lapsus linguae

A retrospective: A perspective: Going on 20 years online

A retrospective of my digital literary work was presented at Electrifying Literature: Affordances & Constraints, the Electronic Literature Organization’s 2012 Media Art Show which took place in conjunction with the ELO’s conference in Morgantown, WV, USA, 20-23 June 2012.

A retrospective? Of digital literature? Of my digital literature? Doesn’t quite seem real. In part because Morgantown, West Virginia, is some 6000 miles from where I’m presently sitting. I missed my own retrospective! This, I really can’t believe.

There have been quips of course. Aren’t you a little young for a retrospective? Thanks people, really, I mean it. In internet years I’m approximately 188 years old. But I’ve only been on line about 140 of those years. So, let’s say I got on line when I was 12 or so. Yeah, let’s go with that.

The Electronic Literature Organization retrospective focuses on relatively recent work, from 2005 from the present, including:

The Cape (2005)
Entre Ville (2006)
in absentia (2008)
CityFish (2010)
Along the Briny Beach (2011)
STRUTS (2011)
TRANS.MISSION [A.DIALOGUE] (2011)

For a bit of perspective, I’ve dug out some odds and ends from my early years online – some of it about my work, some of it about the work of other artists or organizations, some of it dating from before the visual web, some of it embarrassing to me now, but… what the heck.

null
ID card for internet account in Concrordia’s PAVO Lab.

Fishes & Flying Things (first web-based project, made at the The Banff Centre in 1995)

A Little Talk About Reproduction (drafted as an artist’s talk presented at Studio XX 1998, reworked various times over the years)

A brief history of the Internet as I know it so far (written in 2002 or so, published in Fishpiss in 2003)

“Digital Crustaceans v.0.2: Homesteading on the Web,” Ingrid Bachmann, Gallery Articule, Main Gallery, Montréal, Québec, April 4 – May 4 2003. (art review, published in Fuse in 2004)

Bi-Coastal (short story based on the 3-year stint I spent working undercover in corporate web development)

Getting in on the Ground Floor: A Hazy History of How and Why We Banded Together (written for xxxboîte, an artifact produced in celebration of the first ten years of Studio XX, Montréal, QC, October 2007)

The Cape: The Backstory (about how incredibly long it took me to make The Cape).

Some days it doesn’t seem possible that I’ve been working on line going on twenty years. Many, many thanks to the curators Dene Grigar & Sandy Baldwin for noticing.

Electrifying Literature: Affordances and Constraints

J. R. Carpenter Retrospective

Entre Ville and in absentia included in the Electronic Literature Collection Volume Two

Two of my web-based works – Entre Ville and in absentia – are included in the Electronic Literature Collection Volume Two, which launched in February 2011. [Prese Release]

ELC2

I’m thrilled that Entre Ville and in absentia appear together in this collection. In many ways, they are the before and after pictures of my old neighbourhood, Mile End, Montreal, where I lived for seventeen years.

Entre Ville was commissioned in 2006 by OBORO, an artist-run centre in Montreal, on the occasion of the 50th anniversary of the Conseil des Arts de Montreal. Although I had lived in Montreal for 15 years at the time of the commission, Entre Ville was my first major work about my adopted city. It took me that long to learn the vocabulary. I don’t mean French, or Greek, Italian, Portuguese, Yiddish or any of the other languages spoken in my neighbourhood. I refer, rather, to a visual, tactile, aural, sensorial vocabulary. My home office window opens into a jumbled intimacy of back balconies, yards, gardens and alleyways. Daily my dog and I walk through this interior city sniffing out stories. Poetry is not hard to find between the long lines of peeling-paint fences plastered with notices, spray painted with bright abstractions and draped with trailing vines. Entre Ville is a web-based heat-wave poem presented in the vernacular of my neighbourhood, where cooking smells, noisy neighbours and laundry lines crisscross the alleyway one sentence at a time.

In an intimacy
born of proximity
the old Greek lady and I
go about our business.
Foul-mouthed for seventy,
her first-floor curses fill
my second-floor apartment;
her constant commentary
punctuates my day.

