Originally from we make money not art by
Posted under reblog art
This post was written by admin on June 28, 2009
Just back from LOOP video art festival and fair in Barcelona. The event is for video art lovers only. So what was a video art sceptic like me doing there? Well, i was busy becoming a convert. I’ll come back with the why and how in a lengthier post. In the meantime, here’s an example of an artwork i discovered (and unsurprisingly liked) at LOOP continue
Originally from we make money not art by
Posted under reblog art
This post was written by admin on June 28, 2009
The artists brought together for this show reveal an imagery that has been inspired by the current mutations in our environment. They deal with diverse matters such as Chernobyl, global warming and the rise in oil rates. At times close to science-fiction, these artists imagine new stories which pay witness to the curiosity and fears derived from this changing reality continue
Originally from we make money not art by
Posted under reblog art, reblog environment
This post was written by admin on June 28, 2009
Upgrade! Eindhoven: Holly Schmidt + Daan Roosegaarde :: June 28, 2009; 3:00 - 5:00 pm :: Philips Natlab on Strijp-S, near the crossing of Kastanjelaan and Schootsestraat.
Upgrade! Eindhoven #6 presents two artists who have each a unique way of approaching art and architecture. At this informal meeting, projects, ideas and ways of working are discussed among artists, curators and interested people. Access is free, as is the coffee. We conclude the afternoon with drinks.
Holly Schmidt (Canada) is artist in residence in Eindhoven, focussing on the research of organic processes in relation to urban environments. As a guest of MAD emergent art center she is developing an installation in the Klokgebouw on Strijp-S, based on the architectural model of Park Strijp.
Daan Roosegaarde is in the news frequently with his remarkable installations, often being playfull and challenging interventions of public space. Well known from STRP, Oerol, Kijkduin and internationally are Liquid Space, Dune and Flow. A number of new projects in public space are presented also.
Originally by jo from Networked_Performance on June 23, 2009, 5:00pm
Posted under reblog art, reblog environment, reblog innovation
This post was written by admin on June 28, 2009
Autonet is a project to create a wireless, global internet that can provide more reliability than corporate phone companies by being community based and freely licensed.
The cutting off access to The Pirate Bay by BT in the UK is just another sign of the beginning of the end. The fact that the Great Firewall of China exists signals that the internet is already obsolete and that the Great Firewall of the US is just around the corner. While moves against net neutrality began years ago and have been fought, nasty laws such as HR4437 and the Total Information Awareness program have a way of coming into existence later in the future, slightly modified, under different names. The internet as we know it, as a place for free exchange of information, as the center of what has been called a second 17th century with new ideas, creativity and innovation emerging daily, is rapidly coming to an end. We must use these last gasps of freedom to route around the disaster and create a truly free network.
How? Advances in wireless technology such as ubiquitous wireless routers, community mesh networks which are easily expandable and self-healing as well as long range wireless efforts such as HPWREN indicate a possible future for a community based internet free of the centralized control of telephone corporations and governments. While this is definitely a fork, more forks are to come and we can only hope that a few networks will emerge which can be broad enough to span most of the globe.
Major questions remain to be solved, such as speed issues, routing issues, DNS control, splits and neutrality. The Autonet, or Autonomous Internet project seems to begin to address this rapidly changing situation, where today Germany has installed internet filtering as well and more countries are to come. While today those cut off are defying copyright laws, tomorrow any other political issue may be the cause for being denied access to global networks. While today the FBI is content to steal servers from information providers like Indymedia, perhaps tomorrow they will not be happy until Indymedia is completely cut off of the network, or other open sources of information such as blogs, twitter accounts and social networks of dissident groups.
