Sunday, May 4, 2008

Wednesday, April 23, 2008

The paper

Maximum 1200 words, minimum 700 words 

Description of your thinking and art process that includes references to the readings and how they have informed your project (or not, and why not).  

Criteria of Evaluation

layers (how many)
thinking process
growth in your own work 

subjectivity (how well is expressed or understood in your method)
objectivity (what you have gathered from research)
extending or extention (any of the assignments or elements of your art practice)
issues of democracy (figure that out)

Issues of the class

Information Landscape is Everywhere

Geographic:  by, at, in, on

Architectural: shape, volume

Social: history, interpersonal, regulatory (law, custom)

Presence:  sensory, mental, time

Path: physical, communications

Some of the core elements that are addressed (sometimes critically and sometimes not) in Locative Media are control and surveillance (which are subtopics of regulation).

Sunday, April 13, 2008

Sunday, April 6, 2008


Now we are going to consider the meaning of place as the foundation on which the projects are built.  We are then back to the original philosophical question: what is place relative to space?Physical assignments amplify the condition of space. But we are now narrowing our focus to "what is the meaning of THIS place."  The place that you have chosen, and why you have chosen it.

Wikipedia on Place.


I have been thinking about the direction of the class, and that the body exercises often may seem like they take the class in a different direction than some of the theoretical assignments.  I am hoping that they just give you more tools to use when considering your final assignment.  Rather than look for a linear coherence, I am hoping that inclusion of the body, improvisation and the physical act, will give you some inspiration.


In thinking about critique as applied to "Critical Vehicles", I found a conference that I think amplifies the discussion that we have just begun in our class.

The Art of Critique on April 19/20 in Vienna.  Too bad we can't go... but an interesting web site to check out.

Audio in MyMaps

I don't think you can do it... we tried and failed.  But a student in Rome, synched her tour to her ipod and shared the playlist with the class.

Check it out here, her name is Taryn.

Sunday, March 23, 2008

The reading for next week (due March 31)

Views from Above:  Locative Narrative and the Landscape can be accessed right here

Sunday, March 9, 2008


The women "performed" Jeremy's suicide map/score while the men bickered about how to document Emily's expression-book, and then everyone repeated the whole event again. The stop action had become action which had been looped to repeat. Next class we will repeat this class...:)

Video coming... it wouldn't load and I just ran out of time.
All this happened in the men's bathroom, after which the class divided into groups of men and women. The division having been suggested by the bathroom signs...

Then Erin volunteered to "do" one of Yuta's images... transforming the image from the realm of the photographic - the simulated - to the real. A moment documented | the image | re-inacted | the experience | redocumented.

Yuta brought in a package of still images taken with a Holga... creating multiples of each image/moment.

Yuta thought someone was going to take the packet home and create a new flat artwork from his instructions. Instead we started to follow his instructions as a group in class, creating improvisational results....
Jeremy created a topological diagram on "How to Commit Suicide", as an ode to Daniel Spoerri's "An Anecdoted Topography of Chance." Yes, the body images on the right side of the document are Jeremy's body....

Jesse came up with an interesting solution to the assignment, creating a collaged image made from strobe stop-action photography. A video made up of single images of stopping the action was the second part of the product. Muybridge-inspired action, what Muybridge couldn't do still-image. Just a wonderful riddle!
Shirley continued with her project "How to be Me"
which is a really great idea. David suggested that she have people have to get the wig and "perform/become her," document that and send it to her. Good project, check it out....

Emily photographed facial expressions, hers and others, and gave a set of instructions.

The result was that one team started to perform the expressions and another team was documenting the expressions... I don't have those images.

Class Documentation 3/3/08

It all started out normally enough... The assignment was to photograph oneself, using your own body as a map/score that would be given to someone else "to do". Therefore, the self-portrait map/score would have instructions that would be executed/performed by someone else. Simple, no?

So, Erin went first and she had converted "Where's Waldo?" into "Where's Erin?" , using her own biography to map her location (where she has lived, where she has traveled). We could find her by her red scarf....

Sunday, March 2, 2008

Frida Kahlo at the Philadelphia Museum of Art

If you have never seen the paintings of Frida Kahlo - along with the extensive photo collection of artists working with and around her in the middle of the last century - this is a fantastic opportunity.  Well worth the schlepp to Philly.

