Photos and MyMaps along with other features

http://www.jennmearswebdesign.com/2008/02/getting-photos-into-your-google-map/

http://gridchicago.com/2012/how-to-create-your-own-online-map-part-1-of-4/

Cats

Cats, a set on Flickr.

Test for class

Put Something Here - more description of assignment

Please watch the video at this link:  http://www.pbs.org/art21/artists/krzysztof-wodiczko

Inspired by the public installations of Krzysztof Wodiczko, the assignment “Put Something Here” asks you to put something into public space that engages the public, asks for their contribution or provokes their participation in “something” - whatever it is that you think of.  The idea is for the assignment to be site-specific in the way that Wodizcko’s work is very site specific.  Meaning that the work has to be designed for the location.  Using mobility systems is also okay with this project, as some projects that have been been done in the past were designed for the back of buses,  designed to be on trains or in train stations, and designed to be put on parked car windows.  

In the spirit of “Creating Democracy” we ask that you try to think of what creates a more democratic public: fair, open and equitable.  And even better, if it is inspired by issues that you have identified in yourself as obstacles or challenges to your own sense of participation whether they may be deeply held concerns or a sense of unjustness that you have experienced or feel.

This is a layered assignment that asks you to put many things to together inside of the project - to synthesize thinking and ideas that have been developed so far in the course.

It is also okay to consider asking questions of the public as a form of participation and a form of “putting something here” as a putting of ideas into the public sphere.  There are many different ways to approach this assignment, the best suggestion is just to think as creatively as you can and ask if your idea covers these areas:

creating a democratic public (however you define that)

Participation/response

site-specific or, alternatively designed specifically to be “everywhere”

connected to yourself in a personal way

Bonus: if you incorporate media in some way, particularly mobile media

Moblogging or Mobile Blogging

To record an audio moblog, dial: (512) 827-0431 .

When prompted, enter your PIN: 181-197-551 .

Your options will be: Record and Publish, orRecord and Not Publish.

If you select Record and Publish, you will be prompted for your Blog Number or Podcast Number. Your Numbers are listed for you in the table below: 1,134

Put Something Here

Public/Private: Put Something Here

Site-specific art carries the potential to redefine the intention of public place.

Put Something Here, an exercise which is purposely oblique, teases out a variety

of responses, all related to issues brought forward by the insertion of “something,”

or intrusion into public space. Students are asked to “put something here” to

which they usually respond, “What is the something and where do we put it?”

In reply we present Krzysztof Wodizcko’s “Alien Staff,” a pole with a mini

video screen on the top and a loudspeaker in the middle that plays a video

projection of the person carrying the staff. Wodizcko designed the Alien Staff in

response to the dilemma of the outsider, the immigrant who is invisible (and also

silent) as he moves through public territory. The Alien Staff is meant to make the

bearer (the alien) visible by creating a double presence, one in “media” and one in

“life,” inviting a new perception of a stranger as imagined (on screen) or as

experienced (real life) (Wodizcko 1999, p.104). In examining projects of this

nature, we are attempting to bring forward how engaging new media technologies

offer new conceptions of place as a space of resistance, interference, and

enunciation in opposition to those augmentations of surveillance and control they

also enable (Myers, 2006).

One project, titled Palimpsest FM, consisted of a device that houses a

hidden speaker which plays back the sounds of the same spot from an earlier

time, anywhere from thirty seconds to a day before. The replayed recording serves

as an audio version of a palimpsest, a proof of what had been there before. Using

sound as her medium, the student created a nearly seamless overlapping of past

and present where the sounds of today cannot be discerned from the sounds of

the past. Like a palimpsest, it will be unclear where the past ends and the present

begins.

