Re: [-empyre-] location and data

hm. not sure if this is still in the vein of the original thread (i come late), but with respect to recent posts...

"a GPS languauge". what it represents isn't so important, perhaps, as how it represents. to speak of the relationship between location and data naturally leads to this discussion of language.

the mathematical system of representation that uses lon / lat coords to describe spatial relationships tends to frame space and time in terms of discrete moments and points, rather than continuous flows in context... the technology emerges from and privileges one system of representation, but the work made with it can (i believe) articulate and support alternative and even contradictory representations / articulations of space and time, even if only by revealing the inherent bias of the tool.

re-inscribing the body in information seems always to emerge as the pressing issue.

On Sep 19, 2004, at 17:54, James Barrett wrote:

But when you say 'Information can be extracted'I believe information is
not found or discovered.Truth is articulated or constructed, otherwise
what happens to old or contradictory information? Is it discarded or is it
refined and adapted over time? A GPS sequence has to be presented in a
manner understandable as a GPS sequence (check out ours here: It may not necessarily
be in a pure narrative form but it is language. When I referred to Bakhtin
(as he wrote about in 'The Problem of the Text') I was thinking more of
architecture or even the layered bricolage mentioned earlier in the story
of the London glass tower and Roman ruin . Any movements through space (as
progressions of time) result in narrative possibility which can, in turn,
be represented alternately as a GPS sequence, or as thought or even the
information shadows of data-mining.
But how do you go with the above example of the GPS sequence? Can you
'see' where it is? What season it was? How we felt as we drove through the
night? (Don’t follow the links!). Or is it just a GPS sequence, as a plot
outline is to a novel? How does one represent individuals in such a
sequence without it becoming a narrative? I wonder about information that
is 'not true'. Is that fiction as in literature? Can I just attribute
whatever I want to the sign or sign sequence (al la Duchamp) and it
remains information?

Just a reminder of the origin of this thread because I think we're
getting to the gist of things:

If you see a city and you see data, how do you see the two in
juxtaposition or integration?  If you were presented with either a
lot where a historical theater once stood, a stretch of nondescript
in the same length and width as the autobahn, or a city center newly
built, which would you choose to work with?

Now that we're talking about Bakhtin, I think what's missing here (at
least to make it interesting to me, personally) is the fact that the
'data' being refered to is not the kind of GPS based, chronotopic data
that I'm interested in. So the data presented is not going to generate
its own narrated chronotope as in a movie or novel. When I talk about
'filling in the blanks' (previous post), I'm not talking about the
artist filling in the blanks but the artist presenting the data in such
a way that each viewer can fill in the blanks as they see fit, based
either on their knowledge or lack of knowledge of the space and
individual/s interacting with it. The way certain people interact with a
certain point in space on a regular basis, says a lot about that space
and you can hint at a lot of particulars just by presenting that
interaction along with the time factor. It's really quite shocking how
much information you can extract from something like this, regardless of
whether that information is true or not. That's not really the point.


On sun, 2004-09-19 at 06:03, Teri Rueb wrote:
..."felt" and "observed" being bound up in each crary's
'observer', the notion of reflexivity...

empyre forum
Pall Thayer

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