Information here.

Design and the Elastic Mind

A very interesting must-see exhibit at MOMA.

Design and the Elastic Mind - information here.

The Armory Show

... is another great NYC art event.  

Information here

The Whitney Biennial

...opens on Thursday.  I always think the Biennial - love it or hate it - is a great opportunity to check in with new energy and interesting ideas.  I recommend going to as much of it as you can...performances, site-specific works, the whole shebang.

Interesting article in the NY Times and you can get the schedule on the Whitney web site.

Sunday, February 24, 2008

Locative Media Bibliography

de Certeau, Michel. The Practice of Everyday Life (Berkeley: University of California Press, 1984).

Kastner, Jeffrey (ed.) and Wallis, Brian. Land & Environmental Art: Themes and Movements (London, UK: Phaidon Press, 1998).

Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity (Cambridge, MA: MIT Press, 2004).

Lefebvre, Henri. The Production of Space (Oxford: Blackwell, 1999 edition).

McCullough, Malcolm. Digital Ground - Architecture, Pervasive Computing, and Environmental Knowing (Cambridge: MIT Press, 2004).

Mitchell, William J. Me++: The Cyborg Self and the Networked City (Cambridge: MIT Press, 2003).

Rheingold, Howard. Smart Mobs: The Next Social Revolution (Cambridge, MA: Basic Books, 2002). Or Rheingold's website -

Rogoff, Irit. Terra Infirma: Geography’s Visual Culture (London and New York: Routledge, 2000).

Tuan, Yi-Fu. Space and Place: The Perspective of Experience (Minneapolis: University of Minnesota, 1977).

Tuters, Marc (ed.). + Rasa Smite, Acoustic Space: Trans Cultural Mapping (Riga: The Center for New Media Culture RICX, 2004). Also available online -

Wilson, Stephen. Information Arts: Intersection of art, science and technology (Cambridge: MIT Press, 2002) In particular 1.1: Art and Science as Cultural Acts; 1.2: Elaboration on the Approach of Art as Research; 3.4: Space; 3.5: Global Positioning System; 6.1-6.3: Telecommunications.
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Articles and Papers
Benford, Steve and others. “Coping with uncertainty in a location-based game,” IEEE Pervasive Computing Journal (July - September 2003).

Debord, Guy. “Theory of The Dérive, Internationale Situationniste #2,” Ken Knabb (trans.) Situationist International Anthology (1958).

Dunne, Anthony and Raby, Fiona. “Tunable Cities,” Architectural Design 68, no. 11/12 (November-December 1998).

Foucault, Michel. "Panopticism" (Chapter 3 online excerpt from From Discipline and Punish: The Birth of the Prison):, Alan Sheridan (trans.) From Discipline & Punish: The Birth of the Prison (NY: Vintage Books, 1995).

Foucault, Michel. "Heterotopias," originally entitled "Des Espace Autres," based on a lecture by Michel Foucault in March 1967 and later published; Jay Miskowiec (trans). Architecture /Mouvement/ Continuité (October 1984).

Deleuze, Gilles. "Postscript on the Societies of Control," originally published from _OCTOBER_ 59, (Cambridge, MA: MIT Press, Winter 1992).

Hemment, Drew. "The Locative Dystopia" (2004). (Originally published in nettime: Fri, 9 Jan 2004 18:23:20 +0100 (CET)) and “Locative Dystopia 2" in Marc Tuters (ed.) + Rasa Smite, Acoustic Space: Trans Cultural Mapping (Riga: The Center for New Media Culture RICX, 2004).

Manovitch, Lev. “The Poetics of Augmented Spaces – Learning from Prada” (2002)

Pope, S. “The Shape of Locative Media,” Mute Magazine Issue 29 (9 February 2005). Available online at:

Russell, Ben. Headmap Manifesto (1999). Available online at (accessed October 2005).
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Primary Documents and Related Works
Hight, Jeremy. “Narrative Archeology” (essay)

Rueb, Teri. Conversation with Sabine Breitsameter online at

Smithson, Robert. "A Tour of the Monuments of Passaic New Jersey" in Jack Flam (ed.) Robert Smithson: The Collected Writings (Berkeley: University of California Press, 1996).

