An exhibition at the Design Museum is proposing a fictional future in which the United Kingdom is broken into four counties that function according to radically different techno-centered models.
Each of their 4 scenarios looks at how innovations such as research about human-powered helicopters, integrated biohydrogen refinery or robots with jelly-like artificial muscles translate into politics, economy and lifestyle.
The digitarians live in the East of England and are governed by digital technology. The Bioliberals are the biotech-freaks, they occupy the West corner. The Communo-nuclearist, whose fate lays in the hands of nuclear energy, relentlessly travel up and down a single strip in the middle of the nation. And North of the UK are the Anarcho-evolutionists, they have turned their back on technology and self-experiment on their own body to turn themselves into powerful machines.
The counties are 'live laboratories' set in a future that will probably/hopefully never come. They are nevertheless so plausible that you are drawn into the fiction and wonder where you'd belong if you had to chose where/under which regime to live. The scenarios are sketched rather than neatly detailed which allows you to bring your own narrative and fill in the gaps.
To make the project tangible, the project looks closely at the modes of transport that the different tribes would adopt.
The Digitarians move around their tarmac-covered land in pretty pastel-coloured, self-driven pods. To save space on the road, the driver has to stand, a bit like standing-only plane tickets that Ryanair was hoping to sell its travelers. Pushing further the no-frill airlines analogy, the routes they travel are suggested by a computer system that calculates the best, most economic route in real time.
The inhabitants seem to mean little more than data that needs to be tracked, controlled and processed by the system.
Residents of the Communo-nuclearist micro kingdom live on a 3 km-long train that moves constantly up and down the central strip of land they occupy. The giant carriages are powered by nuclear energy and each has been assigned a specific function: auditorium, factory, swimming pool, farm, etc. Communo-nuclearists are rich, entertained and their lifestyle is rather fancy. The downside is that they are under constant threat of a nuclear accident. Their complete reliance on nuclear energy makes them pretty unpopular and no one likes to have them around.
Bioliberals fully embrace biotechnology. Each person produces their own energy according to their needs. Bioliberals grow plants and food, but also products. Which sounds pretty exciting until you have a look at their vehicles: they are covered in lab-grown skin made from yeast and tea. They are powered by anaerobic digesters that produce gas. The cars not only look and smell revolting, they are also as little aerodynamic as possible and won't drive you fast anywhere.
This leaves us with the Anarcho-evolutionists who strength train and bio-hack their own body in order to maximise their own physical capabilities. They believe that humans should modify themselves to exist within the limits of the planet rather than modifying the planet to meet their ever growing needs. Some of them have massive thighs to help them power the local public transport system: the VLB, Very Large Bike. Others are long and extra-lean, the ideal silhouette to travel by hot air balloons. The animals living in the area are not spared. The 'hox" is the ideal beast of burden, a hybrid between a horse and an ox. The Pitsky is strong like a pit bull and amiable like a husky.
The discussion doesn't stop at the models and photos on show. There's also a small space with suggested readings that go from sci-fi novels to Bldgblog Book: Architectural Conjecture, Urban Speculation, Landscape Futures and Thinking: Objects - Contemporary Approaches to Product Design. The website of the project also contains links to all the research papers and articles that fed the 4 fictional futures.
General views of the exhibition:
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this Wednesday afternoon at 4pm (that's London time.)
My guest tomorrow will be Patrick Stevenson-Keating, a designer who creates objects and experiences that communicate and make the most sophisticated theories in physics more tangible.
We will be talking about some of the objects he designed. Starting with the Quantum Parallelograph which explores the possibility of alternate realities and encourages people to discover their own alternative lives. We will also discuss the world's first handmade particle accelerator which Patrick crafted using hand-blown glass bulbs, a pump, a voltage of 45,000V and electrode. The device helps us understand better what the much fussed about Large Hadron Collider is all about.
Patrick Stevenson-Keating has graduated from the Dundee Product Design course, and he is now running his independent studio practice in Shoreditch as well as working as an associate at international design firm Superflux.
