The KDU is back online

After a long time in the making, The KDU is finally back online and bigger than ever. We now hold a collective website to showcase the very best of the KDU’s work in a well balanced, beautifully planned and direct way.

It’s been 5 long years put together in one place for you to see the highlights of what’s been going down in the KDU trenches. HOTTTTT STUFF!

We’ll also be having our own personal blogs soon so keep your eyes open for any new intel.

TRUST

DQ + Limité Magazine

Limité Magazine

As of today I am a contributing author to the fresh digital magazine/blog Limité Magazine.

In its own words, Limité is “… dedicated to capturing the echelon of modern world culture‹elevating the unique and inspiring in fashion, design, travel, the arts, and pure expression. Fueled by a desire to serve as the voice uniting cultures from around the globe, Limité celebrates diversity, creativity, and a passionate lifestyle for the modern man and woman.

Be sure to check it out!

Positions in flux: On the changing role of the artist and institution in the networked society (intro)

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The symposium ‘Positions in flux’ focused on some of the major parameters for the current and future development of contemporary art. In particular it aimed to reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating continue

slashTHREE vol 10

slashTHREE just released a brand new artpack with even greater contents than before.

A community that’s been slowly but surely gaining its place in the design world.

LaMalla.cl

Today, after a couple months of organizing, programming and designing, a brand new project of mine sees the light of day: LaMalla.cl

LaMalla (or TheGrid) is born as a simple blog between friends, a bit of a programming experiment, a place for us to showcase those who inspire us and should continue to inspire even more people.

The idea is fairly simple, a dynamic grid with customizable contents that fit your browser for best viewing of the content.

We’re of course a spanish-speaking website. But if you’d like to contribute to our project and think language should be no barrier, then hit us up at hello@lamalla.cl and we’ll see what we can do so you too can be part of the family.

Of course we’ve been running several tests these last few days, but there’s always a few loose ends. So if you happen to come across some dead end, please don’t hesitate to let us know at feedback@lamalla.cl.

Of course any comments, opinions, critics, etc, are always welcome.

Cheers!.

Tag ties affective spies, a critical approach on the social media of our times

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What happens when we are “tagging” , “posting” and “sharing” our experiences and opinions in platforms such as those of Facebook, YouTube, flickr or del.icio.us? Are we really connecting and interacting or are we also forming the content and the structure of the social web itself? continue

Magomed Dovjenko 2009 revamp

dovjenko09

Fresh homie Magomed Dovjenko (A.K.A. the drippy fella :D), just dropped a major site revamp with 37 fresh new works for a whole bunch of A-list clients.

Go show some love.

Big up my mayne.

Justin Maller 2009

maller-dc

Abstract render savvy / Depthcore’s father Justin Maller just popped out some hot freshness down at his site. Over 20 pieces for your eyes to get blown away.

Go show some love.

DQ x PSDTUTS+ / Interview

The good people at PSDTUTS+ just interviewed me asking me a bit about my creative background and my overall process in creating a few of my pieces.

Fun stuff to do. Big thank you goes out to Emil from PSDTUTS+ for the interview and of course everyone who’ve shown their support.

ART, PRICE AND VALUE – Contemporary Art and the Market (Part 1)

On a sunny afternoon in Florence i visited one of those exhibitions which lingers in your mind for days because of the questions and debates they set in motion inside your brain. The theme of the Art, Price and Value was selected a long time ago but given the current frenzy about the state of the art market it could not have been more timely nor thought-provoking. The exhibition, which closed a few days ago at the Strozzina cultural Center, explored how the economy has come to manipulate art production, affecting its every aspects.

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Bethan Huws, Untitled, 2006, alluminio, vetro, lettere in gomma e plastica, courtesy the artist

Contemporary art plays an increasingly prominent role in our culture, with some of its most visible figures reaching a status that can only be compared to the one of fashion designers, Hollywood actors and pop stars. Many people have come to associate contemporary art with tactics made of shock, awe and circus. The economic power of art is reflected in the spectacular prices obtained at international auctions, the increasing number of museums accused of ‘blockbusteritis‘, biennials becoming as necessary to the tiniest country as a local airport, festivals popping up everywhere (just how many media art festivals are there in The Netherlands exactly?), star-stud openings and mega-happenings.

The exhibition at the CCCS features the work of contemporary artists which throws light on the mechanisms of the international art system. The selection explores different points of view, ranging from complete conformity to the prevailing rules of the market, to irony and sarcasm and even to an “anti-market” stance, taken by those anxious to avoid the commercial aspects of the art market entirely.

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Dan Perjovschi

Dan Perjovschi whose work i’ve seen in almost every single European city i visited last year was invited to cover the walls on one of the exhibition rooms with some of his ‘site-specific and time-specific’ comic strip style drawings. Incisive and spot-on, the drawings sharply sum up current political, ethical or cultural issues. For the CCCS exhibition, the artist’s charcoal sketches comment on the paradoxes and absurdities of the contemporary art system.

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Dan Perjovschi, 2008. Image CCCS

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Dan Perjovschi, 2008

When engaging with the issue of art and money, it is impossible to ignore the two most successful money-milkers of the moment: Takashi Murakami and Damien Hirst. I’ll pass briefly over these two as i doubt they need much introduction.

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Takashi Murakami, Sphere Monogram (Black), 2003

Just like he did notoriously and controversially a few months ago at the Brooklyn Museum, Murakami exhibited the bags he designed for Louis Vuitton in the gallery (though there was no shop to sell the accessories this time.) Further blurring the frontiers one could make between fine art and commercial goods, he had a black canvas covered with the multicoloured letters L and V and other symbols associated with the famous monogram.

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A Lovely Day, 1997-1998. Courtesy private collection. photo © Damien Hirst. All rights reserved. DACS 2008

No one better than Damien Hirst has managed to reduce to tiniest bits of dust the romantic myth of the ‘artiste maudit’. While art experts were claiming that the party was over and that the art market would soon feel the effects of the global financial turmoil, Hirst was merrily enjoying a two-day auction at Sotheby’s where his works smashed top estimates and reached a total of $198 million. Some critiques are nevertheless predicting that the Hirst hype might soon deflate.

The Florence exhibition had two of his most iconic pieces: the first one is part of a long series of canvases and other objects featuring butterflies -metaphor for mortality, a theme that Hirst has explored widely- mounted on a glossy surface and manufactured by Hirst’ team of assistants. This type of art production can be traced back to the workshops of Renaissance artists such as Sandro Botticelli and to the factory of Andy Warhol with whom the British artist shares an acute understanding of the market mechanisms.

0aagreyperi.jpgGrey Periodic Table Door, 1997-1998 from The Pharmacy restaurant, London © Damien Hirst & Other Criteria

The second piece on show was a door which had been part of the entrance of the restaurant The Pharmacy which Damien Hirst co-owned in the late 1990s in London. When the place closed in 2003, its interior -from a sculpture of Hirst’s own DNA helix to rolls of wallpaper- was sold at auction at Sotheby’s. Every single object was sold for a multiple sum of the estimated auction price. Many of these items were not unique works of art, but industrially produced goods. The fact the they had been part of a project associated with the brand name of Damien Hirst turned these objects into highly coveted artefacts.

Hirst is one of The Young British Artists (YBAs). So is Michael Landy. Yet, they have adopted strikingly opposite strategies when it comes to money and art.

Back in 2001, Landy stunned the mainstream press with his performance/installation Break Down. The artist, dressed in blue boiler suit, systematically cataloged and pulverized all his belongings including his birth certificate, all his books and works of art, his car and driving license. Not even the most cherished souvenirs, from a childhood teddy bear to a sheepskin coat that belonged to his father, could escape the grinder.

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Michael Landy, Break Down, 2002, still from video documentary, 16.36 min

The video on show at CCCS documents the operation: in a vacant shop space located on the always shopping-busy Oxford Street in London every single item is placed on a conveyor belt and transported to its final destruction in a grinder.

