During the course of Fictive Days, everyday functions in the project apartment will be arranged solely on the structures of famous film scenes involving the performing characters. Consequently, everything that happens during the two weeks can be understood as a scene. All scenes will be realized by collaboration of the group and then further developed following the individual intentions, emotional reactions and practical needs of each participant.

As with any other private apartment, it will be entirely up to the participants to decide when they want to allow visitors and guests into the space during the two weeks. Participants can come and leave, as they want.

Video equipment will be available to use in the apartment and the participants can document any scene(s) they want. After the performance-residency, all participants will get a copy of all recorded material and will be free to create they own version of a final film - should they wish to do so.

To participate in this project APPLY NOW.

FICTIVE DAYS is a project developed by Peruvian artists Sergio Zevallos in collaboration with TEMPS – space support for nomadic projects. The project arises from the premise that the conscious aspects of affective relations happen between imagined identities and that the human ability to create fiction* is one of its defining characteristics. Through its live cultivation of personal relationships, FICTIVE DAYS aims to investigate both the clichés of cinema and those of our everyday lives.

More about Sergio Zevallos at www.wooloo.org/sergiozevallos.

*”Fiction” is here defined as an imaginative form of narrative, behaviour or communication that is not entirely based upon facts.

sur•ro•gate transitive verb: to put in the place of another: to appoint as successor, deputy, or substitute for oneself

On Friday April 11, 2008 as part of its monthly curatorial project, art collective MTAA premiered The Surrogates, a performance art piece exploring the nature of perceived identity and representation, credited to European-based art collective 0100101110101101.ORG (in absentia).

Presented at MTAA’s OTO art space in Williamsburg, Brooklyn, the two-hour piece began at 7 p.m. with an open bar and velvet rope welcoming attendees in the hallway.

Inside the OTO space proper, two rows of two chairs (numbered 1-4) faced a low stage featuring a 4′x6′ projection screen (center) and a small television monitor (stage right). Attendees entered the darkened room four at a time, their assigned seats facing a slightly delayed projection of themselves. The monitor revealed hallway activity in real time.

The attendees (now participants) were given no explanation of the piece, though they were invited do as they pleased within the space and to leave at their leisure. Re-entry was not permitted however, and those exiting the piece were immediately replaced by those next behind the velvet rope.

“The Surrogates” reaches its 180-degree apex via this text. Please note that while the Mattes (0100101110101101.ORG.) are credited as the authors of this seminal performance, MTAA designed, built and executed this work in its entirety.

The Mattes graciously agreed to lend their identity to The Surrogates, and for their essential contribution, receive 50 percent authorship and financial stake in The Surrogates.

MTAA, 2008

http://mtaa.net
http://tinajil.com/over_the_opening
http://0100101110101101.ORG
http://www.mtaa.net/images/mtaaRR/the_surrogates.jpg
http://farm3.static.flickr.com/2140/2346421886_cbe4183425_o.jpg

Living Room is a continuation of Flux Factory’s interest in the urban experience, in New York history, and in the overlap between private and public space. Being a live / work collective, we are fascinated by what it means to inhabit a space, to make it one’s own. We want to invite artists to play with the notion of belonging to a home, and claiming a space as one’s own. So we’re going to give artists the opportunity to go into someone else’s home and make it their own, aesthetically. The project will, literally, bring artists into domestic locations in New York City to create site specific works. Aside from satisfying a mild desire for voyeurism common to us all, this project will be an opportunity for the public to peek into private sites normally off limits; either eccentric private living rooms or other variations of private space.

The locations will range from volunteers’ living rooms to private, historical sites, which we will help facilitate access to along with openhousenewyork (OHNY), a non-profit organization celebrating New York City’s architecture, culminating in America’s largest architecture and design event, the Annual OHNY Weekend. A guidebook of their locations, along with an inset for “Living Room,” will be printed and distributed throughout the city. Last year, OHNY printed 370 000 guides and had 150 000 visitors throughout their 193 sites.

Installations will address the historical, personal and social particularities of the sites with which they engage. Artists will have carte-blanche and may incorporate both formal visual amendments to the space (e.g. filling it with colored balls) and conceptual ones (e.g. re-organizing a library according to subjective categories). We encourage artists to find an appropriate private place within the five boroughs. We will help artists secure access to these sites. We will also be inviting select people to open their homes (or offices) for the event. Artists may chose locations from ones included in OHNY’s roster. A list of the 2007 OHNY venues can be found here.