Six months after the launch of Entre Ville, the “star” of Entre Ville, “the old Greek lady,” was evicted from the apartment where she and her husband had lived for twenty-three years. Many long-time low-income tenants were being forced out of the neighbourhood. Fiction was the only way I felt I could give voice to their stories. Our stories – I felt certain my time would come soon enough.

in absentia is a multi-authored multi-lingual site-specific web-based writing project which addresses issues of gentrification and its erasures in the Mile End neighbourhood of Montreal. Faced with imminent eviction, I began to write as if I was no longer there, about a Mile End that was no longer there. I manipulated the Google Maps API to populated “real” satellite images of my neighbourhood with “fictional” characters and events. in absentia is a web “site” haunted by the stories of former residents of Mile End, a slightly fantastical world, a shared memory of the neighbourhood as it never really was but as it could have been. in absentia was created in 2008 with the support of the Canada Council for the Arts. It was presented by DARE-DARE Centre de diffusion d’art multidisciplinaire de Montréal. It launched June 24, 2008. New stories were added over the summer, in English and French. A closing party was held in conjunction with the launch of my novel, Words the Dog Knows, (conundrum press), at Sky Blue Door, November 7, 2008.

This is the second collection published by the Electronic Literature Organization. The Electronic Literature Collection Volume One, edited by N. Katherine Hayles, Nick Montfort, Scott Rettberg and Stephanie Strickland, also included one of my works – The Cape. The long-awaited Electronic Literature Collection Volume Two, edited by Laura Borràs, Talan Memmott, Rita Raley, and Brian Kim Stefans, includes 63 works from Austria, Australia, Catalonia, Canada, Colombia, France, Germany, Israel, The Netherlands, Portugal, Peru, Spain, UK, and USA; written in Catalan, Dutch, English, French, German, Portuguese, and Spanish; Flash, Processing, Java, JavaScript, Inform, HTML, and C++.

ELC2 speaks to both the continuity as well as the bright future of electronic literature. The works include many of the emerging categories of e-lit: mash-ups, geolocative, codework, as well as “traditional” and evolving forms such as hypertext, chatbots, and interactive fiction. The authors list presents readers with both veterans and newcomers to the field.
Electronic Literature Collection Volume Two

Electronic Literature at PW10

I am thrilled to be involved with curating an exhibition of digital textwork/e-literature to be shown in the Arnolfini Reading Room during PW10 Performance Writing Weekend at Arnolfini, Bristol, May 8-9, 2010. This exhibition includes some of my own work as well as fantastic contributions by John Cayley, Daniel Howe, Christine Wilks, Jason Nelson and Jerome Fletcher. We are also pleased to feature the launch of _feralC_ a new web work by MEZ commissioned by Arnolfini curated by Geoff Cox.

John Cayley and Daniel Howe
Misspelt Landings
http://rednoise.org/readers/misspelt.php

Misspelt Landings is a preliminary work from The Readers Project. It is presented here as a Java Applet, written and generated using Processing and RiTa, the extensive natural language processing and text handling libraries for Processing by Daniel Howe.

J. R. Carpenter
Entre Ville
http://luckysoap.com/entreville

Entre Ville is a web-based hypermedia heat-wave poem commissioned by OBORO, an artist-run centre in Montréal, on the occasion of the 50th anniversary of the Conseil des Arts de Montréal.

J. R. Carpenter
Story Generation(s): Excerpts from the Chronicles of Pookie & JR, I’ve Died and Gone to Devon, and Auto-Autobiography

Story Generations(s) are a series of short fictions generated from Python scripts.

Jerome Fletcher
…Reusement
http://www.falmouth.ac.uk/component/contacts/352/view/research-100/jerome-fletcher-335/index.html

…Reusement is an interactive piece that examines the idea of an archaeology of reading. The user uncovers layers of text through a process of ‘erasure’, simultaneously amassing details of an uncertain narrative.

MEZ
_feralC_
http://netwurker.net/
Commissioned by Arnolfini, curated by Geoff Cox.

_feralC_ will launch on the Saturday the 8th May at 3pm East-Coast Australian time.
_feralC_ is a “socumentary” [mix of social_networking mockumentary & Alternate Reality Sequencing] that will trace the Twitter output of special networked characters. Stay tuned + remember: follow the synthetic brick road….

Jason Nelson
WithinSpace
http://www.secrettechnology.com

WithinSpace is a textwork written in Flash which challenges the flatness of the terminal screen and encourages layered contextual readings.

Christine Wilks
Underbelly
http://www.crissxross.net/elit/underbelly.html

Underbelly is a playable media fiction, created in Flash, about a woman sculptor, carving on the site of a former colliery in the north of England. As she carves, she is disturbed by a medley of voices, some from the site’s dark industrial past, and the player/reader is plunged into an underworld of repressed fears and desires.

