Abstract
Many contemporary artists are working with strategies to remap public, informational and social space. Their processes often involve setting up a prescriptive, algorithmic and participatory work that yields an unknown product. What can we observe about the results? What is audience reception of these works? In addition to visiting historical precedents in performance and music, this paper will explore how real-time Internet statistical, geographic and textual mapping has become available for both practical and recreational purposes and how new media artists are engaging these methods to test the possibilities of situational mapping. Two models of analogy will be explored, the Rorschach test and the musical mode of tuning.
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References
Debord, G.: Théorie de la derive, published in Internationale Situationniste # 2, Paris (December 1958). This translation by Ken Knabb is from the Situationist International Anthology, Revised and Expanded Edition (2006) (No copyright)
Harmon, K.: You Are here, Personal Geographies. In: Hall, S.S. (ed.) Mercator, 1st edn., ch. 1, Princeton Architectural Press (2003)
Tufte, E.R.: The Visual Display of Quantitative Information. Graphics Press (2001)
Deleuze, G., Guattari, F., Massumi, B.: A Thousand Plateaus: Capitalism and Schizophrenia. University of Minnesota Press (1987)
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© 2008 Springer-Verlag Berlin Heidelberg
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Pappenheimer, W. (2008). Tuning in Rorschach Maps. In: Adams, R., Gibson, S., Arisona, S.M. (eds) Transdisciplinary Digital Art. Sound, Vision and the New Screen. Communications in Computer and Information Science, vol 7. Springer, Berlin, Heidelberg. https://doi.org/10.1007/978-3-540-79486-8_5
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DOI: https://doi.org/10.1007/978-3-540-79486-8_5
Publisher Name: Springer, Berlin, Heidelberg
Print ISBN: 978-3-540-79485-1
Online ISBN: 978-3-540-79486-8
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