Jason Farman, in his book Mobile Interface Theory: Embodied Space and Locative Media (2012), explores how mobile media has changed / is changing how people interact with their worlds. Farman first establishes a theoretical framework of embodiment and sensory-inscriptionâ€”which I interpret respectively (and simplistically) as space in direct relation to our lived experience and how we read the world. His approach to mobile communication, gaming, storytelling, and performance art all spins out of these ideas.
(Dr. Farman is on Twitter–betcha didn’t expect that…)
One of the quotes that distilled his big idea the most for me about all those things came in his fifth chapter: â€œMobile technologies have transformed the categories of synchronous â€˜presenceâ€™ and asynchronous â€˜absenceâ€™ into simply a social proprioception of â€˜continual co-presenceâ€™â€ (108). If we attempt to define proprioception as the recognition of oneâ€™s multiplicity in a place (physically and virtually simultaneously), I believe we can better begin to understand how to appreciate the possibilities of a mobile interface that can enhance our experience of places (physical and virtual). If we can see ourselves in relation to other things in the world that we cannot literally see, what does that mean for the things we interact with digitally via a mobile interface?
If â€œspace is produced as a multiplicity of perception and inscription,â€ and â€œour mobile devices produce spaces that are experienced as a collaboration between information, representation, and materialityâ€ then critically examining how all of that converges should help us better understand our current era (13). Farman is quick to point out, however, that technological obsolescence must be acknowledged as a limiting factor in these discussions, but these questions will most likely stay with us as long as most of us have some kind of mobile information device. Because we probably wonâ€™t do away with our phones anytime soon, and because we are still generally concerned with cultural progress, the ideas and questions raised in his book are worth considering.
Farman uses Walter Benjaminâ€™s â€œAngel of Historyâ€ in order to illustrate how â€œmovement forward (progress) is a storm that leaves a trail of wreckage in its wake (obsolescence)â€ (136). And because Farman is interested in space he points to how digital environments will also become part of that technological wreckage once users feel as if the connections or incentives of a digital environment have â€œslowed or plateaued.â€
(Paul Klee’s Angelus Novus and Walter Benjamin… I was expecting something more like a Gustav Dore illustration, but that’s cool.)
Farmanâ€™s invocation of Benjamin (which also a favorite passage of mine) made me also reflect on the other examples of mobile media practices he cited throughout his book that seemed to keep storytelling alive, or digitally dig up history. For example, how can we as conscientious citizens continue to interrogate power structures such as corporations or the military/police, while at the same time using products or methods created by them? The art project San Francisco â†â†’ Baghdad readjusts Americans’ geography while also acknowledging fallen soldiers, whichÂ resonates with critical thought about war and imperialism (49). Another favorite project of mine listed in the book is Streetmuseum, because of its ability to exploit the notion of â€œimplacementâ€ as a profound learning experience for students and citizens (check out the powerful image and caption on page 41).
If that kind of technological engagement found with Streetmuseum can be amplified, and perhaps gameified, I think there is great learning potential there. Similarly, [murmur], or something similar to it, seems like it could continue to proliferate as a historical community projectâ€”or, a fictional mystery based on local history?
Because computing truly is pervasive for most of us nowadays, it behooves us to explore and challenge the new meanings that are produced by our collective and historical interactions. Studying how information visualization interacts with locative media will continue to produce new ways to play with and critique the convergence of material and virtual spaces. I look forward to hearing about those kind of new projects.