The title of the show is pretty self-explanatory. Because, yes! The drones are indeed getting closer. Nowadays UAVs aren't just shooting at terror suspects and innocent civilians in Afghanistan, Pakistan, Yemen and Somalia, they also have civilians uses such as monitoring orangutans and other endangered species or helping farmers check the condition of their crops which is obviously valuable and exciting. But drones are also enrolled to increase control and surveillance over our heads: the German railway network is deploying them to combat graffiti-spraying 'gangs' and a European commission document suggests that, in the coming years, drones could be used in crisis management, law enforcement, border control and firefighting. Human right activists are calling for "greater clarity and transparency about when and how these tools are deployed." Eric King of Privacy International also told The Guardian that "the secretive way in which surveillance drones have been put into operation, and the failure of the police to recognise and address the human rights issues involved, has created a huge potential for abuse."
The exhibition addressed these issues with projects that range from the chillingly premonitory Bit Plane by Bureau of Inverse Technology (1997) to Young's most recent research projects. One of them is TELEWAR, a book and video made in collaboration with The Force Of Freedom (the book is available for free in PDF and it makes for a very informative reading about the uses and impacts of new warfare technologies.)
As part of the TELEWAR project, the group of artists were also showing military patches used on drone programmes. You can get some for cheapo on ebay and if you really are into creepy military patches, i can't recommend enough Trevor Paglen's collection of Emblems from the Pentagon's Black World (more in I Could Tell You But Then You Would Have to be Destroyed by Me.)
But let's get back to business because the reason why i wanted to interview Dave Young is that a couple of weeks ago he headed the workshop Movable Borders - The Reposition Matrix at the Furtherfield gallery.
Participants were invited to contribute to Movable Borders, Young's ongoing research project that investigates shifts in the permeability of territorial and political boundaries and the role that technology plays in the 'reterritorialisation' of the borderline.
The workshop focused on the use of cybernetic military systems such as remotely piloted aircraft (drones) and the Disposition Matrix, a dynamic database of intelligence that produces protocological kill-lists for the US Department of Defense. Together, participants were challenged to collaborate on developing a cartography of control: a map of the organisations, locations, and trading networks that play a role in the production of military drone technologies.
Since i only had a brief chat with Dave Young at the opening of the Furtherfield show, i decided to ask him a few more questions via email:
Hi Dave! The Reposition Matrix aims to create an "open-access database that geopolitically situates the organisations, locations, and trading networks that play a role in the production of military drone technologies." First of all, i'm curious about the source of the information that you collect through this project. Where do you find it? I guess some of it must be hard to come by? Concealed? supposed to remain out of reach of the public?
The fascinating thing about this project, for me at least, is how one public thread of information begins an almost overwhelming process of unraveling. A mention of a drone crash in a very public news source leads to the military crash report subsequently released under an open government initiative, which then mentions an external non-military public company involved in the piloting of the drone that day, who publishes some information about their involvement in military operations in their annual reports, and so on. The information is perhaps not deliberately concealed as such, but is hidden in the mass of documentation, hyperlinks, and search terms provided on governmental and corporate websites. Past participants have often expressed their surprise at what is deliberately revealed by companies - on their social media profiles, for example. These companies are often proud of their contributions to national defense efforts, and occasionally can be perhaps a little over-generous in the information they volunteer online. In the context of a single Facebook post, a corporate image can seem innocuous, but when cross-referenced with the correct secondary source, you can begin to reveal something otherwise concealed.
And how is the open-access database going to be kept alive? How and who updates it? Where can we read it?
The database is being compiled and added to by me personally at the moment, but I am developing a collaborative framework for use in the workshops which I will test out over the next few weeks. The database will be made available over the Summer (date to be announced!), and will form the basis for future workshops.
Another thing i've been wondering about is the way that you handle the data you find. Most of it i guess is obviously genuine information but how about the data coming from conspiracy theorists, or from people who have an interest at spreading as much dis-information as possible, etc? Is this something you consider?
