S. Topiary Landberg is creating an interactive documentary called "Exit Zero: An Atlas of One City Block" about a single city block in San Francisco's Hayes Valley neighborhood. The block has undergone dramatic transformations over 150 years from freeway exits to a community garden to a luxury apartment complex. Landberg is using non-linear storytelling and mapping interfaces to allow users to explore the block's history and themes across time periods. The project aims to provide historical context around issues of gentrification, creative place-making, and environmentalism in San Francisco. Landberg is still in early prototyping stages and seeking feedback on navigation designs and storytelling approaches.
This digital platform is meant to be used as a “tool” to discover titles in the NRK television archives you didn’t knew you wanted to see – or at all existed. It aims to bring forward television material all the way back from 1960 until today. How do you browse through 55 years of material, which consists of about 20 000 titles, in an understandable and effective way? Also, it should be noted that there are certainly different ways of going about this – however, the way I’ve gone about it is based on me aiming on the user that’s interested in exploring the archive, and not necessarily is dead set on finding a specific title. Hence, the digital platform is a result of need focus.The overarching idea is that you browse through the content, year by year, and on the first level you’re presented to highlights of the each category in the year you’re situated in. Each category is represented by one “panel”. The size of the panel is based on the amount of content of that genre in that year. his makes it easy to scan and get a feeling of the different sizes. If you’re to move one level deeper, you can pick a category, i.e. humour, and is then presented with all humour titles that aired that year. By entering a specific title, you are then presented with an episode or clip of the title, and also related clips and titles. This makes it possible to discover new, interesting material.
Closing keynote given at the Museum Educators of Southern California Summer Workshop on June 25, 2010. It starts with a nod to John Seely Brown and his wisdom about solution confusion in rapidly changing technological times, then explores the boundaries between traditionally siloed museum departments that are merging/under threat in this new environment. From there a brief history of the role for new media interpretation in museums (art and otherwise), a summary of the Visual Velcro idea, and the role of mobile multimedia in supplying hooks to the hookless. Finally a summary of "Making Sense of Modern Art Mobile," and the implications of taking on publication and distribution of a mobile tour in-house. Ends with future plans and questions about the integration of social media in such publications.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
This digital platform is meant to be used as a “tool” to discover titles in the NRK television archives you didn’t knew you wanted to see – or at all existed. It aims to bring forward television material all the way back from 1960 until today. How do you browse through 55 years of material, which consists of about 20 000 titles, in an understandable and effective way? Also, it should be noted that there are certainly different ways of going about this – however, the way I’ve gone about it is based on me aiming on the user that’s interested in exploring the archive, and not necessarily is dead set on finding a specific title. Hence, the digital platform is a result of need focus.The overarching idea is that you browse through the content, year by year, and on the first level you’re presented to highlights of the each category in the year you’re situated in. Each category is represented by one “panel”. The size of the panel is based on the amount of content of that genre in that year. his makes it easy to scan and get a feeling of the different sizes. If you’re to move one level deeper, you can pick a category, i.e. humour, and is then presented with all humour titles that aired that year. By entering a specific title, you are then presented with an episode or clip of the title, and also related clips and titles. This makes it possible to discover new, interesting material.
Closing keynote given at the Museum Educators of Southern California Summer Workshop on June 25, 2010. It starts with a nod to John Seely Brown and his wisdom about solution confusion in rapidly changing technological times, then explores the boundaries between traditionally siloed museum departments that are merging/under threat in this new environment. From there a brief history of the role for new media interpretation in museums (art and otherwise), a summary of the Visual Velcro idea, and the role of mobile multimedia in supplying hooks to the hookless. Finally a summary of "Making Sense of Modern Art Mobile," and the implications of taking on publication and distribution of a mobile tour in-house. Ends with future plans and questions about the integration of social media in such publications.
MW2010: N. Proctor, The Museum Is Mobile: Cross-platform content design for a...museums and the web
A presentation from Museums and the Web 2010.
Acknowledging that the only constant in technology is change, this paper proposes ways of ‘thinking outside the audio tour box’ in developing mobile interpretation programs in museums: instead of making mobile interpretation a question of which device, platform, or app the museum should invest in, it puts the focus on cross-platform content and experience design.Putting audiences at the center of museums’ mobile content and experience designs make it possible to engage them through the media consumption practices and platforms that they already use outside of the museum.