Works will be on view during OHNY Weekend on October 4-5, 2008. Depending on the site, they may be open throughout the weekend, or during business hours. A materials and artist fee of $500 will be provided to each artist. To apply, please send the following:

1. A 250-word proposal indicating your proposed site (especially if they are a new sites not previously included by OHNY) with a clear description of what you propose to do.
2. Your contact information (email and phone number)
3. Bio or CV
4. Any supporting images you would like to include

Proposals should be sent to Chen Tamir by email at dearcheny [at] gmail.com. The deadline for is May 10th, 2008.

The group exhibition No Place - like Home: Perspectives on Migration in Europe features eighteen Belgian and international artists. Their videos, photographic works and installations take a closer look at what lies under the surface of the migration issue. Migration is a thing of all ages. Where Europeans once colonized various continents and emigrated en masse to other lands both in and beyond their own continent, movement from the opposite direction has now taken hold. Capital, goods and information circulate freely in the late-capitalist, globalized world economy. For people, however, mobility is arranged somewhat differently. Borders and territories are still the primary expression of national sovereignty, however multi ethnic populations may have become. For Europe – which permanently shifts between regulating, even attracting, and then repelling strangers – these are the outer borders, the so called Schengenland regions. No Place - like Home (mark the hyphen) investigates how inner and outer space, how ‘we’ and ‘they’ maintain complex relations with one another and the frictions this generates. The media, like tourism – a phenomenon that on the Italian island of Lampedusa vacillates with the refugee issue – have little to do with transparency. By way of the varying perceptions of 18 artists whose work focuses on the illegal refugees who are today’s modern nomads, this exhibition hopes to help visualize an issue that cannot be summarized in black-and-white contrasts: an interwoven, variegated tale of migration networks and refugee trafficking, cartography and geographical military data, migration management and border infiltrations, international rights, lack of rights and lawlessness.

Today, illegal migration into Europe comes primarily from southeastern Europe, Central Asia and Africa. One exceptional focal point of the exhibition is the sanitary cordon being placed around that last continent. Peripheral locations such as the Strait of Gibraltar and a number of Sicilian islands, almost perpetually besieged by refugees, connect several contributions to the exhibition. Miguel Abad and Herman Asselberghs are showing images of Ceuta, the Spanish enclave on the Moroccan coast, where Europe is establishing part of its migration policy outside its own borders. Pieter Geenen, Raphael Cuomo and Maria Lorio, Federico Baronello and Takuji Kogo indicate how, on the Italian island of Lampedusa, the reality of tourism runs hand in hand with that of asylum seekers, being repatriated or otherwise, without the two worlds ever touching. In her comprehensive installation, Sahara Chronicle, Ursula Biemann highlights the sub-Saharan exodus to the shores of the Mediterranean Sea. Schengen, the Castle by Xavier Arenós, charts how things move on from there. His work is not only a typology of the streams of mobility to Spain, but also reveals the underlying macro-economic space. Cartography is also found in the contributions of the Migreurop network and the magazine collective, An Architektur: on the one hand a map of all possible transit, relief or detention camps connected with European territory, and on the other hand as a specific analysis in the form of an architectural dissection of Polish refugee centres.

The fact that European political space is not consistent with European immigration is a subtext in the work of Erzen Shkololli, Yves Mettler, Herman Asselberghs and Thomas Locher, as is the question of what common value systems still mean on this continent from a cultural, historical perspective, once stereotypes are set aside. The paradox of an interior European space that defends its borders versus a world where nothing stops at national frontiers any more is evidenced in the photographic work of Armin Linke. His work draws attention to the most diverse effects of globalisation and serves as a kind of resonance chamber for the exhibition, as does an ironic installation by Pravdoliub Ivanov with some thirty different cooking surfaces and pots. What remains is the individual voice of the migrant, which is generally kept out of the media. Its tone is allegorical for Hans Op de Beeck, a naked testimony in the work of Ursula Biemann and in the participatory documentary, Pour vivre j’ai laisé. In this last project, initiated and directed by Bénédicte Liénard, asylum seekers at the Petit Chateau refugee centre in Brussels take the camera into their own hands in an introspective document that does not lack humor and is made from a non-voluntary, and therefore powerful perspective, in a plea for a world as a place that can still be created by mankind.

