Near Now's mission is to work closely with designers and artists to develop and produce innovative works that explores creativity and technology in a playful, yet critical, way. Ototo is one of their first commissions and it was designed by Yuri Suzuki and Mark McKeague from Dentaku. (In case you were wondering, the name of this design and invention studio comes from the Japanese version of Kraftwerk's song "Taschenrechner" / "Pocket Calculator".)
Unsurprisingly (because we all know that these two never do anything remotely dull), the designers came up with a brilliant work: an experimental PCB based synthesiser that allows you to combine sensors, inputs and touchpads and easily create your own electronic musical instrument. You can make a drum kit out of some saucepans or an origami that sings when touched. Ototo is designed to let anyone unpack a kit and interact with sound however they want to, no soldering or coding required.
Ototo means "Little Brother" in japanese and indeed little brotherly characters are appearing all over the synthetizer, indicating the role of sensor inputs, speakers, headphone outputs, buttons, holes and other functional elements.
Ottoto is a small kit easy to customise. In fact, it was designed for children and for anyone who's afraid of touching electronics. You don't need to code, just to plug and you're good to go and experiment with physical computing without even realizing it.
After the presentation, we got to play with the Ototo instruments created a few days before during a workshop organized by Near Now. The instruments used oranges, plastic cups half filled with water, old knives, computer fan, paper coffee cups, pans and bits of cardboard of all sizes.
The plan is to release Ototo before Christmas. At a very affordable price.
*Near Now is currently offering "artists, designers, writers, ecologists, technologists, policy specialists, architects, cultural geographers and food scientists" the opportunity to do Internet of Growing Things, to develop new work focused on food and future agri-cultures.
The new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present on ResonanceFM, London's favourite radio art station, is aired this Wednesday afternoon at 4pm.
My guest tomorrow will be Sitraka Rakatoniaina and Andrew Friend who will be talking about the aesthetics of scientific experiments but also about the human capabilities in sensing future events. They've explored this slightly debatable topic with a series of experiments inspired by the experimental evidence for the existence of physiological precognition, depicted the Sensing the Future paper written by Daryl J. Bem a social psychologist and professor emeritus at Cornell University.
Andrew Friend and Sitraka Rakotoniaina, Prophecy Program, 2013
One of the experiments in the designers' Prophecy Program project consists in perching an individual on an ultra-elevated chair where they will act as seismograph and predict earthquakes, exploring accuracy and specificity of psi and experience in landscape. A second one is an 'autonomous biological drone' which, inspired by bioenergetic capabilities of plants to sense humans intentions, would operate overhead monitoring human activity and emotions below. The last one is the working prototype of a 'Pre-cognition test rig' which acts as a big Russian roulette that fires at individuals while sensors pick up any body sign that they are indeed sensing the upcoming shoot.
As you can guess, this episode is neither typical nor tedious. Sitraka and Andrew's work, however, is far less fanciful than it might seem at first sight.
Publisher Gestalten writes: Fully Booked: Ink on Paper is a showcase of innovative books and other print products at the vanguard of a new era for printed publications--one that is likely to be the most exciting in their entire history.
This book is structured into five chapters that each represent a key role that print plays today: The Storyteller, The Showmaster, The Teacher, The Businessman, and The Collector. From personal projects with the smallest print runs to premium artist books or brand publications, the selection of work presented here celebrates the tactile experience. Featuring innovative printing and binding techniques as well as radical editorial and design concepts, this work explores the distinctiveness of design, materials, workmanship, and production methods--and pushes their limits.
The text on the cover of Ink on Paper is actually the beginning of the introductory essay. It looks at the old paper vs pixel debate through a rather unexpected scenario: what would our life be if the internet had come before print? The arrival of print would be applauded because its materiality suddenly gives information greater value and because it provides readers with a sense of privacy, an ownership of the book or magazine or poster we've just bought, a chance to focus on a text without being distracted by hyperlinks, etc.
The text is witty and ironic. The authors having no intention to pick a side or declare that one way to rely information and communicate ideas is better than its antecedent. Or its successor.
Instead, the authors celebrate the creativity of the designers and artists who enjoy experimenting with the materiality of book.
Ink on Paper is chaptered according to the 'personalities' of books: The Storyteller looks at fiction books. The Showmaster present the efforts of artists and designers who attempt to reinvent the printed book. The Teacher is all about guide books and other 'instructive' publications. The Businessman demonstrates that annual reports and corporate catalogues do not have to be soporific. Finally, The Collector explores publications from the art world (that one was a bit of a disappointment.)
