GPS

By Amirah Mahomed, 3 October, 2018
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The contemporary world, Doreen Massey notes in “A Global Sense of Place,” is composed of connections and flows that have compelled a fundamental reconceptualization of the local and the global. In such a world, mobility is linked to power, which is achieved through access to economic and cultural capital and freedom to travel. Massey writes, “It is not simply a question of unequal distribution, that some people move more than others, and some have more control than others. It is that the mobility and control of some groups can actively weaken other people.” Speaking also of connections, flows, and control in The Exploit, Alexander Galloway and Eugene Thacker emphasize the need for a critique of networks, the primary modern structures that modulate the movement of people and goods; they wonder if, “as networks continue to propagate, there will remain any sense of an ‘outside,’ a non-connected locale from which we may view this phenomenon and ponder it critically.” Such apprehensions about the potential for individual autonomy and critical distance in our networked societies suggest that discussions of planetary consciousness, multi-cultural contact, or social justice need to consider the routes and paths by which people and goods travel. Focusing on such flows of people and goods, Esther Polak’s project, “Nomadic Milk,” uses GPS technologies to trace the path of milk production and sale in Nigeria. Her project followed the different routes of nomadic herdsmen and PEAK milk (a major dairy brand in Nigeria) transporters as they delivered dairy to points of sale. This tracing of routes was supplemented by records of the walkers’ and the drivers’ narratives and accounts of their routes, as well as by Polak’s blog recording her own paths as artist. Polak’s project exemplifies how people and goods are subject to both the constraints and the opportunities of a network system. My paper considers how “Nomadic Milk” reveals mobility along established networks and attempts to make invisible routes visible. I argue that “Nomadic Milk” presents travel as a primary mechanism of planetary and local consciousness, and it provokes deliberation of the often consuming power of networks, as well as potential for intervening on their anonymizing, modulating authority. In looking closely at how Polak’s work traces paths and spaces of going, I am interested in exploring a poetics of mobility and the ways in which a reconsideration of ideas of place and path is fundamental to considering the potential for agency in global networks

Source:https://sites.grenadine.uqam.ca/sites/nt2/en/elo2018/schedule/1104/Trac…

Description (in English)

Lulu Sweet: A Gold Rush Tale in 8 Acts Lulu Sweet: A Gold Rush Tale in 8 Acts (2015) is a location aware walking tour app situated on the Fraser River, re-imagining the life of Gold Rush actress Lulu Sweet, for whom Lulu Island (Richmond, BC) was ostensibly named. Using animations, archival imagery and sound, panoramas, and 19th century newspapers, the artists take viewers on a journey from New York in 1850 through the jungles of Panama, to the mining towns of California and the outposts of colonial England, ending in the footlights of the Gold Rush stages of San Francisco. There are nine gps activated hot-spots, each taking you back to a different moment in time, from 1850 to 1863.Lulu takes the stage at the tender age of ten in the rough mining town of Hildreth’s Diggings, California; shares the stage with the notorious Adah Menken in San Francisco; is managed by desperate swindlers and hot-headed gamblers. All of this is set against the backdrop of the Fraser River itself, upon which she and Colonel Richard Moody (the officer charged with surveying the region) sailed in 1861, the ‘moment’ when the island received its name.

Description (in original language)

Lulu Sweet: A Gold Rush Tale in 8 Acts (2015) is a location aware walking tour app situated on the Fraser River, re-imagining the life of Gold Rush actress Lulu Sweet, for whom Lulu Island (Richmond, BC) was ostensibly named. Using animations, archival imagery and sound, panoramas, and 19th century newspapers, the artists take viewers on a journey from New York in 1850 through the jungles of Panama, to the mining towns of California and the outposts of colonial England, ending in the footlights of the Gold Rush stages of San Francisco. There are nine gps activated hot-spots, each taking you back to a different moment in time, from 1850 to 1863.Lulu takes the stage at the tender age of ten in the rough mining town of Hildreth’s Diggings, California; shares the stage with the notorious Adah Menken in San Francisco; is managed by desperate swindlers and hot-headed gamblers. All of this is set against the backdrop of the Fraser River itself, upon which she and Colonel Richard Moody (the officer charged with surveying the region) sailed in 1861, the ‘moment’ when the island received its name.