Thinking about migration means making a close examination of oneself. With No Place - like Home, Argos lays claim to a trans-national political space. What public space, what identity stands counter to this? What and where is ‘home’? These are questions that will be further investigated in a parallel programme of lectures and video presentations.

Curated by Paul Willemsen with contributions by Miguel Abad, An Architektur, Xavier Arenós, Herman Asselberghs, Federico Baronnello, Ursula Biemann, Raphaël Cuomo, Maria Iorio, Provdoliub Ivanov, Pieter Geenen, Takuji Kogo, Bénédicte Liénard, Armin Linke, Thomas Locher, Yves Mettler, Migreurope, Hans Op de Beeck, Erzen Shkololli.

The Huarte Art Centre is pleased to announce the first net.art solo exhibition by Spanish artist Roberto Aguirrezabala. His works are focused in his two fetishes subjects: the concept of identity and the interpersonal relations in the age of Internet. His projects avoid the stereotype of the website, do not exhibit banners or navigational menu and manage to address the user towards unforeseen thematics developments. The show displays three net.art works:

what:you:get (1999) is a project that spies the user and configure a profile of his/her personality, analyzing the identity signs that he/she generates while browsing the website. Badplayer (2002) is a project developed in a context of artificial intelligence in Internet, that uses chat to reveal the new problematics related to the communication. Easyfriend (2006) investigates hybrid formats of expanded cinema on the web, throughout the interactive story of an artist in crisis. With the help of conversational robots, mails, chats, passwords and virtual alter ego, Aguirrezabala obliges the users to interact with many characters without knowing if they are real persons or just bots.

Roberto Aguirrezabala has been exhibited in numerous international festivals, exhibitions like net_condition (ZKM, Karlsruhe) and awarded, with acknowledgements such as the first prize for best work for net.art “X Canariasmediafest” (2002), the “Mobius Barcelona” award (2006), among others. He is currently investigating the development of fictional narrative systems of expanded cinema, using mediums between cinema, the installation, photography and Internet.

The Huarte Contemporary Art Centre: Located in Huarte (Navarra), 5 km from Pamplona, this new cultural space inaugurated in October 2007, is located barely an hour and a half from some of the most important contemporary art centres and museums such as the Guggenheim in Bilbao, the Artium in Vitoria, the future Krea Contemporary Expression Centre in the same city or what will be the future International Contemporary Culture Centre of San Sebastian. The Huarte Centre is the first cultural facility in Navarra, specifically conceived to house exhibitions and activities related to contemporary art, with special attention to the emerging international scene.

The idea of a separate set of needs for ones Second Life is both absurd and fundamental. Abraham Maslow provides an interesting hierarchy for us that other than a few differences lays over the synthetic world very nicely, however avatars are not the people they represent and as such do not have the same needs. The Virtual Environments class at UCSD takes a look at the difference and similarity in this space, this borderland between avatar and human and reflects on different aspects of need for both.

The exhibit runs the gamut from a reflection on need in classic video games to views on identity and a left handed look at our surveillance society. Projects also tackle loftier more abstract subjects such as the positioning of governance and faith in the synthetic realm.

There will be a scheduled “end of life” performance at 7:30, and musical accompaniment throughout the night. We have a limited amount of “Free Parking” available on a first come first served basis and the unusual snackbar included.

Ars Virtua is sponsored by the CADRE Laboratory for New Media.

CHINA CHINA CHINA!!! will present the work of 18 contemporary Chinese artists from three different cities - Beijing, Shanghai, Guangzhou - who are all seeking to define a new cultural identity unfettered by the rules of the global market. A publication (published by Silvana Editoriale) and a series of lectures are planned with the exhibition. This event ties in with the exhibition on the first floor of Palazzo Strozzi, devoted to the Tang dynasty, universally recognized as a high point in Chinese civilization and central to the Chinese Renaissance.

The aim of the CCCS, under the direction of Franziska Nori, is to approach the much discussed “China phenomenon” from a different point of view. That’s why the project is entrusted to three young Chinese curators: Davide Quadrio, founder and director of BizArt in Shanghai, the first and only self-supported and non-profit cultural organization in China, also active in The In-Between, a network of alternative art spaces in Europe and Asia; Li Zhenhua, founder of the independent Art Lab in Beijing, artist and promoter of the new media art in China; Zhang Wei, director of Vitamin Creative Space Contemporary Art in Guangzhou.