Ink on Paper is my favourite Gestalten publication so far. Probably because i wasn't expecting to have that much fun with a book about books.
P.W.Y.W (Pay What You Want) book is a instructional manual for money exchanges. Peel off a barcode and attach it to goods to adjust prices at will.
Christoph Hänsli painted 166 slices of a whole cut Mortadella. Front and back. The 332 paintings are reproduced in the book.
TGIF turned Amnesty International Hong Kong Annual Report into a file folder. Different cases and activities were grouped and sent to donators.
Made out of 100% fresh pasta, the book can be read, filled with ingredients, cooked and eaten.
As part of China's 2012, year of the Dragon celebrations, Toko created a 4,716 page book that charts the story of the Chinese Dragon and celebrates every Dragon year since it's supposed origins in 2697 BCE. 'Long' as in the Chinese word for Dragon (Long story / Dragon story).
Death's Messengers / Die Boten des Todes is a new interpretation and presentation of one of the Brothers Grimm's fairytales.
The book is split into an English and a German version. The front and back covers are rubber stamps, which can be used to stamp the title. Inside the book, the designers worked with rubber stamps and printing systems. Each of the 5,236 characters was typeset by hand.
Based on the novel The Strange Case of Dr. Jekyll and Mr. Hyde, Kovacovsky and Hügli created a book that offers additional multimedia content when combined with a screen. Rather than merely placing 3D models on top of the book pages, they tried to find unusual ways to combine the analog and the digital content. Jekyll and Hyde is a collection of applications developed through a series of experiments and design studies.
A compilation of paintings and sketches found online, in amateur art forums.
Views inside the book:
The Weather Underground -also called the Weathermen- were a 1970s American radical left organization characterized by positions that included the opposition to the Vietnam War, the achievement of a classless world, a marked sympathy for the radical Black Panthers, etc. Their strategies included active recruitment in schools and violent militancy.
The Weather Underground inspired The New Weathermen, a fictional group of activists at the center of David Benque's investigation into the interrelationship between ideology and science. The New Weathermen are equally dissatisfied with the state of the world but the focus of their demands is climate crises rather than capitalism and racial privileges. Their weapon is not the bomb but Synthetic Biology.
Their ideas to achieve radical environmental change are neither the ones of the Bio-Conservatives who argue for a curbing of consumption, a return to an unadulterated Nature and are suspicious of new technologies. Nor are they the ideas of the Techno-Progressives who enthusiastically embrace progress, and see technological and scientific developments as the solution to modern problems.
Instead, The New Weathermen are looking into possible alternatives for the relationship between environmentalism and science. Among these are the DIYBIO or Biopunk movements and the campaign for open access to science, as well as efficient, headless and cell-based networks of activists such as Anonymous.
Challenging the borders between activism and crime, The New Weathermen's actions aim to disrupt the status quo and propagate an ambitious vision for the greater good. Deliberately radical and ambiguous, they provide a starting point for discussion about our existing beliefs and ideologies.
The whole ethos of the New Weathermen is based on the idea of the symbiosis (see the PDF of their manifesto):
The New Weathermen's ambitions are represented in their testing rigs and small scale experiments that reflect much more radical ambitions and are designed to make people aware of the group's larger mission. Their plans are slightly delusional (some are very seducing though.) Here are 3 of them:
The first one is The Pirate Pollen Club which targets the perfectly manicured lawn of the suburbs and golf courses. The New Weathermen would use Open Source GMO weed able to remove the gene responsible for the grass resistance to herbicide and ultimately outcompete it.
The action makes use of TALENs Transcription activator-like effector nuclease which uses enzymes for genome editing in situ, cutting DNA strands at a specific sequence when they are introduced into cells.
The scheme reminded me of Heath Bunting's SuperWeed Kit, a DIY kit capable of producing a genetically mutant superweed, designed to be resistant to current herbicides and thus threaten corporate GMO monoculture.
And now for my favourite plan: PalmOPS, an oil press that zeroes in on the increasing use of palm oil in the food and biofuel industries. Although the rush to palm oil is motivated by the necessity to reduce greenhouse gas emissions, the irony -as Greenpeace writes- is that the effort could make things worse because the growth of the palm industry is often accompanied by deforestation, displacement (without compensation nor consultation) of indigenous people occupying the land, loss of natural habitats for endangered species such as the orangutan and Sumatran tiger, increased greenhouse gas emissions, etc.
The New Weathermen's oil press inserts a lypase inhibitor in the kernel of the palm fruit that will make it impossible for you body to digest the oil.