The popular revolt in Iran and subsequent disruption of network access by the Iranian government is only a glimpse of what is to come in the US and around the world, where the first line of attack against political resistance is to cut off network access. By establishing a community based, wireless, global network we can allow groups of individuals, not corporations, to maintain freedom of communication; We can create out right to communicate instead of asking for it, and continue to route around obsolete intellectual property laws which restrict our dreams and our creativity. Join this effort by going to http://alt-bit.org and contributing to this research, lets start outlining the problems, finding the technical solutions and work out the issues, collectively, as a Free Software / Open Hardware project, using open licensing.
Another urgent reason for Autonet is one that has motivated Free Software hackers for so long: Technological progress without a reliance on corporate support. Given the current financial and economic crises, how long can we expect dinosaurs like phone companies to survive? If one of these crises turns into disaster, the consequence is likely to be the disruption or collapse of the global networks on which we rely. I am not ready to give up what has been gained from these networks, including a worldwide communication between political actors empowered through fast information flows. We must start this long, difficult project today so that we may be ready for unexpected dangers which threaten our capability to communicate as a multitude, globally.
To add to the project, go to http://trac.alt-bit.org/wiki/projects/autonet
To sign up to participate, go to http://trac.alt-bit.org/register
Initial Thoughts
“Was discussing pirate radio things with Micha, and I was wondering how hard it would be to create a viable, high-speed, wireless Darknet (http://en.wikipedia.org/wiki/Dark_internet). For a few hundred dollars you can buy off-the-shelf gear to create an omni-directional WiFi signal that should go a few miles over relatively flat terrain. To create a proper “Darknet” obviously there would have to be at least one DNS server, etc. RadioLabs (http://radiolabs.com) seems to be the best when it comes to consumer-grade high-gain, omni-directional antennas and amps. Another set-up would be point-to-point long-range links between nodes and omni-directional access-points (so users could hop on the network without running a node). The idea being that there would be NO connection to the commercial Internet (that is, it would not be tied into any ISP). And obviously the more nodes there are, the less terrain becomes an issue, so if this sort of thing took off, it could be amazing, even just on the local level.”
Features
Resources
Radiolabs.com: 802.11b antennas, amps
Related Projects
Originally by jo from Networked_Performance on June 23, 2009, 5:17pm
Posted under reblog art, reblog innovation, reblog wikinomics
This post was written by admin on June 28, 2009
These e-mails between Lev Manovich, San Diego and Jenny Marketou, New York were from January 25 to February 4, 2002 (originally published in Breeder #5
(Athens) 2002):
Lev Manovich wrote: Lets begin by talking about mapping. I see mapping one data set into another, or one media into another, as one of the most common operations in computer culture. For instance, it forms the basis of a whole field of visualization — taking the results of an experiment and visualizing them as a van animation; or taking statistical data and presenting it as a 3-D shape; and so on. These kinds of mappings are also common in new media. For instance, I have come across a few projects where network traffic was translated into music. One of most well known projects which lies at the intersection of science and art (because it seems to function well in both contexts) also involves this kind of mapping — I am thinking of Natalie Jeremijenko’s wire sculpture which translates network behavior into the movements of a suspended wire. Few questions can be posed here. It is not hard to notice that most mappings go from non visual media to visual media. What about mappings which will go into the opposite direction? Another question which we may ask about what exactly is at stake in these projects aesthetically. I always find myself moved by them — but why? Is it because these projects carry the promise of rendering the phenomena which are beyond the scale of human senses into something which is within our reach, something visible and tangible?
Jenny Marketou wrote: Before I can answer your questions I would like to let my mind wander among some random thoughts about mapping and data esthetics.
Last night I had the opportunity to view the large-scale installation “Cloaca” by Wim Delvoye, the Belgian artist at The New Museum in New York. This extreme work is built from chemical beakers, electric pumps, and plastic tubing arrayed on a series of seven stainless steel tables, fully computer monitored in order to duplicate and map the human digestive system. I found this contemplation of mapping bodily wastes another good example of how art,technology and science intersect.