Suarez Miranda, J.A. (pseudonym of Jorge Luis Borges and Adolfo Bioy Casares), "Travels of Praiseworthy Men" (1658), in Jorge Luis Borges and Adolfo Bioy Casares, "Of Exactitude in Science," in J.L. Borges, A Universal History of Infamy (London: Penguin Books, 1975).
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Anne Galloway - purse lip square jaw

Dr. Reinhold Grether - Netzwissenschaft

Locative Media Lab

Mirjam Struppek - Documentation of PLAN workshop at ICA




urban cartography

Website for seminal Locative Media workshop in Karosta, Latvia, 16-26 July 2003

we make money not art

Blogs and Online Journals

Anne Galloway - purse lip square jaw

Dr. Reinhold Grether - Netzwissenschaft

Howard Rheingold - smartmobs

Locative Media Lab





Steve Dietz - yproductions

The Feature

University of Openess - Faculty of Cartography

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DREW HEMMENT is director of Future Everything, a non-profit creative company responsible for Futuresonic International Festival; AHRC Research Fellow in Creative Technologies at University of Salford; Project Investigator in PLAN - The Pervasive and Locative Arts Network. Involvement in music events as DJ and/or organizer since the 1980s. Projects include *Loca* (2003-ongoing), *Futuresonic* (1995-ongoing), *Low Grade* (2005), *Mobile Connections* (2004), *FutureDJ* (2004), *Turntable Re:mix* (2004), *Migrations* (2002/3), *Blacktronica* (2002), *Sensurround* (2001/2), *BrokenChannel* (2001) and *SenseSonic* (2000). Completed an M.A. (Distinction) at the University of Warwick, and a Ph.D at University of Lancaster.

Formerly with Interval Research, STEVE BULL founded Cutlass [], a company that specializes in mobile locative media with applications running on O2, Verizon Wireless, TELUS Mobility, and Orange. Fall 2005 he spoke on pervasive gaming at the Institute For The Future and Digital Storytelling Festival in California, and at CUNY. Recent recipient of a N. Y. State Council for the Arts grant for Cellphonia: In The News, a karaoke cell phone opera, Bull is also collaborating on Phone Me, an interactive locative cell phone history/mystery set on the Lower East Side. The New York Historical Society’s Slavery in New York exhibit will feature his cell phone tour of its downtown locations. He’s taught in the Interactive Telecommunications Program at N.Y.U, Parsons, and currently at Temple University [].

ELIZABETH GOODMAN's design, writing, and research focuses on critical thinking and creative exploration at the intersections of new digital technologies, social life and urban spaces. She has a Bachelor of Arts in Fine Art from Yale University and a Masters in Interactive Telecommunications from New York University. Most recently, her *Familiar Stranger* project was part of Spectropolis: Mobile Media, Art and the City. Her work has been shown at Paris' la Cite des sciences et de l'industrie, as well as at a number of international academic conferences such as CHI, DIS and Ubicomp. She is now a design researcher at Intel’s User Centered Design group.

PETE GOMES is a Writer-Director and Artist. His work has been screened and shown internationally, in galleries and festivals including, Tate Modern, Whitechapel Art Gallery, Gimpel Fils, Barcelona Museum for Contemporary Culture, Stedelijk Museum Amsterdam, Vienna Museum of Contemporary Art, Leeds International Film Festival, South Bank Centre London, Sonar and also in USA, India, Russia, Iceland and Europe. He is known for his innovative visual work and collaborations with contemporary architects, choreographers, musicians and composers including: Throbbing Gristle, Shobana Jeyasingh, Luciano Berio, Donnacha Dennehey, Jocelyn Pook, and Michael Nyman. He explores intersections between cinema and technology which manifests itself in a wide range of projects encompassing installation to film drama. Current projects include a 'geo-cinematic' film shot in southern Madagascar, and his first feature film as Writer-Director. He has taught at the Architectural Association since 1999 and is working on 'Urban Mirage'; an international workshop examining drawing, location, and cinema.

DEREK HALES is Subject Leader for Multimedia and Research Leader for Creative Technologies in the School of Art and Design, University of Huddersfield, UK. As Research Director of the Digital Research Unit, Derek works in partnership with Creative Director Tom Holley at the Media Centre, Huddersfield to support practice-based research through an Artist in residence programme, a series of Creative Labs and a newly established Mphil/PhD group. Derek is a chartered architect and chairs the Emerging Technology Group for the Royal Institute of British Architects in Yorkshire.