Based on research conducted at the Smithsonian American Art Museum, the Indianapolis Museum of Art, and with the principals of SmartHistory.org, this paper offers a ‘question-based’ methodology for developing an interpretive strategy that starts with mapping visitors’ queries in the galleries. From this conceptual map we can derive a matrix of platforms, media, and narrative voices that work cross-platform. The traditional audio tour, with its analog ‘linear’ content and random access ‘stops’, offers important paradigms for ‘mobile 2.0’ content design: on the one hand, conceptual overviews and immersive ‘soundtracks’ provide a ‘score’ for the museum experience, and on the other hand, ‘soundbites’ in a range of media (audio, multimedia, or text) can be searched, saved, shared and favorited in multiple contexts. From social media, we can also learn how to integrate links, apps and user-generated content into the mobile mix. Finally, the paper considers how content style impacts shelf-life. What is the enduring legacy of creating ‘quick & dirty’ interpretive ‘snacks’ versus investing in more nutritional fare? How can museums best allocate their mobile content budgets in this light?
Session: Mobiles: A Panel [mobile]
see http://www.archimuse.com/mw2010/abstracts/prg_335002342.html
ARC 211: American Diversity and Design: Joshua HenryJosh Henry
The following pages document my
responses to the online discussion questions in the Spring 2017 version of ARC 211
American Diversity and Design at the University at Buffalo – State University of New
York.
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
The following pages document my
responses to the online discussion questions in the Spring 2017 version of ARC 211
American Diversity and Design at the University at Buffalo – State University of New
York.
What if you could see through the walls of every museum and something could t...Chris Thorpe
A talk I was asked to give at Culture Hackday in London, talking about the thinking that's been going on in the latest project I'm a part of; Artfinder.
How We Used To, How We Will
with Eric Socolofsky
Presented live at FITC Toronto 2015
More info at www.fitc.ca/toronto
OVERVIEW
The photo-sharing website Flickr has a ten-year history of trying out new things. From its origin as a feature spun off of a massively-multiplayer game, through the dark days of neglect, to its current reincarnation, many different people have advanced new ideas via many different paths.
Which roads are the smoothest and which are full of potholes? Which lead to the most interesting discoveries and which to the staid and expected? Are new ideas the sole province of product teams, or should engineers and designers participate in the process?
In his talk, Eric explores a brief history of Flickr’s long tenure on the Web, and provides a platform from which to examine these questions.
OBJECTIVE
Examine the sources of inspiration and innovation, and the paths from idea to execution.
TARGET AUDIENCE
People who make things, people who use web services, people with ideas for new products.
ASSUMED AUDIENCE KNOWLEDGE
Familiarity with web products and user experiences.
FIVE THINGS AUDIENCE MEMBERS WILL LEARN
How to make things with a team.
How to avoid, and avoid being consumed by, office politics.
How to be an engineer with design and product skills.
How to be a designer with engineering and product skills.
How to be a product person with design and engineering skills.
ARC 211: American Diversity and Design: Travis CharlesTravis S. Charles
This slide share is about American Diversity and Design. Throughout it I deeper analyze different areas of design in the built environment and discuss how diverse it is.
MW2011: Cope, A., Authority Records, Future Computers and Other Unfinished Hi...museums and the web
What becomes the role for institutions and scholars charged with the study and safe-keeping of the past and the near-future when traditional methodologies like "authority records" are forced to compete with automated data collection, machine learning, the now suddenly practical reality of "big data" and the rise of broad communities of participation?
The breadth and reach of the Internet and the availability of alternative data sources, whether they are harvested programmatically or fashioned by amateur communities of interest has created a world where both the conceptual and financial economics of traditional scholarship are rapidly being undermined. Further, in the absence of a way for non-experts to feel as though they can participate in the discourse outside of established venues and vocabularies the opinions and assumed meritocracies of experts are increasingly being overlooked entirely.
What would it mean to change the role of digital preservation and scholarly interpretation from one where it looks and feels, to those the outside, like castle walls to be more like a rough guide composed of road signs and fence-posts? To consider a project whose goal is no longer to weave elaborate tapestries of the past facts but to produce textiles, and patterns, to be fashioned into reflections of the present?
