This is an excerpt of a post that originally appeared on Observatory.

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When Google launched Street View in 2007, it was the company’s intent to map and document every street in the United States. Cars were dispatched into every city to drive every street and back road, using nine directional cameras mounted on the roofs of special cars. These cameras give us 360° movable views at a height of about 8.2 feet. There are also GPS units for positioning and three laser-range scanners designed for measuring up to 50 meters 180° in the front of the vehicle. [Artist Doug] Rickard analyzed tens or hundreds of thousands of Street Views in his search for perfect pictures, something he describes as containing an “apocalyptic-like brokenness.” Indeed, the height of the camera at 8.2 feet, while creating an aesthetic cohesion and uniformity of vision, adds a distinct feeling of “alienation” that Rickard employs. Unlike the making of street photos in the traditional sense, with Street View there is an oblivious-ness to the camera as it goes about its job with no feeling or emotion. In spite of this anonymity of machine, his images are—perhaps surprisingly—layered with empathy.

Rickard has amassed several terabytes of Street View images—nearly 15,000 shots captured, labeled, and stored. From that massive stash, he selected only about 80 images for “A New American Picture,” of which a selection is on view at MoMA. To give you an idea of the voracity of Rickard’s Street View search, he has virtually explored almost every neighborhood in the “broken” portions of Atlanta, New Orleans, Jersey City, Durham, Houston, Watts (in Los Angeles) and Camden. He has also explored, inch by inch, the smaller towns of America with names like Lovington, Waco, Artesia, Dothan and Macon. What he looks for are images that carry what he calls a certain “poetry” of subject matter, color, and story—a story described in part by him as “the inverse of the American Dream.” And if the image isn’t “perfect” according to the elements of Rickard’s demands, it’s a no-go. Everything in the image has to be composed, via the camera motion of Street View, to his very subjective, personal, and exacting standards.

Rickard’s exhibition at MoMA opened last September and closes on January 16, 2012. The show is aptly entitled “New Photography 2011,” and includes the work of five other photographers: Moyra Davey, George Georgiou, Deana Lawson, Viviane Sassen and Zhang Dali.

Doug Rickard is a modern-day photographer not unlike those who went before him. His imagery can be compared to the banal and mysterious cityscapes of painter Edward Hopper, or the great documentary photographers like Ben Shahn, Robert Frank and Walker Evans, all of whom shone a light on the shadows and made known the “invisible”—the disenfranchised and forgotten communities of America. Just as WPA photographers like Dorothea Lange combed America to document the great American Depression, so has Doug Rickard with his new camera: Google Street View.

Source: Observatory 

Images courtesy of Doug Rickard and Observatory. 

Democracy relies on the media to make its citizens well-informed and meaningful participants in civic life. This, of course, doesn’t always happen, especially when you're relying on TV news.

That’s when the fact-checkers come in. In the November/December issue of Utne Reader, Eric Kelsey and I wrote an article on the "fifth estate": journalists who devote themselves to checking other journalists’ facts.

The Columbia Journalism Review, a 2007 Utne Independent Press Award nominee, jumped into this fray once again with two new offerings. The publication first relaunched the Campaign Desk, which looks at the presidential race. Here’s CJR on the mission of the Campaign Desk:

We’ll look at who's doing interesting, original reporting and who's being taken in by spin; we’ll focus on how and why the narratives that come to define a candidate get started and relentlessly repeated, and if they are off base, we’ll try to set them straight. We’re on the lookout for misleading statistics, partial truths and oversimplifications, glittering generalities, and other language crimes that can infect the coverage.

Campaign Desk writers have covered topics as diverse as journalists demanding coffee from John Edwards at an all-night campaign stop during the Iowa caucus to giving the full story behind a scuffle between an AP reporter and Mitt Romney.

The second offering by CJR is The Observatory, which of rakes through the not-always-peer-reviewed muck of science journalism. The Observatory opened with an article about how new, collaborative web-technology is affecting science writing. With all the spin, inaccuracies, and half-truths bandied about in the media, these CJR projects will have their work cut out for them.

—Brendan Mackie

Image by Justin Henry licensed under Creative Commons.