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A Library for the Multitude
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New York, US
Immortal since Feb 11, 2008
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    A Library for the Multitude

    NETWORKED CINEMA and the ARCHIVE as AMBIENT LANDSCAPE GSAPP Spring 2008 vertical studio ___Prof: Ed Keller ___ Special Guest:...

    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.



    archive for the multitude: what and how should information be preserved? how has the control of information shifted alongside the rapid increase in 'networked' channels, now coming into the hands of the many and no longer controlled by formal institutions, but by filtered content and censorship on the internet? with the growth of digital outlets (youtube, myspace, wiki) and reservoirs of information, what happens to the content of information with the rapid increase of unmoderated devices? How will knowledge be formulated differently in the next generations when the social institution of the library will become extinct as a center of research, now being more a more outdated by 'google searches.' Does computational time serve as a threat?

    I have to reply to this question as a very general, no (at least for the time being). With the control of information being shifted from the few to the many, there is of course the possibility for 'file corruption' but this forces the user to question the content and to begin to learn to create value structures for self-thinking. Instead of 'britannica is always right' now I question the validity of wiki content, but in the same sense, the mass of information reservoirs at the click of a mouse(which in a tangential thought I think the interface needs revisiting, so a linear 'clicking' system can be replaced by a multiple content learning process) anyways, the reservoirs... with the plethora of resources, I can easily compare information resources and begin to create a 'photosynth' like construction of knowledge. (by the way, ted talks is amazing and that resource would not be vastly available had not such information avenues been networked, from $6000 yearly conference membership to free video streaming)

    With the advent and catalysis of the web toward rapid information sharing, certain companies have created an overabundance of data to protect, for instance, copyright infringement. Music industries send out low quality downloads (for those who know what limewire and bittorrent are, not saying that I do) in order to surplus certain information sharing channels. I want to take this model, but reverse it, taking data production to a positive twist. Apply sensors to 'everything' to track the ways that things move in space (as well as time I guess, how can we negate time) and use this data as methods of opening closed looped circuits. what the heck do I mean by this...

    this studio has been also studying cinema as an archive resource to study cultural reaction to the growth of networked media, pretty much is the cinema dying or is it already dead due to the shift toward computational space and what has arisen from this change (youtube, flicker, myspace...) . I analyzed kieslowski's movie rouge which if you haven't seen it, that's fine, it's not something your film-buff friends will be talking about at parties. It is however, sophisticated in the way that it treats the interweaving circuits of the characters and how they can interact as agents in each others paths. It plays with the notions of attempting to reroute predestined avenues through the constructs of the characters themselves and the disruption of these structures through different frequency channels. It brings about the question of what conditions for noise can bring about feedback and disruption to certain systems, and how the characters interact (with each other and the viewer) through different interfaces. The judge, as a model, is a closed looped circuit, trapped within his own constructed labyrinth, who eventually begins to see over the 'hedges.'

    Architecturally, this leads me to want to use the creation of data production as a method to open closed circuits, by creating an physical archive of 'sensored' objetcs moving in space, which produces from the anaylsis of this data the beginnings of the formulation of meaning. Through the 'in-migration' of sensor data and than an 'inter-urban diffusion,' I see that architecture can begin to act as a new kind of spatial filter (from the library to the server building) between these two information channels. So, basically what I am attempting to do is create a spatial transference between the collection of data and the production of meaning (from the sensors to the people being exposed to the filtered data). This can negotiate the opening of closed looped circuits, such as a lack of affinity due to the erasure of collective space, (the library) and the rise of isolated space (the computer screen).

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    Wed, Mar 5, 2008  Permanent link

    Sent to project: A Library for the Multitude
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