HANA IVERSONis a new media artist, whose work crosses between digital, video and sound media. She currently is Director of the New Media Interdisciplinary Concentration at Temple University. Her work was recently exhibited at the International Center of Photography, Dorfman Projects, Mary Anthony Gallery, Pulse Art, Art in General, and 494 Gallery in New York; the Museo Universitario del Chopo, Mexico City; and in Canada. Her long-term installation and multimedia project, View from the Balcony, was on view at New York’s Eldridge Street Synagogue from 2000-03. She has received support for her work from the Covenant Foundation, TU Vice Provosts Research Initiative, the Memorial Foundation for Jewish Culture, the New York Foundation for the Arts (NYFA) and Tisch School of the Arts. Ms. Iverson holds a Masters Degree from the Interactive Telecommunications Program, Tisch School of the Arts, New York University.

PAULA LEVINE is a media artist and Associate Professor of Art in Conceptual/Information Arts, at San Francisco State University. Her current research and art practice is in GPS, remote and locative media. As a participant in the 2004 IntraNation Residency, The Banff Centre, Levine produced SpeakingHere and Shadows from another place: San Francisco ß->Baghdad. She presented a paper on these locative projects at MIT:4 – The Work of Stories, as a Mobile Narrative panelist. Levine is currently working on a series of projects and essays based on her ideas of transpositional mapping: using coordinates of distant events as templates that are overlaid locally. Collapsing the safety of distance, these hypothetical maps ground foreign events in local terms. Security Wall, a transpositional mapping of the Israeli barrier, is a work in progress. In April, 2006, she will exhibit Signature, a GPS triggered sound installation, as part of Sonoma County Museum’s centennial commemoration 1906 California earthquake.

ANN MORRISON lectures studio process, physical computing interactive environments and information visualisation within The Information Environments Program, School of ITEE, at The University of Queensland. Morrison is an installation and new media artist, currently working with alt reality and locative projects, writing and constructing a context containment interactive environment. [~morrison/]

TERI RUEB’s large-scale responsive spaces and location-aware environments explore intersections of architecture and urbanism, landscape and human movement, and sonic and acoustic space. She was an early pioneer in using GPS to create location-aware responsive installations and environments in urban and remote landscapes. She has received grants and commissions from The Banff Centre New Media Co-Productions, (with funding from LEF and the Jerome Foundation), Artslink, the Maryland State Arts Council, and The Puffin Foundation. Her work has been presented internationally and reviewed in diverse publications including "Information Arts: Intersections of Art, Science and Technology", edited by Stephen Wilson, MIT Press, 2001. Rueb received her master’s degree from the Interactive Telecommunications Program at New York University and a B.F.A. in Sculpture, Painting and Literary and Cultural Studies from Carnegie Mellon University. She is a professor in the graduate Department of Digital + Media at the Rhode Island School of Design.

ALISON SANT is a media artist, with a background in digital media and architecture. Her work explores the city as both a site for investigation and intervention and has often focused on the hidden dynamics of the urban landscape. She has exhibited nationally and internationally including the San Francisco Museum of Modern Art, VIPER Basel, and ISEA. Sant teaches classes at the San Francisco Art Institute, Mills College, and the California College of the Arts. She has been awarded artist residencies at the Djerassi Resident Artists Program, Headlands Center for the Arts, and the Tryon Center for Visual Art. Sant is also a recipient of a Creative Work Fund Grant. She received her BFA from New York University in 1993 in the Departments of Photography and Interactive Telecommunications and received her Masters in Design at the College of Environmental Design, University of California Berkeley in 2004. Sant is currently an Artist in Residence at the San Francisco Exploratorium.

LESLIE SHARPE is Assistant Professor and Area Head of Digital Art in the Hope School of Fine Arts at Indiana University, Bloomington, and previously taught at UCSD as a Faculty Fellow and at Pratt Institute in New York. She works in Digital Media and Installation, with a focus on Mobile and Wireless Technologies. Sharpe's recent work employs the genre of ghost narrative in projects using cellphone and PDAs to explore questions about subjectivity, embodiment, social networks, wireless histories and place.