Also on display: Electronic Literature Collection Volume One
Editors: N. Katherine Hayles, Nick Montfort, Scott Rettberg, Stephanie Strickland
http://collection.eliterature.org/1/

The Electronic Literature Collection is a periodical publication of current and older electronic literature in a form suitable for individual, public library, and classroom use.

PW10 runs Sat 8 May 11.00am – 9.00pm & Sun 9 May 11.00am – 6pm

For more information on PW10 and a full event schedule, visit Arnolfini: http://www.arnolfini.org.uk/whatson/live/details/625

For more information on Performance Writing, visit the Facebook page: http://www.facebook.com/pages/Performance-Writing/446221925633

A Slow Reveal… at The Art Gallery at the University of Maryland

Two of my recent web-based works – Entre Ville and in absentia – have been included in a new exhibition at The Art Gallery at the University of Maryland at College Park. A Slow Reveal… launched on March 25, 2009. Over the course of several weeks, the site will reveal projects developed for the internet that employ a variety of forms: from digital narratives, online gaming, open source programming, and database art, to traditional methods of documentary filmmaking in virtual environments.

The first section in A Slow Reveal… explores how the Internet is transforming narratives, through electronic literature, gaming, mash ups, blogging, and transmedia fiction. In these works, the narrative unfolds in RSS syndication through text, still images, video, animation, and sound. The Internet provides individuals and collaborators opportunities to publish innovative re-imaginings of text and image to a potentially large audience, while reaching the smaller niche audiences some works might attract and never reach through traditional print or video distribution. The internet allows for new level of interactivity, from simple navigation and shaping of text to participating as reader/writer/composer/actor. Through mouse clicks and arrow keys, the experience is more like a performance than viewing a static material object.
– Jennie Fleming, The Art Gallery, Associate Director

So far, A Slow Reveal… has revealed works by Kate Pullinger, Chris Joseph, J. R. Carpenter, Andy Campbell, Judi Alston, Annette Weintraub, Roderick Coover, David Clark, Mark Amerika and Jody Zellen.

View A Slow Reveal…
. . . . .

In Search of A New(er) Digital Literature

Entre Ville is in an new exhibition called In Search of A New(er) Digital Literature curated by Alan Bigelow, which opened in Gallery 108 at Austin Peay State University, Tennessee, USA, January 15, 2009. The exhibition is also online on < terminal > a space sponsored by the department of art and the center for the creative arts at Austin Peay to showcase and examine internet and new media art. As Bigelow writes in his curatorial statement:

the works in this exhibition, and many like them, find their life, and major readership, on the web. The web is not just a quick and expedient way to find an audience for digital literature, a way to self-publish at minimal cost, and a path to self-promotion; it also offers worldwide access to a multimedia platform for which these works can be created, and provides a place for them to thrive.
[read more]

View In Search of A New(er) Digital Literature online.
. . . . .

Guest Lecturer at de Montfort University, Leicester, UK

The week of November 3rd, 2008, I’ll be a Guest Lecturer at de Montfort University. De Montfort is in Leicester, UK. But I’ll be in my office in Montreal. And the students will be tuning in from the UK, Gambia, and Canada. How is this possible? De Montfort offers an online MA in Creative Writing and New Media.

The Online MA in Creative Writing and New Media is designed for writers interested in experimenting with new formats and exploring the potential of new technologies in their writing. This 95% distance learning course has a unique commitment to the connections between writing and new media and offers an excellent online experience combined with one week’s intensive study at the De Montfort campus. The course is designed by Professor Sue Thomas, writer and former Artistic Director of the trAce Online Writing Centre, and Kate Pullinger, acclaimed novelist and new media writer. It has extensive links with important initiatives including DMU’s Institute of Creative Technologies, research into digital narratives and new media writing, and the creative, digital and publishing industries.

This degree is informed by contemporary thinking on transliteracy, meaning the ability to read, write and interpret across a range of media from orality through print and film to networked environments. Creative Writing, indeed the very nature of text itself, is changing. No longer bound by print, there are many opportunities for writers to experiment with new kinds of media, different voices and experimental platforms, both independently and in collaboration with other writers or other fields and disciplines. Not only is writing evolving, but writers themselves are developing broader expectations and aspirations. Novelists are learning about the potential of hypertext and multimedia to change the ways in which a story can be told. Journalists are finding that blogs and wikis are radically affecting their relationships with their readers. Community artists are discovering powerful collaborative narratives. And the commercial world is finding new and creative ways to interact with its employees and customers in the fast-growing attention economy of the internet. While digital media have altered the way we disseminate and gather information, readers – both online and offline – still hunger for compelling narratives. As readers, we want to be told stories; we want complex and interesting ideas and characters; we want vivid pictures in our heads. As writers we want to communicate. We need good stories well-told, whatever our choice of delivery platform. The MA in Creative Writing and New Media provides an opportunity to focus on developing work at the cutting edge of the new technologies and enables new ways of thinking about narrative.

