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Figure 35 A project by sin|studio arquitectura 1. INTRODUCTION. 1.1. RESEARCH FRAMEWORK. M1ML, SEND ME A MESSAGE LATER

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Diego Cerda Seguel LAND, MEANING AND TERRITORY: THE GEOSEMANTIC EQUATION

Neogeography defines a new era in geography, in which it is no longer the specialty o geographers and GlS users. It is now an openly available technology for the constructior of maps and cartographies based on ordinary, common Internet users. KML files (Keyhole Markup Language or, when compressed, KMZ)? allow for representations o physical spaces with multiple resources to show the four dimensions, and generate othe Utopian dimensions, such as interdimensional fictions’, interactivity, real time, etc., the ones visible for the Google-Earth and NASA World-Wind geobrowsers. However, fo: this type of application on Google-Maps and Yahoo Maps, the resource is called AP (Application Programming Interface), which enables multiple applications combininc and retrieving maps from various Web sites, although API certainly has broade' applications. The way these resources are mixed is called a mashup, which does no refer exclusively to KML, but to combinations of Web applications in general. refer exclusively to KML, but to combinations of Web applications in general.

decides to accept fictitious or partisan definitions of territories based on KML

Figure 1: The space-knowledge gap Table 1: Introduction of geolocation on some projects

Figure 2: Mashups to overcome the space-knowledge gap

Figure 3: A proposal for a SecondLife window at the Louvre It must be pointed out that the objective is to synthesize an agent with behaviour similar to an avatar driven by a human (not a human!). Especially in their use of space. The second phase of this project will consist of reflecting those agents in the real world through the design and construction of Second Life windows. A Second Life window is a screen installed in a place in our universe where the virtual replica of the place in SecondLife can be observed (see Figure 3, which simulates the installation of a SecondLife window at the Louvre, and shows where the replica of the Louvre would be shown in SecondLife). These are two-way windows and woulc simulate a genuine connecting door between the worlds*®. Through such windows, the avatars could be seen crossing one’s field of vision and the avatars could see the humans passing by the window in the real world. What is truly interesting is that the artificial avatars would be indistinguishable for observers of classic avatars. We are even studying the possibility of tactile windows that are not limited to sound anc picture.

Figure 4: A new type of connection (a colour square) that cannot be interpreted on our space consistent with its logical specifications (see Figure 4).

Example 2: Nostalgia Map we enter and exit different geographical space by using trajectories rather than

Autumn leaves change colour across UK _ Kmz data

Example 1. Experimental paper cartography than a system of order, the more the traditional readings and expectations of the

Senge Sen napeew °F Satellite image of Madrid city without and with personal graphic tags. We seem to be concerned with understanding location in relation to ourselves

consequences of the events. GPS trace of a burial mound, UK. Points of the map

CURRENT EXPERIMENTS INTEGRATING LANGUAGE, VISION AND DIGITAL DYNAMICS the track log, so the track log as a dynamic interface is not immediately apparent

CREATING INTERACTIVE SPACES WITHIN THE ANIMATED TRACK LOG within the journey as well as the geographical space travelled.

Figure 4 The narrative of the map evokes an imaginary eco system whereby the manmade appears to control the manmade structures, a pier, which in the form of a GPS track

12. James Wallace Balck, Boston from a Hot-Air Balloon:

Blanco, Silvia, 2008, “La rebeli6n en el mundo tiene nuevas caras”, E/ Pais, 25 March [published online] HEMEROGRAPHY

<fttp://www.elpais.com/articulo/internacional/cubanos/podran/tener/moviles/elpepiint/20080329elpepiint_8/Tes

Liva Dudareva POTENTIAL OF LOCATIVE MEDIA IN PRACTICE OF LANDSCAPE ARCHITECTURE (2005 - 2008)

Figure 1. Pictures above depict Signes Pucenas and Andrew Paterson personal experience in the Karaosta that was embodied in the real time GPS map and photo documentation. ttp://locative.x-i.net/mm/karosta/ghost_congregation.html, 01 - 04 - 2008). considered a mapping since it is attached to a location, be it physical or virtual. technologies but using audio records and visual documentary. However it can be

Figure 2. This is one of the first maps discovered made by humans (Bedolina petroglyph, Valcamonica, northern Italy about 1500 B.C.), carved in the stone. It seems as it has tried to depict a village. The map reflects houses, fields and commons, in a word - factual information about a physical landscape. But why is there a stair which leads to the sky? | think this map is as well a symbol for a spiritual world.

