Architectonic · Public Space · Social/Politics · Technology

Zone: The Spatial Softwares of Extrastatecraft

“Today urban space has become a mobile, monetized technology, and some of the most radical changes to the globalizing world are being written, not in the language of law and diplomacy, but rather in the spatial information of infrastructure, architecture and urbanism. Massive global systems — meta-infrastructures administered by public and private cohorts, and driven by profound irrationalities — are generating de facto, undeclared forms of polity faster than any even quasi-official forms of governance can legislate them — a wilder mongrel than any storied Leviathan for which there is studied political response.

One of these meta-infrastructures is the phenomenon of the free zone — a highly contagious and globalized urban form and a vivid vessel of what I have termedextrastatecraft. A portmanteau meaning both outside of and in addition to statecraft, extrastatecraft acknowledges that multiple forces — state, non-state, military, market, non-market — have now attained the considerable power and administrative authority necessary to undertake the building of infrastructure.

The zone — a.k.a., the Free Trade Zone, Foreign Trade Zone, Special Economic Zone, Export Processing Zone, or any of the dozens of variants — is a dynamic crossroads of trade, finance, management and communication. If, in the contemporary scene, diverse spatial types demonstrate the ways in which architecture has become repeatable and infrastructural, then it is the zone that demonstrates the ways in which urbanism has become infrastructural. Though its roots are ancient, dating back to the free ports of classical antiquity, only in recent decades has the zone emerged as a powerful global form, evolving rapidly from an out-of-way district for warehousing custom-free goods to a postwar strategy for jump-starting the economies of developing countries to a paradigm for glittering world cities like Hong Kong, Singapore and Dubai. […]”

An essay by Keller Easterling featured in Places. Read it THERE

Human-ities · Technology

The Flight From Conversation

WE live in a technological universe in which we are always communicating. And yet we have sacrificed conversation for mere connection.

At home, families sit together, texting and reading e-mail. At work executives text during board meetings. We text (and shop and go on Facebook) during classes and when we’re on dates. My students tell me about an important new skill: it involves maintaining eye contact with someone while you text someone else; it’s hard, but it can be done.

Over the past 15 years, I’ve studied technologies of mobile connection and talked to hundreds of people of all ages and circumstances about their plugged-in lives. I’ve learned that the little devices most of us carry around are so powerful that they change not only what we do, but also who we are.

Excerpt of an article written by SHERRY TURKLE, at NYT. Continue HERE

Art/Aesthetics · Bio · Digital Media · Performativity · Social/Politics · Technology · Theory · Videos

Jeannette Ginslov: Capturing Affect With a Handful of Techne

On May 14, Jeannette Ginslov gave a Medea Talk about the developmental stages of the AffeXity project, the interdependence of the collaborators, the relational and dynamic formation of technical and human intervention, the encounters of the carnal and the digital, the dialogic and temporal scaffolding of encounters of techne and the hands that attempt to capture affect.

JEANNETTE GINSLOV is Medea’s artist-in-residence this spring. Her roots are as performer, choreographer and artistic director in South Africa, but for the last five years she has focused more on interdisciplinary platforms investigating the crossover between the media/dance/cinema/video and the internet.

Her work centers around affect, haptic and digital materiality on several platforms: stage, screens, online and new media applications. Ginslov is currently working with Prof Susan Kozel at Medea on the project AffeXity that draws together screendance, visual imagery and mobile networked devices.

Text Via MEDEA