Iverson
Guest Instructor: David Gordon
Email: hiverson@rci.rtugers.edu; hanaiver@gmail.com
Office Hours: After class, by appointment.
Overview
What are some of the differences between video designed on a linear model and interactive video? In Neighborhood Narratives, the urban landscape is a canvas where digital media in the form of text, sound, and image are applied to real places in order to document the definable aspects of place that simultaneously reveal and construct their essence and trigger authentic engagement. Certain aspects of mobile media and interaction will be investigated through a video framework. This process encourages participants to combine the skills of the storyteller (the grounded expert with detailed everyday knowledge) with the flaneur (the mobile observer of the city with a broad overview).
In Neighborhood Narratives we explore the real and metaphorical potentialities of mapping, walking, and way-finding as methods of developing attachments, connecting, and constructing narratives in a virtual and spatial locality (neighborhood).
The final assignments may be but are not limited to presentation on location in the city.
The course is divided into three themes:
Theme one: Place and Space. The course begins with an examination of the concept of place. We explore questions such as: What is place? What is the difference between place and space? How are places mapped? What is the relationship of place to location?
Theme two: Embodied Practice. We investigate how the body can function as an interface to trigger media. With sensor-based body actions, the body can enact causal relationships in the environment. The body can trigger media projection, or the body can be a screen for media. Extending this idea, the body is mediation and the world is the media.
Theme three: Merger of Mixed reality and Mobility. Mobile media are tools that connect the physical to the virtual, by handheld connectivity to networks and webs. New public sites are emerging as a result of this mix - situated storysites, cell phone applications, environmental installations that incorporate technology, to name a few - that create a new form of experience and authorship.
Schedule of Classes and Assignments
PLEASE NOTE THAT THIS SCHEDULE IS SUBJECT TO CHANGES AND ADDITIONS!
Sept. 1
Introduction: What is Neighborhood Narratives?
The history of the class, case studies. What are some of the differences between video designed on a linear model and interactive video? What are the issues of public, semi-private and private video display?
Outline of class project + individual projects.
Assignment: Storyboard your next two weeks on a T-shirt, giving location and event.
Sept. 15
Introduction to Space and Place
Review of T-shirt assignment
Psychogeography: One Block Radius (GlowLab), Murmur Toronto
Equipment, class project team, project design.
Assigned reading: From Yi-Fu Tuan, Space and Place: The Perspective of Experience; From Body, Memory, Architecture, edited by Kent C. Blommer and Charles W. Moore, Body Movement by Robert J. Yudell.
Assignment: Selecting one block in New Brunswick, go on a psychogeographic drift for a min. of 1 hour, max. of 12 hours. Select a topic to observe: people (can include interviews), trash, signs, architecture, sidewalks, etc. With a video camera, document your observation. Video should be min. 1 min., max. 8 min. with all in-camera edits – turn camera on, turn camera off. Compress in Final Cut and upload to YouTube or Vimeo.
Sept. 22
Place and Space: Review of themes
David Gordon joins class.
Review psychogeography: One Block Radius (GlowLab), Murmur Toronto
Review T-shirts, videos
Reading: John Cage article from ArtForum; From Ambient Findablity by Peter Morville, A Brief History of Wayfinding
Assignment: Map videos to GoogleMaps or GoogleEarth
Sept. 29
Open Space, Open systems
John Cage by David Gordon. David Gordon and all he thinks about.
Assigned Reading: Locative Media Artists in the Contested Aware City by Anthony Townsend; Locative Arts by Drew Hemment
Assignment: Open system video, location-based.
Oct. 6
Embodiment. Cell phone video
Steve Bull visitor
Review assignments
Assigned Reading: From Site-Specific Art: Performance, Place and Documentation by Nick Kaye, Introduction: Site Specifics;
Assignment: Cell phone video
Oct. 13
Public Art.
Kystof Wodizcko and “Public Address”.
Public memorials, counter-memorials.
Networked public screens
Review Cell phone video
Assigned Reading: Critical Vehicles; Creating Democracy, A Dialogue with Krzysztof Wodiczko
Mid-term Assignment: Put something here
Oct. 20
Public Art and Politics
Mid-term Review: Put Something Here
More about public display
Assigned Reading: From Illuminating Video: Video Installation Art: The Body, the Image and the Space In-between by Margaret Morse
Oct. 27
The Body as Interface
Sarah Drury visitor
http://isc.temple.edu/sdrury/sd/interactive_evokability.htmlhttp://isc.temple.edu/sdrury/sd/interactive_evokability.html
The body as agent for media in a public or performative environment
Akitsugu Mayebashi, Sonic Interface
Assigned Reading: Body, Memory and Community
Assignment: Body as Interface Videos – installation or…
Nov. 3
Augmented Reality
Craig Kapp visitor
Assigned Reading: Jean Beaudriard, Please Follow Me
Nov. 10
Public/Private
Review Body videos
Janet Cardiff, Sophie Calle
Assignment: Following
Nov. 17
Public/Private II
Review Following.
Outline requirements for final projects. How to weave together the themes from the 5 major videos - drifting, live multi-source video, put something here (the public and politics), the body as interface, and following…
Discussion of Papers/Manifestos
Assignment: Following Part II
Mon. Nov. 22
Catching up.
Class project review
Discussion of final projects.
Dec. 1
Final Projects due. On-site presentations (maybe)
Dec. 8
Critique of projects, class etc.