I found the piece challenging and although this simulacrum mapping path of what we eat from the mouth to the anus allows us to see the mechanical process and catch ourselves in the act of self identification, surprisingly it lacks the possibility and the sensibility of meaning located in the magical randomness.
In general I tend to think of mapping data in a broad sense like genetics blocks which generates a recombination of elements, systems, algorithms, happenings. This recombination generates the emergence of new structures for visualization which explores an iconography of media pictures. What attracts me into this forms is that they represent the artifacts of our times which have been generated by taking into account our everyday functions behaviors and information input.
So for me the question here is how any kind of data mapping can create beauty and meaning uncovered by applying loose formal structures, randomness and forms which take into account information behaviors which take into account everyday life.
As you know I am also attracted to crawlers and extractors which function as data collection systems but in their accidental search through the web show each time how we have mapped our world. Like “flaneurs2 their aim is to uncover paths through the topology of our data system of knowledge and it is up to the users and artists to interpret the data in any way they want..
But how can we create the magic of randomness in a visualization from non visual media to visual media as you suggest without losing the magic of the process? How we can express the beauty of the “trajectory” as you once said talking about info esthetics? Certainly the beauty of data is different from the beauty in the “cannon” which we learn at art schools. But again what happens to the content in a meaningless visualization which lends itself in a pure data formalism like this of a “wallpaper”?
LM: I can think of at least one example of mapping which has both meaning and beauty. This is Jewish Museum Berlin by Daniel Liberskind. The architect put together a map which showed the addresses of Jews who were living in the neighborhood of the museum site before World World II. He then connected different points on the map together and projected the resulting net onto the surfaces of the building. The intersections of the net projection and the design became multiple irregular windows. Cutting through the walls and the ceilings at different angles, the windows point to many visual references: narrow eyepiece of a tank; windows of a Medieval cathedral; exploded forms of the cubist/ abstract/ supermatist paintings of the 1910s-1920s. Just as in the case of Janet Cardiff’s audio walks, here the virtual becomes a powerful force which re-shapes the physical. In Jewish Museum, the past literally cuts into the present. Rather than something ephemeral, here data space is materialized, becoming a sort of monumental sculpture. But there was one problem which I kept thinking about when I was visiting the museum building. On the one hand, Liberskind’s procedure to find the addresses, make a map and connect all the lines appears very rational, almost the work of scientist. On the other hand, as far as I know, he does not tell us anything about why he projected the net in a particular way as opposed to any other way. So I find something contradictory in fact that all painstakingly collected and organized data then just “thrown” over the shapes of the building in a arbitrary way. And this is the basic problem of the whole mapping paradigm. Usually there are endless ways to map one data set onto another, and the particular mapping chosen by the artist typically is not motivated. As a result the work feels arbitrary. We are always told that in good art “form and content form a single whole”, “content motivates form,” and so on. Maybe in a “good” work of data art the mapping used have to somehow relate to the content and context of data — although I am not sure how this would work in general. On the question of the beauty of data: permit me to quote something I wrote in a different context: “Ultimately we would not want to submit information to the standards of conventional, classical beauty. Ultimately, we will have to discover what the new beauty of information is. It may turn out to have nothing to do with a smile of a girl on a beach or the shape of iMac or the machine-like sounds of Kraftwerk. If we are unlucky, it may be something that even our machines will find ugly. At this point, we just don’t known yet.”
JM: Lev, I like very much your comments about Daniel Liberskind’s mapping in the Jewish Museum in Berlin and about Janet’s Gardiff’s walks. But talking about mappings of walks, I am always fascinated with the situationist mappings. It comes to my mind something that I read about mapping from an anonymous post “…The 19th Century opium eater Thomas de Quincey with no other goals in mind spent entire days randomly strolling around London. In the 60 ties the Situationists took this activity to the next level by developing psychogeography: the science of the dérive, the drift.” Of course these dérives were not random, but persuaded the psychogeographer to use his or her imagination to experience the urban surroundings in a new way which was unpredictable and for this reason irrational and unstable. Methods they adopted for these mappings were for instance to literally follow their nose by chasing smells or navigating through Paris on a map of London.