PalmOPS is inspired by the inky caps, common mushrooms that are edible but become poisonous when consumed with alcohol. Inky caps contain coprine, a chemical which blocks the action of the enzyme that breaks down acetaldehyde in the body, leading to violent hangover symptoms. Coprine was studied by scientists who wanted to use it to make alcoholics averse to drinking.
Finally, Bioccupy Diesel, attempts to sabotage fossil fuel. The project was inspired by an existing bacteria responsible for the diesel bug that creates a biofilm that separates oil from water and and creates waste. Over time, the (existing) bug is responsible for a sediment which forms in the tank. These build-ups will not pass through the filters of the car and can eventually damage the vehicle.
New Weathermen would optimize the bacteria using synthetic biology. The modified bacteria would then contaminate car after car through petrol stations. To be effective, the infection would have to start with just one petrol station. All the cars refueling there would become infected.
Zhenhan Hao explored China's copy culture in an attempt to go beyond the 'illegal', 'vile' and 'evil' epithets that are usually associated with the practice. In the artist/designer's own words:
I have taken on the guise of an agent and am managing two research-practices simultaneously under different social contexts. In China, I have proposed a new production model for craftspeople in Dafen village and Jingdezhen, 'the porcelain capital of China', to imitate and create at the same time. Together, we co-produced a series of improvised products that sought to inspire the imitators to explore their imagination and creativity.
Hao asked artisan imitators to use their own imagination and customize the goods that would otherwise have been mere replicas of 'Western' artworks and fashion items. He commissioned a suit, a series of ceramic vases as well as oil paintings. He would suggest that the workers stick to what they are used to (imitating famous fashion brands or Impressionist painters) while adding something personal. A cobbler created footwear that mix the design of traditional Church's shoes with the bold colour of trainers. And tailors designed a suit by mixing western aesthetics (in particular the famous Barbour jacket) with traditional Chinese patterns and symbols:
A painter specialized in replicating Van Gogh oils pictured his own bedroom in the style of the Dutch post-Impressionist:
The vases add another layer to the project as Hao asked the ceramists to 'document' their craft and its context by painting their tools and workshops on the surface of the vase:
The artist did some kind of reverse experiment in London where he introduced Chinese imitation culture through a workshop with the absurd aim of mimic-drawing perfect circles.
I'll leave the conclusion to Zhenhan Hao:
As a Chinese national studying in London, I attempt to exploit the cultural differences and normative principles to uncover the complexity of imitation in the contemporary Chinese context. However, rather than delivering value judgments, or repeating the platitudes of political relativism, I am committed to revealing unknown matters and unfamiliar processes and keen to exploring an alternative ethic and aesthetic of imitation through my commission as a methodology as well as participatory interventions and practices.
The project that Owen Wells developed and exhibited at the Design Interactions graduation show this year looks at the Arctic, a region that global changes has transformed into the new El Dorado.
It is feared that Arctic summer sea ice is melting at a rate faster than predicted, and could be ice free as early as 2015. The loss of sea ice and innovations in exploitation technologies are making the Arctic region more easily accessible. And more easily exploitable. The Arctic is indeed home to the world's largest untapped gas reserves and an estimated 13% of the world's remaining oil as well as vast mineral deposits are thought to lie beneath the ocean floor. The resources expose the Arctic to corporate greed and to potential geopolitical tension caused by unresolved sovereignty claims.
Well's research project, Who Owns The Arctic, identifies the weakest territorial points and the legal loops in the status of the Arctic sea region to devise four subversive ways to overcome the legislation and shake the system that protects the Arctic.
Through an examination of the weaknesses of systems subversion can be seen as a form of critique - a deceitful narration of legitimate practices. With the help of several members of my own family who offered specific expertise, I have planned 4 subversive financial enterprises for the arctic. Each seeks to exploit the unique infrastructure, ecology, and legal ambiguity of the region to provide devious financial rewards. The project takes the form of scenes, maps and equipment. Through their planning, these schemes identify and expose the legitimate systems set to exploit the Arctic.
The first scheme is called The Mineral Rush. Under the guise of a normal fishing routine on the west coast of Svalbard, Russian men feed Beluga whales with by-catch stuffed with lithium. Whales soon start to show the early signs of lithium toxicity and after 5 days, suffer seizures, organ failure, and eventually die. When the mammals are washed onto the west coast of Svalbard, experts conclude that the metal in their bodies indicates the presence of vast deposits of lithium off the Svalbard coast. These rumors ultimately trickling through to the 39 signatory states of the Svalbard treaty, countries who retain the right to undertake commercial activities on the island without discrimination.
