TAKING THINGS APART:

LOCATIVE MEDIA, MIGRATORY ARCHIVES,

AND MICROPUBLICS
Part of the new heterogeneous transnational media ecology, locative
media expands upon legacies of Fluxus and participatory art that
foregrounded the assemblage of transitory publics.' Locative media
extends these practices to probe the intersections and interstitial
zones between invisible, ubiquitous technologies, imbedded networks
of control, the materiality of digital machines, and the necessity of
2
embodied interaction. Locative media counters the immateriality
of virtualization and the privatization of miniaturized hand-held
technologies. As locative media combines with migratory archives, they
open up zones for ongoing contestations and speculations about labor,
the environment, and political histories.
Locative media practices move beyond images that attempt to fix
meaning into much more fluid, mobile environments. They use mobile
digital technologies to map and interact with material spaces. They
are iterative, mutating, provisional, and adaptive, functioning within a
3
quite different mode than more traditional media. How they structure
interactions and convene micropublics is more salient than how they
create images. Locative media practices shift the terms of documentary
media production. They move from images to interfaces, from refined
4
arguments to contestations and speculations.
The multi-reality performance-installation project "Invisible Threads"
(2008), the distributed mobile phone project "Fluid Nexus" (2008), and

We examine these collaborative projects, which develop at the

intersections of imbedded technologies, publics, performance, histories,
geographies, and critical cartography, to forward a set of speculations.
These examples of locative media and migratory archives explore the
production of social spaces beyond the image as a fixed text. They
are not products or films, but are nodal points for engagements
and relationships, convivialities and conversation, movements and
mobilities, conjurings and potentialities. They are unresolved and
inconclusive, shape shifting and adaptive.
These projects share common structural and operational characteristics
of this newly emerging transnational media ecology."They all foreground
digitally networked technologies to remap temporal and spatial
relationships. They mobilize experimentation as a critical engagement.
They question location and mapping. They produce the archive and
the artifactual, rather than utilizing a previously established archive.
They are enacted through collaborative and participatory practices
to generate micropublics that reconfigure the relationships between
9
artists and audience. They trouble the divide between analogue and
digital, material and virtual. We do not suggest that these emerging
documentary modalities replace extant ones. Rather, we argue that
these modalities open up extent documentary and experimental modes
to reappraisal and revision.

the collaborative web-application mashup soweto uprising . corn. (2006)

are locative media that convene micropublics by taking things apart.

They do not take images apart as a form of excavation of obscured
meaning. They are not interventions into discourses as much as they
2
are public actions into and around constructions and artifice. These
projects contend no object or machine or conception is unified and

unassailable. They unscrew backs of Nokia cell phones, modify chips

and software, reroute Google Maps, and interface with HewlettPackard digital printers.
These projects also migrate, moving relentlessly between analogue
and digital, between the lived and the imagined, between history and
fantasy. They migrate across and through different social spaces beyond
cinemas, multiplexes and television, operate instead within and around
micropublic zones such as kiosks, storefronts, community centers,
galleries, festivals, fairs, clubs, and schools. These projects suggest
revisions to documentary studies debates concerning oppositional
6
political practices. They function as utopian sites rather than discourses
of sobriety, operating in the hypothetical realms of "what if" rather
7
than the more empirical documentary realm of "it was."

Right
Installation view of "Invisible Threads" (2008) by Stephanie Rothenberg;
courtesy of the artist

THEORETICAL FRAMEWORK
How do locative media and migratory archives extend and
challenge documentary studies and politics? Artists and collectives
working in locative media, ambient media, satellite and cellphone
technologies, and migratory archives activate political engagements,
microgeographies, and interventionist cartographies to probe ther
1
politics of terror and the location of global sustainability. 0 Locative

15

INVISIBLE THREADS

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ON

"Invisible Threads" creates a participatory space to take apart ways

that work and play, labor and consumption, are refigured through
Wcb 2.0 technologies that transform social networking into telematic
manufacturing. The project is mobile and migratory, mixing reality
with networked media, performance with installation, with a virtual
sweatshop called Double Happiness Manufacturing in the socialnetworking environment of Second Life (SL) and a kiosk storefront in
real life. The project, then, exists only with audience participation."s

BIP M!!

