Last month our friend Thomas Artur Spallek invite us to the exhibition Wasting Time on the Internet 2.0, at Kunsthalle Düsseldorf. The idea is “to get lost on the internet to reflect on its political, social, and economic aspects, to become hazed by its rich content and to get distracted and split by its versatility”.
“We all knew this was happening.”
That’s the beginning of Vinay Gupta’s reflection concerning the meaning of the NSA/PRISM scandal and its consequences on the social relations between single private individuals, professionals, social groups and nation-states. Read More
9-Eyes, the project of Canadian photographer Jon Rafman started in 2008, collects hundreds of pictures taken by Google Street View cars—the vehicles that since 2007 are mapping each square meter that can be travelled over by car, by means of dedicated 9 lens cameras—today 11—mounted on the vehicles’ hood. The idea itself is not new: since the launch of the Street View service, there has been no lack of virtual explorers navigating through Google Maps in order to find strange, unusual and unexpected pictures. Even those websites collecting images portraying crimes—most of them being simple traffic violations—immediately after they are committed, suggest how the most used search engine is assuming the appearance of a gigantic and ubiquitous Panopticon, whose sole presence functions as a deterrent for behaviours judged as wrong. Read More
Julian Bleecker, designer, futurologist and specialist in technology, explains his idea of Design Fiction, a practice exploring the symbolic relation between science fiction, science, technology and society. In other words: in which way the science fiction imaginary interferes and collides with the planning and development of technology?
The cartographic culture’s paradigm shift
It is not at all new the conception according to which a corpus of graphic representations and communicative artifacts can be regarded as a textual work. For sure one of the examples better structured in this sense is that of cartographic culture and the production of map and atlases. Cartography here represents a precious case study about how an entire visual culture can undergo a radical epistemological transformation, and notably a valorisation of its narrative and literary elements. Read More
The image and political meaning of the time machine through a century of movies—in other words how we lost the ability to imagine our future. An article by Robert Barry published on Mute Magazine.
Starting from the Die Hard movie as an architectonic premise, thefts, lock-pickings and robberies represented and narrated by 20th century’s movies open a new approach to the city, to its uses, its imaginaries. In an article by BLDG BLOG