Locative Media Arts e Net Locality

Estetica dei nuovi mediaProf. Federica Timeto,

A.A. 2010-2011

• Geomedia (Tristan Thielmann, 2010)• Neogeografia (Di-Ann Eisnor, 2006)• Cartografia critica (Crampton, 2009)

Territori informazionali (André Lemos)

Networked mobility (Rowan Wilken)

Location based social network (LBSN) e Location Based Services (LBS)

• La consapevolezza del luogo come nuova affordance

• Gennaio 2010: Google inizia a integrare location data in tutte le ricerche. La ricerca diventa spazializzata

• Dic. 2009: Twitter si localizza (GeoChirp, TwitterMap, TwittARound)

• Marzo 2010: Facebook Places

NET LOCALITY (Eric Gordon + Adriana de Souza e Silva, 2011)

• Non entriamo più nel web perché il web ci circonda

• Dall’idea di virtualità a quella di mobilità• Passaggio dalla spazializzazione

dell’informazione sociale alla socializzazione dell’informazione spaziale: l’informazione geolocalizzata è sia il l’informazione geolocalizzata è sia il contenuto che il contesto dell’interazione contenuto che il contesto dell’interazione socialesociale

“La Net Locality non è il prodotto di specifiche tecnologie, ma emerge piuttosto

dal bisogno culturale di contestualizzare noi stessi all’interno di un crescente

ambito informativo […] La Net Locality implica un modo diverso di conoscere ed esperire lo spazio, non solo un diverso

strumento per visualizzarlo”(Gordon & Da Silva)

Software Art

Arte Concettuale

Land Art e

Earth Art

Body Art

Arte pubblica

Controcultura anni ‘60

Performance Art

Site-specific Art

Arti Locative

Tendenze principali delle arti locative

• Mapping esperienziale/emozionale:

grassroots, user editable maps, geoannotazioni, social authoring

• aspetti performativi: narrazioni mobili, giochi, pieces teatrali, film.

Obbiettivi principali (Hemment):

• documentazione• espressione

• collaborazione

From the spatial to the social (Russell)or the spatial as social?

Aspetti ambigui o deboliAspetti ambigui o deboli:• Enfasi su una corrispondenza puntuale

immagine/mondo• ricorso a una ‘scientificità’ che resta inesplorata • Idea riduttiva di spazialità come serie di

coordinate geografiche• Il contesto inteso solo come residuo• Approccio utopico: controllo dal basso• Approccio distopico: sorveglianza e controllo

dall’alto• Anche le arti locative devono essere

“posizionate” e legate a un’epistemologia situata (non lo sono automaticamente)

Proposte teorico-pratiche per le arti locative:

• Hemment: arti dislocative come eterotopie (vedi: Foucault)

• Anthony Townsend: bottom-up locative media• Incarnate, ma anche complici del sistema

(embedded, Hemment, 2004)• Attente ai contesti di produzione e ricezione• Le tecnologie locative usato come contenuti,

non solo come forme• Assunzione di una prospettiva orizzontale, dal

basso

Prime definizioni di locative media

• Karlis Kalnins (2003)• The Headmap Manifesto, Ben Russell (2001)http://tecfa.unige.ch/~nova/headmap-manifesto.PDF• The Transcultural Media Reader (2006) http://classicweb.archive.org/web/20060720212044/http://locative.net/tcmreader/index.php?intro;russell• Locative media bibliography, Drew Hemment et al.

