Revision as of 19:32, 29 April 2013

April 30

plans to de-install storefront show tomorrow

Locative media

wikipedia: locative technologies “includes a range of experimental uses of geo-technologies including location-based games, artistic critique of surveillance technologies, experiential mapping, and spatial annotation.”

-Ancestor: Hole in space [1]

-lineage/relationship with land art even though land art is embedded in the land, for most audience members, it remains abstract, since they will never experience it in person in that regard, work that is electronic, that uses mobile devices and geo-locative technologies is more embodied experientially, since it involves movement and presence on the part of the viewer to see/experience, even though it may not involve anything taking a physical form

- Locative media emerged over the last half decade as a response to the decorporealized, screen-based experience of net art, claiming the world beyond either gallery or computer screen as its territory.[2]

Audience is an important aspect of these forms and indeed all forms of public art, that we haven't given enough attention to

some defining characteristics of locative media: [3]

Jeremy Hight "The interesting thing (one of them) for me about locative media is how it is not simply categorized. It has a clear lineage back to the situationists, to land art and to happenings, but it also is one of the realizations of the desire of artists to move art out of the gallery space and into the physical world as an integrated work within the landscape. It also has branches that range from geo annotation (tagging and marking in physical space with markers,messages or traces that can be a closed or open system), geo caching (initialized as sort of gps led easter egg hunts), spatial narrative (”reading” of spaces by laying out either narrativized history or narratives set to the physical landmarks and locations as an integrated set of aesthetics and tools). It also is akin to augmented reality (and in some ways is to soon fuse them in new ways) in the sense that it is an integration of data scape and physical landscape for an immersive physical interface."

there is a debate about whether social is a necessary part of the form: "Locative media are systems of technologically mediated interpersonal and group communication. Such mobile wireless technologies provide the opportunity to augment traditional urban environments with information and communication spatial experiences, which can be accessed through mobile or desktop devices. The main characteristics of locative media are mobility, locativeness and multi-user support." [4]

Mapping is not a neutral process, rather a highly selective and subjective one, in which can be embedded various (invisible) ideological assumptions.

"One definition I could suggest: Locative Media are communication media tightly linked or related or “overlayed” onto physical locations; in other words they could be considered ICT systems which somehow relate digital information to physical space so as to support the storage and retrieval of information in relation to particular locations thus triggering real (but digitally enhanced) social activities and interactions in a physical, digital or hybrid environmental context. The term was coined by Karlis Kalnins (and maybe Marc Tuters and others participants too) in the context of a workshop hosted by RIXC, an electronic art and media center in Latvia during 2002. " -Ben Russel

Real space can be marked and demarcated invisibly. ”¦what was once the sole preserve of builders, architects and engineers falls into the hands of everyone: the ability to shape and organise the real world and the real space. Real borders, boundaries and space become plastic and maleable [sic], statehood becomes fragmented and global. Geography gets interesting. Cell phones become internet enabled and location aware, everything in the real world gets tracked, tagged, barcoded and mapped. Overlaying everything is a whole new invisible layer of annotation. Textual, visual and audible information is available as you get close, as context dictates, or when you ask. locative media's practitioners have claimed an avant-garde position, insisting that their work is capable of not only creating a paradigmatic shift in the art world, but also that it can reconfigure our everyday life as well by renewing our sense of place in the world. "

Aspect (DVD series): C5 project [5] C5 media player commentary: Christiane Paul data has become the mediating agent between humans and the landscape surrounding us the project creates analogies between different areas/countries for eg., it creates an analogous pattern between the great wall and CA terrain through pattern matching involves live performance “traversing the known in pursuit of the other “ Data Visualization has become an area of inquiry in arts viz is not art, but art can emerge in the questioning of the representational and aesthetic status of visualization, in the unveiling of the unexpected connections within data sets, or in the exploration of the contexts through which data is framed C5 asks people who travel and geo-cache their journeys and to recommend locations they have experienced as sublime Hennesey Youngman on the Sublime [6]

C5 situates their projects in the intersection of adventure sports, corporate culture, and art theory as product, research as art spaces in between the actual and the virtual realities how research and technology transform nature into computer aided nature how knowledge derived from research relates to and is influenced by the aesthetics of visualization

individual effort is deeply inscribed in the works 

raises questions about the contexts in which we create meaning, and about the status of art itself

locative media and online participatory culture [7]

Locative Arts, Drew Hemment [8] how technologies have changed our view of the world recommended: Stephen Kern, The Culture of Time and Space, 1880-1918

Christian Nold: bio mapping [9] From the perspective of the user roaming the city, it prizes open a space between the physical environment, networks and the body and offers a different way of encountering the city, where the low-cost, DIY aesthetic of the Biomapping device becomes more significant than theaccuracy of its representation of physiological data

-locative Narrative[10] creating social connections among players, , allowing for user input

locative works

• Beatriz Da Costa’s “Pigeon Blog” which empowers pigeons as pollution alert sentinels= canaries in the cage.
• Katherine Moriwaki’s Inside Outside handbag ( which changes pattern and color depending on the ambient sound and pollution levels).
• “Views from above” article in Leonardo Electronic Almanac Vol.14, Nr.7, 2006
• natalie jerimijenko [11]

-Projects that document production processes; documentary-like: [12] [13]

• Jeremy Wood, first locative narrative. [14]