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Our Projects

Taimi Toffer Anderson at the 1956 Allentown, PA, Science Fair! - Smithsonian Institution Archives: http://www.flickr.com/photos/smithsonian/4406433642/

Liz Lenkinski: Friends Forever: The Materiality of Digital Connection

Laura Crestohl: Mapping our Worlds [Vuvox]

Antonio Varas: From Books to Bytes

Nikhil Kamineni: Modular Audio Effects

Christo de Klerk: Materiality of Deletion

Jonathan Lukes: Technotexts [password: Technotexts -- note that this is case-sensitive!]

Alex Campolo: Cassettes: Endgames of Obsolescence

Andrew Nealon: On A Wire: twitter and the telegram

Farah Momin: Magazines and Materiality

Willis Chan: Gastroporn and Advertising Materiality

Angeli: facebook persona: Iamb Nobedee

Wes Jackson: Hip Hop Started Out in the Park

Yeong Ran Kim: Soundscape of the Diaspora

Jonathan’s New Links

Hi everyone,

The new links for my exhibition are:

URL:         http://www.myebook.com/index.php?option=ebook&id=61085

Embed: <a href=”http://www.myebook.com/index.php?option=ebook&id=61085” target=”blank”><img src=”http://www.myebook.com/assets/frontend_file/embed_image/ebook_id/61085.png” border=”0″ alt=”Myebook – Technotexts – click here to open my ebook” /></a>

Have a great holiday and see you next semester.

Jonathan

Correct for link for Wes’ Project

www.uhhuhmarketing.com

sorry for the mix up. the blogspot site was when I was still using vuvox

Best,

WJ

Linkages

No, not those kinds of links!

I’ve copied over this comment from Christo:

So I’ve been thinking about how we may be able to link between projects. One way may be to draw attention to the physical location at which our projects are hosted by posting links of our various projects on a map. While certainly not 100% accurate, it is an interesting visualization of a material aspect of links that is easily taken for granted and takes our conceptualization of place past the internet suffix. I’ve started a map on Google Maps – it is open for collaboration to anyone in the class who is interested in participating. You can find your hosting service’s location using this. I’ve used the link button in the top left hand corner of Google Maps to copy and embed the map on to my web exhibit. Displaying this kind of cross linking may make more sense for some projects (those dealing with maps and transmission) than others.

11/16: Dossiers and Draft Projects

During class on 11/16, you’ll all engage in a small group “peer review” — and while that’s happening, I’ll be meeting briefly with each of you to review your dossiers.

What are you “handing in” on the 16th? Your dossier and your draft website. See the “Expectations” section of the website for more information about the draft exhibition and the purpose and format of the dossier.

How “drafty” should this “draft exhibition” be? Think of it as if you’ve completed your first full draft of a paper – or, if you’ve been slow to start, think of this as a fleshed-out outline. Of course there’ll be stuff missing. Of course you could do a little more research on certain topics. Of course there’ll be some awkward transitions. Of course not everything’s formatted perfectly. But I should still get a sense of where you’re going with the exhibition as a whole — and there should be enough “stuff” there to give shape and substance to each section or node or sequence that contributes to your larger argument or narrative. And by this stage of the semester, after you’ve had a full month devoted solely to your own project research, your dossier should reflect a good amount of research and collection activity.

How do you submit this work? Please send me, via email, a link to your exhibition. If you’d prefer to keep your exhibition private for now, while it’s still in development, you’re welcome to password-protect it; just make sure to tell me how to get in!

As for the dossier itself: because it might be difficult for some of you to find a share-able form in which to submit this to me, you’ll be showing your dossier to me in class on the 16th and quickly walking me through it. You’re welcome to present it in whatever form makes most sense for you: you can post a virtual dossier somewhere online, you can bring a printed portfolio or physical scrapbook, you can bring your laptop to class and give me a tour of your files, etc.. Please don’t spend much time formatting and cleaning up your dossier; I’d rather you share it with me in all its glorious chaos (remember, the primary reason you’re sharing this with me is so that I can appreciate all the [potentially messy] background work that went into your exhibition) and that you devote your time instead to the exhibition! I’ll be spending five to ten minutes with each of you to review your dossiers. Because we’ll be reviewing these dossiers together (and because I don’t want to ask you to do any unnecessary “busy work” writing), you NEED NOT compose any explanatory text for the dossier itself. (You might remember that originally, when I imagined each of you submitting a research scrapbook of some sort and me looking through this material independently, I had asked you to write an introductory text and a short text framing each section of the dossier. There’s no need for you to go to this trouble if you’ll be sharing the dossier with me in-person.)

