Re: [-empyre-] location and data

["James Barrett" <jim.barrett@humlab.umu.se>]

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:
http://blog.humlab.umu.se/~fredrik/gps2blog.php). 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
>> vacant
>> lot where a historical theater once stood, a stretch of nondescript
>> desert
>> 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.
>
> Pall
>
>
> On sun, 2004-09-19 at 06:03, Teri Rueb wrote:
>> ..."felt" and "observed" being bound up in each other...re: crary's
>> 'observer', the notion of reflexivity...
>>
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> --
> _________________________________
> Pall Thayer
> artist/teacher
> http://www.this.is/pallit
> http://130.208.220.190
> http://130.208.220.190/nuharm
> http://130.208.220.190/panse
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