Interfaces between virtual and material worlds blur the distinctions

between collaboration and consumerism. "Invisible Threads" exposes
ways real-world economies affect idealized virtual communities. As
Web 2.0 technologies move between social relationships and financial
exchanges, "Invisible Threads" produces a collaborative experience
that unsettles borders between virtuality and materiality. It is not a work
about producing new forms in SL akin to machinima, films directed
and performed in game engines; rather, it is a project that transmits and
produces collaborative experiences.
Developed at Eycbcam by digital media performance artist Stephanie
Rothenberg andJeff Crouse, "Invisible Threads" has been performed
at "New Frontier on Main" at the 2008 Sundance Film Festival and

media and migratory archives conceive of their publics differently

than audiovisual media. Rather than speaking about, to, with,
or alongside their publics, they deploy networked technologies to
convene provisional and transitory micropublies. The design of these
projects imbeds collaborative processes. The projects do not exist
without enactment and engagement.
In live performances and real-time actions, locative media and migratory
archives practices disturb, dislodge, and redesign digital technologies that
we often ignore, like bar codes on passports and chocolate bars, radiofrequency identification (RFID) tags used for anti-theR devices in stores
and for toll-collection on highways, global positioning system (GPS)
satellites and receivers, vector graphics in computer and video games, as
well as wireless local area network (\VLANJ) technologies, short message
service (SMS) communication and cellular telephone networks. These
various arts/polidcal practices reposition highly specialized technologies
within die democratic discourse of amateurism, which refutes technology
as inaccessible and too complicated. The emerging locative media and
*

migratory archives movement has accelerated in the United States since

legislation like the U.S.A. Patriot Act, which authorizes unprecedented

data mining, invasions of privacy, wiretapping, and Internet surveillance.

"Invisible Threads" operates according to a "service aesthetics":

the artist and audience form one-to-one relationships through
commodity transactions within service economies of customization

media and migratory archives unsettle assumptions and provoke debate

itbout the functions and power of technologies." They take apart our

and personalization, a radical departure from the "relation

aesthetics" by which the artist aligns with audience in post-Fordist
economies of mass production.15 As an artist, Rothenberg is not
interested in the production of fixed images that witness events.
Rather, site is invested in the creation of participatory, interactive
situations to create more engagements with the public to unpack
the mobilities of global capital. Rather tItan documenting a social
movement, "Invisible Threads" immerses in the exploitations and
injustices of digital outsoureing and free trade zones that are not
subject to labor laws by creating an accessible project that affiliates

assumptions and expectations.

with social and political movements.

Locative media focus on enactments rather than representations,

conjuring provisional micropublics in public spaces. They also invent
new kinds of performative systems to open up the liminal zones between
16

at "Synthetic Times: Media Art China 2008" in New York City.

Rothenberg and Crouse set up a kiosk with sales racks and other
publicity collateral. Real-world customers come to the kiosk, where
they order jeans from five different styles-No Pants Left Behind,
MyPants, LowRider, Road Kill and Classic-that are produced by
avatars in SL who work as pattern cutters. Custom-sized patterns are
exported into real life via a large-scale Hewlett Packard printer. Reallife workers then cut the patterns from cotton canvas and assemble
the jeans with a glue-gun and minimal stitching. The manufacturing
of the jeans is based on the model of just-in-time production, but the
jeans are disposable and unable to survive a wash-and-dry cycle-exaggerating the impermanence of die digital. The project takes apart
the scamlessness of on-line shopping and the invisibility of sweatshop
labor. Indeed, Double Happiness Manufacturing operates according to
an "indentured servant mode" of labor, paying workers about ninety
cents per hour and selling the jeans for about fifty dollars." Profits
from sales are used to pay for rental of space in SL and salaries of
workers in SL and in real life.

digital and analogue, virtual and material, embodied and disembodied,

game and reality, body and interface, history and mapping. Locative

[lhom. I Vbsg1 ab I b4Fd this I prkW I

sovvetoi uprisings . corn

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eyersts

Virtual sweatshops function as a vital but

hidden part of the global economy. Virtual
migration of outsourced labor from call

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centers in India and Ireland to cheaper ones

in Ghana and the Philippines has increased.
"Gold mining" by Chinese sweatshopworkers-as-gainers playing for game points

Led

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for sale to U.S. and European gainers has

emerged. The production of digital code
is outsourced around the globe. In this
context, Rothenberg's project probes the
contradictions between the sustainability
of human resources and the increasing
virtualization of different forms of labor.

