Monthly Archives: May 2010

No File: Brown – an interactive locative experience

We will be presenting No File: Brown, an interactive locative experience, at the ELO.AI conference at Brown University in Providence, Rhode Island from May 3 to 6, 2010. Continue reading

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Another City for Another Life: the unforeseen games of the city of the future

ARGs, pervasive games, and location-based social games echo and reiterate a range of earlier experiments in ambient and locative art. Graffiti, sticker art, mail art, and other kinds of analog methods for creating distributed narratives paved the way for the kinds of practices that are today exploding in number and purpose thanks to ubiquitous computing and the real-time web. Lettrism and Situationism redefined urban space as a canvas for experimentation, play, and collaborative production. Continue reading

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“Regardless of how the digerati feel about Facebook, millions of average people are deeply wedded to…”

“Regardless of how the digerati feel about Facebook, millions of average people are deeply wedded to the site. They won’t leave because the cost/benefit ratio is still in their favor. But that doesn’t mean that they aren’t suffering because of decisions being made about them and for them. What’s at stake now is not whether or not Facebook will become passe, but whether or not Facebook will become evil. I think that we owe it to the users to challenge Facebook to live up to a higher standard, regardless of what we as individuals may gain or lose from their choices.”

danah boyd | apophenia » Quitting Facebook is pointless; challenging them to do better is not Continue reading

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“I had been preaching the Unix gospel of small tools, rapid prototyping and evolutionary programming…”

I had been preaching the Unix gospel of small tools, rapid prototyping and evolutionary programming for years. But I also believed there was a certain critical complexity above which a more centralized, a priori approach was required. I believed that the most important software (operating systems and really large tools like the Emacs programming editor) needed to be built like cathedrals, carefully crafted by individual wizards or small bands of mages working in splendid isolation, with no beta to be released before its time.

Linus Torvalds’s style of development—release early and often, delegate everything you can, be open to the point of promiscuity—came as a surprise. No quiet, reverent cathedral-building here—rather, the Linux community seemed to resemble a great babbling bazaar of differing agendas and approaches (aptly symbolized by the Linux archive sites, who’d take submissions from anyone) out of which a coherent and stable system could seemingly emerge only by a succession of miracles.

The Cathedral and the Bazaar Continue reading

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“Transdisciplinarity and the ability to extract from a range of theoretical and practical sources…”

“Transdisciplinarity and the ability to extract from a range of theoretical and practical sources underlines media archaeology’s nature as a method and discipline of changing academic times, when (again) disciplinary boundaries are shifting and media related topics span much beyond the strict confines of media as a cultural industry. As a traveling, wandering, and hopefully aberrant enterprise, media archaeology could work towards evaluating its own premises of knowledge both in a field of capitalist new media culture and in the discourses of media theory. Taking it in directions that force it to speak more about politics, affects, sensations, materiality, and embodiment, for example through actual art projects that are media archaeological, is one of the ways to proceed, I would say. As a traveling, nomad enterprise, it also has to be an orphaned one…”

CTheory.net Continue reading

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“In the multimodal landscape of communication, choice and therefore design become central issues. If…”

“In the multimodal landscape of communication, choice and therefore design become central issues. If I have a number of ways of expressing and shaping my message, then the questions that confront me are: which mode is best, most apt, for the content / meaning I wish to communicate? Which mode most appeals to the audience whom I intend to address? Which mode most corresponds to my own interest at this point in shaping the message for communication? Which medium is preferred by my audience? Or by me? How am I positioning myself if I choose this medium or this mode rather than those others?”

IIID Gunther Kress: Reading Images: Multimodality, Representation and New Media Continue reading

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