The project/network is divided into 8 ‘work packages’ and provides a useful model for how to run large scale project/networks across dispersed institutions. Each work package bar the final meta-administrative package has substantial individual outcomes all of which contribute toward the goal of realising a well developed and tested research methodology, toolset, aggregation, and implementation/extension strategy for the mapping/visualisation and finally, the collaborative mediation, of issues of policy debate/contest.

Bruno Latour is listed as the ‘Scientific Coordinator’ and an Actor Network Theory methodology characterises the project. Here however ANT folds into the concerted development of a strategic approach and governmental technology, the tools to manage that approach, and the communication of that approach to different levels of researcher/antagonist.

As the leader of the team working on Work Package 1 Latour working with Sciences Po (Paris), and a number of parties from MIT have established a web site and called Mapping Controversies (http://www.demoscience.org/)  that collects and directs the implementation of resources to the execution of controversy mapping and has developed a set of courses and course materials that allows Science and Technology students to engage in the research and mapping of controversies in science and technology. Many of the projects developed by students at MIT, Ecole Polytechnique Fédérale de Lausanne (Switzerland), and Sciences Po (France), Manchester University, Oxford University (UK), Ecoles de Mines (france) move well beyond the mapping of purely scientific issues (http://medialab.sciences-po.fr/controversies/) and demonstrate the potential of the approach as a generalised strategy of networked issue collaboration/navigation/mediation/governance. The level and presentation of research performed at an undergraduate level via the apporach is particularly impressive and perhaps indicates the potential for a community level implementation of the MACOSPOL approach.

The Mapping Controversies website also collects a wide range of resources for both the investigation/research of controversy, the collection of data, and the presentation of that data. These include a vast set of visualisation softwares designed for the analysis and representation of dynamic social networks. Many of these technologies are simple and accesible (wordle.net) and the despite the project’s pretence to ‘build one platform’ its clear the methodology itdelf is the primary and directive ‘codebase’ – The project presently aggregates and augments  systems and softwares in the service of this methodology. The most successful of the student visualisations tend to be quite technical implementations or iterations of the NetVis Module (http://www.netvis.org/), although the project also directs students/researchers the promising Prefuse -Java/Flash toolkit as well (http://prefuse.org/).

The courses deployed as part of the project empower the students involved to work through the mapping of controversy from the identification and documentation of the Actors and Propositions involved, through to the mapping/visualisation of the networks they describe, and finally, an analysis of potential outcomes implied by the process and their communication online. The initial workpackage  project tests, supports, and illustrates the development and application of both the MACOSPOL methodology and a collection of mostly open access technologies as they are deployed by relatively low level (undergraduate) researchers across a wide range of institutions and cultural contexts.

The other work packages move toward the collection, aggregation, development of technologies in the hope of consolidating the approach demonstrated by work package 1. They involve; The development of visualisation technologies at Ludwig Maximillian University and the University of Oslo (”Risk Cartography: Visualisation of Argumentative Landscapes” http://www.risk-cartography.org/en_index.html), The development of a compatible set of tools tested/proven as effective in WP1 toward their integration as a platform (Govcom.org, University of Amsterdam) and finally The testing of the platform in the government/policy arena.

It is this final element that illustrates the expansive aims and potential for the project. The project’s synopsis gestures toward the aim of developing/demonstrating the project as the ‘elementary building block of a ‘quasi-parliament’ allowing a multitude of stakeholders, interests and other actors – including the public- to effectively navigate a particular issue. The project aims to develop the methodological and technological ground for a ‘technical’ or networked governance – to develop the ‘democratic equipment’ required for such a governance.

While there are any number of government and institutional initiatives concerned with the development of Gov2.0 MACOSPOL is perhaps the first large scale project looking at the way new methodologies and literacies will be central in the realisation of a more networked and distributed governance capable of routing around the need for Big Government as a principle technology for negotiating interests and navigating particular issues.

The Thinkbox collective is based in and around Windsor, Ontario – across the river and border from Detroit – with all of its attendent musical history. The Detroit  based www.metrotimes.com predictably places Thinkbox in the context of Techno’s genesis, development and bifurcation as moving the techno/electronic aesthetic betond the club dance floors to the gallery and museum space.

Given the timing however (2003-2008) it would seem more likely that Thinkbox were rather more influenced by the increasingly ubiquity of (largely eurpoean) post glitch ambient electronica of the form popularised by the likes of Christopher Fennesz or the ‘Artic Ambience’ of Biosphere. That claim appears reinforced by the individual releases of Christopher Bissonnette one of the founding members of the collective.A sound and graphic designer, Bissonnette use of the guitar and field recordings recalls both Fennesz and perhaps Oren Ambarchi and fellow Canadian (Vancouver) Loscil. Other members of the collective include Mark Laliberte (http://www.marklaliberte.com/index2.html) - an independent curator , ‘project-based’ artist and experimental poet – who also performs ambient soundscape/design work – his Pillow Scenes Soundworks marked the first and only CD release for the collective. Mark has been heavily involved with the Zine culture and currently produces the design/pictorial magazine Carousel (http://www.carouselmagazine.ca/) while exhibiting a wide range of intermedia and installation works that are united by the kind of countercultural cool that belies their zine-culture influences. Chris McNamara is a Windsor based video artist who teaches new media at the University of Michigan. Chris also works with collaborator Dermot Wilson under the name Machydem Inc. – mostly producing film and digital video projects.  Steve Roy, Rob Theakston – an  electronic music producer working a similar vein to that of Bissonette -with a slightly more dissonant edge- and Bill van Loo –  an electronic music producer who also works with guitar to produce live ambient electronica (http://www.youtube.com/watch?v=gGgsCV7gh88).