JEN SOUTHERN is an artist and lecturer based in Huddersfield, UK. Her work involves investigating everyday journeys between virtual and physical spaces, which are navigated through socially embedded technologies such as video games, mobile phones and locative media. With a particular interest in personal and specific relationships with technology in everyday life and ordinary places her work investigates real experiences of game spaces through learning and navigation. Her use of technology is specific to each project and has included robotics, wearables, shipping containers, CD ROMs and currently GPS (Global Positioning System).
Jen's practice is installation based and has been both process led and collaborative, exploring the many grey areas between shared authorship, audience participation and interaction. She has also written and curated, and run technical and creative workshops as part of her own work and in other contexts. These modes of operation are integral to a practice that is rooted in social processes and the relationship between people and local environment.

NICK WEST is an information architect and researcher with Proboscis, a London-based creative studio. He has 15 years’ experience in designing experimental prototypes for new media research, including work with Apple Computer, Paramount Pictures, the National Fine Arts Museum in Rio de Janeiro, and New York University. He holds a BA in Political and Economic Systems from Yale University, a Masters in Interactive Telecommunications from New York University and is currently working on a PhD in Cultural Studies at Goldsmiths College.

Singaporean NISAR KESHVANI is a consultant, Internet journalist, web developer, educator and new media specialist. In the last decade, he has worked across five continents (Asia, Africa, Europe, North America and Australia/Oceania). He is editor-in-chief of the Leonardo Electronic Almanac ( and International Co-Editor of fineArt forum ( - one of the Internet's longest runing arts publication. He has worked for various international magazines and newspapers since 1993. Keshvani sits on the board of the Art, Science, Technology Network (ASTN), Leonardo/International Society for the Arts, Sciences & Technology; fineArt forum and on SIGGRAPH's Singapore Chapter Management Committee. He is Program Advisor (Asia Pacific) of the Brisbane Multimedia Art Asia Pacific (MAAP) Festival. Keshvani has extensive experience developing and maintaining websites and was an online journalism educator at Queensland University of Technology, Australia, examining internationalization issues and changing work practices in the online newsroom. He was also Digital Media Lecturer and module leader for Web Design Applications with Ngee Ann Polytechnic's School of Film & Media Studies in Singapore. In 2003 - 2004, Keshvani was on consultancy with the Aga Khan Development Network (a group of international development agencies working in health, education, culture and rural and economic development, primarily in Asia and Africa).

Click Photo Exhibit in Brooklyn

Open Call (March 1–March 31, 2008) 
Evaluation (April 1–May 23, 2008)
Exhibition (June 27–August 10, 2008)

Click! is a photography exhibition that invites Brooklyn Museum’s visitors, the online community, and the general public to participate in the exhibition process. Taking its inspiration from the critically acclaimed book The Wisdom of Crowds, in which New Yorker business and financial columnist James Surowiecki asserts that a diverse crowd is often wiser at making decisions than expert individuals, Click! explores whether Surowiecki’s premise can be applied to the visual arts—is a diverse crowd just as “wise” at evaluating art as the trained experts? 

Click! is an exhibition in three consecutive parts. It begins with an open call—artists are asked to electronically submit a work of photography that responds to the exhibition’s theme, “Changing Faces of Brooklyn,” along with an artist statement.

After the conclusion of the open call, an online forum opens for audience evaluation of all submissions; as in other juried exhibitions, all works will be anonymous. As part of the evaluation, each visitor answers a series of questions about his/her knowledge of art and perceived expertise. 

Click! culminates in an exhibition at the Museum, where the artworks are installed according to their relative ranking from the juried process. Visitors will also be able to see how different groups within the crowd evaluated the same works of art. The results will be analyzed and discussed by experts in the fields of art, online communities, and crowd theory. 

The exhibition is organized by Shelley Bernstein, Manager of Information Systems, Brooklyn Museum.

Telephone: (718) 638-5000

Check website periodically for more details and updates beginning February 18th

The Photo Review Competition


FOR IMMEDIATE RELEASE Contact: Stephen Perloff


Julie Saul, owner of one of New York City’s most pretigious contemporary photography and art galleries, will be the juror for the 2008 Photo Review Photography Competition. The Photo Review, a highly acclaimed critical journal of photography, is sponsoring its 24th annual photography competition with a difference. Instead of only installing an exhibit that would be seen by a limited number of people, The Photo Review will reproduce accepted entries in its 2008 competition issue and on its website. Thus, the accepted photographs will be seen by thousands of people all across the world and entrants will have a tangible benefit from the competition.

