Re: [-empyre-] locative city, annotated space

I seems to me that the crux of your work (34n118w) exists at the cross roads of developing a locative media user interface with its own aesthetic properties, and the interpretation of place; as you have proposed it, the "dualism" between what is there now and the recent history and of the site. I'd like to ask a really general question about each of these.

Most public art today - from fine art to interpretive markers - emerges from a political consensus building process. (Public art committees and the like.) This often leads to a lowest common denominator type of expression in public places - witness the banality of most public art in the United States. What potential does "locative media" bring to the table that might enliven public art and interpretation?

Regarding locative media user interface, how do you situate your work against the history of previous locative media? (Arguably strip maps, most certainly pre-historic, were the first "locative media", and you use street maps in your interface and GPS on the back end - speaking 34n118w, btw. I look forward to learning about the new work...) wrote:
I would have to say that it currently is both augmenting and competing

in the sense that the screen has to be viewed at least to see where one is at and going . I am very interested in solutions to this that minimize that periodic disconnect (like a pda or eventually smart eyewear so you don't even have to look down at all.

The other side of it is that there is an opportunity for a lot of play and
metaphor in the interface.  We use a map that is accurate but is acually
many decades old (the buildings haven't changed ) and are interested in
eventually using multiple layers that can, at times, slip.  Different
senses of place and mapping, interface and data, references to time and
usage with different ways of presenting information that could at times
slip in and out at certain locations.

We actually start the program and talk to the people at first , then let
them go.  It is much more their experience and their ultimate authoring in
a barthean sense of their path sets a sequence that they form (as we
designed it to function).

We watch them as they walk away and return and have learned a lot from
that. We take drivers licenses as a deposit.

-- Brett Stalbaum Lecturer, psoe Coordinator, ICAM Department of Visual Arts, mail code 0084 University of California, San Diego 9500 Gillman La Jolla CA 92093

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