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Michael Landy, Breakdown. Photo credit – Hugo Glendinning © Commissioned and produced by Artangel, 2001

The performance didn’t even have any commercial value: Landy refused to have the bags of rubbish left from the process sold or exhibited in any form. He made no money as a direct result of Break Down, and following it had no possessions at all. A BBC documentary followed the artist as he had to rebuild his material life.

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Breakdown. Photo credit – James Lingwood © Commissioned and produced by Artangel, 2001

The works puts a distressing human element onto the much-criticized but eagerly embraced consumer society. Should the objects ones owns be the sole factor that determine who an individual is? What happens to one’s identity when all theses objects have been annihilated?

To be continued…

Previously at CCCS-Strozzina: Emotional Systems, at the Strozzina in Florence, China China China China !!! Chinese contemporary art beyond the global market, Exploded Views – Remapping Firenze.

Objectified

By Gary Hustwit, the same man behind Helvetica: The Film, now comes Objectified, a documentary dedicated to our relationships with objects in everyday living, from the idea to the final product.

A must-see for any kind of designer at the very least.

The movie hasn’t been released yet. Any new information will of course be posted here.

The Infrastructural City – Networked Ecologies in Los Angeles

0aainfrastructurueuuei.jpgThe Infrastructural City – Networked Ecologies in Los Angeles, edited by Kazys Varnelis (Amazon UK and USA.)

Publisher Actar says: Once the greatest American example of a modern city served by infrastructure, Los Angeles is now in perpetual crisis. Infrastructure has ceased to support its urban plans, subordinating architecture to its own purposes. This out-of-control but networked world is increasingly organized by flows of objects and information. Static structures avoid being superfluous by joining this system as temporary containers for people, objects, and capital. This provocative collection of photography, essays, and maps looks at infrastructure as a way of mapping our place in the city and affecting change through architecture.

I was waiting eagerly for The Infrastructural City – Networked Ecologies in Los Angeles. 3 reasons for that.

Number one, is Blue Monday: Stories of Absurd Realities and Natural Philosophies, Varnelis’ previous book which he co-authored with Robert Sumrell. Anyone who had that one in their hands will get my point.

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Lane Barden, Fifty-Two Miles Downstream: An Aerial Survey of the Los Angeles River and Channel

Reason number 2 is Los Angeles, the one city on this planet i should be averse to. The first time i was there i saw creatures that freaked me out: Chupa-Chup ladies -heavy and round on top, super slim on the rest of the body- and all sort of people walking around with some rather stunning attributes that had been recently implanted. I could not accept that no one ever ‘walks around the city center’ to do some shopping, have a drink and sit down in a park. And where was the city center anyway? I realized i would never survive in L.A. without a driving license. The skyscrapers were tiny Lego structures thrown in a heap by the highway. And the river. Even that poor repudiated and alien river looked fake! I should never have liked LA. I tend to measure every city to a European one. I manage that tour de force almost everywhere but in LA the attempt is more preposterous than ever. That’s what charmed me so much. That and many other things. Los Angeles is the only city in the USA where i would be tempted to live.

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From the series Los Angeles parking booths by Mac Kane

Let’s get to reason number 3. The Infrastructural City will drive you way beyond Los Angeles. The idiosyncrasies, stories and lessons described are thought-provoking enough to make you look at your own city with a more inquisitive eye. In this book, Los Angeles is little more than a (fascinating) case study, a pretext to explore the effects that today’s complex and distorted infrastructures, whether planned by public entities or developed by private and competing corporations, have on contemporary urbanism.

As Varnelis writes: Our goal was not modest: we set out to replace Reyner Banham‘s Los Angeles. The Architecture of Four Ecologies (1971) as the key text for understanding the city urbanistically. Instead of four ecologies, The Infrastructural City offers essays commissioned to researchers who bring the discourse on urbanism outside of its usual and sometimes way too formal boundaries. These essays cover the three scales of networks: landscape, urban fabric and the object.

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In one of the essays of the book, David Fletcher invites us to ’embrace freakology rather than bucology’. The advice could apply to many aspects of the Los Angeles. Its river, for example. Instead of following blindly the assumption that it is an eye-sore and a disgrace whose dignity would only be recovered when the concrete is removed and its native vegetation and wildlife reimposed, one should be aware of the fact that coming back to the ‘natural’ state could only be done at the cost of anihilating a complex ecosystem made of exotic and native species that has slowly found its equilibrium over decades.

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Image from the project Not A Cornfield

This hotchpotch of imported and original flora can be observed all over L.A. making it one of the most bio-diverse areas in the world. Most of us however, tend to reduce Los Angeles to its ubiquitous and iconic palm tree, a tree that is actually not a native species either. Most of them were planted to beautify the city for the 1932 Olympics, at a time when a city built around cars felt that it might have to re-invent its landscape. The average lifespan of the palm tree is 70 to 100. Its days under the California sun are numbered. And it doesn’t seem that the city is going to waste much tears on them as no palm tree has been invited to the Million Trees party.

Hopefully this will mean that the new breed of palm tree that double as cell antenna is going to loose some popularity as well:

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Cell phone antenna camouflaged into fake tree

If trees of all sorts and a river are to be expected in a section dedicated to the landscape of L.A., lowly gravel is not. Neither is oil. Well, not in the way Frank Ruchala (don’t miss another of his essays, Recovering oiLA, you can access it on Lulu) pictures it: an actor which used to supply as much of the US’ oil demand as Saudi Arabia, an asset whose value nowadays has to compete (most often than not unsuccessfully) with real estate. Los Angeles contains one of the most intense concentration of pipelines in the world yet, the presence of the precious resource is often camouflaged behind mundane facades. As we all know now, the Industry with a big I in Los Angeles is no longer the one that earned it the nickname of ‘Oildorado.’

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Postcard view (ca. 1900) of oil rigs in a booming giant oil field in the Los Angeles area. © Peter A. Scholle, 1999

The rest of the book explores what is below that patch of pavement, inside the backyard garden of an unassuming house or what goes though monster warehouses. Each chapter is written by a different expert but the many photographies, graphics and a certain spirit enable the book to find its own voice.

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Photograph by Ric Francis/Associated Press (via)

As i mentioned above most of the infrastructures analyzed in the book provide food for thought wherever you happen to live.

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Cables overhead. Image Xeni Jardin, One Wilshire flickr set

One Wilshire, the unassuming container of the U.S. telephone and data connections reaching across the Pacific evokes the very tangible spin-offs of information society. The analysis of Los Angeles & Long Beach’s ports, both major dispatchers of an unprecedented rise in the volume of goods from the Far East to the city and to the rest of the country, speaks to our seemingly unstoppable gluttony. I found some of the most illuminating comments in Roger Sherman‘s essay about change-based thinking, a position that invites architects and urbanists to envision their work under a different lens, one that would ‘sett a trap’ to capture potential change that inevitably occur in the lifespan of a city.

Image on the homepage from Lane Barden‘s series Fifty-Two Miles Downstream: An Aerial Survey of the Los Angeles River and Channel.

Xtrabold updates and turns a year older

Nelson Balaban Jr.

Xtra-talented, xtra-young, xtra-humble, xtra-friendly homie Nelson Balaban Jr. (A.K.A. Xtrabold) has turned 19 years old today and to celebrate he drops in his all new portfolio with killer killer work as always.

Only 19 and already killing it. Amazing. Who knows what he’ll be doing in 5 or 10 years!.

Congrats homie!. Big up!.