How can you get feedback on your project? You have a couple options; please choose whichever would be more useful to you. (1) I could review your exhibition online and send you an email with feedback. (2) Or we could meet in-person, sometime during the week of the 15th, to explore and discuss your exhibition together. Please sign up for an appointment via Doodle (scan the columns to make sure no one else has already reserved a particular time slot). All meetings will take place in my office, on the 13th floor at 2 West 13th Street (You’ll want to take the east set of elevators (the ones closest to 5th Ave) up to the 12th floor, then take the stairs opposite rooms 1213/1214 up to 13. I’m in the back office.) If none of these times work for you, we could meet somewhere off-campus on the 19th, 20th, or 21st.

String Theory

We developed physical concept maps that materialized the potential links between our individual projects. Because Dopey Shannon didn’t budget our time appropriately, though, we were able to create only rudimentary (through not unimpressive!) prototypes.

Wheeee!!!

GROUP ONE

GROUP 2

GROUP 3

Exhibiting Connections

Today we brainstormed possible schemes for reinforcing connections among everyone’s individual projects. There seems to be some consensus that we want to find interesting ways of materializing the link — perhaps by creating a system of “wormholes,” or by linking through “materially ambiguous homographs” (e.g., “felt” might link to a project that addresses emotion, or to the material felt). We’ve also discussed having multiple entry pages, which demonstrate myriad ways of grouping/framing the individual projects.

Social Studies: The Mediation of Friendship

Online social networks have paradigmatically changed the way we communicate with each other. They serve as a point of contact. They serve as a visual manifestation of self and those we relate to. A public record of our lives, our people, our interactions, they can act as digital playgrounds, a sandbox through which to strengthen the casual bond between acquaintances. They can also play the role of (vicious) town crier, and cause exposition and shame.

Social networking sites capture the ethereality of human connection in material form. A friend has become an object in our digital world.

I am interested in examining the modes through which this mediation of friendship affects the way we relate to each other and perhaps more importantly, the way we feel about these relationships.

What new connotations has Facebook given the word ‘friend’?
Admired stranger? Fan? Potential lover? Some collect ‘friends’ much like digital keepsakes while others choose to abandon the network altogether.

As songs have become mp3s, have our friendships become compressed artifacts relegated to lists of hundreds on a server? Or, more optimistically, has our ability to befriend in the digital age been extended much like the distribution possibilities of digital media?

Hip-Hop Started Out In The Park

“Hip-Hop Started Out In The Park” – Wes Jackson

Hip-Hop exists in many forms but its presence as a physical space has rarely been studied.
The subject of my exhibition will be to document the South Bronx in the late 1970’s as the physical birthplace of Hip-Hop.
The center of the exhibit will be the photographs of Joe Conzo. As one of the few photographers documenting the proto days of Hip-Hp, his collection is unprecedented.
Through photos, audio and video we will examine the physical nature of the South Bronx. Starting with the creation of the Cross Bronx Expressway by Robert Moses in 1963 (the destruction of New York tenements and the creation NYC Housing Projects) to the blackout of 1977 and ending in the mid 1980’s I will show how the economic neglect of the South Bronx created a fertile environment for the creation of Hip-Hop culture.

USING A SOCIAL PLATFORM TO FIND BODIES.

“We are surrounded by so-called electric phantoms.”  1

And so Abraham A. Moles borrows and invokes a turn of a phrase from the science fiction author Villiers de l’Isle Adam. Again the claim, “We are surrounded by so-called electric phantoms.”2 The imaginary, the immaterial, charged and dynamic. Moreover Moles cites a nascent and pervasive culture of immateriality,3 and I wonder at the corporeal implications of this forming immateriality in the discourse and practice of media studies. My interests focalize in locating and positioning these spectral nothings in the bodily present– finding the Solid for the Shadow of a Thing– and situating immateriality in bodily discourse. In attempts to dredge up and disinter the bodies of these phantoms, I ask these questions: What happens to the body as we move ever towards an immaterial world, specifically in connection to the Internet? What does the body look like? And, what does it do?

X, ANGELI

(1) Abraham A. Moles and David W. Jacobus, “Designing the Immaterial Society,” Design Issues, Vol. 4, No. 1/2, (1988), 25.

(2) Ibid.

(3) Ibid.