ABSTRACT
In 2004, futurist Drew Hemment wrote the famous manifesto “Locative Dystopia” that popularized the term locative media, as the social and critical art movement that emerged with the use of positioning technologies—such as Global Positioning Systems (GPS)—as interfaces for artmaking. Followed by artists like Anne Galloway, Marc Tuters, and Kazys Varnelis, and a whole special issue of Leonardo Electronic Almanac in 2006, locative media became a well-known and established term. Klare Lanson interviews Hemment—one of the key figures to shape digital media and culture—who understands mobile media art as a critical response to phenomenon such as networked, locative media, and the rise of smart cities, and heralds the crucial role of co-design and collaboration in relation to the innovation lab, FutureEverything.