They are all based and operate in different parts of China, sharing a commitment to consolidate an independent critical platform supporting artistic production in China. They want art going beyond official boundaries and not bounded by the art market rules. Art that represents the complex reality of a contemporary China in the complex process of an historical change and cultural transformation. The exhibition presents a lively interchange between the curators’ three sections, representing three distinct but complementary attitudes and perceptions.

Zhang Wei presents in “Throwing Dice” individual visions of human existence in a fragmented and constantly changing world. The videos of Kan Xuan, Pak Sheung Chuen and Yang Fudong (acclaimed in the most recent Venice Biennale), digital animations by Cao Fei (also present at the Biennale), technological installations by Chu Yun, and paintings by Duan Jianyu offer individual stories that engage the spectator in the exploration of a shared existential landscape and in the constant tension between the world of dreams and of reality.

“Art is not enough, not enough!,” is a multimedia installation in the Davide Quadrio’s section produced by the CCCS and presented as a world premiere. It draws on interviews made by the curator with forty different artists in Shanghai, asked about the role of the artist, their relationship with the external world, the social consequences of their work and the international market effects on traditional artistic production modes. It offers a dynamic anthropological insight into the urban panorama of modern Shanghai.

The focus of “Multi-Archeology”, the section curated by Li Zhenhua is the geo-political identity and cultural relativism. Installations by the Mongolian artists Wu Ershan and Ren Qinga, highlight the often conflictual relations between the different cultural groups in China today and pose questions about the undermining of the individual concerning social upheaval.
Both installations, created especially for the exhibition in Florence, take as their theme the human condition in the face of an uncertain future.

The art video by Zhao Liang and Shen Shaomin documents the situation on the Chinese border with North Korea and Russia. An analysis of the consequences of the Mongolian invasion by Genghis Khan on Asiatic culture is compared to the impact of modern globalization, in the constant cultural interchange between East and West.

NEW LIFE BERLIN is a participatory art festival dedicated to new modes of moving and existing. Curated from the online art community WOOLOO.ORG, NEW LIFE BERLIN aims to connect the critical resources of a global network of artists with a specific geographical location of importance to today”s cultural production.

INTERNATIONAL CALL FOR ARTISTS: Artists working in all mediums are encouraged to apply for participation in NEW LIFE BERLIN. All applications must be made online.

In opposition to traditional art festivals, the NEW LIFE BERLIN artistic program is focused on participation and is therefore open to proposals from interested artists throughout the Festival period. By keeping participation open - while still curated - it is the intend of the curatorial team to test the critical value of the much discussed online community, while simultaneously serve as an investigative platform for a fluid cultural landscape that can no longer be controlled by any centralized apparatus.

FESTIVAL PROGRAM

TRANSNATIONAL COMMUNITIES deals with alternative means of representing “community” and “identity” to those of the modern nation state. Whether of social or artistic background, the projects presented all give rise to group participation and advocates real life cultural mobility on one or several levels.

ARTISTIC SOCIAL RESPONSIBILITY questions the relationship between cultural practitioners and corporate entities in the new millennium. How does contemporary cultural production relate to the concept of “Corporate Social Responsibility”?

PARTICIPATION AND INTERVENTION finally explores participatory artistic processes and their relationship to the socio-political climate in which they are created. Projects focus on actual interaction with the local public and thereby on practical investigations of new potentials for civic engagement and empowerment.

The motto of this year’s European Media Art Festival is IDENTITY. Besides focusing on the issue of one’s own identity in a globalised world, the general changes associated with the expansion of digital technologies into all areas of private and public life will also be under discussion.

The festival shows film as a contemporary work of art in cinemas and exhibitions, both performed and multimedia. As an important forum for international Media Art, films, videos, performances, multimedia installations and digital media, such as DVD and internet, will be presented. The productions of internationally renowned artists will be represented at the 21st EMAF 2008 alongside innovative works of talented young people from higher education institutions and academies of art. For five whole days, Osnabrueck becomes a lively, prominent meeting place for curators, lenders, gallery owners and specialists from the field of art, culture and the media, as well as for an interested international audience.