TBD - MGS public presentation of projects and class video
Neighborhood Narratives
Fall 2010, Rutgers University
081: 441: 01; 081: 446: 01
CSB – 326 Downtown
Wednesdays, 10:00 – 1:00
Instructor: Hana Iverson
Guest Instructor: David Gordon
Email: hiverson@rci.rtugers.edu; hanaiver@gmail.com
Office Hours: After class, by appointment.
Overview
What are some of the differences between video designed on a linear model and interactive video? In Neighborhood Narratives, the urban landscape is a canvas where digital media in the form of text, sound, and image are applied to real places in order to document the definable aspects of place that simultaneously reveal and construct their essence and trigger authentic engagement. Certain aspects of mobile media and interaction will be investigated through a video framework. This process encourages participants to combine the skills of the storyteller (the grounded expert with detailed everyday knowledge) with the flaneur (the mobile observer of the city with a broad overview).
In Neighborhood Narratives we explore the real and metaphorical potentialities of mapping, walking, and way-finding as methods of developing attachments, connecting, and constructing narratives in a virtual and spatial locality (neighborhood).
The final assignments may be but are not limited to presentation on location in the city.
The course is divided into three themes:
Theme one: Place and Space. The course begins with an examination of the concept of place. We explore questions such as: What is place? What is the difference between place and space? How are places mapped? What is the relationship of place to location?
Theme two: Embodied Practice. We investigate how the body can function as an interface to trigger media. With sensor-based body actions, the body can enact causal relationships in the environment. The body can trigger media projection, or the body can be a screen for media. Extending this idea, the body is mediation and the world is the media.
Theme three: Merger of Mixed reality and Mobility. Mobile media are tools that connect the physical to the virtual, by handheld connectivity to networks and webs. New public sites are emerging as a result of this mix - situated storysites, cell phone applications, environmental installations that incorporate technology, to name a few - that create a new form of experience and authorship.
Schedule of Classes and Assignments
PLEASE NOTE THAT THIS SCHEDULE IS SUBJECT TO CHANGES AND ADDITIONS!
Sept. 1
Introduction: What is Neighborhood Narratives?
The history of the class, case studies. What are some of the differences between video designed on a linear model and interactive video? What are the issues of public, semi-private and private video display?
Outline of class project + individual projects.
Assignment: Storyboard your next two weeks on a T-shirt, giving location and event.
Sept. 15
Introduction to Space and Place
Review of T-shirt assignment
Psychogeography: One Block Radius (GlowLab), Murmur Toronto
Equipment, class project team, project design.
Assigned reading: From Yi-Fu Tuan, Space and Place: The Perspective of Experience; From Body, Memory, Architecture, edited by Kent C. Blommer and Charles W. Moore, Body Movement by Robert J. Yudell.
Assignment: Selecting one block in New Brunswick, go on a psychogeographic drift for a min. of 1 hour, max. of 12 hours. Select a topic to observe: people (can include interviews), trash, signs, architecture, sidewalks, etc. With a video camera, document your observation. Video should be min. 1 min., max. 8 min. with all in-camera edits – turn camera on, turn camera off. Compress in Final Cut and upload to YouTube or Vimeo.
Sept. 22
Place and Space: Review of themes
David Gordon joins class.
Review psychogeography: One Block Radius (GlowLab), Murmur Toronto
Review T-shirts, videos
Reading: John Cage article from ArtForum; From Ambient Findablity by Peter Morville, A Brief History of Wayfinding
Assignment: Map videos to GoogleMaps or GoogleEarth
Sept. 29
Open Space, Open systems
John Cage by David Gordon. David Gordon and all he thinks about.
Assigned Reading: Locative Media Artists in the Contested Aware City by Anthony Townsend; Locative Arts by Drew Hemment
Assignment: Open system video, location-based.
Oct. 6
Embodiment. Cell phone video
Steve Bull visitor
Review assignments
Assigned Reading: From Site-Specific Art: Performance, Place and Documentation by Nick Kaye, Introduction: Site Specifics;
Assignment: Cell phone video
Oct. 13
Public Art.
Kystof Wodizcko and “Public Address”.
Public memorials, counter-memorials.
Networked public screens
Review Cell phone video
Assigned Reading: Critical Vehicles; Creating Democracy, A Dialogue with Krzysztof Wodiczko
Mid-term Assignment: Put something here
Oct. 20
Public Art and Politics
Mid-term Review: Put Something Here
More about public display
Assigned Reading: From Illuminating Video: Video Installation Art: The Body, the Image and the Space In-between by Margaret Morse
Oct. 27
The Body as Interface
Sarah Drury visitor
http://isc.temple.edu/sdrury/sd/interactive_evokability.htmlhttp://isc.temple.edu/sdrury/sd/interactive_evokability.html
The body as agent for media in a public or performative environment
Akitsugu Mayebashi, Sonic Interface
Assigned Reading: Body, Memory and Community
Assignment: Body as Interface Videos – installation or…
Nov. 3
Augmented Reality
Craig Kapp visitor
Assigned Reading: Jean Beaudriard, Please Follow Me
Nov. 10
Public/Private
Review Body videos
Janet Cardiff, Sophie Calle
Assignment: Following
Nov. 17
Public/Private II
Review Following.
Outline requirements for final projects. How to weave together the themes from the 5 major videos - drifting, live multi-source video, put something here (the public and politics), the body as interface, and following…
Discussion of Papers/Manifestos
Assignment: Following Part II
Mon. Nov. 22
Catching up.
Class project review
Discussion of final projects.
Dec. 1
Final Projects due. On-site presentations (maybe)
Dec. 8
Critique of projects, class etc.
TBD - MGS public presentation of projects and class video
Tuesday, September 14, 2010
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