Other routes and loaotions

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"Invisible Threads" suggests that the

work of documentary resides in the labor
of collaboration to take things apart. The
project developers have created a tonguein-cheek, DIY-style video entitled 10 Simple

............

Steps to sour Own VirtualSweatshop (2008), for

6
"aspiring virtual entrepreneurs."" The tag
line for the video asks: 'Are repressive labor
laws and expensive real estate getting in the
way of owning your very own sweatshop?"

FLUID NEXUS

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6
,

Developed by Nick Knouf, Bruno Vianna,

Luis Ayuso, and M6nica SAnchez at the
Media Lab in Madrid, "Fluid Nexus" is a

tdecentralized,

peer-to-peer (P2P) mobile

SMS application operating over Bluetooth.'

The project seeks to avoid the problems

This strategy of conjuring micropublics through a tactic of aggregation

and swarming, where the images shift, change, and recede into the
background, differs from a more fixed view of the documentary
project as engaging in an epistemology of representation. In "Invisible
Threads," the technologies of the everyday are taken apart through
performance, provocation, and politicization. Resonating with many
multimedia performance projects, "Invisible Threads" breaks down
the screen itself, reconfiguring it as simply one endlessly mobile vector.
"Invisible Threads," then, challenges the audience to transform from
an autonomous spectator to an embodied collaborator whose identities
migrate endlessly between user, producer, consumer, and critic.

Above
Screenshot of soweto uprisings, corn (2006) by [small Farouk; courtesy
of the artist
Facing page
"Fluid Nexus" (2008) by Nick Knouf, Bruno Vianna, Luis Ayuso, and M6nica
Sinchez; courtesy of Nick Knouf

encountered by the Institute for Applied

Autonomy's TXTmob, an SMS system inhibited by limited character
spaces and routing though a centralized hub. During protests outside
the 2004 Republican National Conference in New York City, T-Mobile
blocked some TXTmob messages, pointing to ways that proprietary
ownership of cell-phone technologies can control documentation and
shut down activism; moreover, city officials tried to subpoena records
of messages exchanged through TXTmob and information about
6
users.' "Fluid Nexus" re-imagines documentary as local and migratory
activism to mobilize the invisibility of digital networks toward political
engagement.
Knouf conceived the project during the summer of 2006 when reading
the blog of a Lebanese sound artist during the conflict between Israel
9
and Lebanon.1 The blog's entries revealed fears of censorship, paranoia
over downed networks, and the inherent difficulties of communicating
views on events to the outside world. Since mobile phones are more
ubiquitous than laptop computers, Knouf contemplated a network to
bypass centralized networks, allowing viral transmission of texts through
a program linking individual mobile units. Unlike the longer ranger WiFi
(90 meters), the shorter range Bluetooth (9 meters) does not require a
centralized hub, thereby circumventing regulation and closure. This
system has the disadvantage of slower communication times but the dual

17

advantages of anonymity and avoidance of central servers that record

information that could later be subpoenaed by courts.

memorials by utilizing the Internet as a site for ongoing negotiations

and contestations over past events and their continued relevance." The
project was initially conceived three years ago in conjunction with tie

The decision to use Nokia units and Python programming language

reflect the project's commitment to serving the most users. Nokia is
the world's most popular brand; Python is a freeware program easily
modified for alternative applications. The system will function within a
broadcast model, sending information directly from one programmed

Hector Pieterson Rescareh Project, Soweto's first historical museum,

named after one of tie first victims of police violence against the student
protesters. Intended to map the actual student routes taken during the
June 16, 1976, uprising in the Johannesburg township of Sowcto, the
project seeks to become a community-drivcn digital archive through

phone to the next. The project was conceived in relation to areas where
communication systems arc tightly regulated and censored by tie state,
as well as in areas affected by disasters that shut down communication
networks in conjunction with an anticipated migration of Bluetoothenabled mobile units from the global North to the global South via
recycling programs within the next few years.

which members of the "lost generation" of young South Africans, wvho

sacrificed their education to stand against the Apartheid system, can
2
reclaim and transmit history.