Juan Freire – From the Analogue Commons to the New Hybrid Public Spaces

Back in November i was at Medialab Prado in Madrid to visit the Visualizar workshop and i had the pleasure to hear the talk that Juan Freire gave there. I was really looking forward to know better about the thoughts of someone whose keen observation on open knowledge, digital culture and everyware’d city i was following with interest for some time. Juan Freire is one of the very very few people who keep track of what is written in the field of ubiquitous computing, free software and technology but who would also hang around with media art curators and mingle with the hackers and the urbanists. And his everyday job doesn’t have much to do with all of the above. He has a PhD in Biology, he is Associate Professor and Coordinator research group at University of Corunna. As a leader of the research group in Marine Resources and Fisheries, he was involved in several R+D projects. He collaborates with businesses, public organizations and NGOs in topics related to sustainability and environmental management. He is CEO of Fismare, an environmental consulting firm. There’s more but i’m starting to be convinced that there are hyper-active clones of Freire all over Spain.

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Exterior of Medialab Prado

His blogs are in spanish: there’s Piel digital (Digital skin), nomada and Ciudades enredadas (Networked cities). And obviously his talk was in spanish as well but i found it so inspiring that i’ve dutifully spent a few hours translating it. I hope you will enjoy reading it as much as we all enjoyed listening to it in Madrid.

That November evening in Madrid, Juan Freire shared with us his thoughts about public space, whether it is obsolescent or necessary, what is the meaning of the expression in the 21st century, and what could happen should public space as we know it disappear.

The video of his presentation is online and in spanish, and so are the slides of Juan’s talk. But the excerpt of his talk is here (and in english).

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The issues he made us reflect upon that evening were:

1. What are the commons?, What is the pro-common?
2. Do public spaces suffer from a Tragedy of the Commons or from a Tragedy of the Anti-Commons?
3. Post-modern public space
4. Do public spaces still exist?
5. The hybrid public spaces of the net society
6. The future of hyperlocal networks
7. The hidden face of the hybrid public spaces.

Freire started with a tour of what the term Commons means today. The term sounds rather old-fashioned and probably most people wouldn’t feel comfortable defining it today. It’s something that comes right from Medieval Times but do the Commons still play a role in our life today? Is it limited to natural resources? Couldn’t internet be also part of the Commons? And digital knowledge? Public Spaces? What happens when we put side by side a series of elements which seem to be distinct but are getting increasingly connected such as internet, knowledge and public spaces? Juan Freire’s talk tried to explore some of those issues and bring a few answers.

What will the future bring? There are two scenarios, two alternatives of a possible future. Each of these scenarios will be more or less viable depending on many circumstances, one of them being the way we regard our role as citizens:

– we behave passively and accept the future as it comes.
– we decide that we can take an active role and grab the opportunity to participate to the shaping of our future.

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Photo WWF

Besides the Commons, exists another key concept: the Tragedy of the commons. The concept was born in the context of natural resources. Years ago, you could fish many big species in the sea. Today, we have to face an over-exploitation of the resources of sea. Many people have explained that the problem lays in the fact that these resources are for everyone to use. That’s the Tragedy of the Commons. The expression was coined by a biologist whose work had a big impact on sociologists and economists (while biologists have just started now to discover his thoughts).

0aagarethardin.jpgSome 40 years ago, Professor Garrett Hardin described the Tragedy of the commons using the hypothetical example of sheep in Scotland in the 19th century. Local herders share a pasture. The wool and meat from their sheep is selling well, they wish to increase their herd size and maximize their yield. More animals means more profit but each additional animal further degrades the pasture which is bad for all herders using the same pasture. However, the rational choice of an individual is selfish and stimulated by short-term gains, they won’t let themselves be worried by what is best for the whole herder community and their behaviour will eventually lead to the destruction of the resources on which they all depend.

The solution Hardin proposes to the drama of open access is to impose an external governing structure to manage the fields. What started with a few sheep in Scotland had a big impact on our vision of the world and on the way to manage the commons.

The story doesn’t stop there, the government having shown his lack of competence to manage the commons, the ideal solution would involve privatization of the Commons.

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Cement-lined canal and cross-flow system in the Chiregad irrigation system in Nepal (image)

Fortunately, some people saw the glitches in Hardin’s stark statements and they started to analyze other systems. The case study of a farmer-managed irrigation system in Nepal proves the unreliability of Hardin’s view. Farmer-constructed canal which seem rather simple and primitive were actually much more efficient that the ones built for efficiency with a greater expense of money by the Nepal government. The traditional ones irrigated more crops than the newly constructed, government-owned ones. The infrastructure was old-fashioned but they were better managed. The problem didn’t lay in the engineering but in the way the canals were managed. The new infrastructure that came with government ownership had the effect of destroying the traditional rules established over generations to manage common resources.

The Nepal example and many other have shown that the Commons can also be managed efficiently using methods which do not have to involve privatization or government-ownership of the resources.

An excess of regulations actually leads to another tragedy, the Tragedy of the Anticommons. The term was coined in 1998 by Michael Heller, a professor at Columbia Law School. In his papers Can Patents Deter Innovation? The Anticommons in Biomedical Research and Do Formal Intellectual Property Rights Hinder the Free Flow of Scientific Knowledge? An Empirical Test of the Anti-Commons Hypothesis, Heller argued that patents are an obstacle to innovation and sharing of knowledge in science. Biomedical research is one of the key areas where competing patent rights could prevent useful and affordable products from reaching the marketplace.

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Image BBC news

Heller also observed public spaces as his paper The Tragedy of the Anticommons: Property in the Transition from Marx to Markets demonstrates. His essay wonders why many storefronts in Moscow are empty, while street kiosks are full of goods? Heller observed that in post-Communism Moscow there were a lot of open air kiosks, but also a lot of empty stores. He concluded that in the transition from Marxism to capitalism, those commercial spaces had been over-regulated making it difficult for a startup retailer to successfully negotiate for the use of that space.

Lawrence Lessig mentioned and commented on Heller’s paper and even transfered the discussion about the commons from biomedicine and public space to internet and knowledge. The concepts of Commons and Anticommons are thus far from obsolete and internet has revived their relevance.

What happens to today’s public space? Do they suffer from a tragedy of the Commons or of the anticommons? Are we over-exploiting them or are they paralyzed by an excess of regulations? Have good old public spaces stopped to be useful and functional, do they still bring an added value to the life of citizens?

We often wonder why people attend a particular space rather than another one and how they use that space. Public spaces are often designed from top down with little attention on how citizens will eventually use them which will obviously lead to yet another example of the tragedy of the anticommons.

The first image Juan Freire used to illustrate his point was made by Nicolas Nova in Amsterdam. It shows a street that “defends itself” with elements that prevent people from using the street. This is a case of anticommons.

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Photo Nicolas Nova who has more images and thoughts

On the picture below, congested traffic in the streets of Bangkok. This looks like an example of the Tragedy of the Commons. The excessive use of a road that everyone is free to ride makes the road useless, annihilates the public space.

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Image source

The problem is that we haven’t progressed much since the 19th century, which is when an article published in the magazine of the Franklin Institute showed up. Titled On the Best Arrangement of City Streets, the publication(image) gave an example of excessive planning which forgets the role and needs of the citizen. A drawing and two pages of text describe a mathematical formula, an urban science, that ensures the “right” agency of the streets. Such magical formula can lead to an under-used public space. Unfortunately, on a certain number of aspects, we haven’t found a method that improves the 1877 drawing.

There’s another problem:

Can the ineffectiveness of the “analogical” public space, which we can also call the analogical procommon, be explained by privatization? Many people complain that public space is useful and well designed but because there is a Wal-mart or a Carrefour in the neighbourhoud, we desert public spaces and go to Carrefour (or Wall-mart). Freire believes that that vision needs to be nuanced. Such vision is the one of someone who looks for someone else to blame, does not assume any responsibility and does not even try to solve the problem.

Why is that so? Despite the fact that we live in a capitalist system, there are antagonistic concepts of capitalism but there are also models of capitalism which, although they are very antagonistic, coexist in the same space: the oligarchic model, the State model, the bureaucratic model. They don’t really follow the rules of the market. There’s a whole structure that prevents the market economy to function properly or that allows it to function only for a few entities.