Also, the prize-winning photographers will be chosen for an exhibition at the photography gallery of The University of the Arts, Philadelphia, and will be exhibited on The Photo Review’s website.

Because their work was seen in The Photo Review, past winners have been given one-person exhibitions, have had their work reproduced in other leading photography magazines, and have sold their work to collectors throughout the country.

Awards include a Microtek ArtixScan M1 Dual Media Scanner ($650), a copy of SilverFast HDR Studio digital camera RAW conversion software from LaserSoft Imaging ($499), a Lensbaby 3G Lens and Wide Angle / Telephoto kit ($359), camera bags from Lowepro ($200 and $100), a $250 gift certificate from Calumet Photographic, two $50 gift certificates from Sprint Systems, and $250 in cash prizes.

An entry fee of $30 for up to three prints, slides, or images on CD and $5 each for up to two additional images entitles all entrants to a copy of the catalogue. In addition, all entrants will be able to subscribe to The Photo Review for $35, a 20% discount.

All entries must be received by mail between May 1 and May 15, 2008.

For a prospectus and details, send a self-addressed, stamped business-size (#10) envelope to: The Photo Review, 140 East Richardson Avenue, Suite 301, Langhorne, PA 19047. The prospectus may also be downloaded from The Photo Review website, For further information call 215/891-0214.


Publishing since 1976, The Photo Review covers photography events throughout the country and serves as a central resource for photography in the Mid-Atlantic region. The quarterly journal, printed on coated paper with high quality reproduction, contains reviews, portfolios, interviews, book reviews, and news. The Photo Review has presented previously unpublished images by Duane Michals, Weegee, and Frederick Sommer, and catalogues for a James VanDerZee exhibition, a show of Lois Greenfield’s dynamic dance photographs, “Changing Visions of the American Landscape,” and a widely praised catalogue celebrating the centennial of Stieglitz’s Camera Work. Its writers include A.D. Coleman, Frank Day, Shelley Rice, Peter Hay Halpert, Barbara L. Michaels, Daile Kaplan, Jean Dykstra, and Mark Power. Subscriptions are $44 per year for the quarterly journal and the newsletter, issued eight times a year, which contains exhibition listings, exhibition opportunities from around the country and the world, and news.

The Photo Review 2008 International Photography Competition is sponsored by Microtek, Calumet Photographic, LaserSoft, Lensbabies, Lowepro, and Sprint Systems.

Urban Space Project

Here is an urban space photo exhibition that you can add your photos to:

This site is an interesting site for artists to check out.

WOOLOO.ORG provides opportunities for artists.

SIGNING UP for a free account provides you with:

a personal web site

viewing of your work
by curators

access to participatory

Here's the URL

Sunday, February 3, 2008


Assignments are due by 6:00 pm on Sunday night.

Saturday, February 2, 2008

Graciela Iturbide just because

No real relationship to Neighborhood Narratives, but a wonderful Mexican photographer and someone I know.

January 30, 2008 - May 5, 2008

Guest Curator: Nan Richardson

Americas Society
680 Park Avenue
New York, NY 10021
T: (212) 249 8950
F: (212) 249 5868

Bill T. Jones

Has anyone heard of the choreographer Bill T. Jones? Check him out!

Nextcity - Fri. Feb 8, 7:00 pm - New Museum

New Museum
235 Bowery
New York, NY 10002

Nextcity: The Art of the Possible
Part of New Silent

$8 General Public, $6 Members
General Public buy tickets here
Members buy tickets here

Rhizome's New Silent Series looks at the ways digital technologies have fundamentally altered our lives and experiences of urban space. Featured projects by Stamen Design, J. Meejin Yoon, and Christian Nold blur the boundaries between art, design and technological development. Moderated and introduced by Everyware author Adam Greenfield.

Emergent digital technologies are rapidly changing both the face of our cities and our daily experience of them, whether invoked in the production of architectural form, the representation of urban space, or our interface to the locative and other services newly available there. Dynamic maps update in real time; garments and spaces deform in response to environmental, biological and even psychological conditions. We find our very emotions made visible, public, and persistently retrievable. Somewhere along the way, we find our notions of public space, participation, and what it means to be urban undergoing the most profound sort of change.