phone unit and broadcast via Bluetooth to other cell phones with tie
downloaded software. "Fluid Nexus" re-routes short-range wireless
connectivity standards like Bluctooth from consumerism and complicity
toward activism. The P2P model of inrormation exchange avoids
hicrarchy and control. "Fluid Nexus" is part of an emerging modality

The project represents a political intervention into the archive and

memorialization. As the post-Apartheid state and civic governments begin
to rollow the "global model" by memorializing not the actual routes but
their symbolic approximates as heritage sites for international tourism,
sourto upuising. corn's digital archive becomes a vital means to counter the
repurposing of history into consumable goods. Moreover, the political
bias or state and civic memorialization or history often marginalizes the
role of women and of organizations other than the African National
Congress. Soerveo uprising, corn includes routes organized or supported
by the Black Consciousness Movement and Positive Action Campaign

of documentary practice that recognizes the dangers inherent to

documentation when things are not taken apart: fixed archival images risk

(PAC), including the PAC-organized route to the Orlando East police

station on March 23, 1960, in protest of the Pass Laws.

To use "Fluid Nexus," the user downloads tie software on her cell phone
and types a message in the interface. Tile message is stored on tie cell-

being repurposed from eyewitness accounts of human-rights violations

into audiovisual evidence used by oppressive regimes for control.

SOWETO UPRISING. COM

South African artist Ismail Farouk and Dutch-born Iranian programmer
Babak Fakhamzadeh's collaborative work joweo uprisicommaps history
onto place. It seeks to avoid the power differentials and fWxty of physical

The web-application mashup allows users to view individual routes of

protest and resistance as color-coded polylines mapped onto an image
of Soweto from Google Maps. Markers ("balloons") and custom icons
along the routes open to additional information about sites, events,

Above
"Invisible Threads' (2008) by Stephanie Rothenberg; courtesy of the artist

and martyrs: contemporary photographs of key sites along the student

routes, such as schools and police stations; user-contributed testimony or
remembrance; and blog queues into Google keyword searches to track
what people around the world are writing about sites in Soweto. As a
work of critical cartographic archive, soweto uprising, corn mobilizes the
open-source potential of the Internet to create a site for a collaborative
and migratory model of documentary praxes. The RSS feeds facilitate
unwitting collaboration. The meaning of the site's subject, Soweto's
history, opens to a broader audience of potential participants than the
web site's users. It is hardly surprising that political theorists recognize
t
the Internet as a model for guerrilla networks.1 The accumulation of the
comments-one modestly entitled, 'just one story"-have the effect of
opening the history of the uprisings to testimonies from participants that
often contradict official versions of this history controlled by groups in
power, facilitating micropublics for history.
A substantial obstacle for soweto uprising, cons, of course, is the realities of
the global digital divides. According to an UNESCO report on knowledge
societies, the digital divide is "not one but rather many digital divides" that
fracture access to knowledge according to economic resources, geographical
asymmetries, generation, gender inequality, language, employment,
t
disabilities, and educational, social, and cultural background. " Only 11 %
of the world's population has access to the Internet, and 82% of the world's
population represents only 10% of this 11% with the other 90% living in
the US., Canada, western Europe, Japan, South Korea, and Australia.us
Many of the participants in the Soweto uprising do not have Internet
access or Internet literacry Nonetheless, soweto uprising, corn does propose
new ways of interacting with documentary, ways to navigate history as web
environments similar to readings of webcams as a "mediated geographical
t
actuality and our cultural conceptions of the wider world."2
The project is curTently entering a third phase, which includes mapping
additional routes, as well as conceptualizing user interface in response to
inadequate Internet access within the township, which has contributed to
limited participation. Since a purely on-line platform is not sufficient, Farouk
and Fakhamzadeh are exploring ways to integrate mobile units along
the routes (such as in Internet cafes being developed for the 2010 World
Cup), as well as interfacing the project with other services, such as digital
scanners and free email accounts. The project will further explore the use
of existing social networks to encourage participation. Farouk believes that
mapping facilitates conceptions of historical documentation that active
spatial dimensions toward visualizations affecting change. The project seeks
to give voice to those who participated in the country's future-to take apart
the illusions of global consumerism and reclaim history as process, rather
than product. Participants have found the project extremely emotional and
gratifying, releasing thoughts that they have described to Farouk as "lurking
in memory." Soweto uprising, corn deploys an open-archive, community-driven
model toward the documentation of history