But there is now another form of understanding the market and it’s brought to us by internet. “Markets are conversations.” The market here is seen as a deliberate form of aggregation of information, debate, decision making, deliberation between individuals. This is of course an ideal vision of how the market should function and it takes life when a series of barriers of access disappear or when a system enables information to flow freely and be accessed by everyone.

See Good Capitalism, Bad Capitalism, and the Economics of Growth and Prosperity, by William J. Baumol, Robert E. Litan, and Carl J. Schramm.

The solution is not only to eliminate “bad” capitalism but the alternative is “good” capitalism, the one that envisions market as a conversation. That’s where internet plays a key role, it eliminates those barriers and when it functions properly, it enables this idea of perfect markets with information that goes both way. This model is hypothetical but we are getting closer to it.

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The public spaces we inherited from the 19th century can be called modernist. They were designed from top down, by an elite that cared for the wellbeing of the citizens yet, they have failed under several points of view. Those public space have given way in the 20th century to what we can call the Post-Modernist Public Spaces (even if the expression is questionable). They emerge as an answer to the obsolescence of the previous ones. If people are not going to the public spaces anymore, new -and this time private- opportunities are created for them: the shopping malls, the perfect example of post-modernist public space.

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Las Vegas

Many people believe that cathedrals have been substituted by shopping malls. For many they are only simulacra of the city. The acme of this idea is Las Vegas. A project of creating a new Las Vegas in Los Monegros (Aragón, SP) could turn out to be an interesting experiment. The shopping mall is the mirror of the society of spectacle. Shopping malls are the new public spaces but not all evil comes from them: in many cases we use them because we don’t have alternative or because they represent the best alternative at our disposal. Private initiative, in some cases, has managed to provide us with what public spaces designed by the State have not offered us.

The next question is therefore: How can we take back those old public space and update them? What is left of them?

Berkley University urbanist Christopher Alexander has written: For centuries, the street provided city dwellers with usable public space right outside their houses. Now, in a number of subtle ways, the modern city has made streets which are for “going through,” not for “staying in.

0aanonspacess.jpgThe traditional public space, made of squares and streets, have become what anthropologist Marc Augé calls the “Non-Places”. Rem Koolhaas goes further by christening them as Junkspace. In the post-modern vision, we move from private space we have to pay for and, as they are often located outside city centers, we have to drive through junkspace, non-places, spaces which have no immediate utility. The problem in the scenario is that interaction seem to have vanished. Social networks have shrunk to our own family circle or to shopping malls. A huge part of social interaction is missing. Are we ready to loose it? If we translate the scenario to the internet we have to imagine an internet where we can only find a commercial space and all the rest will just be junkspace.

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Image by Tony de Marco

To put the finishing touch to the panorama we cannot leave aside the issue of publicity. The spaces between the private spaces we shop to, those junkspaces, are getting filled with advertisement. The vision about publicity is usually very critical and negative. When the Mayor of Sao Paulo in Brazil decided to eradicate any kind of advertisement in the city, his move has been welcome with not only wonder but also praise. Sao Paulo is the third city in the world. It counts almost 11 million inhabitants. Citizens, foreign observers, the press applauded the measure. Those who live from the revenues of publicity were less enthusiastic about it. But to which extent isn’t publicity part of our genome, of our ADN today? If you look at photos and videos of Sao Paulo without its billboards and advertising posters you get a slightly deshumanized vision. The structures that supported advertising are still there but they are empty, switched off. The buildings do not seem to be complete anymore. It seems that a crucial part of the city has been lost in the process. Maybe this effect is only transitory.

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Image Tony de Marco

The following question is:

To what extent can we say that publicity is not part of our public space? And of ourselves?

The answer is not clear of course.

Do public spaces still exist? Or are we left with only post-modernist spaces, connected between themselves by non-spaces or junkspaces?

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Image city of sound

Freire illustrated the point by making an exercise of inverse engineering. The case study is the APEC (Asia-Pacific Economic Cooperation) Summit which took place last year in Sydney. It shows clearly what remains of a city when access to all public spaces is prohibited. All the security measures were taken to ensure that the event, the most impressive gathering of Heads of State the city had ever witnessed, would unfold without any glitch. Two blogs such as Subtopia (Fenceland and Subverting “Military IKEA”) and City of Sound (The Anti-Fun Palace: APEC Fence, Sydney lockdown) documented and analyzed quite shrewdly what happened in a city where access to public space was negated to its inhabitants, where extreme measures of security bring a whole city to a standstill with, for example, a 5km fence surrounding the Opera House area and Google Earth/Maps images of the area (and others) being blanked out or blurred. Important zones of public use where most of the city life was usually concentrated were militarized, closed down or saw their access strictly restricted.

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Image city of sound

Streets, bike lanes, jogging tracks were closed, spaces where people would go to meet and chat were unaccessible. Fences had taken over the city. What is interesting is what you cannot see in the pictures collected by the bloggers: a way of living in the city being destroyed. When the public space and even the junkspace are eliminated from urban life, the city changes radically. Although we tend to be very critical of the way public space is deteriorating, is becoming useless, etc. reality is that public space is still a fundamental part of the city and not only as place of transit from one shopping mall to our house. By making this forced exercise of inverse engineering, we discover the value of places and things we have stopped to pay attention to.

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Image subtopia

What is a public space? It depends on the capacity of auto-organization but also on market and community management

Public space depends on the capacity of auto-organization that we have. We must see further the concept of public space designed by the government for the citizen. The space cannot really be public if it doesn’t come with a certain capacity of self-management. Public spaces are hybrid, they combine market with community processes. The Common is much more sophisticated than we might think.

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Image Google earth Burning Man

A fascinating exploration of public space is Burning Man. An outsider who attended the Fallas in Spain compared them with the Nevada-based festival. The former is organized by the State. Just after the party, the streets are filthy, there are traces of chaos all over the city. Burning Man instead is built and de-constructed by the community of participants without any top down supervision. After the party, the desert is left to its pristine state. No trash is left, the space is clean. The process is totally self-organized. The Burning Man community is able to create a public space which is not only dynamic but also ordered.

Burning Man is a public space that lives at the margins of Hardin’s theories.
Burning Man Time Lapse video

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Image polar inertia

Another example is Quartzsite (Arizona) which functioning and dynamics have been described in Kazys Varnelis and Robert Sumrell’s book Blue Monday: Stories of Absurd Realities and Natural Philosophies (i’ll join Juan Freire in his enthusiasm about the book, it’s a gem.)

Quartzsite is a desert town of some 3,000 people that every Winter swells to over a million residents (making it the 15th-largest city in the USA) as a horde of modern nomads descends upon it in their motorhome. With very little planning, they create a city which works perfectly, it has its own dynamics, its own market (unlike Burning Man, there is a money-based economy), exchanges of goods and services, etc. It is spontaneous, yet very efficient.

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Image polar inertia

As Freire added, this is not the future of our cities but, making once again some exercises in reverse engineering, there are a few lessons that can be learnt from the Quartzsite experience. People as a group have far more intelligence than most would suspect. Sumrell and Varnelis call it ‘swarm intelligence’ – a human version of the behaviour often seen in ant colonies and the like.

Juan Freire then illustrated how hybrid a public space can be by showing us the main square of his city, A Coruña (Spain)

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Public space functions quite well, it’s a very active area of the city. The secret to its success is the mix of private, community and public initiatives which take place on the Square. To be lively a square needs bars and there are plenty of bars here. There is also some space for people to self-organize and develop freely their own activities in a way that neither a bar nor a shopping mall can provide. The other requirement is some entity to think and design the whole experience and to create some urban furniture and other elements susceptible to foster all those activities.