A presentation from Museums and the Web 2011.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Fans fuel media, but how fan-centric is your media? This presentation from consultant Nick DeMartino, looks at that question from the perspective of Theatrics.com, a cloud-based collaborative storytelling platform which he advises. The presentation shows how easy it is to create a Theatrics story or brand experience in which fans can directly engage.
ARC 211: American Diversity and Design: Joshua HenryJosh Henry
The following pages document my
responses to the online discussion questions in the Spring 2017 version of ARC 211
American Diversity and Design at the University at Buffalo – State University of New
York.
Prowess-ing the Past: Considering the AudienceRuth Tringham
The aim of this presentation was to shift the focus of 3D modeling in archaeology and cultural heritage to consider the ways in which a more active motivation and engagement of their users (whether professionals or general public) might lead to the long-term sustainability of the models and visualizations. Currently the life expectancy of 3D models in installations or on-line is generally quite short. My argument is that engagement with the models should be measured not so much how many users/visitors a model receives, but in how long and through how many re-visits the users wish to visit the same model. I am guessing that for most users, the visit is a one-time short event. I identify five major strategy foci that might lead to longer and more specific usage of the models and thus to their longer-term sustainability; these are: 1) active user participation, 2) meaningful exploration, 3) cultural presence, 4) multi sensorial experience, and 5) the education of attention, with greatest emphasis given to the latter. I end with idea that these five foci in fact could all be embraced within the gamification of the models, not necessarily as video games, but as media-rich non-linear narratives that go by various terms, such as Walking Simulator, Interactive Digital Stories, and Alternative Reality Games that take advantage of a mixed environment of Augmented and Mixed Reality as well as the more “traditional” Virtual Reality modeling. I finally point out that such gamification could potentially make powerful contributions to draw attention to socio-political and ethical issues of cultural heritage and archaeology.
Essay about Digital Art Technology
American Illustration
Surrealism Essay
What Is Self Worth Essay
Illustration Paragraph
Essay on Family Systems Theory
The Artist And The Art Essay
The following pages document my
responses to the online discussion questions in the Spring 2017 version of ARC 211
American Diversity and Design at the University at Buffalo – State University of New
York.
What if you could see through the walls of every museum and something could t...Chris Thorpe
A talk I was asked to give at Culture Hackday in London, talking about the thinking that's been going on in the latest project I'm a part of; Artfinder.
How We Used To, How We Will
with Eric Socolofsky
Presented live at FITC Toronto 2015
More info at www.fitc.ca/toronto
OVERVIEW
The photo-sharing website Flickr has a ten-year history of trying out new things. From its origin as a feature spun off of a massively-multiplayer game, through the dark days of neglect, to its current reincarnation, many different people have advanced new ideas via many different paths.
Which roads are the smoothest and which are full of potholes? Which lead to the most interesting discoveries and which to the staid and expected? Are new ideas the sole province of product teams, or should engineers and designers participate in the process?
In his talk, Eric explores a brief history of Flickr’s long tenure on the Web, and provides a platform from which to examine these questions.
OBJECTIVE
Examine the sources of inspiration and innovation, and the paths from idea to execution.
TARGET AUDIENCE
People who make things, people who use web services, people with ideas for new products.
ASSUMED AUDIENCE KNOWLEDGE
Familiarity with web products and user experiences.
FIVE THINGS AUDIENCE MEMBERS WILL LEARN
How to make things with a team.
How to avoid, and avoid being consumed by, office politics.
How to be an engineer with design and product skills.
How to be a designer with engineering and product skills.
How to be a product person with design and engineering skills.
ARC 211: American Diversity and Design: Travis CharlesTravis S. Charles
This slide share is about American Diversity and Design. Throughout it I deeper analyze different areas of design in the built environment and discuss how diverse it is.
MW2011: Cope, A., Authority Records, Future Computers and Other Unfinished Hi...museums and the web
What becomes the role for institutions and scholars charged with the study and safe-keeping of the past and the near-future when traditional methodologies like "authority records" are forced to compete with automated data collection, machine learning, the now suddenly practical reality of "big data" and the rise of broad communities of participation?
The breadth and reach of the Internet and the availability of alternative data sources, whether they are harvested programmatically or fashioned by amateur communities of interest has created a world where both the conceptual and financial economics of traditional scholarship are rapidly being undermined. Further, in the absence of a way for non-experts to feel as though they can participate in the discourse outside of established venues and vocabularies the opinions and assumed meritocracies of experts are increasingly being overlooked entirely.