SPECULATIONS
How can we assess the political implications imbedded in this idea of
"taking things apart"? Locative media and migratory archives, exemplified
in "Invisible Threads," "Fluid Nexus," and soweto uprisings, corn, alter some
of these integers of documentary and experimental film, foregrounding
not the work of art and media as an object but instead augmenting a

process of continual openings, questionings, reconfigurations, blurrings,

speculations. All three works take things apart to convene micropublics.
The collaborative works examined in this essay open up speculations rather
than fixed conclusions. Collaborative models of locative media-which
collapse production, distribution, exhibition, and participationr-offer
new possibilities and potentialities for political documentary and thinking
in new ways about interactions between social movements and arts/
media practice. The performative functions of locative media exorcise
technologies to make them visible and comprehensible as embodied power
relations. How can we take things apart?
DALE HUDSON is a visiting assistantprofessor of cinema and new media studies at
Amherst College, Massachusetts. His work appears, or is forthcoming in Cinema
Journal, Journal ofFilm and Video, Screen, Studies in Documentary Film,
and elsewhere.

PATRICIA R. ZIMMERMANN is a professor of cinema, photography, and media arts at

Ithaca College, New York She is the author of Reel Families: A Social History
of Amateur Film (1995) and States of Emergency: Documentaries, Wars,
Democracies (2000)andis co-editor ofMining the Home Movie: Excavations
in Histories and Memories (2008).
ofstheFlwuasmovenrent
and Hudson, 1995)forexamples
1. See 77wnos Ketei, Fluxus (London,Thaimes
_A10TES
andtheaudience.FDramnplesolhiw audeLeeparle6a,ondrehlaiorOalaesitheies
foady
,epe#&nnative,
liahlngolfthe
deradesinternational, seeParticipation, ClaireBithip, ed.(Caabridge,AM: Tht MITPnes;,
avloedin subsequent
and politicalactions.
theissuesof digial networks
how to consider
2006) 2. A variey ofdigituteorists,hazequestioned
rork,Roulledge,
For
"aamlp;, seeGeertLxaink, Zero Comments: Blogging and Critical Internet Culture (Xu'w
2008);AlarkPoter, Information Please: Culture and Politics in the Age of Digital Mtachines (Durham,AC.:
D. Williams, Wiknomics: How Mass Collaboration
Duke Unknsyi Press,2006); Don TapscoitandAitLhony
Sthn
of locatitemedia, seeJasonAbolan,
Changes Everything (NmeYork Penguin Group,2006). 3. Tora discussion
andDigtal Toolsin SuarilledEnvironments," ByronHoau,
Waorable
Wildno, "Soune,illanice,
AlMm;and Banyff
DavidAL.Rnler,and OlieOv"do, eds.SmallTech: The Culture ofDigital Tools (Afinneopolii,MN" Universty
Afedia
Ineerface.
PiremptOu
tothe
"Frhn te Irmage
afMinnuotnaPass,2008), 179-96. 4. SeePatricaR, Zimmeronamnn,
and
Naot Thompson
5. For thelargerrontetof intervntioniatart, mee
omilableat imotmsedicharnnemlorg.
Collective`l
, and Ondine C. Chaotya, The Interventionists: Users'
Gry Sholete, wtit Joseph Thomepon, .AscholasMirzoi7
MA:MAfSSAMoCA Publiolions,2004).
Manual forthe Creative Disruption ofEveryday Life (WonrhAdaium
to our
6. 4lihank Alihaet Channforhis isidtl/l quehesabout politicaleconoy andpollicalexenies in relations
in theutopianism ofd4gitalalin the
about
oo investing
theorizationsoflocafiremedia, espLalaohisouionay arguments
Furo clearapositionofhowdiplalonetuorkE
powerdifferentvandnore insidioaoly
inscribe
context
ofhow diotalnetwbrks
andpor,n seeAlexoanderGa0oay, Protocol: HoneControl
