Notater fra Wireless Stories, Amsterdam

Mine notater fra Wireless Stories, som får bo her for tilgjengelighetens skyld.



Apps for democracy
The capsule of civilization

Mobiler og identitetskonstruksjon

http://www.themobilecity.nl/

Design of the hybrid city - http://liftconference.com/design-hybrid-city-near-future
About Locative Media
In the edition of the Leonardo Electronic Almanac on locative media, Julian Bleecker defines locative media as follows:

“Locative media that is of most immediate concerns is that made by those who create experiences that take into account the geographic locale of interest, typically by elevating that geographic locale beyond its instrumentalized status as a ‘latitude longitude coordinated point on earth’ to the level of existential, inhabited, experienced and lived place. These locative media experiences may delve “into” the historical surface of a space to reveal past events or stories (whether fictional, confessional or standing on consensus as factual). Locative media experiences may also cross space, connecting experiences across short or long geographic, experiential, or temporal distances. At its core, locative media is about creating a kind of geospatial experience whose aesthetics can be said to rely upon a range of characteristics ranging from the quotidian to the weighty semantics of lived experience, all latent within the ground upon which we traverse.”

From this definition it is hard to make a true division between locative media and the broader category of mobile media. As different researchers (Bull, Ito) have pointed out, mobile media such as the mobile phone or the personal stereo are often used in a way described by Bleecker: creating or appropriating a geospatial experience.

More abstractly, Marc Tuters and Kazys Varnelis see two categories of locative media. One is annotative – these are media technologies that allow its users to virtually tag (and consequently filter) the real world. The second is phenomenological – tracing the action of a subject in the world. Another way to categorize these new media is between media that take an actual spatial context of a communicative practice as its point of departure and media that provide a virtual but spatially organized interface related to an actual geography for communicative and informational practices.

Combining these different points of view, we can differentiate between (at least) six ways in which locative and mobile media can transform our notions of urban culture.

1. The use of spatially organized interfaces to information databases, for instance Google Earth-mash ups or TomTom devices. 
2. The annotation of geographic places (and the attribution, construction and contestation of maps, meaning, and territories) 
3. The mapping or tracing of objects and persons and the use of locative media as tools for micro-coordination such as realtime and realspace social networking. 
4. The use of locative media as filtering devices: either selecting relevant places from the perspective of the subject. Or the other way around: systems that grant or refusing access to certain places. 
5. The use of locative media as a ‘space making devices’, altering the experience of a certain space through its use. For instance mobile phones or personal stereo’s. 
6. The issue of address: framing space and/or subjects in a certain way, providing us with ontologic metaphors, starting to understand our subjectivities in other ways. 

In chapter 4 of his PhD dissertation “Moving Circles: mobile media and playful identities”, The Mobile City’s Michiel de Lange makes the following locative media classification, based on the primary criterion by which digital media technologies are purposively ‘reconciled’ with geographical location:
Locative media technologies are used (i) for navigation and orientation in wayfinding; (ii) to measure and visualize what is otherwise not visible; (iii) to annotate physical locations with digital information; (iv) to organize social interactions; (v) for pervasive games. In addition, I argue that play not only occurs in pervasive games but informs the other categories as well. Furthermore, in all categories locative media induce us to reflect on ourselves in spatial terms.
(De Lange, 2010: 145; download as PDF or e-reader file)

For a more in depth analysis of how we approach locative media and its importance for urban culture, please see our conference text. It can be viewed here, or downloaded as a PDF file.

• blog.bijt.org
• www.themobilecity.nl

Paul Ricoeur om fysisk vs subjektiv tid (http://plato.stanford.edu/entries/ricoeur/#3.4),
Narrativer skaper en tidsopplevelse som kan deles
Identitet handler om relasjoner til omgivelsene

Vi ser oss selv som karakterer i våre egne fortellinger, knyttet til identitet. Vi deler fortellinger noe som skaper tilhørighet.

• Space of similarity vs space of difference.
• Kommunikasjon. Dialog vs dissemination
• Publicness is the exchange of stories

pacmanhattan.com

• wastedspaces.org/the-hello-wall
• The installaton uses Twitter to let the public interact with the huge wall projection by Tweeting commands to @thehellowall.

geheugenvanoost.nl/
Innbyggerne i Øst-Amsterdam forteller historier om deres nabolag.