(2007)http://leoalmanac.org/resources/biblio/locativemedia.html

I locative media sono molte cose: un luogo nuovo per vecchie discussioni sulla relazione della coscienza ai luoghi e ad altra

gente. Un riferimento entro cui connettersi attivamente, criticare e dare forma a un insieme di tecnologie in rapido sviluppo. Un

contesto in cui esplorare nuovi e vecchi modelli di comunicazione, comunità e scambio. Un nome per la forma

ambigua e in rapido sviluppo dell’infrastruttura della sorveglianza e del controllo (Ben Russell, 2004)

http://web.archive.org/web/20060720212044/http://locative.net/tcmreader/index.php?intro;russell

Mona Hatoum Roadworks (Performance-Still) 1985-1995

Tracce nel paesaggio

(percorsi sonori e ambientali)

Regina José GalindoQuien puede borrar las huellas (Who Can Remove the Traces?), performance, filmed still, 2003

Perché le arti locative eccedano la

precisione sterile del loro sistema assiomatico, è necessario che agiscano su o

attraverso i corpi materiali e le

sostanze, e che s’invischino

nell’ambiguità, nello sporco, nel sudore e

negli odori del mondo

Drew Hemment

http://www.youtube.com/watch?v=D46p71QdCTc

Teri Rueb, Trace, 1999

Place is a verb. Place making and the meaning of place, “placings”, unfold as a continuous dialogue between the physical and built environment and its inhabitants. Landscape is a special kind of “placing”. (T. Rueb)

http://www.terirueb.net

The biorama hike - 2007walking, talking and field science

Andy Graciehttp://www.hostprods.net/projects/

biorama-hike/

http://vimeo.com/24250620

Hertzian Ran, Mark Shepard, 2009-

Mappature

(di cose e persone, emozionali e politiche)

PROBOSCIS, Urban Tapestries, 2002-4http://urbantapestries.net/Sito originario http://research.urbantapestries.net/

The Serendipitor, Mark Shepard, 2010-11

http://www.v2.nl/lab/blog/serendipitor-transmediale-award/view

Marc Tuters, The Locative Utopia, TCM Reader, http://web.archive.org/web/20060716130032/locative.net/tcmreader

/index.php?endo;tuters

The MILK ModelThe MILK Model: a kind of X-Ray device into the black box of consumer society, that permits one the experience of peering under the organized surface of consumer society to reveal a Matrix-like web of interconnected decentered complexity. Esther Polak and Ieva Auzina, MILK, 2001

awared the Golden Nica new-media prize

Esther Polak and Ieva Auzina, MILK, 2001

Seeker video

SeekerSeeker, , Leon Cmielewski and JosephineStarrs, 2006.

Storicizzare il luogo al presente offre la possibilità di risimbolizzare il luogo in relazione al suo passato, e dunque a

politicizzare il presente (Zeffiro, 2006b). In qualsiasi senso, infondere un luogo di frammenti storici e mediati attraverso i locative media serve a sostanziare la

volatilità del’interfaccia.[ Barbara Crow, Michael Longford, Kim Sawchuk and Andrea Zeffiro, Voices from Beyond: Ephemeral Histories, Locative Media and the Volatile

Interface, 2008, p. 29]

Hypermobility and dematerialization are usually seen as mere functions of new technologies. This understanding erases the fact that it takes multiple material conditions to achieve this outcome. Once we recognize that the hypermobility of the instrument … had to be produced, we introduce non-digital variables in our analysis of the digital. Obversely, much of what happens in electronic space is deeply inflected by the cultures, the material practices, the imaginaries, that take place outside electronic space … Digital space is embedded in the larger societal, cultural, subjective, economic, imaginary structurations of lived experience and the systems within which we exist and operate. (Saskia Sassen,Towards a Sociology of Information Technology, 2002, 368-9)

Nancy Nisbet, ExchangeExchange, 2006

•Nisbet's personal belongings freely traded through Canada, the United States and Mexico in a commercial transport truck

•An extended cross-border performance confronting political issues of free trade

•A critique of the use of Radio Frequency Identification (RFID) surveillance and the risk of privacy infringement

•The blurring and multiplication of identity through exchange of personal belongings

Delocator, The Finishing School, 2005

Ricardo Dominguez/Brett Stalbaum/Micha CárdenasTransborder Immigrant Tool/Herramienta Transfronteriza para Inmigrantes

Awarded the Arts and Humanities Transborder Grant 2007-8, UCSD.