Thursday, January 31, 2008

CPhoto Competition

The photo department has begun a collaboration with CPhoto which means one winning student essay will be published in the magazine on a regular basis. The cash prize is $600. The essay topic is "The Persuasive Image".

Sunday, January 27, 2008

Class Syllabus

Hi All, This is subject to change, but the changes will always be posted here!

Neighborhood Narratives
Spring 2008, New York University, NYC
Instructor: Hana Iverson

Overview 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, community mapping, environmental installations that incorporate technology, to name a few - that open up the process of authorship. Many of the art projects created in this space are dependent on physical movement and spatial behavior, which shifts the representational status that is classically applied to the screen/surface of artistic representation to space and embodiment.

How does photography engage with this space? How do we understand a larger framework for visual culture? With the urban landscape as both canvas and palette Neighborhood Narratives is an evolving out-of-the-classroom international locative media theory and production course that introduces students to the concept of situated storytelling - stories that are tied closely to the local environment, which can bring neighborhoods to life. In this course all types of media (analogue, digital, text, sound, image etc) are applied to real places in order to enagage in real social interaction. The class researches the relationship between the body and place, the reciprocal action between navigating the built environment and an awareness of our physical bodies.

Students design their own projects, using alternative methods to explore formerly known forms of photography and documentation, as well as narrative structure, to consider how they can be reinvented in a non-traditional fashion, combining with all different types of media. The final assignments are presented on location in the city. No prior technological expertise is required.

The course is divided into three themes:

Theme one: Place. The course begins with a close 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: Visual Culture. Traditional values of visual culture and how they are modified by new technologies. What is the relationship of the social information of the frame to the information data and electronic structure of the information. How has the visual relationship to the city been changed by the augmentation of technology in the landscape.

Theme three: Mixed Reality and mobility. We will look at current practices in locative media. We will discuss the relationship between the idea of ubiquitous, locative media and the site-specific project. We will examine the idea of globalization and ubiquitous technologies. What is the future?

Format The class is 3.45 hours long once a week.
The class will introduce methods of collecting data and artifacts, internet and field observation, mapping and scoring, "show and tell" and the examination of project presentations with rigorous discussion. Mobile city-wide exploration (public transportation, on foot) will include the presentation of the final project on location in the city. The class will also engage in peer dialogue and interdisciplinary teamwork, to extend the breadth of a project through collaboration. Students will keep semester long blogs including observations, photos, video and audio recordings (where equipment and resources allow) - a personal diary of the Neighborhood Narrative experience.

International Network
Under construction.

Internet Access All students are expected to have frequent, dependable access to the internet. It is essential that you have an active email account that you ACCESS FREQUENTLY, for email with faculty and with each other. IT IS ESSENTIAL THAT YOU CREATE AND ACTIVELY MAINTAIN A BLOG. If you have any difficulties with either Internet access, your email account or your blog, please see the instructor after the first class.

Technology requirements
You are required to have access to the internet and a working email account. You will also need some form of memory stick to save and transport your work. Access to a mobile phone and digital camera is recommended. If you have technology such as cameras, mobile phones, ipods, laptops or GPS devices it would be advantageous to bring these items to each class.

Readings The reading packets will be handed out in the first class. There may be a small fee (depending on cost of xeroxing).

Course costs
As expected with production courses, you may need to purchase supplies to produce your final project. Also, while it is not required, I would like to encourage you to use the communications features of your mobile phone: costs for voice calls and text messaging will depend on your phone plan.

Instructor Contact
The best way to reach me is by email. I am in New York once a week and am available to set up individual appointments, if requested.

Attendance and Lateness Policy
Attendance Policy: Attending the sessions outlined in the schedule is a requirement of this course. More than two unexcused absences without the instructors’ permission (medical certificate might be requested) will decrease the overall grade by one unit for each additional missed class. Five absences will result in a failing grade for the course. If you are going to be absent, please inform me by email at least 24 hours in advance. If you are absent, it is YOUR responsibility to contact another student who took notes on that day, and to make up any work in a timely fashion.

Lateness Policy: Three times arriving late will be considered as one unexcused absence. Being more than 10 minutes late will be counted as an absence. If you are late, it is your responsibility to let the teachers know when you come into class that you are here, and to make sure you have been marked as present.