Figure 3. ae oe The map shows the traces of Ilga Grinberga and Aina Rudzite — two sisters that own a farm and take care of cows. hidden such as personal happening of one’s day (Figure 3.). VVTIGAL UGIIYeo IVE A VPeLoOUl WHS TCS ONe GGG THOM! UVEITIS It Colilio Ula permanent cartography?” ask the artists. Slipping texts underneath mobile maps serve the answer to this question as “What changes for a person when he/she realizes that his/her own cartography constantly is added and crossed by routes of other people?” Does the person attach more importance to the routine tracks when actually see them embodied in the map? This personal geography depicts th needs of particular individual, thus becoming increasingly personal and subjective comparing with first attempts of cartography that was focused on the land, its divisi and ownership.

Figure 4. ae The map of the cheese ‘Rigomond’ what holds all the economical misunderstandings and dreams about cheese as art that came across during the project..

Figura 6. Paul — Henry Chombart De Lauwe. Routes taken during one year by a girl in the 16th Arrondissement. From Chombart De Lauwe, Paris et l’agglomération parisienne, vol.1 (1952). in the final result we see only a small triangular which shapes her movements in the

. ae OF After that armed with a photo camera he went to take the pictures of Paris’ counterpart found in the streets’ of Saint Paul. The result was directed by chance and adorned by irony. You can see the full project on the jhttp://www.parisminnesota.co places for artists like their favourite cafés, studios and residences (Figure 7.) Avery new art practises which takes up Situationist ideas we find in the project “A guide to the Montparnasse district of Saint Paul, Minnesota” by Paul Spencer. Spencer brings forward the question of how the history of the place affects our perception of that place. Everybody knows that Montparnasse was ablaze square of the bohemia in the 1920th Paris -effervescent abode for artists and intellectuals The artist asks what if this all had happened in Saint Paul, Minnesota? Paul Spencer finds it unfair that the artists didn’t move to Saint Paul in Minnesota but stayed in Paris which affects our notion about more and less valuable places and most significantly it is reflected in the tourism industry. So he decided to correct thi ‘misunderstanding’ by erasing the street names in the map of Saint Paul, Minneso and wrote instead the names of Paris streets, monuments and marked significant olaces for artists like their favourite cafés. studios and residences (Figure 7.) and wrote instead the names of Paris streets, monuments and marked significant

Figure 8. mda, ‘spaeh gine The Saint Paul, Minnesota ‘Eiffel tower’

.— 2 New shape for Paris catacombs on the right side picture in Saint Paul in Minnesota! The astonishing concurrence: on the left The Montparnasse gare and on the right side - the same! Figure 9.

Se The map in the middle shows mutual relations between Amager Fields and Orestad. The pictures on the left and right thus accordingly illustrate Amager Fields and Orestad. WHAT HOLDS PLACE?

Figure 12. Place is something that holds a value ( $) when | look closer at the face of place => lat 55.64986|lon 12.57955 | ask the question ( ? ) does place holds only economic reality => lat 55.65067|lon 12.58382 | am surprised (! ) about the answer => lat 55.65206|/on 12.58366 because the place sends me a message (@) this story is very personal as the place sends me a message embodied in the my name ‘Liva’ carved on the bench’s surface => lat 55.65239|lon 12.58029 | realize that the place holds symbols (A ) for example a significant symbol of a place is the Eiffel tower in the Paris, France => lat 55.65044|Ion 12.57955 and what is the most important place which holds people (A A ) => lat 55.64702|lon 12.57870 and my home (*) and actually | take care of a place moving forward => lat 55.65260|lon 12.57118 am | the place too (A=place ) and | start to => lat 55.64917|lon 12.56902 listen to the stories the place tells me (...) and when the place discover => lat 55.64727|lon 12.57349 itself o what now <=> points on the map to hear my story about what holds (__) the place:

media broadcasts, flows of capital, or information, which catalyse the space in unpredictable. Although walls are effective in containing the passage of bodies,

occupy, through the images that are encountered and what these images contain.

normally unseen view of the city, intercepted and viewed from the street. interpretation, by discussing together what they were seeing, how and where these

people drinking, talking, shopping and eating, until finally being left at another part o' more views, of darkened rooms, of rooms awash with light and colour, empty streets,

a small or medium scale that, without being monumental or seeking permanence, Sruz, practically dominated by souvenir shops and boards advertising tourist restaurants. This prototype was built thanks to support from the Centro Andaluz de

The m1ml project deals with, absorbs and exploits this reality: it is precisely the ourist routine of taking photographs that serves as the starting point to lead to an experience that reclaims the sense that the conditions of public environment are visual and invites people to interact with them. Using the universally adopte oractice of capturing photographic scenes and then uploading them onto the glc mage bank as a base, the immediate perception of that space is altered as wel as its memory, interfering with the collective tourist imagination of the city. In this Yeighbourhood of Seville, tourism plays an essential economic role and history veighs heavily, but not all residents share in or benefit from this economic and cultural model, and as a result, a fundamental question we asked ourselves refe 10W to use the project to foster social appropriation. cultural model, and as a result, a fundamental question we asked ourselves refers to weighs heavily, but not all residents share in or benefit from this economic and

Seville and will form part of our collective memory. POST YOUR PHOTO. Personalized views.