Bachelard speaks of centering oneself in stable surroundings, but if your

surroundings are constantly in flux (and also incidentally not just your

surroundings) like they are in New York, it is no wonder a sense of ontological

anxiety can result. New York City has often been described as a place where the

physical environment changes so quickly that rebuilding without being able to

erase what came before it becomes very obvious to anyone who has lived there

long enough to call New York their home. “You’ve become a New Yorker once

you have the urge to point out a place and say, “that used to be . . .” The “that

used to be . . .” that every New Yorker expresses is part of the inerasable past that

is being built over, it is an expression of memory of a piece of their home and

consequently a piece of their identities that is gone but not forgotten. It is

embodied in the senses. The urge to tell others what used to be is an attempt to

reassert one’s identity and the home they had carved out of the city. This project

serves as another means of describing the “that used to be.” But instead of

subjectively telling the narrative of one person’s New York, it objectively captures

what the place witnessed. The audio palimpsest played back in this project serves

as a kind of memorial of what used to be in the immediate past. It stands to

commemorate the same everyday New York that its citizens quietly mourn when it

is torn down and built over. It memorializes the trivial happenings that many may

overlook, but still plays an important role in a place’s narrative and consequently a

person’s identity. By placing Palimpsest FM in Washington Square Park under the

shadow of the statue of Garibaldi and the Washington Arch, a comparison can be

drawn between the monuments that commemorate the selective history of the

victors to one that records and replays all voices of the city equally. The

neighborhood narrative can then become more complete as it plays back

everything it hears.

Manifestos

Some examples, far out and not:

Joseph Beuys, German conceptual artist: http://www.artnotart.com/fluxus/jbeuys-manifesto.html

Fluxus manifesto: http://www.artnotart.com/fluxus/index.html

White Manifesto by Lucio Fontana, "We are continuing the evolution of art."

The Italian Futurists wrote many manifestos. They wrote manifestos on everything from art to clothing. http://www.italianfuturism.org/manifestos/

The Manifesto Project
http://www.1000manifestos.com/

You'll love this one: The Foundation and Manifesto of Futurism, Thomas Marinetti 1905 http://www.unknown.nu/futurism/manifesto.html

The Situationist Manifesto http://www.infopool.org.uk/6003.html

And this is the manifesto that will help you with the entire assignment and final project The Manifesto of Possibilities http://wiki.bbk.ac.uk/Buildingcultures/index.php/Manifesto_of_Possibilities

The reading for tomorrow

My apologies... somehow the url was not on this syllabus and this is the reading related to the class tomorrow:

Designing for a City of Strangers from the monograph Critical Vehicles by Krysztof Wodizcko

http://hanaiverson.com/pdf/iversonh_07_081_441_01_wodiczko_critical.pdf

More about Kyrzstof Wodizcko at this link.

Arts Event on Monday 5/14

You are cordially invited to attend a kick-off reception for the visual and performing arts this coming Monday, May 14^th, 6:00 PM at Redcaps Corner 3517 Lancaster Avenue to discuss 2^nd Friday on Lancaster Ave. East and the JAZPOA (jazz/poetry/arts) Extravaganza on June 30^th.

Drexel University, People’s Emergency Center, Lancaster Avenue 21^st Century, and local arts co-ops are supporting an initiative that is bringing together professionals and hopefuls within the visual and performing arts to make Lancaster Ave. East an exciting, beautiful, and safe place for you to enjoy the best in live music, art shows, restaurants, social networking, outside cafés, pamper events, yoga, boutiques, great nearby living spaces, and so much more!

We will be providing opportunities for visual and performing artists to be a part of making Lancaster Avenue East, a premier up-n-coming hotspot in the city of Philadelphia.  We need you to be a part of the magic to make it all that it can be.

Please RSVP either way at info@TheCadenceCompany.com. Free Admission.

Blogger Tutorials

http://www.blogspottutorial.com/2009/01/how-to-install-twitter-widget-in.html

A Brief History of Maps

A brief history of maps with some great map links!

http://academic.emporia.edu/aberjame/map/h_map/h_map.htm

An explanation of the Cartesian Co-ordinate system

http://en.wikipedia.org/wiki/Cartesian_coordinate_system

Book: Wayfinding Behavior: Cognitive Mapping and other Spatial Practices

My Maps: How To

Go to Google – Maps.

