Vineland is an augmented reality artwork which overlays cities with all their geo-tagged vine videos with each vine video viewable in the location in which it was posted
The project is created through scraping Vine data from Twitter filtering out Vines which have been precisely geo-tagged and can be located in real space. The work overlays the city with these ephemeral six second videos to create a data generated portrait of the city as told through its vines.
Vineland raises concerns about the permanency of data in the era of PRISM when nothing is forgotten.
Vineland is live in New York City, Los Angeles, Chicago, Boston and Denver with Atlanta, San Francisco,Seattle, Portland, Mountain View, London, Dublin, Paris and Berlin going live in late October.
This video is made from the final episode of Breaking Bad incompletely downloaded from the internet via bittorrent.
The video has been linearly edited, no digital effects were used and all effects are in the corrupted file. The final episode of Breaking Bad broke bittorrent records when it was released with over 500,000 people sharing the file within 12 hours of its release.
The video captures this episode of the popular TV show in the act of being shared by these users on bittorrent. The video simultaneously acts as a visualisation of bittorrent traffic and the practice of filesharing as well as being an aesthetically beautiful and unique by-product of the bittorrent process, the file codec and the size of the bittorrent swarm as the pieces of the original file are rearranged and reconfigured into a new transitory in-between state.
The video is the final part of the Bittorrent Trilogy which includes Mad Men: the bittorrent edition and Game of Thrones: the bittorrent edition, a series exploring file sharing as social and aesthetic practice.
SecureDrop is an open-source whistleblower submission system managed by Freedom of the Press Foundation that media organizations use to securely accept documents from anonymous sources. It was originally coded by the late Aaron Swartz.
Any organization can install SecureDrop for free and can make modifications if they so choose. Check out our project page on GitHub for detailed installation instructions. Freedom of the Press Foundation also offers technical assistance to news organizations wishing to install SecureDrop and train its journalists in security best practices.
This special issue of Amodern features original research, initially presented in 2012 at the “Network Archaeology” conference at Miami University of Ohio, on the histories of networks, the discrete connections that they articulate, and the circulatory forms of data, information, and socio-cultural resources that they enable. Drawing from the field of media archaeology, we conceptualize network archaeology as a call to investigate networks past and present – using current networks to catalyze new directions for historical inquiry and drawing upon historical cases to inform our understanding of today’s networked culture. In this introduction, we elaborate how network archaeology opens up promising areas for critical investigation, new objects of study, and prospective sites for collaboration within the productively discordant approach of media archaeology.
METRO is a journey, beginning outside and moving inwards. Sometimes enveloping and sometimes sparse and shattered, time produces forward motion and simplification. It is documentation of a physical space, captured millimeter accurate coordinates, colors and varied textures. Several real journeys have been digitally distilled to become a beautifully abstracted experience, not unlike to the disconnection one has while riding public transport.
With a handheld 3D scanning device and a laptop, the artist rode the Denver Light Rail as he does every day for his commute. The train was scanned by walking through the car from one end to the other while en-route and train stations were captured with short strolls between stops. The fragmentation and gaps in data are defined by the physical bumps, speed, and curves in the journeys affecting the hand of the artist while scanning. While the final models are still, they are in fact documents of time, perspective and perception. In this way no two scans will ever be the same; each is documentation of that unique body on that particular journey.
Commissioned in 2013 by DENVER DIGERATI for the DENVER THEATRE DISTRICT