Internet is the element missing from today’s equation. We cannot leave the internet aside anymore when we discuss public space. We live in a networked society. Many people say that we live both a physical life and a virtual life but Freire thinks that these two realities are getting more intertwined every day.

The networked society opens a new Commons. People don’t call it this way but the digital element is nevertheless essential. Internet was designed to be free and the knowledge that comes with it should be free as well. Although there is a huge amount of effort from above (copy right) to prevent knowledge from being free, it is nevertheless freeing itself.

We should see beyond the modernist vision of a traditional, well-planned public space. Today we are living a reality which is quite complex, hybrid and multi-faceted. Freire calls it an hyper-reality (in the “hyper-link” sense). Our public space today is hybrid in two ways:
– its environment is both physical and virtual,
– its management which is public, private and community-based at the same time.

Freire believes that we can achieve this hyper-reality through a re-appropriation of public space. 4 key elements will help us get there:

1. free knowledge,

2. free electro-magnetic space,

3. a post-spectacular architecture,

4. a digital skin layered over tarmac and concrete.

A few words about Free Knowledge, starting with a quote from Stephen Downes: The greatest non-technical issue is the mindset. We have to view information as a flow rather than as a thing. Online learning is a flow. It’s like electricity or water. It’s there, it’s available and it flows. It’s not stuff you collect….

Many people are horrified by the fact that knowledge flows continuously. They wouldn’t have any qualms about electricity flowing around us freely but they find the idea of a never stopping flow of information highly disturbing. They would like to be able to control it, to store it on the shelves of a library. But that’s a lost battle because information is going to increase more and more every day. An you know what? That’s a good thing. Especially if we manage to become curators of information. “We”, the users, not the so-called experts. We must become “digital chefs” and cook delicious dishes of information. The ingredients are out there on the web, the kitchen is packed with instruments which are free, or very cheap even when they come from some private or commercial initiative like Yahoo! or Google.

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Reclaim the Spectrum

The second element we need is what Jose Luis de Vicente calls the “free spectrum“, we need to reclaim the use of the electromagnetic space. We need these electromagnetic infrastructures, no matter how intangible they are. As JL de Vicente wrote: “The radio spectrum – the electromagnetic space through which radio and TV broadcasts, mobile phone and GPS signals and WiFi networks circulate – is the real estate of the information society.” We can’t guarantee the freedom of information if we can’t control the structure that gives us access to it.

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Reina Sofia Museum Extension, Madrid. Photo: Philippe Ruault (via arkhitekton)

Thirdly, we need those architects whom Freire calls the “post-spectacular architects”. Sure, we like the architects of the “spectacular”, we like Frank Gehry’s Guggenheim, Moneo’s addition to the Prado, Jean Nouvel’s extension of the Reina Sofia, etc. But these spaces have not been designed for physical nor digital interaction. We need architects who think from the perspective of the people who will “use” the spaces, not just the tourists. But how should we design with a perspective of participation? The focus should be less on the aesthetics and more on the efficiency and on the functionality (what are we building for?) These ideas won’t lead to an anti-aesthetics but to a new form of aesthetics. This aesthetics will not only be better suited to our requirements but it will also start adopting something of the open source philosophy, by sharing designs, methods, etc.

Besides, this architecture will be cheaper and faster. The main problem is that cities change very slowly. We live in the same Madrid as centuries ago, even if society is not the same as centuries ago. Physical changes are way slower than intangible changes. We’ll never manage to keep pace with society’s changes but we can do something about it.

Freire gave a few examples of the kind of projects that he would like to see bloom over the cities, adding that some of them start to get out of the “workshops ghetto” and appear in glossy magazines:

Ecoboulevard of Vallecas near Madrid, designed by [ecosistema urbano]. Fast architecture that solves several problems while proposing an innovative and appealing aesthetics.

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Ecoboulevard

Santiago Cirugeda‘s Recetas Urbanas (Urban Prescriptions). Cirugeda hacks the legal code. Because his home town would not authorize him to build a playground, Santiago Cirugeda obtained a dumpster permit and installed a playground that looked like a dumpster. He also built and occupied a rooftop crane that passersby believed was there only to move building materials. There used to be a video on you tube where the architect used Playmobil toys to demonstrate how to build a temporary flat in your rooftop. The solutions Cirugeda proposes are cheap, fast, accessible to everyone and the key ingredient is to find out the gaps in administrative structure and official procedures, to intervene where the law falls short.

Is Cirugeda doing art, architecture or activism? Probably the three of them but does it really matter?

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Inside Cirugeda’s insect house

Vicente Guallart whose work is more often found in museums than in the streets, probably because his vision is still too futuristic. His Sociopolis project is a neighbourhood designed with a mind set on efficiency, functionality, digital networks,

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Sociopolis

– Jose Perez de Lama, a member of the Sevilla-based collective hackitectura, believes that we need to build layers of digital information over physical spaces. Architecture, in its traditional definition, is relevant but not central. The space is built using mostly intangible elements: electronic flux, interfaces, audio, projections, words, bodies, landscapes, etc. We need to combine the tectonic with the electronic.

Hackitectura has illustrated their concepts with a series of interventions in public space. The most famous of which being the wikiplaza project in Sevilla which regards public space as multi-layered: there are bars, grass, cements and tarmac but there’s also the digital space.

Finally a bit of futuristic speculation. Future is in the hyperlocal networks. Paradoxically, internet has allowed us to be globally connected but it doesn’t help us enough when we want to be connected with what is in our own neighbourhood. That’s mobile telephony that we use (intensely) for local connections. The development of hyperlocal networks is a big opportunity, a double opportunity: both from the commercial and the citizen point of view.

Last July, Bruce Sterling wrote an inspiring article, Dispatches From the Hyperlocal Future. A protagonist narrates his life in 2017 and how he moves in those hyperlocal networks.

In the 20th century appeared the Situationists. Among their ideas was the Dérive, an invitation to use the city in a new way. The Situationists failed in their attempt to radically change the world but they manage to predict what the future would bring. We use more and more the city like they said we ought to. This concept of the city as a space for exploration is getting more and more appealing.

The hyperlocal networks are made of elements which are already existing around us but they still have to be connected one to another. However, every day new initiatives appear that tell us that the situation is about to change. Here’s a rapid list of projects which Freire find as thought-provoking as inspiring. They might seem to be disconnected but if you put them together in a broader picture, you’ll see glimpses of a new reality emerge.

– hyperlinks with physical space, like google maps.

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Aram Bartholl‘s project The Map

– the concept of ubiquitous computing which highlight the upcoming urbanism 2.0, cf. Adam Greenfield‘s essay Everyware.

– mobile internet, ubiquitous connectivity (ex. urban tapestries).

– the internet of things, of objects, what Bruce Sterling defined Spimes back in 2004. More in his book Shaping Things.

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Image Bruce Sterling

– new initiatives like Semapedia to hyperlink the whole world.

– new possibilities to visualize people and the flux of information in urban space. One of the most famous example is Real Time Rome, the MIT SENSEable City Lab‘s contribution to the 2006 Venice Architecture Biennale.

– collaborative cartography. Geographical information is still private and is often submitted to copyrights. People can view the database but they are not allowed to take the data and use them as they wish. Fortunately some initiative are attempting to put an end to the geo-monopoly. E.g. the open and collaborative OpenStreetMap.

– the mash-ups which use google tools to propose more personal visions of space. Besides, these mashups enable users to monitor what is happening in physical space right here and right now (to track fires in California for example).

All these initiatives demonstrates that we have the opportunity to layer a digital skin over the city. The skin is not just a fad, it will make the urban experience more meaningful and useful. E.g. Urban Tapestries, a research project born in 2003, Dodgeball, Outside.in which aggregates, tags and structures local information available online, using thus individual activities to build instruments useful for everyone.