From my experience,J anet Gardiff’s audio walks introduce to the viewer a parallel mapping of visual and censorial data which is very engaging to the viewers because the audio effects subordinate to the demands of the narrative and create a fantasy.
For the same reason I find extremely appealing the spectacular impact of the audio visual special effects in science fiction cinema which exist in their own rights and offer the pleasures of excitement, fantasy, magic and escape in the electronically mapped and textured fabric of space and time. Perhaps the audiovisual effects differ widely when applied in the setting of the big screen instead of the context of walk in the museum or public space. But there is no question in my mind that the popularity and enjoyment of audiovisual effects lies exactly in the pleasure of enjoying the awareness of the illusion in which we partake.
Love it or loath it but we cannot ignore it, that one of the reasons why net art is perceived without content or meaning, is the fact that a large number of viewers/ users are not comfortable to seek meaning along the lines of the esthetics which is related on the dynamics of code and data mappings on a single computer without any audio visual censorial input. So the issue here is not about the form nor the content in which the data is mapped but how we experience art generated by pure data.
Many times in my work e.g. in Taystesroom, I find this necessity to create a tangible situation to integrate the viewers, where the physical space echoes the virtual worlds of the net to create a “single whole” as you say. The problem with this is that we fall again into the same conventional methods of presenting traditional and monumental art. Perhaps there is no answer yet but already we can experience beautiful sounds on an ipod computer or via wireless phones or we can see videos on wireless wrist monitors.
LM: Navigating through Paris using a map of London — how wonderful! This is the kind of poetry and conceptual elegance mappings in contemporary “data-art” rarely achieve, if ever. Most often they are driven by the rational impulse to make sense out our complex world, the world there many process and forces are invisible and are out of our reach. So they take some data — Internet traffic, market indicators, amazon.com book recommendation, statistics of text access in rhizome.org database, or even weather — and map it in some way. (I should note that the similar impulse to “read off” underlying social relations from the visible reality animated many artists in the 1920s, including the main hero of my ‘The Language of New Media,’ Dziga Vertov. Vertov’ 1929 film ‘A Man With a Movie Camera’ is brave attempt to do visual epistemology - to reinterpret the often banal and seemingly insignificant images of everyday life as the result of the struggle between old and the new).
To come back to the present: Important as these projects may be, they miss something else. As opposed to being a kind of “data-epistemology,” trying to make sense of data surrounding us, art has also another function to play — show us other realities embedded in our own, show us the ambiguity always present in our perception and experience, show us what we normally don’t notice or don’t pay attention to. Traditional and normal “representational arts” — literature, painting, photography, cinema — can do this very well. For me, the real challenge for “data-art” is not how to map some abstract and impersonal data into something meaningful and beautiful — economists, graphic designers, and scientists can do this quite well. The real challenge is how to speak on the level of a personal subjective experience. How can we represent this experience in new ways? How can new media allow us to experience the ambiguity, the otherness, the multi-dimensionality of our experience in new ways, thus enriching our lives - for this, this is the real challenge lying before us.
JM: I agree with you Lev that new media has challenged our perception and practice in all kind of ways. I would like to end with a few sentences that I heard once from Hans Haacke … make something which experiences, reacts to its environment, changes, is non-stable … make something indeterminate, which always looks different, the shape of which cannot be predicted precisely … make something which the ’spectator’ handles, with which he plays and thus animates…
Originally by jo from Networked_Performance on June 23, 2009, 5:51pm
Posted under reblog art, reblog innovation
This post was written by admin on June 28, 2009
A performance / presentation @ Networks, 12th Annual Subtle Technologies Festival, Sunday June 14th, 2009, 10:00am (by Garrett Lynch).