This is an interesting question, and often leads to a good discussion in the workshops about how to filter sources. Participants have to debate what is important, and what can be considered trustworthy - or indeed if a fabricated theory can indeed be an important part of the map.
Most of the information participants work with is released 'genuinely' - as I said above, through official channels by public companies or governmental open data programmes, although it is important to place these too within the context of an agenda. The trustworthiness of the information we work with is always up for debate, and can be divisive amongst the participants, but in general, what tends to happen is we treat each thread of information as part of a wider network. Curiosities discovered during the workshop will corroborate or conflict with each other. This is where the world map becomes a useful interface for physically aggregating the found information, as participants can immediately begin to see a formalisation of their research, and can ask questions of it as it develops.
The drones and the US kill list seem to be far away from the kind of culture and preoccupations we have in Europe... Or are they? How much impact does the Disposition Matrix (a database that United States officials describe as a "next-generation capture/kill list." ) and drone program have in Europe? Why should it matter to us?
I think for the participants of the workshop it quickly becomes apparent that the production and military use of drones is truly a global issue. Washington quickly has links to London, Berlin, The Hague, Seoul, UAE, Turkey - the list goes on (and on...) What we can see emerging at the moment are the formation of alliances, power blocs that collectively invest in drones and share them and the information they collect as a trans-national resource. It is interesting to attempt to unpack this and examine how such alliances function as a network of power and control.
As for the disposition matrix, the use of an algorithm or protocol to compile a capture/kill list is really something worth having an open and frank discussion about. To me it really speaks of a wider societal shift which I find problematic, specifically these processes of monitoring and individuating populations. Indeed a well-treaded debate with many unresolved fundamental issues, but despite this, it can only be said that it is becoming increasingly embedded in governmental thinking.
Also, it is important to explore how and where these technologies function - while it is unknown for now how much impact the disposition matrix has in Europe, similar protocols are becoming increasingly pervasive here, particularly in countries such as the Netherlands, the UK, Germany, France, to name but a few. They may not be applied to such direct efforts as targeted killing, but they do appear to operate in welfare systems, immigration control, predictive policing, among others.
You recently organized a workshop at Furtherfield in London. Participants were invited to investigate drones and the Disposition Matrix. Can you describe briefly what happened? What the participants managed to achieve?
The workshop opened with a discussion framed around a few specific questions I wanted to put to the participants, as I was keen to encourage a critique of some of the conventional ideas regarding the use of drones that appear regularly in news reports. The participants were very open, willing to engage and question each other which was fantastic. Their backgrounds were quite diverse too, with a mix of artists, academics, social scientists, etc, and the ensuing discussion really reflected this. Following that, the participants formed small groups and began to work together on the world map. Each group worked with their own base document, researching its contents and trying to visualise its geopolitics through this process of mapping.
So, one example is a group who began looking at Wikileaks cables detailing US fears that Iran was using 'proxies' to get components required to build their own drone and evade trade embargoes. They began to draw the trading networks Iran had allegedly built up onto the map, criss-crossing West Asia, North Africa, Europe, and Japan.
What is interesting is where different groups collided on the map - important nodes in the network predictably appear in Washington and the FATA regions of Pakistan. Often some surprising locations pop up too, usually reflective of the backgrounds of the workshop participants as they try to investigate any connections between the drone war and their own politics and places of origin.
I'm also fascinated by the description of Google Boundaries, "a series of images taken by the Google Streetview car as it encounters border checkpoints. The project is an investigation into the geopolitical systems that influence Google's streetview product, re-situating its task of mapping the streets of the world as being an invasive, territorial act." Could you explain what you meant by that? And how you came to investigate border checkpoints through the eyes of the Google Streetview car?
The Google Street View car has famously made the debates about privacy and digital rights visible - people who in the past felt perhaps unthreatened by Google's data-harvesting all of a sudden saw it as an invasive act. They could suddenly see their own houses - perhaps even themselves outside, in all their vulnerability. I became more interested in this idea of Street View as a colonialisation while researching The Reposition Matrix. When you zoom out as much as possible with Google Maps, you can see the territories that have Street View - a strange hierarchical geography revealed by a blue overlay on the map. Recently, Iran have announced they will release their own "Islamic" version of Google Earth as they see Google's services as a threat to their national security, so there are strong territorial politics at play here: http://www.guardian.co.uk/world/2013/apr/10/iran-plans-islamic-google-earth
I know this is still a work in progress but what have you discovered so far?
