Entr’acte: Performing Publics, Pervasive Media, and by Jordan Geiger (eds.)

By Jordan Geiger (eds.)

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12. As discussed (p. 111) in Anthony M. Townsend, Smart Cities: Big Data, Civic Hackers, and the Quest for a New Utopia (New York, NY: W. W. ) 13. (On Twitter:) “As always, socially embedded messages are more valuable than random public broadcasts,” in Clay Shirky, Here Comes Everybody: The Power of Organizing without Organizations (New York, NY: Penguin Press, 2008): 184 14. One of many references to this notion appears as part of the “Articles of Association between Design, Technology and the People Formerly Known as Users,” cited (p.

We can measure No-Stop City in the compulsive speed of ambulatory urban computing, and the interfacial city without beginning, end, or middle. We imagine Cedric Price’s Fun Palace (1961) turned inside out by North Korean stadium pageants where the audience itself is the media content, but instead of free play, each actor is instead rendered a disciplined pixel within a larger choreography of the spectacular image. How to mark the ancestral trace from Yona Friedman’s La Ville Spatiale to the new Asian smart cities such as New Songdo City (“a ubiquitous city,” so says its brochure) in South Korea’s Incheon development, or Soleri’s Arcology as a first pass at Masdar, the massive “green” smart city in Abu Dhabi (incidentally both Songdo and Masdar were built with Cisco and IBM as key partners)?

It may be that the agonistic logics of the political—drawing lines between friend versus enemy over and over—make it more difficult to see how the technical achievements of constituencies that we might oppose may form to basis of the real alternative systems we seek to design. For the geopolitical rupture of “Free Soil,” we can be sure that reversibility sloshes both ways: if Involuntary Prisoners can become Foxconn, then the Foxconn apparatus-assembly archipelago could also provide the genesis of further inversions and utopian opposites.

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