Schedule of Classes and Assignments


Jan. 28 – Introduction: Sight, sound, place, time – an overview. What I carry with me. The bag exercise. The archeology of everyday life. Create your blog. Daniel Spoerri – An Anecdoted Topography of Chance. Introduction to space and place.
Assigned Reading: Of Other Spaces, Foucault.
Assignment: take photos in the city using mirrors or reflection

Feb. 4 - Theme one: Place. The material – architecture. Monuments and power.
Review Foucault.
Suggested Viewing: Pan’s Labyrinth
Assigned reading: from architecture book.
Assignment: How the image engages with architecture… Tell a “narrative” of physical places.

Feb. 11 Theme one: Place and Space. The fluid – walking, the situationists. proximity, distance. Walking alone, walking with someone, moving in a crowd. Talking and walking etc.
Weather permitting, part of class will be outside.
Review architecture
Assigned Reading: The Situationists
Assignment: Rearrange something/where in your life and document as two versions of a self-portrait.

Feb. 18 Presidents day – no class
Theme two: The visual city. Urban Planning and Mapping. Design, politics and economics. How-to GPS.
Review Situationists + assignments
Assigned Reading: Mapping the Homonculus, Critcial Vehicles 1.
Assignment: Maps

Feb. 25 Theme two: Public installation. Kystof Wodizcko and “Public Address”. Public memorials, counter-memorials.
Review Maps.
Assigned Reading: Critical Vehicles 2
Assignment: Put something here

March 3 Theme three: Mixed reality. Virtual vs. synthestic spaces. New neighborhoods where we don’t know our neighbors… Second Life, Facebook. Cell phone cameras. Data/tagging. Two layers of information in a photograph…social and meta. How do can photographs function in a mixed reality?
Assigned reading: Views from Above: Locative Narrative and the Landscape
Assignment: Cell phones exercises – overhearing, moblogging etc.

March 10 – Theme three: the geoweb. MilkProject. Let us now face Famous Men. The Housing Works Project and documentary photography. Google earth.
Assigned Reading: Connecting Creatures, from Me++.
Mid-term assignment: Photo + google earth/maps

March 17 Spring Recess

March 24 Mid-term Review
Review discussion
Outside – balance, chaos, signs

March 31 The sonic world: Sonic Interface, Janet Cardiff
Assignment: Following

April 7 Review Following. Begin discussion of final projects. More photo based examples, beginning research evaluations about visual values in the mobile arena.
Look at the Lower East Side in google maps. Glow Lab: One Block Radius.

April 14 – no David Field trip –Lower East Side, Tenement Museum and Chinatown. Artifact, labyrinth, layers, sound, connectivity, physical structures and physical navigation. Scale.

April 21 Final Project research assessment.

April 28 Final projects due. On-site presentations.

May 5 Class critique and wrap up.

Evaluation and Assessment

Research, attendance and participation 35%
In class assignments 30%
Final project 35%

Late assignments and exercises will not be tolerated. Failure to hand in an assignment by the due date and time will result in a zero grade for that assignment.

Research, attendance and participation
The International Assignment (if there is one in this semester), group work, communicating and sharing knowledge through discussions, posting to the class blog, in-class presentations, and overall student participation are an essential part of the process of understanding course material.

Readings and blog postings are mandatory.

Prior to each class you will be required to complete a short reading and make notes of relevant points to bring up in class discussion.

Blog postings
Each week you will be required to a) make one post to your NEIGHBORHOOD NARRATIVES blog and b) to comment on at least one other student’s blog. Your post can be on: 1) a locative media project and your reaction to it or 2) a new media technology and how it relates to former ideas about photography (e.g. Spellbinder) or 3) if applicable, one of the required assignments.

International assignment (maybe)
You will be assigned to an international team of students and asked to complete an exercise. Success of the assignment depends on your ability to negotiate and communicate with fellow team members who are based in different time zones and have varying electronic communication styles. Please keep in mind that working internationally can be incredibly rewarding, but has its frustrations: Solving frustrations is integral to the creative process!

Assignments and Final project
The remit for the final project is to create an urban, on-site, locative (cell phone, GPS, mapping, sensory altering) media art project that engages visual as well as embodied (spatial + body) ideas, and document the final project on your blog.

Assignments in first half of classes will provide you with the skills and knowledge required to realize your final project.