To visit the current students’ course website and to see examples of the guest lecturers on the programme and successful applicant profiles visit: http://www.creativewritingandnewmedia.com

To read the lecture I’ve prepared for the MA in Creative Writing and New Media visit: Mapping a Web of Words.

. . . . .

Visionary Landscapes, Vancouver WA

After five days in Vancouver BC I headed down to Vancouver WA for Visionary Landscapes: The Electronic Literature Organization Conference 2008. This Vancouver convergence was purely coincidental. It was convenient in so far as I doubt I would have made it to the conference were I not already out west, but visiting two Vancouvers in one trip made for some confusing conversations. For example, when I was going through customs in Vancouver they asked me where I was going: Vancouver, I said.

In Vancouver BC they refer to Vancouver WA as “the other Vancouver.” In Vancouver WA it is difficult not to refer to Vancouver BC as “the real Vancouver.” According to tourist propaganda found in the conference hotel, Vancouver WA was founded 30 years before Vancouver BC. The town has done little with this head start.

There seemed to be an inordinately high number of pawnshops per capita. Beauty parlours too. But when a few of us asked where the grocery store was we were laughed out of town. Literally – out of town. The hotel concierge informed us that the closest grocery store was across the bridge in Portland, Oregon. Picture it: Dutch, a Quebecois, a Norwegian and me, a kid from rural Nova Scotia walking across the state line to buy fruit and granola bars and other provisions to sustain us through the conference’s schedule of impossibly early mornings, late lunches, long days and dinners delayed some nights so late that it almost made more sense to skip ahead to straight up drinking.

Every morning at 7:30AM we were loaded onto two yellow school busses for transportation to the conference site, which was so far from the conference hotel in “downtown” Vancouver that the penalty for missing the school bus was a $25 taxi ride. The Washington State University Vancouver campus is beautiful and well-equipped, but oh so tiny. Or maybe it only appeared to be tiny because Mount Saint Helens loomed so large on the horizon.

On one hand it was kind of exciting to ride in a school bus full of the world’s leading experts in and practitioners of electronic literature. On the other hand, if either of these school buses had been in a horrible traffic accident it would have completely wiped out e.lit as a genre.

Electronic literature is a small but international community. The conference had a family reunion feel to it. We all know each other’s names but many of us had never met in person. I had two works in the Media Arts Show was held in conjunction with the conference: Entre Ville and The Cape. I was a little nervous about performing these works in front of such an august crowd, but afterward a surprising number of people came up and told me they’ve been teaching these works. For some reason it never occurred to me that people whose work I’d been admiring online for years might also be aware of my work.

Oh Internet, once again I under-estimate you.

More information on Visionary Landscapes: Electronic Literature Conference 2008: Visionary Landscapes

There was a write up on the Media Art Show a local paper, The Columbian:
Works of Art A Click Away
. . . . .

HAVE YOUR DESTINATION IN MIND

One of my favourite books of all time is The Phantom Tollbooth by Norton Juster, illustrated by Jules Feiffer. I named one of my favourite cats off all time after the main character, Milo, who didn’t know what to do with himself – not just sometimes, but always. “Wherever he was he wished he were somewhere else, and when he got there he wondered why he’d bothered.” One day Milo comes home from school and finds an enormous package in his room containing the following items: One genuine turnpike tollbooth; three precautionary signs; assorted coins for use in paying tolls; one map, up to date and carefully drawn my master cartographers, depicting natural and man-made features; and one book of rules and traffic regulations, which many not be bent of broken. Having lots of time on his hands and nowhere better to be, Milo assembles the tollbooth, hops in a small electric automobile he just happened to have kicking around in his room, drives through the tollbooth and proceeds to have many clever and pun-filled adventures. He befriends a watchdog named Tock (tic-tock, tic-tock). Together they travel through Dictionopolis to Digitopolis and (I hope I’m not giving too much away) rescue Rhyme and Reason from the Mountains of Ignorance. No one told him it was impossible to do this until after he’d done it!