You will see the options for Get Directions or MyMaps.


Go to Google – Maps.

Click on MyMaps

Click on Create New Map



You will be able to give a title to your map and a description. You will also have a complete set of tools available in the Map area (see hand, balloon, line or shaded area). You can drip a balloon on any location and you can use the lines to connect the balloons or to create a route or radius. And you can move everything with the hand.

You can also select your privacy settings for public or private.



If you move a balloon icon to a location that you choose, a little menu will present itself. You can give the location a name and description. If you click on RICH TEXT on top of the text box, you will get a full blog toolbar. If you would like to add a photo, you can link it from Flickr by clicking on the Picture Icon and adding the url from the Flickr picture (Click on the image in Flcikr and then All Sizes, and url will be on the bottom of the page).



So, in other words, if this is going to be a photo story, you have to upload your images to Flickr..

Readings for Friday, April 27

Brian Holmes “Critical Cartographies” in Else/Where: Mapping

Jai Sen, “Other Worlds, Other Maps: Mapping the Unintended City” in An Atlas of Radical Cartography

1. From the library website (http://library.drexel.edu), click on the Course Reserves tab. Or go to http://innoserv.library.drexel.edu/search/r 

2. Type in the course name (CIVC 299) which is not your course code but the course code the readings are attached to. You may also search by the last name of your instructor (IVERSON) by clicking on the dropdown box. 

3. Some courses have multiple instructors. After clicking on your instructor, you will be taken to the course record that lists all library materials associated with your course (textbooks, e-reserves and streaming videos where available). 

4. Click on the title of the E-reserve you want to view. 

5. Log in with your DrexelOne account. All students, faculty, and staff can have a DrexelOne account. If you don't have a DrexelOne account, click here to pick up your account. 

6. Enter the course password which is SP12IVER299 

7. Depending on your browser settings, the file will either open within your browser or download automatically to your computer. 

The Neighborhood Roundtable

The Neighborhood Roundtable

            photo © Andrew Leiser 2011 Neighborhood Narratives, Drexel, summer 2011

Friday, April 20th, 11am to 2pm

Macalister Hall, Rm. 2019-2020 (Corner of 33rd & Chestnut St.), Drexel University

Working in partnership with a range of West Philadelphia community organizations, Drexel University recently initiated a set of community revitalization strategies along historic Lancaster Avenue. On April 20th (11am - 2pm), Drexel's Center for Mobilities Research and Policy will sponsor a community conversation about the role artists might play in these Powelton, Mantua and Belmont neighborhood enrichment efforts. Can artists be catalysts for change? How and under what conditions? What does ideal collaboration between artists, institutions and the Lancaster community look like?

Co-hosted by Mimi Sheller (Director, mCenter: The Center for Mobilities Research and Policy) and Hana Iverson (Director, the Neighborhood Narratives Project) with support from the Center for Creative Research at NYU, The Neighborhood Roundtable will provide an opportunity for neighborhood and community representatives to engage in creative conversation about these issues with renowned artist/activists, Drexel students and faculty.

The Roundtable takes place in Macalister Hall, Rm. 2019-2020, at the corner of 33rd & Chestnut.  There is some construction in the area, so please cross part way down the block, and enter to the right. There is an elevator behind the Barnes & Noble book store.