0aagerogeorwelbar.jpgG. Orwell place, Barcelona

Freire, being the astute and realistic observer he is, also pointed out the darker face of public spaces by quoting Stephen Graham who wrote in Subtopia:

The real architectures of control already are algorithms, software, databases and microelectronic tracking systems, satellites and sensors, linked intimately to physical spaces, infrastructures and bodies, rather than the obvious architectonic brute force of walls and ramparts.

The future might be of the Orwellian type or it can be the one that Freire described in his presentation. It’s in the hands of citizens and whether they will adopt an active or passive role. Today we have the opportunity not only to protest but also to take things in our hands and push changes.

However, there’s another danger: the one created by people who do not understand internet. German philosopher and sociologist Juergen Habermas wrote that … in the context of liberal regimes, the rise of millions of fragmented chat room across the world tend instead to lead to the fragmentation of large but politically focused mass audiences into a huge number of isolated issue publics.

Freire believes that instead of just creating fragmentation, internet enable us to go beyond fragmentations.

Facebook, for example, counts many advantages but also many downsides. It’s a network you can close and keep for your friends exclusively

LifeAt creates private online communities for residential properties. It’s closed and “secure” with control over who has the right to use it and what can be published or not. There’s an absolute control over people and content. The model can be interesting for commercial companies or for facebook but in the context of public space, it would do more harm than good, it would mean applying post-modern concepts to new hybrid space.

As a conclusion, Freire quoted an article that urbanist José María Ezquiaga wrote for national newspaper El Pais. He adopted the Mai 68 moto “Sous les pavés la plage” (Under the cobblestones lies the beach) to tell us that we have to see beyond the ugliness of cobblestones and uncover the beaches that exist beneath them. Freire added, this time quoting Jose Pérez de Lama, that above the tarmac there is a digital layer. Although that layer is neither tangible nor visible, it set to fulfill a crucial role. If we use this additional layer intelligently and openly, then the future might indeed be appealing.

The Q&A which followed was almost as fascinating as the presentation itself but i’m done with the translation.

FWA Theater

The FWA Theater

The almighty Favourite Website Awards just couldn’t get enough showcasing the best websites in the world. Now they had to show the greatest videos, reels, VFX and trailers out there.

All hail the FWA Theater.

Data Visualization panel at OFFF, Lisbon

Apart from Joshua Davis’ talk, the other main highlight of OFFF, the software and visual communication conference which took place last week in Lisbon, was the panel on Data Visualization curated and moderated by the European evangelist of the discipline: Jose-Luis de Vicente.

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Lounge at the LX factory where OFFF took place this year

As the abstract of the panel reminds: data visualization is a transversal discipline which harnesses the immense power of visual communication to explain, in an understandable manner, the relationships of meaning, causes and dependency found among great abstract masses of information generated by scientific and social processes.

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Aaron Koblin, Manuel Lima, JL de Vicente and Santiago Ortiz (image JL de Vicente)

Interaction designer, information architect and design researcher Manuel Lima discussed the story of the website Visual Complexity and the lessons he learnt since he launched it 3 years back. Visual Complexity is not a blog, it is a collection of (so far) over 570 projects of data viz, it is also a space for people to discuss about what is happening in this area.

The project started while Lima was following an MFA program at Parsons School of Design. While working on his thesis project Blogviz: Mapping the dynamics of information diffusion in Blogspace, he had to research extensively the visualization of complex networks, and found out that there was a need for an integrated and extensive resource on this subject.

Lima’s presentation was very very fast with a lot of information crammed in a small amount of time. But here’s a few elements from it:

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South-East Asia detail from Ptolemy’s geography. Redrawn in the 15th century

The transmission of information started with the wall paintings, got more sophisticated with the oldest registry of a written language (the Sumerian cuneiforms) and later with Ptolemy’s world map. More key landmarks for data viz can be found in Alfred W. Crosby‘s essay The Measure of Reality: Quantification and Western Society, 1250-1600.

One first important factor for the development of data viz is computer storage.
Our ability to generate data has by far outpaced our ability to make sense of that data. As someone at Razorfish said, everything that can be digitalized will be. When Lima started Visual Complexity, data viz blogs were just a handful. Today there are dozens of them. Kryder‘s Law draws from Moore’s law and declares that magnetic disk areal storage density doubles every 18 months. In 2001, iPod storage capacity was 5 GB, in 2007 it was 160 GB.

A second key factor for the development of data viz is Open Databases. Data has never been so widely available at minimal cost (not to say free).
See Swivel and IBM’s Many Eyes.

A third factor is online social networks.
Not as tools for mapping relationship between people but as instruments which help disclosing patterns within the abundance of shared content. Examples: uncovering music affinities like TuneGlue does; discovering how humans categorize information del.icio.us-like; human curiosity.

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Over his three years observing dataviz, Lima spotted a number of trends: mapping blogosphere relationships, visualizing del.icio.us tags, terrorism, air routes, gps data, etc.

Next spoke Santiago Ortiz who started by presenting the spectacular website that Bestiario has put online a few days ago. The website gets a third dimension as you can “twist” and manipulate it in order to see its full length. The nicest feature is the navigation: you can browse Bestiario’s projects anti-chronologically of course but also according to the number of hours they spent working on the projects, by keywords, combination or exclusion of keywords, etc.

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Bestiario’s brand new website

Founded 2 years ago, Bestiario is a small Barcelona/Lisbon-based company with a very impressive portfolio. Combining art and science (Ortiz is also a mathematician) they design interactive information spaces which follow their own moto: ‘making the complex comprehensible.’

It wasn’t the first time that i got to be impressed by Bestiario’s work and Ortiz’ thoughts on dataviz. One of Bestiario’s project was exhibited recently at LABoral as part of the Emergentes exhibition which closed a few days ago. The imaginary biological universe Mitozoos encodes and creates virtual organisms called “mitozoos” which interact among themselves. You can watch their life in a 3D environment that simulates birth, existence of a genetic code, the quest for food, energy dissipation, reproduction and death. Each variable and parameter of the model has a graphical representation.

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Mitozoos

One of Bestiario’s latest projects was developed together with Irma Vila and JL de Vicente. The Atlas of Electromagnetic Space is an interactive representation of the services that use our electromagnetic radiospectrum, ranging from 10Khz “radio navigation” to 100Ghz “inter-satellite communication”. The activities which unfolds throughout the spectrum (e.g. mobile, satellite, wireless internet, broadcasting) are sorted by electromagnetic frequency. What totally won me over was the features showing the artistic interventions that are commenting on and/or taking place in the spectrum.

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City Distances illuminates the strength of relations between cities from searches on google. The main idea is to compare the number of pages on internet where the two cities appear one close to the other, with the number of pages they appear isolated. This proportion indicates some kind of intensity of relation between the cities. The “google proximity” is then divided by its geographical distance. The result indicates the strength of the relation in spite of the real distance, a kind of informational distance between cities.

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Finally, Aaron Koblin took the stage to present his own work. Crap! this guy is so talented it’s scary. Aaron studied Design and Media Art with Casey Reas at UCLA and used processing a lot in his projects which not only represent huge amounts of data, but are also producing data to raise questions about a series of issues.

Narrative made sense for cultures based on tradition and a small amount of information circulating in a culture – it was a way to make sense of this information and to tie it together (for instance, Greek mythology). Database can be thought of as a new cultural form in a society where a subject deals with huge amounts of information, which constantly keep changing, said Lev Manovich whom Aaron quoted to further ask the audience:

If the database is the new narrative, then what is the role of visualization?

A first answer is that visualization help us understand what it means to have dozens of thousands of planes flying above North America every day. Video demonstrating how Flight Patterns does exactly that:

Data from the U.S. Federal aviation administration is used to create animations of flight traffic patterns and density.

