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

To the question: "what do you find most interesting about the possibilities with locationaware art and technology?"

I would have to say that what I think is of major interest to us at C5 is what data reveals about a location rather than what the creator/narrator describes or inferences about a location. In surveying a variety of locative media trends, it seems to me that much of the locative media work focuses on a narrator/creator's input of information for a user to navigate. One of our major research focuses is on what the data collected from various locations through GIS technology has to say - this is where I think things get really interesting. I think this is a classic case of what my colleague Brett Stalbaum pointed to when he described the "semiotic reversal of syntamatic axis and paradigmatic axis within the more general cultural logic of database", in his "Database Logic(s) and Landscape Art." For instance, as part of the Landscape Initiatives project that is currently underway at C5, in the spring of this year, I traveled the length of the Great Wall in China, recording my GPS tracks from the northwest desert to where the Wall ends at the Yellow Sea. Currently we are working on developing various algorithmic models for determining the Great Wall of California based on the data I brought back from China, the data is directing that research exploration and will have a direct impact on revealing the landscape we will traverse in CA.

geri wittig
C5 Corp

if you could overlap two different periods (or more) in a place, which
wou;d you choose?

what do you find most interesting about the possibilities with location
aware art and technology? 5 20.......

can you think of better terminology for all this ?

I agree with you that content is absolutely crucial.  I am really
concerned about what I call the "whizz bang kapow" or "gadget factor"  So
much is made of cool gear and interesting experiments , but rich content
and a new artistic work in terms of methodology and metaphor is often
lacking. t

"I" and linearity are not what I see in a city. In 34n the narratives I wrote are from the pov's of people in many different places and times and place is resonant with multiple voices, nonlinearity and the application of new approaches to content, not a rehashing of what could work in a more traditional form. There can be situationist type work too in a sense of questioning governmental controls, and of place (what if it is a place one knows but all the data is of a place that is far off..and misunderstood.....afghanastan for example......)

"style is a personal form of originality".   that is a horrible construct
for any work .....if you mean as style over substance..... with meaning.......artistic skill in researching and in
placing to heighten awareness of place while also questioning it

I agree with you that content is crucial ( thy soat is m
Dear empyreans,
this type of silicon-augmentation of the meatscape brings a number of
to mind. They are, in no particular order:

1. Benjamin's Arcaden-Pojekt. Antecedent for the flaneur is the
dandy for whom "style is a personal form of originality". (I would like
juxtapose here the impersonally totalised reading of place with the
"monument to sentiment" (Deleuze and Guattari) I understand as both
underwritten by Baudelaire's idea of style and as constitutive -might
use the word hypostasis? - of the art act);

2. The legend of the Golem - place augmented by data as Golem-like;

3. From 1984 onward, New Zealand (whence I write) underwent a
and abstract reorientation of its social and economic structures towards
Friedman-esque 'free' market system. This one local commentator has
"the New Zealand experiment". The impact of the experiment on cultural
institutions has been immense, experientially, although unmeasured. But
bringing to your attention one aspect of this transformation of the
there is no longer - outside the field of transformative processes - an
effective means, media, for critiquing%
empyre forum

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