Please RSVP to mimi.sheller@drexel.edu 

Confirmed participants include:

Co-Moderators:

Mimi Sheller (Drexel faculty; Director, mCenter)

Hana Iverson (Drexel faculty; Director, Neighborhood Narratives; CCR Fellow)

Participants:

Lucy Kerman (Vice Provost for Community and Education)

Liz Lerman (Artist, Founding Artistic Director Liz Lerman Dance Exchange, CCR Founding Fellow)

Jawole Willa Jo Zollar (Artist, Founder and Artistic Director Urban Bushwomen, CCR Founding Fellow)

Mark Christman (Representative from University City District: 38th Street/South)

George Stevens (President of the new 21st Century Business Community org

James Wright (Representative Peoples’ Emergency Center: 38th Street/North)

Center for Mobilities Research and Policy

Drexel’s Center for Mobilities Research and Policy aims to be a national leader in shaping future healthy and sustainable mobilities, and promoting mobility justice at both global and local scales. We convene students, faculty, communities and interdisciplinary research networks around:

1) Advancing new mobility systems and integrated visions for sustainable cities and mobility justice.

2) Harnessing the potentials of new mobile communication technologies for smart growth, community health, public art, and civic participation.

3) Training Drexel students to understand and solve “real world” mobility challenges, working with community partners.

4) Engaging Drexel University with local communities, national partners, and global networks.

The term “mobilities” applies to both the large-scale movements of people, objects, capital, and information across the world, as well as the more local processes of daily transportation, movement through public and private space, and mobile communications. The mCenter promotes new theoretical approaches, new methods, and the academic leadership to research, envision, and foster alternative mobility futures based on innovative collaborations between the arts and social sciences, engineering, business, law, media and design, and public health. This is an area of growing academic interest, policy debate, and research investment. The mCenter is becoming a nexus for generating innovative collaborations within Drexel, across the Greater Philadelphia region, and internationally.

Center for Creative Research and the Neighborhood Narratives Project

Artists and universities in the United States have long enjoyed the benefits of proximity to one another and are participants in a powerful, historically embedded and endlessly re-invented relationship with one another.  As major non-profit actors in American life, both are builders, makers and shapers of society’s values. In 2005, a group of mature choreographers came together to form the Center for Creative Research, in order to investigate and redefine how independent artists and institutions of higher learning could engage with one another. Key questions included, how can reciprocal relationships evolve between artists, institutions and communities, and how might these relationships facilitate mutually-beneficial exchanges between participants while increasing the depth of students’ experiential learning? As a nexus of this investigation, a collaboration was developed with the Neighborhood Narratives Project, a mobile locative media curriculum that engages students in a practice of situated story-telling incorporating aspects of cultural and visual anthropology, ethnography, geography and, with the recent addition of CCR artists, the role of embodied practice in interdisciplinary investigation.  The Neighborhood Narratives Project is a vehicle to engage interactively and interconnect community, requiring students and artists to invite public participation, enabling organic growth of a community’s collective narrative and empowering citizens to embed social knowledge in the wired/wireless landscape of the urban environment. 

Reading for Friday

The readings are available on e-reserve at the library and here is how to access them:

Root Shock: How Tearing Up City Neighborhoods Hurts America, and What We Can Do About It  by Mindy Fullilove, pp. 52-107.

Ch. 7 of Technology and Social Inclusion: Rethinking the Digital Divide by Mark Warschauer

1. From the library website (http://library.drexel.edu), click on the Course Reserves tab. Or go to http://innoserv.library.drexel.edu/search/r 

2. Type in the course name (CIVC 299) which is not your course code but the course code the readings are attached to. You may also search by the last name of your instructor (IVERSON) by clicking on the dropdown box. 

3. Some courses have multiple instructors. After clicking on your instructor, you will be taken to the course record that lists all library materials associated with your course (textbooks, e-reserves and streaming videos where available). 

4. Click on the title of the E-reserve you want to view. 

5. Log in with your DrexelOne account. All students, faculty, and staff can have a DrexelOne account. If you don't have a DrexelOne account, click here to pick up your account. 

6. Enter the course password which is SP12IVER299 

7. Depending on your browser settings, the file will either open within your browser or download automatically to your computer. 