As a kid in rural Nova Scotia I pretty much always wished I were somewhere else. At school I wished I were home and at home I wished I were outside. Outside there was nothing to do. All school year I waited for summer. Every summer I went to New York City to visit family. New York was a filthy, hot and crime-ridden – and my family lived there! – so and almost as soon as I got there I couldn’t wait to leave.

One of the three precautionary signs that came with the Phantom Tollbooth advised: HAVE YOUR DESTINATION IN MIND. Milo consulted the map, also provided:

It was a beautiful map, in many colors, showing principal roads, rivers and sear, towns and cities, mountains and valleys, intersections and detours, and sites of outstanding interest beautiful and historic.
The only trouble was that Milo had never heard of any of the places it indicated, and even the names sounded most peculiar.
“I don’t thing there really is such a country,” he concluded after studying it carefully. “Well, it doesn’t matter anyway.” And he closed his eyes and poked a finger at the map.

When I was twelve years old decided to move to Montreal. I procured a map of the city and thumbtacked it above my bed. I left home the minute after high school. If you would have told me back then that I’d spend the next fifteen years in Montreal writing about rural Nova Scotia I would have said: Shoot me now! But that’s what happened. Check out this early electronic literature project, circa 1997 – the interface is a map of Nova Scotia: The Mythologies of Landforms and Little Girls

In 2006 I was commissioned by the OBORO New Media Lab to create a web project for the 50th anniversary of the Conseil des Arts de Montreal. The resulting work, Entre Ville, was my first big piece about Montreal. Finally! I had figured out how to write about where I actually live. So what did I do? I took Entre Ville on the road. I’ve become habituated to talking about where I live to people who live elsewhere – a side-effect, I suspect, of growing up in a different country than everyone I’m related too.

A year to the day after Entre Ville launched at the Musée des beaux-arts I presented it at a Media in Transition conference at MIT. There I met Jon Saklofske – an English professor at Acadia University. Acadia is in Wolfville, Nova Scotia – one of my old hometowns. I went to Wolfville Elementary School for grades four and five. Jon professed to be a fan of Entre Ville so I immediately started pestering him to wrangle me an invite to do an artist’s talk at Acadia. How perverse. After years of writing about Nova Scotia in Montreal I now all of a sudden I wanted to show my Montreal work in Nova Scotia? How very Milo, always wishing I were somewhere else.

The first thing Milo has to do when he drives through the Phantom Tollbooth is to get Beyond Expectations. Not to conflate my mission to get a free plane ticket out of an academic institution with Milo’s mission to rescue Rhyme and Reason from the Mountain of Ignorance, but a) I’m glad nobody told Jon or me that it was an impossible mission before we embarked on it, and b) I haven’t even got there yet and I’m already grateful to so many people met along the way. There were a few setbacks in the beginning and for a while there my expectations were running low. It was summer, for one thing. So no one was around for Jon to pester on his end. When the school year finally started up again the Acadia faculty went on strike, putting all plans on hold. Happily the strike ended happily. Things started to move more quickly after that. By mid-fall the travel funding was approved and a date was set so I started making inquiries about lining up other talks at other universities. These were immediately met with an outpouring of enthusiasm, generosity, support and offers of couches to sleep on. Thanks to Jon for starting the ball rolling. Get one good thing going and other good things will flock to it. Thanks Andrea Cooper for putting me in touch with Peter Dykhuis at the Dalhousie Art Gallery, Jessica Andrews for putting me back in touch with Trevor and Michele, Trevor for reminding me that Randy Knott taught at NSCAD, Randy for putting me in touch with David Clark at NSCAD and Michael-Andreas for enrolling in that lithography workshop at NSCAD way back when – I can’t wait to see you again old friend.

There is a very funny bit about two-thirds of the way through The Phantom Tollbooth with Milo, Tock and their friend the Humbug (yes, he’s a bug who hums). They’re driving along intent on their mission:

The shore line was peaceful and flat, and the calm sea bumped it playfully along the sandy beach. In the distance a beautiful island covered with palm trees and flowers beckoned invitingly from the sparkling water.
“Nothing can possibly go wrong now,” cried the Humbug happily, and as soon as he’d said it he leaped from the car, as if stuck by a pin, and sailed all the way to the little island.
“And we’ll have plenty of time,” answered Tock, who hadn’t noticed that the bug was missing – and he, too, suddenly leaped into the air and disappeared.
“It certainly couldn’t be a nicer day,” agreed Milo, who was too busy looking at the road to see that the others had gone. And in a split second he was gone also.