The project was a partnership between the Arts Council England and FACT (Foundation for Art and Creative Technology).

OCEAN aims to facilitate collaborative research by design with a focus of improving the human environment. It has produced work ranging from exhibitions of Performance-oriented Design to publications on 3D Audio and Sound-Art. Its diverse group of members hail from a range of countries from Italy to Israel and Australia to the United States, but are based mainly in Oslo, London, Sydney and Istanbul.

Syneme’s aim is to explore artistic practices that are enabled and enriched by networked digital technologies (particularily those that allow real-time engagment between participants) and to ask ” how can we use the network itself as an artistic instrument – not merely a distribution channel.”

To explore such questions Syneme has focused on the development of Artsmesh, a platform that makes expressive telepresence on high-speed research networks possible.

Kenneth Fields is the group’s director.

ThoughtMesh was conceived as an effort to overstep the limitations associated with academia’s currency of the peer-reviewed print journal, which can be viewed as an isolating and outdated medium for distribution of intellectual discourse in our increasingly networked environment. Operating via a tag-based navigation system, ThoughtMesh allows users to instantly locate excerpts within essays that deal specifically with the subject matter they are wishing to research. For example, within an essay dealing with a wider topic within new media, a researcher may select the tag ‘interactivity’ to be presented with direct excerpts from the essay that deal with this subject matter. Beyond this, users may also view from a list of sections of other essays throughout the mesh that also share this tag.

ThoughtMesh presents itself as an avenue for scholars to tap into and participate in flows of information Twittering and Flickring across the world. It is also an ideal way for academics specializing in digital culture to situate their discourse within the culture itself. ThoughtMesh’s system of fluid distribution bears benefits when compared to single repository databases in that it interconnects essays and authors beyond their affiliations with single institutions or isolated networks and websites. Users are given the option of submitting their work directly into ThoughtMesh’s database, or simply tagging essays as they are published on a remote website.

This essay by John Ippolito outlines the intended aims and outcomes of the ThoughtMesh project.

A short animated video sums sum up the planning approach and philosophy.

Established by Erin Manning in 2004, the SenseLab is an international network of artists, theorists, researchers, dancers and writers who work together to explore the active passage between research and creation, promoting theoretical and artistic exploration of the sensing body in motion. The SenseLab is physically based in Montreal with space at the Society for Art and Technology . Part of the research agenda of SenseLab is to understand moving bodies and bodies in motion as relational bodies– “the senses are not seen as pregiven biological apparatuses, but as veritable technologies of life that continuously reinvent what the body is and can do, through its interactions with its designed environment and the technical objects populating it.”

The SenseLab interconnects a range of initiatives that each involves the collaborative participation of various members of its network. Bodies-Bits is a bi-monthly speaker series that provides a platform for international presenters to reveal insights into their research-creation works in progress. A series of thematically focused annual events with the title Technologies of Lived Abstraction aim to explore various modes of participation that view thought as a laboratory for creative practice and creative practice as a platform for thought. The 2009 event titled Society of Molecules connected ‘molcules’ of three to ten people as each simultaneously set up and executed a single aesthetico-political action within and between individual locations in eighteen different cities worldwide.

An interdisciplinary book series conceived by Manning and Brian Massumi and spawned from concepts examined during these annual events (also sharing the title Technologies of Lived Abstraction) is published by MIT Press. The SenseLab also publishes Inflexions, an open-access online journal aiming to promote experimental practices that combine research and creation in such a way as to foster symbiotic links between philosophical inquiry, technological innovation, artistic production, and social and political engagement.

NRPA was founded in 1981 with the purpose of supporting and developing radio art, a cultural movement encompassing experimental sound-based practices conceived to operate within the specific parameters associated with broadcast radio. The organization was considered to lie at the international forefront of radio art distribution between 1987 and 1998, during which over 300 works for public radio were commissioned and disseminated via the weekly program series New American Radio.

Taking heed of significant cultural shifts resulting from the expansion and proliferation of wireless and digital modes of communication, the NRPA extended its mandate in 1996 to support the then burgeoning practice of net art by launching Turbulence. The project and its associated website currently remains dedicated to commissioning and exhibiting the work of artists who either use existing applications and technologies or develop new ones to create innovative, hybrid or networked art forms that use the Internet as a primary medium. The organisation’s key channels for facilitating the creation and reception of new works are its Artists’ Studios, Guest Curator, Spotlight and Events programs. Importantly, the Turbulence website houses an online archive of over 160 projects commissioned by the body throughout its 13 year life.

Other NRPA supported projects affiliated with Turbulence include the Networked_Performance research blog (2004 -), a valuable resource that chronicles the wide range of issues and perspectives linked with various network-enabled practices, and the Networked_Music_Review blog (2007 -), which accommodates the present legacy of New American Radio by gathering data on projects, performances, composers, musicians and software tools related with emerging networked musical explorations made possible by computers, the Internet and mobile technologies.