Description in original language
By Jill Walker Rettberg, 18 November, 2013
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Abstract (in English)

This article explores how a new generation of smartphones, social software, GPS and other location-based technologies offer the ability to create new cultural spaces and publication models. These technologies allow us to digitally superimpose information on the physical world which, in turn, allows for the re-imagining of places and even identity. In this article a locative and social media art project is presented that engages with Melbourne’s status as the second UNESCO City of Literature. The project brings poetry into the street while, at the same time, occupying the floating worlds of social media. By pinning community-generated poetry to site-specific spaces on Google Maps, the article argues that a layer of narrative can be added to the readers’ perceptions of their immediate surroundings when viewing the site-specific poems through their mobile phones. Finally, the article considers the implications of Web 2.0, smartphones and location-based technologies for creative writing and arts practices.

Source: authors' abstract

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The ubiquity of GPS (global positioning satellite) and other tracking technologies suggests that "being lost" may itself be an experience that is being lost. However, simply knowing one's geographical location as expressed in longitude and latitude coordinates has little bearing on one's personal sense of place or direction. "Drift" poses the age-old question "Where am I and where am I going?" in a contemporary moment in which spatial positioning and tracking technologies provide evermore precise, yet limited, answers to this question. The installation embraces the flow of wandering, the pleasure of disorientation, and the playful unpredictability of drifting as it relates to movement and translation. Sounds blend footsteps on different surfaces with spoken word in different languages. Spoken word passages are drawn from poetry and literature dealing with the theme of wandering, being lost, and drifting. Meaning also drifts as Rousseau, Joyce, Kerouac, Mann, Dante, Woolf, and others are presented in the original and in translation. The Watten Sea becomes a metaphor for hertzian space as visitors are invited to wander among layered currents of sand, sea and interactive sounds that drift with the tides, and with the shifting of satellites as they rise and set, introducing another kind of drift. The installation covers a 2 km x 2 km region that is filled with areas of interactive sound. The region moves with the tide such that at low tide all the sounds are out on the Watt, at high tide they flood the town. Sounds play automatically as you wander through these interactive areas with a Pocket PC, GPS and headphones. The location of the areas changes constantly with the shifting tides - therefore, the best strategy for finding them is simply to wander.

(Source: Artist's description, project site)

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Description (in English)

"Transborder" could (and does) refer to any border: political or otherwise. Yet the use of "border" and "immigrant" in a project emanating from just north of the US-Mexico border, unmistakably signals engagement with incendiary border politics that demonize the undocumented as "illegals," as an incursion of dangerous, job-stealing invaders. This artwork inverts that narrative by marshalling empathy for the border-crosser who has already passed into the United States but who is about to die of thirst. Its tactic: drawing the audience into a ritualistic enactment of that perilous journey. However, by presenting the journey, the work does not aestheticize the undocumented as avatars for first-world observers, but instead, by reframing the journey in life-or-death terms, helps to deny the rhetorical construction of "illegals," by recasting the travelers as immigrants in search of the most human needs: water for their bodies and poetry for their souls.

The Transborder Immigrant Tool is a mobile phone application being developed by the Electronic Disturbance Theater in residence at UC San Diego as the b.a.n.g. (bits, atoms, neurons, genes) lab. When deployed, the application, or app, will help a traveler crossing the desert to the north of the US-Mexico border, presumably on foot, to find water by means of a simple compass navigation device, aural, and haptic cues. Once the device finds a water cache nearby, the tool begins its wayfinding process, leading the traveler, likely dehydrated and disoriented, to the nearby cache. These caches have been placed in the desert by volunteer organizations, specifically Water Stations, Inc. and Border Angels, humanitarian organizations that work to fill brightly-painted barrels, labeled "agua," with gallon jugs of water, organizations that draw volunteers from the right and left of the political spectrum in America.

