Locative Media Gallery
||Shoot me if you can||sunTracer||Tactical Sound Garden||The Walking Project|
|Locative Media, on and off
the beaten track
by Suhjung Hur, Annie On Ni Wan, Andrew Paterson
The Long March by Qing Ga
Copyright © Qin Ga
Embodying the concept of a grassroot ‘street version of the Internet’ , locative media interventions have often followed an ocular-dominated technological perspective that moves the point of interaction from the desktop PC in a private environment into the physical realm of public space. Further, continuing the trajectory of Happenings, Fluxus, and the Situationists from the 1950s onwards - whose interests in direct public participation were also pursued by early Internet art - locative media practices have aimed to engage the participation of individual, whether it is the artist, collaborator, targeted audience or anonymous public.
project aims to explore and consider the less-visible forms in the map
of locative media. Maps are the representations of visible things, gaps
and invisible processes. Wolfgang Iser, in considering the act of reading
, said no tale is told in its entirety and the inevitable omissions
are what give the story its vitality. So what is being presented in the
documentation gaps and revealed in-between the visible points? Our attempt
is to present a diverse spectrum of practices - from the archaeological
to the performative - considering the gaps in geographical, material and
cultural (in)visibility. Works by younger artists and even non-artists
were selected along with better-known actors in the field, situated in
a broader geographical axis outside Europe and North America.
Mobility, or inversely, immobility often feature as key factors: In Long March, the Walking Project and Guttersnipe, individuals walk over varied distances and places; be it historic empire, local neighborhood, or street corners. Each project engages diverse technologies and sometimes unexpected cartographic tools including the 'low-tech' tattooist's needle, video-camera strapped to a baby's push-chair and virtual weblog. The focus thus should be moved from the technical challenge and the ubiquity of locative devices to the qualitative and cultural implications of movement, archival methodologies, and dedicated attention to people, actual sites, and material histories.
Urban ecology and social inter-relationships are explored in Planteundersøgelser via communal platform of a temporary public garden and an urban 'plant chart'. Similarly, Tactical Sound Garden extends the horticultural metaphor into a toolkit for locative sound work. In both projects, the labour and craft of sharing knowledge and resources is as significant as their sustenance and growing ambitions. Materializing the immaterial data, Choreography of Everyday Movement traces longitude and latitude of a dancer's movement and visualizes them into 3-dimensionality with the piles of etched glass. Meanwhile, Shoot me if you can is a playful but critical commentary on the use of camera-phones and the ubiquity of digital image in urban daily life. "It engages people as performers or players in gameplay, where capturing THE surveillant data of the other is a means to become a winner."
The participatory and collaborative aspects of locative media foreground participants’ site-specific experience in local context, while encouraging them to be performers within the activity. Through their practices of walking, listening, conversation, game-playing, or living an everyday life, an individual partakes in different roles: gardener, composer, choreographer, cartographer, walker, tattooist, spectator, data-collector, storyteller, decision-maker, archaeologist, explorer; Or, simply but importantly, just an other within public environment.
Complex and ethical questions also arise. How do these technologies invite participation? A question is raised by LOCA: To what degree is that 'raised hand of involvement' determined by the system, a voluntary action? Will the technologies be a 'restrictive collar around the neck' as in Bowville, which control accessibility and communal decision-making process? Then, where and who is the community voice? As illustrated powerfully and literally in Long March: Will important decisions be made considering the relationship between body, location and the interactor's experience, to be written indelibly on our collective backs?
Each project presented
has discrepancies between what happened, what was documented, and how
it is represented as a story of the activity. For an observer who did
not take part in, and for the audience who learn about what happened here
and/or there, what is the displacement and interaction process of reading
the project online? How is the work online actualized outside of the location-specific
context? Questions still remain for us.
2. Minna Tarkka, "Labours of location: Acting in the pervasive media space", published in Species of Spaces, ed. Giles Lane. Diffusion eBook series 2005. http://diffusion.org.uk/
3. Wolfgang Iser,
‘The Act of reading: A theory of Aesthetic Response’,
Johns Hopkins University Press, 1979.
Andrew Paterson was born in Falkirk, Scotland in1974. Lives and works in Helsinki, Finland.
My creative practice involves working in the roles of initiator, participant, author and producer, according to/and within different collaborative and interdisciplinary projects. These roles operate in the field of media/socially-engaged arts, where 'artwork' may be understood as a conversation, devised situation, workshop or event. The activity specializes in mobile and collaborative interfaces or interactions.
This focus has evolved from the layers and processes of printmaking, through a blend of poetic text, inter-relations between media, virtual/augmented environments and initially coordinating community art workshops. Story-making/telling and listening are an increasingly influential set of modes in representing my own - and engaging others' - experience.
Since January 2003,
I have undertaken practice-led research as a Doctorate of Arts candidate
at Media Lab UIAH in Helsinki, Finland, consolidating under the title
of 'Contextual Media Fieldwork: participatory mobile systems, devised
events, and socially-engaged art practice'.
She was a co-founder
and editor for short-lived art quarterly Stray Dog in Los Angeles, and
has written for leading art and architecture magazines in Korea including
Wolgan Misool, Art in Culture, Bob, Design Net, as well as for catalogue
publications. Suhjung holds a Bachelors Degree in Communication/Journalism
from Yonsei University and a Masters Degree in Art History from University
of Southern California. Currently she is a PhD candidate for Communication
and Arts in Yonsei University.
Annie On Ni Wan
Her recent works, including locative media, audiovisual performance and interactive installation, have been shown at the Mondal Museum (Sweden); Syndicate Potential (Strasbourg, France); Art+Communication Festival 2004 (Riga, Latvia); Piksel 2004; FLOSS in Motion, (Bergen, Norway); Multimedia Art Asia Pacific Conference 2004 (Singapore); and Oppositional Architecture (Berlin, Germany). She received travel and project grants from various organizations in Hong Kong, Sweden, and Norway, including the Nordic Fund and EU Culture Fund.
She is now a Ph.D student at the University of Washington’s Center for Digital Arts and Experimental Media (DXARTS), majoring in mechatronics and algorithmic montage, studying with Dr. Shawn Brixey.
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