In the second scheme, The Fishing Dispute, Russian crab boats travel to the northern tip of the Bering sea. Once the ships have entered the Alaskan king crab fisheries, 20 icosahedron crab pots are deployed and the vessels return to waters within the Russian exclusive economic zone. 2 days later, they come back to tow the catch north, 1,600 km underwater. The pots are released in the Beaufort sea where fishing rights are still claimed by both America and Canada. After 5 days the cotton netting surrounding the pots dissolves, freeing the crabs. An anonymous press leak reporting catches of King crab far beyond their normal range is later sent to newspapers in both Barrow, Alaska, and Toktoyaktuk Harbor, Canada. The resulting scramble for the prized crab meat will greatly increase the opportunity for confrontation between Canadian and American fishermen, driven by confusion over fishing rights.
A third scheme involves an oil spill caused by devices placed on top of icebergs that travel from the northern tip of Greenland into to North Atlantic. On this journey they float past Hans Island and onto the oil fields of Baffin bay and the Labrador sea where, if spotted, they are usually towed a safe distance from the pipelines and oil rigs. But in this scenario the remotely activated devices would shake the iceberg apart. Still large enough to sink a ship or damage a rig, the smaller chunks of ice would not be detected by radar nor by the naked eye. The icebergs would thus float quietly onwards to the oil fields.
The last scenario involves a man working for the Keystone Pipeline, a pipeline system that transports oil sands bitumen from Canada and the northern United States "primarily to refineries in the Gulf Coast" of Texas. The man's job is to operate a pig launching station. He makes extra money by smuggling goods across borders on board of a "pig", a devices used to clean and survey the pipeline.
More details about each scheme can be found in this PDF.
Hi Owen! You asked members of your family to help you create 4 subversive financial enterprises for the Arctic. What are their areas of expertise? And why did you decide to work with members of your family? To show that anyone can do it?
Finding the true direction of the project was quite a painful process. After lots of research and deliberation looking for what I was interested in it dawned on me that specific friends and members of my immediate family had a really unique but highly specialised set of skills that I could hypothetically corrupt. I don't want to give too much away about them because I respect their anonymity, but the main area of expertise I was able to draw upon centered around aspects of the shipping industry. It was through this advice that I was made aware of the Arctic as an environment where climate change is in the process of rendering the region potentially prone to corporate profiteering and political tension. In the latter stages of the project I also had advice on finance, and icebergs.
The dialogue around the amount of sensitive information readily available on the internet is pretty visible, particularly at the moment. While there is undoubtedly a huge amount of inspiration for potential deviants on the internet (The UN website offers information on how to set up shipping front companies if you're willing to sit through some very dry videos) the opportunity to "physically" construct this kind of network, around the dinner table so to speak, was far too enticing. The implication that anyone can do it is defiantly a big part of the spirit of the project.
The texts describing the four enterprises in the show looked as if they were merely the start of a thriller. Why did you give just set the scene and didn't go further in the description of the scenario?
I planned each of the four parts of the project pretty meticulously. I scouted locations, used google maps to plan how far and for long different actions would take. I produced inventories for different sections of the trips, found out how and where I get important pieces of equipment, and how many people were involved at any one time. Rather than display these as maps I decided to condense them into introductory texts. The scale of the schemes was far larger than anything I had dealt with before and so the texts gave me a way of contextualising them within the voice of individual characters. While specific locations might not be instantly recognisable I trust that the region is visible enough to begin to imagine what each of the schemes is suggesting.
In a way the schemes themselves serve as introductions - a way of describing the complexity of problems that climate change provokes beyond the environmental effects that everyone is aware of by now. There is room for them to be presented in more detail and I hope to develop the project beyond its current incarnation. Perhaps I might hold one of the arctic states to ransom in order to fund it.
Several objects were exhibited in the show. Can you explain the one linked to the oil spill? How would it work exactly? Which technology does it use? And could you confirm how it would eventually trigger an oil spill? Would it be through an encounter similar to the one that sank the Titanic?
Of the four objects in the show that one is by far the most speculative in terms of how well it would work in the field. Icebergs are such an ominous symbols of danger that I had to include them, but they are notoriously difficult to destroy. The mechanisms through which they are created make them incredibly tough - there are reports of dropping bombs on them and only making a dent.