The app uses GPS information from an inexpensive Motorola phone to find the traveler’s location. Although this tool will not provide sustenance for an entire trip across the border, it does attempt to aid the traveler in what its developers refer to as the "last mile" of the journey. The traveler activates the phone in their moment of extreme dehydration, since the phone has only approximately an hour’s worth of battery charge, and after locating its position, the phone searches for nearby water caches. It is important to note that as of the writing of this essay, the TBT has not been used by undocumented immigrants dying in the desert but instead has been tested by the EDT team and has been implemented rhetorically by fans and foes alike, for whom the mere mention of the Tool stirs strong emotions.

(Source: Mark C. Marino "Code as Ritualized Poetry: The Tactics of the Transborder Immigrant Tool" DHQ 7:1 para 1-3)

By Audun Andreassen, 3 April, 2013
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At The MITH/ELO Symposium, guest speaker N. Katherine Hayles concluded her talk proposing that electronic literature needed to leave the limits and the realm of the screen. Her words proved an inspiration to our panel. The HERMENEIA Research Group (www.hermeneia.net) and the Centro Avanzado de Investigación en Inteligencia Artificial (CAVIIAR-the Advanced Research Center in Artificial Intelligence) subsequently proposed to the Spanish Department of Industry and Technology the generation of a literary space that would use the technologies foreseen as having the greatest social penetration: cellular telephony, personal computation, Web 2.0 and geographical positioning, i.e. a literary GPS.

Among the technologies that have seen a meteoric rise in the last decade, the Global Positioning System (GPS) holds a prominent place. The concept of geo-location (to determine precisely the current position on earth’s surface, often within meter precision) has permeated society and is now an integral part of every day’s life. This technology is possible thanks to a network of satellites that orbit the earth, and transmit a signal encoded according to a public protocol. A literary GPS could deliver iambic feet to meters of readers across a city. Such a system was named the Global Poetic System Version 1, and was granted with an endowment of 200.000 € for a year of execution (2008). As of 2009, the system has gone through two iterations; therefore the current implementation is termed the Global Poetic System Version 2 (GPS2). The GPS2 seamlessly glues together literary information and geographic positioning. The GPS2 is an ambitious project that tries to incorporate literary creations into the space of digital technologies, bringing literature over to the great public. The literary works it has delivered have been both new creations and works from canonical archives.

Racing from projects such as Legible City, the city in the background of Alex Gopher’s The Child, or Antoni Abad’s project Canal*ACCESSIBLE out to the street and out of the strictly literary context, readers would interact with the environment by means of readings. Our project wanted to foment literary consumption in the social environment associated with the reading, and stimulate the creation of social networks associated with the shared experience of literature. in which handicapped people in Barcelona uploaded inaccessible locations to an online database via multimedia SMS, we longed for the possibility of constructing a literary city where people could read literature, share their readings, and propose texts through a system. We imagined an interface where readers could download a literary adventure to their handheld devices (GPS receiver, PDA, phone), and go on a walk while listening to some famous poems, or let a machine create randomized poems with geo-located literary information.

After a thorough review of the genre of located narrative, we discuss antecedents and works in-progress, including The L.A. Flood Project , Senghor on the rocks, The Ruyi, Venice Act, etc. Our panelists will discuss various aspects of this system and discuss its potential future applications for literary innovations and archiving.

 (Source: Authors' abstract for ELO_AI)

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Shadows From Another Place is a series of hypothetical mappings, both web based and site specific, that use the Global Positioning System to imagine the impact of political or cultural changes that take place in one location, upon another.

(Source: Project site)

The first set of mappings showed the impact of US bombing in Baghdad on a map of San Franciso.

Description (in English)

Imagine walking through the city and triggering moments in time. Imagine wandering through a space inhabited with the sonic ghosts of another era. Like ether, the air around you pulses with spirits, voices, and sounds. Streets, buildings, and hidden fragments tell a story. The setting is the Freight Depot in downtown Los Angeles. At the turn of the century Railroads were synonymous with power, speed and modernization. Telegraphs and Railroads were our first cross-country infrastructures, preceding the Internet. From the history and myth of the Railroad to the present day, sounds and voices drift in and out as you walk.

34 North 118 West plays through a Tablet PC with Global Positioning System card and headphones. GPS tracks your location to determine how the story unfolds as you uncover the early industrial era of Los Angeles.

(Source: Authors' description from the project site)