Presentation as performance
The Art of Networks and Networks as Art was is the title of a performance / presentation given at the 12th Annual Subtle Technologies Festival on the theme of Networks. The performance / presentation focused on the development of my work over the last five years and the role of networks within artistic practice. This was detailed in it’s most obvious sense of works ‘online’ but also explored ideas of interactive models within new media as networks in themselves between artist, artwork and user (see diagram below).
Audience members who attended were invited to connect to materials used during the performance / presentation to position them as participants or users of a format (a paper delivered at a conference) which is generally passive in nature.
The audience were each given postcards with Datamatrix codes (specifically QR Codes) and short instructions on how to begin (see image top). These linked them to a webpage to download a 2D Code Reader. QR Codes were displayed on screen throughout the performance / presentation within slides which were online and accessible. The audience could view and interact with the performance / presentation in a variety of ways:
The intention was to not alone present works which focus on ideas of the network, connecting, augmenting, being distributed and multiple but to emphasise these ideas through the presentation format.
Performance / presentation materials
Below are all slides used in the performance / presentation (Note: links in the slides are clickable).
References
Ascott, R. (2003). The Construction of Change. In E. A. Shanken (Ed.), Telematic Embrace Visionary Theories of Art, Technology, and Consciousness, Ch. 1, pp 97-107. Berkeley and Los Angelus: University of California Press.
Baran, P. (1964). On Distributed Communications, 1. Introduction to Distributed Communications Networks [online]. Available from: http://www.rand.org/pubs/research_memoranda/RM3420/index.html [Accessed 07/06/09].
Bookchin, N. Shulgin, A. (1994-1999). Introduction to net.art (1994 – 1999), [online]. Available from: http://www.easylife.org/netart/ [Accessed 01/06/09].
MTAA. (1997). Simple Net Art Diagram [online]. Available from: http://www.mteww.com/nad.html [Accessed 01/06/09].
Rafaeli, S. (1988). Interactivity: From new media to communication. In R. P. Hawkins, J. M. Wiemann, & S. Pingree (Eds.), Sage Annual Review of Communication Research: Advancing Communication Science: Merging Mass and Interpersonal Processes, Ch. 16, pp110-134. Beverly Hills: Sage. Available from: http://gsb.haifa.ac.il/~sheizaf/interactivity/ [Accessed 01/06/09].
Shannon, C.E. (1948). A Mathematical Theory of Communication, [online]. Available from: http://cm.bell-labs.com/cm/ms/what/shannonday/paper.html [Accessed 01/06/09].
Shulgin, A. (1997). Net.Art - the origin, Nettime, [online]. Available from: http://www.nettime.org/Lists-Archives/nettime-l-9703/msg00094.html [Accessed 01/06/09].
Bibliography
Briggs, K. (2004). Etymology of the words network, net, and work [online]. Available from: http://keithbriggs.info/network.html [Accessed 01/06/09].
Kirsh, D. (1997). Interactivity and MultiMedia Interfaces [online]. Available from: http://interactivity.ucsd.edu/articles/Interactivity/brock-single.html [Accessed 01/06/09].
Symes, B. (1995). Marshall McLuhan’s ‘Global Village’ [online]. Available from: http://www.aber.ac.uk/media/Students/bas9401.html [Accessed 01/06/09].
Some icons sourced from Pico. [posted by Garrett Lynch on Network Research]
Originally by jo from Networked_Performance on June 23, 2009, 8:47pm
Posted under reblog art
This post was written by admin on June 28, 2009
Synthetic Times: Media Art China — Edited by Fan Di’an and Zhang Ga: We live in a world that operates on bits and bytes. Reality has become synthetic, a convergence of the material and the immaterial. The synthetic power of new media art — integrative, interdisciplinary, interactive — expresses the blurred boundary between the physical and the digital. Synthetic Times collects new media art created since 2001 by artists and art collectives from nearly thirty countries. These innovative and groundbreaking works investigate how we perceive reality and what it means to be human on the threshold of human-machine symbiosis.
