<?xml version="1.0" encoding="UTF-8"?>
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  <title>eCommons Collection: 2005 Rockefeller Fellowship Nominee</title>
  <link rel="alternate" href="http://hdl.handle.net/1813/5258" />
  <subtitle>2005 Rockefeller Fellowship Nominee</subtitle>
  <id>http://hdl.handle.net/1813/5258</id>
  <updated>2013-05-25T12:40:49Z</updated>
  <dc:date>2013-05-25T12:40:49Z</dc:date>
  <entry>
    <title>2005 Rockefeller New Media Foundation Proposal</title>
    <link rel="alternate" href="http://hdl.handle.net/1813/5259" />
    <author>
      <name>Ortiz-Torres, Ruben</name>
    </author>
    <id>http://hdl.handle.net/1813/5259</id>
    <updated>2007-01-24T07:05:51Z</updated>
    <published>2007-01-23T15:24:47Z</published>
    <summary type="text">Title: 2005 Rockefeller New Media Foundation Proposal
Authors: Ortiz-Torres, Ruben
Abstract: Art has often been considered an "agent of transformation." However, what happens when the art and the spaces where we&#xD;
present it are in a state of flux and transformation?&#xD;
During the twentieth century, mechanics allowed us to incorporate notions of speed and motion into visual&#xD;
representation. New technologies give us the possibility to&#xD;
create forms in transformation, avoiding the limitations of&#xD;
particularity and singularity. These mutant forms might&#xD;
respond to a public space that is mutating too. Forms can&#xD;
be combined and recombined seamlessly as if we were&#xD;
altering their genetic or molecular composition. The public&#xD;
space has become more public in its virtual representation.&#xD;
Cities exist not just in reality but also in a mythical&#xD;
construction that we inhabit from elsewhere. Through web&#xD;
cams and the Internet we can access certain specific&#xD;
locations without having to be there. Here, radical&#xD;
hypothetical interventions within the public space and&#xD;
certain communities can actually become a reality.</summary>
    <dc:date>2007-01-23T15:24:47Z</dc:date>
  </entry>
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