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Themesicon: navigation pathPublic Sphere_sicon: navigation pathPublic Sphere_s
Nine(9) (Harwood, Graham), 2003PDPal (Bleecker/Paterson/Zurkow), 2003Tapp- und Tastkino (Export, Valie (Höllinger, Waltraud)), 1968

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residents’ efforts were so successful that they formed their own group, Tenantspin, which «aims to promote resident participation in regeneration and social housing issues through constructive debate and shared experience.» [23] The UK-based group Mongrel is a community oriented artist collective, which has worked with communities in Hull and London, UK; Adelaide, Australia; Cape Town, South Africa; Helsinki, Finland; and the Bijlmer in Amsterdam, Netherlands. They provide self-created software tools such as «(9) Nine» to enable specific communities from these cities to participate in their selfrepresentation in a way that is both engaging to them and a powerful experience for outsiders. «(9) Nine» is an online space that allows each participant to create a «knowledge map» by uploading text, sound, images and video and composing them according to a recurring pattern of nine elements and linkages. These build up into a grid of hundreds of interlinked maps that become both an expression of each participant’s personal experiences and a way of visualizing the communal interrelationships between them.

Julian Bleecker, Scott Paterson, and Marina


Zurkow’s project «PDPal» (2002) uses mapping and narratively driven scenarios to encourage people to self-represent their «image of the city» [24] beyond its Cartesian coordinates. Aggregated together, these image-maps create a «communicity» that is an emergent public space based on use and knowledge «on the ground,» rather than a formally articulated park or plaza.

Art in Public Cyberspaces

While some artists and artist groups create tools and platforms for a participating public to self-represent, others entice the public into complicity in public spaces, such as Valie Export’s classic «Tap and Touch Cinema» (1968). Just as Export brought performance out of the theater into the streets with her project, mixing genres, many new media artists are bringing their work to the ‹streets›— and markets—of cyberspace, where a different audience can be involved. Net artist Rachel Baker has written explicitly about the relationship between the ‹streets› and cyberspace: «The public domain of the street, of ‹outside,› is where the borders of public and private

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