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GPS coordinates: Acquired: 1 Sept. 1995, in nine separate sequences, 09:48:13- 15:30:13 GPS time, and 2 Sept. 1995, in seven separate sequences, 09:10:36 - 10:30:14 GPS time. NAVSTAR satellites seen: 04, 07, 14, 18, 15, 28, 21, 01, 23, 22, 31
PRESENCE
Sumona Chakravarty Faculty: Nashid Nabian
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Presence
Living in the cybernetic city changes our perspective about our presence in the world. On one hand locative technology makes it possible for us to be acutely aware of our presence in the city not only in relation to its physical environment but also to its emotional, ecological, social, political landscape. The little blue dot on the screen proclaiming you are here binds us solidly with the city. On the other hand we are completely dislocated, our presence is trans-located within a fraction of a second to any part of the world. This paradox is represented by a project titled You are here Museu by Laura Kurgan at the Museu DArt Contemporani, Barcelona in 1995 at a time when GPS had only recently been made available to the public. The artist placed a series of GPS devices at fixed locations within the gallery. The coordinates of each device were saved every few minutes and visualized on a map, revealing that although the GPS device was stationary its presence was constantly shifting. More than highlighting a flaw in the GPS technology the project created a metaphor that represented the constantly shifting notion of our presence that is created as we try to exist between the virtual and physical worlds. The projects in this paper also similarly represent this paradox. Amble time, Amsterdam Realtime, Taxi, Yellow Arrow, Fix my Street, Net Drive, Pigeon Blog and Augmented Reality Flash Mob use locative media to reinforce the link between our presence and the urban psychogeography. Locative media references Merleau-Pontys Phenomology of Perception by emphasizing the notion that our presence, the location of the body proper, is the site for experiencing the environment and creating new meaning. Our location and our movement through the urban landscape allows us to access a layer of digital information that blankets the city, enabling us to perceive new spatial patterns and embedded narratives. These narratives present diverse perspectives and conflicting meanings within the same space, creating a public domain where multiple identities converge; where we encounter the other and connect with the larger community of the city. The projects are also influenced by Baudelaires idea of a flneur, or the Situationists experience of a drive, emphasizing how our presence not only allows us to perceive the urban landscape, but also enables us alter it by using the city. These projects empower us with a sense of being able to affect change by claiming the city, and create a significance for our collective roles, and individual presence in society. But there is also a presence that is displaced or lost; and some of the projects like Remote and Can you see me now? articulate an alienation between the physical and virtual worlds. These projects are based on the idea of telepresence where presence in one location is remotely actuated in another physical or virtual space. Commercial applications of telepresence, like the conference technology developed by Cisco, try to create a seamlessness between these two remote locations. However these artistic explorations try to reveal the overlaps and anomalies that occur when our presence between the physical and the virtual world.
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1 Project website http://medialabeurope.org/research/ group.php?id=4 2 Mark Shepard, Sentient City Survival Kit: Archaeology of the Near Future (University of California, Irvine, 2009) 3 Amy Lavender Harris, January 7, 2007 (10:22 p.m.), Space, Place & Scale, http://geog3300.blogspot. com/2007/01/amble-time.html