What would it mean to change the role of digital preservation and scholarly interpretation from one where it looks and feels, to those the outside, like castle walls to be more like a rough guide composed of road signs and fence-posts? To consider a project whose goal is no longer to weave elaborate tapestries of the past facts but to produce textiles, and patterns, to be fashioned into reflections of the present?
A presentation from Museums and the Web 2011.
This paper was published in the Informativo del Sistema Territorial del Museo de Ciencia y Técnica de Catalunia. 2008.
Spanish version in
http://www.mnactec.cat/docs/IS16web/IS16cast/intern.cast.htm
Fans fuel media, but how fan-centric is your media? This presentation from consultant Nick DeMartino, looks at that question from the perspective of Theatrics.com, a cloud-based collaborative storytelling platform which he advises. The presentation shows how easy it is to create a Theatrics story or brand experience in which fans can directly engage.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Han’s Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insider’s LMA Course, this piece examines the course’s effects via a variety of Tim Han LMA course reviews and Success Insider comments.
The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
For more information, visit-www.vavaclasses.com
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Francesca Gottschalk - How can education support child empowerment.pptxEduSkills OECD
Francesca Gottschalk from the OECD’s Centre for Educational Research and Innovation presents at the Ask an Expert Webinar: How can education support child empowerment?
2018 Stanford Creative Cities Working Group Symposium Presentation
1. S. Topiary Landberg, UC Santa Cruz
Film & Digital Media
stopiary@ucsc.edu
May 12, 2018 • Stanford CCWG Conference
For those of you who weren’t here last year when I presented — I’m getting a PhD in Film & Digital
Media at UC Santa Cruz and part of my dissertation is a web-based documentary called Exit Zero: An
Atlas of One City Block - which will be what’s generally called an iDoc or interactive documentary that
tells the many layered stories of one inner city block in the San Francisco neighborhood of Hayes
Valley where there used to be freeway exits and then there was a famous interim use community
garden and now there is an “eco-chic” market rate apartment complex.
S. Topiary Landberg, UC Santa Cruz
Film & Digital Media
stopiary@ucsc.edu
May 12, 2018 • Stanford CCWG Conference
Just to orient you —- the block this project focuses on is right in the center of San Francisco in a
neighborhood called Hayes Valley — a place that some consider one of the ground zeros for what has
been called hyper-gentrification.
2. As a filmmaker, I am thinking about the single city block as a kind of character, an individual — the
smallest unit of city as defined by its planners — and I think this block is a particularly good
microcosm for dramatic transformations that have occurred over the past 150 years or so in the Bay
Area.
Because this project has many stories — and one of the challenging aspects for me has been the
question of how to tell a nuanced and complicated story in a way that can intrigue viewers and also
provide for a multi-linear experience. Ive been a performer and a filmmaker for many years and this
project is the first time that I’ve tried to work in this kind of non-linear way — so, part of the challenge
of this project for me is to present this work for the small screen - web experience which will be a
multilinear documentary. This is a screenshot of the software that I’m using - I’m very much in the
prototyping stage… As I’ve been developing this micro-geography documentary, and as one that
engages with the construct of the map as an interactive interface, I’ve been thinking alot about the type
of conceptual navigation that I’m offering to audiences.
Freeway Farm Condos
1958-2003 2010-2013 built in 2015
Which is to say — how do you tell a story that is not strictly linear, that allows for the audience or
interactors with the site to explore the thematic resonances across time periods. And one of the ways
that I’m thinking through this challenge is by creating a number of different kinds of menus or
interfaces as access points to videos and other media in the project. So, I’ve been playing with
different ways of representing navigation and story. And since I am calling this iDoc an “Atlas” I’ve
been really engaging with different kinds of mapping and conceptual navigation.
3. For those of you not familiar with the area — I think of this project as a long view of gentrification and
the creative forces that have continually transformed this block. And with that in mind, I want to
introduce you to the place with a short video that I’ve edited together — this is a re-edit of the video
that I showed last year — using the sound and some of the images from a promotional video for the
Avalon Hayes Valley apartment complex that is located on the block. < GO TO KLYNT >
So, this is my first stab at a project opening — it’s a screen recording that demonstrates what happens
when you mouse over each of what I think of as the 3 main states or periods of the block — and if you
were to click on any of the three images, each one takes you to a different video and into a different
section of the project.