The artworks in Synthetic Times (which accompanies a milestone exhibition at the National Art Museum in China, an Olympics Cultural Project) explore a trajectory of uncanny visions ranging from the desire to transcend the corporal to the construction of synthetic worlds; from telematic dreaming to transgenic hybrids; from whimsical apparatuses to the deadpan gaze of magnetic fields. They reveal the tension between man and machine, between the animated and the inert, rekindling a discourse about relationships between nature and culture, the perceived and the imagined. Essays by leading new media theorists accompany the artworks, and an appendix documents additional programs held in conjunction with the exhibition.
Essays: Jordan Crandall, Oliver Grau, Erkii Huhtamo, Caroline A. Jones, Friedrich Kittler, Arthur Kroker, Mike Stubbs, Peter Weibel, Zhang Ga
Artists: 1000 Cell Phones Team, AL and AL, Blendid, Jean-Michel Bruyère, Rejane Cantoni, Aristarkh Chernyshev, Convergeo + Media and Design Lab, Luvc Courchesne, Du Zhenjun, etoy, exonemo, f18 institute, Paula Gaetano Adi, Usman Haque, Edwin van der Heide, Kurt Hentschläger, Mateusz Herczka, Christoph Hillebrand, Daniel Palacios Jiménez, Kichul Kim, Knowbotic Research, Daniela Kutschat Hanns, Paul Lincoln, Rafael Lozano-Hemmer, Chico MacMurtrie, Eva and Franco Mattes, Anthony McCall, Henrik Menné, Miao Xiaochun, Yves Netzhammer, Marnix de Nijs, Magdalena Pederin, David Rokeby, Mariana Rondon, Bengt Sjölén, Adam Somlai-Fischer, Stelarc, Sissel Tolaas, Transmute Collective, Tsai Wen-Ying, VERDENSTEATRET, Marek Walczak, Martin Wattenberg, Herwig Weiser, Wu Juehui, Xu Bing, Xu Zhongmin
Copublished with the National Art Museum of China
About the Editors
Fan Di’an is Director of the National Art Museum of China.
Zhang Ga is a media artist and independent curator. He is the artistic director and curator of the exhibition this book accompanies.
Originally by jo from Networked_Performance on June 23, 2009, 10:00pm
Posted under reblog art
This post was written by admin on June 28, 2009
Qualitative Analysis of Visual Performance Algorithms as a Function of Internet Search Queries from Amy Alexander on Vimeo.
VJ’ing, live TV, theatre, vaudeville, Internet narrative and webcasting collide as VJ Übergeek and the ÜberSERF research team star in “Qualitative Analysis of Visual Performance Algorithms as a Function of Internet Search Queries.”
This is a recording of a live broadcast streamed from San Diego to Be Community / Dock 18 in Zürich, May 2009. VJ Übergeek performed a special streaming-video-friendly version of the CyberSpaceLand VJ Textperience. The multi-camera broadcast was mixed live by VJ Randstrøm, and dramatic real-time research assistance was provided by the ÜberSERF.
A ÜLabs Production. Featuring: Amy Alexander, Randell Baltazar, Fabiola Hanna, Tristan Newcomb, Simon Quiroz, Roberto Rosales, Annina Rüst. Equipment support provided by Center for Research in Computing and the Arts at UCSD (CRCA).
Recent videos of VJ Ubergeek CyberSpaceLand club performances available here.
Experimental-Internet-Meta-VJ-Research-Theatre!
Originally by jo from Networked_Performance on June 26, 2009, 6:48pm
Posted under reblog art, reblog innovation, reblog wikinomics
This post was written by admin on June 28, 2009
[Images by KCET] Departures: L.A. River — An Online Documentary Mapping 52 Miles of the River :: Narrated by river advocates, residents and political figures :: Co-Produced by KCET Web Stories and Friends of The Los Angeles River with Local Students.