The Sheep Market is one of my favourite projects ever. The very Petit Prince work manages to be critical and poetical at the same time. Thousands of workers on Amazon’s Mechanical Turk webservice were paid two cents to “draw a sheep facing to the left.” Their sheep drawings were collected over a period of 40 days, selected and printed on stamps. You can also head to the project website and spend the evening counting the animals.
Video showing Aaron Koblin explaining The Sheep Market:

Aside from his purely artistic works, Aaron also works for Yahoo and collaborate on research project. For example, he developed the visualizations for the New York Talk Exchange, a project by the Senseable City Lab at MIT.

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Based on a principle similar to The Sheep Market, Ten Thousand Cents has thousands of individuals working in isolation from one another painted a tiny part of of a $100 bill without knowledge of the overall task. Workers were paid one cent each via Amazon’s Mechanical Turk distributed labor tool. The total labor cost to create the bill, the artwork being created, and the reproductions available for purchase are all $100. The project, which has been developed in collaboration with Takashi Kawashima, explores the circumstances we live in, a new and uncharted combination of digital labor markets, “crowdsourcing,” “virtual economies,” and digital reproduction.

Video of Ten Thousand Cents:

The panel ended with JL de Vicente reminding the audience of the Visualizar workshops he periodically organized at Medialab Prado in Madrid. A new call for project proposals will be launched later this year.

Related: Coverage of Visualizar workshop.

Diego Quintana at YayMonday

YayMonday

Today, with great surprise, I found out I just appeared on issue 21 of the great website YayMonday.

The thing about this site is that each monday, 9 new creatives from around the world are displayed.

Quite an honor to be there, plus, they also featured my man Veggie, so it’s a double-pointer for the chilean folks.

Also, big up to Ricardo Villavicencio who was featured on issue 19.

Link: Diego Quintana at YayMonday.

All-Inclusive. A Tourist World

Just back from Frankfurt where i participated to the marvelously organized and well-attended Node08 Forum for Digital Art conference. As i was in town for two days, i visited All-Inclusive. A Tourist World at the Schirn Kunsthalle.

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Ho-Yeol Ryu, Airport, 2005. Courtesy Ho-Yeol Ryu

All-Inclusive. A Tourist World presents works from 30 artists depicting and commenting on various phenomena influenced by the continually growing tourist industry.

Vladimir Raitz pioneered modern package tourism when in 1950 his company, Horizon, provided arrangements for a two-week holiday in Corsica. For an all inclusive price of £32.10s.-, holiday makers could sleep under canvas, sample local wines and eat a meal containing meat twice a day. Within ten years, his company had started mass tourism to Palma, Lourdes, Costa Brava, Sardinia, Minorca, Porto, Costa Blanca and Costa del Sol.

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Jonathan Monk, #129, MALTA £189, (From the series: Holiday Paintings, 1992-2000). Photo: Anders Sune Berg, Copenhagen

An increase in the standard of living, affordable air travel and the development of the package tour enabled international mass tourism to thrive. For someone living in greater London, Venice today is almost as accessible as Brighton was 100 years ago.

The World Tourism Organization (UNWTO) forecasts that international tourism will continue growing at the average annual rate of 4 % (at least in places where global warming won’t totally destroy the sector.) As a result international arrivals are expected to reach over 1.56 billion by the year 2020.

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Ayse Erkmen, Safety Doors, 1996-2008. Photo: Norbert Miguletz

The All-Inclusive exhibition opens with 2 artworks which both evokes two of the most unpleasant moments that pave the tourist’s journey: the passage through security with AyÅŸe Erkmen‘s Safety Doors which will inevitably ring as you go through, and the wait for your suitcase with a baggage conveyor belt turning around its own axis by the Scandinavian artist duo Michael Elmgreen and Ingar Dragset .

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Uncollected (Baggage reclaim) (2005)

Further away, you’re met with another tourist staple: Tensa-barriers that control more than they guide your way along the long long queues. Eva Grubinger‘s Crowd, 2007 is separating one room of the exhibition to another one. There’s no alternative: you have to go through it and feel as foolish as ever.

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Eva Grubinger, Crowd, 2007. © VG Bild-Kunst, Bonn 2007, Foto: Markus Hawlik

The mood is set, you’re not here to dream and get an overview of the most charming aspects of tourism. And you might exit the show feeling guilty to contribute to the phenomenon. Not that this will stop you from booking a Summer holiday next week.

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Santiago Sierra, Banner suspended in front of a cove, Cala San Vicente, Mallorca, Spain. August 2001. Photo: Santiago Sierra

One of the most symbolic artworks show in Frankfurt is Santiago Sierra‘s 2001 action on a Spanish beach. In August, the peak of touristic period, he had a huge banner hung from a rock wall overseeing a beach in Mallorca that read “Inländer Raus” (“Natives, go away”), targeting the tension on the resort island between the Spanish residents and the German tourists. out). The work not only inverts the classic xenophobic motto “Auslander Raus” (Foreigners get the hell out), but it also overtly refers to German retirees and celebrities who have virtually displaced the Spanish natives in Majorca.

Responding to complains, the town council immediately ordered the banner torn down, then had it re-installed, and finally it mysteriously disappeared. Soon after the announcement that Sierra had been selected for the Venice Biennale, a series of articles in Spain’s mainstream press attacked the decision, probably because people were afraid the artist might destroy the Biennale pavilion.

The work evokes also the tremendous impact that tourism can have on an entire area. Think of Benidorm, that village turned “the Manhattan of the Costa Blanca”, or of that forgotten city in the Basque city which has become a tourists magnet since its Guggenheim Museum opened in 1997.

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Martin Parr, The Matterhorn, 1990

The number one favourite activity of the tourist is taking picture. There are plenty of those in the show. Not by tourists but by renown photographers. Martin Parr’s (more in Martin Parr retrospective: from fish & chips to mass tourism) depict tourist patterns of behavior frozen to clichés in a Swiss mountain resort.

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Reiner Riedler, Schilift, 2005

Reiner Riedler‘s lens focuses on artificial tourist landscapes. His photo series Artificial Holidays show people sunbathing on an indoor tropical island in Berlin, skying in Dubai, having dinner at the bottom of Florida’s very own Mexican pyramid are based on similar stereotypes. They confirm the theory that tourist photography mainly serves the purpose of confirmation and not of discovery.

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Reiner Rieder, Indoor Pool “Tropical Islands” in Berlin Brandenburg

Thomas Struth’s Museum Photographs show tourists in shorts, jeans and t-shirts with their cameras and guidebooks as they wander around museums with a look on their face that says that no matter how interested they might or might not be in the paintings hung on the walls, they just “have to” be there and be seen contemplating the works. You look at them and find it a bit repulsive then you realize you’re just one of them, no matter how educated and refined you might be. Last year, for example, art travel packets -including flights, car rental, entry tickets and hotel- enabled the enlightened to tour the most distinguished event of the European art Summer: the Venice Biennale, Art Basel, documenta in Kassel, and Skulptur. Projekte in Münster.

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Thomas Struth, Audience 8 (Galleria dell’Accademia) Firenze, 2004

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Thomas Struth, Audience 1, Firenze, 2004

NL Architects‘s futuristic scenarios do not forecast a brighter future. In their manipulated images, tourism is used as a weapon by invaders coming to your shores with amusement parks erected on the decks of aircraft carriers.

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NL Architects, Cruise City, 2003. Courtesy: NL Architects, Amsterdam

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NL Architects, Plugin City, 2007. Courtesy: NL Architects, Amsterdam

Tourism and travels are not just about cultural city trips and long afternoons at the beach, it can also be grounded in political and economic circumstances. The Moroccan artist Yto Barrada has captured this fact in A Life Full of Holes: The Straits Project, her photo series about Tangier and the Straits of Gibraltar. The narrow channel that divides Europe and Africa is a sea basin just 14 km across in some places. It is one of the most traveled waterways in the world, but few Africans are able to cross it. The photos examine the hope of migration, its influence on the Tangier cityscape and the temptations of leaving to begin a new life in the other side of the sea.