The device that I exhibited was an amalgamation of a helmholtz resonator and an autodialing device. The autodialing device would cycle through frequencies until it found the resonance frequency of the ice, similar to the way autodialling machines could theoretically crack a safe. The frequency would then resonate though the Helmhotlz resonator into fracture lines that are formed when icebergs calve from the face of a glacier and fall into the sea. The resonance effect would eventually cause the iceberg to break itself apart through vibration, forming smaller but potentially far more dangerous chunks of ice. In practice it is difficult to predict the effect this would have on an iceberg because it is dependent on structure not dampening the effects of resonance. I couldn't confidently tell you if it would work in the field, but the object serves a narrative purpose so plausibility won out.
The weakness lies not in the icebergs themselves but in the system through which they are found and tracked. There are daily iceberg reports available through the International Ice Patrol (an entity whose existence was brought about by the sinking of the Titanic). Their main tool for finding Icebergs is Side looking Airborne Radar (SLAR), so if an object can evade radar (which smaller chunks of ice smoothed by the erosion of ocean are good at) then effectively it remains invisible to the system. Part of the current research on icebergs is about developing a way of towing them from collision courses with oil rigs. The actions of the individuals in the oil spill scenario are intended to make the icebergs invisible to radar by turning larger ones into fragments, flooding an oil rich area with ice that cannot be detected and hopefully (in this instance) won't be spotted in time to be towed from a collision course.
I'm afraid i didn't understand very well the Mineral Rush scenario, the one with the Beluga whales poisoned by lithium. The start is crystal clear but it's the consequences of the perceived presence of lithium off the Svalbard coast that isn't so easy to understand. How are the 39 signatory states of the Svalbard treaty supposed to react to the lithium deposit?
The Archipelago officially became part of Norway under the terms of the Svalbard treaty. This treaty also states that the signatory countries (whose exact numbers fluctuate depending on what you're reading) have equal rights to exploit mineral deposits in Svalbard. This scheme relies on the stock market to spread a rumor that there is a potentially valuable mineral wealth that has been made visible through its effects on the local food chain. Money could be made through buying land and the selling it once its value has risen due to the potential for prospecting. Alternatively the rumor could be used to engineer demand for legitimate infrastructure.
This one is by far the most complex of all the schemes and admittedly would benefit from a far more in depth demonstration of how it could function.
Finally, i was interested in knowing about antecedents for this exploitation of the weaknesses behind the laws and rules that protect the Arctic region. Did you come across similarly devious tricks from fishermen, speculators, businessmen or others?
Around Australia there are lots of reports of people smuggling operations exploiting a part of maritime law that states that you must always help a boat in distress. If the authorities intercept them on route then they will feign distress and by maritime law have to be towed to the nearest port rather than turned around. This only seems to delay the inevitable rather than allowing them to achieve their goal.
As I previously mentioned you can find out from the UN website a process that allows you to set up what amounts to a collection of front companies through a relatively cheap corporate web. This is a practice that is legitimate, pretty common in shipping, and is openly advertised. You have nominee directors and have physical shares that can be handed to people rather than existing digitally, so the real owner can remain anonymous. To see how this system worked at a very basic level, I got a quote to incorporate a company in the Marshall Islands on behalf of 5 Norwegian businessmen I pretended to represent; it was a very convenient service.
In the open ocean laws and rules become a little abstract because the high seas are still the high seas - Jurisdiction becomes incredibly complex and in some places redundant. There are international waters where ships come under the jurisdiction of the state under whose flag they sail, but if that state has no interest in bringing them to justice then law becomes unenforceable. Piracy proliferates in these areas. It's completely anarchic in places, and forms a big part of international shipping discourse. Once the Arctic sea ice melts more thoroughly then ships will be able to pass through sea routes in the Arctic and avoid piracy areas, as well as save huge sums of money on fuel. This is why the Arctic is about to become so important to shipping.
If you want a good example of corruption at sea then have a look at the Salem case from 1980. It is too long to explain here but it involves government officials, a criminal sea captain and scuttling a supertanker during the South African oil embargo.
As for the Arctic I haven't heard anything specifically about exploiting the law in the region. That doesn't mean that there isn't anything, but it still won't be really accessible on a large scale for a number of years, so for now any underhand behavior is still hidden. At a governmental level the consensus appears to be to promote good relations between the Arctic states and protect the environment. This is fantastic, but the Arctic is a long way from prying eyes, so as a theatre of deviance (both "legitimate" and "illegitimate") it will surely become a very attractive prospect, if not already.
If I may I would like to say thank you to Alexa Pollmann, Hyung-ok Park, Lana Z Porter, Mohammed Ali, Shing Tat Chung and the family and friends without whom this project would not have been possible.
All images courtesy Owen Wells.