I started by trying to "road-trip" across the US-Mexico border control using Streetview. You can't pass through them like you often can in Europe - frequently the Street View car seems to get as close as possible to the border then turn back at the last moment. It is interesting to examine historically contested borders - the Israel 1949 Armistice Borderline shows a border control officer looking straight at the Street View car, gun hanging from his shoulder.
Examining the border crossings begins to illustrate the materiality of Google's task, and the beuraucratic issues operating in the background. Despite Google's omnipresence in the cloud, the Street View car is often caged in by boundary politics. They are regularly adding new Street View data to the map, so I'll be curious to investigate how this changes over time.
Any upcoming projects, areas of investigation or exhibition you want to share with us?
There are some more Reposition Matrix workshops coming up over the following months - Dublin as part of the Glitch Festival on the 15th June, another one at V2 on July 6th, Share conference in Croatia 18-20 July. People are of course very welcome to get in contact and come along to the workshops if they'll be in the right place at the right time! More information available on http://movableborders.com.
There are some more projects that are part of the Movable Borders series, following on with these investigations of alternative territorialisations and geographies. One of them requires some research into the history of cocktails and mixology, which I am particularly excited about...
More images of the workshop at Furtherfield.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)
Today i'm talking with artists, curators, writers Ruth Catlow and Marc Garrett who, 16 years ago, founded Furtherfield, an organization with a very strong online and offline presence. Furtherfield.org is an online community where artists, theorists and activists meet and talk about art, technology and society but Furtherfield is also an art organization with a gallery located in Finsbury Park that invites the public to discover and reflect upon digital/networked media art and social changes.
The conversation has been fascinating: Ruth and Marc talked about the early days of the internet in London, about the legendary Backspace (now a Starbucks as Alison and Jon from Thomson and Craighead informed me yesterday), about how they've been curating exhibitions and events with the help and feedback of their large community for years, etc.
Finally, they discussed unmanned aerial vehicles. Their new show, Movable Borders: Here Come the Drones!, opens at the Furtherfield Gallery in Finsbury Park this Saturday afternoon. I'll be there and hope to meet some of you.
The show will be aired today Wednesday 8th May at 16:00. The repeat is next Tuesday at 6.30 am (yes, a.m!) If you don't live in London, you can catch the online stream or wait till we upload the episodes on soundcloud.
Movable Borders: Here Come the Drones! will open from Saturday 11 until Sunday 26 May 2013. The opening is on Saturday 11 May 2013, 2-5pm.
Finally, Furtherfield has a fund raising campaign going on. I can't think of a better cultural cause to support right now.
Image on the homepage: Spinning Desktop by Antonio Roberts. I nicked it from another of Furtherfield's upcoming show: Glitch Moment/ums.
For some reason, i always forget to check the programme of lectures and exhibitions taking place at the Architectural Association School of Architecture in London. And when i do, it's bliss and joy on every floor. Right now the institution is showing Cultural Hijack, an exhibition which presents a series of provocative interventions which have inserted themselves into the world, demanding attention, interrupting everyday life, hijacking, trespassing, agitating and teasing. Often unannounced and usually anonymous, these artworks have appropriated media channels, hacked into live TV and radio broadcasts, attacked billboards, re-appropriated street furniture, subverted signs, monuments and civic architectures, organised political actions as protest, exposed corporations and tax loopholes and revealed the absurdities of government bureaucracies.
Some works are openly political, others are more playful. Some have been designed to be used by people whose needs are otherwise overlooked, others are clever pranks. Cultural Hijack brings art out of the galleries and into the street. Which imho is always a good thing if you want to reach people who are not already convinced and content with your artistic, cultural or political ideas.