“The trans in transborder and transgender can signify a crossing, but also a hope and a bravery in crossing […] In a way this hope is always a hope for the unknown, for one can never know what the result of the crossing will be, a better life, a new body, death or life. “ Micha Cardenas The Transborder Immigrant Tool: Violence, Solidarity and Hope in Post-NAFTA Circuits of Bodies Electr(on)/ic 2009

On May 16th 2006, the CEO of Applied Digital and chairman of VeriChip Corporation, Scott Silverman, suggested on a Fox News television show, Fox & Friends First, the implantation of RFID chips into the arms of guest workers and immigrants in the US when he was invited to answer the anchors’ question: “Could implanting a microchip into guest workers coming into the US solve our illegal immigration problem?”

Chiapas, 513 clandestini

nascosti in due tir

[fonte Repubblica.it

18 maggio 2011]

Transborder Immigrant Tool, Transitionhttp://vimeo.com/6109723

Tansborder Immingrant Tool, Dublinershttp://vimeo.com/6108310

the map of global flows [is] a diagram of powerdiagram of power in the Deleuzian sense - "a cartography that is coextensive with the whole social field." (17) This notion of the diagram, which Deleuze developed from Foucault's work on the microphysics of power, does not simply designate a static grid, a preconceived template for the application of a unified force. Rather it describes a productive matrix, a dymaxion space: a dynamic field in which tensions are maximized at an almost infinite number of heterogeneous points. Each of these "points" - human beings, but also their material objects and inventions - is caught in singular and evolving evolving relationsrelations to others, relations of power which involve both constraint and freedom. From the interplay of these multiple relations, each with its own productive powers and its own margins of maneuvre, distinct patterns of overall functionality emerge and crystallize; they are codified within the deterministic social sciences (including the Marxist ones) as the stratified "laws" of what in reality is a contingent historical configurationcontingent historical configuration.

Brian Holmes: Flowmaps, The Imaginaries of Global Integration http://web.archive.org/web/20060622072156/locative.net/tcmreader/index.php?endo;holmes

Tales of things, Chris Speed, 2010

Performancese LBMG (Location Based Mobile

Games)

2001

Each runner was equipped with1 eTrex GPS tracker with custom serial connector1 iPaq handheld computer with PCMCIA expansion jacket1 PCMCIA 802.11b wireless LAN card with mini-antenna1 additional rechargeable battery pack1 PMR466 walkie talkie with voice activated headset1 digital camera with spare batteries

Can You see me Now?2001 Blast Theory

Interactive Telecommunications Graduate Program, NY, 2004

Blast Theory, locative movie, 2010 [premiered at Sundance festival]

http://www.youtube.com/watch?v=cD26y4ncDe4

Alyssa Wright, Cherry Blossom,2007

Street with a View, 3 maggio 2008, Robin Hewlett e Ben Kinsley, performance in tempo reale

e documentazione su Google Street View,http://www.streetwithaview.com/

Call Cutta in a Box, An Intercontinental Phone Play, (2008- originally conceived 2005)

Rimini Protokoll In collaboration with the Callcenter Descon Limited in Calcutta

Wearables

Christian Nold, Biomapping, 2004-

Gordan Savicic, Constraint City - The Pain of Everyday life

* Cfr. Stan Stenslie, The Walker

Paul Vanouse, The Security Bra, 1998

Sonali Sridhar,Address Necklacehttp://missmoun.com/index.php?/lab/address-necklace/

http://www.bushnell.com/products/gps/backtrack/

Norene Leddy, Aphrodite Project (2001-)http://www.sexygpsshoes.com/

Christian Croft, The Energy Harvesting Dérive, 2007

The Third Woman interactive Performance & film-game,Galapagos Arts venue in Dumbo Brooklyn New York, 8th May 2011

http://vimeo.com/23760027A Film~Game with QR Code Fashions, Directed by: Nina Yankowitz, Pia Tikka, Martin Rieser, Mauri Kaipainen, Margarete Jahrmann, Rasmus Vuori

http://leoalmanac.org/