REGISTRATION: If you don’t want to miss it, register now. Detailed information can be found at www.emaf.de. Make use of the special conditions we have arranged with a number of hotels. We are, of course, also happy to help you plan your trip, and will guide you through all of the festival dates once you arrive. We look forward to hearing from you. Please note: final registrations will be accepted on April 11, 2008.

PROGRAMME PLANNING: Around 2200 contributions are currently being viewed by the EMAF team. These were sent from
Germany, the USA, Brazil, South Korea, New Zealand, Lithuania, Romania and Iran — in other words, from all five continents. Submissions were received from a total of around 50 countries. The programme is currently being planned and selections are being made for all areas of the festival: CINEMA, EXHIBITION, EXPANDED MEDIA, LIVE CINEMA, INTERNATIONAL STUDENT FORUM, CONGRESS.

It is anticipated that around 350 new installations, films and videos will be presented at the festival, giving viewers an extensive
insight into the tendencies of current Media Art, which addresses both the experimental film market and the art market.

CONGRESS: The Congress takes up the topic of IDENTITY and reflects it in its series of talks. Ricardo Mbarkho, employee at the Acadimie Libanaise des Beaux-Arts in Beirut, will talk about the Media Art scene in Lebanon, where artists reflect the identity crisis in the context of their socio-political and geographic environment. The Dutch Sophie Ernst, who lectures at the Academy of Art in Lahore/Pakistan, will give a talk on the Pakistani art and academy scene. Digital Identity - forms and consequences of the increasing collection of private data and their commercial use are the topics covered by Ralf Bendrath. Another topic is explored by Prof. Birgit Richard. She will lecture on youth identities in web 2.0 and will show creative works by adolescents - YouTube Favorites on the one hand, and stage-settings by game fans on the other.

RETROSPECTIVE: This year’s retrospective, introduced by the expert Brigitte Burger-Utzer, is of the Austrian avant-garde film-maker Kurt Kren, who experimented with 8mm und 16mm as early as in the 1950s.

AWARDS: Three awards will be presented at this year’s festival: the “EMAF Award” for a trend-setting work in Media Art, the “Dialogpreis” of the German Ministry of Foreign Affairs for the promotion of intercultural exchange and the “Preis der deutschen Filmkritik” for the best German experimental film.

EMAF ON TOUR: In 2007, the EMAF tour programme was shown in numerous cities in Europe, such as Vienna and Athens, as well as in Mexico and the Dominican Republic.

As I’ve said many times, Graham’s work on networked urbanism is superb, and Crang’s work on space, culture and ethnography is also exemplary. Compared to American accounts that draw on cybernetics and systems-thinking in architecture and urban planning (think Bill Mitchell, Malcolm McCullough, etc.) I find the British cultural geography approach (following Nigel Thrift, Rob Kitchin and Martin Dodge) far better attuned to the variety and complexity of everyday lived experience, and the connections between place and identity (i.e. power) over time. Perhaps most importantly, I think this focus on spatialisation, temporalisation and embodiment leads to a critical approach that isn’t undermined by the persistent techno-determinism and lack of socio-cultural nuance that tend to characterise the former.

I’ve argued before that ubicomp is both imaginary and concrete, and Crang and Graham also distinguish between various manifestations of ubiquitous computing:

“[There are] three key contemporary domains within which the reconfiguration of cities and their politics are being actively imagined and enacted through the imagination and deployment of ubiquitous computing (or ‘ubicomp’). This is going on, we suggest, through the production and dissemination of technological fantasies, the more practical processes of technological development, and the actual deployment of, and contestation over, operational ubicomp systems. These three vignettes address: commercial fantasies of ‘friction-free’ urban consumption; military and security industry attempts to mobilize ubiquitous computing for the ‘war on terror’; and attempts by artists to interrupt fantasies of perfect urban control through artistic use of new ubicomp technologies to try and re-enchant urban space and urban life” (791-792).

In my mind, the commercial promise (or threat) of ubicomp pales in comparison to military and government interventions in this domain. For example, in 2004 the US Defense Science Board:

“saw possibilities to exploit ubiquitous computing technologies in developing a massive, integrated system of surveillance, spanning the world, and tailored specifically to penetrating the increasing complexity of urban life. Such a system, it argued, would once again render the US military’s targets trackable, locatable – and destroyable. The purpose of the New ‘Manhattan project’, then, was seen to be to ‘locate, identify, and track, people, things and activities – in an environment of one in a million – to give the United States the same advantages in asymmetric warfare [as] it has today in conventional warfare’” (800).

