New media artist Conor McGarrigle will walk Denver's Colfax Avenue, the longest continuous street in America, drawing a 26 mile line to be captured in a satellite photograph.
In his latest psychogeographic performance, which takes place on Friday April 11, McGarrigle will walk the entire 26.2 mile length of Denver's best known and most controversial street, from the eastern plains through the heart of downtown toward the west.
He will mark his route by drawing a line as he walks with the action captured from space by a commissioned high-resolution satellite photograph. The project will be the first artistic performance documented by satellite and will produce one of the largest drawings ever made.
The very act of walking in the city has become a marginalized practice in many American cities yet by walking we can experience the city itself, at a human pace, as a space of discovery and encounter. The symbolic act of walking Colfax Ave acts as a lens to focus discussion on the role of this street in the cultural, social, economic and political life of Denver and at a wider level the role of urban walking.
Vineland is an augmented reality artwork which overlays cities with all their geo-tagged vine videos with each vine video viewable in the location in which it was posted
The project is created through scraping Vine data from Twitter filtering out Vines which have been precisely geo-tagged and can be located in real space. The work overlays the city with these ephemeral six second videos to create a data generated portrait of the city as told through its vines.
Vineland raises concerns about the permanency of data in the era of PRISM when nothing is forgotten.
Vineland is live in New York City, Los Angeles, Chicago, Boston and Denver with Atlanta, San Francisco,Seattle, Portland, Mountain View, London, Dublin, Paris and Berlin going live in late October.
Artist Brian House turned a year’s worth of location tracking into an 11-minute musical track and stamped it on a handsome piece of vinyl. In bleeps and bloops, the record follows House’s daily routine. Every revolution represents a single day. It sounds a little bit like Animal Collective.
Locative technologies hold out the promise to transform literary space in all of its dimensions, including its represented spaces, reading interfaces, and the very spaces within which literature is produced and consumed. Yet, despite the growing use of location-based technologies, authors and readers alike have been slow to take to site-specific narrative due to limitations inherent in both the current design of locative media systems and our received notions of what constitutes the narrative experience.
China’s rapidly-expanding rival to GPS, called BeiDou, has become available to customers across Asia-Pacific for the first time. It aims to claim a fifth of the satellite services market in the region in just three years.
During the last decade, location-tracking and monitoring applications have proliferated, in mobile cellular and wireless data networks, and through self-reporting by applications running in smartphones that are equipped with onboard global positioning system (GPS) chipsets. It is now possible to locate a smartphone-user's location not merely to a cell, but to a small area within it. Innovators have been quick to capitalise on these location-based technologies for commercial purposes, and have gained access to a great deal of sensitive personal data in the process. In addition, law enforcement utilise these technologies, can do so inexpensively and hence can track many more people. Moreover, these agencies seek the power to conduct tracking covertly, and without a judicial warrant. This article investigates the dimensions of the problem of people-tracking through the devices that they carry. Location surveillance has very serious negative implications for individuals, yet there are very limited safeguards. It is incumbent on legislatures to address these problems, through both domestic laws and multilateral processes.
At the door, a friendly greeter took us into the Glass Studio, offered us mimosas, and showed us the device color selection wall. On this wall, explorers could choose between and try on the specturm of available color options, with models in Charcoal, Tangerine, Shale, Cotton, Sky
Bob Dylan’s music, it’s often said, happens in a world of its own—where the highway is for gamblers and you’re always 1,000 miles from home. It’s a surreal, ethereal realm, lawless but for chance, allusion, and rhyme.
Now that Google Glass talk is everywhere it's interesting to look at Sergey Brin's Glass Ted talk. Of particular interest, I think, is the folksey way he chooses to present the endeavor and the remark at 4:57 'my vision when we started Google 15 years ago was that eventually you wouldn't have to have a search query at all you'd just have information come to you as you needed it'
The Art of Walking: a field guide is the first extensive survey of walking in contemporary art. Combining short texts on the subject with a variety of artists work, The Art of Walking provides a new way of looking at this everyday subject.
The introduction relates peripatetic art now to a wide range of historic precedents, and is followed by a series of visually led ‘Walks’ dealing with seven overlapping themes: footprints and lines; writers and philosophers; marches and processions; aliens, dandies and drifters; slapstick; studios, museums and biennales; and dog walkers.
The guide includes newly commissioned art and writing, and many artists have been actively involved in the design of their respective pages. Contributors include Marina Abramović and Ulay, Lawrence Abu Hamdan, Francis Alÿs, And While London Burns, Keith Arnatt, Franko B, David Bate, Dara Birnbaum, Rut Blees Luxemburg, Janet Cardiff, Marcus Coates, Jeremy Deller, Tim Edgar, Christian Edwardes, Jan Estep, Simon Faithfull, Alec Finlay, Hamish Fulton, Regina José Galindo, Al Gebra, Mona Hatoum, Akira Kanayama, Oleg Kulik, Peter Liversidge, Long March Project, Richard Long, Melanie Manchot, Conor McGarrigle, Bruce Nauman, Hans-Ulrich Obrist, Ingrid Pollard, Simon Pope, Chloé Regan, Sophy Rickett, Fiona Robinson, Matthias Sperling and Siobhan Davies Studios, Susan Stockwell, Krzysztof Wodiczko and Catherine Yass.
David Evans is a writer and picture editor, based in Bournemouth, England. Recent works include Appropriation (The Whitechapel Gallery and The MIT Press, 2009), László Moholy-Nagy: 60 Fotos(Errata Editions, 2011) and Critical Dictionary (Black Dog Publishing, 2011).
Hyper-lapse photography – a technique combining time-lapse and sweeping camera movements typically focused on a point-of-interest – has been a growing trend on video sites. It’s not hard to find stunning examples on Vimeo. Creating them requires precision and many hours stitching together photos taken from carefully mapped locations. We aimed at making the process simpler by using Google Street View as an aid, but quickly discovered that it could be used as the source material. It worked so well, we decided to design a very usable UI around our engine and release Google Street View Hyperlapse.
The site settings are purposely low (like having a maximum of 60 frames per animation) for greater accessibility. However, all the source code is available on Github (including examples and documentation) so developers can play with higher frame rates, better image quality, and more complicated camera movements