"JODI's disruption of mapping and video games reminded me of Situationist artist Guy Debord's calls for a 'renovated cartography.' For Debord, when we blindly follow the same directions over and over, using the easiest paths, we get stuck relating to the world in 'functional' ways and imagination withers. Debord wanted people to use the wrong map in the wrong place — to get lost in order that we might see our surroundings anew. Similarly, JODI strips away the usual instrumental goals of our engagements with digital media — to win a game, to communicate information, to navigate quickly. What we are left with is a bare awareness of the random components of our digital lives and a glimpse at the other possibilities for technology."
(Leila Nadir, 30 April 2012, Museum of the Moving Image)
"The hipster is, concurrently, developing into a form of youth subculture, though at present in a limited sense. Many of the tropes and defining characteristics of teenage tribalism are being draped in hipster attire, but with little of the angst-ridden and socio-economic preliminaries at the base of earlier subcultural trends and movements, such as skinheads, goths and punks (or some recipe based thereon). Without a solid, or at least only slightly shifting, base in materiality and social context, the attire of this set of genuinely disenfranchised youth is sign only; the woolly hat and the running shoe are talismans devoid of any intended meaning; the world seems flooded with signs without symbolism, with younger converts to the hipster 'style' aping their ape forebears. The sign has, in this context, lost its original referent and become 'hyperreal' (Baudrillard, 1994, p.1). The 'real' origin of the sign's meaning has been lost, or buried under meaningless affectation; the borrowing and commodification of a modern exoticism; that of various minority or 'retro' alternative fashions and attitudes. In reference to subcultural groups, Hebdige notes that 'humble' objects can be magically appropriated; 'stolen' by subordinate groups and made to carry 'secret' meanings' (1979, cited in Haralambos and Holborn, 2004, p.808). This explains the way punks could style safety pins into a new context, and teddy boys could subvert the traditional connotations of Edwardian formality – the coded meanings that charge such appropriated style-objects amounted to a kind of resistance to the ruling order, be that signified by the state or in the 'square' world of the mainstream. Each subculture is in some way 'spectacular', in that it creates a spectacle and intends to be noticed. The hipster is daily losing this status, as s/he becomes overloaded with signifiers (aesthetic surface) and has become divorced from the collective; there is no need for internal reinforcement against a subordinating external force when one has such a slippery class composition. The hipster is not oppressed, and purports to signify the pinnacle of individual choice and cultural savoir faire (though this position is problematized by the amoebic development of a youth subculture with roots in working class communities). The hipster's resistance is not to social subordination but to modernity itself, to a meaning-deficit brought on by a loosely defined, insecure mainstream culture that is less and less able to provide collective ontological sustenance. Perhaps the youth-hipster is an attempt to introduce a degree of collectivity in order to partially overcome alienation and inwardness, though this does not excuse the continued loss of substance and meaning in style and aesthetic value."
(Michael Reeve, 2013, Academia.edu)
"Google has begun testing extending its DoubleClick ad technology beyond desktop computers and mobile phones to billboards.
The company is trialing a method for premium billboard ads to bought programmatically — using DoubleClick's automated processes, rather than having to manually place an order with an outdoor advertising company upfront — for the first time. ...
The idea is that passers-by will see the most relevant ads for the time of day and location they are in. If the passing audience isn't the right one to show an ad to, then the technology opts not to serve an ad.
Google's trial began earlier this month in London and will run until November. The ads are being served to premium digital screens in transport, roadside locations, and city centers across the UK. Google has bought the advertising placements upfront and is using DoubleClick to decide which ads for which of its brands are most appropriate to serve at particular locations and to determine the best time of day to display them."
(Lara O'Reilly, 30 October 2015, Business Insider)
"That's one small step for a man; one giant leap for mankind.' We all know the quote, the triumphant story. It seems written in stone. But Buzz Aldrin and Neil Armstrong came within inches of tragedy when they landed Apollo 11. Moon Graffiti imagines what it might have sounded like if things had gone a little differently. Based on a contingency speech written by William Safire for Richard Nixon titled 'In the Event of Moon Disaster'.
The Truth is a series of new radio dramas produced by Jonathan Mitchell, edited by Hillary Frank and commissioned by American Public Media."