Cultural Hijack unfolds over three chapters: a slightly messy and crammed exhibition documenting the artworks in videos, photos, installations and artists' talks; a series of live-interventions around London; and CONTRAvention, a weekend of lectures, symposia, screenings, participatory actions, interventions, dinners and debate that will close the programme later this month. I'm spectacularly annoyed to miss that one as i won't be in town that week.
So let's wipe off a tear and make a quick selection of the works included in the exhibition.
Chicha Muffler Black Cab: yes, that one does exactly what it says on the tin. Instead of rejecting smoke, the modified exhaust of the cab provides a service of mobile hooka.
My jaw almost dropped to the floor when i saw the description text and the video for Visual Kidnapping. Street artist Zevs cut out a 40ft woman from a Lavazza billboard in Alexanderplatz, Berlin and 'demanded' a 500,000 Euro donation to the Palais de Tokyo art center in Paris for her return. Which he apparently obtained.
With the same haircut, twelve members of Ztohoven took a portrait pictures and using the Morphing software they merged every two faces into one. They applied for new Ids with these photos, but each of them used the name of his alter-ego. They lived for 6 months under someone's else identity, voted in the elections, travelled outside of the country, obtained a gun license or one of them even got married. After this period, they revealed theirs secret identities and documented the whole operation in an exhibition in Prague. The police confiscated their ID's and arrested co-founder of Ztohoven Roman Tyc for failing to show his ID card which was at the time part of the exhibition.
Paolo Cirio is showing the irresistible Loophole for All, a service to democratize offshore business for people who don't want to pay for their riches. It empowers everyone to evade taxes, hide money and debt, and get away with anything by stealing the identities of real offshore companies.
You can buy the identities of offshore companies on the website of the project Loophole4All.com at fairly low costs.
Cirio also interviewed major experts and produced a video documentary investigating offshore centers to expose their costs and to envision solutions to global economic injustice.
For his series of Minaret performances, Michael Rakowitz stands on a rooftop at the five designated times of prayer with a megaphone and an alarm clock that plays the entire adhan (the call summoning Muslims to prayer) from an embedded digital chip.
Electronic Disturbance Theater's Transborder Immigrant Tool hacks cheap GPS mobile-phones to install a device for helping Mexican immigrants cross the U.S.-Mexico border, providing them navigation, poetry, the location of highways, border patrols and water left by Border Angels in the Southern California desert.
EPOS 257 crafts oversized bullets that he fills with paints then shoots at commercial billboards and architectures using an extra-long shooting instrument. Each piece is both a unique abstract painting and a gesture of reverse takeover.
An 'old' one i was ignorant about: The Clandestine Insurgent Rebel Clown Army [or CIRCA], an army of professional clowns who protest against corporate globalisation, war and other issues.
I'm sure you know this one already. I still find it as charming as ever: Matthias Wermke & Mischa Leinkauf's In Between („Zwischenzeit") used homemade handcars that can be folded into backpacks to sneak into Berlin's U-bahn and navigate it at night.
Matthias Wermke & Mischa Leinkauf, Zwischenzeit Trailer
Cultural Hijack was curated by artists Ben Parry and Peter McCaughey. It runs daily at the Architectural Association School of Architecture, London, until 26th May 2013. The final weekend will be dedicated to CONTRAvention, a series of lectures, symposia, screenings, participatory actions, interventions, dinners and debate.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, is aired this afternoon at 4pm (London time.)
Designers and biohackers Raphael Kim and Funk are in the studio with us today to talk about the London Hackspace, a community owned, non-profit organisation where members come to meet, create and fix things individually or together. A hackerspace obviously involves much coding but there's a lot more going on: there's also laser cutting, soldering, drilling, woodworking, sewing, 3d printing, learning, tinkering, repairing and pizza eating. The space even welcomes a small bio-hacking lab.
A few weeks ago, the London Hackspace moved to a new, brighter and much bigger location on Hackney road. HSL is the largest hackerspace in the UK, with hundreds of members. And if you're not one of them the space opens its doors to visitors every Tuesday evening.