4. For example, if you click into the condo section you will watch some version of the video about Avalon
Hayes Valley that I showed you and then there will also be other materials, including a video that is the
point of view of touring the property as a prospective tenant. You can also encounter more experiential
media, such as this video, which we shot in the courtyard of the building. My interest is to provide
affective experiences of place, and not just didactic information.
5. These affective experiences also allow for different kinds of curiosity and opportunities to cross into
different phases or topics. So, the birds and the plants might lead one to click into the Hayes Valley
Farm section as well as other periods, such as an exploration of the flora and fauna that existed there
before the 20th century or the resonance between the idea of Avalon as a “retreat from the city” and the
19th century Hayes Pavillion that Thomas Hayes built as a tourist destination to the neighborhood in
the decades that followed the Gold Rush.
If you enter the Hayes Valley Farm section — you can take a tour of the farm, which is a video that
gives you an experience of what it was like to be there while Hayes Valley Farm existed. And you can
also click into other subtopics. For example, there’s a video about permaculture and the kinds of
permaculture that were practiced at the farm.
The link to the seed library takes you to a page with other links — where you can watch a video about
the seed library at Hayes Valley Farm and you can also access many other links — so I think of this as
the Hayes Valley Farm link library, which are seeds to other works and other places.
6. In the Freeway Section will begin with this video:
When it finishes it will automatically lead you to
The Great Freeway Revolt is credited with influencing the popular reputation of San
Francisco as both a politically progressive and environmentally conscious place.
To the Great Freeway Revolt section — which will give you information about that decade long anti-
freeway activist fight throughout the 1960s that eventually succeeded in cancelling many of the
planned freeways in San Francisco.
7. I mentioned that there are multiple different interfaces for navigating what you probably are seeing is a
complicated web of inter-related topics and periods. A second interface that I am working on is what I
am calling a contextual compass.
Each of the four quadrants on the compass leads to its own submenu… I’m still working on the
designs. So, my hope is that by grouping different periods together thematically — this can lead to
interesting montages and juxtapositions. And it’s also helping me to think through different kinds of
poetic or thematic linkages.
8. Another type of navigation offered is the timeline, which, despite seeming to be an assertion of
linearity, actually allows for one to navigate periods across time and understand time abstractly. So —
this is very much a work in progress — it’s really not at all ready to show you but I just wanted to give
you an idea of what I’m playing with
This is a very imperfect mockup but it gives you a little bit of an idea of how something like this will
work — where you mouse over a date and it shows you a different image…
9. And since I am calling this project an Atlas, I also thought I should provide a kind of index to all the
different Story Maps that I’m creating as interactive media experiences — I know I briefly
demonstrated some of the storymaps that I’ve been working on when we did the mapping session —
many of the sections of the project have some kind of Story Map associated with them.
For example, the Market-Octavia Plan section — which was the plan to sell the former Central
Freeway land parcels to raise money
Will include the Former Freeway Parcels Story Map — which enables you to explore all of the
different freeway parcels and what they’ve become today — not just the one block that my project
focuses on….
10. To conclude, my hope is that this project can provide historical context for thinking about the issues the
city faces today — a kind of long view of gentrification, creative place-making, environmentalism and
community activism that are all essential aspects of San Francisco’s identity. This is a project that aims
to shake out some of the fixed notions about gentrification and who belongs and doesn’t belong to a
place, and instead tries to think structurally about the collective and collaborative forces that allow a
city to develop and change in particular ways. I also want to say that so much of my thinking about this
project has been influenced by this group. In particular, the idea that the “Gezi Gardens” occupation
which happened right after Hayes Valley Farm closed could be considered a kind of “revolt” came
directly out of really provocative and helpful comments and connections that Aku made in her response
to my presentation last year. So, I just want acknowledge how really great participating in this working
group has been for me and to thank all of you. And
<earthquake> earthquake as a revolt against the freeway - one that demonstrates a nonhuman kind of
agency
My hope is that this project will peak people’s curiosity about the local, small place, to allow the past
to speak to the present in order to inspire us to think both critically and imaginatively about what kinds
of creativity are possible when we work together and to advocate for the commons, both the physical
commons and the digital.