The New York Times announced this morning that Facebook would revert back to its previous terms of service. The decision comes in response to enormous outcry and protest about the modification, which would allow the site to retain and use one's content even after an account has been deleted. This is an unprecedented move, and it invites serious questions regarding one's ownership over material distributed on social networking platforms. (For a thorough comparison between Facebook's new terms of service and that of other social networking sites, go here.) While the decision by Facebook may come as a relief, the company still plans to eventually revise the terms again, which would "...reflect 'a new aproach' and would be 'a substantial revision from where we are now.'" Uh, vague! And creepy. While the company's CEO Mark Zuckerberg claims that Facebook users would somehow be involved in the revision process, he did not outline what this change might look like, nor the company's motive behind these changes.
Museum 2.0 interviews Brooklyn Museum's 1stfans managers Will Cary, Shelley Bernstein and An Xiao. 1stfans is a new membership initiative, launched only last month, which utilizes social media platforms to build and target specific museum audiences. They plan to incorporate a number of different groups in the future, but in its current iteration, they gear the program toward web-savvy museum-goers who frequent their free events, but don't opt to purchase high level memberships. (1stfans is only $20 a year.) It's an interesting venture, and they've gone far and beyond simply managing a Facebook profile for the museum. In an effort to build a more dynamic and two-way relationship between the museum and the community, 1stfans offers creative perks such as a private Twitter Art Feed maintained by a revolving group of artists and invitations to offbeat 1stfans events, like a talk by conservator Lisa Bruno on animal mummies.
Arti et Amicitiae
Rokin 112 Amsterdam 14-02-09 t/m 22-03-09
opening Friday the 13th at 8pm
On any given day, the average web user may log into as many as a dozen different social web services. Interaction with these sites could involve any number of activities including browsing photography, commenting on blog posts, planning trip itineraries, looking for a lover or updating a resume. While the sequential (or parallel) manner in which we navigate these databases and the generic aesthetic of the web 2.0 interface might suggest these sites form a unified network, that is simply not the case. In engaging the social web we voluntarily fragment our interests, social ties and demographic information in order to make them "machine readable" and allow us to participate in these communities. With these rules of engagement in mind, several recent projects speak to these conditions and explore the notion of web inventories in relation to identity, aggregation and as binding legal agreements.
"We are living in interesting times," science fiction author Charles Stross observed on his blog last week. "In fact, they're so interesting that it is not currently possible to write near-future SF." The makers of Superstruct, a new project created by the Institute for the Future, would disagree. The IFTF has launched what they're calling "the world's first massively multiplayer forecasting game;" in it, players are asked to imagine themselves ten years from now, then flesh out the details of that near-future world through posts to a wiki, discussion forums, Facebook, Superstruct's own site, and elsewhere. But players won't be creating this collective vision of tomorrow from scratch: the game provides a core set of hot-button issues that need to be addressed in 2019 -- couched as reports from the Global Extinction Awareness System -- which include a growing pandemic, the immanent collapse of the world's food supplies, power struggles over energy sources, and the "diaspora of diasporas" of displaced masses. Using a speculative fiction to ask thousands of users to cobble together potentially useful solutions to very real problems, Superstruct can be seen as an online variant of alternative reality gaming, juiced up with elements of crowdsourcing, prediction markets and the collaborative authorship of expanded universes. The very premise of this new mutation in science fiction writing says a great deal about what we think about our own life now in these interesting times: the future is not so much a brave new world to be explored, but a complex problem to be solved. - Ed Halter
Curated by artists Caspar Stracke and Gabriela Monroy, Brooklyn's video_dumbo, a festival of the electronic moving image in all its various forms, debuts its 2008 edition tonight-- right up against another event that will be filling video and computer screens worldwide, the first US presidential candidate debates. Meeting that programming challenge, Stracke and Monroy have organized Hack the Debate in 3D!. Thanks to some help from sponsors Current and Twitter, the event will include an ongoing Twitterized comments feed integrated into three-dimensional projection of the live debate -- and, as the curators remind us in their program notes, "ironically, this stereoscopic system is based on the colors RED and BLUE." The rest of video_dumbo's enticing lineup includes the premiere of in complete world by Shelly Silver and two full days of new work by an intergenerational array of media artists, including Phyllis Baldino, Mike Hoolboom, Scott Pagano, Torsten Z. Burns and Darrin Martin, eteam, John Michael Boling and Javier Morales, Nicolas Provost, Sharon Hayes, PFFR and scads more. With the recent fading-away of the New York Video Festival and other like-minded Manhattan events, video_dumbo seems to carry on the necessary tradition of the smartly-organized theatrical festival. - Ed Halter
Designer/researcher Greg J. Smith has curated an online exhibition that surveys twelve of the most influential mapping-related new media projects of the last ten years. "City of Nodes" is the 21st show presented by CONT3XT.NET, who use social bookmarking site del.icio.us as a platform for their TAGallery. The sites Smith selected actually skim the longstanding relationship between tagging and urban studies, with a focus on cartography and locative media. In his curatorial introduction (in this case, a "tag description"), Smith synthesizes Lewis Mumford's late-1930s conception of the city as "a nexus of social, creative, and economic collaboration," in contrast to William J. Mitchell's '90s era take on cities as including "not only asphalt and concrete, but bandwidth, code, and connectivity." This is the filter through which the twelve selected projects are viewed. They include the seminal Amsterdam Realtime (2002) project by Esther Polak and Jeroen Kee (the Waag Society) in which GPS devices worn by volunteers create a comparative portrait of the personal occupation of the city; iSee (2005), the Institute for Applied Autonomy's web-based program for locating CCTV cameras throughout a city and planning your travel route accordingly; and One Block Radius, Dave Mandl and Christina Ray's (a.k.a. Glowlab's) psychogeographic documentary of the immediate neighborhood surrounding what was then the future site of the new New Museum building. Given that so many of the selected projects are about tracing a collective experience, the folksonomic curatorial platform seems a perfect one on which to contemplate the work, with guest-curators' tags suggesting an interpretation before inviting viewers to travel off on their own. - Marisa Olson
Image: David Rokeby, Seen, 2002