Milkproject.net

Lamontreverte.org/en/ - green watch
fører globaliseringen til at vi ikke klarer å forankre våre egne fortellinger?

Viser til #jan25 på Twitter

Spatial (map) vs temporal (plot)

The notion of authorship. Ricoeur understreker at narrativer aldri er noe vi skaper helt alene.

7scenes.com
Seven scenes for Amsterdam museum
Byen som kontekst for utstillinger ved hjelp av smarttelefoner

freq1550.waag.org/tech.html
Frequency 1550
Innhold som elevene hadde på pensum. Knytte kunnskap om byen til steder

Har gjennomført et annet prosjekt som knyttet steder i byen til religiøse ritualer. Også dele fortellinger om egne ritualer.

Prosjekt der man sendte bilder til fremmede i India og fikk bilder tilbake.

Hvem skal kunne bruke det materialet som samles inn? Er det nå en del av museets samlinger?

Lager et univers som skaper rom for brukerskapt innhold.
Noen nisjer er i ferd med å bli skapt.
De som legger inn bilder får poenger, mange poeng gjør brukerne synlige.

Becoming invisible in public space
diamond dance

bok Form and code - http://formandcode.com/

data scraping to create posters
pachube.com
Store, share & discover realtime sensor, energy and environment data from objects, devices & buildings around the world. Pachube is a convenient, secure & scalable platform that helps you connect to & build the 'internet of things'

Hyperreality - http://en.wikipedia.org/wiki/Hyperreality

Illuminated outdoor media
http://www.illuminate.nl/

moodwall lessons
25000 elektroniske reklameboards i Nederland

Untravel media
http://www.untravelmedia.com/

Direct experience storytelling

http://www.parkmanmurder.com/

Dokumentar Walking Cinema (iphone app)

A machine too see withhttp://www.blasttheory.co.uk/bt/work_amachinetoseewith.html

• Genre
• Writing
• Geography
• Protagonist
• Audience

Terrestrial narrative
Lineær historie drevet av fysisk forflytning.

Laget et skript som lister opp alle relevante gjenstander knyttet til steder.

• Folk begeistret for små spor og oppgaver som må løses
• En guide som følger deg på lydsiden
• Video som blir sett på stedene der hendelser har skjedd var populært
• Analog interaksjon viktig

Pandemic 1.0 at Sundance
http://www.hopeismissing.com/
lokasjon viktig,
bruker strekkoder på fysiske gjenstander
regissert film supplert med karakterer på Twitter
Alternate reality gamers. Spillet var vanskelig, og krevde dedikerte brukere.
Kommer trolig som en spillefilm

A machine to see with
får beskjeder om hva som skal gjøres via telefon
skriptet i et system for callcentre
Bruker en fysisk bil som spillerne kan finne fram til og møte andre spillere

Understreker betydningen av å knytte fortellingen til fysiske steder.
Jobb med en bra begynnelse og en ditto slutt.
Suspention and disbelief. Vanskeligå få folk til å spille med i historien.
A good runtime? Folk vil ikke gå lenger enn et par kilometer. Må holde folk aktive. Ikke lenger enn to timer.
Vanskelig å bruke filmklipp med organiserte skuspillere

The third woman - http://www.thirdwoman.com/
Subjective mapping. Remake av TheThird Man
Non places, like malls
Emobilart, EU prosjekt - http://www.media.uoa.gr/~charitos/emobilart/
Benytter green screen
Tre versjoner av filmen med ulik stemning
Tre scener der man har valg, endrer ikke plottet men måten karakterene oppfører seg på.
QR og Semacode
Kunne finne koder som trigget via mobilen og wifi, men også større skjermer.
Jobber med bedre integrasjon mellom film og spill.

Søket er inspirert av geocaching.
Korte filmklipp

• empedia.info/mobile
• mobileaudience.blogspot.com/
• pervasive.org.uk
• http://www.ioct.dmu.ac.uk/
• martinreiser.com

You never get it right the first time
Nevner at seks firmaer hevder de har copyright på The Third Man