Syllabus

	COM380/SOC380 Special Topic: Neighborhood Narratives II Spring 2012, Drexel University SOC 380.004/COM 380.006 Friday: 11:00 am-1:50 pm Room: PSA 115 Instructors: Hana Iverson + Dr. Mimi Sheller Email: hbi23@drexel.edu, mbs67@drexel.edu Office Hours:  By appointment
Overview	Mobile communication and locative media can change the way we connect to other people, to information, and to specific urban places, changing the contexts for creating public space. Neighborhood Narratives offers a unique situation from which to critically consider locative media art in relation to the context of West Philadelphia and to explore and design methods of effective communication and community exchange. The class draws on interdisciplinary perspectives from the social sciences, urban studies, the arts, cultural geography and communication to explore new modes of public media. Students will participate with community members in the creation and production of a Powelton/Mantua/Belmont Neighborhood Narrative. Using basic mobile recording devices, on-line open-source formats such as blogging and Google Maps, along with tools such as sketch maps, cameras, and cell phones, students will learn to produce context rich stories that portray the neighborhood. The class offers a hands-on approach to addressing and solving design, content, and communication questions of a transmedia community-based art project.  The class does not obligate sophisticated technology or design skills. Instead it asks students to conceptually understand some of the processes of the mediated city such as negotiating geographic, political, and ideological spaces, while reconsidering the issues that residents deal with in everyday life.
Learning Outcomes	·       Acquire higher level knowledge of theories of mobile communication, locative media, urban public spatiality, new media arts, and community-based research ·       Examine issues of urban inequality, social inclusion and the digital divide in a specific West Philadelphia context ·       Learn to produce a collaborative mobile media project using various platforms ·       Engage in a creative community-based collaboration that leads to a final project and self-reflexive writing on that experience ·       Present work-in-progress and final products for peer review and revision
Format	The class meets for 2.8 hours once a week, but also requires homework assignments, internet-based participation, and other activities. The class will introduce methods of collecting data and artifacts, internet and field observation, mapping and scoring, including "show and tell" and the examination of project presentations with rigorous discussion. Outdoor neighborhood exploration (on foot or by public transportation) will include the presentation of the final project on location in the city. The class will also engage in peer dialogue and interdisciplinary teamwork, to extend the breadth of a project through collaboration. Students will keep semester long blogs including observations, photos, video and audio recordings (where equipment and resources allow) - a personal diary of the Neighborhood Narrative experience.
Internet Access	All students are expected to have frequent, dependable access to the internet.  It is essential that you have an active email account that you ACCESS FREQUENTLY, for email with faculty and with each other. IT IS ESSENTIAL THAT YOU CREATE AND ACTIVELY MAINTAIN A BLOG. If you have any difficulties with either Internet access, your email account or your blog, please see the instructor after the first class.
Technology requirements	You will need some form of memory stick to save and transport your work.  Access to a mobile phone and digital camera is recommended.
Readings	Readings will be PDF’s or web sites, available on line as listed. Background publications: http://hanaiverson.com/pdf/lealmbiblio2006.pdf; http://hanaiverson.com/readinglist.html
Course costs	You may need to purchase supplies to produce your final project. While not required, we also encourage you to use the communications features of your mobile phone, which may involve costs for voice calls and text messaging depending on your phone plan.
Instructor Contact	The best way to reach us is by email to set up individual appointments, if requested. Dr. Sheller also has office hours, Thursdays 12:30-1:30 in Macalister 5011.
Attendance and Lateness Policy	Attending the sessions outlined in the schedule is a requirement of this course.  More than two unexcused absences will decrease the overall grade by one unit for each additional missed class. Five absences will result in a failing grade for the course.  If you are going to be absent, please inform us by email at least 24 hours in advance. If you are absent, it is your responsibility to make up any work in a timely fashion. Three times arriving late will be considered as one unexcused absence. Being more than 15 minutes late will count as an absence.
Academic Integrity, Plagarism and Cheating	http://www.drexel.edu/provost/policies/academic_dishonesty.asp http://www.drexel.edu/studentlife/judicial/honesty.html
Students with Diasbilities	http://www.drexel.edu/oed/disabilityResources/disabilityResources/student_reg.html
Course Drop Policy	http://www.drexel.edu/provost/policies/course_drop.asp
Course Change Policy	PLEASE NOTE THAT THIS SCHEDULE IS SUBJECT TO CHANGES AND ADDITIONS!
Research, attendance and participation	Group work, communicating and sharing knowledge through discussions, posting to the class blog, in-class presentations, and overall student participation are an essential part of the process of understanding course material. Readings & blog posts are mandatory. Readings: Prior to each class you will be required to complete a short reading and make notes of relevant points to bring up in class discussion. Blog postings: Each week you will be required to a) make one post to your NEIGHBORHOOD NARRATIVES blog and b) to comment on at least one other student’s blog. Your post can be on: 1) a new media technology and how it relates to locative/mobile platforms or 2) if applicable, one of the required assignments. Solving frustrations is integral to the creative process!

