I am surprised that surveillance has not yet been thoroughly mentioned in this discussion.
"Change life! Change Society! These ideas lose completely their meaning without producing an appropriate space [...] new social relations demand a new space, and vice-versa." Lefebvre, Henri The Production of Space, Blackwell 1991, p. 59
"(Social) space is a (social) product [...] the space thus produced also serves as a tool of thought and of action [...] in addition to being a means of production it is also a means of control, and hence of domination, of power." ibid p. 26
I believe it is Christiane Paul - in one of her recent lectures - who suggested a taxonomy of art projects dealing with mobile computing technologies and stimulated a critical analysis and implementation of her system of classification, in which she devides works with GPS into those:
a. which revolve the annotation of a personal experience ('Psychogeography'), as TERI RUEB's "The Choreography of Everyday Moment";
b. Works about reposition cartography (about the concept of 'flow'), such as "Milk" by POLAK and AUZINA, in which they tracked the milk production in Latvia, Brasil and Nigeria;
c. Works enhancing behavior perception, such the Whitney Museum's commission to CROWE and PATERSON "Follow Through";
d. Works about annotation of storytelling, such as "Media Portrait of the Liberties", by NISI and others (a location based narrative taking place in an old Dublin neighbourhood);
e. Surveillance and sousveillance projects, such as "The Antiterror Line" by the BUREAU OF INVERSE TECHNOLOGY; and
f. Environmental projects, such as "Feral Robotic Dogs" by Natalie JEREMIJENKO
See also "New Media in the White Cube and Beyond - Curatorial Models for Digital Art"
http://www.ucpress.edu/book.php?isbn=9780520255975
I feel like I am hacking this great discussion:-)
Best,Veroniki
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