The beautiful island beckoningly invitingly was called Conclusions and Milo, Tock and the Humbug had all jumped to it.

I’m not sure what I was thinking when I first started pestering Jon. I haven’t been to Nova Scotia in eight years and I can’t remember the last time I was in Wolfville. When I presented Entre Ville at MIT I started with a map of Montreal and said: I live here. Did I think I was going to swoop down from Montreal and pull off a stunt like that in my old hometown? Fortunately Andrea Schwenke Wyile at Acadia saved me, though perhaps unwittingly, from jumping to Conclusions. She came up with the title for the talk I’ll give there: Mapping a Web of Words. I’ve used maps in many of my electronic literature projects – as images, interfaces and metaphors for long-ago places and pasts that could never be mine. Andrea’s title started me thinking about maps in more practical terms. Digging though my files I found photographic evidence of the large map of Montreal that hung on the cluttered walls of my bedroom throughout junior and senior high. No wonder I wound up in Montreal. For years I’ve had a Geology Map of Nova Scotia hanging on the cluttered wall of my Montreal office. No wonder I keep writing about Nova Scotia. The title, Mapping A Web of Words, underlined this mirror map inversion. The contrariness of it all reminded me immediately of The Phantom Tollbooth so I went to find the book on the shelf. Opening it for again for the first time in a few years I was confounded by the map inside the front cover. How could I have forgotten about this map?

The first time I read The Phantom Tollbooth I was nine years old. I was in the fourth grade at Wolfville Elementary School. I wrote a book report about it on single sheet of foolscap. It’s the only piece of schoolwork I still have from those years:

My book took place in an amaganary world witch you enter through the phantom tollbooth. Its realy like a world in a world.

On the back I drew a map of Milo’s route beyond Expectations, through the Doldrums, into Dictionopolis, past the Sea of Knowledge, onward to Digitopolis and upward into the Mountains of Ignorance to rescue Rhyme and Reason from the prison there. The map I drew in no way resembles the map in the front of the book.

HAVE YOUR DESTINATION IN MIND.

J. R. Carpenter: Mapping a Web of Words

Acadia University, KC Irving Auditorium (Wolfville, NS)
Wednesday, February 27, 2008 at 7pm

Dalhousie Art Gallery, (Halifax, NS)
Thursday, February 28, 2008 at 8pm

Noontime talk at NSCAD, (Halifax, NS)
Friday, February 29, 2008 at 12:15pm
. . . . .

Greetings From Entre Ville

Entre Ville is a web art project based on a heat wave poem.

It was commissioned by OBORO, a Gallery and New Media Lab in Montréal. The commission was made possible by the Conseil des arts de Montréal. In 2006, on the occasion of their 50th anniversary, the Conseil solicited commissions of new works in each of the artistic disciplines that it funds. Tasked with selecting the New Media commission, Daniel Dion – Director and Co-Founder of OBORO – felt that a web-based work had the most potential to be accessible to a wide range of Montréaliase for the duration of the anniversary year and beyond. The commission included a four-week residency at the OBORO New Media Lab.

OBORO Studio 3

Entre Ville launched at the Muse des beaux-arts de Montréal on April 27, 2006.

Un 50e anniversaire – En ville et sur l’île
Pierre Vallée – Le Devoir – Édition du samedi 29 et du dimanche 30 avril 2006

On April 27, 2007, exactly one year after its launch, I will present Entre Ville: this city between us at MiT5: creativity, ownership and collaboration in the digital age, the fifth conference in MIT’s Media in Transition Conference series. MIT, Cambridge, MA, USA. April 27-29, 2007.

This conference paper was a joy to write, a testament to what a pleasure it’s been to represent OBORO and the Conseil des arts de Montréal. I’ve posted a slimmed down presentation version on Entre Ville [click on the Bibliotheque Mile End] or follow this link: Entre Ville: this city between us

Summer is coming. Step into the heat.
. . . . .

Contre Ville

the old greel lady and I
this just in: my neighbour, the old greek lady, star of << Entre Ville >>, yes that old greek lady of “the old greek lady and I go about our business” fame, and of “foul-mouthed for seventy” fame, has been booted out of her apartment after 23 years. there goes the neighbourhood.
http://Luckysoap.com/entreville
. . . . .