	Schedule of Classes and Assignments
SOME OF THE CLASSES MAY MEET AT ALTERNATIVE SITES - TBD
April 6	Introduction: What is Neighborhood Narratives?  Neighborhood Narratives is a public mobile art and design curriculum whose mission is to create locative art works and design projects that incorporate responsive public screens and spaces, performances and events that envision the future and reach for social equity through participatory engagement. Neighborhood Narratives creates a platform for participants to produce works that reflect conflicts, collaborations and boundaries in the varying social, economic and ethnic make-up of the local community using mobile technologies such as Augmented Reality, basic mobile recording devices, on-line open-source tools such as blogging, folksonomies and Google Maps along with analog resources. It explores the real and metaphorical potentialities of mapping, walking, and wayfinding as methods of developing attachments, connecting, and constructing narratives in a virtual and spatial locality. The project invites public participation, engages interactively, and encourages participants to consider their vocabulary of movement in space. This week we will: ·       Review the history of the class and look at case studies: http://www.neighborhoodnarratives.net/ ·       Meet and greet/assessment of technology skills of class – expectations and outcomes will be discussed ·       Outline of special project: Powelton/Mantua/Belmont neighborhood portrait. Review of past projects: Augmented Avenue: Memories of Lancaster http://lancasterave.tumblr.com/ and Cross/Walks: Weaving Fabric Row http://www.cross-walks.org/ ·       Introduction to Blurb mobile, Augmented Reality, Hipcast and other tech resources ·       Everyone creates a blog. Core concerns: Interaction design starts with understanding people holistically from a place of empathy: what are people’s emotional, intellectual, physical, spiritual, and social needs as they interact with the people, places, and things around them? Assignment for next week:  Photo assignment: UrbanPoem/Invisible City http://hanaiverson.com/dvl.html: Powelton/Mantua/Belmont.  Load photo sequences into Blurb mobile
April 13	Outside Guided Lancaster Walk:  Joe McNulty and James Wright (1.5 hours) Classroom: Response to guided walk Review and critique of photo assignments.  What do the photos tell us and what do we learn about the neighborhood Readings Due: Jason Farman, Mobile Interface Theory. Introduction and Ch. 3 “Mobile Interfaces in Public Space” http://mobileinterfacetheory.com/introduction/  & http://mobileinterfacetheory.com/ch-3/
April 20	Special Event: Lancaster and Public Art - The Neighborhood Roundtable 11:00 am – 2:00 pm, Location TBA George Stevens of the Lancaster Avenue 21st Century Business Association; Joe McNulty of University City Org, James Wright of PEC-Cares; Jawole Willa Jo Zollar, choreographer and founder of Urban Bush Women; Liz Lerman, choreographer, performer, writer and educator; and students from the NN class summer 2011/Augmented Avenue project.  Sponsored by Drexel University’s Center for Mobilities Reseach and Policy and the Center for Creative Research. Readings Due: Mindy Fullilove, Root Shock: How Tearing Up City Neighborhoods Hurts America, and What We                           Can Do About It, pp. 52-107                         Mark Warschauer, Ch. 7 of Technology and Social Inclusion: Rethinking the Digital Divide Assignment:  Creative Response to panel through some form of media; written response on blog (1000 words), include research on Powelton, Mantua, Belmont neighborhood