Once home to wild animals and wildlife, the Los Angeles River provided desperately needed water to the region. Until the 1930s, that is, when the Army Corps of Engineers began the process of paving 80% of the river, turning it into a ribbon of concrete. With the launch of Departures: L.A. River, the Los Angeles River comes alive through an intimate collection of interactive panoramas showing the incredible diversity connected with a nearly extinct natural resource that locals now work to restore. Departures - hailed by the New York Times as a project that “strongly suggests a new twist on the Los Angeles muralism of the 1970s” - is an online documentary series of neighborhood portraits co-produced with community partners for Web Stories, KCET’s exclusive online magazine of cultural journalism.
Departures: L.A. River takes online visitors into often neglected and nearly forgotten portions of the river, spanning more than 50 miles of terrain, concrete and flowing water. The project was produced by KCET in collaboration with Friends of the Los Angeles River (FoLAR), a non-profit organization founded in 1986 to protect and restore the river, and with participation from students at Los Angeles Leadership Academy, a social justice charter school that prepares urban secondary students to succeed in life.
Provided with digital cameras and video equipment, students worked with KCET producers to create a visually compelling online experience in which visitors can casually scroll through the river’s many personalities or explore in-depth through audio interviews and video portraits with community leaders, activists and residents. In addition, FoLAR complemented the production by designing a comprehensive curriculum that included in-class presentations and field trips - all designed to raise awareness about the significance of the river and the challenges faced by those engaged in restoration and clean-up efforts.
“This is one of the most comprehensive online documentaries about the Los Angeles River,” says Juan Devis, KCET New Media producer, who blogged about his experiences throughout the project’s production process at KCET’s Web Stories site. “The scope of the project included environmental lessons and hands-on multimedia training for students that empowered them to help us tell this amazing story from multiple perspectives.”
Departures: L.A. River is one of four youth media initiatives, with support from the Adobe Youth Voices Venture Fund, that are inspiring young people to work with educators in their communities to create compelling digital media content. Through the PBS Foundation, three PBS member stations — KCET in Los Angeles, WGBH in Boston, and WILL in Urbana, Ill. — and McNeil/ Lehrer Productions, producers of the PBS program The NewsHour with Jim Lehrer, received funding for projects that offer outstanding educational value and youth engagement.
Departures: L.A. River is produced for KCET by Juan Devis, Director of Production, KCET New Media and co-produced by Justin Cram, in collaboration with Friends of the Los Angeles River. Multimedia and content curricula were created by Alica Katano, Friends of Los Angeles River; and KCET New Media Staff, under the leadership of Jackie Kain, Senior Vice President, KCET New Media. Historical Images appear courtesy of Los Angeles Public Library, SPARC and Metabolic Studios.
Student participants from Los Angeles Leadership Academy: Sandra Cach, Lizbeth Sierra, Arthur Salcedo, Brenda Ramos, Alma Sanchez, Yosselin Melgar, Kiara Hernandez, Jesus Hernandez, Vanessa Covarrubias, Gabriel Kim, Ely Hernandez, Cindy Irineo, Giovanni Jimenez, Yessenia Hernandez, Mengi Luo, Mo Rahman and John Aod Alvarez.
KCET, public television for Southern and Central California, offers extensive content at www.kcet.org, including web-exclusives and podcasts, plus complete episodes of the PBS series Frontline, NOW, Tavis Smiley, Bill Moyers Journal and The NewsHour with Jim Lehrer. Daily webcasts of NewsHour and Nightly Business Report are also available. Each issue of Web Stories offersan insider’s glimpse of the cultural diversity found in Los Angeles.
Originally by jo from Networked_Performance on June 26, 2009, 7:30pm
Posted under reblog art, reblog environment
This post was written by admin on June 28, 2009