ACTIVATE SOUND. Views of the neighbourhood.

Inclusiva-net - M1ML, SEND ME A MESSAGE LATER : www.medialab-prado.es - 152 with daily life in the city and the persons who live there.

global image bank alters the stereotypical tourist image of this environment. “SS, 4,2 32M Soe ee SE ee eS 4.1. CONNECTION WITH THE CENTRO ANDALUZ DE ARTE CONTEMPORANEO.

5. CONCLUSIONS. CRITICAL EVALUATION OF THE EXPERIENCE. The presence of the sensitive interface in the public space revealed a more receptive few tourists. Thus, the action continued with its invitation to reflect and the different

“Imagen subida a flickr por Miguel Villegas Ballesta”

works in the same way as that of the articles, but does not have a forum to search for Figure 2: Toolbar for editing Spip articles following installation of Spip Gis and Googlemap_api.

Code 1: Loops needed to gather data stored on the “spip_gis” and “spip_gis_mots” charts on the Web site skeletons. use the latitudes, longitudes and zoom levels stored on the Web site. That is why two new loops are needed to gather data from those charts and show

Installation Project for the exposition “Pillars of the Cinematograph” at the Palm Hall at the library at the Fuenlabrada Campus of the Universidad Rey Juan Carlos de Madrid. breakthroughs that led to the birth of cinema in the late 19th century. particularly the “pre-cinema’” world and all the technological and conceptual \lthough the necessary hardware and software are available on the market, a Jouble development is needed for the software, at both the back end (the design of he system relating the Wi-Fi network with the user’s PDA device) and the front en the design of the application or the user’s graphic interface, related to functions, services, contents and resources provided). The pilot experience is based on the >xisting installation of a Wi-Fi network at the Library at the Fuenlabrada Campus of he URJC (Universidad Rey Juan Carlos de Madrid), installed and maintained by th Jniversity’s Telecommunications Engineering School.

The exhibit outline is shown on the PDA at the beginning with optical toys, and reproduction, with photography. astonishment at textual artifice. The development of Western society is however limited by two large, powerful ideas that mark the history of images: fabulation and figuration. The next stepis be simulation: the will, based on the invention of conical perspective, of making an image pass through the world represented in it In this narrow setting of simulations, we find the technological precursors to the cinematograph, “images in motion”: projection, with the magic lantern, animation with optical toys, and reproduction, with photography.

themselves, which leads us to our second step: fascination with surprises and

Various contents shown on the PDA.. seen directly on the panel and what is offered on the PDA is that there are common

Red, green and blue are used to highlight points in the text where the user can activate contents on the PDA. only as an architectonic container but also as a representation of textual space. in within habitual concepts of navigation through multimedia structures. This is an

Table 1b.- External geo-citations and delimiters

ibsolute measures of external geo-citations, related to differing web structures. n some cases, the highly hyper-textual structure of the site, the use of tags, etc., yrovided identical measures for all the geo-locations. In these cases, (nexo5.con he measures that the search engine considered as identical or similar to those yreviously shown were eliminated. Thus, the figures were reduced to amounts th vere more real. It must also be pointed out that the amounts provided by the sea sngines vary, even within the searches themselves. This did not have an effect o alsifying the results, given that the variation is very small, percentage-wise. Tabi ‘7 in the full report shows the results of Ng/ and NRgx for all sites studied. Table: {2 to 19 in the full report show the results of NTgx, IgZ and /g for all sites, with a yreakdown by category. Table 20 includes the same results not broken down by sategory, showing geo-local independence by rank. This information is portrayec jraphically in the following chart:

corresponds to the map made about YouTube: The most noteworthy conclusions include these findings: websites providing simil services, such as Jaiku and Twitter, seem to divide up the market territorially; the Youtube map, given its degree of globalization, could be identified as a cyber demographic map; Meneame is highly dependent on Madrid and Barcelona; Ope Directory has very little presence in Europe and Asia; Helsinki’s presence on Jaiku, as its local geo-citation, is higher than expected from a major cyber-brand; Digg has little presence in Europe and Latin America; Your Gallery has a very low presence outside London, despite the advertising campaign to launch the service the relationship of Spanish Art Centres to Latin America is reflected; in galleries ike Bitforms, its movement through Seoul or its relationship with Spanish artists i shown, while on Bereznitsky-gallery, their work with Russian and Ukrainian artists can be seen; ... The following image corresponds to the map made for Delicious:

Figure 35 – uploaded by Michelle Teran

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