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Yto Barrada, Women at Window, 2002. Foto © MUMOK

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Yto Barrada, Bay of Tangier, 2002 (From the series: The straight project, 1999-2003)

All-Inclusive reminds us that tourism is one of the most powerful economic forces in the world and as such it is one of the hottest topics in the debate over globalization. Tourism doesn’t just bring mouthwatering economic perspectives, it comes with ecological and political aspects: migration, terrorism, pollution of the environment, prostitution, etc.

Both Stern and FAZ have slideshows.
“All-Inclusive. A Tourist World” is on show at the Schirn in Frankfurt from 30 January to 4 May 2008,

Afterthoughts: Goth exhibit at the Yokohama Museum, Japan.

Tokyo correspondent Vicente Gutierrez paid a visit to the Yokohama Museum of Art last month to check the exhibition Goth – Reality of the Departed World . Here’s what he has to say about it:

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Dr. Lakra, Untitled (Muscidae and Tea), 2007. Courtesy of the Artist and Kurimanzutto, Mexico City

Unmistakably, Goth-culture has emerged from centuries ago back into the fore of 21st century life. While the noir-drenched subculture’s origins are rooted in the aesthetics of the “gothic” art movement which permeated Europe from the 12th to 16th centuries, Goth imagery and iconography and fashion we see today is more connected to the 19th century British revival movement which entertained a longing for medieval times.

The Goth culture of today, found in movies, music, fashion and literature, is influenced more by the revival movement and hinges on darker, yet familiar, concepts of death, darkness or night, abnormality, insanity and just about anything that is opposed to a healthy and conservatively-perceived status quo. And so, the youth, pop-culture as well as contemporary art have been infected with notions of Goth. Whether it be Marylyn Manson’s baroque stadium tours, a noir-revival in film or artists who explore death, deformation of the body or self-identity, these attempts break through the norm of the status quo.

The exhibit at the Yokohama Museum of Art featured approximately 250 works of contemporary sculpture, painting, video and photography by six internationally active artists to cite a new working definition of ‘Goth’ in a contemporary setting.

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Ricky Swallow, Younger Than Yesterday, 2006
Collection of Ms.Tiqui Atencio Demirdjian

Shown in Japan for the first time, the detailed, wooden sculptures of Ricky Swallow [Australia] juxtapose vanity and death with the use of skull iconography in this work. Even though skull iconography seems to be everywhere as of late, Swallow also displayed a delicately wood carved skeleton with so much invested work that it seemed human. Each bone, while carved and pieced together delicately to replicate the raw, natural human form, echoed of [human] flaws. The composed, docile macabre posed in the center of the room, with an enigmatic chagrin. In addition to his woodcarvings, Swallow’s sculpture of a bronzed vintage boom box further expressed the artist’s concern with the flow of time, whether in cyclical or standstill. To preserve what we love despite beauty’s transience, knowing it will ultimately die, reminds us of the brevity of life and the tragically comforting adage, that nothing lasts forever.

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Pyuupiru, Selfportrait #02 A 12-year-old Boy Bearing Scars, 2005-07

Spanning the wall of the exhibit space were Pyuupiru‘s collection of self-portraits which featured the artist with a variety of dramatic, mutilated poses. Appearing androgynous at times, self mutilation and modification were the tools the artist has taken to find her true self in hopes of actualizing her value as a person- psychologically and physically. With the progression of photographs, perhaps Pyuupiru is awaiting a final metamorphoses. How long? Remains a question for the viewer and artist alike. Here, the photos are said to present the process of transformation from man to woman and from a monster to a total self. The incision, modification and mutilation of her physical self seem not to deflect her bold and persistent gaze at the camera- what appears fragile on the surface is not. Rather, in exploring her self identity, her search for true-self is nihilist although a longing for a perfect love of self is detectable.

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Dr. Lakra, Untitled (Love, Christiane Martell), 2007
Courtesy of the Artist and Kurimanzutto, Mexico City

Comfortable in his technique, tattoo artist Dr. Lakra [Mexico] used vintage Mexican magazine covers (featuring pin up girls and wrestlers) as canvas for his permanent ink. While some of his exhibited works were completed during his residency at the Yokohama Museum of Art Common, Lakra’s concerns with death led him to rely on dark iconography such as demons, bats, insects, spiders and gothic patterns which are intertwined with the beautification of the very figures he draws upon. The darker image of Lakra maintains as beautiful literally overwrites original perceptions of these vintage cover models; shunning the original conventions. Lakra’s subversive obsession with kitsch beauty and death is perhaps strongly correlated to his up brining in Catholic-heavy Mexico, where such conservative ideas pervade. Continuing to mix the sacred and the secular, Lakra’s resistance to an overarching conservatism is clear.

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Masayuki Yoshinaga, Goth-Loli (Gothic Lolita), 2006

Masayuki Yoshinaga’s [Japan] massive archive of street photos of modern day Goth youth, reveal the culture’s current vitality. In this collection of photos, Goth iconography is seen translated in a variety of ways- the lolita dresses pervade, as does heavy, aesthetically-driven make up in addition to teeth actually sharpened into a set of fangs. Another stronger body modification, for the truly committed goth, were triangle slits into tongues for a vampire or serpent effect. Yoshinaga’s lens focuses on the more colorful and vibrant tangent off the Goth tradition- youth who’s obsessive concentration on their subculture suggests a darker, clouded periphery. That is, all else, i.e. values of the status quo, are meaningless. In order to capture such vanity, Yoshinaga elects subjects who wear their heart on their sleeve, no matter how dark it may be.

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IngridMwangiRobertHutter, Performance of Doubt, 2007

For this exhibition, a new video installation was created around the theme of human life, which the artists symbolized through birth, maturity and aging. One video, focused on multiple angles of an infant, simply laying on a cold, tiled floor unable to move or walk. In its peril, the infant managed roll over, all the while crying, for some kind of salavation. Is there something beautiful in this or do we file it under morbid? Concerned with conditions of human existence, IngridMwangiRobertHutter‘s videos provide introspection into moments we opt, and opt not, to remember or avoid confronting but nevertheless expected in our life span. Moreover, how do we deal with the violence, injustice and consequent endemic suffering in our world? Other projected clips focused on an older individual going through suffering, as if surviving a failed suicide attempt from a buildling as well as an elder patient anxiously awaiting in a clinical room.

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Tabaimo, Ginyo-ru(guignoller), 2005
Courtesy of the Artist and Gallery Koyanagi. Photo: Ufer! Art Documentary

In a darker room, Tabaimo’s large format 360 degree video installation, raised to the ceiling, presented an inner imaginative world where severed hands and feet floated in an interstitial space within the circular canvas. The looped animated sequence revealed a fluid morphing and mutilation of body parts into and out of each other. More fascinating than disturbing, closer attention to the enigmatic evolution of the floating limbs, garnered Tabaimo’s individual aesthetic as an animator.

From this collection of contemporary works, Goth is clearly moving onto a wider platform. It is not only the style or the fashion, but rather a means to communicate profound ideas of life, whether those be painful or sorrowful or morbid, they are messages with the same importance and relevance of those found in pop art, or other avenues of pop culture. And on such a platform, these contemporary artists will continue their reflections on birth, death and the transformations that come in between.

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Masayuki Yoshinaga (more images)

CNTS & The KDU


 

Quite a while ago, when my interest for digital art started turning obsesive, I realized that most of the artists that blew me away then (and still do today), had one thing in common: They all were part of the Keystone Design Union.
 
It was then that I set myself as a long term goal to one day be a part of this select group of artists and visionaries I admire so much. And today finally, it’s true. I’m finally a member of the group I so admire.
 
My deepest thanks to the good David Harris for all his assitance and answering my ever-growing amount of questions, and of course to the great David Gensler for recruiting me.
 
It’s an honor to share up-close with such talented people.
 
So from now on around here, you can also trust The KDU.