This plan is connected to broader trends in post 9/11 surveillance and has been integrated into the Pentagon’s “Long War” strategy, which raises critical issues about who has access to citizen’s ever-increasing digital traces. But access isn’t even the primary issue–it’s the government’s desire to correlate and “backtrack” data so that potential behaviours and situations can be anticipated and controlled. This is what Felix Stalder is describing when he says that data traces don’t just follow us, they precede us: “Before we arrive somewhere, we have already been measured and classified. Thus, upon arrival, we’re treated according to whatever criteria have been connected to the profile that represents us.”

This kind of seeing is anticipatory, and while it may have its origins in commercial marketing practice, this kind of social sorting has far more harmful implications than RFID tracking and Minority Report-style tailored advertising. The biggest issue, as Crang and Graham put it, is that “such a technological politics, of course, risks delegating whole sets of decisions and, along with that, the ethics and politics of those decisions, to invisible and sentient systems” (811).

In an early 2007 interview with Adam Greenfield, Régine Debatty asked why there was no mention of art practice in his popular book, Everyware, and he responded:

“Not referring to art projects was an explicit decision, based in part on my desire to limit the discussion to ways in which information processing would be showing up in everyday life. And almost by definition, however trenchant or clever the point of view embedded in them may be, art objects are simply not going to be relevant to that consideration.”

I strongly disagree with that assessment of artistic relevance, and Crang and Graham’s final section on artistic interventions that seek to “challenge or subvert (some aspects of) the dominant commercial and military visions” (805) successfully makes the point that locative media and art projects tend to inscribe memories rather than anticipate actions, and this tendency to look backward instead of projecting forward is important.

Rather than making us passive or controlling our actions in particular places, locative media and art “allow us to claim and mark our territory” (807) in multiple ways: as publics, as individuals, as citizens. While many projects can be seen to romanticise a renewed public sphere, the collaborative nature of most projects is still distinct from the one-way, top-down models offered by commercial and military players. They also tend to make socio-spatial relations visible, rather than rendering them invisible. The primary drawback here is that “these moves risk making what was formerly protected by its opacity and transitoriness, visible and recordable” (812). But as Crang and Graham also put it, “these artistic media are trying to densify the liquid – not solidify places” (810) and “the effect of memory is not the creation of perfectly known environments. Rather, it involves a destabilization of spaces, a haunting of place with absent others” (812).

However, it’s in their conclusions that I find the necessary pragmatism and the most hope:

“Urban ubicomp clearly has a fetishistic power in appearing to finally offer solutions by rendering place and space utterly transparent in some simple, deterministic way. Indeed, we would argue that there is a danger that locative media are equally seen as a technical fix for oppositional voices and alternative histories in art projects. In this sense the myths matter and have effects. But they are only mythologies of a perfect, uniform informational landscape. In reality, the seamless and ubiquitous process of pure urban transparency that many accounts suggest will always be little but a fantasy. In practice, the linking of many layers of computerized technology is generally a ‘kludge’…

[…]

Far from the pure vision of what de Certeau calls the ‘concept city’, we may find the production of myriads of little stories – a messy infinity of ‘Little Brothers’ rather than one omniscient ‘Big’ Brother. Some of these may be commercial, some personal, maybe some militarized. There is a real issue about proliferating knowledges circulating routinely and more or less autonomously of people. But it would seem to us that the political options are not those of rejection or romanticizing notions of disconnection. Rather, it is to work through the inevitable granularity and gaps within these systems, to find the new shadows and opacities that they produce” (813-14).

For anyone who wants more, here are some notes on Stephen Graham’s keynote at the recent Mobile City Conference that cover some of the same material.

Photos, Naccarato & David Foster Nass

Update 01/03/08: Fabien Girardin adds some interesting links to this discussion, and reminds me how little time I have to keep up on others’ work right now. I can’t believe I missed Nicholas and Fabien’s recent pamphlet, Sliding Friction: The Harmonious Jungle of Contemporary Cities (pdf). The infrastructure section reminded me of Jeff Maki’s very cool Critical Infrastructure project. [blogged by Anne Galloway on Purse Lips Square Jaw]