aviv in Sollfrank & Kleiner 2012

of those things. We wanted to create a system
that was basically drawn a little from deadSwap, but I wanted to take out the
secret agent element of it. Because I was really... [42:08] The first place it
was commissioned to be in was actually in Tel Aviv, in Israel, the [Israeli]
Center for Digital Art. And this kind of spy aesthetic that deadSwap had, I
didn't think it would be an appropriate aesthetic in that context. [42:22] The
idea that of trying to convince young people in a poor area in Tel Aviv to act
like spies and hide USB sticks in public space didn't seem like a good idea.
[42:34] So I wanted to go the other way, and I wanted to really emphasise the
collaboration, and create a kind of system that is pretty much totally
impossible to use

g more time
with her daughter – so she takes her daughter to the beach, which she is able
to do because she can still conduct business on her mobile phone. So it's this
freedom kind of a thing. [44:04] But in areas like the Jessi Cohen area in Tel
Aviv where we were working, and other areas where the project has been
exhibited, like Johannesburg – other places like that, the telephone has a
very different role, because it's free to receive phone calls, but it costs
much to make phone calls, in mo


Display 200 300 400 500 600 700 800 900 1000 ALL characters around the word.