othifadlitutesrontrol
narudcode,
organizeotenselveso
ExistsafterDecentrnlization(Camboritge,MA&TheMlTl4ss, 2004). ZBillAlchols hasrguedthatdomoentarios
in his Representing Reality: Issues and Concepts in
theepistemoh*loa!
ofsobriep engaging
exhibita disonarse
ofpasiencielhistoriogrrp4ythat
LArIndiana UniersiyPless, 1991). Foranexposition
Documentary (Bloomington,
inaginedregisue
throughdifferent
thepast than in how thepast canbe testhrnded
in wthatconstitutes
is lks intemested
Chabkratay,Provincializing Europe: Postcolonial Thought and Historical Diflerence
andmirots, seeDipesh
mayywritersandorganizationshaoyokned
(Tincelon,i,Y:PrincetonUniswisy`ress, 2000). 8. In thelastrh yearse
of mainstmean/
conceptions
ahathoobeendubbedthe 'uem#energingrsnnmalionalmedia erology"asa di?1awuyfiomt
and proft/nompofit. SeeRochardKahn and Douglas Kelbn, "Thropolitas, Blog; and Emergent
rmedia
aSlernative
A Critical /ReconstictireApproach," Small Tech 22-37; Nongovernmental Politics, Alichel
Ecologies:
AMedia
McKIe(AnrwNorkZoneBooks,2007); ationolAllianceforiAedi Arts and
Fde, ed with CGellKnkorwn and rut-a
Deep Focus: A Report on the Future of Independent Media (San Francisco, CA:NAMAC, 2004).
Culture,
PublicMediaand
diossnio ofrollaboraetiemediapractices,seeHelendeMAichit'AMosaic ofPnucticec
9. Foracogent
PartiipatoyCullure,"Afterimage, VoL35, no.6 (MAy/June 2008), 7-14. 10. The daelopingliteraeoncritical
dotali, rwdeinginviiblepauemttnssiblethrough
networks,
ha exploredthe reationshipbetween ontgetion,
arftogrphy
overmetof thisofeld, jeeJanetAbramsand Petir
For anexcellent
toiuasrationsandgruphics, and alkenalte designm
Hall,eds.,Else/Where- Mapping New Cartographies of Networks and Territories (Minneapilis-Universiy
Clumg,Control and Freedom: Power and Parmotia in the
Pros,2006). 11. Weno Huilj%mng
of(Milnesota
wilt Stephanie
MA: The MITPress, 2008). 12. Authorn'teephoneintervdew
Age of Fiber Optics (C=mbridge,
risit
uc w.doublehappinesemns.
RoteonberAMay 23, 2008.13.ForadditionalinfmnationonDoubleHappmausJeans
$35
com.14. TIorhersinSLarepaid200LindenpIeronr Due tothe rootsinnumhgtheprojert,pricestore ratioedfroa
2008). 1. "10Simple Stepsto Four
toabout 50. 15. StereoHeny Madoff, "SeiceAestetics,"Artforum (September
canbeesteamed onblO.toat hit]//blpitbpv./file/779038. 17. For additionalinfosnation of
Own VrulumSweatshop"
uw.
"FluidNcaus"t.iyt uuswsincotu-net.ea/fluidinuv/#about.18. Foraddinonal i/fonnation anTXTmob oisnil
onT-Mobile
FortheInstitute ofAppliediAutonorfys September3, 2004, prenrelease
.rom/trtmob.hthnL
oppliedautoomon
sm wurm appliedautonony. omn/txtmol/tltmobPR2.hhnL 19. Arthors'telephoneinteriew with ictk laouf,Jane 18,
Ismail
ldt htcO://somotonpringo.aon. 21. Authors'telephoneintetriewowith
2008. 20. Toacresssowetouprisings. cornm
FamAk,Jabr 15, 2008. 22. Alichael HardtandAntonio Aegn, Multitude: War and Democracy in the Age of
Empire (NmwYork.Penguin, 2004), 82-83.23. UNESCO World Report: Towards Knowledge Societies
(ParnsUndedNaationsEducational,Scientfic, and Cultural Orgauicaton, 2005), 30. 24. Ibid, 29. 25. Andrew
Quarterly Review ofFilm
andthe Virtual Tirnelogue,"
btte,son, 'Destination DigitaL.D&nenta Representation
and Video Vol20, no. 3 (2003, 199.

19

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TITLE: Taking Things Apart: Locative Media, Migratory

Archives, and Micropublics
SOURCE: Afterimage 36 no4 Ja/F 2009
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