April 27	Intro to Mapping and Augmented Reality We will begin with a review of last week’s readings and the roundtable panel. Then we will move into an introduction to mapping technologies and augmented reality, including discussion of this week’s readings. Azavea http://www.azavea.com/ Zooburst http://www.zooburst.com/ Mapping: History of mapping, looking at Infinite City by Rebecca Solnit Readings Due: Brian Holmes “Critical Cartographies” in Else/Where: Mapping                           Jai Sen, “Other Worlds, Other Maps: Mapping the Unintended City” in An Atlas of Radical                           Cartography Assignment:  Insert photos into Zooburst; My life in maps that includes sound
May 4	The Sonic Environment Presentation of sound projects, sound maps.  Hipcast and other mobile sound authoring systems.  Discussion of Janet Cardiff, [murmur]Toronto + others The Physical Environment Discussion of Richard Long.  Sculpture in the landscape, tagging. Sculpture, space and site specific Review of Readings Assignment: Create psycho-geographic sound walks on Lancaster Avenue/Powelton – load into mobile interface of choice:  Hipcast, Zooburst, other accessible via mobile phone Readings Due: Sarah Pink, Doing Sensory Ethnography, Chapter 2: Perception, Place, Knowing, Memory, Imagination; and Chapter 5 Articulating Emplaced Knowledge: Understanding Senory Experiences Through Interviews (PDFs online) Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity Chapter 1: Geneology of Site Specificity (PDF online)
May 11	Public Art Krystof Wodizcko and “Public Address”.  Public memorials, counter-memorials. Electronic Disturbance Theater/b.a.n.g lab Review of Sound walks, discussion of walking and wayfinding, review of readings, Reading Due:  Critical Vehicles, Krzystof Wodizcko Assignment: Put Something Here v 1.0
May 18	Public Art Review Put Something Here Examples of manifestos, calls to action or public address Reading Due: Creating Democracy: A Dialogue with Krystof Wodiczko; Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity Chapter 4: From Site to Community in New Genre Public Art: The Case of Culture in Action Assignment: Put Something Here v 1.2
May 25	Designing for the Community Review: Put Something Here Discuss: Counter-publics and getting community feedback. Design schema for mobile and transmedia: multi-platforms, multi-modal; map as interface Talking about final assignment, manifestos, design for the neighborhood – digital divide Reading Due: Gilbert and Massuci, Information and Communication Technology Geographies: Strategies for Bridging the Digital Divide (http://www.praxis-epress.org/availablebooks/ictgeographies.html) Read Introduction, Chapter 1 and Chapter 7 (skim other chapters if possible). Assigment:  Zooburst, Junaio or Aurasma platforms – transfer one or all projects into this format
June 1	Workshop/Production AR + mapping; design reviews Assignment: write Manifestos for next week
June 8	Testing Project on-site Manifestos, calls to action or public address due and published to blog Assignment: Fixing trouble/Re-test; read each others’ final manifestos
June 15	Final Exam is a Final Evaluation/Critique Roundtable: invited guests

	Evaluation and Assessment
Grading	Research, attendance and participation    35% In class assignments                                 30% Final project                                           35%
Deadlines	All assignments are due on time. In the case of unforeseen delays, please confer with the instructor.
Assignments and Final project	The remit for the final project is to create an urban, on-site, locative (cell phone, GPS, mapping, sensory altering) media art project that engages visual as well as embodied (spatial + body) ideas. The assignments will provide you with the skills and knowledge required to realize your final project.