Re: [-empyre-] psychogeographies - opening statement
Your writing is some of the best that I have seen on the empyre exchanges.
Like you, I have "lurked" here but, more often than not, tuned out after a couple of
sentences of cyber theory-just way too abstract for me; an abstract artist.
Your approach and explanation are clear and very compelling to read.
Thank you. I'm grateful that I saved your email because now I am willing to give empyre
All the best,
--- Teri Rueb <email@example.com> wrote:
> Hello, empyre! At last. It appears that my prior email was rejected
> for having the word hello in the subject line....
> My approach to the theme of this month's discussion is from the point
> of view of a practicing artist. It is an honor and pleasure to share
> this space for dialogue with Brett Stalbaum whose work I appreciate
> very much and hold in high regard. I'm also delighted and privileged
> to join Jon Tonkin as a discussant whose work and words are new to me
> - and all the more thrilling for that.
> I would like to thank Christina McPhee and Melinda Rackam for the
> invitation to serve as guest discussant. While so far I have only
> lurked on empyre, I have done so with rapt interest and gratitude for
> the high altitude discussions that take place here. So, thanks
> Christina for offering a peek at my introductory comments...the full
> text follows:
> My work explores issues of architecture, time, memory and the body
> through site-specific interactive sound installation. I have used
> global positioning satellite (GPS) technology in my practice since
> 1996 to explore issues of space, mapping, landscape and cultural
> identity. My current research explores sonic and acoustic
> constructions of space, spatialized narrative, human movement and
> psycho-social geography. Much of this work involves the mapping of
> sound to space where invisible sonic overlays are made to correspond
> to a particular geographic region: for example, a portion of the
> Canadian Rockies in "Trace," or the city of Baltimore, Maryland in
> "Invisible Cities | Sounding Baltimore". Almost all of my works are
> large-scale outdoor interactive installations that utilize GPS
> technology and cellular networks in combination with digital
> interactive sound and/or custom web-based real-time imaging software.
> Installations are accessed and/or generated by the movement of
> visitor-participants who travel through these environments with
> custom built GPS-enabled wireless devices.
> Recent works, including "The Choreography of Everyday Movement" and
> "Invisible Cities | Sounding Baltimore" incorporate the visual trace
> of human movement through urban landscapes as generated with GPS
> tracking. These performance-drawings, made by willing participants
> as part of their daily journeys, are like charcoal rubbings of the
> physical and discursive landscape of the city as written by the body.
> Mappings, presented for archival viewing as layered transparent
> drawings, accumulate over time to provide a morphological view of the
> urban body as defined through human movement.
> My recent writings examine issues of orality and literacy with
> respect to the proliferation of wireless ubiquitous computing and
> location-aware systems in art and everyday life. This work was
> recently presented at the CAiiA Consciousness Reframed Conference in
> Perth, Australia. Through my practice I have consistently sought to
> challenge rational, ocular-centric constructions of space and time
> implicit within mainstream urban design, architecture, digital
> systems and GPS technology itself, as a product of military and
> scientific research. However, explicit critiques of the military
> origins and uses of GPS have remained at the margins of my practice -
> acknowledged, yet unexplored.
> Given the theme of this month's discussion and the recent outbreak of
> war with Iraq, I am compelled to give the discussion over to
> questions of psycho-geographies and data landscapes as they relate to
> war. More than any other war, we are seeing satellite imaging and
> GPS technology used to guide missiles, construct high definition
> data-embedded maps, direct movement of troops and aircraft, and image
> space as territory. Questions regarding the representation of space
> and corollary constructions of identity are raised with every
> broadcast, press briefing, illustration and photograph. Real-time
> unpacking of the rhetoric behind these cartographic texts and tactics
> is urgently needed. I look forward to this month's forum unfolding
> as a space for such discussion and debate.
> As I wrote this last paragraph last week I was thinking especially of
> the "battlefield weather reports" on CNN which have used
> sophisticated satellite imagery to create almost video game-like
> graphics of "cold fronts moving in from the north," etc.. It strikes
> me as a particularly insidious use of "neutral" data to present very
> biased, if not propagandistic, representations of the war. Perhaps
> this might serve as a starting point for our discussion - if not, I
> would certainly appreciate triangulation on this observation off line
> or in any other format!
> Thanks, again.
> empyre forum
Would you shoot me for my running shoes?
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